View Full Version : Johnnie's Grandchild-Watercolour WIP

10-06-2006, 06:49 PM
I just wanted to get this thread started so it'll be set and have a place ready here.
Johnnie's thread asking for help prompted me to do a WIP, which hopefully goes well lol!, from his Grandaughter's reference shot.
I started the drawing then realized I had started with a different ref than I had originally seen and wanted to do the WIP from. I like the first one the best. I got the reference printed at Black's, a photo store, only to see that the cropping in the print cut off too much on the right, where her ear is. Thsi was ok, I could just draw that in from the screen while I waited for ink to be changed in our printer and I could print my own ref photo again.
The earliest I will begin uploading progress will be Wed afternoon now, as it is Thanksgiving weekend here and I won't be getting anything done here till next week. I will begin the drawing tonight sometime though as I was able to get a green coloured reference from our printer for now, which is good enough to do a drawing from.
I stretched wc paper on pine board, after soaking it 7 minutes in water. Once the surface dried, I draw in with watercolour pencil.
I'll upload the drawing or partial drawing tonight, if I can, and start the painting part early next week.
Thanks Johnnie; Jocelyn

Here is his reference this will be inspired by. We are concentrating on hair mostly for this WIP.

Have a good weekend!


10-07-2006, 07:23 PM
Hi Jocelyn

Well your very welcome and thank you for doing this..

Looking forward to watching your techniques..

You Jocelyn, and family, have a great Thanksgiving..


10-10-2006, 12:41 PM
Hi all: Here is the drawing as it stands right now. I did it before we left Friday night. There may be some tweaking here or there but I'll check it better tomorrow before I begin the painting. I did this with watercolour pencil so it will just fade and blend or remove if needs be, as I paint. I don't tend to do as detailed a drawing as this for my own portraits as I find there is too much need for removal of the drawing before starting. But, for this, I want others to see a drawing clearly here.

It's on 140 lb stretched wc paper from Arches. I had no 300 lb in the house this time. This is fine a size for smaller portraits.


10-11-2006, 07:44 AM
This is going to be beautiful. I could identify your drawings and paintings anywhere. Sandra

10-11-2006, 03:01 PM
Hi: Sorry all. I had a malfunction with my camera and could not figure out why nothing was there when I went to download pics from my camera to my Cdrive. But, I figured it out. I had somehow knocked the memory stick loose in the camera, probably when unhooking it from the comp the last time.

Anyway, here is my first and second progress stages today. I'll do each separately. I also have my palette here and I'll list the colours.

Please bare with me as I am under the weather today.

This first stage I began by dabbing back with my soft eraser, the brown watercolour pencil marks as much as possible. The rest seem to be blending nicely with the paint.

I began in the eye on our right, with a rose madder, tint of yellow ochre and tint of light green to tone down the orange effect. I get a nice neutral rose this way, for the skin and around the eyes. I always work in the eyes with skin tones first, even in the iris and around the corners and pupil. This gives it a nice living breathing blood flowing life at the end, even after the neutrals and darks are added. I amke sure I use a lot of warms in the nostrils and avoid very dark darks. Nostrils are Not the darkest dark in most portraits.
The whites of the eyes I have done a very thin layer of cobalt blue toned down roses. The whites lights in the eye are cool where as they skin highlights tend to be warm compared to the whites of the eye where highlighted and in shadow areas too.

I then get into suggesting where the green in the skin will begin, for the shadows. First, I wash in the rosey skin tones very very light and shapey. I then can soften the edges of the shapes where I need to with a damp cleaned off brush after those shapes dry. I keep all these little layers very light and build gradually. I won't do too much green tones or shadows until much of the skin tones are established, just enough to begin them. I try not to do too much work in one or two areas and leave other areas untouched. I try to keep my stages pretty even. I will suggest the darks early though, although never their darkest stage too early. This way, balance and harmony is generally always present.

Trick is to layer slow so you never go too far with the intensity in one area, which is harder to fix than adding intensity when more is needed. Just do it in a comfortable set of steps, keeping all the areas pretty well at the same stage.

