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Oil Painting Supports, Choosing the Right Support

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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.

Hatching and Cross-Hatching with Ink: A Guide for Artists

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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.

The Role of Composition in Portrait Painting

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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 detailed Backgrounds

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.

Over-Detailing Too Soon (Inability to See Large Planes)

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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.

Why Painting on a Toned Canvas Can Transform Your Art

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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!

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Why Good Values Let You Use Any Color Harmony in Portraits

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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!

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The Art of Simplification & the Planes of the Face

A step-by-step approach to building portraits with structure, clarity, and light

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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.

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limited palettes for Portraits

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1.Temperature Palette (White, burnt sienna, Ultramarine blue)

This three-color palette is a powerful tool for portrait painters who want to simplify their choices and focus on the essentials—temperature, value, and form. Burnt Sienna brings warm, reddish-brown tones that resemble the warmth found in skin, while Ultramarine Blue adds depth and coolness, perfect for shadows and cooler areas like the jawline or under the nose. Titanium White (or your preferred white) is used to control value, create highlights, and desaturate mixtures for subtle skin tone variations.

Although it’s a limited palette, it allows for a surprising range of flesh tones by simply adjusting the balance between the warm and cool components. This palette also encourages a more unified and harmonious look, since all the tones come from just three sources. It’s especially useful for understanding how temperature shifts across the face and how to model form with minimal distraction from strong, saturated colors.

Ideal for studies, master copies, or expressive finished works, this palette helps artists focus on painting light and structure—key elements in creating lifelike and compelling portraits.

2. Zorn Palette (Black, White, Cad Red, Yellow Ochre)

Named after the Swedish painter Anders Zorn, this classic limited palette is a favorite among portrait artists for its simplicity and effectiveness. It includes just four colors: White for light and value control, Black (often Ivory Black) used as a cool blue substitute, Yellow Ochre for earthy warmth, and Cadmium Red for vibrant skin tones and blushes.

Despite its limitations, the Zorn Palette offers a remarkably broad range of naturalistic skin tones. The interaction between the warm Cad Red and Yellow Ochre, balanced by the coolness of Black, creates a subtle but powerful temperature contrast across the face. The palette avoids the distraction of intense color variety and instead emphasizes value, temperature, and edge control—essential aspects of strong portrait painting.

Zorn used this palette to paint luminous, lifelike portraits with a muted harmony and great emotional depth. For modern artists, it’s an excellent way to learn how to achieve more with less, making it perfect for both beginners seeking clarity and advanced painters focusing on refinement.

Using a limited palette (a small selection of colors) in art, design, or photography offers several advantages:

1. Enhanced Harmony & Cohesion

Fewer colors naturally create a more unified look.
Reduces visual clutter, making the composition feel balanced.

2. Stronger Visual Impact

Limiting colors forces you to focus on contrast, value, and composition.
Bold, intentional color choices stand out more.

3. Easier Color Mixing & Consistency

Fewer pigments simplify mixing (in traditional art).
Digital artists can maintain consistency across different elements.

4. Faster Decision-Making

Fewer choices speed up the workflow, reducing time spent on color selection.

5. Better Focus on Values (Light & Shadow)

With fewer hues, artists rely more on value contrast, improving depth and readability.

6. Emotional & Thematic Control

A restricted palette can evoke specific moods (e.g., monochromatic for minimalism, earthy tones for warmth).

7. Professional & Timeless Aesthetic

Many classic artworks and designs use limited palettes for elegance.
Avoids trendy or overwhelming color schemes.

8. Accessibility & Print-Friendly

Simplifies color management in printing (fewer inks).
Can improve readability for color-blind viewers.

9. Encourages Creativity Within Constraints

Forces problem-solving with fewer resources, leading to more innovative solutions.

