A question about Face painting with oils

[Einion]

you could very well be right and it may be a result of some random scientific talk or perhaps it was makeup related or misinformation on my part

however this article suggests that i may be correct

http://www.sciencedaily.com/releases/2008/12/081208081006.htm

This actually confirms what I said believe it or not - see that image top-right of the fourpack? None of those squares or rectangles are green

I know this is hard to accept so copy it and place it in Gimp or PS or whatever and sample the 'green' areas to check for yourself. They appear as green as they do here because of simultaneous contrast; taken out of context it's easier to see them as dull yellows and orange-yellows.

If it helps, in RGB R + G = yellow... so more green = yellower.

Einion

 

[BionicCow]

This actually confirms what I said believe it or not - see that image top-right of the fourpack? None of those squares or rectangles are green

I know this is hard to accept so copy it and place it in Gimp or PS or whatever and sample the 'green' areas to check for yourself. They appear as green as they do here because of simultaneous contrast; taken out of context it's easier to see them as dull yellows and orange-yellows.

If it helps, in RGB R + G = yellow... so more green = yellower.

Einion

Actually adding green means you are reducing saturation, which in turn means reducing yellow. Yellow adds saturation to a colour, while green(which includes parts of blue) decreases saturation this is why they are dull colours.

Adding R+G can actually mean adding B because they both contain parts of B, magenta and cyan.

Silmultaneous contrast is important however. Its how you physically recognize colours, in fact simulatenous contrast occurs everytime you look at anything. I always do a test with people I tell them to take a bottle of blue paint, and hold it against a photo and move it around. It makes the blues stand out more, it doesnt make them up however. You can do the same with any saturated colour(the duller it is the harder it is to use as a tool of comparison). Its neat seeing how much colour really exists in such a simple image


The issue is the perception of colour. I mean in painting terms? its yellowy+green or orange+green. Because in painting you deal with less variables and less exact colour mixing.

If you were to reproduce said faces you would either mix or glaze reds or greens or apply them in whatever combination you are after along with other colours of course.

Essentially we are both correct, although apparently its not for all women and men, which is good to know.

Definetly good to know either way(if i was right/wrong/in space). Thanks for the added knowledge Einion

 

[Einion]

Actually adding green means you are reducing saturation, which in turn means reducing yellow.

In this context adding green does move the colour toward yellow. So we don't have to waste any time debating this:

Actually adding green means you are reducing saturation, which in turn means reducing yellow. Yellow adds saturation to a colour, while green(which includes parts of blue) decreases saturation this is why they are dull colours.

Adding yellow does not inherently add saturation; increasing or decreasing any individual value means specific changes in specific contexts. More yellow reduces saturation for certain colours (basically the opposing half-circle on a colour wheel) just as adding more can increase it. It can also have no effect at all*, it all depends on what you started with.

A greener fleshtone (not a good way of putting because it's misleading, but anyway) is more or less saturated because of everything taken together, not one thing in isolation* - in case we lose sight of it this thread did start because of a saturated, but overly yellow, fleshtone.

Adding R+G can actually mean adding B because they both contain parts of B, magenta and cyan.

Eh? Again, to save any more time:

Einion

*Plug in the RGB numbers from the first pic and you can see both these points for yourself - add green and the saturation doesn't go up or down until it's nearly pure yellow, when it peaks at 56 right at the end. In fact the max saturation with this value of B is 56 (it's the same for 255, 255, 111).

 

[housecarl]

Right
Carl.

 

[BionicCow]

I originally got away from some of this stuff to get away from such scientific-ness, so to avoid confusing people or going to far into detail I will leave it at that.

I dont have anything to dispute what you have said, and can fully admit to being unable to support my claims further

My situation leaves me biased and slightly misinformed in some cases, I have answers without questions due to some of the people I have dealt with, so it can be sometimes difficult to communicate ideas I have, and the information I have as its slightly jumbled up.

I will take what you have said into more consideration, and see how it works!

 

[Einion]

 

[MCPWilk]

I use burnt umber for shadows and white for highlights, blending one into the other:

 

[jcichon]

If you can find Danilo Cartacci's book it has a decent SBS on flesh work with oils though its a bit like stereo instructions! THough he paints in sections which I have tried and dont like. I do a base of my base oils and add and blend after that but I'm not a great painter either! OIls are a tough nut to crack. I cant find a good oils mix for flesh yet. SOmetimes I get lucky and it turns out well and mostly it doesnt!

 

[DaveCox]

There's an excellent tutorial on painting faces by Craig Whitaker (Mongo Mel) who I think also posts on here: http://www.hfmodeling.com/modules.p...ile=index&req=viewtopic&topic_id=90624#748883

I still use this method, as I'm just getting back into figure painting after a couple of years away! His flesh pallet is the best base I've found, just needs adjusting to suit the figure