Portrayal from photographs is a average training for producing realistic images.
Delineation from live subjects can be problematic for many reasons. Head, most live subjects cannot dominion a pose indefinitely (territory plants excepted), so your portray sessions Testament be regional to short periods of interval, and whatever pose the human race strikes Testament convert slightly from one session to the closest. Moreover, vital subjects are unprotected to conditions cherish changing flare and changing weather (provided the delineation is outdoors). For this discernment, many painters at the moment stain from photographs. The images in photographs are unchanging, photographs are easily portable and the artist require not deal with the pester of coordinating portrayal sessions with living subjects.
Instructions
1. Allot up your canvas in a well-lit field where you can gloss undisturbed. Assign the canvas on an easel, and position the photograph on or near the easel in a abode where you can gape it. Many artists prefer to tape the photograph to the easel. Provided you're a especially messy painter, you may want To possess multiple copies of the unmarried photograph to job from, assuming that you'll be splattering tint onto the effigy. Corner the palette nearby, and squeeze bantam amounts of gloss onto the palette.
2. Compose the outline of all the large-scale subjects in the photograph and the largest, most determining details. Don't fear also all the more approximately rightness at this point--the outline is onliest meant to be a criterion. But, whether you're having a hard time drawing the outline realistically, try dividing the photograph into quarters (four equal parts) and divide the canvas into four equal parts. The outline will become easier to draw if you divide the image into smaller, more manageable parts.
3. Thin the paint on the palette, using the paint thinner appropriate to the medium. Add paint thinner by dipping the paintbrush into the thinner and then by mixing it into the paint. If you're painting with acrylic, water is an appropriate thinner. If you're painting with oil, turpentine or white spirits work. Paint a quick, thin coat of paint on the canvas. Start flicking your eyes back and forth between the photograph and the painting. Look for differences in the shapes that you see. It may help to blur your vision while you perform this action. Turn the photograph and the painting upside down for a while and paint upside down--this is an old trick that helps you to look at the image in a way that is fresh and free from your preconceived notions of what you think your painting looks like.
Switch to a smaller medium-sized paint brush. Mix the paint for the highlights and shadows for the painting. Use white, yellow or light paint to make the highlights, and use dark colors (but not black) for the shadows. Add the shadows and highlights to the subject of the painting as they correspond to the photograph.
5. Switch to an even smaller paintbrush to paint the details on the photograph. The paint colors you select should correspond somewhat to the colors in the photograph. Don't paint shadows or highlights at this point, and leave out the details. Use a medium-sized or large paintbrush.4.
6. Set your painting aside for several days or weeks, and come back to it when you've had enough time to forget what the painting looks like. This way, you will see the painting as it really is, and any major errors should jump out at you. Fix any errors (painting upside down may help again).
