Paint-Mustache-Acrylic-Portrat

How to Paint a Realistic Mustache in Acrylic Portrait

Step-by-step guide to paint a lifelike mustache in your acrylic portrait with ease.

Achieving realism in a portrait requires attention to detail, especially when it comes to facial features like mustaches. In this guide, we will explore the step-by-step process of how to paint a realistic mustache in acrylic portrait.

Preparation: Setting the Foundation

Before diving into the mustache details, it is essential to have a strong foundation. This means the portrait’s basic values and underpainting should already be established. The key here is to ensure the right light and shadow balance, especially around the mouth and upper lip area.

Materials Needed:

  • Titanium white: To create highlights.
  • Raw umber dark: For adding depth to shadows.
  • Indian yellow: To create natural warm tones.
  • Matte medium: To thin the paint for smooth application.
  • Size 8 round brush: Ideal for detailing and creating fine lines.

Step 1: Start with Base Layers

Begin by thinning out your titanium white with matte medium. Then add a small amount of raw umber dark and Indian yellow to create a subtle hue. Also, using your size 8 round brush, you can bring it to a chisel edge for precise strokes.

It is important to start with some base layers of paint before adding any detail. Because these layers help create a three-dimensional effect and establish the direction and placement of the mustache.

Step 2: Block in the Mustache Hairs

Once the base is set, it’s time to start picking out individual hairs. This layer is more about refining the mustache’s texture and creating a natural flow. The technique is to avoid making the hair uniform. Instead, examine your reference photo carefully and note the irregularities and directions in which the hairs grow.

When painting more lifelike, it varies on the brushstrokes in different directions. And then you can have some hairs cross over each other or even extend past the upper lip slightly.

Tip: Don’t aim for perfection with each hair. What matters is the overall impression of the mustache.

Step 3: Focus on Highlights and Shadows

During this stage, the mustache will need to appear more defined. Then pay close attention to where light is hitting the hair and where shadows are forming.

  • Highlights: For the lighter hairs, use a mix of titanium white with a touch of raw umber to avoid making them too bright. And then adding matte medium will create a translucent effect that gives the hairs a softer appearance. This is essential for portraying finer hairs and giving the mustache a more natural look.
  • Shadows: Towards the bottom of the mustache, each hair will cast a shadow on the hair beneath it. This can be achieved by mixing raw umber dark with the base color, creating a more pronounced shadow effect.

Step 4: Add Nuances for Depth

As you continue, it is also crucial to add some depth and nuance by including small pockets where the skin beneath the mustache is visible. This gives the mustache a more realistic appearance, as it doesn’t look like a flat shape, but rather, individual hairs growing from the skin.

Tip: To avoid the mustache looking too uniform, ensure there are spots where the skin shows through the hair. This not only creates depth but also keeps the painting from appearing too rigid.

Step 5: Blending and Detailing

If any part of the mustache appears too harsh, lightly dab the area with your finger or blend it with a dry brush. Then the idea is to soften any overly defined strokes and make the hairs appear more naturally integrated into the face.

Additionally, darken a few sections towards the edges where the hairs thicken. Adjust the tones subtly to suggest the transition from thicker hairs at the center to finer, lighter hairs towards the outer edges.

Step 6: Final Highlights for Depth

In the last stages, take straight titanium white and add a few highlights to the topmost layer of the mustache. These highlights will catch the light, adding a touch of realism. However, be mindful not to overdo this step.

Placing these small highlights on the lighter side of the mustache (usually where light is hitting) will add depth and dimension. Focus on areas where the mustache might catch the most light, such as the tips of individual hairs or the outer edge.

Technique Recap: Important Tips

  • Use a Reference Photo: Always have a clear reference photo when painting a mustache. This helps you capture the unique characteristics and flow of the mustache, ensuring it looks natural.
  • Layer Your Paint: Don’t rush into details too quickly. Begin with base layers to build up depth gradually. Adding layers of thin, translucent paint will help create the texture and realism you’re aiming for.
  • Mix Colors for Realism: Avoid using pure white or pure black. Mix titanium white with raw umber or Indian yellow to soften the brightness, and add raw umber dark to create natural shadows.
  • Vary Hair Directions: A mustache doesn’t have hairs growing in just one direction. Ensure that the hairs have some variation by crosshatching and layering.
  • Thin the Paint: Use matte medium to thin the paint. This not only helps in creating translucent effects but also prevents the painting from looking too heavy or artificial.
  • Dab for Subtle Effects: When blending, gently dab with your finger or a clean brush. This softens the edges and makes the mustache look more organic.

