MATERIALS
• A good and sturdy floor or desk easel is a great asset in any artist’s studio
• Suitable palette or 2 white plastic dinner plates
• Painting knife for mixing
• 2 water containers (ice cream containers or similar)
• Dishwashing liquid
• 4B pencil
• Kneaded eraser
• Willow charcoal stick 3-4mm x 1
• Stretched canvas
• Fine mister water sprayer
• Clean cloth or rags
• Two old towels
• Box of plain white tissues – Brushes:
• Hog Bristle: Bright (#12, #10) + Flat (#8, #6) + Filbert (#6)
• Taklon Pointed Round (#4 or #6)
• Taklon Flat (#6, #4, #2)
• Taklon Liner (#1) – Paint:
• I use artist’s quality paint for the best results, which are both rich and smooth, with the added bonus of being light fast. I recommend using the best artist’s quality paint you can afford. There are many companies in the market place producing these high quality paints.
• Titanium White
• Cadmium Yellow Lite
• Cadmium Yellow Medium
• Permanent Alizarine
• Brilliant Violet
• Cadmium Red Medium
• Cadmium Red Light
• Light Red Ochre or Light Red Oxide
• Permanent Green Light (I prefer to mix my own greens)
• Cerulean Blue Hue
• Ultramarine Blue
• Pthalo Blue
• Purple (must not be Dioxin Purple)
• Brilliant Violet
• Burnt Umber
• Raw Umber
• Burnt Sienna
• Raw Sienna
• Naples Yellow
• Yellow Ochre or – Yellow Oxide
• Paynes Grey
• Fast Medium Fixer
• Clear Painting Medium
• Slow Medium (Thick)
This workshop aims to give a better understanding of the process I utilise to create a good likeness in a portrait using acrylic paints and mediums. It shows how I employ techniques developed over many years and helps give a better understanding of the process so that you can have the confidence to try this at home and create a successful portrait of your own.
BRUSHES
I choose the largest brush I can to get the job done. My advice is to choose the brush size you think will get the job done and then try to go at least one size larger!
My choice of brushes for this portrait is broken into four stages of painting:
1-EARLY BLOCKING IN
Tonal wash over pencil sketch to cover it and connect to the various forms. Chunking in stages – block in larger areas quickly with washy paint. Use the larger hog bristle (#12 #10 – bright shape). Basic loose blending and soft edges.
2-BEGIN TO ADJUST
Refining form and larger shape. Hog bristle flat brushes with longer and better quality bristles (Flat #8 Filbert #6).
3-ADVANCED, FINE TUNING
Taklon Flat style (size#4, #6) + Taklon Pointed Round (size#4)
4-FINAL TWEAKING
Taklons in smaller sizes to suit. Small sizes of flat style (size #2, #4). Taklon Liner (size #1) e.g. eyes, edges of mouth and lips, model’s features and garment details.
STEP ONE
After reviewing the photographic reference, I choose the ones I feel best represent the model and the pose. I put all other reference material away and out of sight to concentrate only on the chosen photos. Then I prepare the working drawings in pencil and/or charcoal onto cartridge paper. I almost always do a few preliminary sketches to familiarise myself with the subject and to get a feel for my portrait.
Once I’ve established where I am going with the portrait, I then transfer the sketch to my canvas in pencil as a line drawing.
STEP TWO
Beginning the block in of the largest areas, I use a monochromatic palette of Raw Umber and Titanium White in thin, slurry washes. I find adding a few drops of the Clear Painting medium into the paint mixture replaces the paint binder degraded by the water in the slurry washes.
My aim is to tone the background first, allowing me to paint in a playful way without too much care, other than to put paint onto canvas and establish a connection to it, the paints and the brushes. In this way, I take ownership of the canvas and it becomes mine.
I find it really takes the pressure off when I begin a painting with a sense of fun, making the overall painting experience more enjoyable. Remembering that I have already worked out the composition, I say to myself, “Let’s just get the paint down”.
During this stage, I still create tonal variations which form the foundations for further tonal work with colour.
STEP THREE
Once the background is blocked in, my attention moves to rendering. I begin by blocking in the main dark areas – under the chin, the shaded side of face, along the edge of the scarf, the back shoulder and the singlet.
NOTE: Remembering the light direction and how it falls across the form and models it, I assess tonal value by looking at the painting and squinting my eyes to gauge light – dark interplay and variations as I am painting, and I soften off the edges of the shapes, making it easier to paint over later.
