Recently, I was browsing a couple of my favorite YouTube channels, and a fellow portrait painter that I look up to, Mark Carder, mentioned this amazing free resource for artists on his vlog.
I checked it out and was excited.
I’m not sure if you live near an art museum or gallery, but in my opinion, nothing fuels inspiration more for realistic portrait painting than studying the works of the masters–like Rembrandt, Caravaggio, or Sargent. Seeing how they composed their paintings, chose their colors, applied their brushstrokes can encourage you to go higher with your own realistic painting skills. But most of us, even if we do have access to the museum, don’t have time to take the trip.
However, you can virtually take a trip to the museum with this free collection of high-resolution art images online.
I’ll tell you about it (and show it to you) in this video…
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
Just prior to Christmas, I finished this portrait of a local engineer.
Creating a realistic acrylic portrait can be a rewarding experience, especially when utilizing the glazing technique. This method involves layering transparent paints to build depth and luminosity in your artwork. In this tutorial, a step-by-step guide is provided to help artists of all levels achieve impressive results in an 8 x 10 portrait.
Understanding the Glazing Technique
The glazing technique is foundational in creating depth and realism in acrylic painting. It is characterized by the application of thin, transparent layers of color, allowing the underlying layers to shine through. This method is often compared to photography, where an image starts light and gradually gains depth.
Materials Required
Before beginning, ensure that the following materials are prepared:
Acrylic paints: Ultramarine blue, brownish tone (raw umber or dark), and skin tones
Clear acrylic matte medium
Brushes: Small round brushes, flat brushes, and a small detail brush
Palette for mixing colors
Canvas (8 x 10 inches recommended)
Water for rinsing brushes
Step-by-Step Process
Step 1: Preparing the Background
To commence, a light glaze is applied to the background using clear acrylic matte medium. This initial layer serves as a foundation for subsequent colors and adds a soft, ethereal quality to the painting.
Step 2: Adding Foreground Details
Once the background is set, the first layer of details can be added. Ultramarine blue is used to paint the hat, while the brownish tone is applied to create depth in the background. Care is taken to let these layers dry before continuing with additional details.
Step 3: Building Up Layers
The glazing technique thrives on layering. After the initial foreground details have dried, the focus shifts to the face and scarf. By layering thin glazes, the desired colors are built up gradually, allowing the light to penetrate through the layers.
Tip: Work from foreground to background to maintain focus on the subject. This approach helps keep details sharp and defined.
Step 4: Detailing the Features
Attention is drawn to the finer details in the face, such as the eyes and lips. Using various skin tones, nuances are added to create dimension. This is achieved by carefully layering pinkish tones on the cheeks and around the eyes, emphasizing features like eyebrows and the mustache with darker shades.
Technique: When applying glazes, it is essential to work thinly. The use of a clear acrylic medium mixed with paint ensures translucency, allowing for subtle color variations.
Step 5: Refining and Smoothing
As the painting progresses, the need to refine details becomes evident. Skip around the canvas, working on different sections to ensure balance and harmony in the overall composition. Smoothing out areas with a gentle hand helps in creating a realistic appearance.
Tip: Varying brush sizes and techniques can significantly enhance texture. Larger brushes are suitable for broader areas, while smaller brushes are ideal for intricate details.
Step 6: Enhancing Realism
To achieve a realistic finish, darker tones are added under the chin and in shadowed areas, enhancing the sense of depth. Highlights are strategically placed to simulate the effect of light on the face and clothing.
Technique: As the final layers are applied, incorporating more opaque white paint helps achieve smoother transitions between colors.
Step 7: Final Touches
At the later stages of the painting, I continue to add details and shading. Varying line thickness and texture are key components to realism. Then moves back and forth between different areas of the portrait, ensuring that the final touches are cohesive and enhance the overall image.
Step 8: Signing the Artwork
After all the details have been finalized, the painting is signed. This not only signifies the completion of the work but also adds a personal touch to the artwork.
Conclusion
This step-by-step guide on painting a realistic acrylic portrait using the glazing technique showcases how layered approaches can bring an image to life. By utilizing transparency and careful detailing, you can create stunning, lifelike portraits that capture the essence of their subjects.
Whether you are an experienced artist or just starting, mastering the glazing technique will enhance your acrylic painting skills.
Additional Tips and Techniques
Experiment with Colors: Don’t hesitate to mix different colors to achieve unique skin tones and shades.
