Value vs. Color in an Acrylic Painting

One of the trickiest things about acrylic portrait painting, especially when using the glazing technique, is knowing how to achieve color. How many layers do you use?

I’ve said it before, and I’ll say it again. There is something more important than color, even skin tones in a portrait.

Here is a recent question from a subscriber:

Currently, I am working on a portrait of my friend’s grandfather. My reference photo is of him as a young man in his dress greens from his younger days in the Army. I really want to capture his likeness and be proud to present this to her as it is a gift for her mother but I’m finding myself “stuck” in a sense. From watching your videos and using the matte medium as a glazing technique, I am having trouble building up the layers of his uniform to the correct tone and shade of green. I find the medium lightens the acrylic paint. I’ve only applied one layer so I still have time to correct it before making a mess of it. Should I have painted in the dark value of his uniform before going in with a glaze to help it along or just keep applying layer after layer until the desired color is achieved?

Regarding your question–yes, you can keep building up the green glazes for his uniform. However, it’s best to think of values before color. What I mean is, you are right to think that you should have done the dark value of the uniform first. That’s exactly right.

The reason is, value is more important than color. Value (light and dark and the difference between them) describes all the contours and three dimensions of a face or body. If it weren’t for the strategic placement of those values, we wouldn’t know whether it was a person, animal, rock or tree that we painted.

Theoretically, you could have a person whose skin tone or clothing was a bit too red, or greenish–whatever–but it the values were accurate, it would still look human, and would look like a pretty good portrait. You can see in this painting I did, the colors are a bit too red. (I also intensified them on Photoshop, exaggerating them a bit to make a point.)

Acrylic portrait from photo by Matt Philleo, Eau Claire area portrait artist and instructor

But flip that around: make the skin tone or coloring right on, and the values completely off, and you will have a terrible portrait.

So, when I instruct my students in painting, I teach them to see the value structure first. We start off simple, using one or two colors, and then add as we go along. Much more important is seeing the overall lighting in the portrait–where the light source is, the darkest values (whether clothing, hair or just deep shadows, it makes no difference) and the mid-tones and capturing them faithfully. Of course, this assumes that you have the form correct. That is, that the proportions of the face and anatomy are accurate.

So, is your painting ruined? No, not at all. Just keep building up layers. But it helps to build up the darkest values first. Don’t neglect them. Think of your painting as an old polaroid photo. The print shoots out of the camera and fades in slowly, all together. You don’t get eyes, then hair, then a mouth, then the body. No. You get everything at once, but it’s all light. Then, in about 30 seconds, you have a print.

(Wow! Imagine that. I’m old enough to remember how cool it was to have an instant photo before digital cameras.) 🙂

So, you want to paint your painting like a polaroid. All at once, just fade everything in. As much as possible. That means that you hit those dark values first, and then work your way into the lighter ones.

As an example, let me show you this. Here is an image of how I did “Smoldering Wick,” an acrylic portrait illustrating a time when I struggled, and found encouragement in the scriptures.

You can see how it all develops gradually. Notice how I didn’t really even add much color to the servant’s face until the end, after the darker values were well established.

All of these many layers is how you make an acrylic look like an oil. I learned this glazing technique several years ago from Norbert Kox, a university art professor. It made all the difference for me in my portrait painting with acrylic. Learning this technique and applying it will make the difference for you too.

If you’d like to learn more, sign up for my free email tips and videos today.

Learn How to Paint Acrylic Portraits With My Free Mini-Video Course!

And of course, let me know if you have any questions or comments. I’ll be happy to help!

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!

4 Acrylic Portrait Painting Questions Answered

4 Questions About Acrylic Portrait Painting, Answered

/ Glazing Q & A Sketching Tips and Techniques Uncategorized Written Tutorial
/ By Matt Philleo
/ 9 COMMENTS

Recently, I was asked some questions about acrylic portrait painting. I hope the answers I shared with this artist can be of help to you as well.

1. How do you prepare your canvas panel for painting with Acrylics?

If I am using a hardboard panel, I will gesso it with 4-5 layers. It takes that many to really get a good surface. I lightly sand in between coats with a 150 or finer grit sandpaper.

