- Lesson details
- Transcript
- Instructor
- Bill Perkins
- Subjects
- Color, Painting
- Materials
- Brushes, Canvas, Oil Paints, Palette, Sharpie pen
- Duration
- 4h 42m 25s
In this series, instructor Bill Perkins brings you his crash course on color theory and practice. This six part series is designed to accelerate your learning curve, allowing you to gain confidence in your paintings and an overall understanding of how color works in various situations. Each lesson will focus on a different aspect of color, and will center around images of a model in different color and lighting set-ups designed by Bill himself.
Materials
- Sharpie Marker
- Gamblin Artists Grade Oil Paint
- Hogs Hair Bristle Brushes – Filberts
- Gamsol Oderless Mineral Spirits
- Silicoil Brush Cleaning Tank
- Palette Paper
- Canvas Panel
Intermediate
2411 views
2 likes
Discuss this video in the forums!
DiscussChoose one video.
AUTO SCROLL
Hi, my name is Bill Perkins.
Welcome to the last session of our Color Boot Camp.
This session is on hue.
What we’re going to cover in this session are the different aspects of how we harmonize
color with a predominant hue.
Now, normally what you would have when we study hue are representation of
predominantly primary colors.
We’re going to take on each painting with a predominant hue, and we’re going to push
the color relationships just a little bit.
So, it’s going to be a lot of fun.
You’re going to get a chance to work from the photos we set up, and you’re going to
get a chance to watch me paint the very same thing.
Welcome to the last session of our Color Boot Camp.
This session is on hue.
What we’re going to cover in this session are the different aspects of how we harmonize
color with a predominant hue.
Now, normally what you would have when we study hue are representation of
predominantly primary colors.
We’re going to take on each painting with a predominant hue, and we’re going to push
the color relationships just a little bit.
So, it’s going to be a lot of fun.
You’re going to get a chance to work from the photos we set up, and you’re going to
get a chance to watch me paint the very same thing.
AUTO SCROLL
In this session on hue, we’re going to look at how hue will ignite one another.
When we start with a color hue we have all these different hue around the color wheel.
We can start with our primaries, yellow, red, blue.
If we start with our primaries, we can take this triad
and move it all the way around the circle.
Wherever we move this triangle around here those three different hue will always stay equidistant.
We have an even size here.
What will happen, because they are equidistant, there is going to be a type of polarity that
is going to push and repel those hue.
What’s going to happen as we do this, those hue will ignite one another.
They don’t closer to one another.
They don’t both get warmer or cooler.
They always stay in the same relationship to one another.
On our palette this is the idea of how hue works, but with our color palette we’re
going to have a red, yellow, blue represented with our paint, but we’re also going to
have another set of colors in here as well.
It’s not going to be the orange, purple, and green secondaries, necessarily.
But, what I’ve done is I’ve selected colors that work as our red, green, blue, and yellow,
cyan, and magenta.
Those are two different variations of additive color, and we’re painting with subtractive color.
But, I’ve found that if you combine the two you get a warm-cool version
of each of your hue.
So, I’m going to start with what I’m going to paint with—
let’s say these are our secondaries.
This might be an orange.
This might be a violet.
This one might be a blue-green or a green.
With our palette we have represented—I’ll point it out on here—the colors that we
have on our palette are going to be a little bit shifted from this.
We’re going to have yellow.
We’re going to have a red.
We’re going to have a blue.
We’re going to have a blue-green.
We’re going to have a phthalo blue.
We’re going to have a little bit of a cobalt blue.
We have our warmer blue, and we have a cooler blue here and here.
We’re also going to have the addition of a green, and opposing that green we might
stay a green-red in here.
But, what we’re going to do is split this primary like this, and we’re going to have
from a violet to red a magenta.
Okay, so we’re going to have a magenta, and then we’re going to have a warm red
over here.
This is going to be our naphthol red.
So, we’re going to have a yellow.
On our palette we’re going to have a cadmium yellow light.
That’s a very, very light value.
Here is our value range over here, from black to white.
Again, this is how we would measure value.
Hue we measure around the circumference of the color wheel.
Saturation we measure from the outside to the center.
That’s saturation.
Around the outside is how we measure hue.
Value we measure over here from light to dark.
Cadmium yellow light appears when we put it out on our palette it’s way up in this value.
It’s important to have the raw sienna on your palette because the raw sienna is a dark
saturated warm yellow.
It’s a lower value saturated yellow.
It’s far out on the color wheel.
It’s not neutralized.
It’s out here towards the outside circumference of this, but just a darker value of that.
That’s going to become necessary when you want to keep your yellow saturated in a darker value.
That way when mixing with that—we’ll be mixing with it, and I’ll show you how we do that.
But, any time that you identify a yellow as a dark yellow straight up,
start off with a raw sienna.
If you see a yellow, and it’s a light value yellow, you start with your cadmium yellow light.
That’s what you want to do.
Now, same thing.
As you mix through when you first identify a color, let’s say it’s the red of her blouse.
What you’re going to want to do is see that it’s red, and then you’re going to ask
yourself is it a light red, dark red, and then you’re going to ask yourself, is it
a warm red or is it a cool red.
Since you’re going to have two reds on your palette, this is a quinacridone red.
That’s the hue that is your pigment that is going to be on your palette.
It serves as your magenta or cool red.
What’s going to end up happening is if you decide that, okay, this is a cooler red, then
you start with this and add what it takes to bring you to the color you see.
That goes for your blues or anything else.
If you see a blue, what kind of blue.
Is it a cool blue, having a little bit of green in it?
Or is it a warm blue, having a little more red in it?
That’s what will tip you off into your initial dip into whatever color you’re going to start with.
Instead of dipping into just any old blue or any old red, you want to identify if it’s
a warm or cool version of that red or blue.
Now, I don’t have a cool version of that yellow.
You can white to that yellow, and that will create more of a lemon yellow.
That will cool down that yellow.
White is way up here, and it works as a cooling agent, and it will take the warmth right out
of that pigment.
You can create your cool yellow by mixing this, your white and your cadmium yellow light.
Mixing this and white will give you this cooler mixture.
That’s how you can get it that.
As we progress to this, like I said, I want you to look for the initial hue and then look
for the version.
Is it warm or is it cool.
We’ve talked about a color temperature so you should be understanding that pretty good
right now as well.
These colors, I’ll go one more time with these colors.
The colors that I put on the palette—if you work on a computer or whatever, you’re
going to see yellow, cyan, and magenta.
If you’re printing you might have a yellow, cyan, magenta, and black.
Or, if you’re looking on a monitor or a screen you might have red, green, and blue.
What’s going to happen here is as far as our colors go you’re going to have red right here.
You’re going to have magenta.
These are similar.
You have a warm and a cool version.
Now, the warm version of the blue is going to be the cobalt and that has red in it.
The cooler version is going to go towards the green, and that’s going to be the phthalo blue.
Your cyan is like your phthalo from there.
Then you have a yellow and green.
In the extreme this is your warmer yellow, and this will be a cooler yellow.
It is quite extreme, and you can mix white or mix through here to get those variations.
Again, this would become your yellow down here and your green from here.
Both your cyan, magenta, and your red, green, blue are represented on this palette.
That’s how you can come up with this warm-cool temperature palette, and that’s how I set
up this warm-cool temperature color palette so it would get you a good handle on your hue.
Not just your primaries, but give you a warm and cool version of each primary hue.
When we start with a color hue we have all these different hue around the color wheel.
We can start with our primaries, yellow, red, blue.
If we start with our primaries, we can take this triad
and move it all the way around the circle.
Wherever we move this triangle around here those three different hue will always stay equidistant.
We have an even size here.
What will happen, because they are equidistant, there is going to be a type of polarity that
is going to push and repel those hue.
What’s going to happen as we do this, those hue will ignite one another.
They don’t closer to one another.
They don’t both get warmer or cooler.
They always stay in the same relationship to one another.
On our palette this is the idea of how hue works, but with our color palette we’re
going to have a red, yellow, blue represented with our paint, but we’re also going to
have another set of colors in here as well.
It’s not going to be the orange, purple, and green secondaries, necessarily.
But, what I’ve done is I’ve selected colors that work as our red, green, blue, and yellow,
cyan, and magenta.
Those are two different variations of additive color, and we’re painting with subtractive color.
But, I’ve found that if you combine the two you get a warm-cool version
of each of your hue.
So, I’m going to start with what I’m going to paint with—
let’s say these are our secondaries.
This might be an orange.
This might be a violet.
This one might be a blue-green or a green.
With our palette we have represented—I’ll point it out on here—the colors that we
have on our palette are going to be a little bit shifted from this.
We’re going to have yellow.
We’re going to have a red.
We’re going to have a blue.
We’re going to have a blue-green.
We’re going to have a phthalo blue.
We’re going to have a little bit of a cobalt blue.
We have our warmer blue, and we have a cooler blue here and here.
We’re also going to have the addition of a green, and opposing that green we might
stay a green-red in here.
But, what we’re going to do is split this primary like this, and we’re going to have
from a violet to red a magenta.
Okay, so we’re going to have a magenta, and then we’re going to have a warm red
over here.
This is going to be our naphthol red.
So, we’re going to have a yellow.
On our palette we’re going to have a cadmium yellow light.
That’s a very, very light value.
Here is our value range over here, from black to white.
Again, this is how we would measure value.
Hue we measure around the circumference of the color wheel.
Saturation we measure from the outside to the center.
That’s saturation.
Around the outside is how we measure hue.
Value we measure over here from light to dark.
Cadmium yellow light appears when we put it out on our palette it’s way up in this value.
It’s important to have the raw sienna on your palette because the raw sienna is a dark
saturated warm yellow.
It’s a lower value saturated yellow.
It’s far out on the color wheel.
It’s not neutralized.
It’s out here towards the outside circumference of this, but just a darker value of that.
That’s going to become necessary when you want to keep your yellow saturated in a darker value.
That way when mixing with that—we’ll be mixing with it, and I’ll show you how we do that.
But, any time that you identify a yellow as a dark yellow straight up,
start off with a raw sienna.
If you see a yellow, and it’s a light value yellow, you start with your cadmium yellow light.
That’s what you want to do.
Now, same thing.
As you mix through when you first identify a color, let’s say it’s the red of her blouse.
What you’re going to want to do is see that it’s red, and then you’re going to ask
yourself is it a light red, dark red, and then you’re going to ask yourself, is it
a warm red or is it a cool red.
Since you’re going to have two reds on your palette, this is a quinacridone red.
That’s the hue that is your pigment that is going to be on your palette.
It serves as your magenta or cool red.
What’s going to end up happening is if you decide that, okay, this is a cooler red, then
you start with this and add what it takes to bring you to the color you see.
That goes for your blues or anything else.
If you see a blue, what kind of blue.
Is it a cool blue, having a little bit of green in it?
Or is it a warm blue, having a little more red in it?
That’s what will tip you off into your initial dip into whatever color you’re going to start with.
Instead of dipping into just any old blue or any old red, you want to identify if it’s
a warm or cool version of that red or blue.
Now, I don’t have a cool version of that yellow.
You can white to that yellow, and that will create more of a lemon yellow.
That will cool down that yellow.
White is way up here, and it works as a cooling agent, and it will take the warmth right out
of that pigment.
You can create your cool yellow by mixing this, your white and your cadmium yellow light.
Mixing this and white will give you this cooler mixture.
That’s how you can get it that.
As we progress to this, like I said, I want you to look for the initial hue and then look
for the version.
Is it warm or is it cool.
We’ve talked about a color temperature so you should be understanding that pretty good
right now as well.
These colors, I’ll go one more time with these colors.
The colors that I put on the palette—if you work on a computer or whatever, you’re
going to see yellow, cyan, and magenta.
If you’re printing you might have a yellow, cyan, magenta, and black.
Or, if you’re looking on a monitor or a screen you might have red, green, and blue.
What’s going to happen here is as far as our colors go you’re going to have red right here.
You’re going to have magenta.
These are similar.
You have a warm and a cool version.
Now, the warm version of the blue is going to be the cobalt and that has red in it.
The cooler version is going to go towards the green, and that’s going to be the phthalo blue.
Your cyan is like your phthalo from there.
Then you have a yellow and green.
In the extreme this is your warmer yellow, and this will be a cooler yellow.
It is quite extreme, and you can mix white or mix through here to get those variations.
Again, this would become your yellow down here and your green from here.
Both your cyan, magenta, and your red, green, blue are represented on this palette.
That’s how you can come up with this warm-cool temperature palette, and that’s how I set
up this warm-cool temperature color palette so it would get you a good handle on your hue.
Not just your primaries, but give you a warm and cool version of each primary hue.
AUTO SCROLL
For these paintings, we’re going to set our timer for 30 minutes.
That’s all I want you to do is just 30 minutes.
For this series of paintings on hue, we’re going to use a full palette.
Even though we’ll be predominantly using a magenta and some warm reds and neutrals into a green,
I want you to use a full palette.
