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A portrait’s background is more than a backdrop — it’s part of the mood, story, and focus. The right choice can make the subject sing, whisper, or even tell a completely different tale.
Here are 10 ways you can play with backgrounds:
1️⃣ Color Contrast Opposite colors (complementaries) can make the subject pop — warm skin against cool blues, or dark hair against a pale wall.
2️⃣ Temperature Contrast Warm backgrounds bring energy and life; cool backgrounds create calm and distance. Mixing them can create tension or harmony.
3️⃣ Busy vs. Minimal Patterns, scenery, or objects add story. A blank or blurred background gives full attention to the subject.
4️⃣ Texture vs. Smooth Thick brushstrokes or rough texture add depth and richness; a smooth surface brings stillness and simplicity.
5️⃣ Light vs. Dark High-value contrast can make the subject dramatic; low contrast creates a softer, dreamier feel.
6️⃣ Sharp vs. Soft Focus A sharply detailed background keeps everything in the same “visual world.” A blurred or abstract background pushes the subject forward.
7️⃣ Realistic vs. Stylized A lifelike setting grounds the portrait in reality. A stylized or abstract background adds artistry and symbolism.
8️⃣ Close vs. Distant Space A close background feels intimate. A distant or open space suggests freedom, loneliness, or grandeur.
9️⃣ Single Color vs. Gradation A flat color background is graphic and bold; a gradient background can subtly lead the eye and add atmosphere.
🔟 Symbolic Elements Objects, shapes, or colors that have personal or cultural meaning can transform the portrait into a deeper story.
💬 Which type of background do you love most for portraits — bold and complex, or quiet and simple?
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When you paint from a reference photo, it’s tempting to replicate it exactly — every color, every shadow, every detail. After all, the photo is “real,” right? But painting gives us a creative power that photography doesn’t: the ability to transform the scene into something more personal, emotional, and atmospheric.
In this comparison, the image on the left is the original photo — calm, natural, and grounded in reality. The one on the right is my painting — the same subject, but with a completely different emotional temperature.
Why Not Copy the Colors Exactly?
Because colors tell the story. A photo might capture the surface reality, but color choices in a painting can amplify emotion, create tension, or invite mystery.
Cooler shadows can evoke melancholy or introspection.
Warmer highlights can suggest hope, vitality, or even drama.
Unexpected hues — such as hints of green in skin tones or magenta in shadows — can make a portrait more alive than a literal copy.
Step-by-Step Process
1️⃣ Choosing the Reference
I selected a photo that already had strong mood and lighting — the slightly downward gaze and hand gesture added an emotional weight that I could build on.
2️⃣ Deciding on the Mood
Before touching the canvas, I asked: What do I want the viewer to feel? For this painting, I wanted more intensity than the photo gave me, so I planned to boost contrasts and use bolder colors.
3️⃣ Adjusting the Palette
In the shadows: I cooled them down with purples and deep greens.
In the highlights: I pushed warm yellows and reds to create a glow.
In transitions: I blended in unexpected colors (teal, magenta) to give life to skin tones.
4️⃣ Brushwork and Edges
Rather than perfectly smooth blending, I left some strokes visible. This makes the painting feel more alive and lets the colors vibrate against each other.
5️⃣ Stepping Back
Halfway through, I always step back several feet from the canvas. This is when I ask myself, Does this version tell a stronger story than the photo? If not, I make bolder changes.
Tips for Artists Wanting to Try This
Don’t fight your instincts. If a color feels right, use it — even if it’s not in the photo.
Experiment with temperature shifts. Try making shadows cooler and highlights warmer (or vice versa) to see how it changes the mood.
Use color to guide the eye. Strategic contrast can pull focus to the most important part of your composition.
Think story, not accuracy. Ask: What do I want this image to say? rather than How do I match it exactly?
The Takeaway
The freedom to reinterpret color is one of painting’s greatest joys. It’s not about matching the photo pixel by pixel — it’s about expressing something the camera can’t.
Now I’m curious — which one speaks to you more? The calm realism of the photo, or the emotive colors of my painting?
