"Subsurface Scattering" - Light Throught Skin Effect

[Richard Monro]

Enzie,

I use scrumbling technique to achieve this glow. Sometimes I'll even use two or three different colors to achieve the wonderful translucent glow illusion. I usually use an opaque paint to scrumble with, although I have occasionally used a more translucent paint with interesting effect.

I use a worn out brush as scrumbling wrecks havoc on a brush. Make sure the brush paint load has been wiped virtually dry on a paper towel before applying to the canvas. Try out your color selections on a scrap piece of canvas before applying the scrumbling technique to your painting. Don't be afraid to apply a complementary color to create a vibrancy as it can bring real life to skin tones.

[Richard Monro]

When the scrumbling brush is quite dry, it deposits little points of color over the background color, much like a pointillist gone mad. Those bits of color are almost invisible to the eye. Therefore, the key to good scrumbling technique is a very dry brush and many layers until the desired effect is achieved.

Sometimes I like to scrumble a dark saturated color over a light background or a light saturated color over dark background. If the scrumbling color is a good complement, the painting begins to develop the vibrant, luminous quality that is found in many impressionistic paintings without being so obvious about how the quality is accomplished. A little advance planning is required in selecting a proper value of the background so that when the scrumbling technique is completed the final combined color value is correct.

[Enzie Shahmiri]

Richard,

I have been reading your wonderful response with great interest and like to thank you for your reply. I don't recall using a complimentary color before, so I might give this a try.

Does anyone else like to share how they go about this?

[Enzie Shahmiri]

Clayton, you must have posted while I was typing, so I missed your wonderful reply.

a careful study in value and edges coupled with a strong sense of the color range of the surrounding area. Juxtaposition is the key.

YES! You hit it on the nail, it all makes sense now. Great examples, by the way...

[David Clemons]

Notice the higher level of chroma present in these situations. In the effect of translucency of skin, particularly at the ear, I find it helpful to keep the underpainted layer lean and bright.

[Enzie Shahmiri]

Thank you David, yes I see what you mean.

[Mary Ann Archibald]

I subscribe to the GJ too and look forward to reading it every day. Loved the post you referred to.