Practice Patience: Building up layers takes time, but the results are worth the effort.
Use Reference Images: Having a clear reference will guide your color choices and proportions, making the process smoother.
By following these steps, you can enhance your painting techniques and create stunning, realistic portraits. Embrace the glazing method and enjoy the process of bringing your artistic visions to life!
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
It is my privilege every week to judge entries for the Realistic Acrylic Portrait School Facebook Contest.
The best 5-6 images get chosen to be included on the Header Image of our 6,000+ member group. But why do I choose the portraits that make it to the top?
In this brief video, I’ll go over the reasons why I awarded these portraits the prizes they received. I also discuss what could be done to improve them.
You can learn from these tips on what makes for a good portrait and how to improve your own.
Also, if you aren’t currently a member of the Realistic Acrylic Portrait School Facebook group (it’s free to join), you should be! Here’s why…
Get help on your portrait from myself and fellow artists when you feel stuck.
Share your artwork with others and get inspired to paint more, by seeing what your fellow artists are doing.
Enter a portrait into the weekly contest, get your work featured, and win a prize!
See you inside the group! Let me know how these tips help, and of course, if you have any questions.
Yours for better portraits,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
A step-by-step guide to safely transporting your large portrait painting
Shipping large painting in a tube can often present unique challenges, especially when it comes to ensuring their safe arrival. Many artists find themselves questioning the best methods to transport their artwork without incurring high shipping costs. This guide will explore how to efficiently ship a large painting in a tube, offering tips and techniques for artists and art enthusiasts alike.
Logistics just isn’t my thing.
Nevertheless, when I finished this 48″ x 72″ portrait, for a client from Brunei (about as far as you can get from Wisconsin!) I knew the shipping could cost a pretty penny.
Acrylic portrait artist Matt Philleo posing in front of a 48″ x 72″ commission painting for a client in Brunei
After calling several shipping companies, the cost was going to be in the thousands! Finally, after a lot of back-and-forth, my client suggested that I remove the painting off the stretcher frame and ship it. I have to admit, I never did this before. I have stretched a rolled canvas for someone, so I figured it was basically the same thing, but in reverse!
Understanding the Challenges of Shipping Large Paintings
Shipping oversized artwork can be daunting. Many artists face exorbitant shipping fees when opting for traditional crating methods. In one instance, shipping quotes for a 48 by 72-inch painting reached the $2,000 to $3,000 range. However, there is a more cost-effective and efficient alternative shipping the painting rolled up in a tube.
Step-by-Step Guide to Shipping a Large Painting in a Tube
1. Prepare Your Canvas
The first step in this process involves carefully removing the canvas from the stretcher bars. The canvas is turned over and placed on a drafting table, ensuring ample workspace. Using a flat-head screwdriver, the screws holding the canvas in place are gently pried out. It is essential to avoid tearing the canvas during this step. This is done by scoring the edges of the canvas with an X-Acto blade, allowing for a careful separation.
Tip: Always start from the corners when removing the canvas. This method mimics the way you would stretch a canvas, ensuring the integrity of the artwork is maintained.
2. Roll the Canvas
Once the canvas is detached, a smaller tube with a diameter of around four inches is chosen to provide rigidity during transport. The canvas is rolled slowly and carefully, ensuring it remains straight throughout the process. A thin piece of plastic can be placed between the canvas and the tube to prevent paint from sticking to itself.
Tip: Rolling the canvas in a protective piece of fabric can add an extra layer of protection against dents or creases during shipping.
3. Secure the Canvas
After rolling, the canvas should be covered with craft paper and securely taped at both ends. The rolled canvas can then be placed inside the tube, which should fit snugly. Bubble wrap can be added for extra cushioning, preventing any movement within the tube during transport.
4. Cap the Ends
To ensure the canvas remains secure during shipping, homemade caps can be created for the ends of the tube. These caps can be fashioned from old paint containers, which can be cut and drilled for string ties. This design not only holds the canvas in place but also allows for easy removal upon arrival.
5. Protect Against Moisture
Applying a layer of varnish to the outside of the tube can provide additional protection against moisture during shipping. This added layer of protection can be crucial, especially when shipping to locations with varying climates.
6. Tape Everything Securely
Once the caps are in place, a cardboard cap can be added to the tube. This cap can be made from corrugated cardboard and attached with packaging tape. It is important to ensure that everything is anchored down securely. Several layers of tape can be wrapped around the tube, providing a solid structure for the shipping process.
