Painting portraits are often difficult for beginning painters--and even experienced artists--because as humans, we are especially sensitive to the minor flaws and differences we perceive in the painted face and the actual face. The most tiny mistakes jump out in portraits. When painting portraits it is best to let go of your preconceived hope that you will paint a masterpiece. Remember to enjoy yourself and learn from your mistakes.
Subject
Choose a subject. Although it may be easier to paint from memory, the results are usually less realistic and often more generic. It is best to paint from a photograph or live subject. Remember that if you paint from a live subject you will be constrained to painting the portrait in sessions of a limited time period. You must pose the subject wisely, in a position that can be maintained for the hour- or two-hour long session, and repeated from session to session. Furthermore, if you are reliant on natural light during these sessions, you should hold the painting sessions at the same time each day.
There are advantages of painting a live subject. They offer an interactive quality that painting from a photograph lacks. Live people can make conversation and offer small pieces of information about themselves that may inform your painting.
Photographs, on the other hand, can be held up to the painting for easy comparison and mistake checking. Photographs are portable and can be painted at any time of day or night, and for any length of time. Subjects in photographs are not limited to poses that are not strenuous to maintain. If you are painting from a photograph, choose one that is large and of a high resolution.
Preliminary Studies
Make sketches of your subject. Sketch the subject on your canvas before beginning to paint. Decide what will be included in your painting and what will not. If you are painting from a photograph, will you include all elements in the background? How will the painting be structured? Take into account design balance.
Beginning To Paint
There is no correct way to begin a portrait. Some painters prefer to begin with one point in the face and then build all features around that one specific point, using it as a point of reference for proportion and placement. Other painters prefer to begin by painting the flat flesh toned surface of the face and then building depth by adding highlights, shadows and features.
Flesh Tones
Flesh tones are often difficult to match. For lighter flesh tones, use a combination of reds, yellows, whites and browns. Sometimes a little blue or green is used to add depth to the color, but this should be added in very small amounts. For darker flesh tones, browns, yellows, reds and blues are often used.
Touchups
Try turning your painting upside down, or try viewing it in a mirror. A slightly misplaced eye or a crooked nose will become more apparent if you can view the painting objectively. Do not stare or study your painting too hard in between sessions. Every new session should be a chance to look at the painting with fresh eyes.
