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REALISTIC PORTRAIT PAINTING TECHNIQUES, RECENT

WORKS
PROCESSES AND EXPERT OPINION
 
 
Realist Portrait Painting Techniques, Processes and Expert
Opinion
Richard Schmid (http://www.richardschmid.com/), Morgan Weistling
(http://www.morganweistling.com/), Roberta Carter Clark, John
Howard Sanden (http://www.johnhowardsanden.com/), Furman Finck,
Douglas Graves
 
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PORTRAIT PAINTING TIPS LATEST BLOG

POSTS
Key Points:
Whenever drawing the head, radically simplify detail by initially just
Old Masters and
drawing the angular direction taken by the planes, forms and contours
Abstract Value
– John Howard Sanden
Patterns
Get the greatest possibility of expression in the masses, then the
(https://keenewilson
features in their greatest simplicity, but do not pass from the mass to
Painting the Jazz
the features until all that can be said with the larger forms has been
Blues
said
(https://keenewilson
Possibly separate groups of tones for the lighter parts of the figure, the
darker shadowed parts, and the darker and lighter parts of the Don’t Let Reality
clothing. Get in the Way of a
Locate the mouth at the same time as the eyes, but keep painting Good Design
incomplete until the final statement (https://keenewilson
Slightly exaggerate each separate area of tone and color to map the
Struggling with the
planes and features of the face in relation to highlights, middle-tones
"Czech Flutist"
and shadows. Juxtapose cool hues with warm ones.
(https://keenewilson
Get in the larger masses all that is possible of completion, all the
drawing, color, design, character, construction, effect
No feature should be started, until you have fully comprehended its UPCOMING
character and have established in your mind the manner of its full
EVENTS
accomplishment
 
"Paul H. O'Neill" by John Howard Sanden Watercolor
(http://www.johnhowardsanden.com/)    Workout Class
(https://keenewilson

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Keene Wilson
(http://www.johnhowardsanden.com/)
Impressionist
PORTRAIT COMPOSITION Studio and Plein Air
Paintings
Carry some form or details further than others
Life size portraits seem “right” if they are slightly smaller than life size,
sculpture portraits can seem right if just over actual size
Any enlargement of the head, hands or feet will seem awkward on
canvas
Consider the relationship of head to hand and hand to hand (triangle
of prime interest)
The abstract pattern also involves considering form and depth so that
each “triangle of interest” is within its proper space area (foreground,
middle ground or background)
In a multiple portrait, heads should face each other, or if facing away,
locate a focal interest between the heads to establish a visual force
that draws them together
Multiple portraits require more than one main interest within the
design
All eyes on the viewer can be a distraction in a group portrait
The success of a portrait depends on ability to draw and paint eyes.
Darker complexions require deeper, richer color combinations, lights
pronounced, transitions from light to dark more vibrant
PORTRAIT SET UP
Key points:
Since the portrait will hang above eye level, position your subject on a
model stand so it will look well when hung
Use a “reader” to entertain kids and a “third party” to chat with the
sitter
A light suspended behind a screen of transparent white onion skin
paper (unlike a direct light) will cast a soft, diffused glow that will not
destroy the subtle form of the head
Set the easel up on the same plane as the model. View the model and
the canvas from about 8 feet away, always from the same spot. Walk
back and forth from the “looking spot” to the easel, look at the model
only from the looking spot, never when up at the easel. Roberta Carter
Clark.
A large mirror behind you allows the model to critically watch position
and compose himself

LIGHT

For women, move the light source further back, to make the lighting
softer
Incandescent light creates strong differences in temperature between
light and shadow areas.
Daylight results in strong form as well but presents a very different
range of colors.
Fluorescent light tends to flatten forms and create very unusual colors.
Sidelight (or diagonal lighting) from above strengthens form and cast
shadows.

