Melissa
Acrylic portrait painting tips and techniques
My experience with portraits is almost nil but I would like to learn more about the process. Your WIP is awesome, thank you for the reference. Perhaps I can broaden my question a bit more: Helen Van Wyck was known for her excellent portraits and published a book on her technique. The broader question about using green as an underpainting is not her method. She usually began with an thin umber underpainting and I note that in her flesh mixtures, she advocated adding just a mere touch of green to get that desired flesh tone. Wouldn’t that accomplish the same thing in oils rather than using an acrylic green underpainting? If I remember correctly, the only reason Helen had Grumbacher’s green earth on her palette was for that tiny touch added to her flesh mixtures. Any thoughts on that? I am not seeing green used in many of the WIP’s on portraiture so this remains a question for me. Particularly since I sense my first and only portrait lacks a certain “something” in the flesh tones, like lack of depth? I’m hoping for a better understanding of the use of an underpainting, that most favored by those who use oils in their portraits.
October 31, 2008 at 8:58 pm #1108424
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Aires, Even in pastels, artists often use green, blue, purple as a base for the shadows in portraits/life drawing (that’s what I’ve learned). To my understanding, the reasoning is that 1) the colors naturally are cooler and visually recede, giving the illusion of depth and 2) you can actually see these colors in skintone. Look closely, and you’ll see blue, green, or purple shadows. I think this varies with the person, but, they are there if you look. With pastels, you can glaze over (as well as in oils, and possibly acrylics?) with a warmer color, but still retain some of the shadow’s coolness.
This, with warmer fleshtones glazed over (such as reds, pinks, yellows, oranges, browns) you can create a sense of depth. Warmer tones come forward and cooler tones recede. Of course, it can get more complicated with “warm green” vs. “cool green,” but that is another quagmire to be uncovered… Does this make any sense?
Melissa
October 31, 2008 at 9:10 pm #1108430
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I’ve loads to learn but everyone’s experience is helpful to the process. Now, am I to understand that adding a bit of green to the flesh tones does not get the same results as the green underpainting? I’m not trying to prolong the thread, just haven’t understood why Helen Van Wyck, who was a successful artist and known for her portraits, seems to add the needed colors to her flesh mixes or adds the shadows upon the flesh tones, rather than beginning with a green or purple underpainting. Is this just a matter of preferred techinque? What am I missing in the explanations?
October 31, 2008 at 9:31 pm #1108425
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I think the green underpainting is probably similar to adding green to the fleshtones directly: it cools the color. Whether you paint in layers and glazes, or directly, adding cooler color will help create depth or shadow. If you add green to red, it will cool the red. While I can’t personally account for her artistic mode, it sounds as though she’s using warm/cool color theory in her work.
Melissa
October 31, 2008 at 10:08 pm #1108431
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Thanks much for your explanation. I tried my first portrait following the Van Wyck method and found it very easy because I have not yet tackled multiple glazing layers. Now it makes sense that Helen is achieving much the same results in her direct painting method by adding the needed tones to her flesh mixture. Finally begins to make sense, they are really two separate methods that achieve much the same result, if I understand you correctly. It would seem to me that if using strictly oils paint without an acylic underpainting, the green or purple underpainting would be quite a slow method, though achievable. Everyone recognizes the person I tried to depict in my first ever portrait painting so I am encouraged to keep trying and learning the basics. Thanks again for your sharing your thoughts.
November 2, 2008 at 5:12 am #1108427
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Hello Aires, I searched for you and found this one in a german Book called “Praxisbuch für Künstler” and I made some photos for you. First one that shows how (and why) to paint a green underpainting. It gives very good contrasts to the flesh tone, working with thin glaces. 
The next one is a painting from Michelangelo (1475 – 1564), which shows his working with green underpainting in different stages. I think this was the “normal style” at this time. 
The last one is one stage of one of my works. In this painting I worked with a green unterpainting (because I am painting in a old style like the old masters). Here is the painting and the link to the thread, where I show the finished one.
https://www.wetcanvas.com/forums/showthread.php?t=381278 
November 3, 2008 at 1:05 am #1108432
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Gaensanger, thank you so much for taking the time and trouble to show examples of the use of green as an underpainting. In each of the illustrations shown, your own painting included, I note the green is a subtle and soft grayed-down green rather than the vivid, bright green used in the acrylic painting that started me on this quest for informtion. I can readily see that the soft grayed down green adds a great deal to the shadow areas of the faces shown. I also note many artists are using an umber mixture or an Indian red mixture for underpainting so I am assuming they are adding the touch of green in their admixtures of flesh tones in later stages of the painting. As you can readily tell, I am not a portrait painter but I firmly believe in challenging myself to learn new techniques and skills if I e expect to advance as an artist. Looks like I’ve bitten off a mighty big chunk in attempting to learn the best methods of portrait painting, a real challenge. Again, I appreciate the helpful information and am very pleased that you included a picture of one of your own paintings where the use of that subtle green lends so much depth and character to the painting. The Helen Van Wyck I referred to earlier often painted portraits of a live model while standing before a television audience or before one of her classes. So of course she had no time for glazing, it had to be done in a short period of time and at one sitting. She seems to have accomplished much the same idea by incorporating a touch of a soft green in some of her flesh admixtures. I suspect she used the lengthier underpainting-glazing technique for her commissioned work. You’ve been very helpful and I thank you.
