Portraits and the Power of Process

Some art projects are pretty universal.
If I say the words "portrait" and "grid," most art teachers immediately know what I'm talking about.

Many of us experienced it as students.

Most of us have taught some version of it.

And yet, over time, I’ve learned that how we teach this classic project has a tremendous impact on the learning that takes place and the success our students experience.

A Familiar Project, Revisited

The gridded portrait is often a turning point for students. It’s usually the moment when accuracy, patience, and trust in the process really start to click, or don’t.

When I first taught this unit, I did what I think a lot of us do:

• Teach facial proportions

• Jump into the grid

• Push through to the final portrait

Some students succeeded.

Some students struggled quietly.

Some rushed.

Some froze.

Some didn't pay any attention to the grid.

Over the years, I’ve revised this unit again and again, adding pieces, removing others, and slowing things down where it matters most.

What emerged is a version of the portrait unit that feels more supportive, more flexible, and more meaningful for students at every skill level.

One of the biggest shifts I made was separating skill-building from the final product.

Before students start their final portrait, they practice:

• Facial proportions

• Individual features (eyes, noses, mouths, ears)

• Hair as form first, texture second

• Shading skin using value / not outlines

This gives students space to experiment without pressure. Mistakes feel instructional instead of discouraging.

By the time we introduce the grid, students already have confidence with observation and proportion. The grid becomes a tool, not a crutch.

In this unit, students work through:

• Scrambled grids (multiple difficulty levels)

• Standard grid practice

• Grid setup and transfer

The goal isn’t perfection.

The goal is accuracy through focus.

For many students, especially those who believe they “can’t draw,” this is the moment where something shifts. They realize they can be precise. They can slow down. They can improve.

The Critique That Sticks

At the end of the unit, students step back from their own work and look closely at the work of Narsiso Martinez.

This is consistently one of the most memorable parts of the unit.

Through his portraits of farmworkers, drawn on discarded produce boxes, students begin to see how:

• Materials carry meaning

• Process reflects lived experience

• Subject matter can communicate identity, labor, and value

What’s especially powerful is how long this lesson lasts.

Even several courses later, when students reach my AP classes, I can say his name, and they remember. They remember how materials, processes, and ideas can be synthesized into a single artwork with purpose.

A Unit That Grows With You

This portrait unit didn’t come together all at once. It’s the result of years of revision - watching students work, listening to where they struggle, and adjusting the structure to support real growth.

It’s still the classic portrait project we all recognize.

It’s just structured in a way that, over years of trial and error, I've found yields a high success rate with students. 

If you’re interested in seeing how this unit is structured, from skill-building to grid work to critique, you can find the full resource linked below.

Link to Unit 7: Portraiture & Grid Drawing on Teachers Pay Teachers

As always, take what works for you, adapt what you need, and make it your own. That’s how the best versions of these “classic” projects continue to evolve.