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Showing posts with label skin color. Show all posts
Showing posts with label skin color. Show all posts

Wednesday, August 5, 2015

There’s more to Skin than Color; Watch your Emotions Betray you

"Day Dreams" 11x14 oil on canvas
Some people are more brittle than others. They can’t endure stress and they get their feelings hurt easily. We speak of them as “thin skinned” and overly sensitive. These internal stressors are played out on their faces. These types usually wear their “hearts on their sleeves.”

On a physical level, some persons actually do have skin that is more elastic and stretchable than others. Perhaps they are more able to roll with the punches and adapt to change. For whatever reasons, some of us were born rigid and inflexible, and others from the start are more laid back and easier to live with.
"Broken Hearted" 9x12 pastel on bristol; matted and ready to frame
We can also misinterpret someone’s “body language.” I’ve seen so-called experts try to decipher what someone was feeling or thinking and sometimes even they are baffled or they get it wrong. Just because someone has a long face or are down-in-the-mouth, doesn’t mean “it’s all about you.”

They may actually be down about themselves and feeling insecure. So many factors play into our emotions: work, family, friends, news, money, a crisis, an illness or fear that it's senseless for us to take personal responsibility for someone else’s mood swings or unhappiness.

For many years, I functioned in “zombie” mode which had a disastrous affect on my ability to experience emotion. I was trying to “keep it altogether” and in the process, turned off my emotions all together in order to avoid outbursts and confrontations. This zombie mode kept me safe, but it certainly didn’t solve any problems.
"Moody Blues" 18x14 oil on canvas
Once I began counseling, it was like the floodgates opened and from then on I couldn’t keep my mouth shut. Abuse is abuse and I realized that I had a right to be treated with respect. I couldn’t sit by and allow someone else’s negative insults and putdowns to tear down my confidence and self-esteem. Once the door was open to my inner life and my own self-respect, there was no turning back.

Paintings that tell a story (and most of them do) usually portray some kind of emotion. I like to ask myself “What was the artist trying to say? What is the person portrayed feeling? How do the colors chosen feed into that emotion? Appreciating an artist’s perception of the world and its people is just the first step in discovering more about the beauty and skill that goes into a composition.

(Work in Progress -- "#Hopeful in India" 24x18 acrylic on canvas)
Even the softness or absence of line indicates subtleties expressed, or the hush of deep emotion. Broad swathes of color intensify and exaggerate either anger or exuberance. That’s why each painting can speak to us in a real way and affect us deeply if we allow ourselves to explore the technique used, the color, the subject matter and overall presentation.

According to recent studies, “the six basic emotions – angry, happy, sad, fearful, surprised and disgusted – do not begin to cover the range of feelings we convey with our facial expressions. Using new computer software to observe and record people’s faces, scientists mapped no fewer than 21 emotional states, including apparently contradictory examples such as "happily disgusted" and "sadly angry". Unless I missed it, there is one other emotion that law enforcement may recognize: guilt.

Check this out for yourself: 21 Emotions on Faces
(Work in Progress -- "Queen of Diamonds" 20x20 mixed media on canvas)

Friday, June 8, 2012

A Lesson on Portraits, Skin Color, and Mixing Paints


"Vikeholmen Lighthouse" Skudeneshavn, Norway 16x20 Acrylic


I received a call today, from a fellow artist. She was painting from a photo and was concerned because her grandson’s portrait made him “look so old for his age.” I had just read an article from “the Artist’s Magazine,” and felt fully prepared for her questions. A few months ago, I had painted my own grandchildren from photographs and had learned the hard way what works and what doesn’t.


I explained to her that photographs generally appear darker. Laugh lines and creases show up darker making a child or an adult appear older. In sunlight, these same lines would all but disappear.

"Day Dreams" 11x14 oil on canvas

The fix? Use a lighter color to paint lines and shadows. Take the base skin color and lighten it. Try using a light red mixed with medium to lighten it even more. The Artist’s Magazine article suggested painting the areas on either side of the crease or wrinkle instead to decrease the need for detailing.

The fold of skin at the side of the nose and down the cheek is usually highlighted. Against this lighter value, the wrinkle or crease automatically becomes darker without having to paint them in. The skin on the upper lip, next to the smile fold, has a different color and value. When this upper lip color or shadow is painted next to the wrinkle or crease, our minds fill in a line without having to paint in a darker color, or value.

"With These Hands -- Love" 24x18 oil on canvas

These subtleties make the skin look more natural. My favorite skin tones were learned from Richard Kirk at the Bonita Springs Center for the Arts.

Basic Formula (oils):
1 part Cadmium Red
3 parts Raw Sienna (Grumbacher or Gamblin)

The basic formula is only a beginning. It must be mixed with Titanium White to lighten, or mixed with Ultramarine Blue or Burnt Umber for shadow. Different values of the basic formula may be made by adding 3 parts formula to 1 part Titanium White; 1 part formula to 1 part titanium white; 1 part formula to 3 parts titanium white; 1 part formula to 5 parts titanium white.

Darker skin has a somewhat different formula:  3 parts formula to 1 part Burnt Umber; 1 part formula to 1 part Burnt Umber or use straight Burnt Umber.

Another dark skinned formula: 2 parts formula to 1 part Burnt Umber and 1 part Magenta. I discovered richness in the skin tones with this last color. Another reason I like using magenta in shadow is that "overly brown portraits" according to Kirk, may appear dull and lifeless.

Experiment! It is great fun to test how many variations you can achieve with this one basic formula.



Weak tinting strength colors can adjust the formula as needed: Terre Verte, Ultramarine Violet, Permanent Rose, Thalo Red Rose, Indian Yellow or Raw Sienna.

Kirk stressed there are colors to avoid: Naples Yellow, Buff Titanium, Unbleached Titanium or any color that has white in it. What you’re doing is adding more white into the basic formula changing its color. Strong tinting colors should also be avoided.

I have seen many variations on skin tone formulas, but I continue to go back to Kirk’s formula again and again for the glow it gives to skin and by how easy it is to obtain the right value for any given skin color. The mixture that is closest to your model's skin color becomes the "key" color. This formula easily adapts to acrylics.

"Fish Market" 18X24 Acrylic