The areas I take to the next stage quicker, as in the shadows and beginning of the darks, are the areas where the most darks or intensities are. These are the lashes, eye corners, crevices in the eyelid creases, lip corners and crevices. I don't use black. My darks are kept very vibrnat and living and I tend to use greened down crimsons and sometimes blued down browns for darks.
I tend to never do complete "lines" of connected darks or shadows. I place them and let the shapes have breaks between. A good example of this is in the part between the lips. I drop in deeper tones where the darkest little shadows and crevices are and let tem break as the shape contours change and more light hits the next area. You can see that easily here in the beginning of the forming of the lips. I would never do a dark line following all along the part of the lips because the lips are different thicknesses and different depths of creases are created in different areas. Therefore, light hitting them and shadows will casue different areas to be lighter and darker, depending on the contours of the lips and the places where they blend with the skin and contours of the face. Breaking up lines and edges that are so easy to want to draw around shapes to define those shapes, causes the features (nose, mouth, eyes, brows) to come from the skin instead of appearing to sit On the skin. Edges are worth paying attention to. Shpaes and tones next to an edge can define that edge better thna just outlining that edge. If that makes sense. I find I tend to work Towards edges and shapes instead of outlining and working Out from a shape.
A good example of this would be the tone on the cheek and top lip over the teeth on our left where it reaches in and around her nostril above it. You can't see the side that goes right under and into her nostril but the shape I painted defines the flare of her nostril which I left the white of the paper for the highlighted edge of that nostril.

You can see here already where I am carrying the skin tones into and around the major parts of the bangs, trying to leave a few whispy thinner ones too. I can later scrub back in that area to highlight more detailed whisps, as long as I never work too much dark into there. Not every hair and shape needs to be replicated from the photo, only the feel or jist of the bangs and their character is what I strive for. When I do tha background, I will pay attention to leaving some white of the paper for whisps that come away from the main hair. Some can be accomplished with scrubbing back there too, if I leave less than I want to.


10-11-2006, 03:13 PM
Here is the stage I stopped at.

I am generally just continuing along with roses and the greens in the shadows, back and forth. There is some ochres being added too, in the mids of the side on our left and a bit in the brows and the upper lip area under the nose.

I brought the eyes up to the next level as well as just began the mouth. I find I will bring the eyes and mouth to the next level then catch up in the larger areas. I then will go into outside areas like the hair and ear and neck and background. I get into those once I feel I need them established in order to determine any further intensity in layers in the skin.

See here how I am keeping the nose light and not outlined. The edges that define the nose's shape are usually softer and less intense than corners of eyes and mouth crevices. Also, on children, I try to keep the brows light and less defined, using skin tones to define them first and then add neutrals to suggest hairs.

The white of the paper is going to do most of the work to determine the highlights for me in a wc portrait.

Next post I will show a stage and show my palette. Right now I want to get a bit more done while I have the time and the light. The light is not too good today as it is overcast.


It looks a bit choppy but here is a close up.


10-11-2006, 04:18 PM
I worked a bit more in the face with the roses and greens. Then, I began establishign the shapes of the hair pieces by painting into them with the surrounding tones. Thsi way, I will get them marked in and know where they are before goign too much into the skin there and accidently obliterating too much of the whispy hair shapes.

I started into the underneath pieces of the hair which will be a bit more shaded, with an ochre, crimson and cobalt mix, leaving it more on the ochre side. I'll use purples in the shadow and deeper underneath sections of hair that are more shadowed and darker in tone.

The background is blues and greens although it looks more grey here. I paint in towards the hair, leaving parts where I want whispy pieces, the white of the paper. Basically, I am painting the negative spaces and leaving the hair whisps (the positive pieces) white for now. Some, I may vary with washes of shades of very light neutrals at the end. The very highlighted ones I will leave the white of the paper. I will aslo scrub back more of them and alter the shapes and soften and make them more natural looking in the end too.

I feel the bottom lids of her eyes may need some alterations as I feel the wideness I added to her eyes may be taking away from her likeness and personality that comes across here.

