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 PAINT
PEOPLE in ACRYLIC
with Lee Hammond

NORTH LIGHT BOOKS

CINCINNATI, OHIO

www.artistsnetwork.com
 Paint People in Acrylic With Lee Hammond. Copyright © 2007 by Lee Ham-
mond. Printed in Singapore. All rights reserved. No part of this book may be
reproduced in any form or by any electronic or mechanical means including
information storage and retrieval systems without permission in writing from
the publisher, except by a reviewer who may quote brief passages in
a review. Published by North Light Books, an imprint of F+W Pub-
lications, Inc., 4700 East Galbraith Road, Cincinnati, Ohio, 45236.
(800) 289-0963. First Edition.

Other fine North Light Books are available from your local bookstore, art supply
store or direct from the publisher.

11 10 09 08 07 5 4 3 2 1

DISTRIBUTED IN CANADA BY FRASER DIRECT

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Georgetown, ON, Canada L7G 5S4
Tel: (905) 877-4411

DISTRIBUTED IN THE U.K. AND EUROPE BY DAVID & CHARLES

Brunel House, Newton Abbot, Devon, TQ12 4PU, England
Tel: (+44) 1626 323200, Fax: (+44) 1626 323319
Email: [email protected]

DISTRIBUTED IN AUSTRALIA BY CAPRICORN LINK

P.O. Box 704, S. Windsor NSW, 2756 Australia
Tel: (02) 4577-3555

Library of Congress Cataloging in Publication Data

Hammond, Lee
Paint people in acrylic with Lee Hammond / Lee Hammond.
p. cm.
Includes index.
Metric Conversion Chart ISBN-13: 978-1-58180-798-1 (pbk. : alk. paper)
ISBN-10: 1-58180-798-8
ISBN-13: 978-1-60061-604-4 (EPUB)
1. Human figure in art. 2. Acrylic painting--Technique. 3. Painting--Technique.
To convert to multiply by
I. Title.
Inches Centimeters 2.54
Centimeters Inches 0.4 ND1290.H36 2006 751.4’26--dc22
Feet Centimeters 30.5 Edited by Mona Michael
Centimeters Feet 0.03 Designed by Wendy Dunning
Production art by Kathy Bergstrom
Production coordinated by Jennifer Wagner
 ACKNOWLEDGMENTS
This is my second book on acrylic painting and I have
thoroughly enjoyed working on it. Capturing people
in portraiture has always been a passion of mine, and
sharing my painting techniques with you is exciting. I
am so happy to have the chance to combine the two.
The wonderful people at North Light Books have
been my family for more than a decade now. They
continue to support my ideas, and allow me to grow
and expand as an artist and author.
ABOUT THE AUTHOR Without their unwavering support, an art career
Polly “Lee” Hammond is an illustrator and art
would be hard to maintain. I appreciate their help and
instructor from the Kansas City area. She owns and
guidance more than I can express in words!
operates a private art studio called Take It To Art™,
where she teaches realistic drawing and painting.
Lee was raised and educated in Lincoln, Nebraska,
and she established her career in illustration and DEDICATION
teaching in Kansas City. Although she has lived all This book is dedicated to all of the wonderful friends
over the country, she will always consider Kansas I have made because of my career as an artist. My
City home. Lee has been an author with North Light trademark, Take It To Art, is a perfect description of
Books since 1994. She also writes and illustrates my life. My art has taken me all over the world, helped
articles for other publications such as The Artist’s me see and do things I never thought possible, and
Magazine. has been the vehicle for meeting the most outstand-
Lee is continuing to develop new art instruction ing people on the planet. It is a joy I will never take for
books for North Light and has begun illustrating chil- granted. For those of you who have entered my life
dren’s books. Fine art and limited-edition prints of because of art, I hope you feel as lucky as I do! All of
her work will also be offered soon. Lee lives in Over- my books are dedicated, in heart, to you!
land Park, Kansas, with her family. You may contact
Lee via email at [email protected] or visit her website
at www.leehammond.com.
TABLE OF
CONTENTS
Introduction 7
1 GETTING
The Awkward Stage 8
STARTED
10
Supplies • Color • Basic Techniques
2 PAINTING 3 PAINTING THE
FACIAL FEATURES FULL PORTRAIT
44 96
Noses • Mouths • Eyes • Ears • Hair

