Name: 肖像画を描くために肉色を混ぜる (Mixing Flesh Tones for Painting Portraits)
Uploaded: 2021-01-14T04:32:17.000Z
Duration: 44 min 51 s
Description: VoiceTubeの動画で発音を聞きながら英語表現を覚えよう！学べる英語：

Hi everyone, I am getting set to mix some flesh tones for a portrait I am working on

程度の副詞

and just thought I would go ahead and record this for those who are interested. I wrote

a blog a little while back about mixing flesh tones and included several still shots, but

thought I would go ahead and do a video to make it easier to see as well. A lot of times

I get asked, "How do you mix flesh tones?" There are several different ways of doing

that but, basically, I'm going to go ahead and show you how I start out. This isn't the

only way to start out, of course, but it's my particular way of mixing flesh tones. And

each portrait is different, each painting is different so that all depends as well.

The portrait I'm going to be working on today is an outdoor portrait which is a very high

keyed portrait which means the value range is very high. So, instead of going all the

way down to my darkest value, I'm actually using half the scale. Basically, three-quarters

of the scale I would say. Instead of using my darkest dark, I'm using more of a middle

dark value range, using those values up, so it all depends. If I was doing an indoor portrait

I'd obviously mix darker values as well and darker colors. To go ahead and get started

here, I'll show you what colors I have laid out here on my palette. These are all Winsor

Newton colors. What I have here is Raw Sienna, Gold Ochre, Cadmium Yellow Pale, Cadmium Yellow,

Cadmium Orange, Cadmium Scarlet, Cadmium Red and Cadmium Red Deep, and then Permanent Alizarin

Crimson, and then this color here, this sort of flourenscent green color is Cadmium Green

Pale. I have a Sap Green, a Prussian Green, I have Viridian, Manganese Blue Hue, and a

French Ultramarine Blue. And then down here for my white, I have Titanium White. The way

I organize my palette is based on temperature, so basically the warm colors are over here,

it moves from warm over to cool colors. But then also, within each of these different

color families I have a warm and cool version. Like a Raw Sienna is cooler than a Gold Ochre,

the Cadmium Yellow Pale is warmer than the Cadmium Yellow, the Cad Orange is warmer than

the Cad Scarlet and so forth. The reason they get cooler is because they are moving towards

the cooler side. So say I have a Cadmium Yellow Pale. The reason Cadmium Yellow is cooler

is because it has more red in it, so it gets cooler in that respect. And that's basically

how I lay out my palette. I don't use black on my palette, not to say that I don't use

black. Occasionally I will, but I use it for more of a blue, actually. If you mix an ivory

black with a little bit of white, you'll get a bluish tint. There's nothing wrong with

using black at all, John Singer Sargent used it very well and was able to incorporate it

into flesh tones, but he used it as more of a graying agent, as more of a bluish color.

But, anyway, let's start mixing colors here. Basically when I'm mixing colors, I'm using

some warm mixtures to start out with. I like to use a Gold Ochre and then sometimes I'll

mix the Gold Ochre with a Cad Scarlet and mix those two together. I'll add some white

to that and then basically I get a warm color to start out with which is fine because later

on I can add the cooler colors into it, particularity the complements. You get different values

here by adding different degrees of white. It's interesting to note that the more white

you add to a color, the cooler it actually makes that color. OK, that's Cad Scarlet and

I could do the same thing if I took Cad Red and mix those two together and add some of

that white in there and you get a slightly different version or variation because it

leans towards the red side, whereas the Cad Scarlet leans toward the orange side. It's

actually in between a Cad Orange and Cad Red. You can see the difference here if I lay them

side by side. This one definitely has more red in it. Anyhow, I'll move it back here

to keep it over in it's family. Now I'll go ahead and mix a lighter value as well. The

reason I put so much white on my palette here than any other color is because I go through

a lot of white when I mix flesh tones. Talking about palettes, this palette is actually just

a piece of glass that I've laid over top a piece of foam board. And basically what is

does is it provides me with, I prefer to start out on a white canvas, there are some artists

that work on a toned canvas, which means you put a light wash like a burnt umber or some

sort of an earth tone on there. Some people tone their canvas grey. It all depends on

how you work, but the way I like to work is on a blank white canvas. So by putting a white

piece of foam board underneath, it just gives me, allows me to judge colors a little bit

easier. And I've done this for so many years, I'm just used to working on a white palette.

Joe Bowler, an artist from Hilton Head, South Carolina, a fantastic portrait painter, got

me started using a glass palette back when I was in college, and I've been using one

ever since. Actually, this whole color scheme here, the way that I set up my palette, is

basically Joe Bowler's palette as well, give or take a few colors. You don't necessarily

need all these colors. As an artist, a lot of these are convenience colors, meaning that

you don't have to mix every one in order to paint. When it comes to working with color,

you really only need the three primary colors, a very limited palette You could do it with

a yellow, a red, and a blue, and then white as well, and mix a huge variety of colors

that way. But for me, I just like to use the extra colors. It just makes it easier for

me. And that's pretty much the reason why I have so many colors here. Another thing

that I'll mention here is that the palette knife that I'm using is a larger palette knife.

It has a larger trowel shaped handle which makes it easier. There are some that come

with a straight handle, but when you mix paint you end up with a big glob of paint near the

handle, so it makes sense to me to use a trowel handle. It's a good size for mixing a lot

of paint. So, let me go ahead and mix some more paint. I've got some warm colors to start

out with and then I'll introduce some of these cooler colors, too. I'll do a blue, a French

Ultramarine Blue, which is a beautiful blue and doesn't take a whole lot to change the

color when you use that French Ultramarine. We'll go with a darker value here. When I

talk about Value, I won't go into detail now, but value refers to different degrees of dark

and light that are measured on a scale from black to white. So every color has a value

that is automatically assigned to it whether we realize it or not. As an artist, it's very

important to realize that so you can work with color more effectively. Value sets the

stage on which color performs. In other words, color can't survive without value, everyone

of these colors I'm mixing has a value, whether its a lighter value or a darker value, but

it's going to fall somewhere on the value scale from black to white, somewhere in there.

The reason I use the black and white scale is just for the fact that it's easier to measure.

Sometimes color can trick you, especially when using reds.A lot of times when I'm judging

values, I notice, for myself, that reds sometimes play a trick on your eyes. Sometimes I think

they're lighter than they actually are. If you take a photo, or a black and white photo,

or convert your photo to black and white, you'll notice you get the true value relationships.

A lot of times that is what I'll actually do when I'm working on a portrait. If I come

across an area that I'm having a difficult time determining whether the values are too

light or too dark because I'm working in very subtle skin tones, very subtle values, I'll

take a picture and convert it to black and white on the computer or on the camera and

take a look at it just to see what the actual value is compared to the other values in the

painting. Anyhow, back to my demonstration here,. I tend to go off on rabbit trails quite

often. Also to let you know, my children just got home from school not too long ago and

they may barge in. If so, you'll know the reasoning behind it, but hopefully they won't.

So what I'm going to do is mix some French Ultramarine and what I want to do is mix a

little bit of Viridian as well. Viridian is a very cool green. The reason it's so cool

is because here you can see the Sap Green contains a lot of yellow in it. It leans toward

the warmer side. The further up you go, you get to Viridian which has a lot more blue

in it. Because there is so much blue in it, it leans more, it's a lot cooler in comparison

to say a Sap Green. It takes a little more Viridian though. It doesn't have the same

tinting strength as French Ultramarine. When I say tinting strength, I'm talking about

the ability to change, the ability to tint a color very quickly, meaning it takes more