Jimmy (Finnish Boy in Overalls) • Work in Progress

Jimmy (Finnish Boy in Overalls) • Work in Progress

Drawing and painting people is irresistible to me. All the faces I see tell a story. This painting (in progress) was inspired by an old black and white photograph of a young boy named Jimmy sitting on the tailgate of his grandfather's car. His dog parked in front of him, ready for whatever might happen next.

I was drawn to this photo.

My first drawings were modified blind sketches in ink (one shown). I made adjustments of shape, size, direction, and detail along the way by re-drawing rather than erasing. I added color with Berol Prismacolor pencils. 

I pulled out an eighth sheet of 140 lb. cold press paper, soaked it, towel-rolled it, and drew shapes of this boy with a #8 round brush using Stephen Quiller's watercolor in Cobalt Blue. Then I proceeded to paint with SQ's paint, mixing skin tone along the way. I will paint this young boy again by re-drawing with the brush on paper. 

We artists have been told by other artists before us ("those with finer minds," as Ed Whitney would often say) to "paint what you feel; paint with love; and to paint the apple you must be the apple." For me, it is truly wonderful to draw and paint a subject I love — people. 

As many of your know, I relish painting birch trees too — because they are like figures and family; also apple, basswood, and other blossoms because their petals remind me of a baby's cheek.

Baby's Hat (Detail of painting) • Seventh Painting in the Seven-Day Challenge

Today's painting is titled "Baby's Hat." The image below shows detail of the full painting. Yesterday, while sifting through my Children's Portrait Reference folder, I came upon a photo of this baby girl. She stole my heart. I took out my sketch book and began drawing my impression of her.

Baby's Hat • Watercolor  •  © Louise Laakso Lundin 2017

The Process: Referring to the photo, I used a 6B pencil and my recycled paper sketchbook to draw her head, hair, face, features, hands, hat. I placed features carefully, aiming to keep her face a "baby face," her cheeks soft, and shadow shapes very light. I followed that up with a color sketch in my multi-media sketchbook, heavier paper.

I drew her onto a piece of Arches 140 lb. cold press watercolor paper, soaked the paper, removed some of the water and began painting wet-in-wet. The color seemed too intense (for a baby) so I scrubbed it out and set the paper to dry (to re-use down the road). I took out a second sheet, re-drew her and began painting "wet-on-dry" (wet washy paint on dry paper). Using a soft No. 10 round brush, I continued working with color and shape, trying to keep in mind the sense of sweetness of this baby.

Before and during this project, I read and re-read notes I'd written down—words by Robert Henri:
"Drawing is not following a line on the model, it is drawing your sense of the thing. Get the sense of a thing by feeling it at the time you work..." aiming to get beauty in color notes as in music.

Thank you for reading my blog.

Wearing Beads II • Sixth Watercolor Portrait in the Series: Seven Paintings in Seven (or more) Days

There's something kind of wonderful about drawing and painting babies and children. Maybe it's their sweet lips, kissable cheeks, huge eyes, wispy hair, innocent expressions... I can't get past painting little people. Not yet.

Wearing Beads II • Watercolor on Arches

This little girl with beads has been on my mind. It's my sixth painting in the painting-a-day challenge.

The Process: I propped up several photos for reference and drew a pencil sketch—lines and soft shadows. The drawing looked good until I viewed it in reverse in the mirror above my painting table. After making corrections and checking it several times, I drew the subject (using pencil) on watercolor paper (Arches 140 lb. Cold Press, 1/8 sheet). Line only. No shadows.

I wet the paper by dipping it in cool water and letting it rest on my board until some of the water evaporated. I mixed very lightly a pale skin tone wash of red-orange-yellow-green (the colors although combined on my palette were still identifiable) and placed a gradated wash over her face and much of her hair. I added more warm color to the cheeks, then let the painting dry (I helped it along with my hair dryer). After re-wetting the painting and letting water evaporate, I began working on hair, shadow shapes, eye sockets. As the paper dried, I added more detail: irises and pupils, brows, nose, lips, beads. I loved watching her emerge. I'm rarely sure when a painting is done.

I often step away from the work, return later to look at it, fix something (of course), leave the painting, return again, repeat the steps. I like this little girl wearing beads. I like her well enough to put the painting in a frame and up on my wall. That's a good sign. It's how I evaluate my work. If I like a painting and want to keep it, I know it's good enough to sell. We each have to be the judge of our own work.

Thank you, friends, art lovers, and fellow painters, for reading my blog.