Home › Forums › Explore Media › Oil Painting › Glazing skin tones
- This topic has 8 replies, 6 voices, and was last updated 7 years, 9 months ago by shadwell.
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June 20, 2016 at 8:30 am #994193
I have a portrait underpainted in grey and I want to try glazes. What is a basic mix for Caucasian (on the pale side) skin if you want to apply glazes? Can I use the mix I already use for non glazed skin (yellow ochre + Cad Red + grey and some blue for darker areas) as a glaze? Or I have to use only transparent & semi-transparent paints?
IF needed, I can post a list of my paints (although I have a fair amount of the most common paints, so I should be covered for any suggestion)"The object of art is not to reproduce reality, but to create a reality of the same intensity."
Alberto GiacomettiJune 20, 2016 at 10:20 am #1253363I would use a mix of burnt sienna (or transparent oxide red) and yellow ochre (or transparent oxide yellow), they are both mostly transparent already. Any opaque paints will try to cover your underpainting, adding white (or gray) to your paint will do this as well. Good luck, have fun painting.
- Delo DelofashtJune 20, 2016 at 11:31 am #1253360In order of greatest quantity to least: Titanium or flake white, Cadmium red light, Naples yellow or yellow ochre, cinnabar green.
The green greys down the red…
Forcing the waveform to collapse for two decades...
http://www.syntheticskystudios.com
Hilliard Gallery, Kansas City, "Small Works", December 2019June 20, 2016 at 12:44 pm #1253367[color=”teal]In order of greatest quantity to least: Titanium or flake white, Cadmium red light, Naples yellow or yellow ochre, cinnabar green.
The green greys down the red…[/color]
Cool. But I thought one doesn’t use white as a glazing colour. Am I wrong?
"The object of art is not to reproduce reality, but to create a reality of the same intensity."
Alberto GiacomettiJune 20, 2016 at 3:00 pm #1253361You’re right; I forgot you were talking about glazing.
For glazing, I would use Flake White (just not as much as if I were going for a more opaque application. I would still use some white, and Flake is semi-transparent.) If you don’t want to use Cad Red, and would rather start out with something that is more transparent, I would recommend Quinacridone Red, or Azo Red.
I use a medium that moves my colours towards transparency, so if you worked with small amounts of the colours I listed, worked them into a pile of medium, you’d have a pretty good glaze. (The medium I use is a modified version of William Martin’s glazing medium. Mine is 1/3 Venice Turpentine; 1/3 Oil of Spike, Lavender; and 1/3 Linseed Stand Oil.)
Glazes don’t have to be completely transparent, anyway…and I find they work best, if they aren’t.
Forcing the waveform to collapse for two decades...
http://www.syntheticskystudios.com
Hilliard Gallery, Kansas City, "Small Works", December 2019June 20, 2016 at 3:24 pm #1253365I would check out Japanese artist Osamu Obi. I follow him on facebook, where he shares lots of great images of his process.
I used to think that glazing had to be transparent colors only, but he uses lead white and cad red (in addition to ultramarine blue and yellow ochre) over a thick burnt umber + white underpainting with great results.
Here’s a couple of good videos:
https://www.youtube.com/watch?v=kyrRCGTonYQhttps://www.youtube.com/watch?v=YneYoAhdE2A
June 20, 2016 at 4:02 pm #1253366Zbunderwood. Cool videos… and the wood effect is pretty nice.
Well, I have decided – because the painting I’m working on its good (for a first painting, that is) – to make a few tests on canvas paper until I get the hang of it. Once I think I know what the heck I’m doing, I’ll risk it on the “good” painting
"The object of art is not to reproduce reality, but to create a reality of the same intensity."
Alberto GiacomettiJune 20, 2016 at 4:17 pm #1253362Skin color: White, Ivory Black,Yellow Ochre, and Venetian Red (or any sort of “earth red”).
Mix, and mix (probably beginning with White, unless you need a huge pile of the final color), and smear a bit of your mix onto your forearm, to compare your mixed color. When you have mixed and smeared until you cannot see the difference between your arm, and your paint mixture, you have created the most appropriate “skin color” possible.
These are the only 4 colors you will need, and I can nearly guarantee that.:thumbsup:
Of course, you must realize that this is the basic, middle value of skin color; it does not address shadows, or highlights.
For shadows, some Burnt, or Raw Umber and Ultramarine Blue come in handy.
For highlights, some Cadmium Red Light works well, when mixed with White, and a touch of the original “skin color”.
When glazing, I have no reason to seek out only transparent colors for glazing. If I were to handicap my operation in such a manner, I’d experience difficulty creating many of the colors that I need.
When shopping for a color to use for glazing, I give almost no consideration to the transparency, or opacity of the color. Instead, I seek out the color that I require, whether it be transparent, or opaque.
I could not glaze properly without using White of some sort.
wfmartin. My Blog "Creative Realism"...
https://williamfmartin.blogspot.comJune 20, 2016 at 10:11 pm #1253364AnonymousDifferent artists prefer vastly different mixes for skin, so there are lots of options.
I start caucasian skin with a mix of white, yellow ochre, and burnt sienna, that is my basic mix that I could tube up and label “flesh”.
Then I lean it as needed with mixes of burnt sienna, raw umber, ultramarine blue, etc.
rosy cheeks may need some crimson, lips may need a touch of red, reflected tones might need any color, ditto for shadows.
the skin in this closeup from a work in progress has about three layers and glazing so far:
same colors for pearl gurl with several glazes:
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