Conclusion

Painting a realistic mustache in an acrylic portrait involves patience and attention to detail. Then, by focusing on layering, highlights, shadows, and texture, you can create a lifelike mustache that adds character to your portrait. Remember, then the key is in the subtle nuances the tiny details that make the painting come alive. So next time you’re working on an acrylic portrait, use these techniques to bring out the best in your subject’s mustache.

If this tutorial was helpful, don’t forget to leave a comment or ask any questions. Happy painting!

By following these tips, you’ll be able to paint a realistic mustache that enhances the overall look of your acrylic portrait.

If you’re looking for more instructional videos on how to improve your acrylic painting, visit www.realisticacrylic.com for more tutorials and check out my free courses here. .

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


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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,

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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!

 

Why Teeth are Not White and How to Paint Them Realistically

Discover why teeth in portraits should not be painted white and learn how to achieve realistic results in acrylic painting

When painting portraits, especially in acrylics, artists often encounter a common misconception: that teeth should be painted pure white. However, this approach can lead to unrealistic and unnatural results. In this blog post, we’ll explore why teeth are not actually white and how to paint them realistically in your portraits. This guide will help you create a more lifelike appearance in your acrylic paintings by adjusting the way you depict teeth.

Why Are Teeth Not White in Portraits?

One of the biggest mistakes beginner artists make is painting teeth too white in their portraits. While it’s easy to assume that teeth are white, the reality is far from it. Teeth are not naturally as bright as we imagine them. When you compare a piece of white paper next to the teeth in your reference photo, you will notice a significant difference in value. Even in the best lighting conditions, teeth tend to appear darker due to various factors.

Light and Shadows Affect Teeth Color

A key reason why teeth are not as white as you think is because of the shadows cast by the mouth, lips, and other surrounding features. When you observe a person, you’ll notice that these shadows darken the teeth significantly. Even in bright lighting, the teeth may still appear off-white rather than pure white. For instance, mustaches or beards can further reduce the perceived brightness of teeth, making them look even darker.

How to Paint Teeth Realistically in Acrylic

When painting teeth in a portrait, it’s essential to capture this balance between light and shadow. Here’s a step-by-step guide to help you create a more natural depiction of teeth:

1. Analyze Your Reference Photo

Before applying any paint, take a close look at your reference photo. Hold a piece of white paper up to the teeth and notice the difference in value. This will give you a clear idea of how much darker the teeth are compared to pure white. Observing this contrast will help you determine the right shades to use in your painting.

2. Use Off-White Tones

Instead of using pure white, opt for off-white tones to depict the teeth. Colors such as a soft ivory, light gray, or a pale beige are excellent choices. Mixing a touch of raw umber or burnt sienna into your white paint can help you achieve a more realistic tone for the teeth.

3. Add Shadows for Depth

The shadows cast by the lips and mouth should not be overlooked. Use darker tones around the edges of the teeth to emphasize the depth created by these shadows. You can blend a mix of dark brown or blue-gray tones to add subtle shadows, making the teeth recede naturally into the mouth.

4. Highlight Selectively

While teeth are not pure white, they do have highlights in certain areas where light directly hits them. These highlights can be painted with white, but should only be applied sparingly. Focus on small areas, such as the tips of the teeth or the spots where light reflects the most. By adding these highlights carefully, you’ll make the teeth appear shiny and dimensional without them looking unnaturally bright.

5. Blend for a Smooth Transition

Teeth have a smooth surface, so it’s important to blend the colors and shades gently. Avoid harsh lines or abrupt transitions between shadows and highlights. Use a soft brush to blend the darker tones into the lighter areas for a seamless finish.

Common Mistakes to Avoid

When it comes to painting teeth realistically, there are a few common pitfalls to watch out for:

  • Avoid using pure white for the entire tooth surface. This can make the teeth appear flat and unnatural.
  • Don’t ignore the shadows around the mouth and lips. These shadows are what give the teeth depth and realism.
  • Don’t over-highlight the teeth. Applying too much white will make them stand out unnaturally. Only use highlights in select areas where light naturally hits.