Our full palette is going to consist of titanium white, cadmium yellow light.
You’re going to use a raw sienna. You can use a cadmium orange, if you like.
Naphthol red, which is our warm red, and then quinacridone red, which is our cool red.
That’s more of our magenta, our cool red.
You can use a phthalo green and then a phthalo blue, cobalt blue, and black.
This first painting we’re going to do is going to be keyed around a magenta, a cool red.
What I want to do is create a situation that makes that red really stand out. We’re going to have some variations
of warmer oranges and warmer reds that are going to go with that cool red,
and then we’re going to push them against a neutral, or we’re going to push over the gray into a little bit of a
greenish which is more of a complement of the magenta.
If you don’t feel like you got enough in that first painting and you want to do more,
don’t continue painting on that painting. What I’d rather have you do is start another one, start it fresh.
Again, start with a 10-minute sketch and then start your timer and then start painting with color after that.
Let’s go.
That’s all I want you to do is just 30 minutes.
For this series of paintings on hue, we’re going to use a full palette.
Even though we’ll be predominantly using a magenta and some warm reds and neutrals into a green,
I want you to use a full palette.
Our full palette is going to consist of titanium white, cadmium yellow light.
You’re going to use a raw sienna. You can use a cadmium orange, if you like.
Naphthol red, which is our warm red, and then quinacridone red, which is our cool red.
That’s more of our magenta, our cool red.
You can use a phthalo green and then a phthalo blue, cobalt blue, and black.
This first painting we’re going to do is going to be keyed around a magenta, a cool red.
What I want to do is create a situation that makes that red really stand out. We’re going to have some variations
of warmer oranges and warmer reds that are going to go with that cool red,
and then we’re going to push them against a neutral, or we’re going to push over the gray into a little bit of a
greenish which is more of a complement of the magenta.
If you don’t feel like you got enough in that first painting and you want to do more,
don’t continue painting on that painting. What I’d rather have you do is start another one, start it fresh.
Again, start with a 10-minute sketch and then start your timer and then start painting with color after that.
Let’s go.
AUTO SCROLL
Now that you’ve painted the first one, watch and follow along
and you can see how I’ve done the same thing.
When I initially start sketching what I’m going to do is I’m going to mix a neutral tone.
I’m not going to use any white.
May use a little bit of paint thinner just to thin it out a little bit.
Wipe off my brush a little bit so I just kind of—it’s not all so soupy.
But I’m going to get something that is in a similar hue to what I’m working with.
I might get it and wipe it off a little bit, and then I’ll draw with that.
Okay, the way I’m going to start off with this painting, I’m going to start off with
the most saturated color, which is this magenta, the color of her blouse.
That’s what I’m going to key off of for the rest of the painting.
I’m going to make sure that I’m going to need at the right value, and then I can
mix the background next to that, and her skin tones and so on, so they’re going to work with this.
Again, we’re keying this whole image around this color here and to get a good amount of
contrast between the warm colors in her skin and this magenta here.
We’re going to push this magenta real strong, and then what we’re going to do is we’re
going to push the other colors and harmonize them, by having a little variations on that
theme and then pushing it into gray a little bit over into the complement too.
That’ll harmonize our hue in there.
Okay, so I’m going to start with my magenta, this cool red, and I can see that I’m going
to need to cool it off just a little bit more, lighten this up.
Just a little bit more saturated and a little bit darker in here.
That is going to give us our main color in here.
Maybe I need to go a little darker yet.
Maybe I need to go a little bit darker, a little bit more saturated in there.
You can see the little bit of difference in there that I’m getting.
Yeah, this is better.
I’m getting a good little healthy coat of that magenta in there.
Okay, within that I’m just going to indicate some of the other areas
where it’s a little bit darker.
It tends to get a little bit warmer too.
That would be some of the areas over here.
Make it a little bit darker yet.
Go even darker yet, keeping that as saturated as I can in there.
Push that up in there.
And we get a little bit of variation on there.
Get this dark and keep it cool.
A little darker yet.
There we go.
Now, what I’m going to do is after I lay in this area I’m going to go into her hair
in here because it’s my next dark.
I’m going to go in and place my dark values in there.
It’s not all just this magenta that I’m going to see.
It’s going to have a good amount of a raw sienna.
I am going to warm it up, and I’m going to warm up that neutral with this same mixture.
Rather than jump into another red over here, I’m going to kind of stay with that.
I can use this is warm the magenta instead of dipping into the red.
That’ll keep me in this same range.
If I want to get lighter I can add a little bit of this yellow and bring this in.
You can see the mixtures that I’m making here.
I’m staying with my darker yellow and then my lighter yellow.
I can get these different shades in here.
I can get something like this.
Then I can get something that I’m even going to get a little bit greener.
I’m going to achieve the green my making some white and some black.
Get the black in here light that.
I’m going to mix some of the yellow.
I might have a little bit too much red mixed into this already, but if I can get a good
green mixed out of this—there we go.
Now it’s appearing to be a little bit more green, just a touch more. Here we go.
Into this dark tone like this.
Might need to get a little bit more green into her hair in the dark area as well over in here.
You can see it’s a little bit more warm on the top, but I can make an adjustment there.
Here we go.
So, I don’t want to go in and render too much.
What I want to do is get the base color down.
I’m going to add a little bit more red into here.
I’m going to get a little more reflection of the magenta up into the back of her hair in there.
I want to make sure that I get a little bit there.
The next area that I want to work on is I want to get her skin tone.
In order to get her skin tone I’m going to make a little space here, so I’m going
to clear out a little bit of my magenta down in here.
For her skin tone I might use some of the cool red to begin as well.
Some of the raw sienna.
Then I’m going to add some white in there.
It’s going to go pretty orange, pretty warm and saturated.
I know I’ve got to get a good amount of this green or kind of a neutral—I’ll mix
this back up in here just a little bit.
I need to get that into this color.
Good portion.
I’ll add just a touch of the green in there as well because I need to neutralize that
out just a little bit.
You can see from this greenish to more of a pinkish color in here, we’re going to
be somewhere in the middle.
We’ll get a little bit lighter and a little bit more yellow in there.
This is going to be more of my yellowish tone.
Let me get this tone back in here as well.
I’m kind of pushing this, you can see I’m pushing a little bit of the green into this.
I see this on the sides of her temple and areas around her hair in here
I’m going to just get a touch of that in here, and then I’ll go ahead
and block in her face here.
I see there are a little bit warmer tones in some of the soft shadows in here.
We don’t have strong shadows in this situation.
They’re kind of softer.
I’m going to warm that up just a little bit now.
I’m going to see if her cheeks in here are going to be more along this line right through
here, almost like a color band that you can see on her cheeks.
Rosy cheeks and nose in there.
Also, as cheeks come down here, there is quite a bit of a red.
Put that in. There we go.
Okay, now some of the lighter areas on her face too, I’m going to get back to this
more neutral color in here.
I can see that her skin tones are a little bit lighter in areas like this.
You can see I’m not really holding back in terms of my use of the hue.
Possibly a little bit yellower and whiter up there.
Okay, now we’re going to get back to warming this slightly.
These areas in here.
And what we see down in here is a little bit warmer.
It’s not as gray as that, but it’s a little darker.
It stays in this family.
The corner of her mouth down here stays a little bit green, so I’m going to keep that.
Now I’m going to make it a little bit darker, and it’s going a little bit greener in the
shadow down here.
Now, this shadow under here is going to ignite this.
It’s going a little bit towards the complement there.
Then it comes down in here.
This isn’t the reflected light.
This is the cast shadow onto her neck
Since I’m in those areas of color that’s where I’m going to go with that.
I will get a reflected light in there.
Right now I’m going to start on the shadow areas around her eyes, and they’re going
to be a good degree warmer and darker.
I can take a little bit of that.
Yes, I use my fingers a lot. Fingers are okay.
Just softening the edge there.
I’m going to also do the same over here.
Lighten that up just a little bit.
It’s a little bit dark in there, so let’s lighten that up.
Along the edge of this too.
Okay, under her eyes it’s going a little bit more neutral, but still within that same
range, just a little bit more neutral.
And her ears, let me get back over into some of the warmth.
I’m going to warm this up and bring this down just a little.
Saturate that just a little bit in there.
Come back here for this.
I can go a little bit darker yet.
There we go.
Same thing over here.
These are a little darker and warmer.
Now I want to get her neck.
Her neck is a little bit lighter and yellower, so I’m going to go into this mixture that
I had over here, and I’m going to go down in here and get something like that.
I had over here, and I’m going to go down in here and get something like that.
Get it a little bit more saturated in there. In this area.
It’s a little bit warmer, a little bit darker in the middle here.
It’ll be the same back here.
Lighter, and little greener.
When I say greener I’m going to go with this mixture rather than put a lot of green
in, I’m going to go with this mixture and use my yellow and black to make the green.
We’ll just use a touch of that.
There we go.
Maybe that’s a little too saturated of green.
Let me pull that back a little bit with this and get that here.
I want to get under her nose, the reflected light, and the background.
Let me start with the background first because I don’t want to get into too much breakup
in there before is start doing the—before I get all the spots.
Let me get the background.
Okay, if I start with this.
I’m using some of the green, some of the magenta that was in here.
I’m going to get a little bit more yellow in this side over here, so I’m going to
make sure that I get that in there.
The magenta keeps wanting to pop back in.
But I want to get a little bit more of the yellow in this side over here.
As we’re running down on time I want to make sure I get things
blocked in here the best that I can.
I have a little bit of variation, and as you guys have been painting a little bit more,
you can look at some broken colors in here where you have unmixed colors that can all
work together in this background.
This gets a little bit greener in here, and I’m going to go ahead and let that be greener
because when we see it against her skin it needs to be much cooler than her skin.
Her neck is a little longer on this side.
We pull that down.
Bring that down slightly.
You can always fix or correct your drawing when we’re painting like this.
Right now we just want to get those color spots working together.
Large spots.
There we go.
Okay, now I want to get in and put in some of the accents like her lips and neutralize
that down just a little bit. There we go.
There is her upper lip.
Her lower lip is cooler, so I’m going to go ahead and let that be cooler.
Cool that off a little bit there.
It’s even cooler yet.
Look at that.
Put it down here.
Now we just need to adjust the shape a little bit.
Get in and make sure we punctuate that with something saturated.
I’m going to get it dark. Keep it saturated.
Okay, now I know I can soften some of these edges as we go.
Then I need to get what appears to be kind of a shadow under her nose.
A little bit darker in here like this.
Now this is the shadow on her nose.
As you can see, it appears to have a little bit more green in it, but the reflected light
under her nose is going to have a little bit more warm in it.
It’s going to be a little bit more like this.
It’s pulling from the magenta as well.
I’ll get a little bit more of that in there as well.
Now, as far as the reflected light of the magenta under her chin I’m going to get
a little bit of that in there as well.
That’s going to come in like this.
So it’s slightly lighter than the shadowing color down in there, but it’s going to pick
up some of the reflection under there.
Put next to that green you can see a little bit of vibration going on there.
Now, what I need to do is I need to get the color of the shadow under her lip too.
Again, this is going to be kind of a softer kind of a tone like that where the reflected
light under her lip is going to be a little warmer like this.
Okay, so she has a little bit of a cooler light under her chin but it’s going to be
a little bit lighter, going to be a little more neutral than what I have down here now.
I can go a little bit farther yet.
I can go a little bit lighter in terms of those.
I’m going to neutralize this just a little bit.
Keep it light. Keep it neutral.
I see a little bit under here and the same under here.
With our short time left, I’ll go in and just put in some of the accents in her hair
to warm that mixture up a little bit.
This might be the color that I see for part of her brow, a little cooler maybe.
That’s a little too dark.
Running out of time here, too, so… there we go.
Okay, so there are our spots of color, where we have our predominant color of magenta.
We get a range of these warm tones in here.
Some of the greens are showing.
Her skin is looking a little bit green in some of these areas along with the warm.
And they do with the reaction next to this.
It’s a simultaneous color contrast.
It makes it appear a little bit greener.
We’ll get a little bit of these relationships in the background where I have left a little
bit of the—it’s a neutral tone, but I’ve left a couple little bits unmixed.
If I wanted to accentuate some of that, I could then get a couple little bits and then
get a little bit more of that intermittent green that’s going to kind of ignite that
area around the magenta.
More yellow, green.
I might be working in here with some of these other colors pretty well.
If I have a green like this, I can take a white with a magenta in here like this.
I’m going to mix that right in there.
Then I can put it in there and not get it totally mixed together.
Then I can come back in and get a little bit of this.
This will echo the magenta a little bit.
I want to make sure that I’m not getting it completely mixed.
That way it’ll get a little bit of this magenta back up into the background here,
and it’ll kind of bring some of these colors altogether.
and you can see how I’ve done the same thing.
When I initially start sketching what I’m going to do is I’m going to mix a neutral tone.
I’m not going to use any white.
May use a little bit of paint thinner just to thin it out a little bit.
