Watercolor portrait sketch. How to draw a portrait in watercolor
The portrait shows a girl in an autumn coat and beret with a scarf tied around her neck. The head is in a full-face position, the shoulders are in a 3/4 angle. The background is dark. The color palette is based on the ratio of cold and warm tones. The light is soft and diffused.
We determine the proportions of the height and width of the neck, placing the main masses of the portrait in sheet format. Linearly sketch out the front part, beret, scarf, shoulders. We draw the middle axis and determine the vertical ratio of the parts of the face. We outline the section of the mouth, the base of the nose, the lines of the eyes and the armor.
We continue to work with a graphite pencil on the constructive construction of the details of the face, identify the volume of the scarf, and shape the hairstyle.
Refine the pencil drawing. We are working on resemblance to the model. We work out the facial features in detail, the beret, the folds of the scarf, and outline the strands of hair.
Let's move on to the picturesque solution. We fill the front part and the coat with a transparent fill. We make a warm lining on the scarf, hair and beret.
Use a large flat brush to paint the background in a rich tone. And then, when it just starts to dry, use a clean wet brush to create a texture on it
Taking into account the nature of the lighting, we begin to reveal the shape on the front part with light halftones, layer by layer of glaze.
We actively work with color and tone. Let's design the beret, hair, coat and scarf, revealing their texture. We put emphasis on the collar of the sweater. Be sure to let each layer of paint dry.
We work on the face in detail, focusing on the eyes.
We are finishing work on the portrait. Using transparent halftones we generalize the face, with a damp brush we emphasize the structure of the beret and the fold of the scarf protruding into the foreground, we refine the hair, and glaze the background.
So, the photo that caught my eye is a glamorous portrait of Hollywood actress Olivia Wilde. I rarely work with such glossy photographs, but there are cases that I can’t ignore. This moment cannot be missed. For me it happens like this - you scroll through, look at a lot of photos and immediately note to yourself - this is not it, this is some kind of bullshit, this is also not it, and so on. And then suddenly the same photo catches your eye, looking at it, all doubts disappear. You know for sure - it is! The very image of which will definitely appear in your portfolio! Not some other similar photo, but this one. You don’t even know yet what exactly is so special about it, but you are immediately confident that it definitely should be and will be drawn. This feeling cannot be confused with anything at all. Perhaps this photo will not even touch many. Therefore, my task, as an artist, is to show the viewer through a drawing what exactly I saw in this photo, what impressed me.
This is the photo I chose for the drawing:
As materials, I wanted to try Canson paper with a density of 120 g/m2 in A4 format, a fairly smooth texture, and Derwent Watercolor 36 watercolor pencils.
I started traditionally with a simple pencil sketch. To do this, I determined the compositional position of the face, and also added a lily flower in the girl’s hair. I’ll tell you why I added the flower a little later.
When I was happy with the sketch, I removed the extra lines with a kneaded eraser and started working on the eyes with watercolor pencils. I always start with the eyes. If the eyes are not similar to the original, then the whole portrait will not be similar, so I “finish off” the eyes until I am satisfied.
I use different techniques in portraits with colored pencils, from light to dark and vice versa. But I always draw eyelashes at the very last moment, when the area around the eyes is already completely ready.
After I finished with the eyes, I worked on the skin of the face and then gradually completed the nose and lips. It is worth saying that already at the stage of working on the eyes, the paper began to not withstand the load with many colored layers. Therefore, I had to think carefully before putting this or that shade, otherwise the paper would quickly become clogged and the topmost layer would simply slide on top of the rest, leaving no pigment.
When the face in the portrait is ready, I actually relax and have even more fun. After all, in fact, the most difficult thing has already been done and you can now calmly finish drawing everything else! That's why the girl's hat took me a decent amount of time. I didn’t even notice how it flew by, because... Due to the drawing of many identical elements in the hat, I entered into a kind of meditative process :)
Next, moving down the hair, I started on the lily flower. Everything is simple here - first the lightest shades, then darker ones with dots. The general background of the picture was made as planned - pink and purple.
The next step was to draw the neck, also smoothly hiding its bottom in the pink background. We don’t need any unnecessary details from the photo; they will only distract attention. Then I started finishing the remaining hair and the right side of the hat.
After meditating a little more on the hat, I finished the drawing and signed it :)
What’s interesting is that under different lighting conditions the pattern has different colors (compare, for example, the last two photographs, the background and color of the cap changes from pink to purple).