Right now, I am finding I am working too timidly in the dark side of her face so I'll leave that for another session.

This photo is appearing too orange brown. Probably due to the available light. The roseiness of the earlier pics is more accurate.


10-11-2006, 04:43 PM
This is my palette for this. It is on a ceramic white plate. I try to limit how much I put out as I work for short periods as I tend to be a paint waster. Watercolour it is not too much of a big deal because I can go back and forth and still use the paint over a period of days. But, I need to instill the "limit the amount" habit anyway so stuck to it here too. For my acrylics, I really need to be on top of it.

The brand is Holbein Artist's Watercolour. I do have to admit that I prefer Windsor Newton but my Dad bought me a whole bunch of paint for Christmas 2 years ago and he asked what is the best paint to buy, of the sales person, and they sold him that brand. He bought so many that I decided I will give them another shot. I find if I use them on wc paper, I am fine. On illustration board, they are too grainy and don't work as nicely for me. I find they don't scrub back as well as WN either. They tend to be a little grainer, setting into the surface much more deeply and permanently right away. But, just my opinion.

I have out Cerulean Blue (sorry, mistakenly said Cobalt earlier), Rose Madder, Vermilion Hue (orange red), Permanent Green No1, Permanent Yellow Deep (not used yet), Yellow Ochre, Ultramarine Blue (WN brand), Burnt Sienna, Alizarin Crimson (WN brand).

The skin again: Cer. Blue, Rose Madder/Crimson, Ochre and Perm. Green. I am working mainly in a rose tone and warming it up where needed and neutralizing it in the shadows with Green or the Cer. blue. The Permanent Green is a nice light vibrant green. I am using thin washes of it pure in some spots. The darks in the corners of the mouth and eye corners, eyelid crevice spots and lashes are crimson and green mixed.

My brushes are 2 synthetic round, the soft bristle ones with the gold toned bristle. These brushes are inexpensive. I have my real sable but I use that mainly for backgrounds or larger pieces now as it's tip was wrecked when someone else in my family used it years ago with craft paint to paint an outdoor ceramic garden gnome. Even though it does not come to a point anymore, it is a great brush for large areas and backgrounds. I can get some detail with it if my piece is large, by tipping and using just a corner of the tip. This is too small a piece so it won't be used.
The brush I have been using is a number 5 round. I did move to the larger round later in this though, for the background and some of the face. I'll use the larger round more now, until some finer detail needs to be worked on again. The larger round I believe is an 8. The # is obliterated though, from me using it and my skin rubbing on it.

The brush shown here is the #5 round.

It is too dark in here to really work anymore on this so I'll leave it now.


Marcella B
10-11-2006, 05:36 PM
This is already so beautiful Jocelyn, how special of you to do this. I'll keep coming back to see the progress. Hope you get to feeling better.

The Art Corner
10-11-2006, 08:47 PM
Wow thanks so much for sharing this with us!!!

10-12-2006, 08:23 AM
Outstanding so far Jocelyn :thumbsup: Arilics, watercolor...you can handle it all! :)

10-12-2006, 09:54 AM
Lovely portrait so far Jocelyn. I really love the expression you've captured. More so than the ref. Well done!

10-12-2006, 10:15 AM
How do you do your sketches/linears Jocelyn? I don't see any guidelines on your drawing. Do you transfer? I know some people just start at one point and go around the face til they meet up with where they started. I saw this in a couple of demos and I'm always in awe of that cause I sure can't do it. I have to use guidelines and measure... erasing and adding as I go to get it proportional and correct and it ends up looking rather messy. Then I transfer that onto my surface which then looks not messy. Sometimes I'll use an overhead projector to get a rough indication of where things are if I'm feeling lazy then I'll draw in the details and make my alterations according to what I want to see and to get the expression just right.

Ellen in Ont
10-12-2006, 11:43 AM
Just beautiful so far Jocelyn. Thanks so much for taking the time to share this.

10-12-2006, 12:33 PM
Hi Jocelyn

This is looking really good.. Like the palette you are using.. I must try that .. Mine was totally different.. You explanations and pics are just what I need..


