Realistic Acrylic Portrait School

Category Archives for Tips and Techniques

How to Trace? Is it OK to Trace as a Portrait Artist?

Let’s address the elephant in the room: tracing as a portrait artist. Is it OK? Is it cheating?

I’m going to answer that question today.

Up until COVID-19 hit, I participated in a Fall studio art tour every year. An artist on the tour, who was also the founder and coordinator for it, had some strong opinions about tracing.

“Matt, tell me you didn’t trace that sketch for the mural project you did.”

“I’m not going to lie,” I told her. “I did use a projector to get the proportions up, and then refine it freehand.”

“How could you do that? What if your client found out?”

“Well, first of all, this project was done for my church, as a gift,” I replied. “And secondly, I would be upfront with them if they asked about my process.”

Is it OK to Trace as a Portrait Artist
Photo by Dan Reiland, used with permission.

She chided me in a motherly kind of way, and I listened respectfully and smiled.

This is the first time I ever really thought about the concept of tracing as being a bad thing, at least to this degree. But is it?

I’m going to give you 5 reasons why I believe tracing is OK.

  1. Tracing saves time. Let’s face it. Drawing freehand, or with a grid is a time-consuming process. You have to measure, re-measure your proportions, and if you lack much drawing experience, often have to settle for eyes that are too large, noses that are unnatural, and mouths that aren’t aligned properly. I have many commissions to do, and so tracing expedites my workflow. I don’t trace all of my portraits, but for some, I choose to do so.
  2. Tracing helps you get accurate proportions, especially for a large painting. I had always drawn freehand and never even thought of tracing until 1999, when I did mural work with a well-known Florida muralist, Bob Jenny. He had hired me to do a series of murals depicting army medics serving in American wars at some VA hospitals. They were large—two 6′ x 30′ murals. One day, he came by to check on my work. He saw me meticulously sketching a battle scene, freehand. “We’re going to be here for months if you do it that way!” he exclaimed.  “Let me show you how to do it.”And he taught me how to use an overhead projector to transfer the design up quickly and effectively.
  3. Tracing helps you to see distinctions in value. When you trace, especially using a projector, details become blurred and you readily notice differences in value—those distinct shapes that create the planes, the forms we see—whether they are the forehead, nose, cheekbones, or locks of hair. You can trace along the edges of those distinctions. It can be a beneficial exercise to help you in your portrait painting.
  4. There is historical precedent for tracing. Jan Vermeer reportedly used a camera obscura to project scenes from outside onto his surface to create exact replications of landscapes. So there is so shame. I think we can all appreciate the work of Vermeer. Art historians and art appreciators alike marvel at his skills.
  5. Tracing is a tool. It can be used like a contractor uses a nail gun to frame a house. The same work could be done by old-fashioned hammer and nail, but the nail-gun will do it faster. Obviously, this metaphor doesn’t translate entirely in terms of portrait painting, but the idea I’m trying to convey is that it’s just a tool.

Now, with all that said, here are some caveats on tracing.

  1. If you ONLY trace, and never do freehand sketching or use the grid method, your portrait painting skills will suffer. You will either stagnate, or take a very long time to progress past the beginners’ level. I get emails often from artists asking me to help them with skin tones, but because they haven’t put in the time to observe proportions and render them on the canvas, they don’t create realistic value shapes. The result is a portrait that looks falls far short of their goals. Anatomy and values must come first, skin tones after. And freehand sketching is the best way to develop it. I drew freehand for years as a child, before beginning to use acrylic in high school, and the observational skills I learned were priceless. Tracing is not cheating. But if you rely on it too much, it will cheat you, as an artist, of growth. This is why I teach my classes mostly using the grid method. It’s a good middle-of-the-road option between freehand and tracing. It helps artists create a solid sketch, so they can do a portrait they’re proud of without having to spend years getting proficient at freehand sketching. It helps them to see proportions and shapes, and then carry that confidence into their painting process!
  2. Tracing helps you to quickly establish proportions on your canvas, but it by itself, it’s not enough. The process often omits fine details and nuances that can only be achieved by refining your sketch with freehand sketching. In fact, tracing can flat-out distort your photo reference. In a scene, it totally obliterates the distinction between foreground and background. It can cause areas with lighter value to exceed the proper boundaries. If you want an accurate sketch to work from, you must evaluate your tracing and go back on top of it with more work, to fix mistakes and supply detail that is lacking.
  3. If you trace, be honest about your process. You are not obligated to tell the whole world, “I traced this!” But if your client or Facebook follower asks, did you do this freehand (most will never ask) be sure to answer them honestly and confidently about your process. If you don’t feel ashamed about it, they won’t think any less of you as an artist. Even with a traced/ projected sketch, it still takes an incredible amount of skill to do the remaining work: selecting colors, mixing them, applying them in the right places, and finishing with detail.

 

Here is a fun video I did on tracing. I go over a few of the ideas I shared with you above, and I also show you, if you choose to trace, how to do it, using a painting I’m doing right now as an example…

 Is it OK to Trace as a Portrait Artist?

 What are YOUR thoughts on tracing? Let me know below, in the comments!

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 kno

 

acrylic portrait painting challenge masterclass lesson 8

[PORTRAIT CHALLENGE] Masterclass Lesson #8: Finishing Your Portrait Well

The Acrylic Portrait Painting Challenge Masterclass, Lesson #8, is out! 

