How to Block in Hair for an Acrylic Portrait

How to Block-in Hair on Your Acrylic Portrait

The steps to block-in hair, adding depth and realism with layered glazing techniques.

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,

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!

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,

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

/ Flesh Tones Glazing Shading Skin Tones Uncategorized Video Tutorial
/ By Matt Philleo
/ 4 COMMENTS

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.

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.

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…

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,

P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!

paint eyeglasses reflections acrylic portrait

How to Paint Realistic Reflections on Eyeglasses in Acrylic Portrait

It’s tricky to paint reflections on eyeglasses.

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

Understanding Reflections in Eyeglasses

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

Preparing Your Workspace

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

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

Step-by-Step Techniques

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

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

Painting the Reflections

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

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

Adding Depth with Multiple Layers

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

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

Incorporating Background Elements

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

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

Enhancing the Frame of the Glasses

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

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

Adding Shadows for Realism

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

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

Refining the Details

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

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

Final Touches

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

Conclusion

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

Tips for Painting Reflections:

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

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

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

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

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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.

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

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

Yours for Better Portraits,

P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!

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

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

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

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

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

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

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

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

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

Ready to dive in?

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

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

Yours for better portraits,

P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!

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

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

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

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

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

How did I come across this photo?

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

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

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

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

Of course, I needed to get permission first.

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

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

So here we go.

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

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

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

Yours for better portraits,

P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!

How to Paint Oval Vignette Acrylic Portrait Timelapse

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

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

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

Understanding the Oval Vignette Technique

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

Step 1: Preparing Your Canvas with Initial Layers

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

Step 2: Blocking in Values and Colors

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

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

Step 3: Building Depth with Glazing Layers

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

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

Step 4: Enhancing Realism with Fine Details

As the portrait evolves, focus on adding detail:

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

Step 5: Adding Highlights and Final Touches

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

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

Tips and Techniques for Glazing Success

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

Why Glazing Works for Acrylic Portraits

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

Common Challenges and Solutions

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

Final Thoughts

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

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

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

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How to Paint an Acrylic Portrait in 30 Minutes

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

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

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

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

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

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

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

If I do it often, will I get faster?

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

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

There’s only one way to find out.

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

Tips for Success in Fast-Paced Portrait Painting

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

Common Mistakes to Avoid

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

Conclusion

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

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

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

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

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How to Paint Two Bubble Frame Oval Acrylic Portraits

Unlock the secrets to creating captivating two bubble frame oval acrylic portraits

Painting two bubble frame oval acrylic portraits offers a unique opportunity to explore creativity and technique while crafting eye-catching artwork. In this guide, you’ll discover the essential steps to create stunning portraits that showcase not only your artistic skills but also the charming oval frames that elevate your paintings. Whether you’re a beginner or an experienced artist, you’ll learn how to blend colors effectively, capture realistic features, and compose your portraits for maximum impact. Let’s dive into the world of acrylic painting and bring your two bubble frame oval acrylic portraits to life!

How is my portrait project coming along?

“Um, I haven’t even started it yet.”

“Oh. Could you do another one and get it done for me by Christmas?”

“Let me check. Sure.”

This is kind of how the conversation went when a client called me on a portrait project that I had scheduled out for a few months. I was backed up with commissions, and it was already well into December.

Do another portrait when I was already behind? Why not? I thrive on a little deadline pressure. I’ve got an extra reserve of midnight oil 🙂

So here are the portraits I created, two convex-oval 14″ x 20″ acrylic on canvas paintings. I decided to work on both at once. And I got them both done in time, too, by God’s grace!

Two Bubble Frame Oval Acrylic Portraits — Two oval acrylic portraits painted on vintage convex bubble frame prints, original custom portrait painted from photos for Steve Kristo, by Matt Philleo, Eau Claire artist, ©2018 Fine Art by Matt Philleo

And now I want to show you how I painted them. I’ll take you through the process from the colors I select for the palette, the first few layers, all the way to the completed painting.

How I Painted These Oval Vintage Acrylic Portraits

This tutorial is a work in progress, so I’ll be adding more videos in the future!

Keep in touch and I’ll let you know when I post the next one!

Learn How to Paint Acrylic Portraits With My Best Fine Art Tips!

Let me know how this tutorial helps!

Have you ever painted on an oval canvas or unusual surface before? If so, leave a comment and tell me about it. Have a blessed day!

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How to Build Depth in Your Acrylic Portrait Backgrounds

/ Backgrounds Glazing How to Paint Children and Babies Video Tutorial
/ By Matt Philleo
/ 21 COMMENTS

Learn the art of layering to create stunning backgrounds

Creating depth in your acrylic portrait backgrounds can transform your artwork from flat and uninviting to vibrant and lifelike. This comprehensive guide will explore techniques and tips that can be utilized to effectively build depth in your acrylic paintings. Through careful layering, color mixing, and thoughtful brushwork, your backgrounds will not only enhance your portraits but also engage viewers and add emotional resonance.

learn acrylic portrait painting children — Acrylic portrait painting of three children, by artist Matt Philleo, 16 x 20, acrylic on canvas

Understanding Depth in Art

Depth in art refers to the illusion of three-dimensionality on a two-dimensional surface. It involves creating a sense of space, distance, and perspective. In acrylic portrait painting, the background plays a crucial role in establishing depth and can significantly influence the viewer’s perception of the subject.

Techniques for Building Depth

1. Layering with Glazes

Layering is one of the most effective techniques for creating depth. It involves applying transparent layers of paint over one another, allowing underlying colors and textures to show through.

Start with a Base Layer: Begin with a solid background color that will serve as your foundation. A mid-tone color can be effective for this purpose.
Apply Transparent Glazes: Use a mix of acrylic paint and a glazing medium to create transparent layers. Ultramarine blue and raw umber dark can be mixed to achieve subtle variations.

