This time I tried a light-and-dark inversion approach for the sketch — a small way to make up for the “blackboard” study I never got to do back in school 😌 Next time, I’d like to keep more visible brushstrokes and use less color. Looking back at the sketch, I realized that spending more time during the planning stage to design the placement and shape of the strokes would probably get me closer to the result I envisioned.

I am going to explore using a Zorn Palette (originally consisted of Vermilion, Lead White, Ivory Black and Yellow Ochre) for a limited palette for portraiture and even possibly landscapes. I avoid toxic paints (non-negotiable, sorry) and so I have settled on Titanium White, Ivory Black and Yellow Ochre, but am a little uncertain for what to use instead of the Vermilion. A lot of people use Cadmium Red Light but that is also toxic and therefore out. My understanding of the original vermilion is that it is a fairly orange red. I do already have W&N Designer's Gouache in "Spectrum Red" and "Primary Red", but neither seems exactly right for a somewhat orange leaning red. They unfortunately don't seem to market a "Vermilion Hue" (Schmincke and Holbein do and I may end up going that route), but if I want to stick to an all W&N Gouache palette which red would you recommend? They do make a Cadmium-free Red (not labelled as "light") as well as a Cadmium-free Scarlet and I may try those but am open to suggestions for a non-toxic orangey-red, preferably within the W&N line but am open to other brands. Also unfortunately W&N don't seem to disclose the pigments in their Cardmium-free Gouache line. My understanding is that PR255 (Pyrrole Scarlet) gives a pretty close approximation to genuine vermilion but as far as I can tell it is not in any of the W&N line (not counting the two Cadmium-free Red and Scarlet, which in their infinite wisdom they have chosen not to disclose the pigment information for). Schmincke's Vermilion Hue is in fact single pigment PR255 so I am leaning towards that. The Holbein Vermilion Hue is a three pigment mix (PY74, PO73 & PR254) which makes me hesitate a bit, although it is significantly cheaper than the Schmincke at least in the US. Thanks in advance.

watercolor portrait painting

Practicing variations between different containers—still need to refine the handling of sharp and soft edges along the contours.

Watercolor study of coastal rocks 🌊 This time I not only experimented with color palettes but also played around with different composition possibilities. I know I got a bit carried away in my last few posts — sharing one portrait study after another (haha). From here on, I’ll keep things more flexible depending on my work rhythm, switching styles and themes from time to time. I’ve still got a few fun ideas in my pocket, and I’ll be rolling them out little by little to share with you all.

In this live model session, the theme was a gentle, “girl-next-door” look. I heard she's an excellent tango dancer — proof that interesting souls often have many different sides. Her outfit reminded me of the series Anne with an E — a personality and charm that stood out vividly in that era. (Side note: For those who love beautiful scenery, season one features several ocean views so stunning you might pause just to take them in 🫨) While painting, I realized there' s still room for improvement in how I handle the structure and transitions of the arm. I' ll be dedicating more time to focused practice on that.

Portrait sketch from a live model session. Kept the colors more restrained this time, focusing instead on finding variation in the subtle rises and falls of the forms. I also played with line weight, adjusting thickness and strength to bring out certain edges. The background’s reddish ochre gives it a slightly vintage feel. On a side note, the model had a bit of Timothée Chalamet’s vibe (yes, the Dune lead) — which made it pretty hard to stay focused on drawing 😅

Watercolor still life practice. Tried building it up in 2–3 layers this time. Next time, I’ll try to resist overworking the lighter objects to keep them bright and transparent. On a side note, whenever I go to the night market, I can’t skip grilled green peppers — that light charcoal flavor and juicy texture are just perfect.

Charcoal still life sketch of a teapot. I rebalanced the value distribution — this set of objects has a very clear separation of black, gray, and white tones. On a side note, I recently went to the art supply store and found that my usual charcoal brand had gone up in price. But for the love of drawing, I bought it anyway.

my goal with my art is to create comics and one day animation up to Ghibli level. so I finally getting shading for most part down and I know they are connected. my question is how I chose the right colors for my color palette?

