A traditional method of painting a portrait 4

he portrait is nearly complete. I have continued building up detail through a series of glazes alternating with more solid pigment.

I pay close attention to blending, whilst at the same time increasing the depth of shadows and picking out the highlights in the flesh. With a hogs hair brush I try to capture the flow of the hair before finally using a sable rigger to add the wispy bits. This technique is particularly useful where the hair goes into the background. This way, the contour is softened.
A few minor adjustments to the face, a bit more detail to the blouse, and the portrait will be finished.

Painting a landscape in acrylics - part 3

I am now working at building up the detail and establishing the perspective of buildings and boats in the painting. I try to capture the play of light and cast shadows, and begin to strengthen the colours. Thin transparent glazes are overlaid in certain areas, and Flow Formula is added to the paint where more precision is required.