CLOTHING

Have sitter select a favorite garment that friends associate with him.
Neckline is important especially for women.
Clothing should be treated as a simple mass, no matter how much
detail it contains
 
"Loveland Gentleman" by Richard Schmid
(http://www.richardschmid.com/)     (http://www.richardschmid.com/)

PORTRAIT PAINTING PROCESS

RICHARD SCHMID (HTTP://WWW.RICHARDSCHMID.COM/)

PORTRAIT PAINTING PROCESS

Step 1 – Notice value system

Step 2 - Blocks in basic flesh color [creamy mid-tone of Cadmium red,
Yellow ochre and white]
Step 3 -
General
placement
[with tic
marks] of
eyes, nose,
geometry
of face
Step 4 –
Draw in

monochrome (measuring and massing/drawing as he goes; “great way

to improve brush technique”) Almost using a drybrush technique not
laying down much paint, but modifying value only, not simply laying in
shadows, but creating a monochrome painting

shorter distances are easier to judge – inside corner of eye to

slant on side of nose, slant on side of nose to top of septum, top
of septum to top of nostrils, to bottom of nostrils, etc., not eye to
bottom of nose
distance between eyes, inside corner of eyes, outside corner of
eyes, upper lid, lower lid, iris, eyebrow
side of nostrils, upper flare, lower flare, base
width of mouth, upper lip, lower lip
forehead highlight, lightly drag brush across to soften
hair – brush strokes not intended to represent individual hairs
[representing value but often contrary to hair growth]

Note: very little build up of paint thus far

Step 5 – Place darkest darks [but first wipe out any underlying pigment
which might pollute the darks] – in a darker pigment mixture
[transparent red oxide and blue]
Step 6 – Add color – cool light, warm shadow or warm light, cool
shadow; slowly work down the head
Notes: Take photo early, but after you have pose set up for details you
might miss
“eyes = most important feature, get triangle of face right in the
beginning”
Uses cane maulstick throughout
Gray hair isn’t as cool as you might think
Uses some brushes with wild hairs that add artistic touch
Darkest possible dark fleshtone is hot [alizarin plus transparent red
oxide and a little blue] even in cool shadow
Paint what you see, not what you know
Background using transparent red oxide – painted thinly using wash of
1 part damar, 1 part stand oil and 5 parts turpentine
The trick to painting the mouth is soft edges between the lips
Edges – When you squint, the first edges to disappear are the softest,
the last to disappear are the hardest.
May smooth out some brush strokes with pallet knife – gingerly in
opposite direction, only get one pass.
 

ROBERTA CARTER CLARK PORTRAIT PAINTING PROCESS

1 - Imprimatura (for example: raw sienna)

Drawing, easiest to draw with straight lines
2 - Lay in darks, shadow shapes (perhaps using imprimatura pigment)
3 - Check alignment and proportions, compare relative measurements
(as length of nose to chin compared with length of eyebrow to
forehead)
4 - Wipe out lights – Don’t allow lights to sneak into darks or vice versa
5 - Suggest background
6 - No color until now (for example: raw sienna, light red and cobalt
blue) Start with shadows, all the same color and value (raw sienna and
light red, without white) applied thinly, allowing the imprimatura to
show through. Note: will seem too hot
7 - Paint the lights – lay in the brightest light on the clothing and use it
as a guide for flesh tones which can be as light as this white; mix color
of lightest fleshtone (on forehead?), apply to small area and re-check
the color
8 - Place the flesh tones - as if the head were a jigsaw puzzle (three
values in the light, one in the shadow) 3 bands of light (lightest across
forehead, next across cheeks nose and ear, third lightest is across chin
and jaw) Look for golds in the forehead, rosy nose cheeks and ear,
cooler jaw. Don’t blend colors now, just place
9 - Background in mid-tone color, darker than lights, lighter than darks;
covering outer edges of hair silhouette
10 - Paint hair over the background in 2 or 3 values, first as mass, then
working from mid-tones to darks and to lights. Soft edges, blended
with background in some places.
11 - Features – Perhaps break stroke for eyebrow at highlight, lighter
warmer color for nose, underplane of nose slightly darker than
shadow, but warmer; lower lip considerably lighter than upper in
shadow; broken warm line between lips; chin more orange and less
rosy; paint cool side planes, then warm cheeks and ears; men have
cool shadow where beard grows.
12 - Highlights – Brow, upper eyelid, top edge of lower lid, bridge of
nose, cheekbone; with the possible exception of the eye, all highlights
are tints of flesh tone.
13 - Accents – make defining strokes on the ball of the nose crisp
14 - Finish - Tones too cool, add light red; too warm, add cobalt blue.
Careful, this is an easy time to loose a likeness!
 
