[Clayton J. Beck III]

Thanks Enzie,

Great link to Gurney Journey. Very interesting and I'll be sure to pass it on to my students.

Sargent and Zorn covered this effect with opaque brushstrokes and Schmid often uses a transparent wash to emulate the transparency of these skin areas which transmit light. It's not a mystery, only a careful study in value and edges coupled with a strong sense of the color range of the surrounding area. Juxtapositioning is the key. Control your entire painting to allow these areas to pop and not be interfered with by nearby and challenging values and colors.

Zorn probably used it the most. He often positioned his sitters near a window and allowed light to pass through the ear. Sorolla also created this effect well in his sunlit subjects on the beach. He used transparent and opaque effects interchangeably to create the effect.

Great post!,
Clayton

Here are two of my examples. They are both demos for my students to explain this very effect. The second is the case of reflected light and the other the effect of transmitted light (on the ear and the nose). Fun to study, don't get too wrapped up in it though, it's just a parlor trick, but still FUN.