Marcus Chen
Painting a person is a challenging but rewarding task that has fascinated artists since the beginning of the art form. Many people want to learn how to paint people, but it can be daunting for beginners. The best place to start is in a sketchbook, where you can build up confidence without the pressure of creating a masterpiece. You can also try drawing simple exercises, like outlining shapes and negative spaces, to train your eye to see things as they are, rather than symbols. When you're ready to paint, it's important to get the shape and proportions of the skull right, and to mix the right skin tone for your subject. You can create a flesh tone with acrylics by mixing equal parts red, yellow, blue, and white, adjusting with white to lighten or blue and red to darken.
| Characteristics | Values |
|---|---|
| Materials | Pencil/graphite, paper, canvas, brushes, oils, acrylics, mediums, chemicals, varnishes, easel, light, crayon, charcoal, mirror, palette, paint |
| Techniques | Study anatomy, practice, use reference photos, draw outlines of shapes, draw negative space, draw directly on canvas, shade, indicate shadows, use light and shadow, use proper lighting, add light to eyes, nose, and hair, use grid distribution, use thin layer of shellac, use alkyd medium, use underpainting, rub canvas with neutral oil medium, use linseed oil, use projector |
| Mindset | Don't compare yourself to others, don't wait for motivation, don't worry about getting it right, don't overcomplicate it, keep inner critic at bay, focus on shape and proportion |
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What You'll Learn
Practise drawing people in a sketchbook first
Practising drawing people in a sketchbook is an excellent way to build your confidence in a safe, low-stakes environment. You don't need to worry about creating a perfect masterpiece in your sketchbook; instead, focus on experimenting and having fun. Drawing whimsical figures, like fairies or dolls, can be a great way to start without feeling intimidated by anatomical correctness. You can also try drawing cartoon characters or something similar, like Barbie, to get a feel for proportions and shapes.
As you develop your skills, you can begin to explore more realistic figure drawing. A sketchbook is a great place to practise because it allows you to make mistakes and learn from them without pressure. You can try different techniques, study anatomy, and gradually build up your ability to capture the human form.
One helpful exercise is to set up a still life arrangement and draw the outlines of the shapes without looking at your sketchbook. This trains your eye to see and draw what you're looking at, rather than symbols or preconceived ideas. You can also try negative space drawing, where you focus on the shapes created by the space between objects, which can help you truly observe the lines and shapes of the subject.
Additionally, drawing from observation is crucial. You can set up a mirror and study your own features, using a light source on one side to create areas of light and shadow. This will help you understand how to capture the three-dimensionality of the human face in your drawings.
As you progress, you can start incorporating these skills into your paintings. Remember that practice is key, and the more you draw and paint people, the more comfortable and skilled you will become.
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Use a reference photo with a clear division between light and shade
Painting a person can be a challenging task, even for experienced artists. However, with practice and the right techniques, you can learn to confidently add figures to your paintings. One of the most important aspects of painting a person is understanding how to use light and shadow to create a sense of volume and three-dimensionality. This technique, known as chiaroscuro, involves using strong contrasts between light and dark to achieve a sense of depth and modelling in a painting.
To effectively use chiaroscuro in your paintings, start by choosing a reference photo with a clear division between light and shade. This will help you understand the fall of light on the subject and create a sense of form. Set up your reference photo with a single light source, such as a small table lamp without a shade, to create predictable lighting conditions. Alternatively, you can use natural light coming from one side, which can be set up by positioning yourself in front of a window or doorway.
When observing your reference photo, pay close attention to the areas of light and shadow on the subject's face and features. Notice how the lower lip, for example, casts a shadow onto the receding area below it. By indicating these subtle shadows and highlights, you can create a sense of depth and make the painting more believable. Additionally, look for the negative spaces and the shapes created between the objects, as this will help you draw what you actually see rather than a symbol of what you think you see.
Practicing with a sketchbook before incorporating figures into your paintings can help build your confidence. Start by drawing simple figures and whimsical dolls, gradually working your way up to more complex and anatomically correct representations. This will help you understand the basic shapes and proportions of the human figure without getting overwhelmed by intricate details. Remember, you don't need to articulate every anatomical detail; a few well-placed marks can be enough to suggest the idea of a person in a painting.
By combining these techniques with practice and observation, you'll be able to create captivating portraits that draw the viewer's eye and add a sense of energy and movement to your artwork.
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Use the right colours for skin tones
When painting skin tones, it is important to remember that skin tones can vary greatly, and the right colours will depend on the medium you are working with. Different paints respond differently to mixing, so you will need to pay careful attention to the properties of the type of paint you are working with. For example, watercolours dry lighter than they appear on the palette, so it is important not to be afraid of a paint tone that seems too dark. Additionally, white watercolours can change the translucence of skin tones, while black can create a muddy effect, so darkening with watercolours is best done with brown paint instead of black.
