Monthly Archives: October 2014

acrylic blending

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A rough sketch copy of a painting by Fred Cuming to experiment with blending colours using acrylic paint.

Instead of using glazing mediums for the background, I used only water. By mixing the colours on the palette with a wet brush, the paint was already fairly thin when I applied it. After covering an area with wet paint, I would straight away clean the brush and re-wet it, then go back over the area to further dilute and stretch the glaze.

When it’s that dilute, the acrylic paint behaves more like gouache in that it doesn’t bind fully to the paper (at least if the paper is still a little wet), so it can be lifted and faded by scrubbing with a wet brush.  I was using cheap hog hair brushes which allow for all sorts of rough treatment without having to worry about damaging the bristles.

The colours I’ve mixed are a little too garish. The original painting, which I copied from a scan of a greetings card, has a much more subtle palette.

exaggeration

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Bertrand Russell

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Richard Feynman

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Alex Salmond

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Pan troglodytes

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A copy of Derren Brown’s sketch of Maggie Smith

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Maggie Smith

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Tom Jones

Drawing portraits has been described as making a picture of someone where the eyes aren’t quite right and the nose is in the wrong place. Well, if I’m going to get it wrong, why not really get it wrong and turn the face in to a caricature: find the features which make a person recognisable and exaggerate them.

I was inspired by seeing Derren Brown’s preliminary sketch of Maggie Smith, which I copied (above) as I found it very instructive in the way that he takes a feature, such as a cheekbone or a chin, and then sculpts and magnifies that form independently of what is really there.

I tried to do the same thing with a number of photos found on the web. Other than Alex Salmond’s enormous jowl and Bertrand Russell’s oversized collar, I found it surprisingly hard to exaggerate most features. As I was drawing, I thought I was overstating Richard Feynman’s distinctive high forehead and quizzical smiling frown, but I quickly slipped back into attempting an accurate copy. Perhaps this is a good way to draw a face: aim for an exaggeration then let the natural instinct to draw accurately tone down the caricature into a more lively portrait.