Johnnie Liliedahl: Painting Ethnic Fleshtones

 While the palette choices of colors to include is important, the concept of color temperature and value is far more critical to capturing the specific coloring of an individual. Johnnie has chosen two models with very different skin colors and values to show you that BOTH can be painted from the same array of fleshtone mixtures, even though they appear to be unrelated by complexion.

Throughout this video, Johnnie offers tips and suggestions to capturing any portrait likeness with facility and truth to the model's unique features. Enrich your own knowledge of portrait painting by learning how simple it can be to switch from one skin type to another.

In Painting Ethnic Faces, Remember These Important Points:

• All human faces, regardless of ethnic origin, are more similar than they are different. The shadow shape on the face follows the same pattern on all heads, with only minor differences. 
• Value range and temperature changes are more important than specific colors on the face. Accurate measurements determine specific likenesses rather than color of flesh. The hair is an important fleshtone, and is the most important big, dark mass on the head. 
• As the face turns from the light, you see more of the receding plane of the face, and more of the back of the cranium. The features occupy a smaller portion of the face than seen at full-face. The eyes and mouth lose width as the face turns, but the nose does not.