November 3, 2008 at 3:40 am #1108436
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Not sure what country you hail from as no flag (ah ha – a ship without a flag!) but gaensanger’s advice (as always spot on) is in English in The Artist’s Handbook – Ray Smith publisher Dorling Kindersley.
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November 3, 2008 at 1:22 pm #1108423
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What you can also consider, is just toning your surface in a green or greenish wash, instead of doing an actual underpainting of your subject. I find I tend to like to work on grey green neutral up to warmer grey/ochrey tones even, instead of directly on white.
Jocelyn
November 3, 2008 at 7:48 pm #1108433
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Thanks, Jocelyn. Using a soft verdigris or grayed down green makes sense to me where I was really thrown by the brilliant green used to begin an acrylic portrait. The final painting was great but I was stymied in my thinking on how in the world to use such a strong green effectively. I’m thinking it must have taken many coats of acrylic to subdue that green but who am I to question success! I think I am ready to try the soft grayed down green and then explore other possibilities. Would you still use the soft green underpainting for a pale skinned natural blonde with light blue eyes? The sort of milky white complexion with very soft pink/rosy tints that is related more to a baby’s skin than a darker complexion or a ruddy tone.
November 22, 2008 at 12:15 pm #1108438
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Boy you really are stressed! Relax it is just paint do some studies there are many ways to skin a cat. You can under paint with just about any dark color. You just have to use your color theory to balance the colors. If you are using a glazing method you will have to let it dry to glaze it or apply a shellac coat to seal it. If you are in a hurry under paint with the dark color laying it in as a drawing then let it setup some, then use a wash to tint the face with the same color. Lay in your darkest dark first, just make them lean, then your next value up, then the next just keep going you will reach a point where you have to let it dry to continue. This method works with oils, acrylic work differently. The main point is you can change things because it is paint. Please note if you are working wet into wet gray your color if you must with a complementary color not black or a gray. Another note your blood turns red in the air under the skin it is often green or blueish check out your veins, I will let you decide what this can mean to your color palette.
Ok lastly there is a portrait convention that is often used it not written in stone but if you look for it you will find it often in older realistic work of white people as : yellowish forehead, reddish cheeks, blue -green jaw- chin. Keep exploring you will find many recipes and you will develop some of your own. Some will exclude other and some can be merged. That is why it is difficult to answer your question. Baking a pineapple upside down cake is different from baking a chocolate cake even though they are both cakes they are unique and are made differently, Like oil and acrylic portraits.
November 22, 2008 at 12:40 pm #1108428
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While I’ve been painting many years, I have only recently become interested in portraits and the methodology used. I noticed in the acrylic forum a very well done portrait begun with a very bright green underpainting. Then in the oil forum I found the explanation for using the green underpainting. I understand starting it in acrylics but question how one would accomplish it in oils. Would you start with an acrylic underpainting or would you stay with the oils throughout and just wait until the green dried before proceeding? Would appreciate the experienced thoughts of portrait artists on the use of green as an underpainting as well as the best way to proceed if that method is used.
If you want to do it in oils use a drying agent(medium)in with the oil paint,this takes about 24 hours to dry. Someone posted this in “oils” the same technique can be applied to a portrait. Scroll down to watch the demo vids,fella prattles on first for a few minutes but its good stuff right the way through. http://jansenartstudio.com/2008WVAStudy.html
November 23, 2008 at 1:11 pm #1108437
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Melissa, finally someone has given me something to think about! My art teacher for the past 3 years is Chinese and could never fully explain why I needed to use a cool vs. warm color…probably the language barrier. I am now going to think about colors in the way you explained, not cool vs. warm so much as where to recede vs. what to bring out. Thank you!
How to Remove Acrylic Nails at Home Without Destroying Your Natural Ones
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Acrylic nail removal is a tedious, time-consuming process — one that is especially risky if you have no idea what you’re doing. Manicurists don’t recommend taking on the endeavor by yourself, as any error can wreck your precious nail beds.
But what if you’re stuck in a manicure emergency with absolutely no way to get to a salon in time? Well, you can take some of our experts’ advice on how to remove acrylic nails at home. If you’re going to play amateur nail tech, the professionals want you to know exactly how to get ‘er done while reducing the risk of causing harm to the natural nail underneath those grown-out talons.
Before you even think about reaching for the acetone, know that removing your acrylic nails will take at least an hour of your day and lots of patience. (If it’s your first time attempting this, we suggest going extra-slow with the process so you can get it just right.) Our nail pros say that removing acrylics at home isn’t impossible. While it’s a bit more involved than taking off your gel polish, it can be done.
Ahead, a step-by-step system for anyone who doesn’t do their nails for a living, brought to you by the folks who do.
Meet the experts:
- Kristin Gyimah is a licensed nail artist in Los Angeles.
