First, let’s start with what not to do. I once saw a TV program where a craft instructor demonstrated painting techniques. Their advice for lightening and darkening colors was simply to use white and black—it works but painters have a different approach. While white is often used to lighten colors, black should not be used to darken them unless we are painting something truly black.
Here’s why: If we lighten every color with white, we drain the life from them, leaving them pale, milky, and dull. If we darken with black, we kill the vibrancy and depth of the colors, making them look muddy and lifeless.
For example, if we want to lighten green, adding white will create a faded, washed-out green. Instead, using yellow will produce a much livelier and more natural effect. On the other hand, if we try to lighten blue with yellow, we’ll end up with green—so in that case, white is the best choice. If we lighten red with white, we get pink, whereas adding yellow creates orange. From there, we can further adjust with a balance of yellow and a touch of white.
The choice of how we lighten colors also depends on the lighting in our scene. Imagine we’re painting a still life:
On a bright, sunny day, sunlight dominates, meaning we’ll use more yellow to brighten the colors.
In a softly lit indoor scene, the lighting is more muted, requiring more white for highlights. However, we must be careful—if an object is naturally dark, the light won’t make it much brighter, so we won’t need as much yellow or white to depict its highlights.
Sounds a bit complicated? That’s because color theory in painting is one of the most crucial—and challenging—areas to master. There are many factors to consider.
Lightening Colors: Tone vs. Color Contrast
Another way to create the illusion of brightness is through contrast. This brings up an important question: Are we tonal painters or colorists?
Tonal painters focus on the contrast between light and shadow.
Colorists emphasize the vibrancy and interaction of colors themselves.
Here’s an example: A colorist would brighten an object by using more yellow and increasing color contrast. If we have an orange object against a blue background, the complementary contrast will naturally make the orange appear brighter and more intense.
A tonal painter, on the other hand, would rely on light and dark contrast. If they were painting a yellow object, they might surround it with darker colors to make the yellow appear lighter by comparison. This demonstrates how colors can be brightened in multiple ways.
Darkening Colors: A Better Approach
Darkening a color follows a fundamental rule in color theory: To create a rich, deep shade, we mix the color with its complement and add a touch of blue—typically ultramarine blue.
By following this method, we achieve vibrant dark colors instead of dull, lifeless tones. Imagine darkening yellow with black—it results in a murky, greenish color that looks unnatural. But if we darken yellow by mixing it with its complementary color (violet), we get a variety of rich ochres, depending on how much violet is added. Try it and see the difference!
While this technique isn’t a universal method for mixing skin tones in every portrait, it can be a helpful starting point, particularly for Alla Prima painting. If you’re a beginner aiming for quick and effective results, practicing with a limited palette to create skin colors can be an excellent way to build your skills and confidence.
The Colors You’ll Need
This technique is very simple, and the key is learning how to create natural-looking skin tones with minimal colors. Here’s all you need:
Titanium White
Burnt Sienna
Ultramarine Blue
That’s it! No additional colors are needed to paint basic skin colors.
Understanding Skin Colors
The skin tone you achieve will depend entirely on the amount of white in your mix:
For fair skin → More white, a little sienna, and almost no blue.
For medium skin → A balanced mix of white, sienna, and a bit of blue.
For dark skin → Less white, more sienna, and more blue.
💡 Tip: Mixing just white and sienna results in an unnatural, crude skin tone. Adding a touch of ultramarine blue neutralizes the mix, creating a more natural skin color.
The Importance of a Strong Foundation in Drawing
Before focusing on painting skin tones, you must first have a well-structured face drawing. If the structure is incorrect, no matter how well you handle volume, color, or lighting, the portrait won’t look right.
Once the drawing is solid, you need to understand volume—this is what creates the three-dimensionality of the head, eyes, nose, and facial features.
Practical Exercises
Here’s how the skin tones change with different color ratios:
1️⃣ First Exercise
Colors: Titanium White + Burnt Sienna (almost no blue)
Result: A very fair skin tone
2️⃣ Second Exercise
Colors: Less white, the same amount of sienna, and a little more blue
Result: A more balanced, natural skin tone
3️⃣ Third Exercise
Colors: Even less white, more sienna, and more blue
Result: A darker skin tone
At the end, you can apply glazes to add color variations and depth to your painting.
I hope this simple guide helps you start painting portraits and achieving skin tones easily! 🎨😊
When we observe the world around us, we see an abundance of colors, shadows, highlights, and reflections. As painters, our goal is to capture reality and translate it onto a flat, opaque surface—our canvas—using colored pigments. To successfully recreate reality, we must master three fundamental elements: drawing, volume, and color.
Drawing allows us to represent objects proportionally and realistically.
Volume creates the illusion of three-dimensionality.