This is our FINAL lesson together.

It’s kind of sad to see the challenge drawing to a close. As I write this, it’s been an entire month since I started this challenge on April 6, 2020.

My goal was to create a way for artists to overcome the challenges of being in COVID-19 lockdown, create something beautiful with their time, and grow their skills as artists.

Many, many have risen to the challenge and done exactly that. If you’re reading this, and you’ve taken the challenge; you’ve gone through steps 1-7, I’m so proud of you! It’s not easy to paint a realistic portrait in acrylic, let alone during a quarantine. But you did it! And you’ve encouraged many others along the way.

Acrylic Portrait painting challenge portrait from photo

Acrylic Portrait Painting Challenge example portrait 16 x 20 acrylic on canvas, ©2020 by Matt Philleo

 

Because of that, you are a better artist, and have grown in character as a human being.

Your portrait —hopefully—is nearly done. What next? How do we “bring it home”, so to speak?

Let me show you, below!

 

Six Steps to Finishing  Your Portrait Well

STEP ONE: Double-check the tonal values. Use my Value Checker tool for that.

STEP TWO: Double-check and add more detail to the eyes. 

STEP THREE: Add vibrance to areas where certain shadows and highlights meet

STEP FOUR: Refine the shadows

STEP FIVE: Redefine the edges of your subject and objects

STEP SIX: Paint pin-point highlights on the face

When is the painting done? 

Watch the video to find out…

[PORTRAIT CHALLENGE] Masterclass Lesson #8: Finishing Your Portrait Well

Is it too late to join the challenge? No, not at all. This challenge is meant to be ongoing—something you can do at your own pace. The lessons are free and they aren’t going anywhere.

If not, register below for FREE and I’ll send you:

  • a downloadable/ printable”Welcome Kit” with a Supplies List and a Palette Color Layout Guide.
  • high-resolution images of the photo we’ll be painting from for this challenge.
  • each new lesson that comes out in this Masterclass series.
  • a link to my private Facebook group, where you can do this challenge with other artists, get feedback and help on your portrait, and not feel alone.

REGISTER TODAY.  It’s not too late to enter!

Register for the Challenge!

 

Where do we go from here?

I am so happy that you have done this challenge with me and hundreds of other artists. I give you a virtual high-five for the effort and dedication you have put in.

First, I give God the glory and thanks for entrusting all of us a talent to use. Next, I thank you and the other artists for taking your time and investing it into yourself as an artist and into others’ lives to encourage them.

You’ve left great comments for each other and your building skills to be able to paint a portrait you can take pleasure in and others can too.

This is what art is about. It transcends a piece of cotton canvas stretched on a wood frame, with plastic polymer resin on it. In the hands of a skilled painter, it becomes something beautiful that can last forever.

When we touch lives, bring hope and encouragement both in the creation and in the giving or selling of the art, we are doing something that has the potential to last for eternity!

So what we all have done in this group, by God’s grace, is amazing. And I believe it is just the start! 🙂

If you would like to work with me more closely, so I can personally help you become the portrait artist you’d like to be, be sure to watch my invitation at the end of the video. Whatever you decide, thank you so much for taking part in this challenge and may God richly bless your talent, and multiply it many times over!

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! 

 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

 

paint realistic facial features acrylic portrait

[PORTRAIT CHALLENGE] Masterclass Lesson #7: Painting Fantastic Facial Features

The Acrylic Portrait Painting Challenge Masterclass, Lesson #7, is out! 

In our last lesson, I showed you how to visualize your painting as a map, and add shading and skin tones to specific spots on your portrait.

Now, in this lesson, I want to show you  how to “dial-in” the facial features.

(To be upfront, I want you to know there is some video footage after Lesson 6 that I just couldn’t capture in this lesson, so it didn’t get too long for a YouTube video. All of the “in-between” BONUS videos will be posted within Realistic Acrylic All-Access Membership, after I’m finished posting these challenge lessons. The main Masterclass Lessons will be there as well as one complete course, and I will also segment them for easier viewing, since the learning interface makes that possible.)

For most of the students I serve, they do their portraits as gifts for loved ones, and on commission. So, unless you are painting only for an academic exercise, it’s important that you capture an accurate likeness of your subject.

I have painted many portraits over the years, and I can tell you from experience, it doesn’t matter how much detail I add to the painting, if the picture doesn’t look like Aunt Betty, it’s not going to sell. 🙂

So, as you are aiming for realism—that is, the accurate form, tonal values, skin tones, shading, detail, etc., you also want to work to achieve a true likeness.

Does it need to be perfect? No, just close. Usually 85-90% as accurate as the photo you’re working from (and even that is not as accurate as real life) and you’ll do well. But shoot for the 100% every time.

Let’s dive in…

 

Here’s what to do…

STEP ONE

  1. Redefine the eye-socket region.
  2. Redefine the eyelid folds.
  3. Dial-in the coloring of his eyes

STEP TWO

  1. Adjust the length and shape of nose (if needed) and add shading.

STEP THREE

  1. Add more depth to the eyes.

STEP FOUR

  1. Refine the mouth and mustache.

Ready to paint?

Now, before you begin…(Yes, still need to ask, because some folks are just discovering these Masterclass lessons 🙂 )

Are you registered for the challenge?

