Painting Flesh Tones – Tiling Method

Painting Flesh Tones – Tiling Method


Hi, my name is Aaron Westerberg and I’m a
painter living in Los Angeles and I’m gonna show you guys how I paint. So my process is basically I’ll have an idea You know, I’ll hire a model, do a photo shoot,
do a color study from the pose that I like the best. Working from life is the
best and I’ve worked a lot from life so I kind of know the the pitfalls of
working from a photo. The color study criteria is I have to do it fast, no fingers no toes no detail just the big statements. Big value statements,
proportion is important, but detail is not. Then from the color study I’ll go to the
larger painting. These are the steps I do that have led to the most success for me
painting. Okay so I’m mixing my flesh colors right now and making basically a
gradation of the flesh color so kind of a dark a middle and a light and I’m
gonna do that with kind of a yellowish color kind of a greenish color and kind
of a reddish color and with her skin tones you know I see a lot of kind of
olive and there’s a lot of reflected light bouncing back from the wall, also a lot
of blue in there, just kind of getting an idea of what’s up there in terms of
colors and mixing them down here first and then I’ll test them as I go up
here, but first I want to put down are the dark half tones basically the
colors that are in between the lights and the darks. This is called opening up
your pallet and I’m opening up basically you know, these colors that I’m mixing,
these flesh colors and a lot of them are just basic red, yellow, and blue so the
yellow, a lot of times like the base is gonna be yellow ocher and then I’ll put
it like either quinacridone violet or quinacridone rose and then maybe like
cobalt blue in there to kind of mute it a little bit but like this one
is yellow and red, dominant on the yellow side. This one is yellow and
red, dominant on the red side. So I get a little bit of both. Like this is a really
nice mix terrarosa… cobalt blue It’s a nice mix for a dark underneath,
well like it could be anything you know but a warm dark somewhere around the ear
maybe but two colors with a nice nice little mix. You want to grade out a
little bit you can either put like some of this green in there, some of that
green. I wouldn’t want to put this green in there because that is
phthalo green and that will kill it. So if I want to lighten it up a
little bit I’m gonna use yellow. I’m not gonna use white because white is
gonna cool it down tremendously so I want to add a little bit of yellow in
there and it just lightens it up a little bit and warms it up a little bit
of white, a little bit of yellow and this, a really nice green that I use a lot is cobalt blue
and yellow ochre. Another one that I use a lot that I just I don’t have black on
my palette but yellow ochre and black. That’s a really nice green too, a really nice
gray green. I like that color a lot so this is a cobalt blue and yellow ochre
and then I just muted it a little bit with some transparent oxide red Notice here I’m not blending any of the tiles
I’m putting down, I’m just putting similar colored or similar value tiles
next to each other and progressing forward and moving on to the next shape
once I have the correct color and tile established. I want to keep my colors as
clean as possible. The more times I blend or if I thin out the paint
it’s gonna be harder to put other colors on top of it so in general, with
the whole head, I want to keep the thickness of the paint it’s kind of like
a medium thickness. Not real thick, not real thin, and that’s because I want to
be able to render with the with the paint if it’s too thin it’s gonna slide
away and it’s gonna be hard for the the separate notes to stick. If it’s too
thick the paint will glob up and and be harder to work with so it’s kind of a
medium thickness of paint right now so one by one I’m starting to insert the
tiles and progress across the face. one of the things I really try to do more
than anything on a painting is really get nice transitional colors in there
and really… If you use more transitional colors that’s more color, so there’s not a lot of really strong colors on the face. All the
colors are going to be really… somewhat muted so a bunch of variation of muted
colors actually looks colorful so that’s kind of what I’m going for right
now is just a bunch of variation of muted colors So if you’re kind of new to color and
you’re not really comfortable painting with a lot of color I would say paint
with a lot of color. Set up a still life or a model or a figure or whatever and
and put a lot of color in there. Put reds, yellows, oranges, pinks, purples,
whatever and try to make all those work together. A lot of times people that are
intimidated by color are intimidated because they don’t push the
color enough. They don’t try things that have a lot of color in there
but the more you try to paint things with more color the easier it is to
understand color and see how it interacts with the other colors. You’d be surprised at how much reflected light there is when you’re painting. You can even just paint like a fabric, like a yellow fabric and for
example, if you painted a yellow fabric under cool light, the shadows are so warm
you know the shadows… they’re just they’re brilliant and once
you start seeing color like that then you start believing it and you’ll
understand how color exists and that it does exist in powerful form so the more
you can you know play with color the better and I guess I’d recommend
still-lifes You know, I think those are one of
the easiest things to do because you can sit there and paint a bunch of
oranges or whatever forever. You could spend a long time painting them
but for sure I would paint something with a lot of color in it and
I would use a lot of paint. Don’t just blend the paint
around to get your edges- really try to use color to transition from
your lights into your darks or vice versa The more you start seeing those colors it kind of compounds. You’ll see more and
more color and you’ll start to realize how much color there actually is out
there but it’s just like anything. The more you start to understand something
the more you’ll see it’s just like with music the more you understand how
something is composed the more you’ll hear. It’s the same exact concept so setup a still life with way more color than you’re comfortable and you’d be
surprised at how much you learn and how much you grow

100 thoughts on “Painting Flesh Tones – Tiling Method

  1. Make sure you don’t miss the Color Sketch Tour with Aaron to learn how to study color – https://www.youtube.com/watch?v=R_IytAnahvA

  2. Beautiful.
    Wish it was more effordable.
    I don't know why you thought 70 to 100 dollars for a demo of one painting was a good idea.