ROBERTA CARTER CLARK’S GLAZING TECHNIQUE FOR
PORTRAITS

Monochrome drawing in first sitting, allowed to dry. Allows control.

First sitting - Draw with same color as imprimatura plus retouch
varnish and turpentine (dries quickly and very fluid allowing detailed
drawing)
Fully develop portrait in monochrome, supplemented with white for
lights.
Second Sitting – Brush a thin layer of Liquin (or retouch varnish) over
painting and wipe off with a paper towel before commencing. Colors
laid on in crisp strokes with a good deal of paint, side by side and one
over another, minimal blending. Opaques for lights, avoid shadows as
long as possible allowing underpainting darks to remain visible.
Lights, half tones, dark accents and background (keep the background
color to 2 values), then scumble thin color in shadows where
necessary.
"Crimson" by Morgan Weistling (http://www.morganweistling.com/)   

(http://www.morganweistling.com/)

MORGAN WEISTLING’S PAINTING PROCESSES

EDGES

Uses edges, temperature changes, and correct drawing, in place

of value changes
Use edges, shapes and color to turn the form
Softens edges by pulling brushstroke across (or from) edge into
adjacent area (usually background)
Make yourself feel it’s artistic
 Wherever there is a lost edge, pushes brushstroke into
background thinking, “I can loose that edge and I don’t care.”
Edging isn’t just softening, its making one hard edge where the
viewer can focus with everything else manipulated to support it;
orchestrating one hard edge against other softer edges and
other little hard edges that aren’t as hard

LIGHT/SHADOW

Don’t paint an accent you don’t see

Use just three or four values and focus on the drawing and
edges. Simplify values and bring up more edges
“Use shadows to tell structure, not just flat shape.” “Make
everything count”, yet “resist tendency to go into shadows to
make more definition.”
Use darks (shadows) to draw and lights as eraser to correct
shapes
Has to have a solid feeling so lights feel like they belong together

HALFTONES

When you’re working the half tones you’re turning the form
Overmodeling means your half tones are too dark; “cleaning up”
halftones means you are lightening their value
Halftone is darker and possibly slightly warmer than the  average
light
Halftone is between light and shadow, but it belongs to the light
and partakes of its warmth. It is not a mixture of average light
and average dark.
Too dark of a half tone will destroy the beauty of the lights
Make halftones lighter than they appear
When putting in halftones, don’t put anything in which destroys
the basic light/shadow shape

 DRAWING/PAINTING

Paint only the obvious

Doesn’t think “paint”, thinks “draw”
Constantly corrects the drawing
Nearsighted and doesn’t wear his glasses so he sees a blur, but
still squints
Make nostrils, tear ducts, corners of mouth, accents of ears
warm – Always, regardless of light, not black, never as dark as
you think
Uses Liquin in shadows and background
Painting new color into wet paint does one stroke at a time to
keep color clean
Often puts “halation” (for example, red adjacent to form, but in
background) selectively around silhouette
 To test if another color is the same value, add a little dot to an
area of the other value and it will virtually disappear if it is of the
same value

OUTSIDE/IN

Sketches quickly in charcoal and doesn’t use fixative

Start with easiest value, always a dark, using Liquin to keep thin
initially
Lays down average dark, then average light (without Liquin)
Uses “Tiles of color”, which can be cleaner because they don’t have to
mix with average color already laid down
Does easy parts first because hard parts are easier once everything
else around is done
Make sense with half tones, then improve the drawing, but do in that
order (because the halftones will help you judge the drawing)

INSIDE/OUT

Prefers because he can be more precise, but sometimes makes it more

difficult to place the composition on the support
Without a drawing he usually starts with the eye socket, but with a
painting he starts with the darkest dark
Paints precise light shapes, not structure
Paints by judging each area as it relates to an adjacent area – slowly
moving from area to adjacent area, getting the value, intensity and
temperature correct as he goes
If you find yourself having trouble judging an area, stop, it means you
shouldn’t be there yet. There is always somewhere else easier to judge
Its all about drawing based on light, not contour [or structure]
 