Wipe off my brush a little bit so I just kind of—it’s not all so soupy.
But I’m going to get something that is in a similar hue to what I’m working with.
I might get it and wipe it off a little bit, and then I’ll draw with that.
Okay, the way I’m going to start off with this painting, I’m going to start off with
the most saturated color, which is this magenta, the color of her blouse.
That’s what I’m going to key off of for the rest of the painting.
I’m going to make sure that I’m going to need at the right value, and then I can
mix the background next to that, and her skin tones and so on, so they’re going to work with this.
Again, we’re keying this whole image around this color here and to get a good amount of
contrast between the warm colors in her skin and this magenta here.
We’re going to push this magenta real strong, and then what we’re going to do is we’re
going to push the other colors and harmonize them, by having a little variations on that
theme and then pushing it into gray a little bit over into the complement too.
That’ll harmonize our hue in there.
Okay, so I’m going to start with my magenta, this cool red, and I can see that I’m going
to need to cool it off just a little bit more, lighten this up.
Just a little bit more saturated and a little bit darker in here.
That is going to give us our main color in here.
Maybe I need to go a little darker yet.
Maybe I need to go a little bit darker, a little bit more saturated in there.
You can see the little bit of difference in there that I’m getting.
Yeah, this is better.
I’m getting a good little healthy coat of that magenta in there.
Okay, within that I’m just going to indicate some of the other areas
where it’s a little bit darker.
It tends to get a little bit warmer too.
That would be some of the areas over here.
Make it a little bit darker yet.
Go even darker yet, keeping that as saturated as I can in there.
Push that up in there.
And we get a little bit of variation on there.
Get this dark and keep it cool.
A little darker yet.
There we go.
Now, what I’m going to do is after I lay in this area I’m going to go into her hair
in here because it’s my next dark.
I’m going to go in and place my dark values in there.
It’s not all just this magenta that I’m going to see.
It’s going to have a good amount of a raw sienna.
I am going to warm it up, and I’m going to warm up that neutral with this same mixture.
Rather than jump into another red over here, I’m going to kind of stay with that.
I can use this is warm the magenta instead of dipping into the red.
That’ll keep me in this same range.
If I want to get lighter I can add a little bit of this yellow and bring this in.
You can see the mixtures that I’m making here.
I’m staying with my darker yellow and then my lighter yellow.
I can get these different shades in here.
I can get something like this.
Then I can get something that I’m even going to get a little bit greener.
I’m going to achieve the green my making some white and some black.
Get the black in here light that.
I’m going to mix some of the yellow.
I might have a little bit too much red mixed into this already, but if I can get a good
green mixed out of this—there we go.
Now it’s appearing to be a little bit more green, just a touch more. Here we go.
Into this dark tone like this.
Might need to get a little bit more green into her hair in the dark area as well over in here.
You can see it’s a little bit more warm on the top, but I can make an adjustment there.
Here we go.
So, I don’t want to go in and render too much.
What I want to do is get the base color down.
I’m going to add a little bit more red into here.
I’m going to get a little more reflection of the magenta up into the back of her hair in there.
I want to make sure that I get a little bit there.
The next area that I want to work on is I want to get her skin tone.
In order to get her skin tone I’m going to make a little space here, so I’m going
to clear out a little bit of my magenta down in here.
For her skin tone I might use some of the cool red to begin as well.
Some of the raw sienna.
Then I’m going to add some white in there.
It’s going to go pretty orange, pretty warm and saturated.
I know I’ve got to get a good amount of this green or kind of a neutral—I’ll mix
this back up in here just a little bit.
I need to get that into this color.
Good portion.
I’ll add just a touch of the green in there as well because I need to neutralize that
out just a little bit.
You can see from this greenish to more of a pinkish color in here, we’re going to
be somewhere in the middle.
We’ll get a little bit lighter and a little bit more yellow in there.
This is going to be more of my yellowish tone.
Let me get this tone back in here as well.
I’m kind of pushing this, you can see I’m pushing a little bit of the green into this.
I see this on the sides of her temple and areas around her hair in here
I’m going to just get a touch of that in here, and then I’ll go ahead
and block in her face here.
I see there are a little bit warmer tones in some of the soft shadows in here.
We don’t have strong shadows in this situation.
They’re kind of softer.
I’m going to warm that up just a little bit now.
I’m going to see if her cheeks in here are going to be more along this line right through
here, almost like a color band that you can see on her cheeks.
Rosy cheeks and nose in there.
Also, as cheeks come down here, there is quite a bit of a red.
Put that in. There we go.
Okay, now some of the lighter areas on her face too, I’m going to get back to this
more neutral color in here.
I can see that her skin tones are a little bit lighter in areas like this.
You can see I’m not really holding back in terms of my use of the hue.
Possibly a little bit yellower and whiter up there.
Okay, now we’re going to get back to warming this slightly.
These areas in here.
And what we see down in here is a little bit warmer.
It’s not as gray as that, but it’s a little darker.
It stays in this family.
The corner of her mouth down here stays a little bit green, so I’m going to keep that.
Now I’m going to make it a little bit darker, and it’s going a little bit greener in the
shadow down here.
Now, this shadow under here is going to ignite this.
It’s going a little bit towards the complement there.
Then it comes down in here.
This isn’t the reflected light.
This is the cast shadow onto her neck
Since I’m in those areas of color that’s where I’m going to go with that.
I will get a reflected light in there.
Right now I’m going to start on the shadow areas around her eyes, and they’re going
to be a good degree warmer and darker.
I can take a little bit of that.
Yes, I use my fingers a lot. Fingers are okay.
Just softening the edge there.
I’m going to also do the same over here.
Lighten that up just a little bit.
It’s a little bit dark in there, so let’s lighten that up.
Along the edge of this too.
Okay, under her eyes it’s going a little bit more neutral, but still within that same
range, just a little bit more neutral.
And her ears, let me get back over into some of the warmth.
I’m going to warm this up and bring this down just a little.
Saturate that just a little bit in there.
Come back here for this.
I can go a little bit darker yet.
There we go.
Same thing over here.
These are a little darker and warmer.
Now I want to get her neck.
Her neck is a little bit lighter and yellower, so I’m going to go into this mixture that
I had over here, and I’m going to go down in here and get something like that.
I had over here, and I’m going to go down in here and get something like that.
Get it a little bit more saturated in there. In this area.
It’s a little bit warmer, a little bit darker in the middle here.
It’ll be the same back here.
Lighter, and little greener.
When I say greener I’m going to go with this mixture rather than put a lot of green
in, I’m going to go with this mixture and use my yellow and black to make the green.
We’ll just use a touch of that.
There we go.
Maybe that’s a little too saturated of green.
Let me pull that back a little bit with this and get that here.
I want to get under her nose, the reflected light, and the background.
Let me start with the background first because I don’t want to get into too much breakup
in there before is start doing the—before I get all the spots.
Let me get the background.
Okay, if I start with this.
I’m using some of the green, some of the magenta that was in here.
I’m going to get a little bit more yellow in this side over here, so I’m going to
make sure that I get that in there.
The magenta keeps wanting to pop back in.
But I want to get a little bit more of the yellow in this side over here.
As we’re running down on time I want to make sure I get things
blocked in here the best that I can.
I have a little bit of variation, and as you guys have been painting a little bit more,
you can look at some broken colors in here where you have unmixed colors that can all
work together in this background.
This gets a little bit greener in here, and I’m going to go ahead and let that be greener
because when we see it against her skin it needs to be much cooler than her skin.
Her neck is a little longer on this side.
We pull that down.
Bring that down slightly.
You can always fix or correct your drawing when we’re painting like this.
Right now we just want to get those color spots working together.
Large spots.
There we go.
Okay, now I want to get in and put in some of the accents like her lips and neutralize
that down just a little bit. There we go.
There is her upper lip.
Her lower lip is cooler, so I’m going to go ahead and let that be cooler.
Cool that off a little bit there.
It’s even cooler yet.
Look at that.
Put it down here.
Now we just need to adjust the shape a little bit.
Get in and make sure we punctuate that with something saturated.
I’m going to get it dark. Keep it saturated.
Okay, now I know I can soften some of these edges as we go.
Then I need to get what appears to be kind of a shadow under her nose.
A little bit darker in here like this.
Now this is the shadow on her nose.
As you can see, it appears to have a little bit more green in it, but the reflected light
under her nose is going to have a little bit more warm in it.
It’s going to be a little bit more like this.
It’s pulling from the magenta as well.
I’ll get a little bit more of that in there as well.
Now, as far as the reflected light of the magenta under her chin I’m going to get
a little bit of that in there as well.
That’s going to come in like this.
So it’s slightly lighter than the shadowing color down in there, but it’s going to pick
up some of the reflection under there.
Put next to that green you can see a little bit of vibration going on there.
Now, what I need to do is I need to get the color of the shadow under her lip too.
Again, this is going to be kind of a softer kind of a tone like that where the reflected
light under her lip is going to be a little warmer like this.
Okay, so she has a little bit of a cooler light under her chin but it’s going to be
a little bit lighter, going to be a little more neutral than what I have down here now.
I can go a little bit farther yet.
I can go a little bit lighter in terms of those.
I’m going to neutralize this just a little bit.
Keep it light. Keep it neutral.
I see a little bit under here and the same under here.
With our short time left, I’ll go in and just put in some of the accents in her hair
to warm that mixture up a little bit.
This might be the color that I see for part of her brow, a little cooler maybe.
That’s a little too dark.
Running out of time here, too, so… there we go.
Okay, so there are our spots of color, where we have our predominant color of magenta.
We get a range of these warm tones in here.
Some of the greens are showing.
Her skin is looking a little bit green in some of these areas along with the warm.
And they do with the reaction next to this.
It’s a simultaneous color contrast.
It makes it appear a little bit greener.
We’ll get a little bit of these relationships in the background where I have left a little
bit of the—it’s a neutral tone, but I’ve left a couple little bits unmixed.
If I wanted to accentuate some of that, I could then get a couple little bits and then
get a little bit more of that intermittent green that’s going to kind of ignite that
area around the magenta.
More yellow, green.
I might be working in here with some of these other colors pretty well.
If I have a green like this, I can take a white with a magenta in here like this.
I’m going to mix that right in there.
Then I can put it in there and not get it totally mixed together.
Then I can come back in and get a little bit of this.
This will echo the magenta a little bit.
I want to make sure that I’m not getting it completely mixed.
That way it’ll get a little bit of this magenta back up into the background here,
and it’ll kind of bring some of these colors altogether.
AUTO SCROLL
Now, in this painting you’re going to have a color situation that’s really going to be
based around an extreme color situation of a green light.
We’re going to have some greens. We’re going to have variations of orange with the green.
Then we’re going to have some blues in here. It’s going to be pretty bold.
The lighting situation is pretty strong, but it makes it really interesting.
So, look for the extreme colors in the skin tones. You’ll see that first off.
I want you to just match those colors the best you can. We’re looking at those very carefully.
The spots of color. The background in light. The background in shadow.
I want you to look for the skin in light, the skin in shadow, her blouse in light, and her blouse in shadow.
If you get those relationships correct,
you’re going to paint this extreme lighting situation and it’ll feel like a real light scenario.
So, let's get started.
based around an extreme color situation of a green light.
We’re going to have some greens. We’re going to have variations of orange with the green.
Then we’re going to have some blues in here. It’s going to be pretty bold.
The lighting situation is pretty strong, but it makes it really interesting.
So, look for the extreme colors in the skin tones. You’ll see that first off.
I want you to just match those colors the best you can. We’re looking at those very carefully.
The spots of color. The background in light. The background in shadow.
I want you to look for the skin in light, the skin in shadow, her blouse in light, and her blouse in shadow.
If you get those relationships correct,
you’re going to paint this extreme lighting situation and it’ll feel like a real light scenario.
So, let's get started.
AUTO SCROLL
Now that you’ve done yours, now I’m going to do the same thing.
You can follow along and watch along slowly as I move through my 30-minute painting as well.
Let’s go.
Alright, with this painting the overall key is this kind of a greenish tone.
The shadows are grouping together in a very kind of a blue fashion.
The blouse in on the orange side, and it’s shifted a little bit from her skin.
Even her skin is really strong with this green, and there are just a couple of little warm
tones that are kind of punched in on her cheeks and stuff.
We’ll use those to turn the planes slightly.
It’s overall this very keyed hue.
I’m going to start with mixing some of my darks.
Let me figure this out.
Again, I can rework my drawing all I want.
Right now I just want to get these general areas, and I’ll start with my darks.
Okay, in my darks I’m seeing them pretty blue.
I’m going to get back into this, a little bit of the phthalo and a little bit of the
Alright, with this painting the overall key cobalt blue.
I’m going to start with that.
It’s very dark, and it has some of this green in it as well.
I’m going to get in with a little bit of phthalo green.
This is going to be pretty saturated in here.
It’s dark and it’s saturated.
I’m going to use some of the red.
The red will actually make it a little bit darker, but it’ll make it more of a complement
of the green out here.
