Painting Skin In Photoshop

The painting is depicting Picasso’s mistress Marie-Thérèse Walter. She is looking at herself in the mirror. The woman in the painting has very elegant feature. She has an even complexion and beautiful eyes. One side of her face is yellow which appears to be makeup with a greenish eye shadow and bright red blush. The other side of her face is a lavender color which is the same color as her arm, hands, breasts, stomach, and legs. The lavender side of the face does not have any makeup and is very smooth and blemish free. In the mirror her reflection she has darker purple complexion with added green and red on her face. There is a shadow on her face of the side of her head and neck. Her body is covered in light green lines that are all slanted downward. In the reflection both of her eyes are round and two different shades of red. One is a bright red and the other is a deeper red and they both look out of focus.

There is also a striking luminosity to the painting. The man and the woman’s faces appear to slightly glow, as if you can really see the reflection of the sun beaming off of their skin. This was achieved by a complex method of applying glazes. Wood would apply a layer of oil paint, allow it to dry, and then varnish it. This tedious process would be repeated numerous times. It was a process perfected by the 16th century Venetian painter, Titian. The series of glazes seems to have created an overwhelming sense of depth and radiance within the paint.

The softness of form this creates on the face and hand fit the dark, mysterious atmosphere of the piece. Another interesting thing that this brings to mind is the mention of a loss of visual acuity experienced by sufferers of color-blindness. If it truly was a problem, maybe Carriere did not intend for this piece to turn out as it did. On the other hand, the subject and display if this image lend themselves to being fully intentional, as the same drawing with hard lines and shading would not sit as easy on the

The whole face is essentially made of lines, made by the paint. This images makes great use of tone, giving the impression of a shadow on Captain Cook’s face. The colours in this piece are more natural, with hues of grey, pink and peach, creating a skin tone, and smatterings of purples and greens. This image is very texturized, due to the process used by Quilty which is the same as he used in the making of Beryl. This is real texture, as if I ran my hand across it I would feel the texture of the oil paints. However, the texture of the face on the right seems to be much thicker and less blended than the face on the left, which perhaps is where the concept of history becoming blurred comes into play in this piece. Shape in this work is not a key component, although it is still present, with the shape of the Captain’s

The dark green background has an interesting subtleness with lighting falling across the shoulders and side of the head. The skin tone of blues, greys and green with touches of yellow, pale peach and pink

Perhaps the most technically impressive aspect of the painting is its remarkable three-dimensionality. Rembrandt is well known for his strikingly accurate portrayal of human shape and form, and this painting lives up to such reputation. With the use of oil paint, he was able to carefully and selectively layer color to create an astonishing representation of the human figure. The most alluring aspect of the piece, in terms of modeling technique, is the face. It contains so much detail; it is hard to believe this painting was done by hand. From the light, wispy texture of the facial hair to the subtle wrinkles surrounding the eyes, attention to detail is what sets this portrait far above many others. Rembrandt’s playful chiaroscuro on the nose and right hand truly give the piece a sense of depth, and the painterly quality of the piece produces a soft and elegant look. Also present within the face is the famous Rembrandt triangle. The result of a specific lighting technique frequently used by Rembrandt, a small triangle is formed underneath the eyes. It is present under the left eye in Marten’s portrait, which gives his face a more natural look. Another technique that intensifies the three-dimensionality of the visible body parts is the use of

The painting has contrasting colors like red, white, yellow and green. While it also has some dark colors to create a sense of power. These vivid colors create a complementary contrast. The dark red background with the gold designs makes the black man wearing the different shades of green stand out. Also, the white horse has various colors of brown and black which makes it stand out from the red. The main idea is to see the black man on the horse and you can tell Wiley thought the color scheme through. The contour lines Wiley used were organized, thin, and nicely controlled when it came to drawing the horse’s hair and body figure. Also, gold lines were detailed in the background creating a type of pattern to create an illusion. Closely, if you look into the background Wiley drew little sperms to complete the background. Lastly, the actual texture of the painting has a smooth finish. The oil on canvas painting almost makes it seem like if you touch it the horse would be silky

In this production by Gerald Laing, a young and fit woman can be seen. She appears to come from a model background as she has a toned figure that is slender and curvy. She is standing in a confident posed position with a hand on her hip. It appears the artist attempts to position her short lengthened, dark hair in a way that portrays the wind is blowing it. She is wearing a swimming suit that covers minimal. She is placed on the right half of the portrait. The artwork does not contain any other people or objects in the piece. Laing completes the print using only three shades of color: gold, grey, and dark grey/black. The gold background quickly catches the eye. Also, the gold is the color of the swimming suit that covers the model’s bottom half and chest suggesting that the artist wanted to draw attention to these specific body parts. Overall, the print is organized and has a neat appearance.

