The second demonstration that Charles set up was a portrait session and unusually he declared that he was going to produce two portraits, one profile and another in three quarter view. As always the session started with Charles producing a contour drawing. During this segment we were to listen to many sound tips in relation to making the original drawing.
"Begin by putting down a light oval shape to delineate the placement of the head.
Draw a line around the curve of the oval to mark the line around which the central features are arranged.
Start the detailed drawing at the eyes or nose and relate everything back to them.
Place mouth with dot relating to the eye.
Many people make noses too long, beware of this.
Keep stopping and checking whilst keeping the pencil on the paper.
Draw in shadow shapes".
Initial Drawing - note shadow shape beside left eye and small demo of an eye at top
"Begin painting around centre and put in dark shapes.
Draw in shapes with the point of the brush then soften them".
Charles spent some time showing the choices he makes to produce his flesh tones and shadow shades, these can be seen at the bottom of the sheet. The colours will vary according to the individual's complexion. Simply they consist of Cadmium Red Light with a yellow from Cadmium Yellow Light, Raw Sienna and sometimes Burnt Sienna. The addition of a blue creates the shadow and the choice is judged by the value required, Cerulean, Cobalt and Ultramarine being his choices, light to dark.
Profile - Charles Reid, watercolour on half sheet
Charles then moved onto the second view of the model with the same routine in terms of drawing.
In this picture it is easier to see some of his construction lines in this picture. Note the line delineating the central features and the arc across the eyes. You can also see the oval placed to indicate the nose position. Most of these lines are reduced by eraser so that they are lighter than pictured here but many are not removed altogether.
Three Quarters view - Drawing
Three Quarter view completed
In the above photograph you can see the notes that Charles appended. Here he emphasised the technique he uses next to highlights. The hard edge next to the highlight is placed and keeping the brush on the paper the pigment is worked away then softened.
Two Portraits - Watercolour on half sheet by Charles Reid