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These first two are direct watercolor, which means no drawing beforehand. You just dive in with paint. That’s tricky on faces, since I’m still feeling challenged on people in general and faces (and hands) in particular, but it’s a good exercise. I’ve also found that I can sometimes over work a piece if I take too long. I’ve been trying different expressions sometimes as well, and the smile above followed a frustrating 45 minute self portrait that got way too overworked and frozen on me. (See below.) I finally just started over and did the 10 minute version above, using the information I’d gleaned from the long one. It’s my favorite so far.
I’m on a kick of self portraits lately. Partly self portraits are the poor woman’s model session — available at any hour and free. And I’ve been thinking about figures all summer, so these are good practice. They feel a little self indulgent, but last year when I was here there was a David Hockney exhibit up at the Pompidou, and there was an entire room of self portraits. I think I remember that he did one every day for a while. It’s an interesting exercise, and I’ve been doing that lately as well, practicing various techniques in the process.
I’ve also been doing them with drawing first, as I did in the overworked one (where I was also trying to incorporate architecture again). I found a new ink that I’m in love with. It’s by J. Herbin, a company that has been making inks in Paris since the 17th Century. They have small bottles you can try as well as the big ones, and I got a small bottle of amber ink just to test. It’s perfect for figures. It’s light enough that if you mess up the drawing, you can just move the ink around with your paint, but it gives you a nice base to work into. In the places where the line remains, you have a nice texture added to the sketch. Here’s a preliminary drawing in just the ink. I took a shot before moving onto paint.
Here’s the finished piece. And finally one more done with ink first and then paint. I’m realizing that it’s often the eyes that get overworked. I start with a big brush and feel quite happy with how the sketch is going, but then I get persnickety around the eyes and lose all the nice looseness and expression. So today I did the second direct watercolor (with the pony tail) to try to counteract that tendency. Still there, but I’ll keep practicing.
I do know that it’s a little odd to come to Paris and paint myself, but there’s a lovely huge bathroom counter and great directional light and a largish mirror (none of which I have in my midtown, old fashioned home), so it’s an inviting place for self portraits. It’s also my 6th year here, and I feel like I’ve kind of exhausted, for now, what I’d really like to say about this place in watercolor. I brought oil pastels to try, but as much as I want to like them, I’m really not enjoying working in them. Plus Paris is also my time for self examination, and that is always literal for me, going hand in hand with self portraits as I think and plan for the year ahead. All of which adds up to a number of self portraits.
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