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In every painting, there’s a moment where your eye stops—where it lands and lingers. That’s the focal point. Whether you’re working on a still life with a bunch of grapes and a vase, or a quiet landscape at dusk, the focal point is what holds the viewer’s attention and gives structure to the entire composition.
Let’s break it down with examples from my classes.
What is a Focal Point?
The focal point is the area of a painting that draws the viewer in first. It’s where the visual weight is centered. That doesn’t mean the rest of the painting isn’t important, but the focal point is your main “story moment.”
Think of it like a stage play: you might have several characters on stage, but only one is delivering the key line. Everything else supports that moment.
In many of my still life classes, we use objects like fruit, vases, or folded fabric. The challenge is always the same: which object tells the story?
Let’s say we have a lemon, a glass bottle, and a crumpled napkin. If the lemon is your focal point, you might:
Place it off-center using the Rule of Thirds
Make it the most saturated color in the scene
Sharpen the edges and contrast around it
Simplify the surroundings to avoid distraction
In class, we painted a composition where the light hit a lemon just perfectly, and we built the rest of the scene to support that lemon—softening edges around the background, muting other colors. It made the painting feel focused.
Focal Point in Landscapes
Landscapes can be trickier, because everything feels important—sky, mountains, trees. But here’s the trick: choose a “moment.”
In one class, we painted a path leading into the woods. The focal point was not the trees or the sky, but a small patch of light hitting the path. We:
Directed the lines of the path toward that light
Used higher contrast where the light met the shadow
Toned down the sky to keep attention on the ground
Another example: a ship, its color and placement made it the natural focal point. Everything else—the muted water, the gentle sky—helped guide the eye there.
Common Ways to Create a Focal Point
Here are some tools we use regularly in class:
Contrast – Light against dark, or warm against cool, draws attention.
Detail – Sharper edges and more texture pull the eye in.
Color – A pop of saturated or unexpected color stands out.
Placement – Objects near the Rule of Thirds lines feel naturally strong.
Leading Lines – Paths, shadows, or objects pointing toward your subject.
Final Thoughts
If your painting feels scattered, ask yourself: Where do I want the viewer to look first? That question alone can clarify a lot.
Every time we paint together in class—whether a bowl of peaches or a mountain trail—I encourage students to make a clear decision about the focal point. It doesn’t mean being rigid, but it gives your painting purpose and clarity.
Next time you set up a composition, try this: squint, step back, and see what jumps out. Then, build your painting around that.
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Choosing the Right Support for Oil Painting
An oil painting support is any surface suitable for applying oil paint. Artists use a variety of materials as supports, including different types of wood and canvas. Each support has its own characteristics, advantages, and drawbacks.
I have used all of them, about the linen, cotton canvas and canvas pad you will not feel any difference between them.
The main difference is when you apply paint, harder surfaces can make it feel like the paint doesn’t stick well. You may need to use less pressure when laying down the oil paint or switch to softer brushes—but that’s just my personal experience.
Linen Canvas
Linen is made from the fibers of the flax plant. After harvesting, the plant is soaked in water until the outer layers decay, leaving behind strong fibers that are then spun into yarn and woven into canvas. Because flax fibers are long and durable, linen canvas provides a sturdy and long-lasting surface for oil painting. Many masterpieces that have stood the test of time were painted on linen, making it a preferred choice among professional artists.
However, linen canvas is expensive and may not be the best option for beginners. It is available in various forms, including rolled or pre-stretched, and can be purchased either primed (for oil or acrylic painting) or unprimed.
Cotton Canvas
Cotton canvas is the most popular support for beginner oil painters. It is strong, more affordable than linen, and has a consistent weave.
There is an ongoing debate in the art world about whether linen or cotton is the better painting support. Some artists believe linen lasts longer, while others, including myself, prefer working with cotton. If properly primed and sized, both surfaces can protect the painting from deterioration and ensure its longevity.
When choosing between linen and cotton, focus on which surface feels best to work on rather than worrying about how long it will last. If durability is a concern, consider using a heavy-grade cotton canvas and stretching it yourself. Cotton canvas is available in rolls or pre-stretched, primed, or unprimed.