If you are using acrylic paint, you can start with the primary colours of red, yellow, and blue on your palette, with a blob of white as well. You can then mix an even portion of each primary colour to create a darker brown shade, which will be the basis for any skin colour. You can then modify this base to get the exact shade you need, lightening with white or darkening with blue. It is easy to lighten acrylic paint but challenging to darken it, so starting with a darker tone is best.
If you are painting with oils, you could start with a green base, achieved by mixing yellow and blue, and modify this with small doses of orange or red to lighten the tone. From there, you can add white or darken again with blue. There is no specific formula for mixing skin tones with oil paints, so you will need to experiment to get the right outcome.
Skin colour is frequently a dark or mid-tone rather than a very light tone. To get the correct skin tone, hold a piece of white paper in front of your sitter before starting their portrait. Skin is rarely actually yellow, orange, or red, but rather a tertiary brown, which may be pale, yellow, orange, red, or chocolate brown. Remember that specific areas of the skin and face may not be brown—cheeks may have a touch of pink, tear ducts may be red, and shadows may reflect any colour. To create realistic shadows, use colours that are slightly cooler than the base skin tone and blend them smoothly into the surrounding skin.
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Train your eye to see shapes and negative space
Training your eye to see shapes and negative space is an important skill for artists to develop. Artists view the world as raw material, noticing things that others might overlook. This skill can be developed through exercises that train your eyes to see shapes and negative space more effectively.
One such exercise involves looking around a room and focusing on the different coloured shapes you see. Take a few minutes to really examine each shape, noticing the colours within them or any patterned textures they may have. By doing this, you train your eye to see as a painter, studying what you see rather than simply looking at it. This helps to develop your eye and expand your visual understanding.
Another exercise to help you see negative space is to draw the space around an object rather than the object itself. This forces you to concentrate intently on your subject and can reduce unconscious bias, tricking your perception into seeing the shape of the object more accurately. You can also try looking at an image upside down, as this will make you concentrate more and help you to see things as they really are.
Additionally, you can try looking at an image through a loose fist, isolating a single colour from its surroundings. This makes it easier to see and mix colours on your palette. Squinting at an image can also help to minimise colour, detail, and distinctions between objects, allowing you to see the composition in terms of simple shapes and colours.
By training your eye to see shapes and negative space, you can improve your artistic skills and create more effective compositions in your paintings.
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Study anatomy and try different techniques
Studying anatomy is crucial to creating realistic human figures in your paintings. It can be challenging, but understanding the underlying structures of the human body will help you convey movement and personality in your artwork.
Start by familiarising yourself with the bones and muscles of the human body, and how they connect to form the foundation of the figure you wish to paint. The spine, for instance, provides support and mobility to the torso, with its curved shape differentiating humans from other species. The arms, which should be drawn with consideration for their volume and ability to rotate at the wrist, are as long as the height of the person when extended. The hands are roughly the size of the face, and the feet are as long as the forearm.
As you study anatomy, it's important to develop your observational skills. Observe how people walk, their poses, and the different types of bodies. Study the proportions of the human figure, comparing elements of the same length to ensure your drawings are well-proportioned. For example, the legs should support the body and give it balance, but they are not a completely vertical line.
Practise drawing the whole figure, as well as conducting detailed studies of specific body parts. Drawing from a live model or using reference photos can be helpful. Additionally, consider taking a life drawing class to improve your drawing skills and better understand the human form.
As you develop your anatomical knowledge, be mindful of not overemphasising it in your paintings. The muscles should add realism to the figure but should not be the focal point. Instead, focus on conveying action, emotion, or the subject's personality. Exaggerating or altering proportions can be a stylistic choice that adds energy and attitude to your painting.
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Frequently asked questions
If you're new to portrait painting, don't worry. Practice goes a long way when it comes to mastering the human form, and you’ll be crafting elegant portraits in no time. Using a drawing paper pad, or even some xerox paper taped to a sturdy board, a conte crayon or piece of vine charcoal (a soft pencil will also do) and a mirror, sit in front of the mirror and study your features. Set up your working area so that there is a light coming from one side. If you are right-handed, the light should be on your left side and slightly above you.
You don't need a huge investment in materials. Pencil/graphite and paper are a good starting point as they are widely available and you don't need any other special equipment. As you get better, you can invest in better paper or canvas, brushes, oils, acrylics, mediums and any other chemicals or varnishes you might need for your chosen medium.
Here are some tips for painting a person in a painting:
- Take your own reference photos whenever possible so that you have more control over the lighting. Natural light is best, but a spotlight or lamp will also work.
- Pose your subject so that there are some shadow areas on the face—this adds dimensionality to the painting.
- Make sure you have the proper lighting for painting. Creating a consistently bright light is more important than having white light or yellow light.
- Think in shapes and not lines, and block in the basic shapes where the shadows and highlights will go.
