- Lesson details
In This Lesson:
This is the final part of the female portrait session. Mark works on the hair and the darks, he demonstrates how to achieve a full range of value in your painting.
In This Course:
Learn to paint the portrait in watercolor with this new course from the late Mark Westermoe.
Mark Westermoe was a renowned artist, illustrator, and instructor, known for his work on many feature film posters such as Braveheart, Total Recall, and Home Alone.
Mark will cover all the tools and materials youʼll need for work in watercolor. You will start with small watercolor sketches and work your way to painting finished portraits using the Reilly Method.
You will learn to not simply copy your subject, but to add your own attitude to your portraiture.
In Mark’s words: “Try to bring yourself into whatever subject youʼre drawing or painting. As long as you have that youʼll maintain your interest.”
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in watercolor. I'm going to work on the hair and some of
and some other specific areas too that need to be taken a
little farther to demonstrate what you might do with them.
So we'll pick up on the watercolor that I was doing in
the last lesson.
we're going to be focusing on getting the darks in her hair
and the boa and around the eyes. So let me start putting
in some of the darker aspects of the subject.
I can use a -
well, this is a number four
I still have a little paint left over from the last
It's dried up on the palette, but it doesn't matter.
I'll wet the eye socket a little bit.
I can take a
another soft brush
just with water on it
and I can blend out the edge
of the painted shape that I've just created.
You'll notice the watercolor dries a little bit lighter.
Than when you apply it.
So I'm taking a little bit of alizarin crimson. loser in crimson.
I'm just making some adjustments using the Q-tip.
I had the
wing of the lip extended a little too far to the left.
So with just some water and a cotton swab I can erase that.
And when that dries I'll come back in and repaint the area.
I'm adding a little bit more of a red or crimson
where the form shadow turns away from the light.
And we're gonna to find her jaw a little bit now.
It's kind of vague. So I want to
give it some more clarity.
Okay, let's get darks into the hair.
You see how when its moist the paint looks, so you want to
bear this in mind when painting.
I'm just taking a little bit of raw umber.
Mixing a little bit of crimson with it.
I'm going to turn the form of her head against the
by putting in a half tone in the silhouette the silhouette
right before the background.
So I test the consistency of the paint
and the amount of water that's in my mix
just by using the scratch sheet to the left.
I mixed up a color
similar to the one that I used on the side plane of her head
and will use it here on the side plane of the nose
where it falls into shadow.
Okay, let's mix up a color that contains a little bit of
violet to it. And that will be for the boa.
Simple little magenta and a little violet
into this mix.
And some this dark that I used around her eye sockets,
put some of that in it.
Let's give a little more complexion
to the head.
So I'm just going to wet the illustration board first.
Okay, so I just took some crimson
and I'm just laying down a wash
over the dark side of her head.
It will dry lighter, of course.
Let's mix up a really dark color using the crimson and
We'll put a little bit of violet into that.
Just pulling out a few crest lights
with the Q-tip.
Softening a few edges
let's get back to one of the motifs of this painting
and that would be
some of the delicate shapes in the hair.
When you're putting in little folds of hair, streaks of hair,
try not to be repetitive with them.
It will ring false if you do.
So try to vary the depth of a curve or the
width of a curve,
everything that will -
it will not look contrived.
Okay, so I'm gonna stop here with this particular subject
and we're going to move on to a
a two session pose with a male subject. So
try doing a
female and male subjects. The female is really tricky. You
don't want to overdo things. Whereas in the male case,
we can emphasize planes that even make the model look craggy and
you got to try both.
the painting. In other words there are some edges, there are some
some half tones and some transitions that need to be
worked on in order to take it to a finish. But at least we
got into how to frame the figure or the head using some
darks in the hair and in the boa that she's wearing. So you
want to have that full range of value
otherwise the painting is going to look thin. So that's what I
was mostly concentrating on today. And once again, the next
lessons are going to be a male subject with strong light and
shadow. One half of the head in shadow, one half in light, very
dramatic, whereas this was much much simpler lighting
condition. All right. Well, I hope you learned and keep
practicing, nd I expect to see you in the next lesson.
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1. Lesson Overview31sNow playing...
Watch the whole lesson with a subscription
2. Working on the Darks (Part 1)33m 27s
3. Working on the Darks (Part 2)14m 37s
4. Lesson Summary1m 11s