10-12-2006, 02:40 PM
Hi: Thanks all. Yes, I feel better today :-) Hi Ellen, glad to see you.

Hi Tommy. I drew this by hand. I should have photographed the very initial stage but I was rushing, having done the drawing twice after changing references. The original ref her mouth I liked better. I took Johnnie's second set of refs fast, without noticing the slight differences, till after I had drawn it 80%. So, I printed out the original and did the drawing again.

I start with a quick and light light sketched oval. For this, where I placed it on the paper did not matter as the paper was much larger than the portrait was going to need and no specific size needed to be met. I quickly draw crescent shaped light lines across where the eyes, nose and mouth sit, at the perspective they are needed. I then start just drawing form the eye on our right always, into a bit of the nose then back up into the opposite eye. I judge all the distances by eyeballing, not making measuring marks. I then begin a loose shape for the face and tighten as I go. Sometimes, if I rush too much, my drawing is less than accurate lol! and I'll need to erase a lot. That is Not good on wc paper. But, for a sample piece I was not too too worried about those usual concerns.
Yup, this was more messy for wc surface than I prefer. That is partly why for many commissions, I'll transfer or project. I need a very clean surface with a very loose shaped drawing, not a detailed drawing, to keep the surface crisp and clean and fresh, as most of the contouring and "drawing" is done with the initial monochrome paint stage. I should have photographed the very early unfinished drawing but wanted to get this thread going due to time restraints on me lately.
What I'll do is redraw a sketch later in my sketch book, just the beginning stages, how I started this and then just put up the image of that so you can see the exact way i start a freehand drawing of a face. I drew with a darkish brown wc pencil because my sepia one is missing :-( But, I would have used my sepia one for this if I had found it.

I hate gridding and marking out measurements, and was shown that early on in college, so I don't transfer that anally; I prefer just freehand drawing. For the sake of this, I wanted a detailed drawing to be able to be visible on screen and shown but really, it should be lighter and cleaner if it were a commission. So, doing a drawing on a separate paper then doing a light transfer onto your good surface with a graphite sheet would have been better. This is more the amount of wc pencil that is ok on the surface of an acrylic really, not a watercolour. But, it seems to be ok, with the drawing not really being in the way of the paint as I feared it may have been. Probably because it is wc pencil. Freehand detailed drawing is fine for my acrylics as the paint is more opaque but for wc, I really do whatever is necessary to keep the surface very white and clean. Since I can draw and draw well, I really don't need to use my commissions or painting demos to practice my drawing skills :-) I more worry about getting the perfectly placed comp on a clean as possible starting surface for the painting.

Today, I am stopping at this stage. I did a lot of work in her face and in her hair and there is a lot more to do, especially in the shaded area of her face on our right. I am still paying attention to the areas I need to stay white but am also trying to wash in and eliminate finicky detail in all areas. So, I wash over with thin amounts to tone down and blend in some parts of the hair, creating larger masses of light, mid and shadow. I tend to do this once I have done some finer detail work first. The washes tone down and blend some of those detailed areas then but leave it slightly visible if needs be. You can see this in the shaded by hair areas of her upper forehead.

I just started scrubbing back some suggestive pieces of whispy hairs over the forehead and neck, cheek etc. These are hairs that are still in shadow but are lighter. This creates different levels of depth in the hair. I'll scrub a lot more back once I have the large masses pretty well done. There will be some hairs scrubbed back into the background too.

The hair is mixes of ochres, blues and reds and siennas. The shadow areas tend to be browny purples with the lighter more blond areas being more on the ochre side.

If I had tons of time to take with this, I'd be even more careful with the hair but I think this will be enough to get across the technique and jist of how to possibly handle it. A lot of correction to her hair contouring, light and shadow areas, will be made in my end of portrait scrubbing back stage.

I did go more by the second, open mouth one with the wider eyes, when painting the eyes and a lot fo the face contouring. So, I really am workgin form 2 diff references here. The angle and perspective was very close, just the expression and the mouth position were slightly different. Hopefully, I got her down though.