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From Flat Shapes to Form: Building a Portrait Step by Step

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It took me a lot of time to understand that I did not needto paint details, I always expend a lot of time painting the eyes aoutlinining the eyelids, the result a cartonish portrait, but that did not stop to try again and again, and the result was worseI heard my teaches saying so many times, less is more but I did not get it it did not make sense for me, how less details would be more on a portrait.

I learnd more from my friends from the ones that listening the teachers and apply this rule less is more, I rem,ember specially ne of my friends, how his portraits looks so natural from a distance, so real and when I got closer to analize details, there was not details, from that day I understood that should see a painting a s a awhole a unity, not agroup of detailed eyes , nose and mouth is was another story try to get that degree of simplifications and softness, I ceated a bad habit trying to copy every single thing now I had to change this habit and everything started with big shapes, ignoring small parts, ignoring otulining the the eyes and more.

When painting a face, it’s tempting to chase the details too early—eyes, lips, little highlights. But the secret to a strong, lifelike portrait lies in how you begin. Starting with flat shapes and blocking in major values creates clarity, structure, and momentum. Only later do we move into form, blending, and more refined color. This step-by-step approach doesn’t just make portraits easier—it makes them better.

1. Why Flat Shapes First?

Blocking in the face with flat shapes is like setting the stage before the actors arrive. You’re laying down the big ideas: where the light falls, where the shadows sit, and how the head is turned in space.

Flat shapes help simplify what can feel overwhelming. Instead of trying to paint a “nose,” you paint a dark triangle. Instead of painting an “eye socket,” you drop in a midtone mass. These shapes establish a visual map. They remove the emotional pressure to get things “just right” too soon—and allow you to see your painting as a whole.

2. Keeping Values Clean and Simple

At this stage, you’re not blending. You’re being bold and decisive. Think of it like cutting pieces of colored paper to build a collage. The forehead might be one tone. The cheek, a slightly darker one. The shadow under the nose? A solid, deep value. The fewer the value shapes, the better. This keeps the painting readable, even from across the room.

This is also the best time to adjust proportions. It’s much easier to shift a big shape than to fix a fully rendered eye that’s half an inch too low.

3. Transitioning Into Form

Once your flat shapes are in place and you feel confident in the structure, you can begin to blend. Now is when you shift gears—from graphic design to sculpture. You smooth the transitions between values to suggest roundness. You start seeing the cheekbone turn, the forehead curve, the nose project, for this part you need anatomy knowledge and know how to render primary forms (sphere)

This is where form begins to emerge. Suddenly, that flat color patch becomes a face with dimension.

4. Introducing Subtle Color Variations

As you move into the blending and modeling phase, you can also introduce more color. Early on, you may have blocked in a simplified, warm tone for the light areas and a cooler tone for the shadows. Now, you can start letting small shifts in hue breathe life into the skin. Maybe the cheeks lean pink. The forehead picks up a golden note. The jaw cools into greenish tones.

Don’t think of these as decoration—they’re part of how form is communicated. The way skin catches light depends on temperature, not just value.

5. Patience, Rhythm, and Control

By separating the painting into phases—flat shapes first, blending second—you give yourself control. You also give your eye time to understand the face. You’re not rushing. You’re building.

This method gives your painting a rhythm. Each phase has a purpose. Each decision builds on the last.

Final Thoughts

Painting a face isn’t about chasing realism immediately. It’s about building structure first, then letting it evolve. Blocking in with flat shapes gives you clarity. Blending into form gives you life. And adding subtle color brings soul.

Whether you’re working in oil, acrylic, or digital media, this process—flat to form—is a timeless way to paint portraits with confidence and character.

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Why Painting from a Black-and-White Reference is a Powerful Exercise for Artists

Struggling with your portraits? You might find my E-book helpful. Click here

I painted most of the time from color photos or a live model. But as a teacher, I started to think: what would be the best way to remove the idea that color is more important than values? How could students better understand how light behaves and creates form?

This reflection came from listening to many beginners who came to my classes and were always asking how to match colors. That was all they cared about. The truth is, if you match colors correctly, you’re also matching values — but doing both at the same time is very difficult.