Canvas Pads
For artists on a budget who still want a decent painting surface, canvas pads are a great option. Available in different sizes, they are ideal for beginners practicing oil painting or doing quick studies. When purchasing a canvas pad, choose a heavy-weight variety that can properly hold oil paint.
Masonite or Hardboard
Masonite is a brand name for a synthetic hardboard made from compressed wood particles. Hardboard is rigid, inexpensive, and popular among oil painters. However, large hardboards may warp over time, so reinforcing them with a frame is recommended.
Artists can use plain hardboards or opt for canvas boards—hardboards covered with a pre-primed canvas surface, ready for painting.
For me is good for small paintings, for bigger ones the material is too heavy, I painted once a 40 x 40 inches painting after framed it was so heavy to hang it, you you can try both sides, one side looks like canvas.
Wood Panels
The earliest known oil paintings were created on wood panels, typically made of oak or poplar. These panels were coated with a preparatory ground of animal glue and chalk, then polished to create a smooth painting surface.
While solid hardwood panels are less common today due to their high cost and weight, plywood has become a popular alternative. High-quality plywood made from birch, poplar, or mahogany can be used for oil painting if properly prepared. However, avoid softwoods like pine, as they contain resins and do not resist moisture well.
“I don’t remember the type of wood I used, but I tried it twice. It’s not as heavy as the Masonite boards I’ve used. It’s ready to hang as soon as you finish your painting, and since you can paint all the sides, it feels like it doesn’t even need a frame.”
Final Thoughts
Your choice of painting support depends on your artistic style and personal preference. Experiment with different surfaces to see what works best for you. In my experience, canvas remains the most versatile and reliable support for oil painting.
Struggling with your oil portraits? You might find my E-book helpful. Click here
When working with ink, shading is everything. Since ink doesn’t allow for blending like paint or graphite, artists rely on hatching and cross-hatching to build form, texture, and depth. These techniques use lines—simple, repetitive marks—to create the illusion of shadow and volume.
In this post, we’ll cover the fundamentals of hatching and cross-hatching, how they differ, and tips to use them effectively in your ink drawings.
What is Hatching?
Hatching involves drawing a series of parallel lines to suggest shading. The lines can be straight or curved, depending on the form you’re describing. The closer the lines are together, the darker the value appears.
Use hatching to:
Shade smooth surfaces like skin or fabric
Suggest direction and form
Build gradual shadows
You can also vary the thickness and pressure of your lines to enhance contrast and texture.
What is Cross-Hatching?
Cross-hatching takes hatching a step further by adding a second (or third) layer of lines, often at an angle to the first. This crisscrossing of lines deepens the value and adds complexity to the shading.
Use cross-hatching to:
Create darker shadows
Build rich tonal variation
Add dramatic texture and structure
The more layers you cross, the darker the area becomes—but be careful not to overdo it, as too many lines can muddy your drawing.
Tips for Effective Hatching and Cross-Hatching
Here are some key pointers to help you master these techniques:
1. Follow the Form
Let your lines describe the shape of the object. Curved lines work well on round surfaces, while straight lines suit flat areas.
2. Control Spacing
Closer lines = darker values. Wider spacing = lighter values. Practice consistent spacing to control tone accurately.
3. Vary Line Direction
Changing the direction of your hatching adds interest and can help define separate planes in your subject.
4. Use Pen Pressure Carefully
In ink, pressure affects the boldness of your lines. Practice using lighter and heavier strokes to introduce subtle value shifts.
5. Plan Your Light Source
Before you start shading, decide where the light is coming from. This will guide where to place the darkest cross-hatching and where to leave areas untouched for highlights.
Final Thoughts
Hatching and cross-hatching are essential tools for any ink artist. With practice, you’ll be able to create detailed, expressive drawings using nothing but lines. These techniques might seem simple, but they offer endless possibilities for texture, contrast, and storytelling.
