![]() For the flesh I mix cadmium red light, white and ochre. I always start with the shadows, then the halftones, then the lights. I use my pre-mixed neutral gray light with some ultramarine blue and crimson. I show the teeth as a continuous curved surface. Cadmium red, venetian red, white and ultramarine blue are used here. Then I paint the mouth in simple schematic planes. This creates a perfect base to continue later. I smudge the paint with my finger so that I can still see the underdrawing. I paint a transparent layer of sienna and burnt umber. The edges must be soft where the hair touches the skin.įirst I give the eyes a special treatment. I pay particular attention to the hairline. Here I dilute the paint with a few drops of citrus turpentine. ![]() From dark to light.īefore I start with the face I paint the background also in large simple planes. This mauvish tint is great to make light areas in blond hair without the risk of progressing to red, yellow or blue. The lightest color in the hair is a mixture of ultramarine, crimson and white that I’ve prepared previously. In the lighter parts of the hair I´ve used cadium red light, permanent green light, viridian, yellow ochre and white. In the darkest tones there is crimson, veridian, sienna and cadmium orange. I don´t simplify the hues by using middle ochre mixed with brown for the darker areas, and white for the lighter ones. I paint the hair in simple, large planes using different hues. Then the linen is semi- saturated and the canvas “receives” the paint from my brush more easily. I mix the skin colors and always use a test strip to check the mixture. Before I start painting, I rub the canvas with a neutral oil medium. I start the day early by setting up my palette, which is done with great care. The actual painting of the portrait is about to begin. If I get lost I always can remove a layer of oil to see the basic drawing and underpainting. On top, in acrylic I paint an underpainting in raw sienna. ![]() Sometimes I apply a thin coating of an alkyd medium. The black graphite of a normal pencil will always shows through all layers of oil paint. Here I fixed the drawing with a very thin layer of shellac. I’ve transferred the image by using a grid distribution on the photo as well as on the canvas. I have printed the smaller pictures in a lighter and a darker version. Using this photo I see the simple shapes more clearly. The left is slightly unfocused to avoid distraction from details. The first image shows several copies of the face around my canvas on my easel. The two large photos are the same size as the portrait on the canvas. Before you start, it is important to pay great attention to the photography session, and also to the printing. An advantage of working with photos, is that you just choose the shot you like most out of a series. Keep it simple and be bold with what you say. Often too much detail has a devastating effect on a portrait. Remember that old school photo. You know perfectly well who is who, although the faces are no bigger than a quarter of an inch. Likeness does not depend on the details but on large volumes. One of the major pitfalls is the danger of paying to much attention to the details. Painting a portrait from photography has advantages and disadvantages. Here I will explain my portrait painting techniques when I work from photography. In my opinion, good drawing skills and knowledge of anatomy, are of the utmost importance. I will not give you an answer on that one if a painting is good then the question need not come up. I encourage observational study as much as possible. ![]() There has always been discussion about whether a portrait has to be made from real life or from photography. Everyone has their own method, and all are valid. Portrait painting techniques using photography.
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