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Acrylic Portrait Sketch
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Portrait Painting With Acrylics
In this lesson, we’ll take a look at creating a small portrait painting with acrylics. Acrylics can be applied with smooth gradations of color and value or with more deliberate, visible brush strokes. (Of course application techniques are not limited to these two approaches.)
In this tutorial, we take the approach of creating strong brush strokes, allowing them to create shapes of differing colors and values. The goal is to develop brush strokes that add “character” to the painting while communicating the subject clearly.
The image is developed through direct painting, applying colors as they are observed, mostly while the surface is still wet. Golden Open Acrylics are used so that the drying time is quite a bit slower. The following video demonstrates the process.
Mixing Skin Tones
Skin tones or flesh tones are just like any other mixture of colors. There is a common misconception that one formula will work for mixing every skin tone. Artists usually find a formula that works for them based on color and the brand that they prefer. The number of variations of tones is endless.
A color called “flesh tone” really shouldn’t exist, even though you can buy one at the store. Flesh tones are so varied that one color cannot possibly account for every tone out there.
While there isn’t a magic formula for creating a skin tone, I’ve found that nearly every tone can be mixed using a combination of red, yellow, brown, and white. Some blues may be used for areas of shadow and ironically some areas of highlight. Colors like green and purple can also be used to enhance the light or create additional contrast.
The exact type of red, yellow, or brown will vary depending on the brand and the desired tone. The quantity of each color in the mixture will also vary depending on the skin type and color. Some skin tones will require darker, more intense browns, while others will require more white and yellow.
It may be obvious, but I will point out that you will need to create multiple mixtures to create a convincing illusion. The value, chroma, and temperature of the color changes in different locations of the face, all depending on the location and strength of the light source. And while it may seem incredibly important to capture the absolute match of color that is observed, what’s really most important is the value. Get the value right and it really doesn’t matter what color you use.
The Acrylic Painting Academy
“The Acrylic Painting Academy” is a comprehensive painting course designed to guide absolute beginners to a level of producing professional quality acrylic paintings.
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My Techniques for Painting a Fun, Colorful Acrylic Portrait
Chris is an energetic artist, and an expert in InDesign from his days as a graphic designer. As a thank-you for his help with one of my bookmaking projects, I offered to do his portrait. I took this picture of him against a white backdrop in my studio.
Choosing a fair sized canvas, I began by drawing his features first with a charcoal pencil, then over that in a black acrylic line.
Because acrylics dry almost immediately, I went in with a mass of grayish transparent shadowing and tones that will form a basis for the painting. For most of this demonstration, the medium used to make the acrylic paint transparent is Liquitex Matte Medium.
I gave the grey areas time to dry (a hand-held hairdryer on medium heat speeds the process) and taped-off a thick vertical area I intended to paint bright blue using 2″ wide white artist’s masking tape.
Pro tip: paint over the to-be-painted edges of your tape with matte medium first before adding any color, and let it dry. It will keep the color from “creeping” under the tape and ruining the crispness of the edging.
When the blue streak completely dried, I did the same process with the red and yellow colors, making sure the color edges touched, but didn’t overlap.
All the background colors used in this demo are Golden Fluid Acrylics thinned with the matte medium mentioned earlier. I really like the Golden line of products for many reasons.
With the background done, it was time to paint-in the basic flesh tones and deeper shadows with a more opaque paint. Note that the background, especially the blue streak, will show through in the final portrait.
Going back in and reinforcing the shadows and darker portions of the face started adding “volume” to the portrait. Note that there is no attempt to be slick and fancy. In my opinion, acrylics—because they dry so fast—lend themselves to a more “impressionistic” look than do easily-blendable oil paints. I have long given up trying to paint with acrylics like I do in oils.
Lastly I added the final touches. Finishing the ear, lips, hair, eyes, adding more natural and opaque skin tones, plus softening the edges of the nose brings this portrait to completion. The paints used here are both Liquitex and Golden Acrylics out of tubes.
Here is a slightly closer view so you can see how the background colors come through portions of the face.
Painting this way is fun, because a somewhat incomplete execution can still look finished!
Special thanks to Lyman Dally for sharing his process for this acrylic portrait painting! To see more of Lyman’s paintings in this style, please visit his Instagram page.
