In mixing flesh tones, Yellow Ocher (ochre) and Naples Yellow are essential . Many artists begin by mixing 1 part of Alizarin Crimson with 5 parts of either Yellow Ocher or Naples Yellow. To this, oil painters mix in lead white. If you need to darken the mixture, you can add either raw sienna or burnt sienna with a little Ultramarine Blue. Skin coloration varies greatly. To get the fleshtone that you desire will require testing. The resulting color is your base fleshtone.
 |
Winsor & Newton Artists Oil Color Paint Tube, 37ml, Yellow Ochre |
Yellow Ocher
Yellow
Ocher (also spelled ochre) is one of the most common pigments used on any
artist’s palette. Basically, ocher pigments are comprised of silica or silicon
dioxide (SiO2) and clay – in short, sand and dirt. The iron minerals (iron
oxyhydroxide or FeO(OH)) in the clay, which is finely ground rock, give these
pigments their color.
Used
since cavemen painted on their walls as well as in the tombs of the pharaohs,
ocher describes a broad range of colors, which can vary in hues from yellow to
orange to purple and to brown. Among those natural pigment paints described as
Yellow Ocher or Golden Ocher (PY43 or Pigment Yellow 43), colors range from
pale yellow to a golden yellow. Although many of the modern Yellow Ocher paints
are made using synthetic pigments, some paint manufacturers, such as the
Natural Pigments, LLC, based in California, still use natural earth pigments.
What
makes Yellow Ocher so important to portrait painters is that its appearance,
when mixed with lead white, closely matches the color of a wide range of
fleshtones from paler Caucasian skin colors to the darker fleshtones of other
races. Keep in mind that Yellow Ocher made with natural clay can vary in
appearance, depending on where the clay was mined. Yellow Ocher can also differ in their degree
of transparency.
 |
| In mixing flesh tones, Yellow Ocher and Naples Yellow are essential. |
In
addition to appearance, the composition of ocher oil paint can vary from one
manufacturer to another. While the oil paints used by the Old Masters primarily
consisted of pigments and oil, modern paint formulations include fillers and
other additives. Because of differences in manufacturing, the same color from
different manufacturers can differ in texture, hue, opacity and permanence.
 |
Winsor & Newton Artists Oil Color Paint Tube,37ml, Naples Yellow Light |
Naples Yellow
Naples
Yellow (PY 41) consists of the chemical compound, lead antimonite - Pb(SbO3)2
or Pb(SbO4)2. This reddish yellow
synthetic pigment has been used for thousands of years as far back as the
ancient Egyptians and the Babylonians. Naples Yellow is manufactured by
gradually heating lead and antimony, a silvery metal, to a high temperature.
This process is called calcination.
The
Naples Yellow pigment is opaque, lightfast and chemically stable. However, when
any lead based pigment is exposed to polluted air containing hydrogen sulfide,
it can darken. As a powdered pigment,
Naples Yellow should be handled with care because lead compounds are very
toxic. In fact, all powdered pigments should be handled with care.
 |
In matching fleshtones, I prefer
using either Yellow Ocher or
Naples Yellow. After mixing
a fleshtone, check the color
against your skin.
|
Naples
Yellow can vary in shade from bright yellow to a reddish yellow. Similar in
appearance to Yellow Ocher, Naples Yellow Dark gained popularity during the
16th and 17th centuries. Mixed with lead white, Naples Yellow Dark is helpful
in matching fleshtones.
In
the 19th century, this pigment lost acceptance with the introduction of synthetic
yellows such as Chrome Yellow and Cadmium Yellow.
Essential Reading for Artists
One topic that fascinates me in the field of art are the materials and techniques of painters, especially the Old Masters. So much of what an artist uses and how he uses these materials affect the durability of the painting. Failure to understand the physical properties of pigments and oils used in painting, and how one material chemically interacts with another can result in problems. To ensure the longevity of a work of art, an artist needs to thoroughly familiarize himself with the materials, tools and techniques of his trade. What's more, because many of these materials are comprised of toxic chemicals, he or she needs to know the hazards involved and how to deal with them. Here are four books in my library that I believe are essential reading for artists.
The Artist's Handbook of Materials and Techniques
If
you are an art student or serious artist, The
Artist's Handbook of Materials and Techniques by Ralph Mayer belongs in
your bookcase. Called the “Painter’s Bible”, this reference book explains the
chemistry of commonly used art materials that you should understand. These
materials include pigments, drying oils, solvents and varnishes. The Artist’s Handbook provides
information on how to make your own paint and painting mediums, how to prepare
a canvas and how to care for your tools. In addition to oil painting, Mayer’s
book also covers tempera painting and encaustic painting. Originally published
in 1940, The Artist’s Handbook has
been revised several times. The fifth edition is now available.