I’m going to push a little of that in there, get my darkest darks on here.
The next darkest value that I have is her skintone in shadow, which is going to be quite
a bit warmer than her hair up there.
But it’s still going to be rather dark.
I used a little bit of the raw sienna because I don’t want to warm it up too much.
I’ll warm this just a little bit, and then we’ll put this in.
It’s going to be really contrasty.
We’re going to have a lot of contrast.
It’s going to be pretty dark on her neck where it’s getting a little reflection from
the skull there.
I put the skull in this image so that you could see the effect of white or off-white
with this strong colored light source.
You’re going to see that along the edge her skin is going to get real warm in this
area because it’s reflecting off of here.
As we reflect off of the front, it’s going to be reflecting a little bit more of the blue.
I’m going to still keep that a little bit warm in here, but it’s going to have a blue
or cooling affect in here.
Down to her blouse, which is going to come like this.
The background is going to influence a little bit of her shoulder, so it’s going to get
a little bit more green in it.
I’ll warm that up just a little bit.
We still want to feel that green in her skin tone on the area here of the shoulder.
Got a little too much on there.
So we’re going to see the effect of the background on her arm a little bit.
Might seem a little bit warmer and dark right in here because it’s going to be reflecting
some of her blouse.
Now, as we go down here the darks down here on her blouse are going to be a little warmer.
I’m going to start with that.
I’m going to make a warm red, really warm peach color, but it needs to go much darker.
I need to make sure it stays pretty saturated as I make it go in here and go darker.
I see a real difference between her skin in shadow and her blouse.
I want to make sure I get that working properly, a value difference.
The solid shadow here of the skull on her hand.
It goes really dark right up under her knuckles in here.
That’s going to even go darker in here like that.
Her skin in shadow is going to still retain the warmth of her natural skin color, but
it’s so extreme with this kind of lighting.
And as I get over onto the light side over there, I can see that it’s going to be quite a
bit greener in there like that, and in here at the edge of this.
So we’re really setting this up to be very, very green under her lip here.
Get this a little bit warmer under there.
And I see the same thing under her chin there.
All of these values are really dark.
You can see that they’re warmer down here and cooler up there, and that’s where it’s
kind of coming across that way.
Okay, so I laid in the shadow shape on her and her top.
Now what I’m going to do is I’m going to put in the shadow of—I’m tying all
these shadows together, and I’m going to put in the shadow of the background.
The background is going to have the appearance of a little bit of blue, less this warm green
light, this yellow-green light.
I’m going to make that just a little bit—there we go.
I’m going to use a little bit of the phthalo blue in there, and then I can use some of
the naphthol red.
That’ll actually neutralize it just a little bit.
I’ll keep this fairly neutral in here.
Keep some of this local color in there and then put this in here.
The skull itself, I’m seeing something similar over here in the skull itself, but I see it
as a lighter value and a touch more green in it.
So I’m going to go with a lighter value.
I’m going to get a little bit more green in it.
And I’m going to see that right in there.
And darker.
I’m going to my darker yellow now in this area here and a little bit along the side here too.
Although the rest of the skull out here in shadow is getting some bounced light off of her.
Even though she is hit with this yellow-green light, she is going to be bouncing a little
bit more warmth back on there.
I’m going to make this is a little warmer here, here,
and I’m going to push it back into this.
And we can see a little bit of that on here.
Let me get that a little darker yet.
And then really dark greenish, kind of a warm
green tone deep in here.
Okay, so those are those spots.
Now I’m going to get into the colors that are in light.
These are all deep, deep fairly saturated hue.
Now I’m going to get into the saturated light values.
I’m going to start with her blouse.
I can see that color, how to mix in my mind, I can see that color how to mix that just
a little bit more clearly than her skin right at the moment.
I’m going to start with this.
I’m going to add some of the red and darken that down just a little bit.
I know I’m going to need to neutralize this a bit.
I’m going to get it in here.
Then I’m going to mix some of the green into it.
It is getting influenced by this greenish light, but I want to make sure that it still
stays having this warm, peachy kind of a hue to it, even though it’s pretty green.
That’s not quite enough.
I want to get a little bit more kind of a peachy green into it, a little bit more warmth
in this peachy tone in here.
There we go.
Actually, I’m going to take that and cool that slightly.
Keep it saturated and cool it slightly.
See a little bit more peach up in this area.
Get a little bit more kind of an orange in here as well.
That’s a little better.
Had to adjust that just a little bit.
Okay, now that I set this, the warmth of this, I can make her skin greener than that now.
Once I see this, then I can go ahead and make the mixture for her skin.
Her skin is going to be a little darker and a little greener.
Let’s see if I can get this…there we go, something like that up in there.
Her hand and arm is a little bit darker than the rest of her skin over there, a little darker greener,
so I’m going to go ahead and put that in there.
A little warmer, a little lighter in the front here.
Then it goes pretty dark over on this side over here.
As it goes into shadow, I’m going to get a little bit more warmth in there because
that’s her skin reflecting—or the blouse reflecting into her skin.
Some back up in here too.
And the greenness of this background reflecting into the outside of her arm here.
A little warmer.
Her hand is getting some pretty green light on it up here, so I want to make sure that
I get that reflected in there.
There we go.
We need to make it a little darker.
Now, on her forehead, I’m going to go back
up to forehead here, and I can see that there is some real greenness going on on the edge
of the light here.
That’s a little warmer and redder down in here, a little bit under here.
As it goes up under her jaw there like that.
Now, before I put in the rest of her skin in light, I want to get the background
in because I can see that color mixture a little bit more clearly.
I want to make sure that I’m right on with that color before I start mixing too much
into her skin and making any variations in her skin and light.
I want to make sure that I really get the background and kind of surround this and set
the stage for the color mixtures there.
Those will be my last mixtures on there.
Okay, so with the background I’m going to need a light yellow-green.
Okay.
We’ll keep that nice and saturated up there.
Keep the glare off it so you can see the color.
By making my strokes sideways there you can at least see the colors.
It’s a little cooler and a little darker over here, so I’ll make it a little cooler,
a little darker over in here.
Get back to some of this warm, bright green, yellow-greens in here.
Make this soft.
Okay, now to get into her skin and I can see that if I go from this mixture, the background,
then I’m going to be adding some of the raw sienna and a little bit more of the orange
with the raw sienna to get her skin tone.
Still, I want to keep it pretty saturated.
Need to go a little darker and a little warmer.
There we go.
And I’m just covering the whole area here.
I’ll come back and get a few more variations in this hue in her cheeks like we talked about
in the beginning and on her nose in there too.
This is going to be darkened down slightly over on this side.
And the reason is—the reason it’s a little darker over here is because it’s surrounded
by a dark.
Any time you have a color surrounded by a light value like this surrounded by a dark
you have to mix it down a little darker as well.
Otherwise, it’ll just stand out and sit on top.
It’ll feel kind of like a mistake.
So, I’ll drop that down just a little bit.
I’m going to add a little bit more red into this.
I’m going to get this a little lighter.
It needs to go a little bit lighter.
This area here under her nose.
You can see I’m cooling this down just a little bit in the front plane here.
It’s going quite a bit darker over here.
Then I’ll warm it just a little bit in here.
And I’m going to warm it again along the edge.
It seems to be a little bit of a glow along this little edge here.
I’m accentuating that.
I’m pushing a little bit of that in.
At the same time I can get a little bit more of a red, it’s pretty much a straight red
that I’m adding into that green mixture.
That’s going to go in her cheek.
Go a little bit more.
And a little lighter, yellower, where her earlobe sticks out.
Within her ear, it’s going to go dark.
In this area it’s going to go dark.
Inside her ear we see just a little bit of that.
And then I have to go back and surround with her hair.
I’m going to go back to her hair color that I provided before.
Put a little bit more green in there.
For any of the shadowing under her nose, it’s going to be a little bit neutral in there.
I see that it’s getting a little dark and a little neutral in here.
Then the reflected light under nose and a little bit on her nose is going to be a little
bit redder like her cheek over there.
Even some on the ridge of her nose up here.
There we go.
Now, to hold that edge as it goes down into darkness, I’m going to get a little bit
more red, but I need to get it as dark as the shadow in there.
Close to it so I can turn that into that shadow area.
There we go.
Now, real quickly since I’m running out of time, I’m going to get her lips in here.
There we go.
A little bit darker in there.
Her lower lip, again, affected by the green.
I’m going to get the green in here like this and then mix it into this and see that
this is the value in here.
A bit of the color on her lower lip in light as it goes into shadow.
It’s going to take on a little bit more of its own local color.
It’s going to be a little bit redder in here.
And with just a couple seconds left, I want to get a little note on the skull so that
we can register the value differences on the skull
here too.
There we go.
Brighter yellow over here.
It’s kind of got this brighter yellow all over like this.
Bit of green in there.
Really more green in some of these little areas in here.
There is light, but it’s quite a bit of green in here and here.
Then it’s going pretty yellow-white on the last little bit here I’m going to put in here.
And there we go.
So, we can see the really strong influence of this yellow-green on everything, and that’s
why I wanted to get something of a strong white or an off-white to see how that yellow
light affects it, and then we can relate that to how it affects her skin.
You can see this isn’t any normal skin color, and it actually sets up for a pretty nice
fun color harmony that you can play with.
You might have felt this was a little bit difficult only because the only difficult
factor here is that it’s not really skin color.
It doesn’t reflect what you might see on a person in an everyday situation.
From that standpoint, maybe it’s hard for you to actually mix the colors that would
go in here, but that’s just something that if you really observe the color—just getting
a little of the whites of her eyes in here.
If you really observe the color, you can really make those balances work.
And my time is up so I’m not going to be able to finish this, but it’s a good beginning,
and I hope you have fun doing your beginnings.
You can follow along and watch along slowly as I move through my 30-minute painting as well.
Let’s go.
Alright, with this painting the overall key is this kind of a greenish tone.
The shadows are grouping together in a very kind of a blue fashion.
The blouse in on the orange side, and it’s shifted a little bit from her skin.
Even her skin is really strong with this green, and there are just a couple of little warm
tones that are kind of punched in on her cheeks and stuff.
We’ll use those to turn the planes slightly.
It’s overall this very keyed hue.
I’m going to start with mixing some of my darks.
Let me figure this out.
Again, I can rework my drawing all I want.
Right now I just want to get these general areas, and I’ll start with my darks.
Okay, in my darks I’m seeing them pretty blue.
I’m going to get back into this, a little bit of the phthalo and a little bit of the
Alright, with this painting the overall key cobalt blue.
I’m going to start with that.
It’s very dark, and it has some of this green in it as well.
I’m going to get in with a little bit of phthalo green.
This is going to be pretty saturated in here.
It’s dark and it’s saturated.
I’m going to use some of the red.
The red will actually make it a little bit darker, but it’ll make it more of a complement
of the green out here.
I’m going to push a little of that in there, get my darkest darks on here.
The next darkest value that I have is her skintone in shadow, which is going to be quite
a bit warmer than her hair up there.
But it’s still going to be rather dark.
I used a little bit of the raw sienna because I don’t want to warm it up too much.
I’ll warm this just a little bit, and then we’ll put this in.
It’s going to be really contrasty.
We’re going to have a lot of contrast.
It’s going to be pretty dark on her neck where it’s getting a little reflection from
the skull there.
I put the skull in this image so that you could see the effect of white or off-white
with this strong colored light source.
You’re going to see that along the edge her skin is going to get real warm in this
area because it’s reflecting off of here.
As we reflect off of the front, it’s going to be reflecting a little bit more of the blue.
I’m going to still keep that a little bit warm in here, but it’s going to have a blue
or cooling affect in here.
Down to her blouse, which is going to come like this.
The background is going to influence a little bit of her shoulder, so it’s going to get
a little bit more green in it.
I’ll warm that up just a little bit.
We still want to feel that green in her skin tone on the area here of the shoulder.
Got a little too much on there.
So we’re going to see the effect of the background on her arm a little bit.
Might seem a little bit warmer and dark right in here because it’s going to be reflecting
some of her blouse.
Now, as we go down here the darks down here on her blouse are going to be a little warmer.
I’m going to start with that.
I’m going to make a warm red, really warm peach color, but it needs to go much darker.
I need to make sure it stays pretty saturated as I make it go in here and go darker.
I see a real difference between her skin in shadow and her blouse.
I want to make sure I get that working properly, a value difference.
The solid shadow here of the skull on her hand.
It goes really dark right up under her knuckles in here.
That’s going to even go darker in here like that.
Her skin in shadow is going to still retain the warmth of her natural skin color, but
it’s so extreme with this kind of lighting.
And as I get over onto the light side over there, I can see that it’s going to be quite a
bit greener in there like that, and in here at the edge of this.
So we’re really setting this up to be very, very green under her lip here.
Get this a little bit warmer under there.
And I see the same thing under her chin there.
All of these values are really dark.
You can see that they’re warmer down here and cooler up there, and that’s where it’s
kind of coming across that way.