Color brings life to the painting.
While drawing is crucial, today’s focus is on volume.
Training Your Eye to See Tonal Values
To develop an understanding of volume, we must train our eyes to recognize tonal values—the different shades of light and dark that define forms. The best way to do this is by starting with white objects, as they contain no color and only reflect a range of grays.
By painting white objects, we eliminate the distraction of color and concentrate solely on accurately reproducing the gradations of light and shadow. Once we become comfortable with this process, we can transition to color, which requires a deep understanding of theory and practice. If we don’t first master values, we cannot expect good results when working with color.
The Importance of Patience in Learning
From my own experience, I know that most art students want immediate results. We all want to see our paintings come to life quickly, but the reality is that painting requires time, practice, and patience.
A great way to start is by setting up a simple still life using a white cloth and a few geometric shapes painted white. If this isn’t possible, look for black-and-white photographs with strong lighting contrast—avoid frontal lighting, as it flattens forms. Instead, choose images where you can clearly see the transition from light to shadow and the full range of tonal values.
By consistently practicing with white objects, we will train our eyes and hands to achieve the correct sense of volume. Then, when we introduce color, we won’t lose our sense of form.
Getting Started: The Value Scale
To begin, you’ll only need black and white paint. Start by creating a value scale of at least six tones—though you’ll likely end up with many more shades of gray. The goal is to match the values of each area in your reference image, a process that takes time and effort but will ultimately lead to great results.
If you’re a beginner, start by painting simple cubes, spheres, cylinders and cones to practice shading.
If you have some experience, challenge yourself with a more complex reference image.
If you’ve been painting for a while but struggle with volume, try a more advanced exercise requiring precise value control and smooth blending.
Final Thoughts
Mastering volume in black and white is an essential step in becoming a strong painter. Once you can successfully depict form using tonal values, transitioning to color will be much easier, and your paintings will look more realistic and well-structured.
So, take your time, practice consistently, and enjoy the process of learning!
Portrait painting is a joyful dance of observation, technique, and patience. In this article, I’ll take you behind the scenes of my creative process, sharing tips and tricks that have brought so much life to my work. Whether you’re just starting your artistic journey or looking to take your skills to the next level, these insights will help you capture the heart and soul of your subject. Let’s create something beautiful together
1. Starting with the Basics: Simplifying Complex Forms
Every portrait begins with a blank canvas and a vision. To tackle the complexity of the human face, I start by breaking it down into simple shapes. For this portrait, I began by sketching the forehead as a triangle and the rest of the features as simple geometrical shapes. This approach helps establish proportions and placement before diving into details.
2. The Power of Squinting: Seeing Values and Shapes
Throughout the process, I squint my eyes—a habit I’ve developed to simplify what I see. Squinting helps me focus on values and shapes, stripping away unnecessary details. It’s a trick I highly recommend to students. By training your eye to see the big picture first, you can avoid getting lost in the minutiae.
3. The Classical Approach: Underpainting and Layering
One of my favorite techniques is underpainting with green. This classical method, often used by the Old Masters, creates a luminous base that adds depth to the final piece. As I layered the paint, I aimed for a museum-like quality—soft edges, rich tones, and a timeless feel.
For skin tones, I mixed burnt umber, cadmium red, and yellow, gradually building up the layers. The goal was to achieve a translucent effect, allowing the green undertones to subtly shine through. This technique requires patience and a keen eye for color harmony, but the results are worth it.
4. Refining the Details: Drawing and Painting Simultaneously
As I progressed, I switched between drawing and painting modes. Using a fine liner brush, I refined the features, paying close attention to the eyes, nose, and mouth. The key is to simplify what you see—focus on shapes and values rather than getting bogged down by details.
For the eyes, I used pure black for the pupils and added subtle highlights to create depth. The nose and mouth were shaped using simple forms, with careful attention to light and shadow. This step-by-step approach ensures accuracy and likeness.
5. The Importance of Softness: Blending and Transitions
Soft edges are crucial for achieving a lifelike appearance. I used a clean brush to blend the colors, creating smooth transitions between light and shadow. This step is especially important for areas like the cheeks and chin, where the skin should appear soft and natural.
I also paid close attention to the lightest highlights, placing them on the tip of the nose and the cheeks. These subtle touches added warmth and dimension to the face. Remember, portrait painting is about balance—knowing when to add detail and when to step back.
6. Final Touches: Adjusting Values and Perfecting Likeness
As I neared the end of the painting, I stepped back to assess the overall composition. Using Photoshop, I compared my painting to the reference photo, identifying areas that needed adjustment. Darkening the shadows and adding more light to the highlights helped refine the likeness.
The final touches included softening edges, adding subtle details to the eyes, and adjusting the background to complement the portrait. These small changes made a big difference, bringing the painting to life.
