How to paint figure

Large Figures
There are two main techniques for larger figures. The first is to paint with large, free strokes in color or light ink, followed by a limited amount of detail. The scholar and his apprentice (loosely based on a pottery ornament ) shown under the pine tree had their flesh and clothes painted in a free way, starting with the faces, hair, and hands, followed by the clothes. Do not add too much detail and ensure that there is some paper showing rather than just bland areas of color. The pine tree in this example was added last of all. If the subject is gazing at something, such as the look exchanged between these two, leave the pupils of the eye until the end of the painting. You can then ensure that the gaze is correct.

Technique 1- Free Strokes
1 To paint the face in this way, start with a “T’ shape for the nose and brows using a flesh color.

2 Add the eyelids, cheeks, upper lip, chin, and neck. Depending on the hairstyle, you may need to include the forehead. Start to include the clothing, but before the face is completely dry add some features, so that the strokes bond with the skin color and do not stand out too strongly. The details of the skin should be in a lighter ink than the clothing lines to show the difference in surface and structure. The hair should have some ‘flying white” to suggest the strands, even in a freestyle painting. Paint a light ink wash over the hair to amalgamate the strokes, while still leaving the texture.

3 The hands can be painted from the fingertips down-look at your own hands for the positions. Be careful not to “draw,” and only add clarifying ink lines where necessary.

4 Use brush loading for the clothes to suggest some folds rather than adding additional lines (dip the tip of the brush into a darker color and use the angle and position of a sideways brush to give you the modeling). The two pictures here show how this technique can be successful applied.

Technique 2-Detail
An alternative method of painting is to paint the details first (being very careful not to “draw” in the Western sense) for the whole figure, followed by the addition of color.

1 First paint in the pupils (using two “U”-shaped strokes) and then add the eyebrows.

2 Use light ink to paint in the nose, chin, mouth, as well as the other facial features.

3 Define the hairline with a split brush , and use the hair to show the shape of the face.

The example of the rather smart lady washing her delicate scarf in the river shows how this can be done. Again, you should leave some space for the paper to show through rather than “coloring in “ the painting.

In both of these examples the linework should be interesting and not boring. Make sure that it is not like a line from a pen, and leave some gaps to “allow the qi to circulate.”

Many examples of figure painting are performed in the meticulous style, especially for decorative purposes. This style takes a lot of skill, time, and patience and is include in the More advanced techniques chapter(page 107)

Small Figures
Less detail is required for smaller figures. The attitude and posture are still very important, as are the linework and color. All of the same points apply, however small the figure-leave gaps in the lines, do not color in the shape, and remember to leave a little to the imagination.

If you paint an urban scene, it may include several figures. If it is the pathway to a temple, there may be pilgrims on donkeys or supplies being ferried from a city somewhere. However, in a rural scene, in order to reinforce the loneliness, the majesty of the mountains, and the total insignificance of humans, do not include too many figures. The attitude of the figures is the important element, and can help take the viewer through the painting. Figures may be walking, working, or just looking around them.

The small groups of figures are from an old painting (artist unknown). It is not of high quality, and is painted on fabric, but it shows two interesting groups of figures. In the first, two gentlemen are dressed for traveling, while their servant carries some scrolls(Fig.1). The second group (Fig.2) illustrates one gentleman playing his flute, while the others listen- one does not seem too impressed. The other is leaning on his musical instrument (a qin). The book on the table suggests that these three scholars have been reading and discussing poetry, as well as playing instruments.

Some scenes involving figures express peace and tranquility, others the bustle of everyday life. Many tell a story, with the figures moving from one area of the page to another. A rich source of small figures in landscapes are the “ record paintings” of an emperor’s journey-these often spread across 70 or more hand scrolls. They involved a handful of painters.