Tips for Achieving Lifelike Results

Here are some additional tips to ensure your teeth look realistic in your acrylic portrait:

  • Layer your colors: Start with darker tones for the base of the teeth and gradually layer lighter shades on top to build depth.
  • Use small brushes: Precision is key when painting teeth, so opt for small, fine-tipped brushes to work on the details.
  • Work with a reference: Always keep a reference photo handy to guide you in accurately capturing the teeth’s value and shading.

Conclusion

Teeth in a portrait should never be painted stark white. Understanding the role of light, shadows, and the natural off-white color of teeth is crucial for creating a realistic portrait. By following the techniques outlined in this post, using off white tones, incorporating shadows, and highlighting selectively, you can paint teeth that look natural and lifelike in your acrylic portraits.

For more tips and tutorials on painting realistic acrylic portraits, visit RealisticAcrylic.com and check out our other tutorials for more insights into mastering portrait painting.

As you can see, teeth are darker value, and you can often achieve it by using a mixture of raw umber and titanium white for the shadows, raw sienna-titanium white for the mid-tones and titanium white-slight bit of indian yellow only for the highlights.

It all comes down to painting correct tonal value–that is, the correct level of light and dark. If you’d like a tool to help you with that, then I have something for you…

I created a tool that you can use to measure the tonal value of any area of your portrait in question against your reference photo. I call it the “Value Checker.” Download and print a copy for yourself today and apply it to the portrait you are currently working on. And you will see an immediate improvement in the realism!

Get the full-resolution 8 1/2″ x 11″ version below…

Get the Value Checker Tool

Let me know how this helps! What did you think of this tip on NOT painting teeth white? Did it surprise you?

I’d love to hear how your art journey is going. Shoot me an email and let me know. Or leave a comment. Be blessed in your portrait painting!

Yours for Better Portraits,

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Matt

If you found this post helpful or encouraging, would you send it on ahead? Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! 

 

acrylic portrait dog foot

How to Paint Dog and the Foot: Time-Lapse Acrylic Portrait

Learn the acrylic glazing technique to capture realistic pet portraits

I’ll do that by sharing with you a recent acrylic portrait I did, capturing an experience of a woman who was hiking with her dog, and ended up laying down in the snow!

She wanted me to capture that moment of her dog and her foot shown as she snapped the photo from the ground.

This was an 11 x 14, acrylic on canvas, shown in a 5 minute- timelapse format. I painted it using the acrylic glazing technique, where we mix small amounts of paint into large amounts of clear acrylic medium to make the layers translucent, building up amazing depth and luminosity.

Creating a beautiful pet portrait is a fulfilling and meaningful way to immortalize a cherished companion. In this time-lapse tutorial, we explore the process of painting a dog alongside a boot in a snowy environment. This painting captures a special moment where the subject hiked with her dog and playfully fell into the snow. Using the acrylic glazing technique, this tutorial demonstrates how to gradually build up layers, create texture, and capture fine details with accuracy.

In this guide, you will learn about the specific techniques used, from glazing to color mixing, that help achieve a realistic result in acrylic painting. Let’s break down this tutorial, showing you how to paint your dog and foot with depth and detail.

Understanding the Acrylic Glazing Technique

Acrylic glazing is a key technique in this portrait. Because it involves mixing layers of pure acrylic pigment with a medium like matte medium to create translucent layers. So these layers allow you to build up depth and gradually develop the painting without overwhelming the canvas with opaque paint.

When painting a complex scene like this one, it’s essential to apply very light, translucent layers. This enables you to bring every part of the canvas together gradually rather than focusing on one section at a time. The layers should be so thin that the initial strokes remain visible, contributing to the painting’s overall texture.

The glazing technique is ideal for pet portraits and snowy scenes because it lets you replicate the soft transitions of light and shadow that define both fur and reflective snow.

Step-by-Step Painting Process

Start with a Light Base Layer The painting begins with a light wash across the entire canvas. The goal here is not to paint the dog and boot in detail right away but to cover the white canvas and establish the overall value and color structure. By applying a diluted base layer, you avoid stark, distracting areas of blank space. The focus during this step is to work simultaneously on the background and foreground, ensuring that the elements come together harmoniously. Using matte medium thins the paint, allowing the first layer to be transparent and soft.

Layering for Depth Once the light base layer is in place, you can begin layering darker tones. In this tutorial, I use various earth tones such as burnt sienna, raw umber, and raw sienna to add depth to the dog’s fur and the boot. Ultramarine blue is also introduced to darken the areas that need shadow and contrast. When mixing black for the darker areas, the artist combines brown and blue instead of using black directly from the tube. This creates a more nuanced black that maintains richness, avoiding the flatness that comes with premixed black paint.