7. Lessons from the Studio: Patience and Practice
Portrait painting is a journey of patience and practice. It’s about embracing the process, learning from mistakes, and continually refining your skills. As I worked on this portrait, I was reminded of the importance of observation, technique, and perseverance.
To all the art students and portrait enthusiasts reading this, I encourage you to keep practicing. Experiment with techniques, learn from your mistakes, and never stop creating. Every brushstroke is a step forward in your artistic journey.
Viewer Questions and Answers
Throughout the painting session, I received several questions from viewers. Here are some of the most common ones, along with my answers:
Q: What kind of brushes do you use? A: I use synthetic brushes for most of my work. They’re durable, easy to clean, and work well with both oil and acrylic paints. For blending, I prefer softer brushes to create smooth transitions.
Q: Do you recommend using a grid for portraits? A: Absolutely! Grids are a great tool for ensuring accurate proportions, especially for beginners. They help break down the face into manageable sections and make it easier to capture the likeness.
Q: How do you clean your brushes when painting with oils? A: I use a combination of turpentine and linseed oil to clean my brushes. After wiping off excess paint, I dip the brushes in turpentine, then rinse them with soap and water. It’s important to keep your brushes clean to maintain their shape and longevity.
Q: What’s your opinion on glazing? A: Glazing is a fantastic technique for adding depth and richness to a painting. It involves applying thin, transparent layers of paint over dry layers. I often use glazes to enhance skin tones or create subtle color shifts. Just remember to let each layer dry completely before adding the next.
Q: How do you achieve realistic skin tones? A: Skin tones are all about layering and blending. I start with a neutral base color and gradually build up warmer and cooler tones. Pay attention to the light source and how it affects the shadows and highlights on the face.
Q: Do you recommend going to art school to learn painting? A: Art school can be a great way to learn, but it’s not the only path. Many artists are self-taught and learn through practice, online tutorials, and studying the work of others. The key is consistent practice and a willingness to learn from your mistakes.
Conclusion: Art as a Journey
Painting is more than just a skill; it’s a way of seeing the world. It’s about finding beauty in the ordinary, turning mistakes into opportunities, and sharing stories through your work. Whether you’re painting a portrait or exploring other subjects, remember that every piece you create is a reflection of your unique perspective.
Keep painting, keep learning, and most importantly, enjoy the process.
Have you ever noticed how kids press really hard when they draw or paint? They look so confident, as if they know exactly what they’re doing.
Adults, however, are different. Some apply too much pressure, while others barely touch the canvas, as if they’re afraid of making a mistake. The key to mastering brushstrokes is learning to control them, deciding when to apply force and when to go softer.
Mastering Brush Control
To create beautiful paintings, you must command your brushes with confidence. The pressure you apply affects everything—from glazing to blending—so developing control is essential.
This skill comes with practice, but I’ve found a few simple exercises that help my students improve quickly.
Step 1: Pencil Pressure Exercise
Before using brushes, start by practicing with a soft pencil (8B or 9B) or charcoal.
✅ Exercise: Create a smooth gradient from dark to light in one single stroke.
Press hard for dark values.
Release pressure gradually for lighter areas.
No repeated strokes! This forces your hand to control pressure in a single movement.
🔹 Do this daily for a week. It will help train your hand to control stroke intensity.
Step 2: Painting a Sphere
Next, apply the same pressure control with a brush and oil paint.
✅ Exercise: Paint a sphere. 1️⃣ First method:
Cover the whole sphere in black paint.
Add white in the light area and blend.
2️⃣ Second method:
Paint the dark and light areas separately.
Use a soft brush to blend the transition.
✅ Tools:
Use flat, smooth brushes for blending.
Keep a separate brush just for softening edges.
Finish with a fan brush for a super smooth effect.
🔹 Repeat this exercise several times to develop control over how much pressure you apply with your brushes.
Final Thoughts
By combining both exercises—pencil control and brush blending—you’ll gain better control over your strokes, pressure, and blending in no time.
🎨 With practice, you’ll be able to decide: ✔️ When to use bold, strong brushstrokes. ✔️ When to apply delicate, soft touches.
Mastering this skill will take your oil painting to a whole new level! 🚀
Mastering the Art of Brushwork: How Worn Brushes Can Elevate Your Painting
This article dives into the fascinating world of brushes, but with a twist—it’s not about the shiny, brand-new ones. Instead, it focuses on the hidden potential of well-used brushes and how they can become your secret weapon for creating stunning effects. While all types of brushes have their place, understanding how to harness the unique qualities of worn brushes can transform your artwork.
Why Understanding Your Materials Matters
Brushes are more than just tools—they’re extensions of an artist’s creativity. Over time, brushes develop their own personality. The bristles wear down, separate, and lose their original shape, but this isn’t a flaw—it’s an opportunity. These changes can unlock effects that new brushes simply can’t achieve.
