The Flesh Tone Palette contains colors that range from the palest of pink tones to the deepest rich yellow tones. The system contains skin tone colors with warming/cooling adjusters that are ideal for fine tuning a skin tone mix that’s a perfect match, or for creating a subtle bruising for close camera work. Rice Paper, the staple of the palette, can be used as a white color to lighten a particular mix, or on its own to match the skin. You can use Natural 1 and 2 as the basis for most Caucasian tones. These colors already lean to the yellow side of a natural tone so you can decide how much warmth or coolness to add. If you need to warm the Naturals, add a little Coral Adjuster or Rose Adjuster 2. If you need to cool the tone, add a little Olive Adjuster (liquids only) or Vein Tone to achieve a beige color. Lao 1 and 2 will be the basis for your yellow undertoned subjects. Start with these colors and you can lighten the tone with a Rice Paper mix. To make your color more beige, add Vein Tone. To make your color more olive, add Olive Adjuster 2, and if you want to add a touch of golden quality, use the Coral Adjuster. Cedar Brown is a warm yellow based brown that can add a tan to your actor or darken the 5 basic flesh tones, All of the color adjusters have been formulated to intermix with the flesh tones. Also available, Skin Illustrator On Set Flesh tone Palette.
Stacy Keech Sr. in different make up applications of gelatin appliances and Skin Illustrator Flesh Tone Colors. Make-up by Kevin Haney.
You must use Skin Illustrator Activator or 99% alcohol to activate the color pigment. Do not use 70% alcohol, MEK, acetone, water or any other solvent.
Removal is easy with PPI’s Telesis Beta Solv, Telesis Super Solv or Telesis Makeup Remover.