Watercolor Banana Study In this still life piece, I experimented with subtle temperature shifts while keeping the value structure intact. It’s surprisingly challenging to add color variation without losing the overall lightness. In the second image, I’ve included a breakdown of how to paint bananas using different combinations of yellows and greens. If you're curious, read on! Banana Color Breakdown 1. Light and Shadow Zones The dominant color is yellow. For highlight areas, I used lemon yellow or cadmium yellow with plenty of water to keep things light and transparent (see top-left swatch). For shadowed areas, I added orange or a touch of brown to deepen the tone (see top-right swatch). Curious how different blues affect your green mixes? Check out the lower-left swatch block! 2. Water-to-Pigment Ratio The depth of color depends on water control. More water = lighter, more transparent wash (great for lit areas) Less water = stronger, more saturated color (great for shadow and form) How to Paint a Banana Step 1 – Prepare Your Palette Main colors: yellow, orange, and blue. Mix a few variants ahead of time. Step 2 – Sketch the Outline Use light pencil strokes to map the bananas. Watch the overlapping areas and try to keep proportions in check. Step 3 – Lay Down Color Start with a very diluted yellow wash for the light areas. Then, mix a slightly more saturated yellow-orange combo and place it into the shadow zones—blend carefully, following the light direction. Mix yellow + blue for subtle green tones in the cast shadows. While the paper is still damp, drop in stronger orange or brown to suggest spots, stem texture, or edge accents. 🌟 Tip: Every time you mix a color, check both your brush pigment load and paper moisture—it makes a huge difference in how the color behaves.

Charcoal study of a lion head still life. The mane turned out to be a great subject for practicing transitions between large and small forms, as well as directional changes in volume. Out of curiosity, I also looked into lion anatomy and movement—focusing on how to simplify the head and torso structure in dynamic poses.

A watercolor class demo featuring a Monstera leaf — perfect for green-thumbed friends who enjoy painting plants! If you have watercolors on hand, feel free to follow along. Before you start, mix the colors you'll need. We’ll keep it simple by dividing the leaf into light and shadow areas: For the light areas, mix yellow and blue in different ratios to create two types of green: one more yellowish, and one more bluish. For the shadow areas, mix yellow and blue to get a bluish green, and add a bit of reddish brown to create an olive-toned green. Step 1: Wet the lightest area of the leaf with clean water. Start from the center of the leaf and spread outward using the yellowish green. You can mix in some light bluish green. Pay attention to keeping your light tones clean and fresh. Step 2: Move on to the shadow colors (bluish green and olive green) while the paper is still wet — don’t let it dry yet! Step 3: Once you’ve connected the light and dark tones, add detail with some leaf veins. Use slightly more concentrated color to define the veins, and switch to a smaller brush to lift out a few highlights for added richness. Let me know if you try this — I’d love to see your results!

Here’s a record of this week’s mask still-life study, which offers a great opportunity to practice subtle variations in shading on dark areas. Side note: The tusks on the mask's mouth made me wonder if this could be a character from Japanese Noh theater, perhaps some sort of demon-slaying guardian spirit?

Tried a slight color variation for this one. It was my first time painting a spine—felt surprisingly fresh! Wonder if I’ll end up sketching a pelvis someday. Recently got a few books on color theory. Flipping through them made me realize… I really shouldn’t have slacked off during those color theory classes back then. Looks like I’ll need to go back and study after all!

Documenting this portrait sketch session, I experimented with new color expressions. Recently, I’ve been trying to find a firmer red-brown pencil, but I seem to be a pencil core destroyer, breaking leads during sanding until I question my life choices. Previously, I drew ears without much understanding, so I took this opportunity to organize the ear structure.

I've been spending a lot of time with plants lately. I haven't tried drawing lotus leaves from a bottom-up perspective before. There are a few pieces where I really like the water diffusion effect—it's quite a challenge to create rich textures with simple tools.

This time’s life drawing model had deep-set features paired with curly hair, with a gaze that carried a sense of untamed spirit. During the drawing process, I spent some time simplifying and designing the overall shape. Additionally, I discovered an interesting material—deep brown with a hint of red, which created a nice layered effect.

Four weeks of portrait sketching have come to a conclusion, and I was captivated by the alluringly melancholic vibe of the model I worked with . This time, I experimented with varied brushstrokes using new tools, which made it easier to achieve a different texture compared to traditional brushes. Additionally, the final color leaned towards a fluorescent look, which was honestly a pleasant surprise. Curious about the shadow shapes and the hidden structures beneath, I began organizing information about facial structures and muscles.