For instance, I’ve discovered that a specific brand of brushes, after being used for a while, becomes perfect for painting hair. The slightly worn and separated bristles create soft, natural textures that mimic the flow and delicacy of real hair. This effect is nearly impossible to achieve with a stiff, brand-new brush.
The Magic of Worn Brushes
Once a brush reaches its “sweet spot”—that perfect level of wear—I set it aside for specific purposes. Here’s how I categorize my worn brushes:
Hair Painting: Perfect for creating soft, flowing strands with natural texture.
Soft Fading: Ideal for smooth transitions and gradients.
Texture and Porosity: Great for adding depth and realism to surfaces like skin or fabric.
Blending and Rubbing: Excellent for seamlessly merging colors and creating subtle transitions.
Special Effects: Reserved for unique techniques that require a distinct brush character.
By dedicating worn brushes to specific tasks, you can achieve a level of precision and artistry that new brushes often lack.
Experiment and Explore
The key to mastering this technique is experimentation. Try using your worn brushes on different subjects to see what effects you can create. Here are some ideas to get you started:
Portraits: Use worn brushes for soft skin textures, subtle blush, or delicate facial hair.
Hair: Achieve natural-looking strands and highlights with slightly frayed bristles.
Fabric and Clothing: Create realistic folds, wrinkles, and fabric textures.
Flowers: Add delicate petal details and soft gradients.
Shrubs and Foliage: Mimic the organic, irregular shapes of leaves and branches.
Knowing When to Let Go
Of course, not every brush can last forever. If a brush becomes too worn out, losing all structure and functionality, it’s time to retire it. But until then, cherish those well-loved brushes—they might just become your most valuable tools.
Final Thoughts
The next time you’re tempted to toss an old brush, think twice. That worn-out tool could be the key to unlocking a new level of artistry in your work. By understanding and embracing the unique characteristics of your brushes, you can create effects that are as unique as your creative vision. So, dig out those old brushes, experiment, and see where they take you—your next masterpiece might just depend on it!
Here Are Some of My Brushes and How I Use Them:
By getting to know your brushes and how they evolve over time, you can take full advantage of their unique characteristics to enhance your paintings. Happy painting! 🎨😊
Portrait painting is a delicate balance of observation, technique, and patience. In this article, I’ll walk you through my process of creating a portrait, sharing key insights and practical tips that can help art students and portrait enthusiasts refine their skills. Whether you’re just starting out or looking to improve, these lessons will guide you in capturing the essence of your subject.
1. Starting with the Basics: Simplifying Complex Forms
Every portrait begins with a blank canvas and a vision. To tackle the complexity of the human face, I start by breaking it down into simple shapes. For this portrait, I began by sketching the forehead as a triangle. This approach helps establish proportions and placement before diving into details.
When painting a baby, I pay close attention to unique facial proportions—eyes are lower, and the head is larger relative to the face. Measuring carefully and using my brush as a guide ensures the center line is balanced. These foundational details are crucial for creating a lifelike portrait.
2. The Power of Squinting: Seeing Values and Shapes
Throughout the process, I squint my eyes—a habit I’ve developed to simplify what I see. Squinting helps me focus on values and shapes, stripping away unnecessary details. It’s a trick I highly recommend to students. By training your eye to see the big picture first, you can avoid getting lost in the minutiae.
For example, when painting the baby’s face, I squinted to identify the lightest highlights and darkest shadows. This allowed me to create a sense of volume and roundness, essential for bringing the portrait to life.
3. The Classical Approach: Underpainting and Layering
One of my favorite techniques is underpainting with green. This classical method, often used by the Old Masters, creates a luminous base that adds depth to the final piece. As I layered the paint, I aimed for a museum-like quality—soft edges, rich tones, and a timeless feel.
For skin tones, I mixed burnt umber, cadmium red, and yellow, gradually building up the layers. The goal was to achieve a translucent effect, allowing the green undertones to subtly shine through. This technique requires patience and a keen eye for color harmony, but the results are worth it.
4. Refining the Details: Drawing and Painting Simultaneously
As I progressed, I switched between drawing and painting modes. Using a fine liner brush, I refined the features, paying close attention to the eyes, nose, and mouth. The key is to simplify what you see—focus on shapes and values rather than getting bogged down by details.
For the eyes, I used pure black for the pupils and added subtle highlights to create depth. The nose and mouth were shaped using simple forms, with careful attention to light and shadow. This step-by-step approach ensures accuracy and likeness.
5. The Importance of Softness: Blending and Transitions
Soft edges are crucial for achieving a lifelike appearance. I used a clean brush to blend the colors, creating smooth transitions between light and shadow. This step is especially important for areas like the cheeks and chin, where the skin should appear soft and natural.