Tip: It is often better to use more tape than necessary when securing the package, as it will minimize the risk of any damage during transport.
7. Final Checks
Before heading to the shipping facility, hold up the tube to ensure that nothing is rattling inside. A tight fit will help guarantee that the artwork arrives safely at its destination.
Conclusion
The process of shipping a large painting does not need to be an overwhelming task. By following these steps, artists can save on shipping costs while ensuring their artwork arrives in pristine condition. The experience of successfully shipping a large painting in a tube offers peace of mind, knowing that careful preparation can lead to a successful delivery.
Tips for Successful Shipping:
Use Quality Materials: Always choose sturdy tubes and protective materials to ensure safety.
Choose the Right Shipping Service: Research and select a reliable shipping service with experience in handling artwork.
Label Clearly: Include clear labeling on your package to avoid confusion during trans
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
Unlocking the secrets to depth and color in acrylic painting
Acrylic painting offers artists a versatile medium, allowing for various techniques to create depth, shading, and vibrant colors. Among these techniques, the glazing method stands out for its ability to build up layers of color, enhancing the painting’s visual complexity. In this blog post, we will delve into how to do layers with the glazing technique, exploring color selection, layering strategies, and tips to achieve a professional finish.
I have a student named Holly, who has just started painting portraits in acrylic. She is currently working on one of her brother, and she was unsure of how to continue after beginning the glazing process. With her permission, I’m going to share her portrait with you. We all know what it feels like to get stuck during painting, especially when starting out…
Here’s her questions…
Hi Matt,
Thank you for your advice and the progress photos you sent of your artwork. That really helped. I’ve watched a lot of the student videos and I’m trying to apply everything to my painting. I feel like it looks kind of terrible so far so maybe I’m not doing it right. I’m worried about painting any more shadow in on his face because it looks bad – especially his eyes. I definitely feel like I don’t know what I’m doing. Haha. I don’t know what to do about his hair or face. And the white shirt with the dark creases. And the brass jacket buttons. I’m following your list of paint colors to use for the skin tones off of your skin tone video and that is very helpful. But I just feel kind of lost as to the layering process. For instance, for the face, I don’t know how many layers of shadows I’m supposed to do before I move onto layers of midtones. And how many layers of midtones do I do before I move onto highlights? And when I’m painting the midtones, do I paint over the shadow areas as well? Or only paint on the midtone areas?
Thank you so much for your help!
Holly
Here is my answer to her questions, in a video format. I used Photoshop to show her digitally, how she would paint with an actual paintbrush. My goal was to create a roadmap she could follow to ease the confusion in the painting process and gain confidence for what to do next.
What is Glazing?
Glazing is a technique where a thin, transparent layer of paint is applied over a dried layer of paint. This process can be repeated multiple times, gradually building up the desired color and intensity. The final appearance of the artwork results from the interplay of colors beneath the glaze, creating a sense of depth and luminosity that cannot be achieved with opaque paint alone.
Choosing Colors for Shadows, Midtones, and Highlights
One of the most critical aspects of mastering the glazing technique is selecting the right colors for different areas of your painting. This can be particularly challenging when working with shadows, midtones, and highlights.
1. Shadows
When creating shadows, it is essential to choose colors that will blend well with the underlying layers. The shadows should be darker but also retain a sense of warmth or coolness depending on the lighting in your scene. For instance, using a mixture of raw umber dark and a hint of blue can create realistic shadows, providing depth without overpowering the other colors.
2. Midtones
Midtones serve as the bridge between the shadows and highlights. It is essential to mix colors that complement both extremes. For instance, when painting skin tones, a blend of yellow ochre and a touch of red can create a balanced midtone that will seamlessly transition between the shadows and highlights.
3. Highlights
Highlights add life to your painting, drawing the viewer’s eye. To achieve this, consider using lighter versions of your base colors mixed with titanium white or a light yellow. However, ensure that these highlights are still somewhat transparent to maintain the glazing effect.
Layering Process in the Glazing Technique
Once you have selected your colors, it’s time to start layering them using the glazing technique. Here’s a step-by-step approach to help you navigate the process effectively:
Step 1: Prepare Your Canvas
Begin by preparing your canvas with a base layer of acrylic paint. This initial layer should be dry before you start glazing. It can be beneficial to work on a toned canvas, which can help unify the painting’s overall tone.
