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Portrait Painting in Acrylics

1

 

'Robert Burns' by John MacTaggart

'Robert Burns' by John MacTaggart
acrylic on canvas, 2007 ( 16"X24" )
Collection of Edward Thomson Meek

Portrait Painting with Acrylic Paint

Acrylic Portraits may be done using a range of possible painting techniques. One of the great strengths of acrylic paint is that you can create deeply luminous colours by building up the image in thin transparent glazes pf paint. The result is very similar to oil painting but the difference is that acrylic glazes dry in minutes whereas oils take days, which enables you to work more quickly.

Our portrait of Robert Burns uses this technique by carefully modeling the figure with glazes of acrylic colour on top of flat underpainting.

 

 

'Robert Burns' by Alexander Naysmith (1758-1840)

Alexander Naysmith (1758-1840)
Robert Burns (oil on canvas, 1787)
National Gallery of Scotland, Edinburgh

The Portrait Commission

Our acrylic painting was a commissioned portrait of Scotland's national poet, Robert Burns (1759-1796). The only limitations imposed by the client ( Edward Thomson Meek, a former president of the Bridgeton Burns Club ) was that the portrait should be 16X24 inches and based on the most famous image of Burns, the 18th century oil painting by Alexander Naysmith. Our artist's aim was to create a painting of Burns that reflected the vitality of the man for modern times.

 

 

Preparatory Drawing for Portrait of Robert Burns

Drawing the Portrait

Whether you are working from life, photographs, or in this case another painting, it is necessary to create a preparatory drawing. This drawing should help you to resolve some of the difficulties that lie ahead:

  • A preparatory drawing should address any problems that you envisage in creating the image, e.g. the correct balance of proportion, tone and detail that will give you the likeness you desire.
  • A preparatory drawing should be the same scale as the painting so that it can be used to trace and transfer the final image onto the canvas.

Our lesson on pencil portraits
should help you with your preparatory drawing.

 

 

Line drawing on canvas

Transferring the Image to Canvas

A stretched canvas prepared with several coats of acrylic gesso, each sanded smooth before the application of the next, provided the surface for our painting.

The above line drawing was traced from our preparatory drawing and transferred onto the canvas ready to start the painting. A very hard 2H pencil was used to outline the image on the canvas in order to prevent any smudging of the lead which would show up like a blemish beneath transparent glazes of colour. You often get smudges left by softer 'B' grade pencils.

 

Follow the progress of our Portrait

1. Drawing the Portrait

 

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