OH. MY. GOSH. !!!!!!! AHHHHHHH!!!!!!! THIS IS SIMPLY AMAZING!!!!!!!!!!!!!!! I CANT BELIEVE YOU PAINTED THAT!!!!!!!!! XD I THOUGHT IT WAS A PHOTO UNTIL I KEPT READING!!!!!!!! WOAH!!!!!!!!! YAY FOR GANDALF!!!!!!!!
This is damned impressive; every highlight, shadow, detail, color, compositional element, and technique method works. This captures that air of realism that I consider to be the Holy Grail of art almost to the tee. And so smooth that I though this to be watercolor instead of the damn mess of acrylic.
Pray tell, how do you accomplish such pristine and accurate skin tones? I can hardly get such things right myself.
Thanks a lot for the comment. I start skin with the darkest areas first and then build up to the highlights. I then paint a series of very thin washes over the top. Often I need to repaint the darkest or lightest areas. The washes help to bind everything together and give a smooth finish. I repeat this process untill I'm happy. Hope this helps (I'm not very good at explaining stuff, lol).
I see; start with the shadows and flesh it out from there. I try a different method of shadows on top of skin tones, like how it is in real life. But my difficulties come from trying to properly achieve said tones; what blend of colors do you use to achieve such mastery?
Hello mate. Using Gandalf as an example, I used burnt sienna, burnt umber and cadmium red for the darker areas and various mixes of white, red and yellow ochre for the lighter areas. Obviously, depending on the tone you want to achieve this would change (sometimes blue needs to be mixed in or even black for shadows) but red, white and yellow ochre are always the main colours I use for skin. The great thing with acrylics is that if the skin is too red for instance, a few thin washes of light yellow (for example) can change the tone without repainting everything. Hope this helps.
Thanks, mate! I'll be certain to retain such information provided the compelling need for it arise. You advice bears resemblance to the primary mode I employ to achieve desired tonality, albeit I formulate the base epidermal tones by using yellow ocher in accompaniment with just enough cobalt violet to muddy it's hue to the gentle browns in human skin, followed by proper allocations of burnt umber vermilion red, titanium white and lamp black where necessary. (I also have a limited supply of varying colors.)
I was wondering, may I inquire for you critique on works I have painted in the past? If you would be so generous, the links provided below are in chronological order by most recent.