Unless we add in shadows on the face, it will look flat. For the lips, in this case, I’m using napthol red and burnt sienna, diluted a bit by the main flesh tone color. We’re not trying to dial in the exact eye color rather, we’re just trying to ger the main shape and value established. For the eyes, a bit of raw umber will cool down the color enough so that if the eyes are a different color than brown, you can easily adjust it. Just add a little more burnt sienna for the eyebrows and nose. Painting the features this way at first will allow you to adjust them if necessary.Īfter the facial features dry, you can go over them with a darker color.
#Acrylic paint canvas ideas face skin#
Lightly “suggest” them in using a mixture of the skin tone base from the previous layer and burnt sienna. But we don’t want to paint them too dark right away. Now it’s time to get the fun part: actually painting in the facial features–the eyes, nose and mouth.
#Acrylic paint canvas ideas face download#
Download it below… Download and Print the Skin Tones Guide You can download it right now, print it, and set it next to your easel, so you know exactly what colors, what techniques and what steps to take when you paint skin tones on your portrait. I created a handy reference guide that covers all the steps in this article in a 7 page PDF. Print off Your Own Guide to Paint Realistic Skin Tones in Acrylic Make the paint as fluid as you can, by adding a little matte medium (10%) and brush quickly, just filling the whole area in. In this step, I’m using a mixture of titanium white, burnt sienna, and organic red orange for the first, foundational skin tone layer. In this example, I’m using raw umber dark, and applying with a 3/4” -1” flat brush. We look for the predominant color in the hair. When you paint on top of plain white, you will think your skin tone is too dark, when in reality it’s not. It will help us determine what colors to use for the skin tone, and make sure it is accurate. Step 2: Block in the Hair Color and ValueĪlthough we are concentrating on skin tones, quickly blocking in the hair color and value frames the face. You can sketch it freehand if you’re comfortable with the process, or grid if necessary. All you need is enough information to know where to block in the color. To begin your portrait, just fill in the outlines of the face. If you put the techniques to practice, you’ll see improvement in your portrait painting, for sure.Įither way, enjoy this tutorial, and I look forward to teaching you more!
If you take the video course (now open for enrollment) it will complement it well, and give you something to keep next to your easel as you paint. This online tutorial is an adaptation of the guide, showing a portrait from a photo I painted of my wife. I decided to create a printable guide that shows what we covered during the classes, although obviously not in as much depth as you’d get out of watching 5 hours of video! I think you’ll find this guide helpful. We had a great response to the class, with about eighty students on board right away during the first lesson! But in this series, I wanted to meet artists where they’re at and do the portrait in more of an opaque technique. Most people know me as the guy that does slow, methodical glazes. So I decided to put together a 5-week live video class, showing the whole process of painting an acrylic portrait, step-by-step, concentrating on flesh tones. This is a question I asked the artists in my Facebook group.
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