STEP FOUR
The canvas is completely covered with monochrome paint and I have made a loose tonal study of the model. Once this paint is dry, I then paint a protective layer over the entire surface using ‘Fast Medium Fixer’ to seal the image. I allow the fixer to dry off completely.
Time to add colour:
Skin colours: This is such a subjective thing, I try to mix a base colour which I lighten, darken and warm or cool to achieve the skin colour variations I require. (Mixing this ‘Base Colour’ always gives consistency across all the skin colour.)
Mix Burnt Sienna, Burnt Umber, Yellow Ochre, Light Red Ochre, with a very small amount of Ultramarine Blue to cool the colour slightly. This will make a dirty brown, then I add a small amount of Scarlet to warm up slightly to a pinkish brown, I then add a small amount of Naples Yellow, then White.
Once I have created a suitable base skin colour, I then create a run of colour from this base colour toward warmer and lighter mid tones.
Secondly, I mix another run toward cooler colours using Ultramarine Blue, Burnt Umber, Yellow Ochre and Raw Sienna, mixed with the original Base Colour. I also add some purple to the cooler colours to make them darker for shadow colours.
Now I paint the reflected light area on the lower left side of the face using a small amount of the ‘Base Colour’ lightened with White and mixed with Brilliant Violet, which gives a glow to this area.
I begin on the face with thin layers of my darker skin tones, adding mid and lighter tones as I go. Hydrate the paint often to keep it alive and malleable by using the fine mister sprayer.
The first monochromatic under painting helps add tonal depth and richness to the new colour layers I am applying. I could not normally get this depth of tone and colour from just one colour coat. Also, it takes the guesswork and stress out of the painting process by establishing a good, initial tonal map for the portrait.
STEP FIVE
Continuing to paint colour onto face and chest areas, I also establish key features of the face, especially the eyes, nose and mouth. Once these are painted, I get an immediate sense of connection to the model, and the portrait begins to breathe with life and personality.
Continuing to block in, I add reds onto the singlet area and begin painting the green scarf, starting with the large shapes and dark areas (I like to mix a bright green using Cadmium Yellow Light with a small amount of Pthalo Blue.) This mixed green can be darkened or lightened to accommodate the full tonal range of the scarf. I have Permanent Green Light if I require it to add to the mix, but it was not necessary.
Now the form is starting to ‘pop’, so I continue to work over the portrait, strengthening and adjusting colour and tonal values.
I begin to fine-tune the edges of significant features and turn my attention to the chin, edges of the scarf, depth of colour and tone in the red singlet, etc.
Beginning to add colour to the background with subdued blues, I take this opportunity to soften some edges of the model as I go. I also let the background colour overlap some of the edges of the model’s lower arm areas, top of scarf and hair.
NOTE: Acrylic paints dry slightly darker, so be aware of this when applying final colours and tones to important areas like the face.
STEP SIX
Now I focus all my attention on detail – the eyes and surrounds, nose, mouth and lips. I also look at the skin highlights and shadows to see if I added enough colour and tone without making them too light or dark. The clothing gets a final treatment, and I am very careful not to put too much detail or emphasis here, as the model’s eyes and face are the hero of this portrait and should never be in competition with anything else in the painting.
The earrings are good examples of this – the one hanging from the right ear has a reasonable amount of detail to show shape and form with some attention to its design as light reflects off its surface However, the other earring only shows slight muted light along its edges, with minimal detail, and is a lot darker which is appropriate for its position. The same applies to the necklace.
I also check my ‘lost and found edges to ensure there are enough sharp edges to hold the viewer’s attention on my model’s face, eyes and expression. I paint fine details using smaller brushes and add a little slow medium instead of water to the paint to get longer, smoother brush strokes, especially for the eyelashes and similar.
FINAL STEP (LOOK AND PUT STAGE)
I spend more time looking than painting at this stage, and often sit quietly a short distance from the painting, turn up the music and take the time to really look it all over carefully. I have a notebook with me to record my decisions for intended adjustments, which frees up my mind for new thoughts to flow in freely.
I often use a mirror to view the portrait over my shoulder to help assess its final composition, comparing the colour and tonal values. Also, taking a photo and looking at it on the camera viewfinder can help to ensure the portrait I originally envisaged was holding true.
