Skin Tones

[Susan Harrison-Tustain]

Hi Everyone
This is in answer to question from David. I thought you may like to share the information too:

Skin tones:
No matter the subject - I always lay in a yellow tonal underwash (using my Priming Method). I let it become bone dry between applications. I begin with pale washes initially in the areas that need it and then once dry - I lay in subsequent yellow underwashes to deepen the yellow where I see I will require the darkest depths of colour. These washes are always layed in using my Priming Method. The result is equivallent to a black grey and white photograph - but in yellow.

I dry my paper between pigment layers.

The result is beautifully fine transparent underwashes.

Once I have reached the depth of yellow I want to acheive - I then bring in my skin tones which are mixes of different hues. I would describe a typical cool skin tone by using a mix of Aureolin yellow, Alizarin Crimson and a tiny touch ofThalo Blue.

A warm skin tone could be a mix of Indian Yellow, Scarlet Red, Translucent Orange and a tiny touch of Thalo Green/bllue.

Remember if your subject is illuminated by outside light (whether indoors with the light coming through the window -  or outside) - then the shadows will be warm and the highlights will be cool.

If your subject has incandescent light - then the shadows will be cool and the highlights will be warm.

Skin shadows are created using the same mixes as above - but with additional Thalo Blue or Thalo Green. You will see what I mean when you try the colours out on a practice scrap of paper.

Do some brushouts with these different mixes and you will appreciate the difference in colour temperature. Vary the colour you favour and you will see you have the possiblity of a huge array of hues from these incredible colours.


Back to your problem:
If your work is not transparent there can only be two reasons for this:

1/ Are you using transparent pigments?

I use Schmincke pigments. My palette is transparent or semi transparent. You cannot mix an opaque colour with my palette no matter how hard to try to create mud! If I want to create an opaque appearance - I use a different technique that is quite wonderful - but that is another whole chapter!


Opaque pigments versus transperant pigments:
It is useful to know that not all pigments are equal. For instance Winsor and Newton Indian Yellow is a very different beast from the Schmincke Indian Yellow. Winsor and Newton Indian Yellow is very opaque and will not create the beautiful transparent hues I acheive with my Schmincke Indian Yellow.

Opaque pigments sit on the surface and lift when subsequent washes are used. We do not want that to happen. Transperent pigments are absorbed into the paper and do not lift and redistribute creating an unwanted mix with subsequent layers of pigment.


Take a look at my paintings. The colours glow and are jewel-like. That is entirely because I use my Priming Method and I use transparent pigments.

Many colour houses use similar names - but they are not very often interchangeable.

Transparent or semi transparent pigment is very important when you are using my methods.

Here is my palette:
Schmincke Indian Yellow 
Schmincke Aureolin 
Schmincke Translucent Orange 
Schmincke Scarlet Red
Schmincke Alizarin Crimson 
Schmincke Purple magenta 
Schmincke Thalo Blue 
Schmincke Thalo Green 

I use Schmincke because the quality of their product is superb. The pigment is so finely ground it is a dream to work with. The binder allows me to create smooth blends of hues that are seamless. It also allows me to return to a palette that has been dry for several weeks and I can still use it by simply taking a damp brush and passing it over the dried pigment. This saves a huge amount of wastage. The pigment redisperses readily with no clumps of lumps. Just evenly distributed pigment.

Now this is sounding like a plug for Schmincke! I have spent years refining what I do. You all get the benefit of all of my trial and error. I am always happy to promote a product that I find meets all of the criteria I need. My recommendations are totally unbiased and based on my own sound testing for the highest quality and suitability for my purposes.

To avoid an avanlanche of emails asking me where to get Schmincke in the US: I see Jerry's Artarama sell Schmincke.

Ellen from Art in the Mountains, Oregon (where I will be conducting my July 2009 workshops) - has also bought in Schmincke from Germany for the convenience of my students during the workshop. So for those on the workshop - please purchase from Ellen as she has been good enough to have it available for you.

2/ the only other cause of the thick opaque paint you mention, can be the amount of water you are using. If you are using Schmincke Indian Yellow - then the amount of water has to be the problem. You mentioned you have my DVD - take a look at the thin washes I use to create this tonal underwash. I use very little pigment and quite a lot of water.

