How do you paint a portrait?

How to prepare for a portrait session

Preparation is the foundation of a successful portrait. Begin by selecting a subject with strong, directional lighting, as this creates clear highlights and shadows that define the facial structure. If you are working from a photograph, ensure the image has high resolution and high contrast to avoid losing detail in the mid-tones. Gather your materials, such as a medium-to-fine-weave canvas, a range of brushes, and a limited color palette.

Professional artists often recommend a "limited palette" approach for beginners to master color mixing. By using only four colors—such as titanium white, yellow ochre, cadmium red, and ivory black—you can create a vast range of flesh tones without muddying your colors. Set up your workspace with adequate lighting that mimics daylight to ensure your color perception remains accurate throughout the session.

1. Choose a comfortable, well-lit space.
2. Prepare your canvas with a neutral, mid-tone wash (imprimatura).
3. Organize your palette with sufficient space for mixing.
4. Arrange your reference material at eye level.

How to map facial proportions

Accurate portraiture relies on understanding the underlying anatomy of the human head. Start by sketching a basic oval and dividing it into sections to locate the eyes, nose, and mouth. The eyes typically sit halfway down the head, while the bottom of the nose is halfway between the eyes and the chin. These measurements serve as a guide, though you must adjust them to match your specific subject.

Use a thin, fluid paint or a charcoal pencil to establish these lines. Avoid pressing too hard, as heavy lines can be difficult to cover with lighter paint layers later. Focus on the "planes" of the face—the forehead, cheekbones, and jawline—rather than individual features. By treating the head as a series of geometric shapes, you ensure that the perspective remains consistent before you begin adding detail or color.

How to build layers and values

The transition from a sketch to a finished painting requires a systematic approach to values. Start by blocking in the darkest shadows first, using a thin wash of burnt umber or a similar neutral earth tone. This "underpainting" establishes the depth of the portrait. Once the shadows are set, move to the mid-tones and finally the highlights, which should be applied with thicker, opaque paint.

Working from dark to light helps maintain control over the overall contrast of the piece. If you find your colors becoming dull, clean your brush frequently and use fresh mixtures on your palette. Remember that skin is translucent; layering thin, transparent glazes of color over your dried underpainting can create a luminous, lifelike effect that opaque paint alone cannot achieve.

• Identify the primary light source to determine shadow placement.
• Keep your shadows thin and your highlights thick (impasto).
• Use cool colors for shadows and warm colors for highlights.
• Step back from your easel every twenty minutes to check your progress.

How to mix realistic skin tones

Mixing skin tones is often the most intimidating part of portraiture, but it follows basic color theory. Start by mixing a neutral base using your primary colors and white. To shift the tone, add small amounts of red or yellow for warmth, or a touch of blue or green to neutralize the intensity. Always mix more paint than you think you will need to ensure consistency across the face.

Avoid using pure white for highlights, as it can make skin look chalky or artificial. Instead, use a pale yellow or a very light pink to represent the reflected light on the skin. Similarly, avoid using pure black for shadows; try mixing blue and burnt sienna to create a rich, dark tone that feels more natural. Experiment with these mixtures on a scrap piece of canvas before applying them to your portrait.

Common mistakes when painting portraits

One of the most frequent errors is focusing too early on small details like eyelashes or individual hairs. This often results in a "flat" appearance because the overall structure of the face has not been properly established. Another common mistake is ignoring the background; the space around the head is just as important as the subject itself for creating a sense of depth and atmosphere.

Finally, many beginners struggle with "symbol drawing," where they paint what they think an eye looks like rather than what they actually see. To avoid this, try turning your reference photo upside down to focus on shapes and values rather than recognizable features. If you find yourself frustrated, take a break and return to the painting with fresh eyes. Consistent practice and a commitment to observing the subject objectively will improve your accuracy over time.