If not, register below for FREE and I’ll send you:

  • a downloadable/ printable”Welcome Kit” with a Supplies List and a Palette Color Layout Guide.
  • high-resolution images of the photo we’ll be painting from for this challenge.
  • each new lesson that comes out in this Masterclass series.
  • a link to my private Facebook group, where you can do this challenge with other artists, get feedback and help on your portrait, and not feel alone.

REGISTER TODAY. The challenge is ongoing, something you can do at your own pace. It’s not too late to enter!

Register for the Challenge!

 

Watch my in-depth Masterclass acrylic online tutorial below to see these steps in action.

After learning from this video, you’ll know exactly how to do it.

Make sure to watch the ENTIRE video first before diving into the painting. It will be worth it to do that. Then, I’d like you to go back and refer to whatever steps you need to as you paint. That way, you won’t miss any of the instruction and tips that will help you make this portrait your very best.

Here’s the video…

[PORTRAIT CHALLENGE] Masterclass Lesson #7: Painting Fantastic Facial Features

Moving Forward…

Thank you so much for all your effort you’ve put into doing this challenge with me and so many other artists. You’re almost there…your finished portrait is in sight.

Hey, if you’re having some challenges with your Portrait Challenge portrait, I just want to let you know, that’s natural! Painting portraits is difficult even for artists who have been doing it for years. But step-by-step instruction and encouragement from other students helps a lot. Many people in our group are doing with little to no experience, and they’re doing a knock-out job, even if they’re struggling in certain areas.

So, if you do feel stuck at this point, or find your results are less than what you expected, keep in mind this is a learning experience. You will get better as you practice painting portraits in the glazing technique, as so many others have.

That being said, if I can help in any way, please leave a comment or send me an email. I get a lot of requests, but I’ll do my very best to help. Also, make sure you join our amazing Facebook group, Realistic Acrylic Portraits, because you will receive helpful tips and encouragement from other students, some of whom are farther ahead in the portrait painting journey.

I’ll see you in our next class! What is it going to be? Painting the Final Details, Nuances, and Finishing Well. I’m excited to share that with you! Until then, be blessed in your painting and you and your family stay safe and healthy.

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! 

 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

 

Paint realistic skin tones step by step masterclass

[PORTRAIT CHALLENGE] Masterclass Lesson #6: Creating Smooth Blending and Skin Tones

The Acrylic Portrait Painting Challenge Masterclass, Lesson #6, is out! 

In our last lesson, I showed you how to add depth to the dark value of the hat, shadowed areas of the face, and some of the darker areas within the background.

Now that we have a good underpainting foundation in place, it’s time to transition into the “middle” portion of the painting. In other words, we’re working our way towards what the final surface of the portrait will look like.

I want to show you specifically how to create smooth blending and establish realistic skin tones.

It’s important to think of this process like outlining the boundaries of a nation, state (province) or county.

I know, we shouldn’t mix geography with art lessons, but I think this metaphor will help you understand the concept I’m trying to get across…

us map-shading-color-value-acrylic-portrait

How a US map is like color, shading, and value in an acrylic portrait

I live in the state of Wisconsin, U.S.A. It has its own distinct shape and location within the United States of America. Now, the U.S.A. has its own distinct shape and location within the continent of North America.

In the same way, in a portrait, you may have a small area of value/ skin tone with its own distinct shape and location within the larger area of value/ skin tone. What you want to do is pay attention to the boundary lines on these specific shapes by studying your reference photo.

You won’t see a sharp line you will on a map, unfortunately. But you will see a marked difference where one value/ color ends and another begins.

Map for better acrylic portrait

How to use the idea of a map to improve the realism on your acrylic portrait

You will see a shape emerge. Note that shape.

Then transfer what you see onto your painting. It’s as simple (and challenging!) as that.

You will see shapes within shapes within shapes. The more you can train your eyes to spot these shapes, the better you will become at realistic painting. That’s half the battle. The other half is technique: getting the paint to do what you want it to do.

This concept of “Nations and States” is powerful once you get a hold of it and use it regularly in your acrylic portrait painting! Now, let’s get onto the lesson…

What we want to do at this stage:

Begin the process of adding smooth shading and skin tones throughout the portrait.

We will be adding:

  • a large “warming” glaze to the entire shadow area of the man’s face.
  • glaze on the highlighted area of the face, adding depth and the beginning of skin tones, so the area is not just plain white or off white.
  • small glazes (“states”) on the shadow side (“nation”) of the face to further define the pinkish skin tones.

We will do this using the acrylic glazing technique, where we mix a TINY amount of acrylic paint into a LARGE amount of clear acrylic matte medium. It’s best to go very, very light when you start your painting. You should just barely see a difference. However, at this stage you will getting a bit more opaque, because you have enough layers down already to give you some smoothness in the overall appearance.

Also, as always, make sure you rinse your brush off thoroughly between glazes. Any extra water in the heel of the brush may cause your glazes to drip or get streaky.

 

Here’s how to do it:

STEP ONE

  1. First, mix the “warming glaze” for the shadow side of the face: Use raw sienna and mix with a large amount of matte medium (10% paint to 90% medium) as shown in the video lesson. “Scoop” a large amount of glaze onto your 3/4″or 1″ flat brush. A few of the glazes will get a little darker, with ratios of as much as 30% paint to 70% medium. Make sure you watch the video to know where and when to change the ratio. “Next, glaze
  2. Glaze on the highlight side of face, to “tie-in” with the shadow side, develop mid-tones and create depth: Use raw sienna and organic pyrrole orange (or a cadmium orange) and mix it 5% paint to 95% matte medium. Test the glaze and see if you need to add more pigment or more medium. You should just barely see a difference in what you apply.
  3. Add small glazes in specific locations (“states”) on the shadow side of face using organic pyrrole orange, raw sienna, and a bit of alizarine crimson if needed to darken the glaze without adding too much chromatic intensity.

