It has been a tough month. You wouldn't know it, as of this posting, I have completed my 12th portrait and we are in week 10 It's been tough is to do with a relative so not my story to tell.
However, early in the week I found myself going nearly three days without drawing or painting anything.
I couldn't tell if it was exhaustion or if my brain was trying to gestate something or both, but Monday night, instead of settling down in my art room after dinner, I ended up taking a long bath in hot pink water, read an "escape" book, and has a glass of dessert wine.
Then I vented about being stuck in the 52 Portraits 52 Weeks Facebook group before falling asleep.
I am not sure which of these things made my creativity flow again but by the time I left for work Tuesday morning, I had my next two portrait ideas.
I think it was both gestation and exhaustion, actually, and I needed to rest and give space to what was coming next.
Ok, onto the portrait. Which turned out to be neither of the two portrait ideas when I sat down. Which is okay, because I do have 40 more portraits to go after this one!
I had put down left over paint on the page next to last week's portrait so I sketched in a face from a reference photo using my non-dominant hand and a Lyra pencil (I liked that technique from the previous week). The Lyra is water soluable so you can see I had washed off the pencil and redrew until I got the nose and chin in a better place...
When I cam back, the half-painted background was making it difficult for me to see, so I put down some of Jane Davenport's "Tinsel" ink, which is a flesh tone. You can see the differing marks made their by the dissolved Lyra having soaked into the paper.
I added some Jane Davenport Mermaid Marker in one of the green-blues for the eyes. That turned out to be a mistake, because the pigment kept coming up through the layers of heavy-body paint I was using to correct the size of her eye.
This is the palette. The top row is the skin tones using only quidacridone nickel azo gold, which is amazing for doing skin tones, the bottom row is the hair color in Blick Acrylic's Yellow Oxide. I also added some of the quid nickel azo gold back into the hair.
This picture gives you an idea of the size of each portrait in the journal I'm using. Number 12 is almost finished here.
The background is also Blick Acrylic, in Dark Green Deep. Her top is using Mermaid Markers in a few different colors. I still haven't quite got the hang of them. I took the lavender Mermaid Marker to deepen the shadow under her chin and the shadows of her hair.
The final portrait. The shape of her hair is a bit off, but hair is my next challenge, it seems...