In the end, I managed to get a rough picture of what popped into my head as soon as I saw this photo. In her I saw not a girl or an actress. In it I saw - tenderness. In order to convey this to the viewer, I removed everything unnecessary from the photo and tried to reflect more soft pink shades. At the same time, the lily flower plays a very important role in the portrait. He is the “hallway” to this picture, i.e. the viewer's gaze first of all stumbles upon it, because it is brighter and creates a standard of tenderness. Then look through the hair clockwise to the girl's face, which should create a subconscious comparison of the delicate flower with the tenderness of the girl, plus the soft pink and purple background adds to the atmosphere. That was the idea. You, as the audience, can judge how well it turned out :)
Separately, a fragment with a lily flower:
As for the pencils, they performed quite well. Bright, soft enough, easy to sharpen and rarely break. But I also noticed a minus - they really don’t want to remove the mark from the paper. Therefore, you need to make as few mistakes as possible; I couldn’t completely remove unnecessary strokes from the paper.
In terms of time, this drawing took me about 20 hours (possibly less), I painted mostly on weekends and an hour before or after work.
The finishing touches, as always, I wanted to extend. In general, at the end of the picture you experience some contradictory feelings. On the one hand, I want to finish it and start something else (there are always enough other things to do :-)), but on the other hand, I really don’t want to finish it, because... you know that the picture turned out more or less and you can improve it in some way by enjoying the drawing longer. For me, a portrait in colored pencil is a whole journey! A journey into the world of another person, whom you discover literally millimeter by millimeter, stroke by stroke, where the reward ultimately becomes a single image that no longer seems unfamiliar.
As a child, many people dreamed of learning how to paint well on canvas. But not everyone’s dream came true.
Perhaps you didn’t have time for art school, or you didn’t have enough talent, and over time you abandoned this idea, devoting yourself to more necessary things. But if you still cherish the desire to learn how to paint with watercolors, the following recommendations may be useful to you.
Watercolor is the paint preferred by most artists. There are many techniques for painting with these paints, with which you can create beautiful drawings even without special skills. Below we will look at how to draw a portrait in watercolor step by step.
Tassels
In order to make a portrait in watercolor, you need to have several brushes. You may not need some of them in the future, but it is better to purchase them in the initial stages. Some artists use only one brush, but this requires some experience.
Everyone chooses a set for themselves. Some people prefer brushes with artificial bristles. Natural wool, such as goat wool, also has good reviews. These brushes are popular in China.
Whatever brush you choose, it will take time to get used to it.
Drawing
If you are a beginner or have little experience, it is recommended to make a sketch of the future painting in pencil before starting to work with watercolors.
It must be said that some people prefer to work without a sketch, as sometimes the pencil lines show through in the final painting. And for some it’s just more convenient.
But in cases where maximum similarity and detail are required, it is better to draw the base with a pencil.
Watercolor
When the pencil drawing has become acceptable to you, you can begin to apply the first layer of watercolor paint. Use classic colors: blue, red, yellow, blue, brown.
A mixture of blue and gray colors works well as a background. If you need to depict a person in different positions, start applying paint from the head. And then, while the paint is drying, make the background.
Apply the first coat of paint to the rest of the design. When everything is dry, proceed to the second layer. Remember that when the painting dries, it will look lighter as some of it is absorbed into the paper.
Lastly, add shadows and deepen the facial features. It is very important to be careful at this stage so as not to spoil all the work done.
Portrait Drawing Tools
Now, using an example, we will look at how to draw a portrait in watercolors.
To get started, prepare the following materials:
- Pencil B or HB.
- Watercolor in the following colors: cadmium orange, natural sienna, cadmium yellow, cobalt blue, lamp black, lemon yellow, burnt sienna, burnt umber, vermilion, carmine, ultramarine blue or violet, gum, natural umber.
- Brushes: medium, fine.
Let's draw a portrait together
So, to draw a portrait in watercolor step by step, follow these recommendations.
This is how the watercolor portrait of the girl turned out. Using this principle, with a little practice, you can draw portraits even from life or from memory.
How to paint flowers in watercolor
Flowers surround us all the time. They give us beauty and inspiration, delight our eyes, and bouquets of flowers are an ideal gift.
And painted portraits of flowers in watercolor will be a wonderful decoration for your wall. The technique of drawing flowers is not much different from portraiture. It is advisable to make a sketch with a simple pencil, and then apply watercolors in the desired shades layer by layer.
Don't forget to do shading to give volume and depth to the image in the painting.
Watercolor - portrait of a woman
Before I started drawing the portrait, I quickly sketched out pencil drawings of a composition idea, then selected the best possible pose sketch and created a watercolor sketch using the photograph as a base.
Preparatory work
An artist must have the ability to create a strong emotional impression of a subject and then maintain that initial impression throughout the creative process. The presentation of this emotional impression becomes stronger and stronger with each step and “shines” through the final work. Before I start drawing, I create an image of the final result in my mind based on the emotional impression formed during communication with my client.
Drawing
A step-by-step sketch is often the first step in the process. Drawing is usually necessary when maximum similarity is required. Use a 2H pencil to highlight important elements, leaving pencil marks where the sketch has already been completed as part of the overall work. 