Sanding a canvas panel in preparation for painting an acrylic portrait

On the last couple of layers, I mix the gesso with matte medium to make it go on smoother. If I am using a store bought canvas covered panel, I will add 1 or 2 layers of gesso and matte medium to smooth out the grooves in the canvas, sanding in between. This allows me to get a smooth surface for portrait painting.

2. You spoke of layering your paint when composing a portrait. Please briefly explain.

I use the glazing technique to slowly bring the portrait from a white canvas to completion. The glazing technique is achieved by mixing your paint with clear acrylic medium (usually matte medium) to disperse the pigment, thus allowing light to pass through.

Although you could use water, it’s not recommended, because it breaks down the acrylic resin binder, causing a rough visual texture and possible poor adhesion. For a smoother look, you want to use clear acrylic medium.

Why do I paint with layers with the glazing technique?

Here’s why: by creating semi-transparent or translucent layers, the light passes through them, reflecting off the white primer beneath, and then back to your eye. It gives the painting a radiance, a glow. It also causes the deeper colors to be more saturated, more vivid.

Finally, it allows me to create smooth gradients. We all know that acrylic, because it dries so quickly, is difficult to blend. The glazing technique overcomes that limitation by using the strategic placement of layers and dilution of pigment with medium to create the transition from one value or color to another, rather than by relying on blending only while the paint is wet.

3. You mentioned using a Prismacolor pencil for making your diagram. What color do you recommend?

I recommend using burnt ochre or sienna brown for most portraits because it matches easily with the skin tone. For people with a very pink skin tone, terra cotta could also be used. Those with a dark complexion might require using dark brown. If you prepare the canvas as I demonstrate in my teaching videos, you will find colored pencil very easy to erase, and it doesn’t smear much either. That, coupled with being able to match the skin tones right away, makes it the perfect pencil to sketch with.

colored pencil for acrylic portrait sketch

Using colored pencil for your acrylic portrait sketch makes things a lot easier. Technique discovered and developed by Matt Philleo.

4. Do you do the painting from start to finish in one setting?

Acrylic portrait artist Matt Philleo posing in front of a 48″ x 72″ commission painting for a client in Brunei

Rarely. Only if I’m doing a study (like my 30-minute acrylic portrait.) Usually it takes me 5-10 hours for a 8″ x 10″, 15-30 for a 16″ x 20, and 40+ for a 24″ x 30″ or larger.

I hope these questions and answers were helpful to you as well. I know some of this stuff seems pretty basic, but it’s good for all of us to pause and think about why we do what we do. It then makes the doing that much more significant.

Let me know if you have any questions of your own about acrylic portrait painting and I’ll do my best to help!

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!

My New Studio Set-up and Latest Art

It’s been a while since I’ve posted to this blog! As you may already be aware, my family purchased a home about a month ago (April 2019) and moved in a couple of weeks ago.

God has blessed us with a beautiful home in the country, and a separate building for a studio after renting and working out of a small apartment for 16 years. You can read more about that here…http://mattphilleo.com/2019/04/19/telling-the-easter-story-through-a-big-painting/

Fine Art by Matt Philleo studio, Town of Lafayette, Chippewa Falls, WI backyard

It was challenging to get internet access out in the country, but I found a solution through a wireless hotspot. I am finally connected!

This past week, I moved out my easel, art supplies, lighting, and computer and set it up in the new studio. I’m now at a place where I can paint and produce video tutorials again!

Acrylic portrait painter Matt Philleo in his new studio in Chippewa Falls WI, Eau Claire area by Autumn Harvest Winery and Orchard

Here is a mini-tour of the studio and a sneak peek at what I’m currently working on.

My new studio address is:

20109 30th Ave, Chippewa Falls, WI 54729 (about 1/2 mile past Autumn Harvest Winery & Orchard on County Rd. J / 30th Ave)

View of Autumn Harvest Winery and Orchard from Fine Art by Matt Philleo studio during their May 4, 2019 Season Opening Event

Have a blessed day as always and I’ll be in touch with my latest art and tutorials!