Okay, so I laid in the shadow shape on her and her top.
Now what I’m going to do is I’m going to put in the shadow of—I’m tying all
these shadows together, and I’m going to put in the shadow of the background.
The background is going to have the appearance of a little bit of blue, less this warm green
light, this yellow-green light.
I’m going to make that just a little bit—there we go.
I’m going to use a little bit of the phthalo blue in there, and then I can use some of
the naphthol red.
That’ll actually neutralize it just a little bit.
I’ll keep this fairly neutral in here.
Keep some of this local color in there and then put this in here.
The skull itself, I’m seeing something similar over here in the skull itself, but I see it
as a lighter value and a touch more green in it.
So I’m going to go with a lighter value.
I’m going to get a little bit more green in it.
And I’m going to see that right in there.
And darker.
I’m going to my darker yellow now in this area here and a little bit along the side here too.
Although the rest of the skull out here in shadow is getting some bounced light off of her.
Even though she is hit with this yellow-green light, she is going to be bouncing a little
bit more warmth back on there.
I’m going to make this is a little warmer here, here,
and I’m going to push it back into this.
And we can see a little bit of that on here.
Let me get that a little darker yet.
And then really dark greenish, kind of a warm
green tone deep in here.
Okay, so those are those spots.
Now I’m going to get into the colors that are in light.
These are all deep, deep fairly saturated hue.
Now I’m going to get into the saturated light values.
I’m going to start with her blouse.
I can see that color, how to mix in my mind, I can see that color how to mix that just
a little bit more clearly than her skin right at the moment.
I’m going to start with this.
I’m going to add some of the red and darken that down just a little bit.
I know I’m going to need to neutralize this a bit.
I’m going to get it in here.
Then I’m going to mix some of the green into it.
It is getting influenced by this greenish light, but I want to make sure that it still
stays having this warm, peachy kind of a hue to it, even though it’s pretty green.
That’s not quite enough.
I want to get a little bit more kind of a peachy green into it, a little bit more warmth
in this peachy tone in here.
There we go.
Actually, I’m going to take that and cool that slightly.
Keep it saturated and cool it slightly.
See a little bit more peach up in this area.
Get a little bit more kind of an orange in here as well.
That’s a little better.
Had to adjust that just a little bit.
Okay, now that I set this, the warmth of this, I can make her skin greener than that now.
Once I see this, then I can go ahead and make the mixture for her skin.
Her skin is going to be a little darker and a little greener.
Let’s see if I can get this…there we go, something like that up in there.
Her hand and arm is a little bit darker than the rest of her skin over there, a little darker greener,
so I’m going to go ahead and put that in there.
A little warmer, a little lighter in the front here.
Then it goes pretty dark over on this side over here.
As it goes into shadow, I’m going to get a little bit more warmth in there because
that’s her skin reflecting—or the blouse reflecting into her skin.
Some back up in here too.
And the greenness of this background reflecting into the outside of her arm here.
A little warmer.
Her hand is getting some pretty green light on it up here, so I want to make sure that
I get that reflected in there.
There we go.
We need to make it a little darker.
Now, on her forehead, I’m going to go back
up to forehead here, and I can see that there is some real greenness going on on the edge
of the light here.
That’s a little warmer and redder down in here, a little bit under here.
As it goes up under her jaw there like that.
Now, before I put in the rest of her skin in light, I want to get the background
in because I can see that color mixture a little bit more clearly.
I want to make sure that I’m right on with that color before I start mixing too much
into her skin and making any variations in her skin and light.
I want to make sure that I really get the background and kind of surround this and set
the stage for the color mixtures there.
Those will be my last mixtures on there.
Okay, so with the background I’m going to need a light yellow-green.
Okay.
We’ll keep that nice and saturated up there.
Keep the glare off it so you can see the color.
By making my strokes sideways there you can at least see the colors.
It’s a little cooler and a little darker over here, so I’ll make it a little cooler,
a little darker over in here.
Get back to some of this warm, bright green, yellow-greens in here.
Make this soft.
Okay, now to get into her skin and I can see that if I go from this mixture, the background,
then I’m going to be adding some of the raw sienna and a little bit more of the orange
with the raw sienna to get her skin tone.
Still, I want to keep it pretty saturated.
Need to go a little darker and a little warmer.
There we go.
And I’m just covering the whole area here.
I’ll come back and get a few more variations in this hue in her cheeks like we talked about
in the beginning and on her nose in there too.
This is going to be darkened down slightly over on this side.
And the reason is—the reason it’s a little darker over here is because it’s surrounded
by a dark.
Any time you have a color surrounded by a light value like this surrounded by a dark
you have to mix it down a little darker as well.
Otherwise, it’ll just stand out and sit on top.
It’ll feel kind of like a mistake.
So, I’ll drop that down just a little bit.
I’m going to add a little bit more red into this.
I’m going to get this a little lighter.
It needs to go a little bit lighter.
This area here under her nose.
You can see I’m cooling this down just a little bit in the front plane here.
It’s going quite a bit darker over here.
Then I’ll warm it just a little bit in here.
And I’m going to warm it again along the edge.
It seems to be a little bit of a glow along this little edge here.
I’m accentuating that.
I’m pushing a little bit of that in.
At the same time I can get a little bit more of a red, it’s pretty much a straight red
that I’m adding into that green mixture.
That’s going to go in her cheek.
Go a little bit more.
And a little lighter, yellower, where her earlobe sticks out.
Within her ear, it’s going to go dark.
In this area it’s going to go dark.
Inside her ear we see just a little bit of that.
And then I have to go back and surround with her hair.
I’m going to go back to her hair color that I provided before.
Put a little bit more green in there.
For any of the shadowing under her nose, it’s going to be a little bit neutral in there.
I see that it’s getting a little dark and a little neutral in here.
Then the reflected light under nose and a little bit on her nose is going to be a little
bit redder like her cheek over there.
Even some on the ridge of her nose up here.
There we go.
Now, to hold that edge as it goes down into darkness, I’m going to get a little bit
more red, but I need to get it as dark as the shadow in there.
Close to it so I can turn that into that shadow area.
There we go.
Now, real quickly since I’m running out of time, I’m going to get her lips in here.
There we go.
A little bit darker in there.
Her lower lip, again, affected by the green.
I’m going to get the green in here like this and then mix it into this and see that
this is the value in here.
A bit of the color on her lower lip in light as it goes into shadow.
It’s going to take on a little bit more of its own local color.
It’s going to be a little bit redder in here.
And with just a couple seconds left, I want to get a little note on the skull so that
we can register the value differences on the skull
here too.
There we go.
Brighter yellow over here.
It’s kind of got this brighter yellow all over like this.
Bit of green in there.
Really more green in some of these little areas in here.
There is light, but it’s quite a bit of green in here and here.
Then it’s going pretty yellow-white on the last little bit here I’m going to put in here.
And there we go.
So, we can see the really strong influence of this yellow-green on everything, and that’s
why I wanted to get something of a strong white or an off-white to see how that yellow
light affects it, and then we can relate that to how it affects her skin.
You can see this isn’t any normal skin color, and it actually sets up for a pretty nice
fun color harmony that you can play with.
You might have felt this was a little bit difficult only because the only difficult
factor here is that it’s not really skin color.
It doesn’t reflect what you might see on a person in an everyday situation.
From that standpoint, maybe it’s hard for you to actually mix the colors that would
go in here, but that’s just something that if you really observe the color—just getting
a little of the whites of her eyes in here.
If you really observe the color, you can really make those balances work.
And my time is up so I’m not going to be able to finish this, but it’s a good beginning,
and I hope you have fun doing your beginnings.
AUTO SCROLL
Okay, in this painting, we’re going to focus on an orange to yellow range.
We’re going to explore that range, and we’re going to have a little bit of a neutral.
The neutral here is going to go toward a blue. Again, we’ve got kind of an extreme lighting condition.
That’s the fun about these paintings on hue. You’re going to be able to express a broad range of colors.
Your skin tones are not going to be actual skin tones like an average skin number 5 or something.
You’re going to have to paint the color that you see in the relationship both in light and shadow.
Having a strong colored light source on the model is going to shift things up a little bit. So look for that.
Pay attention to the values and hue and saturation in the light versus the shadow of her skin,
the background in light, and the background in shadow because they will be extreme.
The subtle relationship between light and shadow in her blouse.
So, start off with your sketch. Set your timer for 30 minutes.
Stick to that 30 minutes and get as far as you can in those 30 minutes. Let’s get going.
We’re going to explore that range, and we’re going to have a little bit of a neutral.
The neutral here is going to go toward a blue. Again, we’ve got kind of an extreme lighting condition.
That’s the fun about these paintings on hue. You’re going to be able to express a broad range of colors.
Your skin tones are not going to be actual skin tones like an average skin number 5 or something.
You’re going to have to paint the color that you see in the relationship both in light and shadow.
Having a strong colored light source on the model is going to shift things up a little bit. So look for that.
Pay attention to the values and hue and saturation in the light versus the shadow of her skin,
the background in light, and the background in shadow because they will be extreme.
The subtle relationship between light and shadow in her blouse.
So, start off with your sketch. Set your timer for 30 minutes.
Stick to that 30 minutes and get as far as you can in those 30 minutes. Let’s get going.
AUTO SCROLL
Well, I hope you enjoyed that.
Now I’m going to take a turn and you can watch and follow along with me as I do the same painting.
Alright, in this painting I’ve added orange on my palette here.
I’ve added orange because this whole painting is going to be in a key of orange.
I have a really warm light on her and the skull.
I put the skull in here so that you would have something to register
what white would look like under this light.
And you can see on the front it’s quite yellow and then orange around the core
where it starts to go to shadow.
You can also notice on the image on the model in these areas
where we start to go into kind of a half-light.
We have a direct light over here coming from this direction.
But then as her forehead starts to turn into shadow, right along that edge
we get a little bit of saturation.
It seems to increase along there.
You can see it starts to increase in saturation along the side here.
Anywhere where the form starts to turn away
from the light it starts an increase in its saturation.
That’s the result of the exposure from the image, from the photograph.
Normally, with a strong light if you see it in person what you’ll end up getting is
you’re going to see the highlight will be the color of that light source.
In this situation where it was metered for the average in light, we start to see more
of the saturation of the light source happening along the edge of shadow.
I’m going to make that kind of the theme in here because overall this painting sits
in this kind of an orange world, orange-red, this warm world,
and the shadows are going predominantly a little more neutral.
You’ll see that mostly in the background.
This background, you can see, is still a little bit more neutral than her skin tone.
It still seems quite saturated, but in comparison it has less red and a little
more gray than her skin tone in general.
I’ll show you that as I mix through here.
But this is a predominately orange hue.
That’s why I added this on.
That’s why I keep a little space on my palette just in case I do a painting that does require
one theme to color or one key color.
This is a painting on hue really keyed in a key of orange.
I’m going to start with some real darks.
I’ll start with her hair in dark, and then I’ll put the cooler darks in afterward just
because I can know where I’m going with the warm in this warm world.
I’m going to use some of my naphthol red and raw sienna,
and I’m going to darken that way down.
Make it a little bit lighter than that.
This is keeping it pretty warm in here.
I’m going to go ahead and drop that in.
This is really what I’m going to be seeing mostly in my light source.
I could get a little bit more orange in that when I get into the light side over here it’s
going to lighten up just a little bit.
As I get into a shadow side over here it’s going to get quite a bit cooler.
I see this is a little bit warm in there, but it’s going to get quite a bit cooler.
I’m going to get back to my black that’s neutralizing it, but them I’m also going
to get a little bit of a blue in here.
If I put a little bit of white with a blue you’ll see that blue.
That’s a little bit too cool.
It has a little bit too much green.
I’m going to get a little bit more red in the blue,
and then I’m going to mix that in with this.
That’s going to be my cooler version, which I’m going to see in the background here.
It might need to get a little bit warmer.
You can see I’m just adding white to this blacker area.
It’s quite gray.
If I need to warm it just slightly I’ll just warm it a little bit with that.
I’m going to make sure that I get this a little bit lighter along this edge where her
shoulder is because I see that her shoulder in shadow has to be a little
bit darker than the background.
I know this had to be a little bit lighter to make that pay off.
Okay, let me go back and warm this up just a little bit.
I’ll keep it pretty dark with some of the blue here.
This is where I’m going to see her hair in shadow is going to be
a little bit more like this.
I’m putting horizontal strokes just so it doesn’t get glare
so you can see that a little bit better.
This is my other dark-dark down in here.
I am going to see that in that area it’s going to be a little bit warmer yet so I’m
going to go ahead and warm that up.
It’s very dark.
It’s getting a reflected light bouncing around from her skin and from her blouse.
I’m going to put that in really dark in there.
Make sure that stays deep into the shadows.
Then if we go into her skin in shadow, I’m going to go quite a bit warmer than this.
I’m going to go in here and get a little bit of the green.
