I did this as the highest chroma, meaning no white and then did a string of values and grayed them down.
The two local flesh colors, one with more yellow, one with more ruby shown are then grayed down with a maganese (sp?) violet, these starting at only the middle values.
These are created wth cad yellow light, ruby and white.
The bottom row is the transitional color shown in a value scale, becasue this is to remain cool. Sometimes I put some ochre or more yellow light in it to lead into a more vibrant color, example, going into the nose. These are made with Cad yellow light, Alizarine, and Phthalo green with white.
The three darkest darks, are ruby, yellow light and turquoise light, these never have white. I have shown a bit overstated one with more turquoise and one with more ruby.
I am thinking that the dark with not as much extra turquiose, but some - with white added might make the neutral. I didn't have time to play with this because I had to work on a commission, but my light has left me again. I should say these had to be mixed under color corrected artifical light, the CRI is either 98 or 99.
Graydon you are going to love this... "Don't copy tjavascript:void(0)he skin - make the paint do lively things across the form!" :)
I hope I haven't screwed the image up too bad in photoshop for color and light correction, I am sure some values might be off, I rushed. Whew, I had to fix it for the yellow, it "need more cow bell". Doesn't anyone else have some interesting palettes to test Graydon on? I know he's getting sick of me! :)
With confusion,
Beth
9 comments:
Good job getting started doing exercises Beth. Now follow Graydon's advice and try to mix a dead neutral with Liberace's palette.
Also take the limited chips you have from the student book and try to match your exact skin tones with them (i.e. find what the local in the light, halftone, and shadow are). Then mix those up from your palette. I bet you will be surprised how overly chromatic your fleshtones pictured above are.
Beth, Graydon's approach is so much simpler than what this appears to be that I encourage you to begin proper Munsell study.
BTW, Graydon doesn't need to be tested with anyone elses's palette. The man can mix color...and teach others to do it too!
I removed some comments...no offense, please. Just that I wanted to keep things on track. Beth, keep trying to organize your palette. Neal, could you try to match 5YR 6/3 with the list of colors Beth provided if you have time. And then, tell her how to do it. Or, if Neal can't, Richard or Marsha.
Beth, once Neal hits this, if he can find the time, this will prove to you that Liberace's palette is manageable and can hit the average flesh HVC.
You can also hit this with earth colors. So, what you need to figure out, Beth, is how you can use the extra force of this palette. Why would it be beneficial? Basically, what I am asking is why use this group of pigments in lieu of a more efficient one? There may be a reason that you can discover.
Graydon the 5 YR 6/3 is in the student book isn't it? I'll try and match it with the colors, Neal, Richard or Marsha do not need too - unless you are saying it's unattainable.
Basically, what I am asking is why use this group of pigments in lieu of a more efficient one? There may be a reason that you can discover.
Graydon, I am discovering and re-discovering different pigments, linens, panels, brushes pretty much everything as I have started this journey, it's been a very short one for me thus far. I have 6 years under my belt and it's true the more you learn the more you learn you don't know.
I ask a lot of questions because I am trying to discover, but maybe that is the wrong way to go about it, I should just watch. I have been careful to study with artist whose work I really admire - I know as a whole they all have the same ending, but the way they get there is very different. It's all a mystery, I wish I had started at your age.
Questions are fine Beth. I still think you should do the color wheel, at least. And, buy the large book. It makes all the difference. You will find out how to mix the highest chromas possible in oil paint and the range of flesh colors.
Neal made an important chart of each pigment beyond what Michael Aviano called the pigment file: commonly used colors placed on the color wheel near their respective hues. He mixed each color with white in various values. Now, he is going back and checking their Munsell notations. This makes choosing the right, most direct, color possible. I think I will recommend that all do this.
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