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!

paint eyeglasses reflections acrylic portrait

How to Paint Realistic Reflections on Eyeglasses in Acrylic Portrait

It’s tricky to paint reflections on eyeglasses.

Creating realistic reflections on eyeglasses can significantly enhance the depth and authenticity of an acrylic portrait. In this blog post, you will learn how to paint realistic reflections on eyeglasses in acrylic portrait and then along with tips for mixing colors, layering, and applying highlights. Because these methods will help elevate your acrylic painting skills and bring your portraits to life.

Understanding Reflections in Eyeglasses

Reflections in eyeglasses are not just simple overlays; yet they play a crucial role in conveying the personality and emotion of your subject. Of course, observing how light interacts with surfaces is essential. Hence, it is vital to capture the subtle nuances of reflections to create a convincing portrayal.

Preparing Your Workspace

Before beginning, ensure your workspace is organized. Then have your reference photo at hand, and gather all necessary materials:

Acrylic paints: Titanium white, raw umber dark, ivory black, burnt sienna, and alizarin crimson
Brushes: A round size 8 brush for detail work
Matte medium for thinning paint
Palette for mixing colors
A clean rag for touch-ups

Step-by-Step Techniques

Setting Up the Reference Photo
Zoom in on your reference photo to clearly see the reflections in the glasses. Then identify key areas where reflections appear and note their shape and color.

Mixing the Initial Color
Begin with a mixture of titanium white and raw umber dark to create a toned-down white. Because this will avoid stark brightness that can look unnatural, thin this mixture with matte medium to achieve fluidity.

Painting the Reflections

In this case, use the round brush to carefully apply the mixed color to the upper corners of the glasses. This is where the most pronounced reflections typically occur.

Just observe the shape of the reflections in your reference photo and replicate that shape on your canvas and then using different angles of strokes will help smooth out the paint.

Adding Depth with Multiple Layers

Allow the initial layer to dry before adding more highlights. While layering is essential for creating depth.

Mix a slightly lighter shade then by adding more titanium white to your previous mixture. Apply this lighter color to the same areas, focusing on the edges where the light hits most.

Incorporating Background Elements

To make the reflections believable, you need to incorporate faint outlines of elements visible in the background. This adds realism without overwhelming the portrait.

So use a diluted version of your mixture to achieve this effect, ensuring that the reflections do not detract from the subject’s features.

Enhancing the Frame of the Glasses

The frame should also reflect light. And then apply highlights using the same mixture to the inner edges of the frame.

Gradually build up the highlight by layering, allowing each layer to dry before adding the next.

Adding Shadows for Realism

Shadows are critical for grounding the glasses. When mixing burnt sienna and alizarine crimson, you can create a warm shadow color.

Apply this color underneath the glasses and around the frames to suggest depth and interaction with the face.

Refining the Details

After allowing the previous layers to dry, return with titanium white mixed with raw umber dark for the final highlights.

Focus on adding subtle highlights on the corners of the reflections. Use a very light touch to maintain the transparency of the glass.

Final Touches

Once all elements have dried, step back to evaluate your painting. Then adjust any areas that may need further highlights or shadows to ensure balance and realism. Because this reflective interplay between light and dark is what ultimately gives your portrait a lifelike quality.

Conclusion

Painting realistic reflections on eyeglasses requires patience and practice. So by following these techniques, artists can enhance their acrylic portraits with depth and clarity. Remember also that observation is key; study how light interacts with different surfaces to improve your skill. With dedication, anyone can learn how to paint realistic reflections that bring their acrylic portraits to life.

Tips for Painting Reflections:

Layering is Key: Always allow layers to dry before adding more to achieve depth.
Use a Light Touch: When applying highlights, a gentle hand creates a more realistic effect.
Study Real Life: Observe real eyeglasses in different lighting conditions to understand how reflections work.

For further resources and guides, visit realisticacrylic.com and check out my free courses to enhance your acrylic painting journey.