STEP TWO

  1. Add another layer of shading to the man’s hat and the background: Use raw umber dark, ultramarine blue, and a touch of alizarine crimson. How much of each? It depends on what the hat looks like right now as you paint. Is it too bluish? Add more raw umber dark. Is it too brownish? Add more ultramarine blue. Is it too greenish? Add alizarine crimson—just a pinch.
  2. Take the same glaze you used for the hat and add some shadows below his hat: Because it is right underneath the brim of his hat, the shadows will be quite dark in value. Add a bit of raw umber dark (or raw umber) and a bit of alizarin crimson if necessary to warm up the glaze, especially as you transition into the lighter parts of the skin tones.
  3. Clean off your brush and apply a blue glaze to the highlighted areas in his shirt: Mix ultramarine blue and phthalo blue (just a bit—it’s a VERY strong pigment) into a large amount of matte medium (95% to 5%, ratio to start with, and test to see if you need to change it) We want to bridge the gap between the shadows and the highlights, adding much-needed depth to this area of the painting.

STEP THREE

  1. Repeat Step 1, with slight adjustments. Follow the video for more detailed instruction.

Ready to paint?

Now, before you begin…(Yes, still need to ask, because some folks are just discovering these Masterclass lessons 🙂 )

Are you registered for the challenge?

If not, register below for FREE and I’ll send you:

  • a downloadable/ printable”Welcome Kit” with a Supplies List and a Palette Color Layout Guide.
  • high-resolution images of the photo we’ll be painting from for this challenge.
  • each new lesson that comes out in this Masterclass series.
  • a link to my private Facebook group, where you can do this challenge with other artists, get feedback and help on your portrait, and not feel alone.

REGISTER TODAY. The challenge is ongoing, something you can do at your own pace. It’s not too late to enter!

Register for the Challenge!

 

Watch my in-depth Masterclass acrylic online tutorial below to see these steps in action.

After learning from this video, you’ll know exactly how to do it.

Make sure to watch the ENTIRE video first before diving into the painting. It will be worth it to do that. Then, I’d like you to go back and refer to whatever steps you need to as you paint. That way, you won’t miss any of the instruction and tips that will help you make this portrait your very best.

Here’s the video…

[PORTRAIT CHALLENGE] Masterclass Lesson #6: Creating Smooth Blending and Skin Tones

Moving Forward…

If you have gotten this far in the challenge, I’m proud of you! It’s not easy to try something new, especially during a challenging time (COVID-19 as I write) but you are making a difference in your own life by developing the talent God gave you and you will be making a difference in others lives when you freely share the beautiful artwork you create with those you love or want to impact.

I’ll see you in our next class! What is it going to be? Painting fantastic facial features. I’m excited to share that with you! Until then, be blessed in your painting and you and your family stay safe and healthy.

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! 

 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

 

[PORTRAIT CHALLENGE] Masterclass Lesson #5: Building up Depth With Glazes

The Acrylic Portrait Painting Challenge Masterclass Lesson #5 is out! 

In our last two lessons, I showed you how to cover your entire canvas with a series of three glazes covering the entire surface of the canvas as one layer.

Now, with this lesson, I’ll show you how to continue the process of adding layers on top of layers. We want to “rotate,” going back to the first glaze we did, and go on top of it with another glaze. And then to the next, and so on. Remember volleyball? It’s kind of like that. Every person gets a turn.

rotating glazing layers acrylic

Volleyball rotation like rotating glaze layers in your acrylic portrait

Here in the portrait using the acrylic glazing technique, every part of the picture gets a turn, having another glaze added to it. (There are some times when we break this rule, and I’ll show you that in the video lesson)

Here is where I’m at in the portrait, prior to this video lesson, after the work I did on Lesson #4.

 

acrylic portrait painting challenge in progress

Acrylic portrait painting challenge example in progress using the acrylic glazing technique, 16 x 20, acrylic on canvas by artist and instructor Matt Philleo

What we want to do at this stage:

Since we already have locked in the major differences in the color scheme and tonal value very simply, now we want to add more complexity to the painting.

We will be adding:

  • depth to the dark value of the hat
  • shadowed areas of the face
  • and some of the darker areas within the background.

We will do this using the acrylic glazing technique, where we mix a TINY amount of acrylic paint into a LARGE amount of clear acrylic matte medium. It’s best to go very, very light when you start your painting. You should just barely see a difference.

Also, make sure you rinse your brush off thoroughly between glazes. Any extra water in the heel of the brush may cause your glazes to drip or get streaky.