Building Fur Texture As the layers progress, more details are added to the dog’s muzzle and fur. Instead of trying to paint each strand of fur, I look at the light and dark patterns within his reference image. By carefully observing these patterns, he replicates them with thin brushstrokes, building up the texture without overwhelming the painting with too many details at once. As with many realistic pet portraits, fur should look natural and soft. Glazing helps create that smoothness by allowing you to gradually adjust light and shadow.

Painting the Boot The foot in the painting is treated with the same method as the dog. By beginning with large, simple shapes and then layering on details, the boot emerges naturally within the scene. When painting objects like a boot, it’s important to consider how light interacts with them. Here, the boot is partially illuminated by sunlight and partially in shadow, giving it dimension and form. I carefully adjust these areas with each new glaze, slowly refining the foot’s shape.

    Capturing the Snow

    The background in this painting consists of trees and a snow-covered ground. To portray the soft, reflective quality of snow, the artist uses lighter tones of white and light blue, creating the texture with round and flat brushes. The glazing technique is particularly useful in this context because it allows for delicate adjustments of shading, replicating the subtle shifts in color that occur in snowy environments.

    Adding the final touches, small flecks of snow are painted onto the dog’s muzzle using a round brush. This detail brings the painting to life and helps ground the dog within the environment.

    The Importance of a Cohesive Process

    Throughout the painting process, it’s important to remember that the goal is to work evenly across the entire canvas. By developing the background and foreground together, you ensure that the painting looks cohesive. Just like a Polaroid photo slowly developing, you want the painting to evolve at a steady pace without leaving any glaring unfinished areas.

    As you paint, constantly compare different areas to ensure they are progressing at the same rate. This will also help you catch any issues early, allowing for easy adjustments without needing to rework large sections of the painting.

    Adding the Finishing Touches

    Once the foundational work is done, the final steps are where the painting truly comes to life. This is the “icing on the cake” phase, where you add the smallest details, such as light reflections in the dog’s eyes or highlights on the snow. These finishing touches bring the painting to its full potential.

    I use a round brush at this stage to achieve precision in the small details. This ensures that each part of the painting is crisp and well-defined.

    Tips and Techniques for Your Acrylic Portrait

    1. Start Light, Build Gradually: Use thin layers of translucent paint to build depth without losing the underlying structure of your painting.
    2. Observe Light and Shadow: When painting fur or clothing, focus on the patterns of light and shadow rather than individual details.
    3. Mix Your Own Black: Create a richer, more dynamic black by mixing ultramarine blue with burnt umber rather than using black straight from the tube.
    4. Work the Whole Canvas Simultaneously: Develop your background and foreground together to ensure a cohesive, balanced painting.
    5. Use Reference Photos: Always have a reference photo on hand to guide your colors, light, and shadow accuracy.
    6. Stay Patient: Building a painting with layers takes time. Don’t rush the process, and enjoy watching the image slowly develop.

    By following these techniques and maintaining a steady pace, you can create a realistic pet portrait like the one in this tutorial. Whether you’re painting a dog, a foot, or another subject, remember to start light, build gradually, and enjoy the process of bringing your canvas to life.

    Conclusion: Painting a dog and foot in an acrylic portrait requires patience, attention to detail, and a mastery of techniques like glazing. By layering translucent colors and focusing on the overall structure, you can create a realistic and beautiful portrait. If you’d like to see more painting tutorials, be sure to visit Realistic Acrylic for tips, lessons, and guidance on your painting journey.

    I hope that this will inspire you in your own painting.

    You can take it slow and easy, working the entire canvas in stages. You don’t have to get it right in the first layer. Rather, you can slowly “steer the ship” to the right destination. You adjust for any mistakes and build on your successes in each additional layer.

    Enjoy!

    LEARN MORE

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


    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,

    Signature_200dpi_sm.jpg

    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 Block in Hair for an Acrylic Portrait

    How to Block-in Hair on Your Acrylic Portrait

    When creating a realistic portrait, the process of blocking-in hair plays a crucial role in establishing depth and capturing lifelike textures. In this tutorial, you will learn step-by-step how to block in hair on an acrylic portrait . By following these essential techniques, you’ll discover how to mix tones, apply glazes, and build up layers to make your portrait more three-dimensional.

