Flesh Tones

Color Mixing with Oils: Part 2
by: Craig Whitaker [ MONGO_MEL ] [ ALL BY THIS AUTHOR ]




Color Mixing Chart Part 2: Flesh tones
This article is a collection of the various mixes I’ve used over the years for painting flesh tones on my figures. I can not take credit for coming up with any of these mixes. They are ones I’ve learned of through various articles, Shep Paine’s painting class and from several friends in the hobby. The most I’ve done is make some minor changes in quantities or color shades to suit my preference.

I’ve had varying degrees of success with each mix. Each has good and bad points. I’ve listed them in the order that I used them, earliest to latest. The latest is my favorite so far. I’ve included pictures that show my results with each mix. Everything listed here represents something I tried on at least 1 figure. This is only what worked for me. There are lots of better painters out there with lots of better ideas.

I hope that you find this article useful and enjoyable.

Craig
“Mongo Mel”
Note: Unless noted, all paints are Winsor & Newton. Also, The Gold Ochre listed should not be confused with either Gold Ochre Transparent or Yellow Ochre.

The term “paint for average” means that I paint the entire area with this color mix. Then, while the paint is wet, I paint in the shadows and blend to suit. Then I paint the highlights and blend to suit. After the paint is dry, I usually go back and redo the shadows and highlights, using a very small amount of paint and get more of a “glazing” effect.

I generally haven’t listed quantities or proportions for mixing because I don’t keep track of them. I just keep mixing until it looks right to me. Sometimes a mix will look fine on the palette paper, but look terrible on the figure. When this happens, I try to fix it on the figure by adding small dots of the needed color and blending it throughout. If that doesn’t work, I just wipe it off and start over.

Mix No. 1
This is the first mix I was taught to use. It gives a nice flesh tone but I found it to be too complicated. If I had to touch up the face, I could never match the original color close enough to suit myself. And as you can see by the pictures, I can’t duplicate the flesh tone from figure to figure. These are the main reasons I have abandoned this mix.
Apply this mix over a white primer basecoat.

A: Mix 1 part Burnt Sienna with 1/2 part each of Cad Red Medium (or Bright Red) and Cad Yellow plus a very small amount of Gold Ochre.

B: Separately mix Titanium White with a small amount of Cad Yellow and a very small amount of Gold Ochre to a creamy, light yellow color. More white than yellow looking.

C: Separate Mix B into two piles. Add small amounts of Mix A into one pile until it looks like the shade of flesh tone you desire. Use this to paint for average.

D: While still wet, use Mix 1 to paint in the shadows and Mix 2 to paint in the highlights. Blend these into the paint already on the figure

Optional method: Paint a very thin coat of Mix A on the figure, wipe most of it off with a brush, leaving a “stain” on the figure. Blend in Mix B to achieve the color you desire.

E: When dry, shadow with Mix A and/or straight Burnt Sienna. Use Burnt Umber for deepest shadows. Highlight with Mix B. Add more white for highest highlights.


Mix No. 2
This next mix is much less complicated to use. It also gives a nice flesh tone. Apply it over a white primer basecoat.

A: Mix Burnt Sienna with small amounts of Yellow Ochre to a medium brown skin tone. Add Titanium White to the shade of flesh tone you desire (or a little darker). Paint for average.

B: While wet, shadow with straight Burnt Sienna and Highlight with Titanium White. Blend these into the Mix A already on the figure.

C: When dry, shadow with straight Burnt Sienna. Use Burnt Umber for deepest shadows. Highlight with Mix B. Add more white for highest highlights.

Mix No. 3
This next mix was used on my Buffalo Soldier. Is is basically the same as Mix No. 2, with some adjustments made to quantities.

A: Mix Burnt Sienna with small amounts of Yellow Ochre to a dark brown skin tone. Paint for average.

B: While wet, shadow with straight Burnt Sienna and Highlight with Yellow Ochre and Titanium White. For the deepest shadows, blend in a little Burnt Umber. Blend these into the Mix A already on the figure.

C: When dry, shadow with straight Burnt Umber. Highlight with Mix A plus Titanium White. Add more white for highest highlights.

D: To paint the lower lip, add Bright Red and Titanium White to the Mix A on the lip while still wet. Blend to a medium red shade.

Mix No. 4
This is the current mix I am using. Still fairly simple, it gives a more ruddy coloring to the flesh. I like this one the best.

A: Undercoat with Liquitex “Deep Portrait Pink”. This is an acrylic paint, available at most art supply stores.

B: Mix W&N Flesh Tint sith Burnt Sienna to a medium brown shade. Add Titanium White to the shade of flesh tone you desire. Paint for average. ( For the Jordanian Legionnaire, I added mode Burnt Sienna to this mix)

C: While wet, shadow with straight Burnt Sienna and Highlight with Titanium White. Blend these into the Mix B already on the figure.

D: When dry, shadow with Brown Madder Alizarin and highlight with Flesh Tint. Add Titanium White to the highest highlights.

For all of the Caucasian skin tones, I usually just add a little more Burnt sienna to the lips while they are still wet and blend this in.

If you have read my other article on oil paint mixes, you may have noticed that I try to keep my mixes to just three colors. The base color, a shadow and a highlight of Titanium White. I find this makes it easier to duplicate the color if I have to do any minor touch ups or repairs.