More than ever, we are inundated with images of people in dark-skinned, non-Asian skin.
But what do these images tell us about the world?
The question of the week comes from British artist Nick Mancuso, who, with the help of his brother, explains why he is using light to help bring light into darker skin.
The duo have drawn on images of the artist himself to create the images of his darker skinned subjects.
The first picture is from the painter’s own life.
Nick says:I grew up in an inner-city environment.
I was born in London, moved to a more cosmopolitan area in Scotland, and then moved to Manchester, where I lived until I was 18 years old.
It was there that I learnt to paint and I started drawing.
I started doing art exhibitions at the university.
I went on to work at the Metropolitan Museum of Art, and was the lead for the exhibition of the show ‘The Man With No Name’ which went on at the Tate Modern in London.
When I was in the middle of working on the show I was walking through the city and I looked out of the window at the skyline and thought, ‘Wow, it’s so dark’.
I looked at the sky and I thought, what is this?’
I wanted to find a way to get a little bit of light into that area.
And then I thought about the people around me and what I thought were the most difficult aspects of their skin colour.
So I started to do the drawings of people who looked really dark.
I thought, I would try to get some light into the areas where the skin was darker, and it worked really well.
I was drawing the faces of people with darker skin, but I was also drawing people who were very light-skinned.
I did the same thing with the people who had light-skinned faces.
I would do these drawings of the people with light- skinned faces and then I would draw the faces that had darker skin underneath them.
So the darker the skin, the lighter the skin underneath.
It worked very well for me.
When you are drawing these people, you have to make sure that you are not drawing a person with dark skin, you are trying to draw a person that looks like they might have light skin underneath, or darker skin on top of their darker skin and just that lightness.
I think it was very interesting because I was seeing these faces and I was thinking, well, this person looks like a light person and they might be able to wear light clothes, but they might not have the same amount of light skin on their face.
So I was trying to figure out, how can I get light to the skin that would be darker than the skin of a person who has light skin?
I was really fascinated by that.
I drew some dark people in the past, and I did drawings with people with lighter skin.
I thought if I could get the light on that side of the person’s face, I could bring light back into the skin.
That was one of the reasons why I did this series.
What is the role of light in skin colour?
It is an issue of how we use our eyes, and our skin.
If you look at people’s eyes, they are the light-sensitive parts of our bodies.
And when we are drawing, we want to see something that is going to be in the light, and that is why it is important to draw people with dark eyes, light skin, and light skin beneath the light skin.
We don’t want to draw the person that has dark skin underneath their darker eyes.
The people that I drew were really interesting, and also the people that were not drawn at all.
I could draw people who are very dark and very light, but there was always this dark, dark-haired person in the background.
I always wanted to draw that person.
The way that light is applied in skin makes a difference to the way that you see the person.
In the dark, the skin doesn’t have any melanin and it has a very dark appearance.
When you are using a lot of light to draw dark skin people, the melanin in the skin has not had time to come in and do its job.
So it’s the light that makes the difference.
So, for me, that was one part of the problem.
The other was, how do you get the sunlight through to the darker skin?
The light itself makes a different difference.
So, to get the natural light through to these dark skinned people, it was important to get them to look as natural as possible.
I wanted to get as much light in as possible, but also as much darkness in as much as possible so that the darker, darker skin would get the same kind of light as the lighter skinned ones.
It didn’t work for me at first.
It’s really interesting because you can draw dark people without any skin tone, and