    Understanding the Block-in Process for Hair

    Before diving into the specifics, it’s essential to understand the “block-in” technique. Blocking-in refers to the initial stage where you establish basic shapes, values, and shadows before adding detailed layers. This foundational stage is critical for creating a structured framework for your portrait, ensuring that as you add more layers, the hair appears realistic, cohesive, and well-blended.

    Step 1: Establishing the Background and Hair Boundaries

    The first step in blocking-in hair is defining the broader sections of the portrait. In the video, I start by setting up a muted, cloudy background. Using colors like ultramarine blue and raw umber dark, blends these shades to create a smooth transition from cooler to warmer tones. Because this method can also apply to your portrait’s background, ensuring the hair and face blend seamlessly into the backdrop without looking disconnected.

    Once your background is set, begin focusing on the hair. Start by identifying the boundaries and large sections of hair. At this stage, do not worry about small details like individual strands; instead, focus on the bigger shapes and how the hair flows around the face and neck.

    Step 2: Darkening the Hair with Cool Tones

    To create depth, it is essential to start with darker tones. I recommend that using a mixture of raw umber dark and ultramarine blue for the base layer. By adding the blue, you cool down the mix, which is vital when working with shadows. The darker, cooler tones help create the illusion of depth, mimicking the way light interacts with the hair in dimly lit areas.

    As I explain, the cooler tones mimic the appearance of shadows when light is scarce. The mixture of ultramarine blue and raw umber dark serves as the ideal “Payne’s gray” substitute, but with more versatility since you can customize the shade based on your needs. Apply this mixture lightly over the larger sections of hair, focusing on the areas that will remain in shadow.

    Step 3: Defining Local Values and Shapes

    Once the darker base coat is applied, it’s time to define the local values. Local values refer to smaller, nuanced changes in light and shadow. Instead of focusing on the entire area, look for pockets of darker tones that indicate hair bends, waves, or areas where light is blocked.

    For example, the hair under the chin or near the ear will often feature shadows. I use precise brushstrokes to form the shadowed sections, while leaving lighter areas untouched to create contrast. This helps in defining the unique shapes that hair takes on.

    Use a fine-tipped brush to enhance the details and smaller sections. At this stage, you don’t need to be exact, but try to match the general direction and flow of the hair. Your initial layers are meant to be flexible, allowing you to adjust later.

    Step 4: Gradation and Layering for Hair Striations

    Acrylic portraiture thrives on the glazing technique, which involves building layers of translucent paint to achieve a gradual change in value. In this step, focus on blending your dark tones into lighter ones by applying thin layers of glaze. I use clear medium to thin his paint and slowly introduces gradation into the hair.

    To add natural-looking striations (the small, subtle streaks of hair), use the tip of your brush and apply long, delicate strokes. These strokes should be thin and follow the natural grain of the hair. Remember to vary the pressure on your brush. For darker areas, apply more pressure, while lighter sections need less to avoid over-darkening.

    Step 5: Highlighting Key Areas and Adding Definition

    After laying down the foundational layers and working on the shadows, the next step involves highlighting. In the reference image, I notices that there’s a distinct highlight at the top of the hair. Using a slightly lighter mixture of raw umber dark, he begins to emphasize these sections.

    To create highlights, focus on the areas where light naturally hits the hair such as the crown, or where the hair parts. A light touch with a fine brush can enhance these areas, bringing dimension and texture. Be careful not to overdo the highlights; subtlety is key.

    For instance, adding a soft glaze using the clear medium allows you to leave some areas lighter. Later, you can apply a reddish glaze, which, as I take notes, will provide a ton of luminosity and help the hair “pop” out of the portrait with vibrant, warm tones.

    Tips and Techniques for Effective Hair Block-in

    • Use a Cool Base for Dark Hair: When blocking in darker hair, use cool tones mixed with raw umber and ultramarine blue. This ensures the shadowed areas appear more realistic and avoid a flat, monotone appearance.
    • Vary Brush Strokes: For a natural hair texture, use different brush strokes long strokes for defining edges and shorter, dabbing strokes for blending. This combination will give your painting more depth and a smoother transition between light and shadow.
    • Gradation is Key: Gradually build layers using the glazing technique. Thin out your paint with clear medium and apply transparent layers. This technique will allow you to adjust tones without overpowering the base layer.
    • Pay Attention to the Reference Photo: Use the reference photo to determine where the highlights and shadows fall. Aligning shadows with landmarks like the lips, nose, or chin ensures proportional and accurate placement.
    • Don’t Overdo Highlights: Highlights should be subtle. Too much highlighting can make the hair look unrealistic and take away from the depth created by the shadows.