I also paid close attention to the lightest highlights, placing them on the tip of the nose and the cheeks. These subtle touches added warmth and dimension to the face. Remember, portrait painting is about balance—knowing when to add detail and when to step back.
6. Final Touches: Adjusting Values and Perfecting Likeness
As I neared the end of the painting, I stepped back to assess the overall composition. Using Photoshop, I compared my painting to the reference photo, identifying areas that needed adjustment. Darkening the shadows and adding more light to the highlights helped refine the likeness.
The final touches included softening edges, adding subtle details to the eyes, and adjusting the background to complement the portrait. These small changes made a big difference, bringing the painting to life.
7. Lessons from the Studio: Patience and Practice
Portrait painting is a journey of patience and practice. It’s about embracing the process, learning from mistakes, and continually refining your skills. As I worked on this portrait, I was reminded of the importance of observation, technique, and perseverance.
To all the art students and portrait enthusiasts reading this, I encourage you to keep practicing. Experiment with techniques, learn from your mistakes, and never stop creating. Every brushstroke is a step forward in your artistic journey.
Conclusion: Art as a Journey
Painting is more than just a skill; it’s a way of seeing the world. It’s about finding beauty in the ordinary, turning mistakes into opportunities, and sharing stories through your work. Whether you’re painting a portrait or exploring other subjects, remember that every piece you create is a reflection of your unique perspective.
Keep painting, keep learning, and most importantly, enjoy the process.
When drawing a portrait, one of the most common challenges is maintaining proper alignment between the eyes, nose, and mouth. Many people tend to draw one eye higher than the other or place the nose off-center, which disrupts the natural structure of the face. An effective way to prevent this is by using an imaginary cross as a reference. The horizontal line should pass through both eyes, while the vertical line should run through the center of the nose, mouth, and chin. Keeping this cross in mind throughout the drawing process helps ensure correct proportions and symmetry, which are essential for capturing the structure of the face accurately.
Since these kinds of mistakes are common, it takes time and practice to develop the habit of consistently checking alignment. As I always say, theory should be like a whisper in our ears—gently guiding us at all times. Understanding the structure of the face is not just about memorizing proportions but also about observing how features interact with one another.
In the image, the red lines indicate the axes that must always be considered, while the colored dots mark areas of equal size. These visual guides are essential for maintaining balance and proportion in your portrait. For example, the distance between the eyes is typically equal to the width of one eye, and the space from the bottom of the nose to the mouth is often about one-third the length of the nose. These small but critical measurements are key to understanding the structure of the face and achieving a realistic likeness.
Another helpful technique is to divide the face into thirds: the hairline to the brow, the brow to the base of the nose, and the base of the nose to the chin. This “rule of thirds” can serve as a foundational guide for placing facial features accurately. Additionally, paying attention to the angles and curves of the face—such as the slope of the forehead, the curve of the jawline, and the shape of the cheekbones—can further enhance the realism of your portrait. These elements are all part of the structure of the face, and mastering them will help you create more lifelike drawings.
It’s also important to consider the overall tilt and perspective of the head. A common mistake is drawing the face as if it’s perfectly frontal, even when the head is slightly turned or tilted. Observing the direction of the head and adjusting the axes accordingly will help you capture the correct perspective. For instance, if the head is tilted to one side, the horizontal axis (eye line) will also tilt, and the vertical axis will curve slightly to follow the structure of the face. This attention to perspective is crucial for creating dynamic and realistic portraits.
Finally, don’t underestimate the power of observation. Study reference images or real-life subjects closely, noting the subtle variations in alignment and proportion that make each face unique. Over time, with consistent practice and attention to these details, you’ll develop a stronger intuition for portrait drawing. By focusing on the structure of the face, you’ll not only improve your technical skills but also gain a deeper appreciation for the complexity and beauty of human features.
Portrait painting is a journey of observation, technique, and storytelling. As an artist, I’ve spent years honing my craft, learning to capture the essence of a subject through brushstrokes and color. In this article, I’ll share insights from my process, practical tips for aspiring portrait painters, and a few personal stories that remind us why art is as much about the journey as it is about the final piece. Whether you’re an art student or a portrait enthusiast, I hope these lessons inspire you to pick up your brush and create.
Starting with the Basics: Simplifying Complex Forms
Every portrait begins with a blank canvas and a vision. For me, the key to tackling the complexity of the human face is to break it down into simple shapes. When I started the portrait of a baby featured in this session, I began by sketching the forehead as a triangle. This approach helps me establish proportions and placement before diving into details.