 

Here’s how to do it:

  1. Mix your Glaze for Hat: Use small, fairly equal amounts of ultramarine blue and raw umber dark, and mix with a large amount of matte medium (5% paint to 95% medium) as shown in the video lesson. “Scoop” a large amount of glaze onto your 3/4″or 1″ flat brush. A few of the glazes will get a little darker, with ratios of as much as 30% paint to 70% medium. Make sure you watch the video to know where and when to change the ratio.
  2. Apply the Glaze: Start on the left-hand side of hat and apply the glaze with firm pressure to cut along the edges. Spread the paint out toward the right, keeping a wet edge. Flip the brush over to make use of the paint that is on both sides.
  3. Smooth Out the Glaze: Use diagonal criss-cross strokes to blend the glaze out rapidly. Use very light pressure at the end, just barely grazing your brush across the top. Don’t overwork the glaze. TIP: It dries quickly. If it starts to get blotchy or tacky, just leave it alone, or you’ll make it worse. You will be able to smooth it out later with more layers on top.
  4. See Where Else You Can Employ the Glaze: Because you don’t want to waste the paint and medium, and to save time, use this same glaze on the background, adding as shown in the video lesson.
  5. Add a Shadow Glaze to the Face. What we want to do is add a shadow on top of the shadow. Start at the left side of his face, underneath the hat, and cut up along the edge, working your way right, and bring the glaze down into the forehead wrinkles as I show in the video. Follow the distinct shapes and patterns that you see on your reference photo.

You will repeat this process another time, with some variations.

Ready to paint?

Now, before you begin (yes, I have to ask you again, just in case 🙂 )…

Are you registered for the challenge?

If not, register below for FREE and I’ll send you:

  • a downloadable/ printable”Welcome Kit” with a Supplies List and a Palette Color Layout Guide.
  • high-resolution images of the photo we’ll be painting from for this challenge.
  • each new lesson that comes out in this Masterclass series.
  • a link to my private Facebook group, where you can do this challenge with other artists, get feedback and help on your portrait, and not feel alone.

REGISTER TODAY. The challenge is ongoing, something you can do at your own pace. It’s not too late to enter!

Register for the Challenge!

 

Watch my in-depth Masterclass acrylic online tutorial below to see these steps in action.

After learning from this video, you’ll know exactly how to do it.

Make sure to watch the ENTIRE video first before diving into the painting. It will be worth it to do that. Then, I’d like you to go back and refer to whatever steps you need to as you paint. That way, you won’t miss any of the instruction and tips that will help you make this portrait your very best.

Here’s the video…

[PORTRAIT CHALLENGE] Masterclass Lesson #5: Building up Depth With Glazes

Moving Forward…

Excellent job staying with me and the other artists for this challenging portrait! The acrylic glazing technique takes some getting used to, but once you really “get it” you will be able to paint with a freedom, confidence, and sense of realism that will keep you encouraged to keep on painting more and more.

In our next class, I’ll show you how to add more glazes and build up the skin tones. It’s something so many artists aspire to: create those lifelike skin tones that just look real. And now with a good foundation in place, we can do it!

I’ll see you in our next class! Until then be blessed in your painting and you and your family stay safe and healthy.

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! 

 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

 

acrylic portrait painting challenge paint values and colors

[PORTRAIT CHALLENGE] Masterclass Lesson #4, LIVE: Establishing Your Color and Values

For a change of pace, we did the Acrylic Portrait Challenge Masterclass Lesson #4 as a LIVE class, and I’m excited to share it with you! 

In our last lesson, I showed you how to prepare your canvas for painting by whiting out the grid lines, sealing in and muting the sketch, and preparing your palette.

Finally, we began the actual painting process with a glaze of ultramarine blue (a glaze is a small amount of acrylic paint mixed into a large amount of clear acrylic medium, usually matte medium).

Now, in this lesson (recorded LIVE), I will show you how to add the next two glazes, which will nearly cover the entire canvas with one layer.

Whereas the sketch is the actual foundation for the painting, this first layer is very important. It is like the floor joists when a house is built. The rest of the structure attaches to that, and so housebuilders take extra time to make sure they do it correctly. If they don’t they’ll end up with a structure that will end up sagging years, or even worse, collapsing!

In the same way, we want to make sure we have this first layer done correctly. Don’t feel nervous about it. You can still fix a painting that hasn’t been started correctly, and end up with a truly realistic acrylic portrait. It just will take you more time and effort to correct, and so it’s best to avoid that hassle if possible.

What we want to do at this stage:

Our main goal right now is to establish the main value and color scheme of the portrait, simultaneously. We want to “lock-in” the contrast between the lights and dark values, paying attention to their specific edges, boundaries, and shapes. If you did the sketch according to Lesson #2,  then you will know almost exactly where to place your initial glazes, because your sketch tells you where to put it.

We also want to observe the major differences in color within the reference photo, simplify it to “warm and cool” tones and use our inital glazes to plot that out. Then, future layers will be added on top of them, getting more and more complex as we go along.

But the initial glaze will serve us well.

It’s like how a major highway was often once a foot trail, then a cowpath, then a dirt road, then a paved road, and finally a highway. It’s a lot easier to upgrade a road, than to try to build a new one. You’d have to bulldoze trees, cut through rocks, level the land, and even remove homes if necessary.

acrylic-painting-slow-like-highway-trail

In the same way, with the glazing technique, we are getting the compounded effect of each previous layer adding richness and depth to the ones that come after them. That’s why you want to start off right.

Again, as I’ve said in the last lesson: begin the painting lightly. Much lighter than you think. And certainly more than you’re used to painting, if you’ve painted for a while. If you just barely see a difference in this first layer, you’re doing it exactly right!

