/ic/ - Artwork/Critique

>>4601421
Use more hues than crimson. The basic technique we were taught for basic "white" skin tones was washes of yellow ochre, then a crimson, then cobalt blue or paynes grey for the shadows.
Skin is reflective. It its influenced by a lot of things - ambient light, direct light, reflected light, and what's under it in the body. Part of learning to paint a face is understanding all that. The eye sockets will be cooler than the tip of the nose, or mouth.
Lay down a layer of yellow ochre, very thin. LET IT DRY COMPLETELY. Then do a warm crimson. Then add shadows, and you can use a blue, or throw in some greens and purples to make it more interesting, and tie in to the overall color composition. The whole "color zones of the face" is based on this - and adding colors can help create the illusion of depth, by using hue and temperature. You can also use contrasting colors for this, like yellow/purple, or red/greed, or red/blue. They impact the eye in certain ways and give the illusion of depth. Or can, if done properly.

Maybe I'm just too much of a brainlet but I've never understood the color zones thing. Yes, I can observe it in paintings, but I just can't see it in real life. It seems to me to be more of a painting convention more than anything. I get that people don't have a uniform skin tone, I understand SSS, things like that. But I can't readily observe these "zones" in people's faces other than maybe the cheeks and nose are a touch more red than the rest of the face. Am I just retarded? Please someone help me understand

>>3894155
It's going in the right direction.

I would say work on skin, and it's hues, along with value, to push the three dimensionality of it, and over all tighten up your painting, and work on smoother washes.

The face has temperature zones, yellow on top, red in the middle, blue on the bottom for men, greens and purples for women. A couple of reasons why - the center of the face has more capillaries, so it has more blood under the surface. The chin tends more towards cooler colors, because it's often partially in shadow, and cool greens will pop the reds of the mouth.

I typically start with yellow ochre, and develop the whole face, keeping the highlights free of paint. I do a wash over the whole paint, and add paint in areas where there's more hue. I let that dry completely, and then use a crimson to push the nose and mouth, and some on the inner edges of the eyes. I let that dry, and then do an overall wash of paynes grey (and cool grey will do), to establish the darkest values in the skin, and when that's dry, do smaller washes of greens and purples to pop the lower part of the face.

You don't have to do that exactly, but that's the idea. Value and hue and temperature, doing smooth washes.

Little tip - the eye isn't outlined like that. You're taking what I'm betting is makeup, and using it for the whole eye. Use color for where there's no eyeliner.

Overall, tighten up your washes, and use more hues.

>>3041779
literally all skin has reds, blues, yellows, and a shitload of other colors. there's a reason why it's considered fucking hard to paint accurately.

>>2528055
I like these, I can see where you get inspiration from. Top left and bottom image would look good if you merged them on top of each other. Piccolo is too green. The man on the right is too washed out. I can see you adding in accent colors of the light teal but I recommend overlaying some reds, pinks, greens, blues, to give the flesh more liveliness. The ambient color/accents are good but you must practice on the former, layering it on top of lifeless flesh is no good.