This is a 16 x 20 acrylic on canvas commissioned portrait, and I just delivered it to the client today. She loved it. It was a memoriam portrait, so I pray it will bring comfort to all who see it.

Have a blessed day, and may God use your artistic gifts to bless people far and wide.

LEARN MORE

I’d love to hear your thoughts about this video. Please share it with your friends and family. Let me know if you have any further questions. I’ll greatly help you.

If you’d like to learn more, sign up for my free email tips and video class today.

Learn How to Paint Acrylic Portraits With My Free Mini-Video Course!

Thank you so much for taking the time to read this tutorial and watch the video. That means a lot to me. I hope you find it very helpful in your portrait painting.

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!

How to Paint Smiling Girl in Yellow: 30-Minute Acrylic Portrait

Create a stunning 30-minute acrylic portrait of a smiling girl in yellow with easy-to-follow techniques

Creating a captivating 30-Minute Acrylic Portrait of a smiling girl in yellow can be a fulfilling and enjoyable artistic endeavor. In just half an hour, you can capture the essence of joy and vibrancy, making this project perfect for artists of all skill levels. Whether you’re a seasoned painter looking for a quick challenge or a beginner eager to experiment with color and expression, this guide will provide you with step-by-step instructions to bring your vision to life on canvas. Let’s dive into the techniques and tips that will help you create a stunning portrait that radiates happiness!

For today’s portrait, I’ll be painting a picture of a young woman ( a still shot image from Ray Comfort’s video interviews ) with a beautiful dark complexion and attractive smile. I like the dark shadows and forms within her face and hair, and I thought it would make for a fantastic little portrait.

This will be an 8 x 10, acrylic on canvas board.

smiling-young-woman-portrait-from-photo — McKaela, still shot image from Ray Comfort/ Living Waters footage used for alla prima acrylic portrait by artist Matt Philleo, 2019, used with permission.

I’ll demonstrate how you can paint a quick portrait study with an aggressive opaque, alla prima technique. The idea is to see what you can accomplish within 30 minutes. It will force you to think quickly, and find out what the most important aspects are that will convey the subject’s likeness and just paint them without fuss.

At the same time, I encourage you to enjoy the process and don’t fret over whether the painting looks good or not. Of course it won’t look as good as a painting you’ve spent hours on! But it’s OK. Just enjoy the process.

Later on, you can always add more layers to the painting and give it a finished look.

Ready to dive in?

Season 1, Episode 3 of the 30-Minute Acrylic Portrait…

After watching it, leave me a comment here below. I really look forward to reading and answering your thoughts and questions. Let me know how I can help and have a blessed and productive day!

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!

How to Charge Your Finished Portrait Painting?

One question I’m asked again and again is, “How much should I charge for a portrait?”

I was asked this question twice in the last two days, so I figure it would be good to answer this in an article.

As a professional portrait painter, I know that what I charge for my portraits affects my bottom line. If I don’t charge enough, I don’t make enough money to keep painting. If I charge too much, I might price myself out of the market.

How to Charge Your Finished Portrait Painting — Practical tips on how to price your acrylic portrait painting

You may be asking the same thing? What should you do?

There are many factors in pricing.

It depends how long you have been in business, the level of quality of your work, and how much detail will be in your portrait. I charge by the square inch. I have a pricing formula that I came up with where the price increases exponentially as you increase the size of the painting and add more detail (subjects)

Here is what I charge (as of 2019). I can’t say that it will work for you. (Please, DO NOT copy my prices. I am showing it just as an example. )

portrait from photo prices Eau Claire — Acrylic Portrait from photo, commissioned paintings by Eau Claire portrait artist Matt Philleo, 2019 prices

Tradition Studio: Fine Art by Matt Philleo » Order Now

A 16 x 20 with one person—I charge $850 for that. If there are 5 or more subjects (people, objects, detailed backgrounds, etc. ) in the portrait I charge $2,100. The reason I charge more is that it will take longer to paint all the extra detail.