The artist wanted the focus of the painting on the cupcakes in her hair and he achieved this by using rhythm with the color red, and also creating a slight contrast to bring out the focus. He achieved this by using a black background and painting the figure a light complexion using soft colors and using them in subtle ways throughout the rest of the painting, for example, in her hair, where the main focus is, Cotton used soft colors on a few of the cupcakes but then used the color red for her lipstick, to also create a contrast of colors in the softness of her complexion on her face. There’s a noticeable pattern between the colors red and softer colors like lavender and beige. Its not only used throughout the face

Looking at the top of the face, viewers can see one large eye and a tiny bit of the other eye. The eye is mostly black, filled with a little white in the center to make it clear to viewers that this is an eye. Moving down the face is a good-sized nose that is yellow and black for viewers to see it is a nose, along with a mouth that is mostly dark and difficult to distinguish. Near the eye and mouth are pink colored, flower petal shapes. This is the only bright color that is on this side of the painting, other than the yellow face, the small amount of white, and the black shadows on the face. Also, near the eye, are small, yellow dots that seem to be coming out of the other eye. This side of the painting is quite simple compared to the other side considering it lacks color. This part of the piece reminds me of a girl who goes everyday without expressing who she truly is. The face in this painting looks sad and straight-faced as if something is wrong. The face is much different from what is portrayed to left of the face. This image makes me think that this girl has so much inside her, but is not able to express herself because she may be afraid to do so. The yellow, small dots that are coming from her eye make me think that this is the only way she is expressing herself, and that only a tiny bit of her personality comes out when she is near others. Where the yellow dots go back

Next is the use of color, or lack thereof. The colors in the background are very quiet and muted, mostly subdued blues and grays with hints of a deep red and brownish yellow peeking though. The colors used for the figure are browns and tans, almost as if the was painted with mud, like she is all-natural and from the earth. The range of colors would seem to have a cool tone if you were looking at them on a painter’s palette but the arrangement of color on the canvas gives the piece a warm feeling.

The artwork is a portrait drawing and she uses pencils/pastels. The artwork was made in this time period, nine years ago on February 27, 2007. Herring is a professional traditional artist and she is from the United States. In 2010, Herring graduated from Tyler School of Art with a BFA in Painting and Drawing. Herring, Laur. "Body Image." By Silverfoot on DeviantArt. N.p., 27 Feb. 2007. Web. 27 July 2016. < HYPERLINK "http://silverfoot.deviantart.com/art/Body-Image-49768281"

He paints the figure in an traditional argyle like pattern of a harlequin, which really helps to make the figure stand out against some rather abstract cubistic questionable pieces of furniture (?). The belt is easily seen, as are two distinct legs. One arm seems to be presented by the negative space between two other objects. He again uses negative space to depict the head or the start of the head as it only includes one eye.

The work is a representation of the gestures of “Three Wise Monkeys” symbol from Japan as God’s advice to “see no evil, hear no evil, speak no evil” and usually come with “do no evil”. Four parts of the painting are centered on the subject with two-thirds in space, so there is a small amount of unused space on the top of each part for the background. Liz Volpi uses only black and white in her work with contrast between the subject and background. The color value changes from rectangle to rectangle. If the Gibbi is painted black, the background is lighter with grey or white and vice versa, which creates contrast and highlights the actions of the subject. The subject in top left and bottom right images is painted in darker value than the background and the subject in bottom left and top right is painted in lighter value than the background. Volpi uses broken thin lines to direct viewers’ eyes into the character. The broken lines are the skin’s type of Gibbi as description of a different kind of species.

The artist uses stimulated textures, which are created to look like something other than paint on a canvas. There is also a variety of textures, but particularly in the painting is the pipe, newspaper and table. They are depicted as smooth with polished wood and we could feel them by touching.