Step 2: Apply the First Glaze
Using a soft brush, apply your first glaze. This layer should be thin and transparent. A mixture of matte medium with your chosen paint can help achieve the desired transparency. Start with your shadow color, working it into the areas where you want to establish depth.
Step 3: Let It Dry
Allow your glaze to dry completely before adding additional layers. This is crucial, as working on a wet layer can disturb your previous work and muddy your colors.
Step 4: Build Up Midtones
Once the first layer is dry, repeat the glazing process with your midtone color. Apply it over the areas where you want to create form and dimension, using a clean brush to blend the edges.
Step 5: Add Highlights
After your midtones have dried, apply your highlight color using the same glazing technique. This layer should be more transparent than your midtones and should enhance the overall brightness of your painting without losing depth.
Step 6: Repeat as Necessary
The glazing process can take several layers to achieve the desired effect. Don’t be afraid to go back and forth between shadows, midtones, and highlights, building up layers until you reach your goal. Each application should add depth and richness to the final piece.
Tips and Techniques for Effective Glazing
Use High-Quality Paints: The quality of your paint can significantly affect your glazing results. Invest in artist-grade acrylics to ensure better transparency and mixing capabilities.
Maintain a Light Touch: When applying glazes, use a gentle hand. It’s easier to add more layers than to remove excess paint.
Test on a Palette: Before applying any glaze to your painting, test your colors on a palette or scrap canvas. This will give you a better idea of how they will interact.
Layer Order Matters: Always start with the darkest colors and work towards the lightest. This approach helps maintain control over the overall value and temperature of your painting.
Keep Brushes Clean: Regularly clean your brushes to avoid muddying your colors. Using separate brushes for each color can also be beneficial.
Be Patient: Glazing is a slow process that requires patience. Allow each layer to dry fully before proceeding to the next to achieve the best results.
Practice: The more you practice glazing, the more comfortable you will become with the technique. Experiment with different colors and layering styles to find what works best for you.
Conclusion
The glazing technique is an invaluable method for any acrylic painter looking to enhance the depth and vibrancy of their work. By understanding how to effectively layer colors, choose the right tones for shadows, midtones, and highlights, and employing the right techniques, artists can achieve stunning results that will captivate viewers.
As you embark on your glazing journey, remember to take your time and enjoy the process. Each layer contributes to the overall beauty of your painting, revealing the complexity of color and depth that acrylics can offer. Happy painting!
Let me know how this video helps! Does it clear up the process at all for beginning a portrait using the glazing technique? Let me know.
In the meantime, many blessings to you and your portrait painting.
All the best,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
To create a realistic portrait you need a lot of different elements all working together.
The main three elements are accurate form, value, and color.
All of these elements are tied together, and even overlap a bit. Today, I want to show how form and value work together, and how you need to represent value accurately to portray correct form.
One of my students recently asked to have his portrait critiqued, while in the sketch stage. As I was recording his critique, the idea of capturing value to portray a realistic likeness came up.
In other words, if you want the person you’re painting to look like them, you have to pay close attention to the shadows. It’s just as important to capture these shadows as it is to draw the features such as the eyes, nose, mouth, etc. with correct placement, proportions, and shape. The ability to see the shadows on a face is vitally important to create the illusion of three-dimensionality on the canvas. You need to be able to see the inherent shape of a shadow from your reference photo–its hard edge and soft edge.
On a photograph that can be hard to discern.
You have an almost unlimited array of values with micro-nuances that can make it very challenging to see the “big picture” of the main shapes of the shadows. But if you can train yourself to see those main, abstract shapes you will go a long way to being able to draw and paint realistically.
By the way, the edges are defined not only by shadows, but differences in value due to the actual value (light and dark) of the objects themselves. (For example, the contrast between the man’s flesh tone and white suit. Or, on a smaller level, the difference between his black beard on his dark brown skin.
There are borders to all the shadows and values Your job is to see the most obvious edge, pick a line, and define it.
Watch the video below and I’ll show you what I’m discussing here, using this student’s portrait sketch (supplied with his permission) as an example.
Mastering the ability to see shapes within the shadows takes practice. But it all starts with being aware of the need to do so. As you hone in this skill, you’ll see these shapes all over the place, learn how to paint what you see, and your portraits will come alive with realism!. Visit other free tutorial here.