Okay, that’s going to cool it down,
but it’s not going to make it as red or as brown as that.
I might add a little bit more of the red to get in there.
You can see that her arm is going to read dark against that background.
It may appear a little bit redder.
Let me get this right here.
This is the backside of her hand so I’m going to get a little bit redder in here.
Then it’s getting a little bit cooler on this area of her arm.
It’s getting a little lighter and cooler.
There we go. This area. See, that's a little cooler yet.
Go a little lighter yet, too.
Go a little bit dark warm.
I want to go a little lighter and cooler.
Get a little bit of this cool into hue that I mixed.
I want to see this on the front plane of her arm like that.
Where we start to go into, where her arm starts to turn,
that’s where we’re going to want to get more saturated again.
We’re going to realize that right in here where it gets warm and saturated in here.
Now, on the other side, I’m going to look at the shadow side over here now, but over
here it’s quite a bit warmer and a little bit lighter in there.
I can see the reflected light that I’m going to be getting in here on her arm.
It’s going to be lighter and a lot hotter there.
If I add white I’ve got to add yellow to get it back in there.
Okay, so out of this mixture I’m going to
start laying in the shadow shape on her skin in here.
Again, I’m going to compare it to this.
I’m going to compare it to this.
I’m going to see it up under her jaw in there it’s going to be more neutral.
Something like that. In this shadow.
And in the frontal planes in here, too, where we see just like that.
Same thing over here.
Now, the shadow side on her face is going to be a little bit more…
I’m getting glow from down below here.
I want to make sure I want to get that warmed up.
This is not nearly as light as this, but it is warm.
I’m going to make sure that it is darker and warmer.
That’s what I’m going to see in there.
It’s lighter than her hair, but it’s a lot warmer.
Then the reflected light under her jaw is going to have to be quite a bit warmer so
we get that effect of this glowing coming up.
Same thing under her nose.
It’s lighter, more neutral under here.
But there is a little bit of warmth in there too, so I’ll go ahead and put that in.
These are my shadow shapes as I go up higher on her head.
I see along here I’m getting this warmer tone along the edge there.
To this point, I’ll be using the black and some of the blues mixed in with these variations
of browns and oranges just by going from yellow, orange, raw sienna, and naphthol red.
I’ll mix in a little bit darker, very saturated red in here that I’m going to see along
her eye in here and out to her cheek like that.
I’m going to see a little bit of the same over here.
Lighten that up just a little bit.
Anytime that I add white I’m going to have to add a little bit of red to keep it staying bright.
Okay, now I’m going to start laying in her skin tone in light
so I’m going to make some room here.
Now, I’m going to be working out of this orange again.
In her skin tone in light we’re going to be way up in here.
I’m adding yellow to warm that up.
Might need to get a red in here that’s going to be a cool red.
That’ll help neutralize it just a little bit.
I don’t want to go in and neutralize it largely, but if I use a cooler red, the coolness
of this red will neutralize this orange just a little bit.
I could also take this a little bit and do the same if I added a touch of green
to the yellowish amount.
You can see how that will work.
If I can get a little change there too.
This gets a little redder.
This gets a little greener.
If I get in somewhere in here, this is kind of what I’m seeing in these large areas in here.
Get back into that with just a touch of that.
I’m getting a little bit of a warmth in here too that I’m seeing along the edge,
this really darker saturated red.
Let me get a little bit of that going here.
That was just a little bit too red, but let me get something a little bit more like this.
We’ll lighten that up just a little bit. There we go.
Then we’ll go back and just warm this up just a little bit, and I can get her nose in here.
It’s a little bit warmer. I’m going to go ahead and put that in warm.
I see a little darker and warmer.
I can see the difference in there.
It’s a little darker and warmer in this little areas up in here too.
Little bit more green in that. There we go.
That’s close to what I’m going to get on her top lip too.
These paintings that are dealing with hue, you’re going to see—these and the other
paintings as well—you’re going to see that I’m really setting up a situation where
you have to really avoid mixing some standard color for a skin color.
They’re all challenging you to look and see a greater difference in mixing color.
It forces you to really look and mix the colors that are standard,
what you might consider standard, skin tones.
These are this range of really kind of warm colors that are running along the edge of
her form all through here.
I’m leaving this light zone.
The light is hitting at this angle, so it’s hitting these planes a little brighter.
These are pretty bright.
This has a little bit more green in it along this side over here.
Okay, so if I put this in, now what I’m going to do is I’m going to start looking
for this other color that’s hitting this front plane of her figure, and it’s going
to be a little lighter and yellower than the other color.
I’m going to lighten this up a little bit.
And a little yellower.
It’s a little bit—I’ve got a little bit too much orange in that,
so I’m going to lighten it up again.
I’m going to lighten it up again, and then I’m going to add a little bit more yellow into it.
There we go.
You can see it’s a little bit more lighter and yellower than the other tones there.
Oops.
That was her blouse, so I’m going to make sure I adjust that accordingly.
There we go.
When I’m looking for the difference now, I’m going to look for the difference in
her blouse, it’s a little bit pinker.
So I’m going to go with a little bit more pink mixture that’s lighter and pinker.
I mixed a little bit of this in, but I’m going to keep making it just a little bit
pinker. Try to get a little bit lighter so that I can just get the difference.
Maybe that’s a little bit too much.
There we go.
Get the difference of the color of her blouse being a little bit cooler than her skin.
On the other side it’s going to be a little darker, so I’m going to add a little bit
more back to this and then get this in here.
Then in shadow. There we go.
Okay, now in shadow I’m going to need to darken this down.
I’m going to go with this.
It’s going to cool down.
Remember, I was using a little bit of this to cool all this down.
This is going to be a little bit too blue.
I’m going to use some of this, use some of this to get it down into this cooler version.
I’m going to also see that this goes a little bit darker
and warmer down in some of this area in here.
Because it’s getting a little bit more of the reflected light bouncing
into that in this side in here.
That’s why it’s getting a little bit more warmth down under here.
Along the edge where it goes into light it’s going to get
a little bit cooler along the edge there.
I’ll make a little bit more of this pink and light coming right here.
Going into shadow again.
I’ve got two things to do now.
I have the area in lightest light in there which I can kind of blend some of this up…
my lighter oranges in here along these planes.
The bottom of her lip, how that works, and then the top plane of her chin.
I’m also seeing it up along the side of her temple here.
This is the direction how it’s working in her eye.
Also, a little bit pinker but still over here like this on the bottom of her earlobe.
I’m going to get the darkness of her eyeballs, her irises in here.
It’s a little bit lighter and oranger on this side.
These strong-colored notes.
Now that I’ve done that I can see that the shadow needs to be darker on her face here.
I’m going to go in and darken that up a little bit.
I’ll start with this because this is the cooler version, a little darker,
like this is a little cooler. There we go.
There is the value range that I need to be at.
This could go down a little bit darker in this area,
and that starts to read better, just like that.
Now before I go any farther I want to get the background on.
The background is going to be a little bit greener.
It’s going to be yellow, but it’s going to have a little less orange than her skin tone.
That’s what is going to set the difference between her skin and the background.
Start with the generous amount of white.
I’m going to get some yellow in there.
I’m going to get a little touch of the green just to keep it away from all the orange.
Now we’ll get the orange in, and we’ll work with something like this.
If I put this next to her skin, you’re going to see that there is a little more difference.
You’ll see the warmth in her skin now.
This is a little bit green, so I’ll get a little bit more orange, a little bit more yellow.
Alright, we’re almost out of time.
I’ll just fill in this.
Let me go back up, just get a little more touch of her hair.
I missed that a little bit right in here along the edge of her shoulder, just because I want
to catch the edge of her shoulder there like that.
Get rid of that just a little bit. There we go.
So, outside of our skull that’s pretty much the range we’re going to get with this palette.
We’re looking at this whole image in this key of orange.
We shifted to the yellow here.
Really neutral over here.
Even if I went back in and plopped in a little bit more warmth into this.
I can probably get a little bit more warmth in this and make it feel more like it’s
the same material.
If it gets too different in a color from shadow to light it stops being some of the same material.
This was a soft edge so I’ll go ahead and make that soft.
Alright, so that’s as far as I could get in my little half hour.
I hope you guys made it this far.
Now I’m going to take a turn and you can watch and follow along with me as I do the same painting.
Alright, in this painting I’ve added orange on my palette here.
I’ve added orange because this whole painting is going to be in a key of orange.
I have a really warm light on her and the skull.
I put the skull in here so that you would have something to register
what white would look like under this light.
And you can see on the front it’s quite yellow and then orange around the core
where it starts to go to shadow.
You can also notice on the image on the model in these areas
where we start to go into kind of a half-light.
We have a direct light over here coming from this direction.
But then as her forehead starts to turn into shadow, right along that edge
we get a little bit of saturation.
It seems to increase along there.
You can see it starts to increase in saturation along the side here.
Anywhere where the form starts to turn away
from the light it starts an increase in its saturation.
That’s the result of the exposure from the image, from the photograph.
Normally, with a strong light if you see it in person what you’ll end up getting is
you’re going to see the highlight will be the color of that light source.
In this situation where it was metered for the average in light, we start to see more
of the saturation of the light source happening along the edge of shadow.
I’m going to make that kind of the theme in here because overall this painting sits
in this kind of an orange world, orange-red, this warm world,
and the shadows are going predominantly a little more neutral.
You’ll see that mostly in the background.
This background, you can see, is still a little bit more neutral than her skin tone.
It still seems quite saturated, but in comparison it has less red and a little
more gray than her skin tone in general.
I’ll show you that as I mix through here.
But this is a predominately orange hue.
That’s why I added this on.
That’s why I keep a little space on my palette just in case I do a painting that does require
one theme to color or one key color.
This is a painting on hue really keyed in a key of orange.
I’m going to start with some real darks.
I’ll start with her hair in dark, and then I’ll put the cooler darks in afterward just
because I can know where I’m going with the warm in this warm world.
I’m going to use some of my naphthol red and raw sienna,
and I’m going to darken that way down.
Make it a little bit lighter than that.
This is keeping it pretty warm in here.
I’m going to go ahead and drop that in.
This is really what I’m going to be seeing mostly in my light source.
I could get a little bit more orange in that when I get into the light side over here it’s
going to lighten up just a little bit.
As I get into a shadow side over here it’s going to get quite a bit cooler.
I see this is a little bit warm in there, but it’s going to get quite a bit cooler.
I’m going to get back to my black that’s neutralizing it, but them I’m also going
to get a little bit of a blue in here.
If I put a little bit of white with a blue you’ll see that blue.
That’s a little bit too cool.
It has a little bit too much green.
I’m going to get a little bit more red in the blue,
and then I’m going to mix that in with this.
That’s going to be my cooler version, which I’m going to see in the background here.
It might need to get a little bit warmer.
You can see I’m just adding white to this blacker area.
It’s quite gray.
If I need to warm it just slightly I’ll just warm it a little bit with that.
I’m going to make sure that I get this a little bit lighter along this edge where her
shoulder is because I see that her shoulder in shadow has to be a little
bit darker than the background.
I know this had to be a little bit lighter to make that pay off.
Okay, let me go back and warm this up just a little bit.
I’ll keep it pretty dark with some of the blue here.
This is where I’m going to see her hair in shadow is going to be
a little bit more like this.
I’m putting horizontal strokes just so it doesn’t get glare
so you can see that a little bit better.
This is my other dark-dark down in here.
I am going to see that in that area it’s going to be a little bit warmer yet so I’m
going to go ahead and warm that up.
It’s very dark.
It’s getting a reflected light bouncing around from her skin and from her blouse.
I’m going to put that in really dark in there.
Make sure that stays deep into the shadows.
Then if we go into her skin in shadow, I’m going to go quite a bit warmer than this.
I’m going to go in here and get a little bit of the green.
Okay, that’s going to cool it down,
but it’s not going to make it as red or as brown as that.
I might add a little bit more of the red to get in there.
You can see that her arm is going to read dark against that background.
It may appear a little bit redder.
Let me get this right here.
This is the backside of her hand so I’m going to get a little bit redder in here.
Then it’s getting a little bit cooler on this area of her arm.
It’s getting a little lighter and cooler.
There we go. This area. See, that's a little cooler yet.
Go a little lighter yet, too.
Go a little bit dark warm.
I want to go a little lighter and cooler.
Get a little bit of this cool into hue that I mixed.
I want to see this on the front plane of her arm like that.
Where we start to go into, where her arm starts to turn,
that’s where we’re going to want to get more saturated again.
We’re going to realize that right in here where it gets warm and saturated in here.
Now, on the other side, I’m going to look at the shadow side over here now, but over
here it’s quite a bit warmer and a little bit lighter in there.
I can see the reflected light that I’m going to be getting in here on her arm.
It’s going to be lighter and a lot hotter there.
If I add white I’ve got to add yellow to get it back in there.
Okay, so out of this mixture I’m going to
start laying in the shadow shape on her skin in here.
Again, I’m going to compare it to this.
I’m going to compare it to this.