Let’s dive into the process…

 

Here’s how to do it:

  1. Mix your Glaze for the Skin Tone Foundation Layer: Use a small amount of burnt sienna and raw umber dark, and mix with a large amount of matte medium (5% paint to 95% medium) as shown in the video lesson. “Scoop” a large amount of glaze onto your 3/4″or 1″ flat brush.
  2. Apply the Glaze: Start on the left-hand side of the man’s face, and apply the glaze with firm pressure to cut along the edge of the ear, neck, and along the collar. Spread the paint out toward the right, keeping a wet edge. Flip the brush over to make use of the paint that is on both sides.
  3. Smooth Out the Glaze: Use diagonal criss-cross strokes to blend the glaze out rapidly. Use very light pressure at the end, just barely grazing your brush across the top. Don’t overwork the glaze. TIP: It dries quickly. If it starts to get blotchy or tacky, just leave it alone, or you’ll make it worse. You will be able to smooth it out later with more layers on top.
  4. Mix the Glaze for the Background Foundation Layer: Now, if you followed my steps from Lesson #3, you should have an ultramarine blue glaze already on the background’s darkest values. This glaze will go on top of that, and will start the basic color for the mid-tone area in the right direction. Take a small amount of raw sienna as the base, smaller amount of raw umber (or raw umber dark) and and even smaller amount of ultramarine blue, and mix them slowly into the matte medium as I show in the video.
  5. Add the Glaze and Smooth it Out. Apply this similarly as the skin tone glaze, but this time, you only need to cut up along the edge of objects with very light tonal value, such as the shirt or the illuminated portion of the man’s face. The glaze can go on top of the hat, because the final tonal value of that area will be so dark, so there’s no need to worry about trying to “keep within the lines” there.

Ready to paint?

Now, before you begin (yes, I have to ask you again, just in case 🙂 )…

Are you registered for the challenge?

If not, register below for FREE and I’ll send you:

  • a downloadable/ printable”Welcome Kit” with a Supplies List and a Palette Color Layout Guide.
  • high-resolution images of the photo we’ll be painting from for this challenge.
  • each new lesson that comes out in this Masterclass series.
  • a link to my private Facebook group, where you can do this challenge with other artists, get feedback and help on your portrait, and not feel alone.

REGISTER TODAY. The challenge is ongoing, something you can do at your own pace. It’s not too late to enter!

Register for the Challenge!

 

Watch my in-depth Masterclass acrylic online tutorial below to see these steps in action.

After learning from this video, you’ll know exactly how to do it.

Make sure to watch the ENTIRE video first before diving into the painting. It will be worth it to do that. Then, I’d like you to go back and refer to whatever steps you need to as you paint. That way, you won’t miss any of the instruction and tips that will help you make this portrait your very best.

Here’s the video…

[PORTRAIT CHALLENGE] Masterclass Lesson #4, LIVE: Establishing Your Color and Values

Moving Forward…

If you made it this far, congratulations! It’s not easy to start a painting so light, when your natural instinct is paint thick and dark right away. So, if you’ve followed my steps as best you can, high fives and hat’s off to you! Stick with this process, and you will be able to paint more confidently and realistically than you ever have before.

Now, since we have the complete glaze foundation work done on the painting—the hat, the face, the shirt, the background all has paint on it, we can move on and add more and more glazes—building up richness, depth, and detail. The painting will look more and more amazing each time we add another layer. There may be a few times where you’ll hit a few rough spots, but by God’s grace, I’ll show you how to navigate those challenges and finish your portrait well.

I’ll see you in our next class! Until then be blessed in your painting and may God guide your every brushstroke!

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! 

 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

 

Begin your acrylic painting confidently

[PORTRAIT CHALLENGE] Masterclass Lesson #3: Beginning Your Painting Lightly and Confidently

Masterclass Lesson #3 for the Acrylic Portrait Painting Challenge is open!

In this lesson, you will learn how to slowly transition out of the sketch process and into the painting with confidence.

Instead of the typical way of painting—dumping a bunch of paint onto the canvas and hoping something good comes out of it, you will strategically begin your portrait with light, translucent glazing layers.

If you follow the heart of my method, you will not feel like the painting is out of control. You will be guiding the painting to a successful finish, rather the painting taking you and your emotions for a roller-coaster ride.

It takes patience.

So please don’t jump ahead, even though it feels you’re starting so slowly.

You’ll find that once we get the painting moving in the right direction, it will begin to take off, just like a car as it goes into higher gear. Your layers and brushstrokes will get bolder as you hit the midpoint of your painting, like a climax in a good movie or book. You’ll be moving much faster then!

learn-how-to-paint-acrylic-portrait-like-a-race-car

Finally, you’ll slow down again.

You’ll gently add nuances and final touches to bring the portrait home and make it a masterpiece.

 

In our previous step, I showed you how to sketch your canvas to create a firm foundation for your painting. Not perfect, but accurate.

Now, in this lesson, we will finally get to the painting!

 

Here’s how to do it:

  1. White-out the Grid Lines. Use pure titanium white paint, undiluted, to cover your grid lines, so you don’t see them in the final painting.
  2. Seal in the Sketch. Use pure matte medium to seal in your sketch so you can paint over it without messing up your detail work and muddying your paint.
  3. Mute the Sketch (Create a toning layer or “ground.”) Make your sketch lines softer and subdued so that you won’t have to work so hard to conceal them with more paint layers later.
  4. Prepare Your Palette. Arrange your palette colors for this painting as shown on your Palette Layout Guide (last page of the Welcome Kit) so that all the colors are arranged in such a way so that the ones you need most are closest to you and if they bleed into each other, they won’t muddy each other up.
  5. Add the First Glazing Layer. Start very simple with one basic color mixed into matte medium to make a VERY light glaze (semi-transparent/ translucent) concentrating on your darkest value and cool tones at the same time. This is the blocking-in, or underpainting layer, so it doesn’t need to be dark or complicated.