Whether you’re sketching portraits, still lifes, or imaginary worlds, let your lines speak. The beauty of ink is in its clarity and discipline—and in how a few strokes can bring an entire form to life.
Struggling with your portraits? You might find my E-book helpful. Click here
Composition is one of the most powerful tools in portrait painting and drawing. It goes beyond simply placing a face in the center of the canvas. A strong composition directs the viewer’s attention, creates emotion, and brings harmony to the entire artwork.
At its core, composition is about arranging visual elements with purpose—the placement of the head, the tilt of the shoulders, the direction of the gaze, the background, and even the negative space all play a role in telling a story.
A portrait is not only about resemblance; it’s about presence. Where you place the figure can evoke very different emotions. A face looking out from the corner of the canvas might feel more intimate or mysterious than one facing forward in the center. The use of diagonals can add dynamism. Symmetry can create a sense of calm and dignity. Asymmetry can make the image more intriguing or alive.
Lighting, too, is part of composition. A strong light source can shape the forms and guide the eye through light and shadow. Compositional decisions about value contrast—dark against light—can make the face pop or blend softly into the scene.
Backgrounds matter. Even a plain one affects mood. A detailed background can add context. A blurred one can enhance focus. Always ask: does this background support the story I’m trying to tell?
In portrait drawing and painting, composition helps create connection—between subject and viewer, and between the artwork and the emotions it stirs.
Classcial Composition Mistakes
When planning your next portrait, don’t start with the eyes—start with the idea. Then let composition bring that idea to life.
Here’s a list of classical composition mistakes in portrait painting—especially common among beginners, but even experienced artists can fall into these traps. These are based on classical principles of design, placement, and visual hierarchy:
🔻 1. Centering the Face Too Rigidly
Mistake: Placing the head dead center in the canvas without intention. Why it’s a problem: It creates a static, unnatural feeling. Classical compositions often used asymmetry to bring life and movement. Classical tip: Use the rule of thirds or golden ratio to offset the subject slightly.
🔻 2. Cropping Without Purpose
Mistake: Cutting off the top of the head, chin, or shoulders awkwardly. Why it’s a problem: It feels careless or claustrophobic. Classical tip: Study how masters crop at natural transitions—like just above the hairline or below the collarbone—to maintain grace.
🔻 3. Flat or highly detailedBackgrounds
Mistake: A single-tone or highly detailed background with no relationship to the subject. Why it’s a problem: It either competes with or ignores the figure. Classical tip: Use background tones and shapes to support the silhouette and guide the eye.
🔻 4. Ignoring the “Pyramid” Composition
Mistake: A scattered or unstable arrangement of the head, shoulders, and torso. Why it’s a problem: The viewer’s eye wanders or doesn’t know where to rest. Classical tip: The pyramidal composition (broad at the base, narrowing toward the top) adds elegance and stability.
🔻 5. Weak Negative Space
Mistake: Not paying attention to the shapes formed around the figure. Why it’s a problem: Poor negative space can make the portrait feel boxed in or poorly designed. Classical tip: Treat negative space like a compositional partner—shapes should flow and balance the main figure, use soft edges
🔻 6. Over-Detailing the Wrong Areas
Mistake: Equal detail across the whole face and body. Why it’s a problem: The viewer has no visual path—no focus. Classical tip: Follow the hierarchy of focus: eyes, then features, then fade into broader shapes. Let some edges stay soft or lost.
🔻 7. Lack of Gesture or Flow
Mistake: A stiff, lifeless pose. Why it’s a problem: It feels posed rather than lived. Classical tip: Find the gesture line or subtle S-curve in the spine or posture—even in portraits. Think of rhythm and flow.
🔻 8. Awkward Lighting
Mistake: Flat or inconsistent light direction. Why it’s a problem: Makes the form hard to read. Classical tip: Use single, directional lighting (Rembrandt or chiaroscuro) to model the face clearly and sculpturally.
🔻 9. Ignoring the Story or Mood
Mistake: A technically correct portrait that says nothing. Why it’s a problem: Classical art always aimed to express character, nobility, or emotion. Classical tip: Consider gesture, gaze, clothing, light, and posture as part of the narrative.
