Blackpink in your Area – and on your paper!
Like many, I like to listen to music while drawing - often that of Blackpink. Inspired by their many songs, I decided to give portraits of Jennie, Jisoo, Lisa and Rosé a try, which I drew with pencils and finished with watercolor.
This post will be updated gradually until all four members of Blackpink have been painted.
I start off with a simple sketch, trying to match her V-shaped face shape and drawing each part of her face with the correct spacing between them.
Her eye shape seems to be slightly upturned, so the outer corners of her eyes are a little higher than the inner ones. The eyebrows are straight.
Except for a subtle curve in the middle of the upper lip, the line of her mouth can be drawn pretty straight as well, even in the corners of the mouth.
I don’t find it easy to draw noses, so I work very carefully here with a 4H pencil. In the middle, the bridge of the nose becomes barely noticeably narrower, which I try to draw with a soft shadow.
To paint the skin, I use three colors that I layer directly on the paper: yellow ochre, permanent carmine and burnt umber.
Here I follow the shades of the sketch, but paint one particularly transparent layer over the entire face. Since even the lightest skin is never completely white, the only reason to leave the paper unpainted is for light reflections.
For the iris I use the color mahogany brown, but on the outer edge of the iris and under the upper eyelid I mix in cobalt blue hue to darken the brown.
For the lips, I mix yellow ochre, burnt umber and vermilion separately and apply this color mixture directly to the paper in different intensities. Sometimes I do prefer to mix the colors in advance to create a new color rather than layering them on top of each other to make it more even.
Once the lips are done and dry, I mix in a little cobalt blue hue again and paint isolated shadowy areas like on the upper lip on the left.
The hair color of Rosé in this painting was a bit of a challenge: to paint the very light lavender color, I mixed permanent carmine and cobalt blue hue together several times - sometimes with more red, sometimes with more blue.
These different shades of purple layered on top of each other, in addition to the areas left blank, help make the hair look three-dimensional.
Even light hair can have some very dark areas, for which I mix a darker purple from the same colors.
Finally, I paint single protruding hairs with opaque white to make the hair look more natural.
Lisa’s face generally has many soft features and round lines. In the first simple sketch, I therefore pay particular attention to drawing these soft facial features well.
A small challenge is the slight tilt of the head, because here you have to rethink your guide lines and therefore the two eyes, for example, no longer sit on a horizontal line.
As usual, I draw more shadows by hatching and thus model the area around the eyes, nose and mouth. Also with the neck I pay attention to where exactly shadows are, since the neck is not an evenly round cylinder.
Although Lisa is known for her perfect bangs, in some places the eyebrows can be seen through the bangs. So that I know exactly where they sit later, I draw them in the detailed sketch as well.
As in the portrait of Rosé, I use the three colors yellow ochre, permanent carmine and burnt umber for Lisa’s skin.
The forehead will be partially visible through the bangs, so the skin on the forehead needs to be painted as well.
For the iris, I use burnt umber mixed with a very little mahogany brown. As with rosé, I add cobalt blue hue to the outer edge of the iris and under the upper eyelid.
For the lips, I mix exactly the same colors together in advance as I did for Rosé’s watercolor portrait: yellow ochre, burnt umber and vermilion.
Lisa’s hair took me two tries. I tried to paint an ash blonde, but used way too much brown. On top of that, I painted every single strand of hair with the thinnest brush I could find, and ended up putting gloss effects in really weird places.
In the end, not only was the hair color different than planned, the hair looked very rigid and not at all as light as Rosé’s hair.
I decided to remove the top layer of color. This can be done by using a brush and clear water to loosen the paint and dabbing it away directly with a clean tissue.
Once I was done with this, I also understood why Lisa’s hair looked so stiff compared to Rosé’s: For Rosé’s hair, I didn’t paint every inch with color, but left the white base blank here and there between the brush strokes.
So for Lisa’s hair, I also needed a base area, only it had to be colored because of the hair color. I now had this colored base area thanks to the correction of my mistake!
In the next step, I proceeded as I did with Rosé’s hair, drawing brush strokes of different lengths and letting the base area show through in places.
For the new hair color I used a mixture of burnt umber and cobalt blue hue, sometimes working with cobalt blue hue only, but heavily diluted with water.
Finally, I applied opaque white, diluted with water, to add shine to the bangs and highlight individual strands. In the lengths of the hair, however, I painted a little more unevenly this time, so as not to make the hair look stiff again.