Portrait in Acrylic

Valentina"

Basic Sketch Light first with Pencil or Vine Charcoal

Use it as the skeleton of the painting

Rendering Form

Using a big brush and modeling paste (in this case) looking at the picture (Reference) squinting eyes to not get involved in details. This is far quick just remember, the forms the skeleton inside a human skull (head) and then measurements you should have a knowledge of Anatomy to understand muscle movement in the head and different bones positions, (helps with expressions) Example: smiles" also helps towards the entire rendering of the painting, within time you will be able to apply this with less effort .



Now that I have the basic form, lets go towards shadows and lights also re adjusted the head position to the right .


Valentina" has beautiful blue deep eyes you can see the sea in them. She is posing in a very pleased way, but her eyes in the original picture are looking down, here is the decision to noticed all those things before hand. I wanted her to have a more direct contact in this case with the viewer* I think it's important because it makes the person think on what you meant by the look in the portrait, but any ways, lets leave the Psychology to those in the fields lets continue...before you go to sleep.



(Muscle, form /Mass and hair color )


Adding the Shadows she has blond hair but is it? just like the skin hair has many colors going towards the shadow closer to her hair roots. Now, where is the light reflecting on the subject? can you see it? you can see the round muscle mass on the eyes (orbital part) the shape and her forehead always following bones ,muscle and mass.

(Skin Transparency)

Tip# What is skin transparency? Practice in the Sun light or bright light and put your hand up to the Sun you can see the muscle and the transparency of the skin as well as where your skeleton is just like that, you need to think when doing a portrait, hands or a body.


(Skin Tones)

What is close as to her skin complexion? , this has also to do with skin transparency and how is reflected in the light, each person has a different formula (skin has many colors from greens to blue's it is your trained eyed that will be able to capture skin tones in this and as for any other portrait I did not went for a specific formula because of all the range of skin colors, but so far this is what I'm using on this portrait. She has a Yellowish Rosey skin tone.


Yellow Oqure

Burnt Umber

White

Alizarin Crimson

Cobalt Blue

and Cerulean Blue

Cadmium Yellow


From dark to light squinting eyes and stepping away looking at the Reference but not constantly, just to make sure that the portrait has a certain likeness to the subject.. Remember this is a painting.

Unless you are going towards realism. You should then do an effort to get you're details right.

Here the Rosey on her cheeks fallowing again muscle mass and tone and the expression of a face is coming trough. continue with muscle adding lights and also more shadows I do this with tones of Reds mix with blues and yellow mixing browns darks adding dark purples and blues for the eyes sockets and lets not forget the ear!, wish are pinkish because is mainly muscle cartilage.



(Face Expression and Likeness to the subject)


I liked the position of the hand but I knew since the beginning that could create a certain conflict with in views. You see in my case I do tend to go all out" for breaking rules' even if this does takes me out of My comfort zone. I have found that restrictions makes it boring for me to follow all the rules' when it comes to a portrait I do not enjoy the process so I do all possible to just go with it.




(Breaking the Rules)


After all this is what I'm aiming for, Practice with progress. At this stage the eyes where re- position again" and re arranged looking straight at me towards the viewer also changed the nose for a more younger rounder nose.







she has no expression.

Would she have a nice smile? Do I have a chance to show her character? or perhaps, give it a more worried look? I go again with her hair tones just rendering shadows and then .


Details


Now I'm satisfied with this look.. wish end up less than my previous idea of the direct view"



Sometimes some more color on the cheeks and lips adds freshness to certain portraits I try not to overwhelmed Valentina with it, this is always optional" but go a little higher than her natural look you can see in here Now Rendering details. Note: Her mouth also has a bit of a lift on her lower lip I (plumped) and the reflection (light) was added to her eyes and also Ive taken the liberty of taking nose shadows (breaking rules) and under lips shadows at this point Valentina has eyebrows! Much better!

Now Step away and let it rest. she will serve me as great Reference towards other paintings. found very interesting that I could easily stayed with few colors within primaries with comfort. blue yellow and Red, This portrait was approached with more confidence and was a quick process. Principles stayed the same I do not conflict my self with following rules every step of the way but it helps.


I believe that in order to break the Rules you must be able to know them well' and then... play all you want even if is to mess with your own head'.


Wile working from Shadow to light and then........... details this principle can be also applied Light to Dark as long avoiding at all times or fussing on details the point was to stay simple" This makes it much better than retaliating on details... this also can be applied when working with Oils as well

Now for the next few weeks will look for a nice background says green but would love to add Red so in my case lets let it rest....remember in each case this is all about the viewer and the psychology of color just like smell trigger certain feelings colors can also do the same.


Lets Keep on practicing!