PA I N T I N G P R O G R A M

Portrait Painting Phase III:

Features Introduction

OVERVIEW
Introduction: The emphasis of this phase will be to focus on becoming proficient with painting indi-
vidual features. We will use photos I provide along with some of my favorite master painters. The
goal will be to take our time focusing on how to handle a variety of feature types before attempting to
tackle all the features at one time in a class painting the head from life. We have already addressed
some of these full-portrait scenarios in earlier phases, so now is a good time to pull back and concen-
trate on each feature. After completing this phase, start looking for your own reference with which to
do these moving forward. The master studies will allow you to see how other artists approach the
features using different layering techniques and styles. This should be a very enjoyable phase for you.
Good luck and keep pushing play.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes

OO
V EVREVRIVEIW
EW
What
Whatyouyouwill
will
learn:
learn:
InInthis
this
section
section
of of
thethe
phase
phase
wewewill
will
bebepainting
paintingeyes
eyes
from
fromphotos.
photos.
TheThe
goal
goal
is is
to
become
to become
familiarized
familiarwith
withpainting
paintingeyes
eyesfrom
fromvarious
variousangles,
angles,both
bothmale
maleand
andfemale.
female.IIwill
willwalk
walk youyou
through
through three
threeexercises
exercisesusing
using
three
three
different
different
palettes.
palettes.
You
You will
will
then
then
repeat
repeatthethe
exercises
exercisesutilizing
utilizingthe
same
the reference.
same reference.
I will also
I willprovide
also provide
you withyousupplemental
with supplemental
reference
reference
for further
for further
practice.
practice.
Take your
Take
time
your
andtime
really
andimmerse
really immerse
yourself.
yourself.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 1
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes

MATERIAL S 0,6&(//$1(286
‡*DPVROVROYHQW
PAINTS ‡FORYHRLO
Burnt Umber & White Palette ‡2OGUDJV
‡%XUQW8PEHU,SUHIHU:LQVRU 1HZWRQ ‡3DSHUWRZHOVVWXUG\VKRSWRZHOV
‡7LWDQLXP:KLWH ‡4WLSVUHJXODUDQGFRVPHWLF
Zorn Palette ‡*UDSKLWH+%SHQFLO
‡<HOORZ2FKUH ‡3DOHWWHJODVVRUZRRG
‡&DGPLXP5HG/LJKW ‡:RUNDEOHIL[DWLYH.U\ORQRU*UXPEDFKHU
‡,YRU\%ODFN ‡.QHDGHGHUDVHU
‡7LWDQLXP:KLWH
Warm/Cool Palette
‡,YRU\%ODFN SETTING UP
‡3HUPDQHQW:KLWHRU7LWDQLXP:KLWH
‡8OWUDPDULQH%OXH ‡0DNHVXUH\RXKDYHDOO\RXUHVVHQWLDOVLQ
‡&REDOW%OXH JRRGZRUNLQJRUGHUQRVSOD\HGEUXVKHV
‡$OL]DULQ&ULPVRQ RUGULHGSDLQWV
‡)ODPH5HG ‡*HW\RXUFDQYDVSUHSDUHGLILW¶VQRWDOUHDG\
‡&DGPLXP5HG/LJKW ‡0DNHVXUH\RXUSDOHWWHLVZHOOPL[HGGURS
‡&DGPLXP<HOORZ VRPHFORYHRLOLQWRHDFKSXGGOH
‡&DGPLXP<HOORZ/LJKW
‡&DGPLXP2UDQJH
‡%XUQW6LHQQDVXSSOHPHQWDO
‡2OLYH*UHHQVXSSOHPHQWDO
%586+(6 - TIP -
‡6DEOH±VRIWKDLUHG :HDUHVWDUWLQJWRPRYHWRZDUGV
‡5RXQGVYDULHW\ WKHZDUPFRROSDOHWWHDQGXOWL
‡)ODWVYDULHW\ PDWHO\WKHOHYHO³+´FRQWUROOHG
‡)LOEHUWVYDULHW\ SDOHWWH,ZRXOGVWLOOZRUNZLWK
‡%ULJKWVYDULHW\ WKHOLPLWHGSDOHWWHVZHXVHGLQ
‡%ULVWOH±FRDUVH 3KDVHV,DQG,,$OZD\VIHHOIUHH
±VDPHDVDERYH± WRZRUNZLWKDQ\RIWKHP,W¶VXS
685)$&( to you.
‡&DQYDVRUFDQYDVSDQHO
‡*HVVRHGPDVRQLWH

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 2
1
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Female Eye–Burnt Umber & White Palette

ASSIGNMENT: FEMALE EYE–BURNT UMBER & WHITE PALETTE

In this exercise you will again be working with a monochrome palette. The reason is we must master
these palettes and by including them in the beginning of each phase, you will get more practice. Soon
we will move beyond these. I have provided you with a nice piece of eye reference. Watch the video
for how I approach this visual challenge, then use the reference to execute your own.