I will keep your skin tone DVD comments in mind. I will release my new DVD in August - all going well. I will be in the US teaching from early-July until mid August so it may be better to hold the release off until August.


I am contemplating doing a DVD that focuses on methods rather than one subject. But that will be at least a year away. I could easily include skin tones etc in that.

Hope that answers your questions David

[Renee]

Another great bonus for buying Schminke watercolors in Oregon is, you wont have to pay sales tax. Oregon is a sales tax free state.
I get all my Schminke watercolors from an Art website based in Oregon at a wonderful price. Although, now that I know I can buy them in Bend Oregon, since I will be moving back home close to there soon, I am pleased to know Art in the Mountains carry Schminke.

[Maylon]

Hi Renee, have not posted for a while as I have been busy. I have been working on my first roses. OMG how difficult are they. I wonder how long Susan takes on hers. I might be too impatient. Anyway, I will post the pictures, as soon as I can. I do not have any of Susann`s dvd`s yet, or her book so had to work from what I have read here, and use my own paints which are Windsor and Newton artists quality. What I find the most difficult is the background washes. Getting them dark enough and leaving a clean crisp edge. Almost impossible LOL. I am even a bigger fan since trying. I suppose I will just have to keep trying. Of course I do not try 1 rose but 2 bowls of about 12 in each.

My backgrounds will not go dark enough. How she does it so smoothly is amazing.

Thanks for all that excellent advice as well Susan.

[Renee]

Hey, its good to hear from you! Check your private mail here. I sent you an email.
You will love Susans DVD. its wonderful and the quality of filming is the best I've seen.

Hi Renee, have not posted for a while as I have been busy. I have been working on my first roses. OMG how difficult are they. I wonder how long Susan takes on hers. I might be too impatient. Anyway, I will post the pictures, as soon as I can. I do not have any of Susann`s dvd`s yet, or her book so had to work from what I have read here, and use my own paints which are Windsor and Newton artists quality. What I find the most difficult is the background washes. Getting them dark enough and leaving a clean crisp edge. Almost impossible LOL. I am even a bigger fan since trying. I suppose I will just have to keep trying. Of course I do not try 1 rose but 2 bowls of about 12 in each.

My backgrounds will not go dark enough. How she does it so smoothly is amazing.

Thanks for all that excellent advice as well Susan.

[marylka]

I thought that i would add the pigment numbers to these Schmincke pigments
Indian Yellow         PY 110+154
Aureolin                Py151
Translusent orange PO71  as far as i know this is the only company that have this pigment
Scarlet red            PR254
Alizarin Crimson      PR83.1
Purple magenta      PR122
Thalo blue             Pb15.1
Thalo green           Pg7
Some may not have color charts to compare
There are 2 stand outs say With W&N indian Yellow Pigment PY153+ Po62 and
Aureolin Py40 very different  the others may be comperable as they are straight pigments only in tone not the way the pigmnent behaves This is only my own discovery.
Marylka.

[Renee]

Marylka, thanks for the Schminke pigment listing. I have all of them and I like them.
I have found that W&N Indian yellow to be more orange hued than Schminke and also a bit opaque even though it is listed as transparent. I guess because PO62 that is in it is actually considered semi opaque. I would use the W&N New Gamboge in its place even though it is not as warm in hue. But it is a very warm yellow none the less. W&N's Aureolin (cobalt yellow or potassium cobaltinitrite) PY40 is an impermanent, although transparent pigment. I don't use it.

Here is an email I received from one of the paint manufacturing companies I have been in touch with.
............................................................
Hi Renee,
The pigment numbers are indicators of "families" of pigments.  For instance our cad red medium, light and deep are all PR 108 but are very different in visible color.  Other pigment brands can look wildly different. 


Some of what we are seeing is that color heavily used in auto and house paint industries are being affected by this economy.  Some pigment vendors are merging and discontinuing duplicate colors (even if they look different)  However, there are many Indian and Chinese manufacturers who are picking up some of these colors. 
Best of luck,
Diana

[marylka]

Renee
I don't use PY 40 either as it builds up it changes color maybe ok for landscapes,but it does show how different pigments can be,between brands even being called the same name .Back to painting.
Marylka