ARTIST’S HINTS AND TIPS
Skin colours and tones: This is a very important area and is subjective to each individual artist. I find testing the mixed colours on the palm of my hand offers a good colour tone indicator.
Tonal value scale: I use a ten step tonal scale, with ‘O’ being white and ’10” being black with tonal steps between Prepare and take good reference photographs of the model.
Face and figure proportions are always important to the portrait artist, and can take much practise to fully understand and apply. A good reference photo is a valuable tool to assist this understanding.
Photographic reference: In a perfect world, I love to paint from the model during live studio sittings. Unfortunately, in our modern world this luxury is not always available. Therefore, I often choose to paint from photographic reference I have shot, and from my own sketches.
It is a good idea to photograph any significant aspects of the model or pose that may be useful in the future e.g. hands, feet, eyes, smile, jewellery,apparel, props, etc. However, my motto is “Never let a photograph get in the way of a good portrait!” or any painting for that matter. Meaning, I don’t get caught up in painting an exact copy of the photograph reference. I often seek out multiple photographs that capture what makes the model interesting and unique.
From these and my reaction to them, I then build a good portrait based on sound composition, tonal range and colour choices. I have combined elements and aspects from four photographs taken of the model during several live, in-class model sessions. Always with permission from the model.
Having good reference photos that capture an authentic likeness of the model is an invaluable asset to the portrait artist. Photographing and lighting the model: With digital cameras, we have the facility to shoot and instantly check photographs to ensure the results are correct and what is needed for a good portrait. Some basic guidelines:
1.Never use the camera flash when taking reference photos intended for use in painting or drawing. (The flash flattens your subject’s details with direct flooding light which removes the subject’s form and modelling which causes the subject to appear very flat and washed out.)
2. Use lighting from above and to one side of the model, this creates what is known as three quarter lighting, and produces good modelling of the form.
3. Pose the model so they are looking slightly to the side unless you specifically want the direct look for your portrait.
4. Have appropriate photographic reference – minimum size (A5better at A4 or larger if required) Print photographic reference onto high quality, coated photo papers and always print them large enough so you can see the details and features of the model.
If any areas are still too small to see clearly, print those areas out again at a larger size again. Make the portrait experience easier and use good, clear,large photographic prints and they will always be your best friend. Canvases and boards: I use 12oz cotton canvas, stretched onto timber stretcher bars.
This offers a firm, but characteristic bounce under my brush as I paint, which almost feels like the canvas is flexing and responding to my brushes touch. Quite lovely and enhances the painting experience. Paints: Use the best paints you can afford: “Artists Quality’ is the best choice as it offers a robust, smooth and buttery consistency, which is a pleasure to paint with, and is ‘light fast’.
Cheap hobby paints don’t offer the same painting experience as they have very low pigment content to binder ratio, with little or no light fastness. In my experience, these cheap paints greatly detract from a pleasurable painting experience. Always put plenty of paint out before you start. If you mix a special colour, mix a lot more than you think will be needed, as paint is cheap and a special colour can be difficult to remix again if you run out. White plastic picnic plates with smooth bases make great acrylic palettes. Use two plates, as the second plate goes under the top palette plate to support it as you paint, then doubles as a cover and lid for your palette plate when not painting, Use a purpose made ‘Fine Mister Water Sprayer to keep paint “hydrated, active and alive’.
Do not over-wet the painting surface or your paints! (Do not use garden sprayers or similar – they are too coarse and spray far too much water which drown the paints.) Clean water in two separate containers is best when painting with acrylics. Half fill the containers so you can swish the brush about to clean it, and half-filled containers minimise spills and splashing. One container is used to do the initial brush wash and the second for the final brush clean. Change the water regularly, or whenever it starts to get polluted.
Add a few drops of dishwashing liquid into your brush washing water as it helps clean your brushes more easily. Do not leave your brushes stand in the water wash containers as this can cause brushes to develop a memory bend, which can be difficult to remove and can ruin a good brush. Always paint in good light.
Protect your eyes from straining, and good light also helps when assessing colour and tonal values. I find two matched lights placed on the left and right sides and forward of the easel and angled slightly down from above is best. Adjust light positions and angles to avoid light reflecting into your eyes off the painting surface. Sketch often to practice your craft and hone your observation skills. (Your ability to see beyond a glancing view) – the Artist’s Eye’ is grown and developed this way.