10-12-2006, 04:00 PM

Everywhere in the hair that is the whitish.. Is that the paper..???

What parts are you scrubbing??

Could you put arrows in the areas I am asking about ??

looking really great..


10-12-2006, 04:37 PM
I am really enjoying this WIP. It always fascinates me to see them done and get a glimpse of someone elses "ways." Now I need to try watercolor.
This is beautiful. I love her hair. Thank you for taking the time to share with us.


10-12-2006, 04:41 PM
Thanks for your comments on procedure Joyselyn. The results here are beautiful. I recently picked up a copy of American Artist (Portrait Highlights issue) and it's really interesting the variety of methods used by artists. One of my favorites (Jeremy Lipking) wasn't in it though which was disappointing.

10-12-2006, 08:48 PM

I hadn't visited wet canvas for quite some time, but the first thing I saw in the portrait forum was your name and the word watercolor. Eureka! I thought. Now I'm going to learn something about my medium. This WIP is a real joy to watch and worth more than any workshop one could attend. Thanks a whole bunch for doing it.

Jim Joseph

10-12-2006, 10:47 PM
Ah, I know I've seen Jeremy Lipking's portaits. I'll have to go Google him just to refresh my memory.
Yes, everyone develops their own methods depending on their needs and how their style develops. It is so interesting seeing everyone else's.

Hi Jim, nice to see you on WC again!

Johnnie, sorry, I'll point out better the areas I am referring to on this lower close up image.


Yes, the white areas in the hair are left paper. I paint up to and around them. They are never exactly how I am going to leave them right away. I will be scrubbing back (removing) more colour to create more natural shapes and further highlights at the end. Usually, I leave less than I want to but each portrait, I try to do better and leave exactly what I want. But, often, I need to correct or increase the lights by scrubbing back to the white of the paper for further light highlights or whispy hairs. You also could use an exacto blade tip and scrape out whites to create more whisspy hairs if you have a painting liek that and need some lit hairs surrounding a face or in the bangs. You just would need to let it dry a few days and do it lightly and not enough to slice the paper. It would work best with 300 lb paper.

You can see my arrows and "white areas" pointed to with the arrows. These are where I left white of the paper.

The areas pointed to with the 3 areas are scrubbed out hairs. They did not need to be very highlighted as are in shadow more but still visible as some whispy slightly lit hairs. Once I have the mass areas of the hair completely done, I'll go in and deliberately scrub back more highlighted areas and some whisps that I want increased. Ie: Over the dark areas in the shadowed side of her head on our right, some loose whisps will be scrubbed back at the end of the portrait. I'll mark these with arrows on a close up too so you can see what I am referring to at that time as well.

The dark pupil in the eye on our right also could go a few shades darker. I tend to start all those darks with darker values of the same tones I use for the skin, same as the corners of the eye and creases of the lid. I then go over with darker darks in several layers. I find this gives my darks, like pupils, more depth and less flatness then just starting right off with a darkest dark. So, even a detail such as the tiny pinprick of a pupil in an eye has 3 or more building layers to reach it's darkest dark and is usually started as a skin tone colour. I do this so that everything harmonizes and each part of the face is not a separate coloured in entity all to itself, but all part of the flesh as a whole. If I were doing a stylized graphic flat style 3 colour illustration of a face, then I would not worry about each thing having it's own separate coloured shape. Rather, I'd design it to have that look most likely. But, when doing a realistic portrait, I tend to keep in mind that the face and all it's features are all part of the same living breathing human flesh and therefore I begin every aspect with a "flesh tone" monochromatically. Then, I work with the distinct pigments and their warms and cools over that initial monochrome modelling and establishing of values. In other words, I don't paint all the skin with flesh then break out the blue for the iris, the pink for the lips and the black for the lashes. I build up with one flesh tone, usually in the area of a light sepia or ochre crimson mix.
With watercolour, the beginnining stage needs to be very transparent though where as my underpainting in acrylic can be more opaque.

Hope all this stuff is making sense. I can think it and do it better than I can explain it.