- Mytien Le, nail specialist at Sundays Studio in New York City.
- Ashlie Johnson is a licensed nail artist in Los Angeles.
- Amy Le is a licensed nail artist in Los Angeles.
- Anna Miles is a licensed nail artist in New York City.
- Monserrat Rodriguez is a nail artist and owner of Shears and Laque nail salon in Rancho Cucamonga, California.
- Nadine Abramcyk is a co-founder of Tenoverten nail salon in New York City.
- Molly Romah is a lead nail technician at Chillhouse nail salon and spa in New York City.
- Dana Stern, MD, is a board-certified dermatologist and an assistant clinical professor of Dermatology at the Mount Sinai Medical Center in New York City.
Can I remove acrylic nails the same way I remove gel polish?
According to Romah, there is a slight difference. “Acrylics need a longer time to soak in acetone than gel polish,” she says.
- nail clippers
- a nail file with two grits (100/80 grit, if possible)
- a nail buffer
- acetone (not just regular polish remover)
- an orangewood stick or metal pusher
- cotton balls
- foil or nail polish remover clips
- a small bowl
Your local drugstore should have most of these tools in stock, but here are a few of Allure editors’ favorites.
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Tweezerman Nail Clipper in Stainless Steel
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Revlon Shape and Buff All-in-One File and Buffer Block
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Eternal 100% Pure Acetone
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Teenitor Nail Polish Remover Clips
Your local drugstore should have most of these tools in stock. If not, or if you can’t get there right now, Gyimah suggests reaching out to a nearby nail artist who might be selling kits.
How do I remove acrylic nails at home without any tools?
The experts barely want you to remove acrylic nails at home at all, and now you’re trying to do it with zero tools? We hate to say it, but the answer is no. An in-salon manicurist will “file or sand off the powder with an electric tool,” says Romah. If you’re doing it at home, at minimum, you’ll need a nail file. The good news? That’ll only run you five dollars or less.
Ahead, how to remove your acrylic nails at home with the right tools.
Step 1: Set up your at-home salon station.
Throughout this process, you’ll want to ask yourself, “What would my manicurist do?” For starters, they’d set up a clean, well-ventilated work area. Remember, you’ll be using a lot of acetone and clipping off extensions, so it’s a good idea to cover the table you’re using so as not to stain or ruin any of your surfaces.
Just as they would do at a professional salon, take a hand towel, fold it in half, and place a paper towel on top, advises Kristin Gyimah, a nail tech in Los Angeles. You might also want to consider opening a nearby window or setting up a fan, as the acetone will have a strong scent.
Step 2: Cut down your acrylics as much as possible.
We hate to break it to you, but you’re going to be losing a lot of your length. Assuming you can’t fill your acrylics at home by yourself (and assuming you wouldn’t be reading this article if you could) cutting them is your best option. Using sharp nail clippers, cut down your extensions, leaving about two centimeters of the nail above your nail bed for safety. This is the fastest and easiest way to get down to your natural nail length, says nail artist Ashlie Johnson.
Step 3: File away.
If you have regular polish on top of your acrylics, you can remove it now with acetone or a regular nail polish remover. But if you have gel polish on, Gyimah suggests using the coarse 100 grit side of your file to file off the shiny topcoat. Either way, you’ll then want to use the coarse side of the file to get rid of the bulk of the acrylic.
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“The more of your acrylic you file off, the less time you have to soak in acetone later,” says nail artist Amy Le. But don’t go too harsh with your file — Le advises leaving a thin layer of acrylic to avoid damaging your natural nail.
Step 4: Soak off your acrylics with acetone.
Grab your bottle, pinch your nose, and let’s do this. Ideally, the acetone you use should be at least 70-proof or higher, says Mytien Le, nail specialist at Sundays Studio in New York City. Lower-grade acetone will still work to remove your acrylics, but it will require some extra soaking time.
There are two ways you can soak off acrylic nails. The first, more complicated method involves cotton balls and foil, similar to how you would remove your gel manicure. Place a cotton ball soaked in acetone over the acrylic-covered nail bed and wrap it with foil tightly. (If you thought painting with your non-dominant hand was a challenge, just wait until you try wrapping a cotton ball in foil and balancing it on your nail bed. But it can be done with a little bit of patience!) You can use nail polish remover clips here instead of foil if you have some on hand. “[They] make it so that you don’t have to struggle with wrapping tinfoil around your non-dominant hand when you already have foil on your dominant one,” explains New York City-based manicurist Anna Miles. “Forget that mess!”
Once your nail is wrapped up, Gyimah says to give it a squeeze. “There should be a bit of acetone dripping out when you squeeze — that is how you know you have enough on the cotton ball,” she says. Soak each nail for a minimum of 10 minutes to ensure the acrylic is breaking down properly.
If you want to take things a step further, Amy Le suggests placing a hot towel on top of your wrapped foils. “The warm acetone works faster,” she says. (Just do not under any circumstances microwave acetone, as it is flammable.) You might have to repeat this step if it seems like the acrylic has not softened. Be patient! Having to wait is better than having a weak, damaged nail later on.