That’s why many teachers separate value from color. When students focus on values first, they start to see real improvement. And once they’ve mastered that, they become much better at mixing color too.

Working from a black-and-white (B&W) reference is a highly effective exercise that strengthens an artist’s ability to perceive and replicate values, improves observational skills, and builds a solid foundation for more advanced techniques.

Link to full video: https://www.youtube.com/live/9QXBP0SYxS8

1. Mastering Values: The Backbone of Realism

Values—the spectrum of lightness and darkness in an image—are fundamental to creating the illusion of depth and three-dimensionality. When painting from a B&W reference, you eliminate the distraction of color, forcing yourself to focus solely on tonal relationships. This helps you:

Distinguish subtle shifts in contrast that define form.
Avoid over-relying on color to create depth (a common mistake among beginners).
Develop a stronger sense of light logic—how highlights, midtones, and shadows interact.

Many great classical artists, such as Rembrandt and Caravaggio, used strong value structures to achieve dramatic realism. By practicing in grayscale, you train your eye to see like they did.

Link to full video: https://www.youtube.com/live/Jt0QoDY9SSY

2. Simplifying Composition and Form

Color can sometimes obscure the underlying structure of a subject. A B&W reference strips away hues, making it easier to analyze:

Shapes and Silhouettes – Without color, you see the purest form of an object’s outline.
Focal Points – High-contrast areas naturally draw the eye, helping you understand visual hierarchy.
Edges and Transitions – Soft vs. hard edges become more apparent, improving your rendering techniques.

This simplification is especially useful for portrait artists, as facial features rely heavily on accurate value transitions rather than just skin tones.

Link to full video: https://www.youtube.com/live/uz4toKd09MM

3. Enhancing Color Application Later

Once you’ve trained your eye to see values correctly, adding color becomes much more intuitive. Many artists struggle with muddy or flat paintings because they haven’t established a strong value structure first. By practicing in black and white:

You learn how colors behave in terms of lightness/darkness (e.g., yellow is naturally lighter than purple).
Mixing colors becomes easier because you understand their value relationships.
You avoid the pitfall of relying on hue shifts instead of value contrast for dimension.

Digital artists, in particular, can benefit from starting a painting in grayscale before adding color layers—a technique known as “value blocking.”

4. Improving Observational Skills

Since our brains are wired to prioritize color, removing it forces you to look more carefully at:

Subtle gradients (e.g., how a shadow transitions smoothly into a midtone).
Texture and detail (e.g., how different materials reflect light differently, even in B&W).
Negative space (e.g., how the background interacts with the subject).

This heightened observation translates into all areas of art, from still life to landscapes.

Link to full video: https://youtube.com/live/08iolV2ZcYw

5. Versatility Across Mediums and Styles

Whether you work in oils, watercolor, charcoal, or digital art, value studies are universally applicable. Even abstract and stylized artists benefit from understanding core value relationships. Additionally:

Traditional artists can use B&W studies as underpaintings (grisaille technique).
Concept artists use grayscale thumbnails to quickly establish lighting and composition.
Animators and illustrators rely on clear value separation for readability.

How to Practice Effectively

To get the most out of this exercise:

Start with high-contrast references (e.g., chiaroscuro lighting) before moving to subtle gradations.
Limit your palette—try using just black, white, and one or two grays to force decision-making.
Compare your work to the reference by squinting or flipping the image upside down to spot errors.
Transition to color gradually—apply what you’ve learned by glazing color over a monochrome base.

Conclusion

Painting from black-and-white references is one of the most effective ways to sharpen your artistic eye. It builds a critical foundation in value control, composition, and form—skills that directly improve your ability to work with color later. Incorporating grayscale studies into your practice will lead to more confident, dynamic, and realistic artwork.

So next time you pick up a brush or stylus, try starting in black and white—you might be surprised at how much it improves your art!

Painting Tips / E-Book

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Portrait Painting Tips / E-Book

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