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ART FACTS
PORTRAIT PAINTING AND THE ART OF COLOR MIXING
By: Robert K. Roark
roses are red and violets are blue but just mention skin tones and they don't have a clue!
The process of painting a portrait has held the imagination of artists and non-artists since the first brush was picked up and the first cave person said "Uggah muggah!" Cave talk for "There's something wrong with the mouth!" Indeed, there has been more than a kiss of the arcane swirling around portrait painting all these centuries. Those who paint and those who do not can be quiet blasé when it comes to still lifes, landscapes and even works of abstraction, but a magnificent portrait radiates an aura of mystery and awe that seems to set this particular genre apart from all others.
Recent inquiries concerning various aspects of portrait painting have led me to write this first article in a series of two which will deal primarily with the art of color mixing. Most artists know that
"A Young Girl" oil on panel
by Robert K. RoarkOf course, if you survive the rigors of portrait painting long enough, you will eventually evolve a palette that is both personal and suited to your own way of working. In the meantime, for those of you who are all at sea, a few suggestions and a few recommendations might help to clear the cobwebs.
Firstly, I don’t advise the use of any so-called "pre-mixed color system". The use of these systems creates a mechanical, paint-by-numbers approach to color mixing which can result in a stilted, across-the-board sameness from one painting to the next. So throw your "systems" out the window and start learning to see the color that has always been before your eyes.
Let's start with a generalized choice of colors, a palette that will probably serve most, if not all of your needs. The colors should be laid out in the order listed: ivory black, ultramarine blue, cerulean, viridian, cadmium yellow light and medium, cadmium orange, cadmium red light, alizarin crimson, white, yellow ochre, raw sienna, burnt sienna, and burnt umber.
As you go along you may wish to add certain favorite colors to your palette and you may choose to delete certain unfavorite colors as well. Also, a model with an unusual skin tone may require certain color additions. The point is, as the artist, do not hesitate to add or take away colors as need be. In fact, I urge you to experiment with new and interesting colors simply because you may find them fun to work with!
A word about the quality of oil paints: most manufacturers offer a choice of “student” grade colors or “professional” grade colors. The latter has a higher ratio of pigment to filler and a higher cost as well. Whenever possible, choose the professional line of colors; these colors are more intense and tend not to “grey out” when mixed.
As for brand names of colors, just be aware that each company has its own standards of manufacturing. Some companies are known for producing stiff, dry oils, while other companies create colors that are soft and buttery. The choice is yours, depending on the way you paint.
And don’t be concerned about mixing different brands of paints since the names of the colors don’t always correspond within varying brands. Remember that one brand of cadmium orange (for example) looks exactly like another brand of cadmium yellow. So experiment and choose whichever brand you prefer for each color on your palette.
I am often asked about the use of color charts or color wheels as an aid to correct color mixing. Many students attend my workshops armed with elaborate color wheels, which spin, rotate, revolve, are covered with millions of tiny color squares, cutout windows and enough incomprehensible hieroglyphics to satisfy even King Tut. If you own a color wheel, turn it upside down and place it under your can of turpentine. It'll be great for absorbing drips and spills.
The first step to mixing exactly the right color (or close to it) is to carefully observe your sitter, preferably under a clear north light. Should you have to work under artificial light, try to choose bulbs that are "daylight balanced". Ordinary fluorescent lamps produce a decidedly cool, bluish cast, while incandescent bulbs create a hot, yellowish tone. Both should be avoided.
Also, remember to dress your subject in clothes that lean toward the neutral range in color. For example, a very fair-skinned person dressed in bright red could take on an inordinate pinkish glow that would otherwise not be observable.
Now that your sitter is properly attired and posed under correct lighting, we will beg her indulgence until my next article, in which we will discuss the actual mixing of colors for various skin tones along with peripheral considerations which are all a part of the fine art of portrait painting.
E-mail Mr. Roark your ideas for topics, comments or questions: rkroark@artisticforum.com For information on current works, works in progress, upcoming shows, and commissions by Mr. Roark, please contact his gallery, Winstanley-Roark Fine Arts, 2759 Main Street, Brewster, MA 02631, Tel: (508) 896-1948 or (800) 828-7217, E-Mail: wrfa@masterfulart.com.
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Read article on Mr. Roark: "Robert K. Roark: Capturing The Mood".
Visit Mr. Roark in his studio at Winstanley-Roark Fine Arts, 2759 Main Street, Brewster, MA 02631, Tel: (508) 896-1948 or (800) 828-7217, E-Mail: wrfa@masterfulart.com.
- CREATING A PRIVATE COMMISSION: Part 1
By Robert K. Roark- THE ART OF THE COMMISSION: Part 2
By Robert K. Roark- PAINTING THE PERFECT PORTRAIT
By Robert K. Roark
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