Part 1: Watch the video as I demonstrate this painting.

Part 2: Make sure to comfortably prepare your work area and get your reference ready. Do a nice
sketch and remember to use spray fixative to seal the image before starting.

Part 3: Proceed to execute your own version, cross-referencing the image, my finished painting,
and referring back to the video if need be.

Part 4: Once you have completed the exercise you can later revisit it using one of the other palettes.

Note: The reference materials are best utilized if viewed from your desktop, iPad or the equivalent.
You can print them out, but the quality will be a bit compromised.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 3
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Female Eye–Burnt Umber & White Palette

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 4
1
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Female Eye–Burnt Umber & White Palette

This photo is a great

example of a nice,
female eye. The lids
are full but not in
the manner of a pin-
up. The same can be
said of the eyebrow.
It does not arch that
high. With some
females, this arch in
the outside of the
brow is generally
considered attractive.

Here I used the good

old Burnt Umber and
Titanium White mono-
chrome palette. You
can always choose to
use this arrangement
if you are feeling a bit
overwhelmed or out
of sorts. Take your
time. I spent about an
hour, but you could
spend two on each or
whatever it takes. Just
make sure to give it
your best effort.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 5
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Female Eye–Zorn Palette

ASSIGNMENT: FEMALE EYE–ZORN PALETTE

In this lesson you will be back to using the Zorn palette, one of our favorites. I only painted one eye,
but you can try your hand at both or simply follow my lead. Keep an eye–no pun intended–on how
you are layering up your paint. I would try to do each one of these in one sitting. Feel free to take
some extra time if needed.

Part 1: Watch the video as I demonstrate this painting.

Part 2: Make sure to comfortably prepare your work area and get your reference ready. Do a nice
sketch and remember to use spray fixative to seal the image before starting.

Part 3: Proceed to execute your own version, cross-referencing the image, my finished painting,
and referring back to the video if need be.

Part 4: Once you have completed the exercise you can later revisit it using one of the other palettes.

Note: You won’t be able to get her exact eye color, but you can get rather close. You can always add
a little Ultramarine Blue to your black to make it more chromatic. This will give you a better blue-
grey and purples.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 6
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Female Eye–Zorn Palette

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 7
1
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Female Eye–Zorn Palette

In this photo, you

have a very pensive,
beautiful set of eyes.
Notice the double-
highlight in the iris.
I would take one out
so as to draw more
attention on that
eye. Keep in mind
you want to be able
to manipulate what
you see rather than
be manipulated by
your subject–always
think, don’t copy.

The Zorn palette, which

we used extensively in
earlier phases, is an
amazingly efficient
palette. Whichever
palette is most com-
fortable, use. I am not
getting too abstract or
thick with my paint as
these are academic
studies where we are
focusing on committing
information to memory.
There is plenty of time
for personal expression.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 8
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Male Eye–Warm & Cool Palette

ASSIGNMENT: MALE EYE–WARM & COOL PALETTE

This exercise opens up our palette a bit more, actually a lot more. You may find that when done, it
looks as though you could have used the Zorn palette, and you would be right. The main difference
is the abstract color notes you may wish to get into your work–but let’s not get carried away yet.

Part 1: Watch the video as I demonstrate this painting.

Part 2: Make sure to comfortably prepare your work area and get your reference ready. Do a nice
sketch and remember to use spray fixative to seal the image before starting.

Part 3: Proceed to execute your own version, cross-referencing the image, my finished painting,
and referring back to the video if need be.

Part 4: Once you have completed the exercise you can later revisit it using one of the other palettes.

Note: This palette has great range. You could use this one with no problem the rest of your career.
In the next few phases this will be your workhorse palette. If you prefer you can always use one of
the others.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 9
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Male Eye–Warm & Cool Palette

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 10
1
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Male Eye–Warm & Cool Palette

In this photo we are

painting two eyes.
Choose either one or
both, it’s up to you.
As you can see, I did
both. This image is
nicely lit with a very
direct light source.
The left eye as we
view the photo is
most definitely the
dominant eye.

Take note of how I

lightened up the right
eye a bit. In many
ways as a painter you
function similar to
Photoshop as you ad-
just the levels, contrast,
and saturation of your
lighting. Try not to be
too literal and instead
engage your common
sense.

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 11
 PA I N T I N G P R O G R A M
Portrait Painting Phase III:
Features from Photos–Eyes
Supplemental Reference

Preserving the Traditions of the Masters

© Watts Atelier of the Arts, LLC, 2013 www.wattsatelier.com 12