Portrait Painting and How to Paint Skin Tones
Tips on Portraiture with Mixing Flesh Colours in Oil Colour
Sep 13, 2009
Capturing realistic skin tones in an oil painting can be difficult for some artists, as the colour of flesh can easily look artificial. Preconceptions must be banished prior to embarking upon a portrait painting. This entails expecting the most unexpected colours
Mixing Skin Colours
When closely observing the colour of skin, one may find it often consist of the most unlikely colours, violets, blues and even green. This is due to reflections from neighbouring objects such as clothes. However, some colours will prevail. Fig one shows a “flesh colour wheel,” which illustrates the pigments required for capturing the flesh tones under different lighting conditions. This includes a sunny day to deep shadow.
The colours used for the flesh wheel are:
- Titanium white
- Burnt sienna
- Burnt umber
- Cadmium red
- Permanent rose
- Ultramarine blue
- Pthalo blue
Flesh tones often contain but two or three pigments, but the colours listed above covers warm flesh tones, cool flesh tones from children to adults.
Tips on Capturing the Flesh Colours of People
The following pointers may help the artist with getting to grips with mixing realistic skin tones:
- Working from photographs is always best for the beginner
- Ensure the photograph is clear and that the figure is not too far away as to compromise the detail
- Look closely and mix the flesh colour observed. Skin is not merely pink, but contains other colours
- Tubes labelled “flesh tint” or “skin tone” should be avoided, for overuse of these colours will make the skin tone appear artificial and flat.
- To give the flesh tone life, it is better not to mix more than three colours together or it may look muddy
- The slightest variation in colour and tone will have huge implications on the appearance of the finished portrait. Subtly is crucial
- Half closing the eyes often helps to simplify the tonal areas of the portrait and to give it form.
- Burnt sienna is useful for adding warmth to the skin tone. Similarly, ultramarine is a great addition for cool darks within shadow
Embarking upon a Figure Painting
Avoid applying the flesh tone onto a white painting surface, or its brightness will give a misleading impression of its tone. It is better to apply a thin undercoat of a neutral colour such as burnt umber onto the painting surface prior to embarking upon the painting. This will help the artist judge more accurately the flesh colour’s tone. The artist must also be aware that whilst the painting is in progress, the portrait will make little sense, particularly if the eyes and the hair have yet to be painted in. Once all the flesh colours have been blocked in, however, the artist may adjust the colours and the tones for further accuracy and a more faithful representation of the hues.
The Pigments of Skin in Portrait Painting
Skin is not merely pink but often contains the most unexpected colours. Close observation is crucial if the portrait artist is to portray realistic flesh tones accurately. Certain pigments will be more prevalent than others. Figures in sunlight for instance will often contain burnt sienna in sunlit areas and ultramarine or pthalo blue in shade. Mixing too many colours should be avoided, as should using tubes of paint labelled “flesh tint” or “skin tone” as this will make the portrait look flat and artificial. The secret to painting realistic skin colours is close and sensitive observation which may often reveal the most unexpected colours.
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