I’m going to see it up under her jaw in there it’s going to be more neutral.
Something like that. In this shadow.
And in the frontal planes in here, too, where we see just like that.
Same thing over here.
Now, the shadow side on her face is going to be a little bit more…
I’m getting glow from down below here.
I want to make sure I want to get that warmed up.
This is not nearly as light as this, but it is warm.
I’m going to make sure that it is darker and warmer.
That’s what I’m going to see in there.
It’s lighter than her hair, but it’s a lot warmer.
Then the reflected light under her jaw is going to have to be quite a bit warmer so
we get that effect of this glowing coming up.
Same thing under her nose.
It’s lighter, more neutral under here.
But there is a little bit of warmth in there too, so I’ll go ahead and put that in.
These are my shadow shapes as I go up higher on her head.
I see along here I’m getting this warmer tone along the edge there.
To this point, I’ll be using the black and some of the blues mixed in with these variations
of browns and oranges just by going from yellow, orange, raw sienna, and naphthol red.
I’ll mix in a little bit darker, very saturated red in here that I’m going to see along
her eye in here and out to her cheek like that.
I’m going to see a little bit of the same over here.
Lighten that up just a little bit.
Anytime that I add white I’m going to have to add a little bit of red to keep it staying bright.
Okay, now I’m going to start laying in her skin tone in light
so I’m going to make some room here.
Now, I’m going to be working out of this orange again.
In her skin tone in light we’re going to be way up in here.
I’m adding yellow to warm that up.
Might need to get a red in here that’s going to be a cool red.
That’ll help neutralize it just a little bit.
I don’t want to go in and neutralize it largely, but if I use a cooler red, the coolness
of this red will neutralize this orange just a little bit.
I could also take this a little bit and do the same if I added a touch of green
to the yellowish amount.
You can see how that will work.
If I can get a little change there too.
This gets a little redder.
This gets a little greener.
If I get in somewhere in here, this is kind of what I’m seeing in these large areas in here.
Get back into that with just a touch of that.
I’m getting a little bit of a warmth in here too that I’m seeing along the edge,
this really darker saturated red.
Let me get a little bit of that going here.
That was just a little bit too red, but let me get something a little bit more like this.
We’ll lighten that up just a little bit. There we go.
Then we’ll go back and just warm this up just a little bit, and I can get her nose in here.
It’s a little bit warmer. I’m going to go ahead and put that in warm.
I see a little darker and warmer.
I can see the difference in there.
It’s a little darker and warmer in this little areas up in here too.
Little bit more green in that. There we go.
That’s close to what I’m going to get on her top lip too.
These paintings that are dealing with hue, you’re going to see—these and the other
paintings as well—you’re going to see that I’m really setting up a situation where
you have to really avoid mixing some standard color for a skin color.
They’re all challenging you to look and see a greater difference in mixing color.
It forces you to really look and mix the colors that are standard,
what you might consider standard, skin tones.
These are this range of really kind of warm colors that are running along the edge of
her form all through here.
I’m leaving this light zone.
The light is hitting at this angle, so it’s hitting these planes a little brighter.
These are pretty bright.
This has a little bit more green in it along this side over here.
Okay, so if I put this in, now what I’m going to do is I’m going to start looking
for this other color that’s hitting this front plane of her figure, and it’s going
to be a little lighter and yellower than the other color.
I’m going to lighten this up a little bit.
And a little yellower.
It’s a little bit—I’ve got a little bit too much orange in that,
so I’m going to lighten it up again.
I’m going to lighten it up again, and then I’m going to add a little bit more yellow into it.
There we go.
You can see it’s a little bit more lighter and yellower than the other tones there.
Oops.
That was her blouse, so I’m going to make sure I adjust that accordingly.
There we go.
When I’m looking for the difference now, I’m going to look for the difference in
her blouse, it’s a little bit pinker.
So I’m going to go with a little bit more pink mixture that’s lighter and pinker.
I mixed a little bit of this in, but I’m going to keep making it just a little bit
pinker. Try to get a little bit lighter so that I can just get the difference.
Maybe that’s a little bit too much.
There we go.
Get the difference of the color of her blouse being a little bit cooler than her skin.
On the other side it’s going to be a little darker, so I’m going to add a little bit
more back to this and then get this in here.
Then in shadow. There we go.
Okay, now in shadow I’m going to need to darken this down.
I’m going to go with this.
It’s going to cool down.
Remember, I was using a little bit of this to cool all this down.
This is going to be a little bit too blue.
I’m going to use some of this, use some of this to get it down into this cooler version.
I’m going to also see that this goes a little bit darker
and warmer down in some of this area in here.
Because it’s getting a little bit more of the reflected light bouncing
into that in this side in here.
That’s why it’s getting a little bit more warmth down under here.
Along the edge where it goes into light it’s going to get
a little bit cooler along the edge there.
I’ll make a little bit more of this pink and light coming right here.
Going into shadow again.
I’ve got two things to do now.
I have the area in lightest light in there which I can kind of blend some of this up…
my lighter oranges in here along these planes.
The bottom of her lip, how that works, and then the top plane of her chin.
I’m also seeing it up along the side of her temple here.
This is the direction how it’s working in her eye.
Also, a little bit pinker but still over here like this on the bottom of her earlobe.
I’m going to get the darkness of her eyeballs, her irises in here.
It’s a little bit lighter and oranger on this side.
These strong-colored notes.
Now that I’ve done that I can see that the shadow needs to be darker on her face here.
I’m going to go in and darken that up a little bit.
I’ll start with this because this is the cooler version, a little darker,
like this is a little cooler. There we go.
There is the value range that I need to be at.
This could go down a little bit darker in this area,
and that starts to read better, just like that.
Now before I go any farther I want to get the background on.
The background is going to be a little bit greener.
It’s going to be yellow, but it’s going to have a little less orange than her skin tone.
That’s what is going to set the difference between her skin and the background.
Start with the generous amount of white.
I’m going to get some yellow in there.
I’m going to get a little touch of the green just to keep it away from all the orange.
Now we’ll get the orange in, and we’ll work with something like this.
If I put this next to her skin, you’re going to see that there is a little more difference.
You’ll see the warmth in her skin now.
This is a little bit green, so I’ll get a little bit more orange, a little bit more yellow.
Alright, we’re almost out of time.
I’ll just fill in this.
Let me go back up, just get a little more touch of her hair.
I missed that a little bit right in here along the edge of her shoulder, just because I want
to catch the edge of her shoulder there like that.
Get rid of that just a little bit. There we go.
So, outside of our skull that’s pretty much the range we’re going to get with this palette.
We’re looking at this whole image in this key of orange.
We shifted to the yellow here.
Really neutral over here.
Even if I went back in and plopped in a little bit more warmth into this.
I can probably get a little bit more warmth in this and make it feel more like it’s
the same material.
If it gets too different in a color from shadow to light it stops being some of the same material.
This was a soft edge so I’ll go ahead and make that soft.
Alright, so that’s as far as I could get in my little half hour.
I hope you guys made it this far.
AUTO SCROLL
Okay, this painting is going to be a little bit different.
This one is going to have some broad hue shifts from the background to her skin to her blouse.
We’re going to have more of a deeper red in her blouse, more of a teal and dark blue-black in the background.
That’s going to offset and make her skin a little bit more yellowish.
Look for the relationships again. Look again for those spots of color
and how they read up against one another.
In this series on hue, you’re going to see other than the other series, this series is really pushing the differences
of hue, whether we have, again, real extreme color lighting situation. Or this lighting situation is going to be
fairly flat, but it’s really going to play up the hue shifts or the boldness of the background to her blouse to her skin.
This one is going to have some broad hue shifts from the background to her skin to her blouse.
We’re going to have more of a deeper red in her blouse, more of a teal and dark blue-black in the background.
That’s going to offset and make her skin a little bit more yellowish.
Look for the relationships again. Look again for those spots of color
and how they read up against one another.
In this series on hue, you’re going to see other than the other series, this series is really pushing the differences
of hue, whether we have, again, real extreme color lighting situation. Or this lighting situation is going to be
fairly flat, but it’s really going to play up the hue shifts or the boldness of the background to her blouse to her skin.
AUTO SCROLL
Alright, I hope you had fun with that.
It was a little bit simpler, a little bit bolder.
But, I hope you had fun with that painting.
Now you can follow along while I do the same thing.
Alright, as you can see in this setup, we
have a little bit of a texture in the background.
We have a pattern in the background.
The interesting thing with the pattern is, if you keep this pattern, whatever your pattern
is, if you keep it regular it will appear flat and it will sit in the background.
If the shapes that I put back here are large and small and mixed up, they’re going to
want to become objects, and they’ll come forward.
In order to keep them in the distance, you want to make them a little bit regular, but
I’m not going to get in and articulate every little bit and every little blob.
I’m going to suggest the texture.
The main thing is I have a little bit of a gradient in the background, and I want a note
that I have a dark cool and a lighter color in the background.
I’ve got this kind of a blue-black and kind of a light phthalo,
cyan type of light blue the background.
So my blues in the background, and then I have a cool red up in her top up here.
Her skin is starting to look a little bit yellow compared to the blue and the red and
a little bit of yellowish.
The situation here is to keep the blue, red, and yellow kind of
harmonized throughout the whole image.
You can see how I’m going to push a little bit of the blue into the red here, a little
of the yellow into the red.
It won’t be a yellow-yellow, but if we have a cool red I might get a little bit of this
kind of yellow into in some areas.
That will echo the yellowness of her skin and also some of the cool variations within
her skin are going to also reflect some of the things, the blues that we see around here.
It’s a case of bouncing a little bit of the coolness in here.
The blue and the redness of this and the yellow and the blue into this.
I say that in terms of blueness or yellowness or redness, but I’m not saying—as you
can see when I get in and do my mixtures, I’m not going to be mixing a lot of blue
into the skin or this cool red into the skin.
I’m not going to be mixing yellow into the background or any of those direct colors.
I’m going to mix adjacent colors.
I’m going to move the colors a little bit, but I’m not going to pollute those areas
with those colors.
I’m going to start with her hair.
It’s a solid dark, a solid, simple dark.
This is going to go a little bit green.
I’m going to use a little bit of my cool red to bring that back.
I’m going to keep it a little bit cool.
I’m going to see that I’m going to keep it a little bit warmer in there.
I’m looking to find the hue on which I’m going to make her hair.
That got a little red on me, so I’m going to try that again.
I’m going to get a little bit more of a black.
Yellow, mix it in there with that. There we go.
I’m going to see that this is going to get a little bit more purple in it
as we get down into these areas here.
There was a little transition of a gradient.
He’s going to get a little bit of it.
You can see that I put in a little bit of the blue and some of the red and the magenta.
I can even get a little bit more of the magenta and push it in just a little bit more down
in here where it’s going to reflect into this.
It’s not really a whole reflection because you can see it’s very, very dark.
What it is doing is it’s bringing some of the color from here up into there.
Now what I’m going to do is I’ll mix her blouse.
I’m going to start with my cool red because it is a cool red.
I’m going to darken it down. Use a little bit of the black and darken it down.
I’m going to use some of the raw sienna that’s a yellow.
It’s a dark yellow. I’m going to darken this down.
I’m going to see that it needs to be a little cooler.
I’m going to add a little bit of the blue and a little bit of the white.
I’m going to keep it a little bit more saturated, so I’m going to get a little bit more of that.
There we go.
It’s going to go a little darker and cooler.
See how that’ll affect that.
That’ll get darker and cooler here and on the inside of her arms here. Like that.
Also in areas, something right in there as it kind of turns back in towards the background.
Just like I added a little bit of the red into the lower part here.
This was more yellow up here, and I went through the blue into the red down here.
I’ve started with this warmer red.
It’s a cool red, but it’s still cooler and darker down here.
Once I get a little bit aimed up this way, and it’s rolling back over her shoulders,
it’s going to a little bit cooler.
Now we’ll put the background in which is going to be the cooler version
with the coolest up here yet.
Let’s start with something like that.
Let me get it pretty dark.
Make it a little bit warmer with that with the cobalt blue.
Get a little bit more phthalo in that.
Here we go.
I’m going to add a touch of magenta in there.
The phthalo has some blue-blue-green in it.
This has red-blue in it.
The blue is in common, so I can go ahead and put this in.
Here we go. Cut the glare off of there.
And now that I’ve put this blue in, now you can see a little bit more of the redness
down below on her hair down here.
You can see a little bit of the blue in here.
It softens the transition into the background from her blouse.
Now I’m going to put in her skin tone.
This is going to be the area that is mostly yellow.
I’m going to start with some raw sienna.
I’m going to add some of the cadmium yellow light.
I’m going to get into this range.
I’m going to look for a medium value in here.
I can go a little darker and a little lighter, but I’m going to go with kind of a medium value first.
This is just a little bit dark, and I’m going to add a little bit
of the red to it to warm it up.
I’m going to add the cool red.
I’m going to stay with the cool reds because
I’ve got the cool red here and the blue in there.