But I have been painting for many years and my prices were less than half this amount when I started out painting portraits full-time, in 2014. Here is my price chart for that year.

portrait from photo acrylic portrait — Portraits from a photo, acrylic portrait by Eau Claire portrait artist Matt Philleo, 2014 prices

You can see my prices have almost doubled since 2014. And amazingly, at that time, I was struggling to get even one commission! I remember praying every day for a month for a commission, after doing all I knew to do to bring in some work. God did provide one eventually, but I need to learn to trust in Him and be patient. That’s a story for another day. 🙂

The point I’m trying to make is that charging less for your work does not equate to more sales. When I first started I thought I was going well to make minimum wage. That was foolish, because we aren’t painting 100% of the time and we have materials and marketing costs. My wife encouraged me to raise my prices. I was scared to, but it didn’t hurt my business at all. I have been raising them slowly, about 10-20% every year.

So, then, should you charge more at the onset and just watch the sales roll in?

No. It doesn’t work that way either. Charge a fair price for your work, be patient, keep doing portraits, don’t give up when it’s tough, and you will see the results. Raise your prices over time as you build up your clientele.

I try to get paid $50 an hour on my portraits. ( I don’t charge by the hour. This is what I average on my projects.)

Figure out what you’d like to get paid per hour. Then charge approximately 50% more because, as I mentioned earlier, you won’t be painting all the time (you’ve got other business-y things to do) and you have paint and brushes to buy.

Here are some more helpful tips in pricing your art.

1. First of all, create a price chart as I did. This is HUGE. Going to a client meeting to discuss a portrait without a price chart in hand is like going to a smorgasbord buffet line without a plate in hand. It’s going to be messy.

With a price chart all you need to do is ask your client what size they would like–roughly–and then show them a couple of options. You should know how many people will be in the portrait. You simply show them the chart and say, “an 16 x 20 with two subjects will be this much, and a 24 x 30 will be this.” You point to the prices and let the chart do the work.

Let them decide what they want.

There are no negotiations on the price. Because the client sees you have a precise criterion for what you charge—it makes sense—they will not quibble with your price. I can’t recall a time that’s ever happened to me.

Interestingly, I do remember a time when I negotiated my own price down. I offered my client a price that was lower than what I originally quoted. She took the lower price but looked at me strangely and the whole situation was awkward. And I needlessly lost money on the job. Ouch.

Don’t do what I did in that situation.

Quote your price and hold to it. Let them respond.

pricing your portrait painting — How to successfully price your portrait paintings

2. Then, once you have the client locked in on a price, encourage them to pay a down deposit on the spot. If you just give them a business card and let them walk away, chances are, you’ll lose the commission. Of course, if they need to discuss it with another decision maker, that’s fine. But get their phone number or email address so you can follow up with them.

Most of the time, however, they’ll be ready to make a decision if they indeed want a portrait, and not just merely curious.

You can tell them you need the deposit so that you’ll have them booked. That way you can get to their portrait faster.

A deposit is also very important because, with it, the client has “skin in the game.” They’re not as likely to back out of the project.

How much should you ask for a deposit? I ask for 25% up front. Some do 50. But I like 25, because it’s a little less risk for the client to take on, and it also gives me more incentive to finish the project. I get paid a larger amount at the end.

3. Never charge people more because you think they are rich, or less because you think they are poor. Just charge what you charge. Have a size for any budget. The price chart is your best friend. Then you can always point people to your price list and let it do the selling for you.

4. Don’t compete on price. It may be helpful to see what other artists are charging to gauge what you might be able to charge, but don’t make the mistake of thinking you have to beat other artists’ prices. You’re not Walmart. You’re an artist. People will purchase art from you, because they know, like and trust you. They appreciate your unique style, your experience, personality, your connection to them, and that’s a big part of why they will buy from you. So as long as they can technically afford your prices, they will pay them, even if Joe Artist down the street has prices 50% less than you.

5. Never deliver your painting without payment in hand. If you meet with the client personally to deliver the painting, let them know beforehand that you would like to exchange payment for the finished product on the spot. If you are shipping the painting, show them a proof image of the portrait. Once they approve it, ask for the balance to paid in full (along with shipping charges.) When they make payment, then promptly ship the artwork.

