Preparation

• 1). Wipe down the canvas with a damp cloth to remove any particles or dust left over from the factory. Once dry, cover the canvas in a layer of yellow interior latex (flat finish) paint using a 2-inch FLAT brush, this is known as an under-painting and will give your portrait some vibrancy. Let dry.
  
  
• 2). Pick a photograph that has opposing and dramatic contrast -- a bright subject against a dark, slightly gradient background. Trace the contours of the subject with a pencil; this will better define edges and help familiarize you with the curves and small details of your subject.
  
  
• 3). Draw the grid: the grid depends upon the dimensions of both the photo and the canvas. Using the grid technique ensures that the picture you paint is mathematically proportional to the photo. If at all possible, work from a photograph that is directly proportional to the canvas; if need be, alter the photo's dimensions on your computer, or simply cut off the excess.
  Example: [Photo Dimensions: 4"x6"] [Canvas Dimensions: 24"x36"]
  Begin at the bottom left-hand corner of the canvas; using the pencil and the ruler, make small hash marks in one inch intervals. Work your way around the canvas and repeat these hash marks for the sides and top. You should end up with 23 marks on both the base and the top and 35 marks on either side. Draw a straight line connecting the first mark on the base to the corresponding mark on the top; repeat this process for each hash mark and its counterpart until you have created a 1"x1" grid.
  To find the hash mark intervals for the photo, divide the base length of the photo by the base length of the canvas, then divide the height length of the photo by the height length of the canvas.
  4"/24" = .16"
  6"/36" = .16"
  With your ruler and pencil, begin at the bottom left-hand corner of the photo, and make a hash mark every .16" (or .41 cm); work your way around the photo and repeat these hash marks for the sides and top. Draw a straight line connecting the first hash mark on the base to the corresponding mark on the top; repeat this process for each hash mark and its counterpart until you have created the complete grid.
  
  
• 4). Now that your photo and canvas are gridded in direct proportion to one another, take your pencil and transfer the image. Start from the bottom left or wherever is easier for you, and work square by square copying each detail from the square in the photo, and duplicating what you see to its corresponding square on the canvas. Take your time and make sure that the lines in each square match up to its neighbors. Once you have successfully transferred your subject to the canvas, clean up the image by erasing the excess grid lines and any smudges or mistakes.
  
  
• 5). Using the colors Burnt Umber, Burnt Sienna, and Yellow Ochre (or dark brown and yellow) begin painting the first layer of your portrait as if it were in black and white, using the darker browns as black and the yellows as white. Make sure that there is a wide range of intermediate "tints and shades" between the darkest brown and the lightest yellow. After your painting has some definition, mix a small amount of Titanium White with Yellow Ochre, or the like, and highlight the brighter areas on the face, hair, and clothing. Don't use too much paint; think of this layer as somewhere between a wash and a watercolor, not too thick and not too thin. Let dry.
  
  
• 6). Begin mixing colors to match the photo. Start painting your portrait in layers beginning with the background and working your way forward. Lay down a light layer of the basic, or foundation color, then go back and add the shadows and darker shades of that color. Don't overwork a single area, work on the entire piece collectively, treating it as a single layer; then go back and continue defining the intermediates between the foundational color and its shadows. Let dry.
  
  
• 7). Pay close attention to the contrast of your painting as you begin to add the tints of the foundation color. After each layer dries, continue perfecting the range from the least bright to the brightest/or almost white highlights; don't be afraid to go back and add more shadows and rework an area if you need to.
  
  
• 8
  Complacent Mariner by Sean Joynt 2005
  
  After the final layer is completely dry, go back and examine every section of the painting; look for areas that can be embellished. Pay close attention to the little details -- it's the subtleties that will make your portrait more realistic and professional.