Babies, in particular, present unique challenges. Their facial proportions differ from adults—eyes are lower, and the head is larger relative to the face. To accurately capture these subtleties, I measured carefully, using my brush as a guide to ensure the center line was balanced. This attention to foundational details is crucial for creating a lifelike portrait.
The Classical Approach: Underpainting and Layering
One of my favorite techniques is underpainting with green. This classical method, often used by the Old Masters, creates a luminous base that adds depth to the final piece. As I layered the paint, I aimed for a museum-like quality—soft edges, rich tones, and a timeless feel.
For skin tones, I mixed burnt umber, cadmium red, and yellow, gradually building up the layers. The goal was to achieve a translucent effect, allowing the green undertones to subtly shine through. This technique requires patience and a keen eye for color harmony, but the results are worth it.
The Power of Squinting: Seeing Values and Shapes
Throughout the process, I found myself squinting—a habit I’ve developed to simplify what I see. Squinting helps me focus on values and shapes, stripping away unnecessary details. It’s a trick I highly recommend to students. By training your eye to see the big picture first, you can avoid getting lost in the minutiae.
For example, when painting the baby’s face, I squinted to identify the lightest highlights and darkest shadows. This allowed me to create a sense of volume and roundness, essential for bringing the portrait to life.
A Lesson from New York: Taking Risks and Embracing Challenges
A Story from New York: The Art Gallery and the False Name
As the painting began to take shape, I found myself reminiscing about my time in New York. It was 17 years ago, and I had just arrived in the city, wide-eyed and full of dreams. My English was shaky, but my passion for art was unwavering. One day, while on my way to the Metropolitan Museum, I stumbled upon two painters in the subway. They were speaking Spanish, and I felt an instant connection. We struck up a conversation, and they invited me to join them at an art gallery in Manhattan.
The gallery was unlike anything I had ever seen. It was more like a store, filled with paintings from floor to ceiling. The owner, a woman from China, handed me a canvas with a poster in the middle and instructed me to paint the borders. It was a strange request, but I didn’t question it. I painted diligently, blending the colors to match the image. By the end of the day, I had completed three paintings. The woman offered me a job on the spot, paying $8 an hour. I accepted, but there was one problem—I had given her a false name.
For two months, I worked at the gallery under my assumed name. Every Friday, the painters would gather at a local bar to unwind. It was there that I met some of the most incredible people I’ve ever known. They were from all over the world—Russia, China, Latin America—and we bonded over our shared love of art. One of them told me, “In this city, we have to help each other.” Those words stayed with me, a reminder of the kindness and camaraderie I found in New York.
But my time at the gallery wasn’t without its challenges. On my first payday, I realized I couldn’t cash my check because it was made out to the false name I had given. Panicked, I confided in one of my coworkers. He assured me it wouldn’t be a problem, and sure enough, the bank cashed the check without question. It was a small victory, but it taught me an important lesson: sometimes, you have to take risks to pursue your dreams.
The Importance of Softness: Blending and Transitions
Back in the studio, I focused on refining the portrait. The baby’s face was almost complete, but the shadows felt too harsh. I softened the edges, blending the colors to create a more natural, translucent effect. This step is crucial for achieving a lifelike appearance.
I also paid close attention to the lightest highlights, placing them on the tip of the nose and the cheeks. These subtle touches added warmth and dimension to the face. Remember, portrait painting is about balance—knowing when to add detail and when to step back.
Final Thoughts: Art as a Journey
As I signed the finished portrait, I reflected on the journey that brought me here. Painting is more than just a skill; it’s a way of seeing the world. It’s about finding beauty in the ordinary, turning mistakes into opportunities, and sharing stories through your work.
To all the art students and portrait enthusiasts reading this, I encourage you to embrace the process. Experiment with techniques, learn from your mistakes, and never stop creating. And most importantly, remember that every brushstroke is a step forward in your artistic journey.
Hi everyone! I’m Renso, and in this article, I want to take you through my detailed process of creating an Portrait Painting during one of my live painting sessions. Whether you’re a beginner or an experienced artist, I hope you’ll find valuable tips, techniques, and inspiration here. Portrait painting is a deeply rewarding art form, but it can also be challenging. By breaking down my process into manageable steps, I aim to make it more accessible and enjoyable for everyone. Let’s dive into the steps I follow to bring a portrait to life, along with the lessons I’ve learned along the way.
1. Preparing My Materials
Before I even touch the canvas, I make sure I have all the right tools ready. For this session, I used:
Brushes: A mix of bristle brushes for bold, expressive strokes and soft synthetic brushes for finer details.
Paints: My palette included titanium white, Naples yellow, cadmium orange, cadmium red, alizarin crimson, raw umber, and cobalt blue. These colors give me a wide range of tones to work with.
Canvas: I chose a 9×9-inch canvas, which is a great size for a detailed yet manageable portrait.