One thing I will mention is that 300lb watercolour paper is much better for scrubbing back or lightening effects and I would have preferred to have had that. I had to buy wc paper rather quickly one day and the little art supply store right near me has very little choice, unlike the large Curry's that is about 20 minutes from me. Therefore, sionce I had 2 sheets, I used the 140lb for this. Becasue it is small, it would be ok. So, I would recommend 300lb, especially for the way I work, for wc portraits.

I prefer wc paper over wc padded paper as the heavier tooth on wc paper allows for more "abuse" like scrubbing back can cause thinner less toothy paper. It also is easier to control the wc and to leave whites. Drybrush techniques to create texture when desired is also easier on textured coldpress wc paper. Getting gravel or rocks or sand effects via the dry brush method is real easy on toothier paper. It'll leave the little white speckles natural to many of those types of textures, like rocks, as you drag drier pigment across the surface with a brush. Flatter, smoother less toothy paper, you are stuck almost "drawing in" or "spattering in (by flicking paint off a tooth brush or brush tip)" those little texturey effects. WC paper in sheets tends to be of higher quality paper than blocks or pads. But, use what you want or what you can afford. One thing that will happen is that over time, through practicing with the same materials, you'll develop a personal strategy for working with your chosen materials and adapt your methods to whatever materials you use all the time.

bruce johnson
10-13-2006, 03:52 AM
Fabulous job Jocelyn... I've saved this demo to my hard drive.... I love your skin tones, and the way you indicate rather than state the hair.... Outstanding:clap: :clap: :clap: :clap: :thumbsup:
I've given you my mentor point..

Marty C
10-13-2006, 06:55 AM
Great work, Jocelyn, and your explanations are a full lesson in themselves. I've never tried WC, acrylic is the closest water medium i've used, and now I've been seduced by oils. Lucky really as WC requires exact technique as you have demonstrated so ably.

10-13-2006, 09:48 AM
Hi all: I can't get any progress shots up today but will over the weekend.

Marty, I wanted to address your comment regarding wc requiring exact techniques. I don't want to scare anyone into thinking it is a highly difficult medium :-) Watercolour is actually one of the most varied and open medium for application that there is. The way I use it to get what I want is more controlled than many of the ways watercolour can be used. My friend, an airbrush and high realist muralist and painter, was a bit surprised at how much control I can get using watercolours.
However, watercolour is a fun and spontanious medium. You can get all sorts of accidental shapes that do amazing things just the way they are left when layed down. Myself, I tend to manipulate the shapes After I lay them in, at times. Or, I scrub the pigment around to blend and not leave definate shapes in some portraits. In others, I have left them more loose and spontaneous and I love that effect too. One, was the Blues Mama demo I did on here a couple years ago form a beautiful reference image Dana Design offered. I'll dig it up form my pic files on my site and post it.
Most of the wc's on my wise are more the controlled method and less loose. Those were mostly commissions and clients tended to want more realistic portraits, not loose and impressionistic. They don't want "photo like" but they did not often want "experimental and loose and expressionistic" either. My natural style tends to be the tighter portraits. I enjoy the loose ones but I really need to keep ontop of myself when painting that way; almost forcing myself to stay that way and paint like that. Lately, my studies and personal pieces have been more loose and painterly and less blended and void of visible strokes.

