Each layer adds dimension, likeness and depth of color. The artist must understand that the build up of these transparent layers is what creates supple and alive looking flesh. We must learn how to build slowly. Instead of thinking of it as having patience, I am thankful I do not have to perfect the portrait the first pass. Often a subject has blues and greens and yellows in their skin or reflected off the skin surface. It takes skill and experience to know when and how to use these colors. Here, my granddaughter presents her lovely ivory and blush tones. There is some hint of yellow in the forehead but not much. When today’s pass is dry, I will take a small amount of the flesh tone, I will add a touch of quinacradone magenta and an equal portion of gel with maybe a drop of linseed oil. These will be mixed well with a pallet knife and spread in an even layer over the flesh. Now, I use a soft fan or mop brush to buff this surface to a sheen. Next, I touch my soft sable brush to the yellow ochre and gently apply a little where I think it should be. Now I use my white to redo the brights. This picks up the other colors and draws them over the flesh in minute amounts. You will begin to see your flesh colors coming to the hue you are looking for. It is better to build slowly to these rich tones than to be startled by a heavy application of color that will never look natural.
Diana Williams Portraits 