Ready to paint?

Now, before we begin (yes, I have to ask you again, just in case 🙂 )…

Are you registered for the challenge?

If not, register below for FREE and I’ll send you:

  • a downloadable/ printable”Welcome Kit” with a Supplies List and a Palette Color Layout Guide.
  • high-resolution images of the photo we’ll be painting from for this challenge.
  • each new lesson that comes out in this Masterclass series.
  • a link to my private Facebook group, where you can do this challenge with other artists, get feedback and help on your portrait, and not feel alone.

REGISTER TODAY. The challenge is ongoing, something you can do at your own pace. It’s not too late to enter!

Register for the Challenge!

 

Watch my in-depth Masterclass acrylic online tutorial below to see these steps in action.

After learning from this video, you’ll know exactly how to do it.

Make sure to watch the ENTIRE video first before diving into the painting. It will be worth it to do that. Then, I’d like you to go back and refer to whatever steps you need to as you paint. That way, you won’t miss any of the instruction and tips that will help you make this portrait your very best.

Here’s the video…

[PORTRAIT CHALLENGE] Masterclass Lesson #3: Beginning Your Portrait Painting Lightly and Confidently

Moving Forward…

The largest challenge of the glazing technique is overcoming the tendency to go dark and thick with your paint. But if you stick with this, even beyond this portrait, you’ll find the technique “clicking” and you’ll understand how it can help you to create a painting with incredible luminosity, smooth shading, depth, and detail.

In other words, a portrait that will “wow” others and you’ll feel proud to have created. And even more, a portrait you can give as a gift,  hang on your wall (or someone else’s) and will be enjoyed for years to come.

There you have it! Now you know exactly how to begin your portrait lightly, and confidently. The next step is to build up depth with more glazes and see the amazing portrait fade in, slowly materialize before your eyes.

I’ll see you in our next class! Until then be blessed in your painting and may God guide your every brushstroke!

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! 

 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

 

Acrylic Portrait Painting Challenge Q & A

Portrait Painting Challenge, Q & A

It’s been an exciting week so far with so many people signing up for the Acrylic Portrait Painting Challenge! 

With that, I’ve received a lot of questions. I want to take a moment and answer some of them, so that if you it’s your question too, well, you’ll have an answer! Some of the questions are ones that I am anticipating as well….

1. When does the challenge actually start? 

Right now, people in my Facebook group are voting for their favorite image until tonight. Once we have the final reference photo, selected, I’ll put a grid overlay on it, and then email it to you here tomorrow (4/8). We will begin the next day, Thursday, April 9th.

2. What if I’m not on Facebook? Can I still participate?​

Yes! You can still paint along with us, and keep in touch with me via email. Click here to REGISTER and get your “Welcome Kit” with the supplies list. It’s not too late.

3. What if the photo I like most doesn’t get picked?

Well, I set this challenge up in a democratic way, so that everyone would get involved and vote collectively as a group. Unfortunately, we won’t all get to paint a portrait from the photo we liked most, myself included. But I think we can still recognize the value of painting the final choice image, because all of them are fantastic options, with their own unique qualities.

Also: I will be saving these “runner-up” images for a future challenge or painting class. So I think we’ll have another shot at painting them!

4. Where are you posting the step-by-step demonstration videos? 

I will be posting them to Realistic Acrylic Portrait School, on my blog. The videos will be hosted on my YouTube channel, Fine Art by Matt Philleo

5. Is this free? 

Yes, the challenge, the Welcome Kit, the video lessons, all of that is free. I want to bless you during this challenging time and allow as many to participate as possible. I will have some additional benefits for you if you are a Realistic Acrylic All-Access Member. If you want to check that out and consider joining if you aren’t already a member, click here to learn more.

6. I can’t find some of the colors on the supplies list. Are there substitutes? 

Yes. If you look at the last page of my Welcome Kit, you will see an image of my palette, with all the colors arranged it. Look at it and match up a color that you have on hand that looks close. For example, Raw Umber mixed with a little Ivory Black should work as a substitute for Raw Umber Dark.

7. I can’t find Organic Red Orange on Nova Color’s website. Where is it? 

That is my mistake. It is actually called, “Organic Pyrrole Orange.” I have called it Organic Red Orange for the longest time, because it is truly a red-orange pigment, and it differentiates it from other straight red or orange colors on my palette.

8. How often are you going to post instructional videos? 

On an almost daily basis. You will be hearing from me very often. If for some reason you feel you are getting too many emails, you can opt-out of the challenge here, and I will not email you anything more about the challenge, no hard feelings. 🙂 And you will still be on my art tips newsletter.

9. What if I get behind on the challenge?

No worries. This is not a race. Think of it more like a group painting party, but where the doors never close. 🙂 You can just keep working at your own pace. The videos will still be there for you to access later.

10. When will the challenge end? 

I am shooting to have it done by the end of April, but we are getting started a bit later than I thought. So it might go into the first week of May. I’ll be keeping in touch with you to let you know when we get closer to that time.

Okay, that’s it for now!