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One of the problems when we paint a portrait is that we often think details will make it look beautiful. So we start painting part by part — the eyes, the nose, the mouth — individually. But what we really need to do is paint each feature while always checking the relationship between them: how sharp they are, how dark or light, how they connect. If you don’t do that, you often end up with a cartoonish face — sharp edges and lots of details, but no volume.
Here are some exercises to help improve your paintings:
1.- First, imagine you’re a broken photo camera that can’t capture a sharp image. Every photo you take is blurry. That’s your reference.
You can use a filter on your phone or in Photoshop.
For example, I created the image on the left using a Photoshop filter called Paint Daubs. The one on the right is my painting. Feel free to use this kind of reference to practice. Remember: you’re not copying details — you’re painting the whole face, focusing on values and edges. The most important part of this exercise is to paint it blurry.
I recommend using small canvases — 6 x 6 inches — and doing quick sketches, no more than an hour. The goal is to train your eye to see the face as a whole. Once you’ve mastered that stage, then you can start adding details on top.
2.- Paint the planes of the face
Forget the details — focus on the bigger planes. Think about how the light moves across the surface of the face, from the lighter planes to the darker ones. You’ll start to notice patterns in the structure of the face — shapes and transitions that repeat in every portrait. That’s what you want to train your eye to see.
3.- Flat shapes
Of course! Here’s a longer, more detailed version that keeps your voice but improves clarity and flow:
The difference between this study and the previous one is in how we simplify the face. In the first example, we focused on breaking the portrait down into planes, thinking about the structure and how light moves across the surface. In this second approach, the separation is based on values — light, midtones, and darks — instead of form.
This helps you train your eye to group areas by tonal value rather than getting distracted by small shapes or outlines. You’re not thinking about the three-dimensional form as much as you’re organizing the image into clear zones of light and shadow. This is a great way to develop a sense of design in your painting, and to better understand how light defines the structure of the face.
Also, notice how the details come in only at the very end of the process. First comes the big value masses, then the transitions, and finally small refinements. Don’t rush into details too early — they should sit on top of a solid foundation.
For the image on the left, I used a Photoshop filter called Cutout. It’s a great tool to simplify the reference and reduce it to just a few flat value shapes.
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I’ve used white canvases my whole life, BUT from day one I learned that I should kill the white by adding a transparent layer of oil, or by painting a first layer with very thin paint—almost like watercolor. Only after that do I begin the actual painting process.
I remember a color theory class focused on the alla prima style that really showed the power of a toned canvas. We painted the same boat scene, but we had divided our canvas into four parts. Each section was toned with a different acrylic color: one a knocked-down orange, another pure yellow, one bright blue, and the last one gray. Two warm, two cool—one saturated, one desaturated. The results were completely different. I especially loved the parts where we used saturated tones—the color seemed to breathe through the layers, bringing more life, saturation, and harmony to the whole painting.
From that day on, I started using toned canvases. At first, I preferred gray. Later, I moved to orangey tones. I even experimented with fluorescent pink acrylic a few times—it looked amazing, but it was hard to make everything harmonize. That pink kept floating to the surface and demanded a lot of work.
Even today, I still use toned canvases for alla prima paintings. I only go back to white canvases when I plan to spend a long time on a piece with lots of layers. And when I paint with acrylics, I also prefer white. Acrylics dry fast and are more transparent, so applying light colors on a midtone base is harder—it takes more layers to get them to pop. For example, a yellow flower will glow more quickly on white canvas than on a toned one.
Here a list of advantages of painting on a toned canvas:
1. Better Value Control
A white canvas can be blinding and make it difficult to judge mid-tones accurately. By starting with a neutral or warm undertone, you establish a middle ground, making it easier to gauge highlights and shadows. This helps prevent overly dark or washed-out paintings.
2. Enhanced Color Harmony
A toned ground subtly influences the colors layered on top, creating a unified feel. For example, a warm underpainting (like burnt sienna or yellow ochre) can add richness to landscapes, while a cool gray can help balance vibrant colors in portraits.