      Conclusion: Building Up for Realism

      Blocking-in hair is all about establishing the basic framework before moving on to finer details. By using cool tones, creating gradation, and employing glazing techniques, you can achieve a realistic and lifelike portrayal of hair. Remember, the key is patience building up layers slowly ensures that the final result will have depth, texture, and vibrancy.

      Whether you are a beginner or an experienced painter, mastering the block-in process is crucial for creating beautiful acrylic portraits that stand out. Start with the shadows, define the mid-tones, and finish with highlights for hair that looks three-dimensional and natural.

      For more tutorials and painting tips, visit RealisticAcrylic.com and take your portrait painting skills to the next level!

      Did you enjoy this video?

      Share it with your artist friends if you think they will find it helpful! Also, if you need more help, hop onto courses.realisticacrylic.com where we concentrate on just acrylic portraits, and how to make yours the best it can be.

      My goal is to make your life as acrylic portrait artist easier by giving you tips, lessons, and tutorials.

      Yours for Better Portraits,

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      If you found this post helpful or encouraging, would you send it on ahead? Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! 

      real time acrylic portrait video lesson tutorial

      The 30-Minute Acrylic Portrait: “Happy Man in Black”

      Transform your painting skills: Create a striking 30-minute acrylic portrait with ease!

      Let me show you how in the latest episode of the 30-Minute Acrylic Portrait. I’ll demonstrate on an 11″ x 14″ commissioned portrait of a pastor (“the happy man in black”) painting quickly with no sketch underneath.

      paint acrylic portrait faster
      Professional portrait artist Matt Philleo painting an acrylic portrait in 30 minutes at his studio in Chippewa Falls, WI

       

      Although this more opaque, painterly style is not as precise as the glazing technique that most people know me for, it’s fun to loosen up and push yourself to see what you can accomplish in a half an hour.

      By the way, I will be adding more to this portrait after the show is done (maybe an hour or two of video),  and I plan on including it here as bonus videos in the classes section, here at Realistic Acrylic Portrait School.

      You will learn how to:

      • refine any proportions that were off
      • adjust the original blocked-in values
      • smooth out your shading.
      • enhance contrast between the subject and background
      • add detail

      Interested? Sign up here and I’ll let you know when I post those lessons…

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

      Okay, without further ado…here is Season 2, Episode 1 of the “30-Minute Acrylic Portrait.”

       

      Let me know what your thoughts—have you ever tried doing a portrait like this and would it help you paint faster?

      Also, I’m thinking of doing a 30-minute acrylic portrait show with my usual glazing technique, complete with a sketch underneath, rather than this more aggressive opaque style. I’m curious what we could accomplish in a half an hour with that technique, though we certainly wouldn’t be able to complete a painting. But the 30-minute challenge may push us to create the foundation a little faster, hopefully without sacrificing quality.

      Is that something you would be interested in seeing?

       

      Yours for Better Portraits,

      Signature_200dpi_sm.jpg

       

      If you found this post helpful or encouraging, would you send it on ahead? Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! 

       

      acrylic portrait how to finish and sign

      4 Ways on How to Tell Your Acrylic Portrait is Done

      Master the signs of completion: Ensure your acrylic portrait is perfectly finished!

      Is it time to “call it quits?” on your painting? How can you tell?

      You don’t want to overdo it, but neither do you want to leave the portrait looking unfinished. You want to amaze people with that picture, give a great gift or get paid, and have the satisfaction of a job well done.

      But how?

      Here are 5 ways to know your painting is done. In this article, I’m going to use a little tough love, artist-to-artist. Ok with that? Alright, here we go…

       

      1. You’re not adding any value to it.

      If you’ve been working on a one-subject 16″ x 20″ portrait for say, 50 hours, it’s time to say enough is enough.

      Test:  get an “innocent bystander” (in my case, usually it’s my wife) to look at your painting from a distance of six feet away, and then come back into your studio a couple of hours later. If they can’t tell the difference, you’re done.

      By continuing on, you’re not adding anything significant to the bottom line of the painting.

      You’re not adding any value.