Yours for realistic acrylic portraits,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
Painting the mouth, especially the teeth, in an acrylic portrait can be tricky.
It’s one of the hardest parts of the face to get right, but it is so important. Teeth are not easy to paint, because of the very subtle shapes, shades of color, and nuances you have to capture correctly to convey a convincing reality of a beautiful smile.
Today, I’m going to show you how to paint realistic teeth using my Old Master’s glazing technique.
1. Using a small round brush grab a little bit of napthol red off your palette…
2. Then a little bit of titanium white…
3. Mix into a warmer color like raw sienna, and dilute with a small amount of matte medium…
4. And then add the shadows just above the teeth, in the crevices between them, on top of the previously painted gums (that have just a light pink glaze on them)…
There’s a lot more! Watch it all here…
The 12-Minute Video Tutorial
(Instruction on painting teeth starts at 3:30 in the video)
And here is the completed portrait of my wife…
Hope you enjoyed this post, and have a blessed day,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
Today, I’d like to show you how I painted a montage portrait–several images put together into one design. This is one of my favorite portraits from several years ago, a 16″ x 20″ acrylic on canvas.
This was to be given as a gift from the mother to her son and his fiance as a unique wedding gift. The idea was to incorporate a large image of them, a picture of them with their dog, and then a scripture verse in the background, that would go with the marriage theme.
Here’s how I did it.
Step 1: The Sketch
After getting my photos together from the client, I did a layout.
This was before I started using the grid method, so I sketched it with a projector and pencil, following the outlines of the photographs closely. The projector sometimes gets things wrong, so you have to go back, double-check your lines and refine accordingly.
Step 2: The Foundation with Light Glazes
The purpose of this step is to quickly establish the tonality of the portrait by getting the colors in the right place. Secondarily, I want to set up my values, by creating immediate contrast between light and dark. I start attacking the darkest values first, using cooler colors like ultramarine blue, raw umber dark and dioxazine purple to create a rich, nuanced black.
This way, when it’s all done, and the viewer takes a close look at the painting, it won’t be flat. You will be able to sense the folds of fabric, and contours around the body of the person within.
My goal is always to create a painting that has immediate impact, but also rewards the viewer for taking a closer look.
For the subjects, I use raw umber dark for the darker values within the hair, raw sienna for the lighter values, and burnt sienna, raw sienna, raw umber dark, and alizarine crimson for the skin tones.
Of course, as with virtually all my painting, the pigment is mixed with a generous portion of matte medium to thin it out, and create the translucent depth that’s similar to the Old Master’s techniques.
Notice how for the trees and background I use a light green, made up of phthalo green, raw sienna, and a little indian yellow. It will give it a lot of luminosity as the light shines through the layers.
Step 3: Darkening the Deep and Mid-Tone Values
Now that I have the foundation, I go back and add several layers to all the areas within the painting. But mostly, I want to bring the darkest values to about 80% of their full strength. This will give me something to work with as I move the other values in the picture in accord.
I could just go and use full strength pigment, but it gives the painting a nicer finish to darken everything slowly. In addition to that, it gives me the ability to precisely blend even within the dark areas.
Is a black shirt just straight black?
No.
Not when there’s light shining on it. We don’t want to use straight black. Otherwise how can you paint the shadows in representing the beginning and end of arms, chest, waist, and all the appropriate wrinkles within the fabric? Instead we get it dark enough and leave room for the shadows.
And by the way, ivory black is not the darkest color you can get. You’ll get an even deeper black with dioxazine purple, aliazarine crimson, phthalo blue and raw umber dark mixed together.
Why not just settle for black? Well, it’s the same reason why HDTVs boast of having higher contrast. I used to sell LCD TVs years ago when they first came out on the market. They were terrible. The darkest values on the screen were just grey. Therefore the lightest values were not very impressive, and so the whole picture looked weak.
With a painting, you will get a way more dramatic effect if you can use really dark values to set of your lighter areas by contrast. It just reminds me of the way the darkness of sin makes the righteousness of God through Jesus Christ that much more glorious. You have to have some darkness to set off the light. Enough said.
Step 4: Adding Nuances to the Faces
At this point here, it’s time to turn my attention to the most important part of the portrait: the people. And especially their faces. In the previous step, I blocked in the darkest shadows within their faces, but now, I want to add some tie-in values. Those are the tones that bridge the gap between the lightest and darkest values.
