Creating Flesh Tones



Flesh tones study.

 I wanted to get the portrait as realistic as possible before creating the layer of abstracted colors.  It turns out that creating skin tones is fairly complicated.  It was also incredibly difficult to repeatedly create a consistent color, which became a problem when reworking such a large piece.


White, red cadmium, ultramarine blue, burnt umber, yellow oxide.

Always mixing.

It's surprising that skin tones need all these different colors to look "natural".
Undergoing this process made me respect those who do work in realistic portraits.  My personal style always leans toward abstract so eventually I let myself off the leash and started to use fun colors!

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