Comments on: Practical color mixing 3: chroma http://rourkevisualart.com/wordpress/2006/10/31/practical-color-mixing-3-chroma/ Making and Thinking About Visual Art Fri, 03 Feb 2012 18:18:22 +0000 hourly 1 http://wordpress.org/?v=3.3.1 By: David http://rourkevisualart.com/wordpress/2006/10/31/practical-color-mixing-3-chroma/comment-page-1/#comment-81 David Sun, 26 Nov 2006 15:09:00 +0000 http://rourkevisualart.com/wordpress/?p=112#comment-81 <p>"You don't need to publish this comment, just edit your article and we will both be happy!"</p> <p>I don't mind. Thanks for pointing out my error. It's been corrected.</p> “You don’t need to publish this comment, just edit your article and we will both be happy!”

I don’t mind. Thanks for pointing out my error. It’s been corrected.

]]> By: Anonymous http://rourkevisualart.com/wordpress/2006/10/31/practical-color-mixing-3-chroma/comment-page-1/#comment-80 Anonymous Sun, 26 Nov 2006 07:18:00 +0000 http://rourkevisualart.com/wordpress/?p=112#comment-80 <p>Good article.</p> <p>One teeny nitpick - a compliment is when I say, "I like your tie", a complement refers to opposites on the color wheel - sorry, spelling errors bug me.</p> <p>You don't need to publish this comment, just edit your article and we will both be happy!</p> Good article.

One teeny nitpick — a compliment is when I say, “I like your tie”, a complement refers to opposites on the color wheel — sorry, spelling errors bug me.

You don’t need to publish this comment, just edit your article and we will both be happy!

]]> By: David http://rourkevisualart.com/wordpress/2006/10/31/practical-color-mixing-3-chroma/comment-page-1/#comment-79 David Sat, 04 Nov 2006 17:19:00 +0000 http://rourkevisualart.com/wordpress/?p=112#comment-79 <p>Historically, glazing of flesh tones has been with warm colors over a base layer of cool colors. For example, the Italian Renaissance technique, used by egg tempera painters and some later oil painters like Michelangelo, involved an initial layer of a cool green earth. (I say a cool because most green earths on the market today are olive colored.) Then the shadows were painted in with a dull mixed earth color. Over that, the parts of the skin that get a lot of blood flow (cheeks, nose, ears) were glazed with red. The final layer was light pink, applied so that the cool underlayers showed through.</p> <p>A similar principle can be used with any cool underpainting for skin tones. I've done it with blue, for example, instead of green.</p> Historically, glazing of flesh tones has been with warm colors over a base layer of cool colors. For example, the Italian Renaissance technique, used by egg tempera painters and some later oil painters like Michelangelo, involved an initial layer of a cool green earth. (I say a cool because most green earths on the market today are olive colored.) Then the shadows were painted in with a dull mixed earth color. Over that, the parts of the skin that get a lot of blood flow (cheeks, nose, ears) were glazed with red. The final layer was light pink, applied so that the cool underlayers showed through.

A similar principle can be used with any cool underpainting for skin tones. I’ve done it with blue, for example, instead of green.

]]> By: Anonymous http://rourkevisualart.com/wordpress/2006/10/31/practical-color-mixing-3-chroma/comment-page-1/#comment-78 Anonymous Sat, 04 Nov 2006 10:52:00 +0000 http://rourkevisualart.com/wordpress/?p=112#comment-78 <p>It's funny you mention that yellow and violet do not make effective compliments; my failed experiments in glazing fleshtones with those colors resulted in dirty, bruised-looking skin.</p> <p>I have been having the most frustrating time trying to adjust initial yellow ochre glazes to the proper hue and chroma.</p> <p>Accepting that there are no formulas, do you nonetheless have any recommendations for useful colors in glazing flesh tones?</p> It’s funny you mention that yellow and violet do not make effective compliments; my failed experiments in glazing fleshtones with those colors resulted in dirty, bruised-looking skin.

I have been having the most frustrating time trying to adjust initial yellow ochre glazes to the proper hue and chroma.

Accepting that there are no formulas, do you nonetheless have any recommendations for useful colors in glazing flesh tones?

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