Fundamentals To Mastering Stylized Portrait Painting Class Work

In a class setting, peer review is vital. But when you are alone, you must become your harshest, most objective critic.

Now you blend. But only blend within the value zones. Never blend your shadow zone into your light zone. This preserves the "stylized" pop.

Before stylizing, students must demonstrate competency in: In a class setting, peer review is vital

| Skill | Application to Stylized Work | |-------|-----------------------------| | Planes of the face | Knowing where to add or remove shadows for graphic impact | | Proportion (Loomis, Reilly) | Recognizing which features to lengthen or compress | | Value control (5-value system) | Creating contrast without photographic gradation | | Color mixing (limited palettes) | Tuning skin tones toward thematic hues |

Class Exercise: Paint one realistic grisaille (gray-scale) portrait from a photo reference. Then, on a tracing overlay, circle three features to stylize (e.g., eyes enlarged, jaw squared, nose simplified).

Class Exercise: Design a “style bible” for one portrait: choose shape language (circles), color palette (6 max), edge ratio (70/30), and brush texture (dry bristle). Paint the portrait strictly following that bible. Gesture & Proportion

"I’ve taken three portrait courses that only taught realism. This was the first that taught me how to THINK about style. The exaggeration module alone was worth the price. My work finally looks like ME."
— Jamie L., Concept Artist

If you are taking this class (or teaching yourself), listen for these specific pieces of feedback. They are the difference between amateur stylization and professional work.