3. Faster Coverage & Fewer Gaps
White canvas peeking through can disrupt the illusion of depth. A toned background ensures that even if thin layers are applied, the painting looks cohesive from the first brushstroke.
4. Historical Precedence
Many classical masters, including Rubens and Rembrandt, used toned grounds to speed up their process and enhance depth. The Old Masters often worked on warm brown or gray imprimatura layers before adding details.
5. Reduced Intimidation
A blank white canvas can feel daunting. A toned surface breaks the “fear of the void,” allowing you to sketch loosely and build confidence before committing to finer details.
How to Choose Your Tone
Warm tones (ochre, sienna, reds): Great for landscapes, sunlit scenes, and classical realism.
Cool tones (gray, blue, green): Ideal for portraits, moody atmospheres, and modern works.
Neutral mid-tone (gray or beige): A versatile choice for any subject.
Try It Yourself!
Next time you start a painting, experiment with a toned canvas. Apply a thin wash of acrylic or oil paint diluted with solvent, let it dry, and observe how it changes your approach. You might find that this small adjustment makes a big difference in your art.
Have you tried painting on a toned ground? Share your experiences in the comments!
Struggling with your portraits? You might find my E-book helpful. Click here
Introduction A well-painted portrait doesn’t rely solely on color—it depends on values (the lightness and darkness of tones). When values are correctly structured, you can experiment with almost any color harmony—complementary, triadic, or even seemingly clashing hues—and still achieve a cohesive, striking image.
This principle is why master artists like Sargent, Zorn, and contemporary painters can use limited or unconventional palettes while maintaining realism and depth. In this article, we’ll explore why values are more important than color and how you can confidently apply bold color schemes to your portraits.
1. Values Define Form, Color Enhances Mood
Before color even enters the picture, a portrait must work in grayscale. Strong value structure:
Creates three-dimensional form
Ensures proper contrast and readability
Guides the viewer’s eye through the composition
Once values are correct, color choices become more flexible. You can shift hues dramatically—turning skin tones blue, shadows green, or highlights pink—as long as the light-to-dark relationships stay consistent.
Try This Exercise:
Paint a portrait in grayscale first.
Once the values are solid, apply different color harmonies (e.g., complementary, analogous, or split-complementary).
Notice how the image remains believable even with unnatural colors.
2. How to Use Any Color Harmony Successfully
A. Match Values, Not Just Hues
If you replace a mid-tone brown with a mid-tone purple of the same value, the structure of the face won’t break. This is why stylized art (like anime or fantasy illustrations) can use vibrant, unrealistic colors while still looking “right.”
B. Control Saturation & Temperature
Even if hues clash, adjusting saturation (intensity) and temperature (warm vs. cool) can balance them:
High saturation draws attention—use it sparingly (e.g., eyes, lips).
Cool shadows vs. warm lights (or vice versa) enhance depth without relying on local color.
C. Borrow from Limited Palettes
Many classical artists used just a few colors but mastered value contrast:
Zorn Palette (Black, White, Ochre, Red) – Creates realistic flesh tones through value control.
Digital Artists – Use vibrant, non-realistic colors but keep values accurate.
3. Examples of Unconventional Color in Portraits
A. Complementary Colors (High Contrast)
Example: A portrait with blue shadows and orange highlights (opposite on the color wheel). If values are correct, the contrast feels dynamic rather than chaotic.
B. Triadic & Split-Complementary Harmonies
Example: A face with teal mid-tones, magenta shadows, and yellow highlights. Despite the bold hues, proper value structure keeps it readable.
C. Discordant Colors (Intentional “Wrong” Choices)
Example: A greenish skin tone with red undertones—unusual, but if values match natural lighting, it can look stylized rather than “off.”
4. Common Mistakes & Fixes
❌ Problem: Colors look muddy or clash. ✅ Fix: Check if values are too similar—increase contrast.
❌ Problem: Unnatural hues make the face look flat. ✅ Fix: Re-examine your grayscale—are the shadows and highlights correctly placed?