By layering these glazes, different values can be developed. The key is to allow each layer to dry before applying the next, which helps to create a sense of depth through the transparency and complexity of the colors.

2. Creating Gradation

Gradation can be used to suggest distance and atmosphere in your backgrounds. This can be achieved through both blending and glazing techniques.

Segmented Areas: Instead of blending wet colors, use segmented areas of glazing to create smooth transitions. By touching certain areas while leaving others untouched, a subtle blend can be achieved. This method provides a more natural appearance and enhances the depth of the painting.
Use of Color Temperature: Varying color temperature can add to the perception of depth. Cool colors, such as blues and greens, can recede in the background, while warmer tones tend to come forward. For instance, using a cooler ultramarine blue in the background while maintaining warmer tones in the foreground can create a compelling contrast.

3. Employing Contrast

Contrast is essential in making your subject stand out against the background. By darkening background areas, the foreground subjects will naturally become more pronounced.

Darkening Techniques: When applying darker glazes, consider how the light interacts with your subject. By ensuring that the background is darker than the portrait, the subjects will appear more luminous.

This can be particularly effective when using glazes, as they dry quickly, allowing for rapid layering without mudding colors. As highlighted in the video, the layering properties of acrylics can be leveraged to achieve a depth that feels rich and engaging.

4. Incorporating Patterns and Textures

Adding textures or patterns can create interest in the background and contribute to the overall depth of the painting.

Marble-like Backgrounds: A painterly, marble-like appearance can be achieved by varying brush strokes and layering colors. Short, diagonal strokes can create a textured effect that draws the viewer’s eye without overwhelming the portrait.

This not only enhances depth but also gives the background a dynamic quality that complements the portrait.

Tips for Effective Backgrounds

Use a Limited Palette: A limited color palette can help maintain harmony in your painting. This also makes it easier to create depth, as the colors will blend and layer more cohesively.
Experiment with Brush Techniques: Different brush types and strokes can create varying effects. Experimenting with short strokes, glazing, and layering will allow for discovering unique methods of adding depth.
Balance Between Foreground and Background: Always consider the balance of colors and values between your foreground and background. This ensures that your subject remains the focal point while the background supports its presence.
Stay Patient: Building depth takes time. Allow layers to dry completely between applications to achieve the best results.

Conclusion

Building depth in your acrylic portrait backgrounds is a rewarding endeavor that can significantly enhance your artwork. By employing layering techniques, creating gradation, utilizing contrast, and incorporating textures, your backgrounds will not only support your subjects but also engage viewers on a deeper level.

As you continue to practice and refine these techniques, your portraits will come to life, showcasing the beauty of depth in acrylic painting. The journey of learning and experimenting is essential for any artist, and through consistent practice, remarkable improvements will be evident in your work.

With these insights, you are now equipped to enhance your acrylic portrait backgrounds and bring your artistic vision to life. For further resources and guides, visit realisticacrylic.com and check out my free courses to enhance your acrylic painting journey. Happy painting!

The Video Lesson…

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Let me know how this helps! If you have questions on your portrait painting, feel free to contact me ([email protected])

Yours for better portraits,

P.S. Did you find this post helpful or encouraging? If so, send it on ahead! Let others know with the share buttons below. I’d love to hear your comments. Thank you so much! Also, do you have a question on acrylic portrait painting you’d like answered? Let me know, and I’d be happy to help!

Would you like to learn portrait painting from me in person?

I’d like to let you know that I’ll be teaching at the Chippewa Valley Cultural Association (Heyde Center for the Arts, Chippewa Falls, WI) on March 12-13, 10:30am-3:30pm, a two-day intensive acrylic portrait painting workshop. The class size is limited to 10 people to make sure I can give each student feedback and individual instruction. For more details, visit my events page here…https://realisticacrylic.com/paint-an-acrylic-portrait-with-me-in-2019/

Category Archives for Video Tutorial

The steps to block-in hair, adding depth and realism with layered glazing techniques.

Understanding the Block-in Process for Hair

Step 1: Establishing the Background and Hair Boundaries

Step 2: Darkening the Hair with Cool Tones

Step 3: Defining Local Values and Shapes

Step 4: Gradation and Layering for Hair Striations

Step 5: Highlighting Key Areas and Adding Definition

Tips and Techniques for Effective Hair Block-in

Conclusion: Building Up for Realism

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

1. You’re not adding any value to it.

2. You’re making it worse.

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

4. Your client approves the portrait.

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

It’s tricky to paint reflections on eyeglasses.

Understanding Reflections in Eyeglasses

Preparing Your Workspace

Step-by-Step Techniques

Final Touches

Conclusion

Tips for Painting Reflections:

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

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

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

Understanding the Oval Vignette Technique

Step 1: Preparing Your Canvas with Initial Layers

Step 2: Blocking in Values and Colors

Step 3: Building Depth with Glazing Layers

Step 4: Enhancing Realism with Fine Details

Step 5: Adding Highlights and Final Touches

Tips and Techniques for Glazing Success

Why Glazing Works for Acrylic Portraits

Common Challenges and Solutions

Final Thoughts

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

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

Tips for Success in Fast-Paced Portrait Painting

Common Mistakes to Avoid

Conclusion

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

Unlock the secrets to creating captivating two bubble frame oval acrylic portraits

How I Painted These Oval Vintage Acrylic Portraits

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

Learn the art of layering to create stunning backgrounds

Understanding Depth in Art

Techniques for Building Depth

1. Layering with Glazes

2. Creating Gradation

3. Employing Contrast

4. Incorporating Patterns and Textures

Tips for Effective Backgrounds

Conclusion

The Video Lesson…

Would you like to learn portrait painting from me in person?