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Portrait Painting Techniques - Toning, Gridding and Skin Tones

Andrew Tischler・2 minutes read

Andrew discusses toning the canvas, gritting up, and the process of painting portraits in a tribute to John William Waterhouse. He emphasizes the importance of using specific colors for skin tones and outlines a methodical approach to creating depth and volume in facial features.

Insights

  • Toning the canvas before painting portraits is crucial to avoid stark white backgrounds, allowing for a mid-tone base that enhances the richness of colors and skin tones, achieved through a specific process using Williamsburg burnt umber and pur gum turpentine.
  • Gritting up, a method discussed for transferring photographic references accurately onto the canvas, emphasizes the importance of proportion and grid systems, aiding beginners in achieving accurate likeness and improving hand-eye coordination, even though the individual prefers freehand drawing, showcasing the balance between traditional techniques and modern tools for painting portraits.

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Recent questions

  • How can I avoid stark white backgrounds when painting portraits?

    To avoid stark white backgrounds when painting portraits, it is essential to tone the canvas before starting. Toning the canvas involves achieving a mid-tone that allows for clear visibility of both lighter and darker colors in the painting. This process can be done by applying a mixture of Williamsburg burnt umber and pur gum turpentine to the canvas using a cheap brush. Ensure the toned mixture is evenly coated on the canvas without any thick areas of paint. Wipe off any excess paint to prevent interference with drying times and subsequent layers of paint. Toning the canvas provides a suitable base for painting portraits, enhancing the richness of colors and skin tones.

  • What is gritting up in painting portraits?

    Gritting up in painting portraits is a method used to transfer photographic references accurately onto the canvas. This process involves creating a grid system on both the reference image and the canvas to aid in achieving accurate likeness. Proportion is crucial in this process to avoid distortion, especially for beginners. While some artists prefer freehand drawing, using a grid can help beginners gain confidence and start painting. The benefits of using a grid system include improved hand-eye coordination and the potential for design changes during the painting process.

  • Who is John William Waterhouse and why is he admired?

    John William Waterhouse was an artist admired for his painting style, particularly his use of color and composition to convey stories in his artworks. Inspired by Waterhouse, many artists aim to emulate his techniques and color choices in their own paintings. Waterhouse's ability to evoke emotions and narratives through his use of color and composition has made him a celebrated figure in the art world.

  • Why is lead white preferred over zinc white for painting portraits?

    Lead white is preferred over zinc white for painting portraits due to its archival properties. Lead white is known for its durability and ability to maintain its color over time, making it a popular choice for artists concerned with the longevity of their artworks. In the context of portrait painting, using lead white ensures that the colors used for skin tones remain stable and vibrant for years to come.

  • How can I create depth and volume in portrait painting?

    To create depth and volume in portrait painting, it is essential to focus on layering colors, establishing three-dimensional forms, and blending shadows and highlights effectively. Gradually increase saturation in colors, saving the most intense hues for areas like the lips to create a realistic effect. Experiment with mixing specific colors for different facial features, such as cadmium red, perylene crimson, manganese violet, ultramarine blue, and burnt umber. Use different brushes for precise application, adjusting tones, and creating softness in forms like lips, chin, and neck to enhance the depth and volume of the portrait.

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Summary

00:00

"Portrait Painting: Toning Canvas and Gritting Up"

  • Andrew addresses three common questions in painting portraits through this video.
  • The first question tackled is about toning the canvas before painting to avoid stark white backgrounds.
  • Toning the canvas involves achieving a mid-tone to allow for clear visibility of lighter and darker colors.
  • Andrew demonstrates the process of toning the canvas using a mixture of Williamsburg burnt umber and pur gum turpentine.
  • The canvas is evenly coated with the toned mixture using a cheap brush, ensuring no thick areas of paint.
  • Excess paint is wiped off to prevent interference with drying times and subsequent layers of paint.
  • The toned canvas provides a suitable base for painting portraits, enhancing the richness of colors and skin tones.
  • The next topic discussed is gritting up, a method used to transfer photographic references accurately onto the canvas.
  • Proportion is crucial in this process to avoid distortion, with a grid system aiding beginners in achieving accurate likeness.
  • While Andrew prefers freehand drawing, using a grid can help beginners gain confidence and start painting, with benefits including improved hand-eye coordination and potential for design changes.

15:21

"Creating a Tribute Painting with Waterhouse"

  • The individual admires John William Waterhouse's painting style, particularly his use of color and composition to convey stories.
  • Inspired by Waterhouse, the individual aims to create a tribute painting using a palette reminiscent of 19th-century colors.
  • The individual organizes their palette for skin tones, starting with Williamsburg burnt umber, transparent yellow oxide, and lead white.
  • They discuss the importance of using lead white over zinc white for archival purposes, recommending Blue Ridge oils' lead white called crema.
  • Other colors on the palette include cadmium lemon, cadmium red light, permanent crimson, manganese violet, ultramarine blue, and cobalt blue.
  • The individual experiments with different brands of paints, mentioning Rublev and their chromium green oxide for skin tones and foliage.
  • Rublev paints are praised for their pure pigment and oil composition, despite the possibility of separation that can be easily remedied.
  • Following a specific order in painting portraits, the individual demonstrates the process of blocking in skin tones using various colors and brushes.
  • Liquid original is used to enhance color flow, and the individual focuses on creating tonal dynamics and blending cool and warm tones for a realistic effect.
  • The process involves layering colors, establishing three-dimensional forms, and blending shadows and highlights to create a cohesive portrait.

30:32

"Color layering techniques for facial features"

  • Applying color to define the jawline and cheeks, working from ambient sky light to warmer shadow tones.
  • Layering colors to create depth and volume in the face, allowing underlying colors to show through subsequent layers.
  • Gradually increasing saturation in colors, saving the most intense hues for areas like the lips.
  • Mixing specific colors like cadmium red, perylene crimson, manganese violet, ultramarine blue, and burnt umber for different facial features.
  • Using different brushes for precise application, adjusting tones, and creating softness in forms like lips, chin, and neck.
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