Here is another portrait where I have used three colours. Winsor & Newton – Burnt Sienna, Yellow Ochre, and Daniel Smith Extra Fine Watercolours – Raw Umber Violet.
Once again I am using a photograph of Peter Deunov as my jumping off point.
Even though the subject’s eyes are closed….I still begin my sketch with the eyes.
Note that all the white in the image is dry, white paper, and again I am using the technique of wet brush no paint….which means that after applying paint to the shadow areas, I then pull the colour out using a clean wet brush.
In her book, Drawing on the Artist Within, Better Edwards, suggested an excellent exercise for those who believe that they can never draw or paint a face.
Take a portrait – it can be a photograph or painting, and turn it upside down. Remove the logic of what it is, and just copy the shapes you see. You will be surprised.
When tutoring portrait painting workshops, over the years I have seen people get hung up on a nose, regardless of the medium used. They tend to keep adjusting it, adding more colour, and ultimately ending up with a mess….when often all that’s needed is a shadow next to the nose……which points out the importance of always being aware of the whole subject, not just one portion. Remember everything is interconnected.
I am leaving white paper for the beard and hair allowing the viewer fill the gaps in. Note how the yellow ochre wash to the left of the face, reveals the highlight on the eyelid, nose and beard.