That’s it! Of course, there’s more nuances than this to pricing your work, but this article should give you some good information on how to do it, if you’re just starting out in acrylic portrait painting.

Let me know how this helps.

If you are an artist who does commissioned portraits, do you have any tips to share on how YOU price your work? Please share your thoughts in the comments below. 🙂

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!

“How to Paint a Young Man in White” in 30 Minutes

/ 30-Minute Acrylic Portrait Step-by-Step Tutorial Video Tutorial
/ By Matt Philleo
/ 6 COMMENTS

Thank you to everyone who left encouraging comments and kind words on my first episode of the “30-Minute Acrylic Portrait.” Now, it’s on to Episode #2.

For today’s portrait, I’ll be painting a picture of a young man dressed in white, named Mohammed.

30-Minute Acrylic Portrait reference photo — Reference photo for 30-Minute Acrylic Portrait, used with permission from Ray Comfort at Living Waters Publications

How did I come across this photo?

Well, I was looking for interesting reference images to paint from, scouring the internet and couldn’t find much. Even stock photo sites like Pexels and Pixabay came up short.

Then I recalled a YouTube channel that I frequently watch (or have playing in the background as I paint): Living Waters.

On this channel, there are literally hundreds of videos of people being interviewed by Ray Comfort, a Christian author, evangelist and short movie producer. Every person is different and unique. I noticed the lighting on several of these interesting characters was fantastic, and the video quality high enough that I could grab some screenshots of the footage and then paint from them.

Living Waters images used for Matt Philleo portrait paintings — Living Waters YouTube Channel–reference photos for paintings, used with permission

Of course, I needed to get permission first.

So I contacted the ministry’s general email address, and got an expected automated response.

The next day, however, I got an unexpected call from Ray Comfort, granting me permission to paint portraits based on his videos. I was blown away by his generosity and thought this was also another confirmation from God to continue doing the series. I should have enough images to keep me busy for months, maybe even years. 🙂

So here we go.

Season 1, Episode 2 of the 30-Minute Acrylic Portrait…

As always, let me know what you think of this video. I encourage you to try this exercise for yourself. You don’t have to feel pressured to come up with a masterpiece. Just enjoy the process and see what you can do within half an hour.

Or you might just want to keep watching these videos for fun, sipping some coffee or tea. 🙂 Either way, thank you for watching, and I look forward to sharing more with you.

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!

How to Paint Oval Vignette Acrylic Portrait Timelapse

/ Flesh Tones Glazing Timelapse Tips and Techniques Video Tutorial
/ By Matt Philleo

Step-by-step techniques for an elegant oval vignette in acrylic portrait

Creating an acrylic portrait with an oval vignette style is an inspiring technique that allows your subject to stand out elegantly, adding focus and artistry. In this timelapse guide, I’ll walk you through how to achieve an oval vignette acrylic portrait using a unique glazing method. This technique helps you build depth, enhance color vibrancy, and create a finish that rivals the luminosity of oil paintings.

Understanding the Oval Vignette Technique

An oval vignette composition is a traditional approach that frames your subject in a subtle, softly blurred oval shape, gently drawing attention to the portrait’s focal point. This timeless style is ideal for achieving classic, professional results, whether you’re creating family portraits or a commissioned piece.

Step 1: Preparing Your Canvas with Initial Layers

To begin, prep the canvas with a light layer of matte medium and diluted paint. Use raw umber dark, ultramarine blue, and a dash of burnt sienna. This combination will set up foundational tones that help bring warmth and depth later on. Thin layers will be added progressively, each enhancing the portrait’s tonal structure.

Step 2: Blocking in Values and Colors

Blocking in your values provides a strong base for your portrait:

Start Light: Use thin washes of paint to gradually build values, beginning with the mid-tones.
Add Color with Glazing: Introduce alizarine crimson and phthalo green in thin layers for the skin, adding natural, warm undertones.
Maintain Balance: Rather than finishing one section entirely, work across the canvas, applying each color to corresponding areas simultaneously. This approach keeps the portrait harmonious.