❌ Problem: Colors feel random, not harmonious. ✅ Fix: Use a color wheel to pick a defined scheme (analogous, complementary, etc.).
Conclusion: Values Are the Foundation, Color Is the Decoration
Mastering values gives you the freedom to experiment with any color harmony. Whether you’re working in realism, fantasy, or stylized art, a strong grayscale foundation allows for endless color creativity.
Next time you paint:
Nail the values first.
Apply colors fearlessly—try a new harmony!
Adjust saturation and temperature for balance.
Do you prefer realistic or stylized color in portraits? Share your thoughts in the comments!
A step-by-step approach to building portraits with structure, clarity, and light
Struggling with your portraits? You might find myE-book helpful click here
When painting a portrait, it’s tempting to jump straight into the details—the eyes, the mouth, the expression. But focusing too early on those areas can lead to frustration and an unstructured painting. After painting hundreds of portraits, both live and in class, I’ve learned that one of the most powerful tools we have as artists is simplification.
Step One: From Reality to Flat Shapes
At the beginning of any portrait, I start by simplifying what I see into flat, abstract shapes. This means ignoring the small bumps, curves, and subtle variations and focusing only on:
The outline or contour of the head
The masses of shadow and light
The placement of facial features in terms of big shapes
This stage is not about making it look like the person yet—it’s about organizing the visual chaos into something readable and balanced. I often squint or blur my vision to help reduce the complexity and better see the big design of the portrait.
Why start here? Because a good portrait starts with good design. Simplifying to flat shapes allows us to make bold, clear decisions about proportion, placement, and overall structure.
Step Two: Introducing the Planes of the Face
Once the large forms are in place, I begin to break them down into planes—flat surfaces that turn at distinct angles, like the sides of a cube or the facets of a gem. The human face, though organic, can be broken down into major and minor planes that guide how we model light and shadow.
Some key examples:
The forehead has a top and front plane.
The nose has front, side, and underside planes.
The cheekbones form diagonal planes that catch side light.
The eye sockets recede into shadow, boxed in by the brow and the nose.
Understanding these planes helps us predict where the light will fall, even without perfect reference. When we know that the side plane of the face is turned away from the light, we can darken it. When a plane catches light, we know it deserves a highlight or a lighter value.
The planes are the bridge between structure and light. They are what make the portrait feel three-dimensional and believable.
Step Three: From Shapes to Forms
Once I have those flat shapes on the canvas or paper, the next step is to think in three dimensions. I begin turning those flat shapes into basic volumes—the head as a box or an egg, the nose as a wedge, the neck as a cylinder.
This transition from 2D to 3D thinking is crucial. It helps us understand how the head sits in space and how light interacts with its surface. Painting isn’t just copying what you see—it’s interpreting what you see through your knowledge of form.
In this stage, I’m not yet thinking about fine details like eyelashes or wrinkles. I’m asking:
What is the orientation of this form?
Is this surface facing the light or turning away from it?
What kind of shape best describes this part of the face?
These questions help me build a solid sculptural foundation.
Why This Matters
This whole process—from flat shapes, to simple forms, to planes of the face—helps build a portrait that is solid, readable, and full of life. It keeps us from getting lost in unnecessary detail, and gives us a clear roadmap for moving forward in each stage of the painting.
Beginners often worry about matching colors or rendering perfectly, but without structure underneath, all of that falls apart. When we take the time to simplify and understand form, our portraits become stronger, no matter what medium we use.
🖌️ Practice This With Me Live!
In my Thursday night Live Paint-Along Portrait Classes, we follow this exact approach step-by-step. We start with a clear block-in using flat shapes, then model simple forms, and finally explore how light moves across the planes of the face. Each session is a complete portrait, and we build skills week by week.
👁️ You’ll learn to see like a painter, not just copy photos. 🎨 You’ll understand how to use simplification to improve every stage of your process. 🧠 And most importantly, you’ll gain confidence in how you build a portrait—from the first stroke to the final detail.
P.S. If you’re working on your portraits, my e-book “Portrait Painting Tips” might help. It’s full of tips I use with my students.