Mediums: I used linseed oil to thin the paint and improve its flow, especially when working on larger areas like the background.
I also like to use different brands of paint depending on the area I’m working on. For example, I use the more affordable Winton paints for larger areas like the background or hair, while I save my Rembrandt paints for finer details and highlights. This helps me manage costs without compromising on quality.
2. Starting with a Sketch
The first step in my process is to lightly sketch the basic shapes of the portrait. I use raw umber and a larger brush to outline the face, focusing on proportions and placement. I often rely on the Loomis method, which breaks down the face into simple measurements:
The distance from the eyebrow to the nose is repeated to place the chin.
The eyes are positioned on a line dividing the face into thirds.
The mouth is placed halfway between the nose and chin.
This method helps me ensure accuracy and provides a solid foundation for the painting. I don’t worry about perfection at this stage—it’s more about getting the basic structure right.
3. Blocking in Shadows and Background
Once the sketch is complete, I move on to blocking in the darkest areas, such as the hair and shadows. I use raw umber and black to create a dark base, which helps establish the values (light and dark areas) of the Portrait Painting.
I always advise squinting your eyes to simplify the shapes and focus on the overall composition. This technique helps me identify the major light and shadow areas without getting bogged down in details. It’s amazing how much this simple trick can improve your understanding of the subject.
4. Building Up the Mid-Tones and Highlights
With the shadows in place, I start adding mid-tones and highlights. I mix Naples yellow, cadmium orange, and white to create a warm, glowing light on the face. I apply thicker paint for the highlights, making them stand out against the darker background.
I also introduce color harmony by using complementary colors. For example, I contrast the warm orange highlights with cool blue shadows, creating a dynamic and visually appealing effect. This interplay of warm and cool tones adds depth and interest to the painting.
5. Refining the Features
As the painting progresses, I focus on refining the facial features. I use a smaller brush to add details like the eyes, nose, and mouth. I emphasize the importance of softening edges to create depth and realism. For instance, I soften the edges around the cheeks and jawline to make the face appear more three-dimensional.
I also pay close attention to the reflected light, adding touches of blue and green to the shadows to enhance the overall color harmony. This technique helps create a more lifelike and vibrant portrait.
6. Adding Texture and Final Touches
To add texture and depth, I use a palette knife for areas like the hair and clothing. I also use a dry brush technique to create scratchy, textured effects for details like tree bark or grass.
For the final touches, I add small details like eyelashes, highlights on the lips, and subtle color accents. I always step back frequently to assess the overall composition and make any necessary adjustments. This helps me ensure that the painting looks balanced and complete.
7. Knowing When to Stop
One of the most important lessons I’ve learned is knowing when to stop. Overworking a painting can lead to muddy colors and lost details. I always remind myself to step back and evaluate the painting from a distance. If it looks balanced and complete, I know it’s time to put the brush down.
8. Lessons Learned and Tips for Beginners
Throughout my years of painting, I’ve picked up several tips and tricks that I’d like to share:
Practice Regularly: The more you paint, the more comfortable you’ll become with the process.
Don’t Fear Mistakes: Every mistake is an opportunity to learn and improve.
Experiment with Techniques: Try different brushstrokes, color combinations, and styles to find what works best for you.
Seek Feedback: Share your work with others and ask for constructive criticism. This can provide new perspectives and help you grow as an artist.
9. Common Challenges and How to Overcome Them
Portrait painting comes with its own set of challenges. Here are a few common ones and how I address them:
Getting the Likeness Right: Capturing the likeness of a person can be tricky. I focus on the basic proportions and features first, then refine the details as I go.
Avoiding Muddy Colors: To avoid muddy colors, I clean my brushes thoroughly before switching colors and avoid over-blending.
Creating Depth: I use a combination of values, colors, and edges to create depth. Softening edges in the background and sharpening them in the foreground can make a big difference.
10. The Importance of Color Harmony
Color harmony is crucial in creating a cohesive and visually appealing painting. I often use complementary colors to create contrast and interest. For example, pairing warm orange highlights with cool blue shadows can make the painting pop.
I also pay attention to the saturation of colors. While it’s tempting to use bright, saturated colors everywhere, I find that balancing them with more muted tones creates a more harmonious composition.
11. The Role of Light and Shadow
Light and shadow play a key role in defining the form and volume of the subject. I always start by identifying the light source and how it affects the subject. This helps me determine where the highlights and shadows should be.
I also use reflected light to add depth and realism. For example, if the light is warm and orangey, the reflected light will often have a similar tone. However, I sometimes introduce cool colors like blue or green to create contrast and add interest.
12. The Final Stages: Adding Details and Refining
As I near the end of the painting, I focus on adding the final details and refining the overall composition. This includes adding highlights, adjusting colors, and softening or sharpening edges as needed.