Step 3: Building Depth with Glazing Layers

The glazing technique is key to creating a portrait that radiates depth and realism:

Multiple Layers: Up to 100 ultra-thin layers can be used to achieve a fully nuanced look.
Lighting Effects: The translucent quality of these layers allows light to reflect off the canvas, creating a sense of depth and vibrancy.
Oil-Like Finish: This glazing method adds a polish that can make acrylics resemble the look of oil paints, with soft transitions and a luminous finish.

Step 4: Enhancing Realism with Fine Details

As the portrait evolves, focus on adding detail:

Nuances in Features: To make eyes, lips, and hair appear lifelike, add details like eyelash shadows, fine lines in the lips, and highlights in the irises.
Gradual Shading: Build up shading in areas like the cheeks, nose, and forehead. A steady hand and attention to small value changes will achieve the realism you want.
Background and Clothing: Layer in small color adjustments to enhance textures, like the folds of clothing or woodwork in the background.

Step 5: Adding Highlights and Final Touches

In the final stages, highlights and refined details bring the portrait to completion:

Bright Highlights: Use titanium white mixed with matte medium to add precise highlights to areas like the nose, cheekbones, and chin.
Softened Borders: To emphasize the oval vignette, blend the edges softly with a semi-dry brush, ensuring a smooth transition from the background to the portrait.
Review Consistency: Check that all areas of the portrait have been equally developed. Avoid leaving any section overly detailed compared to others, maintaining a cohesive finish.

Tips and Techniques for Glazing Success

Patience is Key: Building 50-100 layers takes time, but this patience will bring richness and realism.
Use Matte Medium: It helps dilute the paint to the desired transparency, preserving color vibrancy without compromising texture.
Rotate Colors: Alternate between colors like raw umber, burnt sienna, and ultramarine blue to create depth and dimension.
Light Source Consideration: Adjust shading to reflect your portrait’s light source, helping facial features feel three-dimensional.
Avoid Overworking: While glazing layers add depth, too much reworking can muddy colors. Stick to thin, controlled applications.

Why Glazing Works for Acrylic Portraits

Glazing layers allow light to pass through, reflecting back and adding dimension. Each transparent layer builds on the one before, creating complex color variations. This effect gives the portrait an oil-like appearance, a finish that’s often praised for acrylics. The difference in visual depth between these layers keeps the painting from looking flat and enhances the vignette effect around your subject.

Common Challenges and Solutions

Colors Look Flat: This can happen if the layers are too thick. Thin out each layer with matte medium and add layers patiently to avoid oversaturation.
Difficulty with Vignette Edges: Keep edges soft by blending them with a nearly dry brush, creating that gentle fade that defines a vignette style.
Struggle with Skin Tones: Experiment with a mix of warm and cool shades like raw sienna, burnt sienna, and phthalo green, adjusting layers until the desired tone is achieved.

Final Thoughts

Creating an oval vignette acrylic portrait is a wonderful way to highlight your subject and create a stunning effect that draws the viewer’s eye. With glazing, you can achieve depth and richness that elevate your work and add a touch of timeless beauty. Try this technique on your next portrait to experience the difference it makes in achieving realism and sophistication.

For more tips on acrylic portrait painting, glazing methods, and tutorials on creating depth and realism, visit my site at realisticacrylic.com. This technique, along with many others, will enhance your skills and add a professional touch to your portraits.

Let me know how you enjoyed this video, and if you have any questions on acrylic portrait painting, I’ll be happy to help.

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How to Paint an Acrylic Portrait in 30 Minutes

/ 30-Minute Acrylic Portrait Step-by-Step Tutorial Video Tutorial
/ By Matt Philleo
/ 26 COMMENTS

Discover the quick and simple method to capture portraits with speed and precision

As a child, I was amazed as I watched “The Joy of Painting” host Bob Ross paint a beautiful landscape in less than 30 minutes. I was captivated by his gentle touch, his fast wet-on-wet technique, and the way he could totally put you at ease.

I can’t say I wanted to be just like Bob when I grew up, but he did help inspire me to paint.

