Loosening up in portrait painting class
Tuesday mornings have taken on a new rhythm for me. I’ve been attending a portrait painting class at the Sarasota Art Museum, and it’s been both grounding and eye-opening. The class is led by Victoria Mayol, who is not only generous with her technical knowledge but also full of creative energy. I find her insights linger with me long after class is over.
This morning, three things really stood out:
1. Giving myself permission to loosen up
Victoria said something that hit home: when people paint portraits, they often feel they must get them absolutely right—every feature in exactly the right place, every detail captured. But when painting birds or landscapes, those same people allow themselves more freedom. Mistakes are seen as part of the process. I recognize this in myself. I tend to tighten up when I'm trying to capture a face, as though it’s a test I must pass. I’m working on shifting that mindset, and simply being aware of it feels like a good first step.
2. Placement is everything
Another important reminder: even if you paint the most beautiful eye, if it’s not in the right place, the whole face can feel off. It’s all about relationships—how one feature sits next to another. Proportions, angles, and distances make such a difference. It’s a humbling reminder to step back, assess often, and not get too precious about any single part.
3. The complexity of flesh tones
Painting skin isn’t about reaching for the “right” color out of the tube. It’s about observing—really looking—at the light and dark, and the subtle shifts in value. Mixing a palette in advance, based on what I see, helps me approach the work with more clarity. It’s a slow process, but one that feels meditative and honest.
Each class feels like a quiet recalibration. There’s something very human about trying to depict another person’s face, and I’m grateful for the guidance along the way.