The Materials of the Artist and Their Use in Painting: With Notes on the Techniques of the Old Masters
The Materials of the Artist and Their
Use in Painting by Max Doerner, a
German artist, who painted in the impressionist style, was an authority on the
materials and techniques of the Old Masters. Originally, this book was
published in1921. It is still relevant for any artist or restorer, who wants to
learn the techniques used by the great painters of the past.
Painter's Handbook
First published in 1993, The Painter’s Handbook by Mark David Gottsegen provides artists with essential information about art materials. The book also offers step-by-step recipes for making paints, varnishes and gessoes. In addition, it explains how to prepare your supports and how to preserve, store and restore paintings. Gottsegen, who chaired the ASTM committee on artist’s materials, also covers the health hazards, which artists routinely encounter, as well as how to safely handle materials in your shop or studio.
Artist Beware, Updated and Revised: The Hazards in Working with All Art and Craft Materials and the Precautions Every Artist and Craftsperson Should Take
Often artists and art students are unknowingly exposed to highly toxic chemicals or work in poorly equipped studios. Gases, solvents, dusts and fumes can be toxic and threaten your health. If you work with art materials, you need to read Artist Beware, by Michael McCann PhD. This book provides details regarding toxicity of chemicals, flash point and common uses for these art materials. McCann also explains what personal protective equipment an artist should wear when working with hazardous materials.
RELATED ARTICLES
Using Linseed Oil to Make a Medium
Why Paint Wrinkles
How to Clean Brushes Used for Water-Based Paints
Proper Prep Prior to Repainting Walls
Coating Woodworking Projects with Epoxy Resin
The Practicality of Repainting an Old Acrylic Sign
Acrylic Mediums & Additives
Acrylic Glazes
Finishing Tips
Blending Colors
Making Oil Paint
Zinsser Bulls Eye 1-2-3 Primer
Mediums for Oil Painting
Faster, Easier Paint Clean Up
Penetrol Paint Conditioner
Shades of Black
Flesh Tone Paint Recipe
White Lead Oil Paint
Safely Working with Pigment Powders
When to Thin Paint with Naphtha
Damar Varnish Recipe
Fat Over Lean Rule
Applying a Wiping Varnish to Your Carving
Asphaltum
Essential Solvents for Sign Painters
Traditional Gesso Recipe for Encaustic Painters
Painting with Gouache
Epoxy Resins
Bondo Tips
Flattening Paste for Enamel Paint
Paint Chemistry Terminology
Scratching the Surface with Grey Scotch-Brite Scuff Pads
How Temperature and Humidity Affect Paint Drying
Why Paint Wrinkles
How to Clean Brushes Used for Water-Based Paints
Proper Prep Prior to Repainting Walls
Coating Woodworking Projects with Epoxy Resin
The Practicality of Repainting an Old Acrylic Sign
Acrylic Mediums & Additives
Acrylic Glazes
Finishing Tips
Blending Colors
Making Oil Paint
Zinsser Bulls Eye 1-2-3 Primer
Mediums for Oil Painting
Faster, Easier Paint Clean Up
Penetrol Paint Conditioner
Shades of Black
Flesh Tone Paint Recipe
White Lead Oil Paint
Safely Working with Pigment Powders
When to Thin Paint with Naphtha
Damar Varnish Recipe
Fat Over Lean Rule
Applying a Wiping Varnish to Your Carving
Asphaltum
Essential Solvents for Sign Painters
Traditional Gesso Recipe for Encaustic Painters
Painting with Gouache
Epoxy Resins
Bondo Tips
Flattening Paste for Enamel Paint
Paint Chemistry Terminology
Scratching the Surface with Grey Scotch-Brite Scuff Pads
How Temperature and Humidity Affect Paint Drying
About Jim Hingst: After fourteen years as Business Development Manager at RTape, Jim Hingst retired. He was involved in many facets of the company’s business, including marketing, sales, product development and technical service.
Hingst began his career 42 years ago in the graphic arts field creating and producing advertising and promotional materials for a large test equipment manufacturer. Working for offset printers, large format screen printers, vinyl film manufacturers, and application tape companies, his experience included estimating, production planning, purchasing and production art, as well as sales and marketing. In his capacity as a salesman, Hingst was recognized with numerous sales achievement awards.
Drawing on his experience in production and as graphics installation subcontractor, Hingst provided the industry with practical advice, publishing more than 150 articles for publications, such as Signs Canada, SignCraft, Signs of the Times, Screen Printing, Sign and Digital Graphics and Sign Builder Illustrated. He also posted more than 400 stories on his blog (hingstssignpost.blogspot.com). In 2007 Hingst’s book, Vinyl Sign Techniques, was published. Vinyl Sign Techniques is available at sign supply distributors and at Amazon.
No comments:
Post a Comment