Later on, I learned the more methodical glazing technique from Norbert Kox, where you apply layer after layer of translucent paint. It’s very time consuming, but it creates fantastic realistic effects. This is the style I have become known for.

But sometimes I just want to knock out a quick painting, have fun with it, and yet push myself.

Can I paint a somewhat respectable looking painting in half an hour?

If I do it often, will I get faster?

Could it help me paint faster, and more confidently in my “typical” more detailed portraits?

Could an exercise like this help YOU to do the same?

There’s only one way to find out.

So, with that, I’m launching a new series of videos, or something like a show called, “The 30-Minute Acrylic Portrait” Season One, Episode 1…

Tips for Success in Fast-Paced Portrait Painting

Set a Timer: Keep yourself on track by setting a timer. This helps maintain focus and prevents overworking areas.
Keep Your Palette Organized: Lay out your colors clearly, so you can mix shades quickly without delay.
Use a Limited Palette: Working with fewer colors will simplify the process and give the portrait a harmonious look.
Practice Blocking and Simplifying: Learn to capture shapes and shadows quickly by focusing on big-picture composition.

Common Mistakes to Avoid

Focusing Too Much on Detail: With only 30 minutes, try to avoid getting caught up in minute details.
Using Too Many Colors: Stick with a few main colors for consistency and ease.
Overthinking the Process: Embrace a relaxed approach, letting the process unfold naturally.

Conclusion

Creating a 30-minute acrylic portrait requires simplifying techniques, focusing on essential shapes, and mastering the art of blocking in shadows and highlights. This method allows for creative expression while enhancing your confidence and ability to capture a portrait quickly. Practice makes perfect, so keep experimenting with colors, tones, and brush techniques.

Read more about my additional resources, tutorials, to learn more and check out my free courses here. . Whether you’re a beginner or an experienced artist, there’s always something new to learn and apply to your paintings. Happy painting!

Let me know what you think of this video. Is it helpful? Interesting? Would you like to see more?

I’d love to hear back from you with your honest thoughts.

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Almost as Good as a Trip to the Art Museum

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…

Let me know if you find this helpful!

One of the trickiest things about acrylic portrait painting, especially when using the glazing technique, is knowing how to achieve color. How many layers do you use?

Recently, I was asked some questions about acrylic portrait painting. I hope the answers I shared with this artist can be of help to you as well.

1. How do you prepare your canvas panel for painting with Acrylics?

2. You spoke of layering your paint when composing a portrait. Please briefly explain.

3. You mentioned using a Prismacolor pencil for making your diagram. What color do you recommend?

4. Do you do the painting from start to finish in one setting?

It’s tricky to paint reflections on eyeglasses.

Understanding Reflections in Eyeglasses

Preparing Your Workspace

Step-by-Step Techniques

Final Touches

Conclusion

Tips for Painting Reflections:

Create a stunning 30-minute acrylic portrait of a smiling girl in yellow with easy-to-follow techniques

One question I’m asked again and again is, “How much should I charge for a portrait?”

Here are some more helpful tips in pricing your art.

Thank you to everyone who left encouraging comments and kind words on my first episode of the “30-Minute Acrylic Portrait.” Now, it’s on to Episode #2.

Step-by-step techniques for an elegant oval vignette in acrylic portrait

Understanding the Oval Vignette Technique

Step 1: Preparing Your Canvas with Initial Layers

Step 2: Blocking in Values and Colors

Step 3: Building Depth with Glazing Layers

Step 4: Enhancing Realism with Fine Details

Step 5: Adding Highlights and Final Touches

Tips and Techniques for Glazing Success

Why Glazing Works for Acrylic Portraits

Common Challenges and Solutions

Final Thoughts

Read more about how to paint a portrait that you can surely be proud of!

Discover the quick and simple method to capture portraits with speed and precision

Tips for Success in Fast-Paced Portrait Painting

Common Mistakes to Avoid

Conclusion

Read more about how to paint a portrait that you can surely be proud of!

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.

Read more about how to paint a portrait that you can surely be proud of!