How to Paint a Solar Eclipse (Step by Step Artist’s Guide)

 Concept and Composition: Painting the Moon as a Personified Figure

To establish the focal point, I began with reference images showing strong side‑lighting on a human face. This dramatic chiaroscuro effect represents the moon personified—a symbolic “woman on the moon”—and helps anchor the celestial theme in figurative realism.

Read my article on how I completed my first of this eclipse painting pair, showing a full view face on the moon eclipsing the sun.

Using a large dinner plate as a template, I drew the eclipse spheres slightly right of centre. This off‑centre placement creates visual tension and leaves space for the solar corona and plasma flares extending outward.

I sketched the composition onto a 20×24 inch primed panel, using dark brown acrylic applied with a fine sable brush. This underdrawing establishes the structure before the heavier oil layers.

Tonal Contrasts: Capturing the Corona & Atmospheric Glow

To build the dramatic eclipse contrast, I blocked in the background with solid black acrylic paint, forming a deep void that enhances the luminosity of the corona.

For the moon’s surface, I applied thinned burnt umber with a fan brush, and used French ultramarine to suggest atmospheric cloud layers beneath. These cooler tones help balance the warm plasma colours added later.

Once the acrylic underpainting dried, I worked briskly in oils, refining the facial features and cloud textures. The surrounding black space intensifies the high‑key highlights, making the face and clouds appear to glow—mimicking the real optical effect of a solar eclipse.

Colour Palette: Mixing Eclipse Plasma & Corona Light

To paint the plasma streaming from the eclipse, I blended:

• Viridian green
• Lemon yellow
• Burnt sienna
• Cadmium red
• Titanium white (for luminosity and atmospheric haze)

These colours, layered and feathered, create the impression of solar flares, chromosphere light, and corona filaments. The interplay of warm and cool tones adds depth and movement to the celestial energy.

The painting took approximately one week to complete. 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 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 work 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.