Next, I added warmth to the hair using burnt sienna, raw sienna, and neutral tint. I deepened the shadow areas of the face by brushing in the mixture of paints used previously. The model’s skin is supple and free of deep wrinkles, so it was critical to prevent hard watermarks from forming. In preparation for a second pass of color on the skin, I wet the surface of the paper with clean water to keep the transitions soft before applying color. There were both incandescent and natural light sources present in the room therefore, I had to negotiate the effects of the warm and cool temperatures on the skin. I glazed a layer of permanent rose, raw sienna, and Payne’s gray over the monochromatic block-in, which is visible on the model’s chest. Understanding the effect of light, or the absence of light, upon a per- son’s skin will help you when you’re mixing paints for fleshtones. Work from life as often as possible and practice painting under different lighting conditions, whether it’s sunlight or a dimly lit interior.If the brush is too small, it won’t hold an ample amount of water, therefore increasing the probability of watermarks on the paper. If the brush is too large, it can be difficult to control the flow of water in a particular area. Use the correct brush size to increase the likelihood of success.Add more paint to your mixture to compensate for the change in value. Keep in mind that watercolor dries lighter than it appears when wet. Therefore, the thickness of the darkest mixtures of paint should be only slightly thicker than the initial glaze, ensuring that the dark layers are transparent and imbued with light. Use thin, diluted glazes of paint to create luminous fleshtones a glaze layer is at its best when the color is pure.Thick, opaque glazes can appear flat. This will prevent your colors from becoming oversaturated with chroma as you build toward the darks. Below are some value tips for painting skin tones, followed by four demonstrations of light, medium, and dark skin tones.Įstablish the values of your subject’s skin tone by using a monochromatic block-in (see above). The monochromatic block-in serves as a foundation on which I can build. I can just build them up gradually until I reach the darkest value in the painting. It enables me to glaze multiple layers of color without having to make major adjustments in terms of value. This results in a mixture of neutral gray that I can modulate toward a cool or a warm temperature. I begin each of my portraits by establishing the values of the model’s skin tone by using a mixture of burnt umber and French ultramarine blue. Regardless of how light or dark the subject’s fleshtone is, I’ve found that one of the key elements for accurately painting skin tones is the use of a monochromatic block-in. In essence, there’s very little room for mistakes. Watercolor requires the artist to identify and apply the lightest value accurately from the beginning of the painting process, because once a color is applied, it’s virtually impossible to edit. I enjoy the challenge of using watercolor to replicate the complexities of light, middle, and dark fleshtones. Rather, I place a premium on the depth of character my subjects possess. My work doesn’t promote a stereotypical version of beauty. Each person is endowed with a unique set of characteristics that distinguishes him or her from another. In my opinion, human beings are the most fascinating subjects to paint. While I find myself drawn to nature and other genres, I’ve focused my attention primarily on painting portraits of people. Torkwase’ (watercolor on paper, 18×24) by Mario A.
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