The television is one of the best tools for a portrait artist who paints children. This teen boy is watching a Star Trek episode. Whipping out my watercolor paints to capture a seated child is my mark of Zorro. I keep art stations around the house and in my large handbag for such moments.
The drawing was large and easy since I was familiar with this boy. Layers came on swiftly. Once the ‘mood’ hits, grab it. The layers for the skin tones were delicate and only marginally differing from each other. The paper is the 140 lb. regular rough which sucks in the moisture quickly. This is my favorite paper. It has snap and bounce and can take a strong treatment.T
Building up the layers in tones of oranges means quick splashes of very watery color. Because the paper is large enough, I was able to work one area and then work another area and return to the first within minutes without losing creative momentum. Smaller sheets of paper are harder because there isn’t much elbow room for working the wet into dry. After much of the orange tones are laid in and slightly moist, the shadows pop in. Usually I use the complement of the skin tone but this portrait shadows are twinges of green. Young skin has highly reflective qualities. The close background curtains were the base color for the shadows.
The brush work was with as large a mop brush as I could grab.
To create this peachy flesh tone, I start with a combination of yellow and red. Usually it’s the Cadmium Red Light and Cadmium Yellow Medium. Orange is the base color for all skin, no matter how light or dark. Perhaps we are not Cabbage Patchers but Pumpkin Babies! The Cadmium are very heavy. Cadmium is a heavy metal mineral. They tend to make opaque colors. Gorgeous, vibrant colors. In watercolors, to make transparent layers with cadmium, use plenty of water.