As soon as the drawing seems acceptable to you, apply the first watercolor. Start painting from the head using liquid paint. I usually use a very limited color palette: Winsor Red, Prussian Blue, Winsor Yellow plus Burnt Umber and sometimes Burnt Sienna. I often turn to primary colors, applying them immediately to the paper. I mostly use one brush. I use a long brush made of Chinese goat hair because... she is very flexible. It will take you some time to get used to this brush until you feel that you are able to fully control it. 
Working with the background
Once the head area is dry, mix Prussian Blue and Burnt Umber with a little water (check out my palette) 
Then apply your mixture into the background around the head and shoulders. I work on an easel, which is installed vertically at an angle of 30 degrees. You will see that the water will begin to tighten the paper, but don't worry and continue working as planned. 
Continuation of the first layer
Always keep your initial impression in mind throughout the entire process, because... it is the most powerful and do not get distracted by small details. Continue applying the first layer of watercolor, starting from the left edge, working towards the right side of the chair. Focus on a large area. When I want to see the work without noticing the details, I squint my eyes and thus I can see all the color transitions and color balance. It is the first application of paint that influences the main mood of the painting. 
Let's start defining the details
Now go back to the head again and start the second layer. It's time to focus on defining the shadows and start building color transitions on the face. 
Work right down to the clothes
Once you've added basic shadow definition on the face and head, work your way down to the neck and add detail to the clothing. Mix some red paint and Prussian Blue paint, and apply the next layer of watercolor to the clothing, moving towards the shoulder.
Remember, we carry out the initial abstract impression of an object, which was formed in our minds during communication.
We keep in our minds the love for an object (in our case, Linda), we try to depict this object and express her individuality in the picture and each step we take moves us closer to the essence, which is the original understanding of painting when we come into contact with it. 
Preparing for details
Now, go back to the head and start the next layer of paint. Use a semi-dry brush and add more definition and shape to your hair. Despite the fact that the hair is gray, do not use white paint under any circumstances, it is better to skip these areas without touching them with paint, leaving these areas clean due to the white color of the paper. Then add shades to the skin of the face, as well as details to the nose and lips. Continue working gradually down to the neck, arms, moving towards the background. Now add the first coat of paint on the wooden window frame. This step is preparation for the last stage of drawing our painting, as well as the last opportunity to adjust the color balance and shade transitions in the painting. 
Details
This is usually the most enjoyable part of the job, add the tone to the eyelids, shape the nose, lips, ear and hands, and add a finishing layer to the wooden window frame.
I'm glad that my initial impression of Linda was conveyed on paper; it's more than just a photograph, because... conveys everything I know about her. 
The final version of the picture
If you dream of learning how to draw a portrait in watercolors, but are afraid that you won’t succeed, first put aside your fears and start reading this article. Here are simple and clear recommendations that will help you pick up your brushes and paints and start creating.
What materials will you need?
Before you start painting a portrait in watercolor, you will need to prepare the necessary materials for this:
Preliminary work
2. Now we begin to paint a portrait in watercolors. And the first thing you need to do is apply a light, transparent underpainting to the paper with paints. For the face, dilute cadmium orange or ocher with water (the paint should be very watery and pale). We paint over the face with broad strokes; in place of the highlights, the paper should remain untouched. Then we select other colors and brush over the hair and clothes, also leaving the lightest places untouched.
3. Now you need to do your eyes and lips. What eye color does your model have? Select the desired paint, dilute it with water until pale and paint over the iris of the eyes in the portrait. Do the same with drawing the lips.
4. Apply shadows to the face. To do this, add a little burnt sienna to our diluted pale cadmium or ocher. At this stage, shadows should also be applied very lightly, not at full strength. In fact, they should differ only slightly in tone from the first paint layer. Please note that you therefore need to pay attention to the shades that are reflected on the skin of the model's face. Let’s say that warm light from red curtains may fall on the face on one side, glare from cold-colored clothing may be reflected on the chin, etc. This must be taken into account and try to display in the portrait using additional colors.
5. Next, we begin to understand the shadows more carefully. We look for the darkest places on the cheekbones, on the lips, on the sides and wings of the nose, near the hair, etc. It is with the help of shadows that the face is modeled and volume is given to it. The main principle when working with watercolors is to always move from a lighter tone to a darker one.
6. We are looking for the lightest intermediate tones between shadow and light. On the face, where the light falls on it, there are also darker and lighter places. We follow the play of light and try to repeat it on paper.
7. We work with hair and clothes according to the same principle as with the face.
8. At the final stage of working on the portrait, you need to take the thinnest brush and use it to finish small details and lines: individual strands of hair, eyelashes, lip line. Always remember that when working with watercolors, even in the darkest areas, the paint should remain transparent.
9. It is best to work on the background in parallel with the entire portrait, but you can leave this for later. The main thing is that the background should not be worked out more than the face, but negligence is also inappropriate here.
Conclusion
We hope you have learned in general terms how to paint a portrait in watercolors. Well, now it’s a matter of practice, because only direct work with will give you self-confidence, as well as the necessary experience and skill. Creative success to you!