I hope this clears up any questions you have. But if you have more questions, shoot me an email and let me know. I’ll be happy to answer you personally.

I’m so excited to start the challenge with you. Look for an email from me tomorrow with the announcement on the reference photo we will be painting from, and a downloadable version with a grid overlay that you can paint from.

Look forward to seeing you in the challenge!

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! 

Let me know if you have any questions about the challenge that I didn’t answer. Leave your question in the comments below and I’ll get back to you!

step-by-step-acrylic-portrait-demo

5 Steps on How to Paint a Vibrant Acrylic Portrait

Learn the classical glazing technique for depth and luminosity

Acrylic painting is an exciting medium known for its versatility, but achieving the depth and vibrancy often associated with oil paintings can seem challenging. However, by employing the classical glazing technique, a method favored by old masters like Rembrandt, Titian, and Vermeer then you can produce rich, luminous results with acrylics. This blog post will guide you through 5 essential steps to create a vibrant acrylic portrait using this time-tested method.

This tutorial shows the entire process of painting a portrait. Here are the steps I show in this tutorial:

  1. Start with a Detailed Sketch.
  2. Apply the Initial Glaze Layers
  3. Layer and Build Gradation
  4. Introduce Vibrant Colors
  5.  Focus on Nuances and Details

1. Start with a Detailed Sketch

Every masterpiece begins with a solid foundation, and in portrait painting, that foundation is the sketch. Before you start adding color to your canvas, take time to create a detailed and accurate sketch of your subject. For this project, an 11×14 portrait of three girls in a park serves as an example.

By using a sepia-tone prismacolor colored pencil, you can establish proportions and likeness. Accuracy in this stage helps set the stage for a calm and confident painting process. Once your sketch is ready, seal it with a clear matte medium. This acts as a protective layer, ensuring that the pencil lines remain intact as you begin adding paint.

  • Tip: Use a flat brush (¾ inch to 1 inch wide) to apply the matte medium. Make sure the application is smooth and even, allowing it to dry thoroughly before proceeding to the next step.

2. Apply the Initial Glaze Layers

The heart of this painting method lies in glazing, where thin, transparent layers of paint are applied over one another to build depth and richness. Unlike traditional opaque acrylic painting, the classical glazing technique requires a mixture of 95% matte medium to 5% paint. This creates a very light wash that enables you to gradually build colors without overwhelming the canvas.

Begin by mixing raw umber dark with ultramarine blue to create lifelike skin tones and shadow areas. These first layers will be almost imperceptible, but they provide a strong base for the layers that follow.

  • Tip: The first layers of glaze should be incredibly light. This allows for adjustments in color or value without the need to paint over mistakes. The glazing method helps avoid the common frustration of muddy colors often encountered in acrylic painting.

3. Layer and Build Gradation

Once the initial glaze is applied, it’s time to focus on layering. As you build up more layers, you’ll notice how the painting starts to take on a more vibrant and realistic appearance. The goal here is to create a seamless transition between light and dark values, blending tones smoothly to replicate the natural shading found in your reference photo.

In this step, more raw umber dark and ultramarine blue are used to deepen the shadows on the forehead and hair. This layering process helps achieve the subtle gradation required for realistic portraits.

  • Technique: As you layer, ensure that each glaze is thin and transparent. Too much paint in a single layer can cause the painting to look heavy and lose the delicate transparency that glazing provides.

4. Introduce Vibrant Colors

To make your portrait truly vibrant, it’s essential to introduce bold colors into the glazing process. In this example, a dash of Liquitex hot pink was added to the dress to intensify the color and give it a glowing effect. The key is to use these bright colors sparingly, applying them in thin layers so that they blend harmoniously with the existing hues.

When applying glazes to areas like the clothing, make sure to leave the white areas exposed. This technique, known as “preserving the luminosity,” ensures that highlights remain bright and eye-catching, adding to the overall vibrancy of the portrait.

  • Tip: When adding vibrant glazes, thin the paint with medium and apply it cautiously. This helps prevent overpowering the existing layers while enhancing the color saturation.

5. Focus on Nuances and Details

The final step in this process involves refining the smaller details and nuances that bring a portrait to life. For example, the highlights in the hair, shadows in the creases of clothing, and the subtle changes in skin tone around the eyes require careful attention.

In the final layers, you can also experiment with a semi-opaque mixture, using titanium white, raw umber dark, and organic red-orange to add warmth and depth to the skin tones. With each new layer, the portrait takes on more life, depth, and realism. At this stage, it’s important to use more opaque layers sparingly, as glazing is best suited for large areas, while more detailed parts, such as fingernails or eyes, may benefit from a slightly thicker application of paint.

  • Technique: If you notice that certain areas appear too flat or lack depth, consider adding a dark glaze to emphasize the shadows. Because mixing ultramarine blue with raw umber dark creates a rich, deep tone perfect for refining these darker areas without relying on black paint.

Conclusion: Patience Is Key

As you add each layer of glaze, then always remember that patience is vital. Because acrylic glazing requires multiple layers, sometimes ten or more to achieve the desired depth and luminosity. Each layer builds upon the last, contributing to the portrait’s final vibrancy. While it may take time, the results are well worth the effort.

By following these five steps, you can create a stunning acrylic portrait with vibrant colors and lifelike depth, all while employing the classical glazing technique favored by the old masters.

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

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!

 

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. .

Get your free gift from me!

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!

 

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