But, wc is great for just dropping down strokes and shapes transparently over one another to build form and contour. Leaving the paper for highlights and light areas gives a great fresh look to the piece. Watercolour is usually more visually successful and exciting the less overpainted it is. WC can be done differently for each artist. There are many many techniques I don't use simply because they never personally appealed to me. I don't mask for whites for the same reason I never masked when airbrushing. I hate when the process becomes too "technical" and less free flow and rythmic. I'd rather practice over and over the control I need to be able to leave my whites by the brush strokes around them defining them. I still feel I have a lot fo work to do in that skill area however. I find scrubbing back from the whites I left a bit will correct any shapes I happen not to like or to increase or control their shape and look more natural and less "techniquey" then masking them out before painting over them. I liek to See them as I form them, ot be surprised by their shapes after removing masking fluid, etc. But, another artist may love masking and their paintings will have a distinct and beautiful style due to their use of that technique. And that is only one of many many techniques and tricks that can be employed in wc painting.
The problem with using a series of technical "techniques" to create a piece is that in the end, the techniques are so much more prevalent than just the piece as a whole. It can become a painting of visible and distinct "techniques" and not of your subject. If that makes sense. The techniques need to Work to create the effect or look you want, not take center stage. Once an artist learns to use their techniques and methods and materials comfortably, the "techniques" disappear to give way to Style and then that artist's work becomes easy to recognize, no matter the medium. This is all due to muscle memory and familiarity with their tools and mediums. Watercolur is fun becasue you can go at it differently each time and accidents can create a great and exciting piece of finished art.

The hair here, I wish I had just taken maybe one more day with before going too quickly. It could have been a bit better in the beginning stage. I don't plan to Have to use scrub back techniques too much to Correct. I start out hoping to use that technique only to Add to or increase the success of the previous step, if done right lol! But, the hair here is about 70% what I wanted to achieve and will atleast demonstrate the technique I was trying to show that I use for hair in wc.

Acrylic and wc are similar as acrylic can be used quite transparent. It just can be scrubbed back as it is permanent when dry. I tend to use acrylic more opaquely as I progress with the painting, and generally the surface is not paper. But, on paper, it can be used quite similarly.

Oil is perfect for scrubbing back or "the rub out technique" being used to create form and lights. In the 70s and early 80s, the thin semi transparent oils where scrubbing back to get the lights and highlights was very popular. I can recall many ads in mags where the original painting done by an artist, that was done and shot for the ad, was a fairly monochromatic oil painting on board where the scrub back technique was very present in it. That, and unfinished outer areas in the painting too. I like that technique a lot.

So, treat wc like a fun and spontaneous medium, open for much experimentation. You'll be surprised what cool effects can create very exciting portraits. You can spatter, drip, drop or move the pigment around how you want, it's open to many uses and does not have to be so controlled, blended and specific as I tend to treat it for portraits.

10-13-2006, 10:03 AM
Here are 2 samples of what I feel are very successful more loose and spontanious portraits of mine.

One was for the Xmas Portrait Exchange 2 years ago and the other is Dana Design's Blues Mama portrait.


The above one of Crystal (mybubblewall on wc) has pencil crayon strokes on it as well. Here you can really see the actual shapes that dried just as they were layed down, especially on her neck and cheek on our right.


Sorry, the pic I had saved is pretty small.

10-13-2006, 09:30 PM
Jocelyn, thanks for all the extremely detailed information contained here and the philosophy behind your technique. I have already learnt so much that will help me from just reading and watching - Thankyou.

Dana Design
10-14-2006, 01:56 PM
Joss, beautiful demo and excellent portrait. Will be copying this into the Portraiture Classroom if you don't mind. Too much good info here to disappear into the nether regions!

Thank you so very much!

10-19-2006, 04:32 PM
This is AMAZING. I have paid a lot of money for books and classes that have not come close to teaching me this much. I can not thank you enough. I love your portrait.

10-24-2006, 09:54 AM
You are very welcome.

10-25-2006, 09:12 AM
This is AMAZING. I have paid a lot of money for books and classes that have not come close to teaching me this much. I can not thank you enough. I love your portrait.

Hi Paddler

Here is the other thread which is the WIP or Demo of the portrait...



10-26-2006, 12:50 PM
I am loving it.

01-10-2007, 10:23 PM
:wave: Hi! Jocelyn, I'll be back to read thru this thoroughly tomorrow, but I like your development & it is visually easy to follow, I have started into watercolor portraits and although it is slow going, i'm finding my way with these Wip demos in the portrait classroom. Thanks Regards, marianne

01-11-2007, 08:35 AM
Wow! Oh, how I long to be able to paint that way.
A long and very low bow to you.

01-15-2007, 12:45 PM
Oh this is just wonderful to watch!!!! Your portrait has me mesmerized already!!!