Painting Using Acrylics

By Matt Springer - March 2004

I'd like to share my experiences with the medium of acrylic paints. There have been a number of very well written articles on this subject over the last few years. I don't necessarily feel that I am breaking any “new ground” with what follows, but perhaps a different perspective on the subject might be of value. I will describe some of the theory of using this medium and also some of the techniques I have found that work for me. Experimentation is the key. What technique works for me, may not work for someone else and vice versa. Use this article as a starting point to developing a method that brings you closer to that completed image you see in your head when you are starting a new figure.

I. Theory

The goal in painting any figure is to duplicate the effects of light and shadow in miniature. We are able to scale down the human form in miniature, but it is impossible to scale down the light source that gives the figure shape and form. We must create this scaled down light source with our paint. Start by choosing a light source location for the figure. In other words, from which direction is our light source striking the figure? The most common source location is from directly above the figure. This overhead placement of the light source gives us the perfect starting point for one of the most important aspects of a well painted figure; contrast. Contrast, by definition, is the variation in color value from one area to another. Overhead lighting establishes the highest level of contrast and gives us the highest potential for recreating the three dimensional effect we're after. With overhead lighting, areas of highest highlight are most often right next to areas of deepest shadow. This is especially important with smaller scale figures (70mm and smaller) which need even higher contrasts to show detail and also create a three dimensional effect. Contrast is achieved by the use of a given color's value scale.

By the method of overhead lighting, the painted figure will have areas of 100% color next to areas of 0% color. This gives the clothing, garment or any object we paint its form and shape. Contrast is one of the most under used techniques with most new figure painters. While it is possible to create too much contrast, always err on the side of higher contrast than lesser contrast. It is impossible to show light without dark and vice versa. Now let's look at technique.

II. Technique

Once you have laid on your base color (medium value), it's time to start to create form and definition by applying our value scale to the figure. Here are some good points to remember:

a) Always thin your paint with water. It is rarely used straight out of the bottle. Your base coat should be applied in several thin coats.

b) The base coat should be a medium value on the value scale. This allows us the most room for applying shading and highlights.

c) Keep your color mixes simple. No more than 3 colors need be mixed for any given color.

d) It is best to select colors for shading and highlighting in the same value and tone scale as your base. Try not to make highlights from the base plus white and shadows from the base plus black theory. Rather, in the case of blue, use a medium blue base like flat blue (962) and for your highlights use Azure (902). This cuts down on mixing time and the number of colors needed for any given mixture. Vallejo and Andrea offer enough colors in their range to minimize the need for excessive mixtures.

Highlights and shadows are applied by strategically placed layers of thinned color. I always start by applying highlights and doing shadows last.

Highlights: These start as relatively strong colors (less water) and as you move up to higher highlights, more water is added. Knowing how much water to use only comes from experience and experimentation. You want it thin enough to be slightly transparent, but still opaque enough to make the value change visible.

Shadows: These are generally weaker (more water) and are built up gradually.

It is also possible to go back over an area that has been highlighted and shaded with variations on the base color to soften the transitions. These mixtures should be very thin. The more layers you add, the softer the transitions will appear. Always use as large a brush as possible. Apply the paint to a brush and dab the brush on a cloth to remove most of the thinned paint. Then apply it to the figure. The rhythm of application should start on a fold at the lowest point and the brush should move upward to the highest point on that fold. If your color/water mix is correct, when you remove the brush from the figure, that point will be the area where most color remains so it should be at the top side of the fold on a surface plane most directly in light. The same is true for shadows. The point that the brush stroke ends and the brush is removed from the figure is the point of darkest shadow or area most hidden from light.

*Always work from general to specific – lower values first and work up to stronger value. Lightest shadows come before darker shadows.

III. Special Effects

Once you have laid in all your shading and highlighting, the acrylic method also allows various types of glazing or color effects. For example, if you finish painting an area and feel that the contrast is too strong, you can “glaze over” the area with a very thin wash of the base color or mid range color to soften the contrast. Glazes can also be used on flesh tones to help add life to the flesh by laying in light glazes of reds and oranges in the cheek area and between the eyes or in the lip area. Glazes can be used for many effects and I use them quite often. Experiment. The nice thing about acrylics is that it is easy to undo or rework areas by adding another glaze.

Summary:

Always thin your paints with water before applying to the figure.

Once your brush is loaded with the paint/water mixture, be sure to dab off the excess on a cloth or paper towel. You want to apply the color in a specific, controlled manner. Too much thinned paint left on the brush will be messy. The paint will run and “blotch” up as it dries. This takes practice to master.

Remember to study your figure under an overhead lighting source and that highlights and shadows occur everywhere not just on the folds. Adding dark shades on the bottom of an outstretched arm, for example, helps give the figure volume and form.

I've found that it it's okay for your highlight color and water mixtures to be a little stronger (less water) than shadows.

Don't be afraid to go for strong color and contrast.

Use as large a brush as possible. Tiny “000” brushes are occasionally needed, but often don't hold enough paint to be very useful. Most of my painting is done with size “0” brushes.

Try to select the best sculpted figure you can.

I hope these ideas are helpful. Please feel free to email me if there are additional questions or techniques you'd like to share. Thanks.

Matt Springer Roswell, GA email: mmaspring@aol.com