So I keep the ones I put down as a good foundation. But now, I’m adding more on top, glazing over translucently, so the bottom layers still remain. That’s how we do this with acrylic–with layers.
I feel like their features–the important ones–like the eyes, eyebrows, nose, and mouth need some work. So I begin to darken them, adding detail wherever it needs it.
It’s good to remember the old adage, “Rome wasn’t built in day.” You have see the big picture and slowly comform your painting to the reference photos. Patience is key. For example, I darken the eyebrows as one solid mass of color–just one shade, but I know after this layer dries, I’ll come back to it again–and again, if need be. Then I will go in and darken just a portion of the eyebrow, while leaving the other part with whatever I did in the previous layer.
By doing this, I can suggest that the eyebrow hairs are thicker in a certain area, or the eye sockets are creating a shadow over that portion. That’s all you have to do. You don’t have to get crazy with drawing each individual hair. That actually detracts from your realism. Just hint at it and let the viewer’s mind’s eye interpret the rest and create the reality for you.
Step 5: Building Up More Nuances Everywhere
In this step, I keep on adding layers to the faces: more layers of alizarine crimson, raw sienna, and some titanium white. Using a average size flat brush (3/8 or smaller) I keep adding nuances to the faces. When I start a portrait I use my largest brushes: typically 1″ or even larger. But as I get toward the end of the project I switch to smaller.
Why?
The smaller brush is good not only for detail work, but also those precise areas of nuances–the subtle transition of shading from the cheek to the area below the eye socket. Or the fleshy area under the chin and neck where the light is reflecting from another illuminated surface.
In this portrait, that is happening: we have the woman’s illuminated chest area reflecting as a secondary light source onto her chin. And so with that, I have to make sure I don’t paint the shadow underneath too dark. Since both the man and woman are outside, it makes sense that the light will really illuminate them well and the shadows won’t get very dark, except on the darker clothing and hair.
Another area I want to touch on is the Bible, which shows the scripture verse. That’s important part of the painting. I chose to just suggest the text by creating random out-of-focus lines. But the actual verse, “Love never fails” from the famous Corinthians 13 passage, is clearly in focus.
To paint something this detailed on canvas, you have to really make sure you have a nice detail brush, like 1/0 or smaller round, twisted to a point, with very fluid paint. Mist your palette and make sure the paint is about as thin as it can go before getting watery, and it will glide right over the canvas.
It makes painting text a whole lot easier.
Finally, I went over the greenery of the background trees and grass, just adding more nuances. I used phthalo blue, ultramarine blue, and raw sienna for the darker shades. Once you have your initial light green set up, it really sets it off beautifully.
In addition, I painted the dog’s eyes, using brown tones to give it some contrast. I still left the areas representing reflections quite light.
Step 6: Highlights and Advanced Blending
The portrait, at this stage, is starting to look done, but there’s still a lot of work to do. One of the things that can really enhance the realism is using highlights. Although I do like to leave a lot of areas of the canvas untouched for creating my lighter values, it is nice to go back in with some opaque highlights for certain areas.
I feel it gives me the best of both worlds: Glazing is fantastic for building depth and achieving fine gradations in shading, but it creates a roughness that must be overcome with some opaque layers. The trick is to use them just in a few areas.
The hair is one example. Here, I go back in and add just a little titanium white toned down with raw sienna to add the look of diffused light reflecting just at the top of the woman’s silky smooth, straight hair. I also go in and add some slightly darker highlights to the man’s textured short haircut. I already have the base color and value down. Now as I add these highlights, it will quickly change add depth to that area.
Also, I add detail to their teeth. We want to make sure that we don’t overdo it though. We want to use just enough of a light amber grey to suggest that there is separation between them. Raw umber dark mixed with titanium white and thinned by matte medium) is a fantastic way to create shadows for the teeth–in the right value and color.
Once I have the teeth darkened slightly, I can add even more depth by going over with a pin-point highlight of pure titanium white. With this, we just suggest reflections of light over the moist teeth. After it dries, add a tiny glaze of indian yellow, thinned with medium and it will give that white a bit more warmth and luminosity.
You can also do this on the gums. For some people, depending on the structure of their mouth, and the lighting, the gums will catch more of those highlights than the teeth. That was the case for this portrait.
Step 7: Adding the Details
Because this is a collage–or montage–portrait, there’s a lot different elements that need attention. So just when you think you are done, there’s just a little more.
