Demonstration
The Head On Approach to Portraits
Portraiture can be a demanding skill for any artist and for a commissioned portrait this is especially so. Not only does the client want a painting they are happy to hang proudly on a wall but quite naturally the over-riding importance would be a likeness to the subject. My experience has shown me that if a basic near accurate drawing is there a likeness will be unavoidable.
My 5-year-old daughter Fin is not the easiest subject to paint but when she proudly showed me her pink hat how could I resist? I posed her in front of a tablecloth draped over my easel and asked her to keep still for at least a minute or two. No hope there but I managed a half dozen very quick drawings and a few shots with the camera before she began pulling faces and generally wanting to be anywhere else.

My favourite model
When I’m happy with the drawing a squirt of fixative (actually it’s hair spray) to prevent the pencil lines mixing with my paint and I’m ready to begin.
My preferred brushes are flat and filbert sables and a couple of fine round sable brushes for detail.
Painting loosely with a flat number 4 brush I block in the darks such as the pupils, nostrils, and parts of the hair with burnt umber and Ultramarine using Liquin as a painting medium.




I felt I needed more warmth in the cheek. A little cadmium red and yellow ochre did the trick. More work on the hat, background and shadow side of the face, making the shadows darker and then back to the lighter side.


What the Artist Used
Stretched canvas (16” x 20”) with 3 liberal coats of gesso.
Oil and turps wash and left to dry.
Oil and turps wash and left to dry.
No. 8 Filbert brush.
No 2 and 4 round brush.
Fan brush.
Oil paint: Winsor & Newton Artist’s Oil Colour. Titanium White,
Burnt Umber, Burnt Sienna, Cobalt Blue, Cadmium Red,
Yellow Ochre, Ultramarine, Cadmium Yellow.
Medium: Winsor & Newton Liquin