      Nobody will notice the little details you’re adding if they don’t make an impact from six feet away.  Most of the time, as artists, we fuss over some small portion of the painting that has us stumped. It’s like the kid who takes all his time on one question in the timed exam and then fails the test because he should have skipped the question, completed the rest of the test, and then come back and finish that one problem.

      Don’t get me wrong, I’m not saying details aren’t important. I love detail and it makes an acrylic portrait look fantastic. But if you’re struggling with one square inch of your painting, leave it alone and come back to it if you need to. But chances are, you don’t.


       

      2. You’re making it worse. 

      Yes, it’s possible to make a painting worse, the more you work on it.

      I’ve done that.

      I’ve had some paintings where I should have left well enough alone. That little dimple on the persons’ face was so good, I thought I should make it perfect.

      But then I messed it up. So I had to try to restore what I had before, and then leave it alone. Then I found myself messing up another area.

      Pretty soon, I realized, the painting is done. Time to sign it!


       

      3. You just hit the unforgiving end of a deadline.

      If you are a professional or semi-professional artist, doing portraits on commission, you know what I’m talking about when I say you hit the end of a deadline. Or you might be doing it as a hobby, but you have an occasion, like a birthday or Christmas, that dictates the painting must be done and wrapped by a certain time.

      You know that a portrait must get in the client’s hands today, or at the very least, you have to email a proof image for the client to approve. You put in as many hours as you can. You bring out the coffee and energy drinks if you have to (have you ever tried coffee with a couple of black tea bags thrown in?...that will keep you up!) and you pull an all-nighter if need be.

      But eventually, you run out of hours, and you just have to call the painting done, out of necessity.

      Young woman painting a portrait at her easel. (Image courtesy of Pexels.com)

      This, by the way, is why I advocate the glazing technique. You can work your entire painting at once, and even if you feel like it is 80% done, oftentimes, it’s done enough to please the client.

      If you’re like those artists who have a white canvas and work it like a drawing, from left to right, making everything detailed and finished section-by-section, then you’ll always have a white section of canvas that’s undone until the very end.

      And there’s no way you can pass off that portrait as finished.

      Now, that’s not to say we don’t strive for our best work. Don’t turn in a painting to a client that’s not representative of your style, that’s not finished well. But the 80%-100% level of completion in a painting is a very grey area, a very thin line. It’s where you may not be adding much value to the portrait.

      There’s a saying:  “your work will expand to fill the time you allot for it.”

      That holds true with paintings as well. If you have a tight deadline to meet, if you value your reputation as an artist, you’ll find a way to get the artwork done.

      Unless the client is able to give you some wiggle room on the deadline, better to turn in a painting that doesn’t look perfect to you, than say, “Sorry, it’s not done,” when they absolutely needed it by a certain time.


       

      4. Your client approves the portrait.

      Again, let’s say you are a professional artist and you email your client a proof image. They love it. They are ready to pay you.

      Don’t you dare add one more drop of paint to that canvas! It’s done.

      “But I just noticed an eyelash that’s missing,” you say. “I’ve got to paint it in there.”

      No. Leave it. Your client approved this version of the painting, and if you add more paint, it’s a different version. When they come to pick it up, they might say, “it doesn’t look like the proof. Something’s different.”

      Then you’d have to try and restore it to what it was. What a nightmare! You’d waste the client’s time, your time, and possibly even lose the commission.

      Not worth the gamble.

      They approve it=you’re done.

      If you think the painting could be improved, save that sentiment for your next painting.

      Now, with all these points, it’s good to remember that sometimes a painting is not done and needs more work. Some artists give up on a painting too early. Don’t do that. If you stick with a painting that’s causing you frustration, it will build your endurance as an artist, and you will be able to paint better the next time. It’s just like working out at a gym. Finish your reps, and you will be stronger the next week.

      As an example of how to finish a painting successfully, here is a portrait I did not too long ago of a pastor, a memoriam portrait. It’s one of my favorites. I posted some videos of it in the past, but here I want to show you how I finish and sign it.

       

       

      Let me know how this article helps! It’s been a while since I’ve last posted, but I hope to get back into the swing of things again!
      If you have any questions or comments for me, please leave them below. May God bless you in your painting!

      Yours for Better Portraits,

      Signature_200dpi_sm.jpg

      If you found this post helpful or encouraging, would you send it on ahead? Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! 