  3. Wow Proko, this was an awesome video. I'd love to see more like it. The info was great but the production had me transfixed.

  4. I do this without thinking about it. But the validation of what I'm doing is reassuring for someone who is self taught. Great video.

  5. Marvellous clip!! Great sign of justified confidence presenting another very professional artist with a speciality. I learned a lot, especially the idea of being intimidated by colour, which I am. Thanks!

  6. I would like to ask about something: is there a way to have better pulse? My problem happens when I’m trying to be exact in a drawing and my hand starts twitching around and the only way to not have this problem is by doing movements that kinda help me but not that much, and it’s something that i would like to need not just for drawing but for painting and stuff.

  7. Welcome to proko! I appreciate your mastery of color. I started painting digitally and really began to appreciate the subtle differences in value and saturation can make within image. I look forward to seeing more of your work.

  8. si vous saviez comme votre musique est PENIBLE , en arrière de vos commentaires, (c'est déjà assez difficile avec la compréhension de la langue) pourquoi cette musique de fond ???????

  9. Fantastic video illustrating and clearly defining his tile method of building up subtle skin tones adjacent to each other before gently blending the edges. More of these please.

  10. Art is too depressing for me to handle. In fact, I feel ashamed that I'm part of this community because I cannot create anything great. I tried drawing, but I the end, I hate it. I hate every drawing I've made in my entirety of being an aspiring artist. I question if I should just quit and chase something different, but my heart always leads to art. But art is a great way to terrorize me.

  11. just listened to you on Chris Oatly's podcast and subscribed. Great stuff. love your energy. look forward to checking out you videos. Much success to you always.

  12. what style is this called exactly? and do you blend all those "tiles" at the end to form a smoother painting? I am interested in purchasing the 10 hour version but I'd like to know first if you blend all those tiles at the end or leave it as it is

  13. As a digital artist, I am always impressed by painters who mix colors in traditional media. You gotta be a fucking alchemist to get things right.

  14. Brilliant, thanks for the upload. What are you painting on to – at 4:06 it looks like some sort of board but I can't tell?

  15. Thank you so much for this video – its the best I have seen on portrait and colours… I can't thank you enough and lastly, your work is amazing… I will defiantly be following your work! And if you exhibit in England (UK) let me know, I would love to see the work in person.

  16. I picked up a brush after ten years of not painting in oils about a month ago. I was terrified, oils seem so daunting. But in all honesty they are not they are so forgiving and allow you to explore a painting. I understand what he says about colour here. Its a perfect commentary on colour. You need to explore colour, see how it interacts with the light, the strokes, blending. How one colour plays off of another. You will spend more time looking at your painting than you ever will do painting it when creating it. That is the skill, to observe and to allow the colour to play out.

  17. Hi Mr. Prokopenko. I have a request on a tutorial that might help a lot of students at our university. We reference your videos a lot concerning anatomy and figure drawing, I was wanting to ask if it's in any way possible that you could do a tutorial on mark making on the figure. To identify form and shape and communicate volume.

    By the way, you're almost at 1M subscribers 😁. I'm proud of your work and it has helped me and my classmates a lot. I'll keep spreading your name because you're one of the most trustworthy artists concerning accurate and brilliant drawing! 😁

    Thanks for always helping the art community out.

    Best regards,
    Alicia.

  18. Am I the only one that has to turn the speed up to a 2X just to get through this unbearable ship like come the f*** on and get to the point

  19. This is an outstanding video – a great teaching tool for anybody who is intimidated by the idea of making a distinction between what we know is there, and the great spectrum of colors we see when we're really paying attention! Thumbs up! 🙂

  20. He's so deliberate about his palette, not unlike a pixel artist. Here I thought there'd be more blending, but no.

  21. This was honestly so inspiring. Like the way he talks about colour is so beautiful and his advice so sound. I watched this because I'm about to start a painting of my own and I've been scared to start painting because I have very little experience with painting and colour but I feel motivated to just go for it after watching this. Thank you so much for sharing this!

  22. Best skin tone advice. Thanks!! Mixing mid-tones to transition from dark to light instead of just blending the two extremes into a mutant color that does not represent life at all. Acrylic painters take note…..stop seeing ur quick dry time as a hindrance. If anything, see it as a deterrent to stop blending every stroke.
    If u need a soft edge, touch it with ur thumb or finger…..turning the form.

  23. Love seeing all those Singer Sargent books on the shelf. A brilliant loose painter. I can see the beauty in your work too.

  24. this is something i’ve seen and i didn’t know how to describe! i’m not new to painting – i was lucky enough to have an art therapist as a young kid that helped me calm down my anxiety through using paint – especially abstract with different weird mediums. no theory or technique, just messing around. now i’m getting back into painting and i wanted to do a portrait of a scene with a bunch of red in it and i wanted to try to do something like this – this video really helped. the continued working of the tiles and the more color it looks amazing!

  25. This is fascinating I see you mixing "skin tones" and I think, no thats not a skin tone, but then it all works out beautifully.

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