FURMAN FINCK’S PORTRAIT PAINTING PROCESS

Draw composition on full size paper

Transfer drawing to canvas
Paint in a monotone or muted color until you have completely covered
the canvas Hold back full strength of color because it is easier to
intensify color than to reduce it
Develop the overall pattern, light and dark
May want to remove excess paint with a palette knife
Let your eye fall where it will; touch this passage, then turn to another,
working the entire canvas
Carry stage of muted values to the point where you can see the whole
composition as an underpainting
Now you are ready to apply color
 

FRUMAN FINCK’S ALLA PRIMA PORTRAIT PROCESS

Charcoal drawing, spray with fixative
APPLY A GRAY TONE

Apply a tone of neutral grey (black, ochre and terre vert; thin to show
drawing, wet to permit wiping)
With a clean cloth wipe away tone to establish lighted area removing
gray not needed; establishing a study in monotone
LAY IN COLOR (SCUMBLE FLESH COLOR INTO WET GRAY TONE)

Apply a flesh tint (white, alizarin crimson and yellow ochre) especially
in wiped areas trying to retain effects of the wiping); simply lay in the
color in a blurred form (do not strive for finish or likeness yet)
ESTABLISH FEATURES

Draw in the features in a soft red or red orange (but do not develop)
Using white, alizarin and viridian hatch in the gray, darkened areas
Develop the lighted areas in brighter focus, showing in particular
where they turn from the light
SCUMBLE IN BACKGROUND

BUILD UP COLOR (ESTABLISH PLANES OF LIGHT AND DARK DESCRIBING

FORM INTO FLESH COLOR)

Develop planes of face in light and dark colors

Emphasize light areas and suggest dark
Identify one color tone against another working for a simple total
effect
Color accents (pupil, lips, ear, nostrils)
Suggest features and allow charcoal and color notes to frame them
Indicate eye and set against dark upper lid; mark eye socket; paint
eyebrow, luminous pocket of dark against bridge of nose
ESTABLISH THE HEAD

Indicate hairline
Place zygomatic prominence of cheek
Slight glaze of pink on cheek, pulled into the wet layer already there
Brush in to meet and support painting of the eyes, nose and mouth -
light note across the cheek below eye, down prominence of nose to tip,
across philtrum, and on the projection of the chin
ESTABLISH NOSE

Dark note from where wing touches cheek to underside of nose

(locating and framing nostril
Using cool gray (to contrast with lighted areas of forehead, bridge of
nose, cheek and chin), suggest dark or half light for plane on side of
nose, and similar notes on temple, cheek, ear and undercut of chin)
ESTABLISH MOUTH
Dark upper lip, outer ends pocket of warm gray similar to dark
underneath lower lip
Lighter lower
REFINE EYES

Paint in the sclera off-white

Paint iris against the white
Blend edge where iris meets sclera
Draw under the upper lid marking lids overhang and shading with
luminous gray
Lower lid in light flesh color (just touching but not covering iris); dark
on the outside lower lid corner
Touch the highlight with white made buttery with medium on the point
of No. 1 sable or its handle and do not touch it again
REFINE NOSE

Highlight on tip of nose (always an emphatic note)

Indicate the dark in the brow, in the pocket of the eye and again in the
region of the nostril, but just suggest it elsewhere
Use large brush to unify smaller passages containing multiple
refinements of smaller brushes
Set the pink nostril again
REFINE MOUTH AND EAR

With small round lightly apply pink-red impasto to lips while giving
brush a spiral half turn (to impart feeling of fullness)
Do not define outer edges of mouth sharply
Redefine undercut of lip; refine surrounding areas
Ear should remain underdeveloped, but do not overstate drawing
EXAMINE PAINTING

Indicate side of cheek, outside of ear and jaw with articulate brush
strokes. The strength of these features is the strength of the portrait.
Some areas will require a pronounced dark (behind ear, undercut of
chin, where collar meets neck) Hold reflected light here to a minimum
Leave highest lights, richest darks and boldest accents to very end

LIKENESS
Details are not the answer.
A dark is useful where nostril touches cheek, under the chin and
behind the ear
Enlarging features will not necessarily add character, but sharpening
their drawing will generally draw attention to them
If you’re right handed, its easier to draw the model facing to his right.
NOSE

Stress leanness of the nose to retain character

In the ¾ profile to full face you can conceal an advancing nose or
receding chin by strengthening the surrounding anatomical form, or by
intensifying the color, but it must be recorded as such in profile.
You need the change in plane at the nasal bone to express individuality
and character. Also show where the nose meets the forehead.
EYES

The distance between the eyes is critical for the accuracy of a full-face
image.