Conclusion 124

Index 126
 INTRODUCTION

I have been writing art technique books for more There are many painting books about creating
than a decade. Because of this experience, I have seen portraits, but each one is different. We have so many
myself coined in some publications as the “Queen of books to choose from because we are all so unique. If
Drawing!” As flattering as that title is, I have always we all approached or perceived things the same way,
wanted people to know that there is much more to we would only need one book to learn from. But life
me artistically. I love to paint! This is my second paint- and art are not that simple; and the differences are
ing book and I am so pleased with the opportunity to what make art so much fun!
branch out. So, in art there is no real right or wrong way. There
As I prepared for the painting books, I analyzed are just many different approaches. As creative people,
my techniques to see how my application differed it is up to us to experiment and choose the techniques
when painting instead of drawing. I found that I used that fit our own style.
some of the same thought processes and applica- The step-by-step projects are easy to follow even if
tions with both. you don’t have a lot of drawing experience. However,
This book teaches my technique for painting I do recommend learning to draw first. It is an impor-
people with acrylics. I will never say that this is the tant factor that will make your work more accurate.
“right way” or “only” way to paint. It is merely “my I have written many books on the subject, such as
way.” For those of you who have never painted with Draw Real People!, How to Draw Lifelike Portraits From
acrylics before, this book will be a great introduction Photographs, and Drawing in Color: People & Portraits
to the medium. (North Light 1996, 1995, 2000). Drawing is an impor-
In all the projects, you’ll use the grid technique to tant foundation on which to build your painting skills.
help with the preliminary sketch, which is an easy Most importantly, relax and enjoy the painting pro-
way to obtain accuracy. After that, you’ll generally cess. Acrylic is a wonderful medium; the more you
have just three or four steps to follow. Although many use it, the more you will love it!
steps may look complex, painting with acrylic is all Have fun…
about painting in layers. Because of the rapid drying
time of the paint, it is easy to keep adding details or
cover up previous applications a little at a time.
Take your time and experiment. Acrylic is a very
forgiving medium. If you don’t like what you’ve done,
you can simply paint right over it!

Acrylic paintings are “built” much like three-dimensional objects. You

start with a basic foundation of color, and then add layer after layer, until
the realism is achieved. It is very important to not give up too soon. All
paintings go through a very ugly “awkward stage,” which can be deceiv-
ing and frustrating. If you look closely, you will see where colors are
placed on top of other colors.

TRUDY
Acrylic on canvas paper
12" x 9" (30cm x 23cm)

7
The Awkward Stage
Acrylic paintings are done in layers. The awkward
first layers of the painting are an essential foundation
to the art. The first layers involve thinned paint with
a consistency more like watercolor, applied loosely.
Think of the Awkward Stage as a color map. You’re
just laying the foundation of the colors you will build
on later.
I have found that many students using acrylics
for the first time become frustrated and give up too
soon. Because the painting looks so sloppy at first, it
is understandable to be unconvinced of a good out-
come. It is hard to accept the fact that all paintings
go through the Awkward Stage! However, if you hang
in there for the rest of the process, you’ll be amazed
at the transformation.

The Awkward Stage Creates Your Color Map

This awkward stage provides you with a color map or road map to fol-
low. The paint is more like watercolor and the canvas shows through.
The colors look weak and a bit muddy. This is where many beginners
mistakenly quit.

The Final Layers Finish the Painting

When more layers of paint are applied, the artwork improves. Once
you’ve reached the awkward stage and have your color map, you can
then follow the map as you apply layers of thickened paint and add
details. The canvas now is totally covered and the colors are much
more vibrant. It is in the final stages of the painting that everything pulls
together and gives the work realism. The effort is definitely worth it!
The moral of this story is: Be patient and don’t give up too early.

CHRISTOPHER DALE
Acrylic on canvas paper
14" x 11" (36cm x 28cm)

8
9
 A tackle box can act as your
traveling storage unit for your
supplies. It isn’t necessary to
have a ton of stuff to paint.

PART 1

GETTING
STARTED
This chapter covers everything you need to get started.
You will learn what basic supplies you need, some Start-Up Kit
simple color theory, and finally you will practice the Below is a list of essentials you should have on hand to get you
started on the painting projects in this book. Happy painting!
essential easy techniques you’ll use to complete the
projects. Since you can’t do a thing without paint, PAINT S
Alizarin Crimson, Burnt Umber, Cadmium Red Medium, Cadmium
we’ll start there. Yellow Medium, Ivory Black, Prussian Blue, Titanium White
When painting with acrylics, I keep things to a min-
S URF ACE S
imum. I don’t like a million things around me. I use a Prestretched canvases, canvas panels and/or canvas sheets
very small number of colors on my palette and only a
few different brushes. This makes my work area feel BRU S HE S
¾-inch (19mm) filbert, no. 3 filbert, no. 4 filbert, no. 6 filbert,
more relaxed and organized. no. 8 filbert, no. 1 liner, no. 2 liner, no. 3/0 liner, no. 2/0 round,
Because I use a limited amount of supplies, it is no. 1 round, no. 2 round, no. 4 round, no. 6 round, no. 4 flat,
no. 6 flat, hake
easy for me to pack these things into a single tackle
box to go teach my workshops or paint on location. It PALE T T E
Plastic with lid (or make your own—see page 17)
is fun to create your own custom kit. When not in use,
your tackle box will act as your storage unit. OT HE R MAT E RIALS
Cloth rags, wet wipes, cans or jars, spray bottle of water, palette
knife, masking or drafting tape, mechanical pencil with 2B lead,
ruler, kneaded eraser
10
 SUPPLIES

