How to Paint a Solar Eclipse in Oils: Using Contrast to Create Luminous Colours
The solar eclipse of 12 August 2026 offers a rare opportunity to paint a dramatic celestial event occurring near sunset. Inspired by this spectacle, I created a symbolic oil painting of the eclipse, showing a personified moon partially obscuring the sun’s corona. This first painting of two explores the process of concept to completion. Read my article on how I completed my first eclipse painting pair, showing a full view face on the moon eclipsing the sun.
For the underpainting, I used dark brown and black acrylic paint.
The main art techniques explored are blending, glazing, detail, exploration of tonal values against black and how to create luminous colour effects. Learn also how to draw a portrait in profile.
Step 1 I began with reference images showing strong side‑lighting on a human face. 1 Using a large dinner plate, I drew the spheres slightly right of centre. This placement creates visual tension and leaves space for the solar corona and plasma flares extending to the right. With dark brown acrylic paint, I drew over the pencil sketch so I can see the composition more clearly.
Step 2 To build contrast, I blocked in the background with solid black acrylic paint, forming a deep void that enhances the luminosity of the corona. I can now see where the key colour areas will go. The artist can judge light and dark more accurately than working on a white surface.
For the moon’s surface, I applied dark brown acrylic, thinned with water to create translucency. With a fan brush, I swept it over the white areas. These cool tones will bring out the plasma hues to be added. I mixed white with lemon yellow and outlined the corona to reinforce the focal point of this painting.
Step 4 Once the acrylic underpaint is dry, I applied the oils. I used two brushes here, one for warm pales, the other for cool pales. With the ‘warm’ brush, I sketched out the facial features and corona against the brown glaze via a medium round brush. Notice the simple marks emerging. I added varying amounts of lemon yellow and cadmium red to titanium.
To the left of the moon, I used my ‘cool’ brush. I added a little ultramarine to titanium to suggest cool reflected light. Care is needed here for detail on the face and the dark side of the moon. I applied the pale blue mix onto the upside of the clouds to bring out the moonlit textures.
Step 5 The surrounding black space intensifies the high‑key highlights, making the face and clouds appear to glow. This emulates a real solar eclipse. I used feathery effects for the sun’s flares peeking from the moon. With the cool brush, I added more ultramarine and a little burnt sienna to the dark areas of the clouds beneath.
These colours, layered and feathered, suggest solar flares, chromosphere light, and corona filaments. The interplay of warm and cool tones adds depth and movement to the celestial energy.
Read my related article on my second eclipse painting of the pair showing a full face on the moon eclipsing the sun.
Art Materials Needed
I used the art pigments: titanium white, Viridian green. Lemon yellow, Burnt sienna, and Cadmium red. I used wide bristle brushes (flat 6 and 9) and medium round sables, (6 and 10).For the underpainting, I used dark brown and black acrylic paint.
Art Preparation and Techniques Explored
I had sized with artist’s acrylic primer a piece of hardboard measuring 20x24in. But in this demonstration, a much smaller piece can be used. For the same proportion, 12x15in would be suitable.The main art techniques explored are blending, glazing, detail, exploration of tonal values against black and how to create luminous colour effects. Learn also how to draw a portrait in profile.
Painting a Solar Eclipse Using Glazes
Step 2 To build contrast, I blocked in the background with solid black acrylic paint, forming a deep void that enhances the luminosity of the corona. I can now see where the key colour areas will go. The artist can judge light and dark more accurately than working on a white surface.
Tonal Contrasts: The Corona and Atmospheric Glow
Step 3 With the same wide bristle, I mixed brown acrylic paint with water to create translucency and (once the black paint was dry) applied it over the remaining white area. I can now judge the tonal values of the overlying colours.For the moon’s surface, I applied dark brown acrylic, thinned with water to create translucency. With a fan brush, I swept it over the white areas. These cool tones will bring out the plasma hues to be added. I mixed white with lemon yellow and outlined the corona to reinforce the focal point of this painting.
Step 4 Once the acrylic underpaint is dry, I applied the oils. I used two brushes here, one for warm pales, the other for cool pales. With the ‘warm’ brush, I sketched out the facial features and corona against the brown glaze via a medium round brush. Notice the simple marks emerging. I added varying amounts of lemon yellow and cadmium red to titanium.
To the left of the moon, I used my ‘cool’ brush. I added a little ultramarine to titanium to suggest cool reflected light. Care is needed here for detail on the face and the dark side of the moon. I applied the pale blue mix onto the upside of the clouds to bring out the moonlit textures.
Step 5 The surrounding black space intensifies the high‑key highlights, making the face and clouds appear to glow. This emulates a real solar eclipse. I used feathery effects for the sun’s flares peeking from the moon. With the cool brush, I added more ultramarine and a little burnt sienna to the dark areas of the clouds beneath.
Colour Palette: Eclipse Plasma and Corona Light
Step 6 I continued to elaborate on detail around the face, switching between my two brushes (cool and warm) as I went along. For the plasma, I blended various amounts of Viridian green, Lemon yellow and Cadmium red to various amounts of Titanium white for luminosity and atmospheric haze. This is the fun bit.These colours, layered and feathered, suggest solar flares, chromosphere light, and corona filaments. The interplay of warm and cool tones adds depth and movement to the celestial energy.
My Solar Eclipse Painting Journey
I plan to view the eclipse from a high, west‑facing vantage point in the Midlands, where coverage will be around 90% at sunset (approx. 7pm)—a perfect moment for dramatic sky colour.Read my related article on my second eclipse painting of the pair showing a full face on the moon eclipsing the sun.
A Personal Solar Eclipse Memory
I previously witnessed a total solar eclipse in Alderney (Channel Islands) on 11 August 1999 at 11am. I had travelled there after winning an art competition sponsored by Daler Rowney, with my artwork exhibited at St Peter Port. Nearly 27 years later, this new eclipse painting feels like a continuation of that experience—an artistic echo across time.Related Reading
Demonstration on painting a face on the moon.
Or read my focus page on the beginner's art materials and colour behaviour.
Or read my other articles about odd subject matter and What’s trending
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