Now, it’s time to add in some more detail to this couple’s background portrait. I noticed that the woman appeared to be looking away from the camera, but by adding just a few darker spots within her eyes on the right side, we suggest that she is looking toward us. It’s just a small amount of work, but it pays dividends in creating that visual connection with the viewer.
It’s time to add the long blades of grass in. I already have the base tones in. It’s just a matter of putting in some darker shadows in angular shapes, and then going over with highlights. Phthalo blue, ultramarine blue, raw sienna, even some yellow ochre and titanium white is what’s used, from darkest to lightest in capturing the effect.
Moving to the left of that, I tackle the jeans for both the man and woman, using the same two blues on my palette. I tend to use ultramarine blue for the darker values and phthalo blue for the lighter. For the darkest shadows I add in some diox purple and raw umber dark so it doesn’t get too bluish.
The Final Painting
With some more nuances here and there, I can call the painting done!
I hope you enjoyed this post and found it valuable. If you have any questions on the techniques used to create this portrait, I would love to help.
Have a blessed day,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
Today, I’m going to post a mini-tutorial on how to get a smooth look with the acrylic glazing technique. Many artists struggle to overcome canvas texture, especially on a portrait–where that smoothness for skin is so important.
One of my online students wrote this question:
After following the videos two aspects I struggle with
The fine detail … I used a 0 and 1 round paintbrush but still I paint above the indentations in the canvas.
Dark colours create a matrix pattern
i.e. paint on top of indentation nothing in the holes
So fine work is a struggle.
Just wondering if I need to push the paint into the canvas as opposed to brushing?
Here’s my answer:
These are some excellent questions, and they get right into the heart of the acrylic glazing technique. I may need to touch on this more in future video lessons. You do need to push the paint in–actually “scrub” the paint into the texture of the canvas. Here’s how to do it, using a flat brush:
The Scrubbing Technique for Glazing
Step 1
First, get a good amount of paint on the edge of your brush, almost “scooping” it from the pile of your mixture onto the edge of the bristles.
Step 2
Next, “scrub” the paint into the texture of the canvas, pushing the paint in the grooves with edge of the brush more perpendicular to the surface of the canvas, rather than parallel. You can see I’m using quite a bit of pressure to get the paint into the little holes of the canvas weave.
Step 3
Then, spread the paint out.
Step 4
After that, even it out with long strokes, applying lighter pressure. First use diagonal. Then go over with vertical.
Step 5
Finally, go over the entire area again with diagonal strokes. You may need to criss-cross them to get an even blend. Use even lighter pressure for this. The trick is to just glide over the surface without digging in too far.
Step 6
This is how it should look when you’re done.
Finally
After this layer dries, you can apply more layers, and change the direction of the diagonal strokes to get an even smoother look.
For a small round brush, you can’t scrub or push the paint in. That would ruin your brush or at the very least, lessen your ability to paint precise detail. With that, what you need to do is thin the paint down with a mist of water from your spray bottle and make sure you’re using fresh matte medium in your mix. By keeping the paint fluid it will go into the grooves of the canvas.
However, the glazing technique works even better on a flat surface like hardboard. I love the traditional look of canvas, but sometimes I get tired of fighting the texture and get out a smooth board to work on–especially for smaller paintings.
Let me know how this helps!
Be blessed,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!
When I was younger I often thought, “What would it be like if I hung out with my dad when he was my age?
Would we talk about girls and shoot hoops? Or maybe play guitar? (that’s more up my alley)
I had a client who brought that idea to life. It was his idea, actually that he wanted me to paint–a massive 48″ x 72″ realistic acrylic portrait–in black and white– of he and his wife as they looked in their 20’s, along with their two children, who are currently in their 20’s, all hanging out in the same time and place. In the background is New York City, where they were originally from, merging into Minneapolis, which is close to where they and their kids now live.
After meeting together, I got to work putting together a layout of what the painting would look like when finished. It always helps to have a good-looking family to do your painting from! My client kind of reminds me of Scott Baio or Tony Danza in these photos.
During the layout and approval process, I also worked on building the canvas. I started with professional stretcher bars made in the USA, complete with locking mitre joints and beveled edges, and assembled them. It is extremely important to have a strong support for a 4″ x 6″ canvas, to be able to withstand the tension of the stretched fabric, and to keep from warping. I made sure to include cross braces and diagonal braces as well.