What is Acrylic Paint?

Acrylic paints are made of dry pigment
in a liquid polymer binder, which is
a form of acrylic plastic. Acrylics are
water-based, so they require no paint
thinners as oil paints do, though they
can be diluted with water while painting.
Acrylic paint dries quickly to a
waterproof finish. Because of this quality,
it can be used on a variety of surfaces.
It is a favorite for painting on windows,
outdoor signs, walls and fabric. It is
permanent, so items painted with it
are washable.

Varieties of Acrylic Paint

Many varieties of acrylic paints are
available. Your choice depends partly
on the project you’re planning to do.
There are acrylics formulated for folk
art and fine art and even for painting
on fabric, walls or signs.
For the projects in this book, look
for paints labeled “high viscosity” or
“professional grade.” Other kinds of
acrylic paint will be too thin with a pig- Tubes, Jars or Bottles?
I prefer to use acrylics that come in jars, so I
ment concentration too low for satis- paint from a jar rather than from a tube
can reuse leftover paint. I can also mix special
factory results. or bottle. Acrylic paint dries quickly, so colors for specific projects, and place those
Student-grade paints and those in if I have some uncontaminated color colors in empty jars.
squeeze bottles generally have a lower left over on my palette, I return it to
concentration of pigment. The pigment the jar to avoid waste. This is not pos-
is still high quality; there is just a little sible with paint from a tube or bottle. I
less of it. Many student-grade paints are also like jars because I can mix my own
so good that professionals use them as custom colors for a painting and store
well. They are very fluid, easy to work them in separate jars. This is helpful if
with and easy to mix. you are working on a large project and
Professional-grade paints have a need to keep your colors consistent.
higher concentration of pigment. They (For more information on palette
are usually a bit thicker than student- colors and color mixing, see pages
grade paints and their colors may seem 22–23.)
more deep and vivid.
You will find paints in tubes, jars
and squeeze bottles. I prefer using

11
 SUPPLIES

Paint Properties
As we just discussed, each form of Permanence: Certain colors are in direct sunlight. Ultraviolet rays in
paint—jar, tube or squeeze bottle—has more prone to fading over time than sunlight are the primary cause of fading.
different characteristics. Once you’ve others. Most brands will have a perma- Toxicity: Good-quality paint brands
selected the paint you prefer, you will nency rating on the package to let you will include some toxic colors. Some
find that individual colors have their know what to expect. A color with an of the natural pigments that produce
own properties as well. “Excellent” rating is a durable color that vivid colors are toxic, such as the Cad-
Opacity: Some colors cover surfaces will hold its original color for a long mium pigments and some blues. Never
better than others, appearing more time. A color rated as “Good” or “Mod- swallow or inhale these colors. Certain
opaque, while some will be more trans- erate” will have some fading, but not a colors should never be spray applied;
parent. Some colors completely cover huge difference over time. A color rated check the label. If you’re working with
the canvas, while others are more trans- as “Fugitive” will fade significantly. You children, always find a brand that sub-
parent and seem streaky. With time and can see this most often with yellows stitutes synthetic, manufactured pig-
practice, you’ll get to know your paints. and certain reds. Try to avoid fugitive ments for the toxic ones.
Play and experiment first by creating colors, but regardless of a color’s per-
some color swatches like the ones on manence rating, never hang a painting
this page. This will give you a better
understanding of how each color on
your palette behaves.

Cadmium Red Medium Alizarin Crimson

This red is opaque and completely covers the canvas. Can you This red is dark but transparent in nature. It has a streaky appearance,
see the difference between this and the Alizarin Crimson? letting some of the canvas show through.

Prussian Blue Prussian Blue + Titanium White

This blue is dark but transparent. Just by adding a touch of Titanium White to Prussian Blue, you can cre-
ate an opaque version of it.

12
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