Let s Face It 2017 Main Lesson with Ivy Newport Fragile - A Mixed Media Expressive Portrait STEP BY STEP Process* Please note that this was a very intuitive portrait so nothing was pre-planned besides my reference image. Please do not feel like you need to follow each step as I have laid it out here after the fact. Use your own intuition and trust your creative instinct as you create this project. :) xo,
STEP 1: USE a Water soluble graphite pencil Begin by drawing from your reference image using your non-dominant hand. This creates erratic mark making and expressive gesture. It may feel awkward but give it a try you may just be surprised at how well your non-dominant hand can capture scale and form. Also notice that, in many cases, the critical mind is quiet when we use our non-dominant hand. Work loosely with a water soluble pencil like a Lyra pencil or one of your choice. My Reference Images for hands - https://www.pinterest.com/pin/63894888447914736/
STEP 2: USE Water with Med to Large Brush Add water to activate the lines you just made. Use a medium to large brush to do this with light pressure. The idea is to distort and smear the image to begin to create contrast and a layer of marks that are neither concise nor accurate. You will be building layers of mark making in this way as we proceed. STEP 3: USE Black India Ink I went for intense contrast here and brushed on some Black India Ink. Feel free to use paint or other inks too. I knew I wanted the background dark and the figure lighter.
STEP 4: Throw on more water! Alter the forms and marks once more by adding water with vigorous strokes or splashes using a large brush. Release emotions or frustrations don t worry about losing part of what you have created we don t want to get attached yet. STEP 5: USE gesso and medium brush Now that we have established some darks, let s begin to build some form using some lights. I begin with bold shapes in white gesso. Highlight the areas that the light would hit...the cheeks, nose, forehead and the hands and fingers.
STEP 6: USE charcoal (any kind) You will often see me go from painting to drawing in this process so here I switch back to drawing, this time with charcoal to redefine parts of the face. Stay loose and don t get detailed. Feel free to be bold and smudge! STEP 7: USE Titanium White Acrylic Paint To achieve higher lights I switch from using white gesso to using Titanium white acrylic paint and my fingers! Yes - my fingers...totally optional but a great way to connect with piece physically and very freeing.
STEP 8: USE Water Soluble graphite or charcoal Switching back to drawing - now I add in the other hand with my graphite pencil. STEP 9: USE Black India Ink Now, I choose to step up the contrast with bold washes of black india ink. This makes the figure much more important. Remember to add contrast when you want to draw the viewer s attention to parts of your portrait.
STEP 10: USE Oil pastels Time for some color. I impulsively choose to use cool blues to add more mark making and add delicate marks to key parts of the portrait. STEP 11: USE Fineliner applicator filled with high flow acrylic paint in titanium white I love using the fineliner to add spontaneous, fluid line work. Such a wonderful tool! Freely add marks using this if you desire. If you choose a pattern or type of mark making, make sure you repeat it somewhere else in the image to create rhythm.
STEP 12: USE Burnt Umber Acrylic Ink & water Here I add washes of Burnt Umber Acrylic Ink, slightly watered down to create a more earthy look to the painting. Use a broad brush and feel free to use an old rag to rub away excess liquid, this softens the edges of the ink and creates a lovely atmospheric effect. STEP 13: USE more layers of ink To continue to build depth and contrast, I add washes of the burnt umber ink mixed with some of the india ink by the hand and on the fingers.
STEP 14: USE charcoal pouch I love using the charcoal pouch to create soft shading and to grunge up parts of the portrait. To make one: buy charcoal dust (or make your own by grinding up charcoal) and add the dust to the toe of an old stocking. Tie a knot and voila! STEP 15: USE more ink I increase the depth of darkness in the background further by adding even more washes of ink.
STEP 16: USE white gesso or white paint Now I begin to sketch out her bald head using white gesso. This was a bold decision for me but finally felt like the right choice to truly do something different to what I usually do.. STEP 17: USE Oil Pastels & Burnt Umber Ink & Fineliner To incorporate her newly bald head I used Oil pastel and then washes of Burnt Umber and finally line work with the Fineliner. These variations of tone and line create interest and form while created cohesion in the piece.
STEP 18: USE Charcoal pencil I love incorporating symbols into my work so now I add some hatch marks that, to me, represent the passing of time - like days being crossed off on a wall Think about adding in symbols that have significance to you. FINAL
SUPPLY LIST: Lyra Watersoluble graphite 6B or other watersoluble graphite Charcoal pencil Vine charcoal White Gesso FW Acrylic Artist Ink in Burnt Umber Black India Ink Range of brushes from med to large Old rag Spray bottle Titanium White Acrylic Paint Fineliner Applicator 18 gauge Charcoal pouch Oil Pastels (I used Sennelier Royal Blue, English grey, black, Chromium Green Deep, & white) ARTIST BIO Ivy is a published mixed media artist, art instructor and creative guide. Her online collection of artistic workshops have served thousands of students internationally. She strongly believes that every soul is creative and finding ways to express that creativity is paramount to joy and healing. She currently lives in Portland, OR with her husband and two daughters. ivynewport.com Connect With Me!