Next, I stretched the canvas with pliers and stapled it extremely carefully, measuring every mark to ensure even tension. Just this process alone took several hours.
Finally, the stretched canvas! I apply hot water with a brush to add just a bit more tension and get out any wrinkles. If you tap it, it sounds like a drum!
The next step was to gesso (prime) the canvas. I use a high quality gesso, which is white acrylic paint plus ground pumice to make it sandable. I used three or four coats to get a really smooth and durable surface.
With a blank canvas to work with, I feel good.
It doesn’t feel daunting. It’s like a clean slate, ready to add something beautiful and intricate to. It makes me think of what God does in our lives when He forgives our sins through Jesus Christ, and then we are clean, perfect, and ready for Him to work with us to create a masterpiece!
It was around the beginning of March when I started painting. My client and his family approved the layout after a few changes, and so I was ready to go! I decided to skip the pencil sketch, and get into the painting process right away.
Many people ask me how I do the sketching process. It depends on the project. Most often for small portraits, I freehand sketch them. For a large scale and incredibly detailed project like this on a canvas, I will either grid or project the design with an overhead transparency projector. Canvas is very difficult to sketch on with a pencil. In this case, I projected the design I created in Photoshop, using a small brush and a grey paint to quickly capture the lines of the image.
The portrait took nearly 200 hours to complete, from the time taken to build the sizable canvas stretcher frame to the last dab of paint.
I underestimated the challenge of painting in monochromatic.
Although it is easier to do a painting this way than full-blown color, it presented a few difficulties that I didn’t foresee, at least to the extent that surfaced in this work.
You would think that to do a black and white painting that you would simply just use black and white paint and mix various amounts to arrive at the grey tones in between.
It didn’t work that way for me.
I typically paint with a translucent glazing technique that allows light to reflect through the canvas and back to your eye through the layers of paint, like the Old Masters, giving the final painting a vibrance that is hard to capture with opaque paint alone.
So, when you mix black with the clear acrylic medium, even mixed with some white, and apply it to the canvas, the resulting color is not slate grey, but a brownish grey, because the light shining through the canvas warms up the color.
Then, when certain areas become more opaque than others, the predominance of white mixed in with layers gives the grey shade a cooler, bluish cast.
Maybe I’m just picky, but I don’t want certain areas of the painting to look brown or blue (at least without my say so) when I’m shooting for black and white. If the client commissions a black and white painting, that’s what he expects to get.
The solution?
I included brown (raw umber dark), yellow (raw sienna and indian yellow), and blue (ultramarine blue) on my palette and mixed it back into the colors to correct anything that was off. If the shade was too cool, I warmed it up with brown and yellow. If it was too warm, I cooled it down with blue.
So even in a monochromatic painting, I still end up using color!
But that’s OK, because color is fun to use. 🙂
Now I did make the background just a bit cooler in tone, so that it would visually recede. But it’s nice to be able to do that, when you, the artist chooses to, not just letting the paint do whatever it wants to.
Next, I painted a glaze over the entire painting, to give me a mid-value grey tone to work from. I add in darker values and highlights, working my way across from left to right. I try to develop the painting as a whole and not get too hung up in any one area.
It took over fifty hours to paint the background. I thought I was making it too dark, and had to constantly remind myself that the subjects, the people in the front would be much darker, with areas of pure black paint, and make the background look lighter by comparison. I wanted to “fix the background” and try to lighten it up, but I kept telling myself, “just wait until you paint the people.”
After finishing up the background, I really honed in on the people in the foreground. Here are some photos of me working taken by a talented photographer, Tom Gardner, at Artisan Forge Studios, where I used to work. At this stage I am nearly finished with the portrait. Yes, I can see the finish line from here!
How often in our lives do we judge something or someone prematurely? We ought to reserve judgment on many things in our lives, and especially in others’ lives, believing the best, and wait until everything shakes out. God has a purpose and a plan that we don’t always see. Things can look horribly wrong, when God is creating something wonderful behind the scenes.
When I finally finished it, hours upon hours later, I was satisfied with the results.
Here is a closeup of the father when he was young…
And then the mother…
The daughter…
And the son…
Here is a detail of New York City, with the Brooklyn Bridge in the background.
On the right side of the painting is Minneapolis, with that recognizable round tower…
The best part of the entire project was to deliver it to the client and later to see it hanging in his home. What a conversation piece!
Hope you enjoyed this post and have a blessed day,
P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much!