I also take the time to step back and assess the painting from a distance. This helps me see the overall composition and make any final adjustments.
13. Conclusion
A Portrait Painting is a journey, and every piece teaches me something new. Whether you’re just starting out or have been painting for years, I encourage you to keep experimenting and pushing your boundaries. Remember, the key is to enjoy the process and let your creativity flow.
Here are some questions from viewers during Renso’s live painting session, along with his answers, which provide valuable insights for beginners and aspiring artists:
1. Viewer: “When do you use linseed oil in your painting?”
“I usually don’t use linseed oil that much, but for today’s painting, I used it because I was planning to change the colors. If I’m not sure about the color harmony, I start with very little paint and then add thicker paint later. I also use linseed oil when painting larger areas, like the background, to help the paint flow better.”
2. Viewer: “How do you avoid overworking your painting?”
“Overworking happens when you spend too much time blending or adding too many details. I recommend working on the entire painting in stages and stepping back frequently to assess the overall composition. Knowing when to stop is key—sometimes less is more.”
3. Viewer: “What are some bad habits to avoid as a beginner?”
“One bad habit is over-blending or adding too many sharp edges everywhere. It’s important to balance soft and sharp edges to create depth. Another habit is not cleaning your brushes properly, which can muddy your colors. Always clean your brush before picking up a new color.”
4. Viewer: “How do you paint realistic eyes?”
“I start by sketching the basic shape of the eyes and then add details like the iris, pupil, and highlights. I use a small round brush for precision and soften the edges around the eyes to create a natural look. Observing the reference photo closely is crucial for accuracy.”
5. Viewer: “How do you create a warm light effect?”
“To create a warm light effect, I use warm colors like cadmium orange and Naples yellow for the highlights. I then contrast this with cooler colors like blue or green in the shadows to enhance the warmth of the light.”
6. Viewer: “What is the Lumis method for drawing faces?”
“The Loomis method is a technique for drawing faces by breaking them into simple shapes and proportions. For example, you measure the distance from the eyebrow to the nose and repeat that measurement to place the chin. The eyes are placed on a line dividing the face into thirds, and the mouth is placed halfway between the nose and chin.”
7. Viewer: “How do you fix mistakes in your painting?”
“Don’t be afraid of mistakes. If you make a mistake, let the paint dry and then paint over it. I also recommend using thicker paint to cover errors and adjusting values or colors as needed. Sometimes, mistakes can lead to happy accidents!”
8. Viewer: “How do you paint realistic hair?”
“I start by blocking in the darkest areas of the hair with raw umber and black. Then, I add highlights with warmer colors like orange or yellow, using quick, directional brushstrokes to mimic the flow of hair. It’s all about creating texture and movement.”
9. Viewer: “How do you create contrast in your painting?”
“I create contrast by using complementary colors (like orange and blue) and ensuring there’s a clear difference between light and dark values. I also add small accents of bright color (like red or green) to make certain areas pop.”
10. Viewer: “How do you paint a glowing effect?”
“To create a glowing effect, I use warm, bright colors like cadmium yellow and white for the highlights. I contrast this with darker, cooler colors in the shadows to make the light areas appear even brighter.”
11. Viewer: “How do you mix colors for skin tones?”
“I mix Naples yellow, cadmium orange, and white for warm highlights on the face. For shadows, I use raw umber and alizarin crimson. I also add touches of blue or green in the shadows to create contrast and harmony with the warm highlights.”
12. Viewer: “How do you paint a dark background?”
“I mix raw umber and cobalt blue to create a dark background. I apply the paint thinly at first and then build up the layers to create depth. Darkening the background further helps the subject (like a face or flower) stand out.”
13. Viewer: “How do you add texture to your painting?”
“I use a palette knife to add texture, especially in areas like hair or clothing. I also use a dry brush technique to create scratchy, textured effects for details like tree bark or grass.”
14. Viewer: “How do you avoid muddy colors?”
“To avoid muddy colors, clean your brush thoroughly before picking up a new color. Also, avoid over-blending—sometimes it’s better to leave colors slightly separate to maintain their vibrancy.”
15. Viewer: “How do you know when a Portrait Painting is finished?”
“It’s finished when you feel like adding more might ruin it. I often step back and assess the painting from a distance. If it looks balanced and complete, I stop. Sometimes, less is more.”
Conclusion
A Portrait Painting doesn’t have to be complicated. By breaking the process into simple steps and focusing on basic techniques, you can create beautiful artwork even as a beginner. Remember, the key is to enjoy the process and keep practicing.
So grab your brushes, pick up your palette, and start painting! Whether it’s a portrait, landscape, or abstract piece, the possibilities are endless. Happy painting! 🎨