FURMAN FINCK’S PROCESS FOR PAINTING A LIKENESS

Key point:
Before concentrating on likeness, realize the character and
construction of the head so that the form will always be solid
Use a medium tone to establish forehead, cheeks, bridge of nose, jaw
and chin
Use a darker flesh tone to locate those planes not in direct light
An emphasis on color in the “color band” (ear to ear over the cheeks
and across the nose) while blocking in the portrait is helpful and will
not disturb the development of the painting
Use a small brush to block in the features, placing them for
relationship, developing them for proportion and character
Now use shadow to shape the features and to give support to the
lighted areas
Move brushwork from one feature to the next, taking in their
relationship, eyes to nose to mouth
What is the prominent feature?
Check the nose for length and width
Place the nostril, set the angle of its wing against the cheek, check the
overall shape
Loosely sketch, and correctly place, the line separating the lips
In halftones, place the ears, dimple in chin and neck
Use a medium value to identify hair and define its shape (will register
with the eyes but must not be of the same intensity)
Now that you have set the features, next concern is the overall shape
enveloping them The initial application of a medium flesh tone has
covered the area with paint, now rework in correct value

DOUGLAS GRAVES PROCESS FOR DRAWING A LIKENESS

Steps 1 - 2 General shape of the head, variations within general shape.

Steps 3 - 8 Placement (in order: eyes, nose, mouth, eyebrows, ears,
hairline)
Steps 9 - 10 Shape of the hair and neck
Steps 11 - 15 Proportion (eyes, nose, mouth, eyebrows, ears)
Steps 16 - 20 General Shape (eyes, nose, mouth, eyebrows, ears)
Steps 21 – 23 Contours (upper face, middle, lower)
Steps 24 – 28 Adjusting shape (eyes, nose, mouth, eyebrows, ears)
Steps 29 – 37 Modeling (upper face; middle; lower - eyes, nose, mouth,
eyebrows, ears, hair)
Steps 38 – 44 Refining (upper face; middle; lower - eyes, nose, mouth,
eyebrows)
Step 45 Final Analysis
 
"Danielle" by Jeremy Lipking (http://www.lipking.com/)    
(http://www.lipking.com/)

GENERIC MALE
More angular, indentations
Face warmer, cools to
suggest whiskers
Deeper shadows, sharper,
stronger, more angular
edges
Tousled active hair
Forehead angles back
halfway up, skull near
surface
Eyebrows bushy, abrupt
indent where bridge of
nose meets forehead (goes
in further than female)
Cartilage and bone of nose evident
Eyebrow close to eye, eye squinting
Cheekbone protrudes
Upper lip straight nose to lips; lower lip flattish
Prominent indentation below lower lip (goes in further than female)
Second fold behind fold of mouth (“Alpha” male)
Hard, leading, muscular chin; straight back to neck; jawbone angles up;
obvious jawline
Evident Adam’s apple

GENERIC FEMALE
Lustrous hair
Forehead rises straight up above brow, then gently curves back;
smooth indent where forehead meets nose
Lifted eyebrows; large eyes, moist and warm
Upper cheek swells just below temple to small indentation in front of
ear
Nose straight; tip turns outwards, then angles toward upper lip; subtle
concave line from nose to upper lip
Upper lip convex curve, about 2/3 size of lower, slightly protruding;
small dip under lower lip
Slightly receding chin
Jaw curves back then swoops up to ear; not protruding
Chin line goes straight back, then curves down
No or vague Adam’s apple

RECOMMENDED RESOURCES
 
“The Captain's Portrait: An Afternoon of Painting with Richard
Schmid" (http://www.richardschmid.com/product-p/stcp.htm)
DVD
“Alla Prima: Everything I Know About Painting, and More”
(http://www.richardschmid.com/ProductDetails.asp?
ProductCode=SKUAP) by Richard Schmid
(http://www.richardschmid.com/)

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