       

       

       

      acrylic portrait painting while camping at yurt

      Portrait Painting of a Veteran at the Yurt

      Is it possible to do portrait painting while you’re away from your home, your usual studio area?

      This was something I’ve always wanted to do: create art while camping. And for all the years I’ve gone camping, I’ve never been able to successfully do it.

      But finally, at the end of June, my brother and I decided to go camping at a rustic yurt up in Cable, WI. Where is that? Let’s just say, it’s “way up north.” 🙂 And what is a yurt? It’s a round tent-like house, a permanent structure made of lattice wood, bound together with steel cable, and covered with fabric. We rented it through Airbnb for two days.

      yurt camping portrait painting

      Acrylic portrait artist Matt Philleo ready to paint at a yurt in Cable, Wisconsin

      We parked at the bottom of the hill and carried our gear up about a mile. We realized how out of shape we were! I also had my painting supplies: easel, palette, and brushes with me. In the middle of hiking and cooking, we decided to both do a little work: my brother wrote (he’s an author) and I painted.

      acrylic portrait painted from photo

      Painting an acrylic portrait from photo inside a yurt while camping, 11 x 14 acrylic on canvas ©2019 by Eau Claire area portrait artist Matt Philleo

      I know. You’re probably thinking I should have painted the scenery up there, and yes, it was beautiful. But I had a commissioned portrait from a photo to get done: a painting of a veteran that served in the gulf war. And I love painting people, so it hardly seemed like work.

      After bacon, eggs, and oatmeal for breakfast, it was time for painting.

      Here is a video showing the beginning part of the process. In this video, I am basically blocking in the values with just raw umber dark and ultramarine blue. Of course, it’s all thinned out and made translucent with matte medium.

      And then, here’s the next video in the process. Here I’m adding some color with burnt sienna, alizarine crimson and a few other colors. We’re starting to build up some skin tones. Also working on the flannel shirt. It takes a lot of layers to get it dark enough to look realistic!

      After lunch, we hiked, and then came back and did more work: refining the shadows and making sure the likeness is accurate.

      Sometimes your sketch just won’t cut it. It will get you about 80% of the way there, and you do the remaining 20% with paint. As you apply the paint, you can change the shape of the nose, the distance between the eyelids, lengthen the smile, etc., to adjust whatever might have been off during your sketch.

      Of course, there is more to go on the painting. I’ll share the rest with you soon. I wasn’t able to finish it at the yurt, but I put in several hours. So, not only did I get to spend some great quality time with my brother, but I got to do some enjoyable work as well. After the big move, I finally feel like I’m getting into a regular groove of painting and posting tutorials. Thanks so much for your patience.

      UPDATE: Here is the final video of this portrait, painted at my regular studio…

       

      And a photo of it…

      realistic acrylic portrait painting

      Custom realistic acrylic portrait of a veteran and his wife painted by Eau Claire area portrait artist Matt Philleo, 11 x 14, acrylic on canvas, ©2019 by Matt Philleo

      I really enjoyed painting this for the client, putting all the elements–the map of Iraq, the capitol building, and the people together into one cohesive portrait that I hope will be a cherished keepsake for the family for years to come.

      I hope this painting has encouraged you and given you some ideas to use in your own portrait painting. I would love to help you learn to paint portraits your very best. Let me know if I can be of more help to you in any way.

      Yours for better portraits,

      Signature_200dpi_sm.jpg

      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!

       

       

       

       

      set up canvas in easel

      Quick Tip to Set Up a Canvas in Your Easel

      Have you ever been frustrated trying to paint the edges of your canvas on an acrylic portrait, because the easel clamps are in the way?

      You try to paint the background smoothly, with gestural strokes that flow off the edge of the painting but are inhibited by the easel itself. Let me show you a quick tip to overcome that problem.

       

      How do YOU keep your paintings in place on your easel, and yet make it possible to paint all edges easily? Let me know. Always on the lookout for good ideas. 🙂

      Yours for Better Portraits,

      Signature_200dpi_sm.jpg

      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!

       

       

       

      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.

      Inline image

      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.
      Inline image

      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,

      Signature_200dpi_sm.jpg

      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

      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 canvas board

      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.

      acrylic portrait from a photo

      Custom commissioned realistic acrylic portrait from a photo painted by Eau Claire area artist Matt Philleo, ©2019 Fine Art by Matt Philleo

      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?

      large acrylic portrait painting

      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,

      Signature_200dpi_sm.jpg

      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!

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