It’s a little bit yellower.
And it’s a little saturated.
I’m going to need to desaturate this a little bit.
I’ll go ahead and use a little bit of the blue here and a little bit of the red here,
making a little bit of a violet in here.
Desaturate that just a little bit.
Actually, what I’m seeing as I mix this, if I mix more of that—let me get a little
bit more of that and get a little of the yellow into this, what is see is that’s the color
that I’m seeing down in here.
And under her nose just a little bit.
There’s a little cooler version of it.
I’m seeing it in some areas in here.
I’m also seeing in there, if I go a little bit warmer with this yellow like this and
a little bit redder, I’m seeing what looks like some of the shadowing
above her eye in here like this.
So, in keeping with this simple range of red, yellow, blue, and then the cool redness.
Take a little bit of this, and I’m going to see what I can get for her lips.
I’m going to need to warm them up just a little bit with a little bit of warm red.
Not going too far with it.
We compare that to this. It needs to go a little bit lighter.
And her lower lip is going to be much cooler, lighter.
Now I’m going to go back to those in here a little bit.
See this here.
Now we’ll go back to what I’ve started with her skin in light.
I need to desaturate that just a little bit, so I’m going to be using a little bit of
the red, a little bit of the blue to neutralize that.
I’m seeing it in here.
And I see some of it up in here as well.
A little bit warmer, a little more saturated.
Lighter and warmer.
Lighter and cooler.
A little bit of pink it in it.
That’s over here on this side.
Mixing down into this range they see a little bit on the frontal plane here.
It's a little bit cool. That’s a little bit too much. Back off of that just a little bit.
From here and the frontal plane here, I do see a little bit more neutral.
It has a little greenish in here. Almost a greenish-orange.
A little bit more like this.
Blue is pretty potent in there.
Okay, so in her skin tone we’re going to get some variations in these yellowish kind of overtones.
I’m going to get in and get her cheeks in here.
We’re going to be the warmest area in here.
So, I’m going to go with my yellow and my cool red to get the warmth of these.
Stayed with my cool red predominantly through this, and it’s going to seem really warm
compared to everything else.
I can go down a little bit darker, a little bit darker.
I neutralized it down just a little bit just to get the variation in there.
I’m going to see a little bit of a…
Quite a bit darker, I guess, would be in her earlobes back here.
They’re tucked in underneath her hair.
Now, her nose is going to be a little bit warmer too,
but not quite as warm as her cheeks over there.
I’m going to bring this down just a little bit like this.
Or, neutralize it down.
Let me go back and just neutralize it down.
I don’t want to darken it down too much.
I’m going to neutralize that down just a little bit for the sides of her nose.
These side planes over here.
Let’s get a little darker.
A little bit darker yet.
I’m going to get a little bit of this—I’m still using this more neutral and reddish
tone in here to get the top of her eyelids up here.
These areas are still a little darker.
They’re not in full light because they’re turning down, but I want to get them to start
to wrap around little bit.
As you can see, I can go a little bit more yellow above and start to really round that out.
Same thing up here into her temples in there.
I want to go back with some of this warmer tone.
Get a little of that. Push that.
Her cheeks in here like this.
Okay, now getting down into her chin.
As we get down there it’s going to get a little more neutral as well.
I need to keep this light.
It’s really light at the corners of her mouth.
It’s really light.
Then it gets a little warmer and darker.
And we have the darkening under her chin, too.
I’m going to go and get that darkened down here.
I’m going to go back into this kind of magenta and get some of this raw sienna and yellow
into that, neutralize that back just a little bit.
This is underneath her chin, underneath her
lip where she is getting some reflection of her blouse.
That’s just a little bit saturated.
I’m going to neutralize that just a little bit and get that in there.
Just softly… ends a little bit like that.
Then as her forehead tapers around, rolls around, its’ going to get a little bit greener.
I’m going to go out of this, but I’m going to use my green in here.
Keep this a little bit saturated and then see what we can get out of this.
There we go. And the sides here.
Look into our medium mixture here, needing a little bit more yellow.
Again, this is the area of this painting that is mostly this yellow.
So I’m going to keep that in mind as we get there.
If I can get some redness back into her cheeks,
I’m going to go completely into this area in here.
This needs to be a little bit darker.
Now I’m going to get back into her eyebrows,
and I’m going to still try to stay with some of the yellow.
I’m going to keep the yellowness in here if I can.
Maybe I need to do a little bit of that and some black.
I’ll try getting some of the black out of this.
There we go.
It’s a little greener over on this side so I’m going to go with a little bit of
that, and I’ll pick up a little bit of the green on this side.
Then it gets a little bit warmer as it goes over the brow ridge.
It’s a little lighter and warmer and a little bit darker on the other side.
I’m going to get a dark brown in here.
With the magenta I’m going to get a little bit of this mixture in here.
I’m going to darken that down.
I’m going to use this for her eyes.
This side over here is a little bit cooler, so I’m going to make sure that I get this
one just a little bit cooler than the other.
There we go.
Okay, so you can see how I kind of pushed the yellows and pushed the blue and the red
into her face so we get a conversation of color out the yellows
from cooler yellows to warmer yellows.
Going to warm that up just a little bit.
That might be something kind of across the bridge of her nose and then much more yellow.
lighter and yellower in here.
Along her brow ridge, help to build that out.
There we go.
Coolness of this and the brightness of this is going to make this stand out.
See a little bit of variation in here.
Part of her hair, more yellow.
Blue, put a little bit of it in there.
Okay, and now we’re going to deal with that pattern in the background,
so I’m going to go into this lighter blue.
I’m just going to indicate these little marks as the last thing I do here.
Now, you can see these are really saturated.
I’m going to get a little bit of yellow in that.
Mixing a little bit of yellow in here.
I’m not mixing it completely, but I’m just getting some of that kind of teased in there.
As long as I make a pattern that seems like it’s equidistant.
My positive and negative space is somewhat similar.
It doesn’t have to be the actual pattern that is on the material, but as long as the
positive and negative shapes stay similar, then we’re going to end up getting—that’s getting too bold.
I’m going to break that up.
That area started to get a little bit even.
If it does I’ll just break it back.
Get more of that other color of the darker blue in there.
I can take that and I can even push a little bit more red in it.
It'll also help harmonize it just a little bit.
A little bit more. And there you go.
Just cutting back on these things so they don't become too much of objects.
So, here's the case where, again, we'll work with...yellow.
And a red, and a blue.
We’ll work to harmonize those things in there.
I can even put a little bit more yellow into this.
Let’s see if I get a little bit more yellow into this yet.
I can pull this and pull a little bit of the yellow out from her skin into the background here too.
We get a little bit of transition in here too that you can kind of build out into here.
Alright. There we go.
Well, I hope you enjoyed this series on color and this color boot camp.
I’ve enjoyed doing it with you.
This format that we’ve used through this section on painting, it’s that short drawing.
Keep that separate from your painting.
Just block it in your sketch until you feel comfortable.
Then, looking for the specific notes of color.
Do that in a time box fashion.
And if you continue to do that--and you can take pictures.
You can set up still lifes. You can set up models. Keep working in that same way.
Or, if you like to go outside and paint and do plein air paintings, this is a wonderful
experience to get you used to going out and painting in that change of light situation.
You don’t have much more than 30 minutes in a good light to get your painting done.
This has been a good prep for that.
If you want to continue this, it’s always a good exercise to continue on, and I encourage
you to keep going with these short sprints.
You may need to do longer paintings to work on your brush strokes, work on the quality
of your draftsmanship and your drawing.
I’m not pushing you to get great drawings in these paintings.
I really want you to look at the color and the harmonizing of your color relationships.
If you want to continue, then just stay with this same kind of a format and enjoy painting.
So, happy painting.
It was a little bit simpler, a little bit bolder.
But, I hope you had fun with that painting.
Now you can follow along while I do the same thing.
Alright, as you can see in this setup, we
have a little bit of a texture in the background.
We have a pattern in the background.
The interesting thing with the pattern is, if you keep this pattern, whatever your pattern
is, if you keep it regular it will appear flat and it will sit in the background.
If the shapes that I put back here are large and small and mixed up, they’re going to
want to become objects, and they’ll come forward.
In order to keep them in the distance, you want to make them a little bit regular, but
I’m not going to get in and articulate every little bit and every little blob.
I’m going to suggest the texture.
The main thing is I have a little bit of a gradient in the background, and I want a note
that I have a dark cool and a lighter color in the background.
I’ve got this kind of a blue-black and kind of a light phthalo,
cyan type of light blue the background.
So my blues in the background, and then I have a cool red up in her top up here.
Her skin is starting to look a little bit yellow compared to the blue and the red and
a little bit of yellowish.
The situation here is to keep the blue, red, and yellow kind of
harmonized throughout the whole image.
You can see how I’m going to push a little bit of the blue into the red here, a little
of the yellow into the red.
It won’t be a yellow-yellow, but if we have a cool red I might get a little bit of this
kind of yellow into in some areas.
That will echo the yellowness of her skin and also some of the cool variations within
her skin are going to also reflect some of the things, the blues that we see around here.
It’s a case of bouncing a little bit of the coolness in here.
The blue and the redness of this and the yellow and the blue into this.
I say that in terms of blueness or yellowness or redness, but I’m not saying—as you
can see when I get in and do my mixtures, I’m not going to be mixing a lot of blue
into the skin or this cool red into the skin.
I’m not going to be mixing yellow into the background or any of those direct colors.
I’m going to mix adjacent colors.
I’m going to move the colors a little bit, but I’m not going to pollute those areas
with those colors.
I’m going to start with her hair.
It’s a solid dark, a solid, simple dark.
This is going to go a little bit green.
I’m going to use a little bit of my cool red to bring that back.
I’m going to keep it a little bit cool.
I’m going to see that I’m going to keep it a little bit warmer in there.
I’m looking to find the hue on which I’m going to make her hair.
That got a little red on me, so I’m going to try that again.
I’m going to get a little bit more of a black.
Yellow, mix it in there with that. There we go.
I’m going to see that this is going to get a little bit more purple in it
as we get down into these areas here.
There was a little transition of a gradient.
He’s going to get a little bit of it.
You can see that I put in a little bit of the blue and some of the red and the magenta.
I can even get a little bit more of the magenta and push it in just a little bit more down
in here where it’s going to reflect into this.
It’s not really a whole reflection because you can see it’s very, very dark.
What it is doing is it’s bringing some of the color from here up into there.
Now what I’m going to do is I’ll mix her blouse.
I’m going to start with my cool red because it is a cool red.
I’m going to darken it down. Use a little bit of the black and darken it down.
I’m going to use some of the raw sienna that’s a yellow.
It’s a dark yellow. I’m going to darken this down.
I’m going to see that it needs to be a little cooler.
I’m going to add a little bit of the blue and a little bit of the white.
I’m going to keep it a little bit more saturated, so I’m going to get a little bit more of that.
There we go.
It’s going to go a little darker and cooler.
See how that’ll affect that.
That’ll get darker and cooler here and on the inside of her arms here. Like that.
Also in areas, something right in there as it kind of turns back in towards the background.
Just like I added a little bit of the red into the lower part here.
This was more yellow up here, and I went through the blue into the red down here.
I’ve started with this warmer red.
It’s a cool red, but it’s still cooler and darker down here.
Once I get a little bit aimed up this way, and it’s rolling back over her shoulders,
it’s going to a little bit cooler.
Now we’ll put the background in which is going to be the cooler version
with the coolest up here yet.
Let’s start with something like that.
Let me get it pretty dark.
Make it a little bit warmer with that with the cobalt blue.
Get a little bit more phthalo in that.
Here we go.
I’m going to add a touch of magenta in there.
The phthalo has some blue-blue-green in it.
This has red-blue in it.
The blue is in common, so I can go ahead and put this in.
Here we go. Cut the glare off of there.
And now that I’ve put this blue in, now you can see a little bit more of the redness
down below on her hair down here.
You can see a little bit of the blue in here.
It softens the transition into the background from her blouse.
Now I’m going to put in her skin tone.
This is going to be the area that is mostly yellow.
I’m going to start with some raw sienna.
I’m going to add some of the cadmium yellow light.
I’m going to get into this range.
I’m going to look for a medium value in here.
I can go a little darker and a little lighter, but I’m going to go with kind of a medium value first.
This is just a little bit dark, and I’m going to add a little bit
of the red to it to warm it up.
I’m going to add the cool red.
I’m going to stay with the cool reds because
I’ve got the cool red here and the blue in there.
It’s a little bit yellower.
And it’s a little saturated.
I’m going to need to desaturate this a little bit.
I’ll go ahead and use a little bit of the blue here and a little bit of the red here,
making a little bit of a violet in here.
Desaturate that just a little bit.
Actually, what I’m seeing as I mix this, if I mix more of that—let me get a little
bit more of that and get a little of the yellow into this, what is see is that’s the color
that I’m seeing down in here.
And under her nose just a little bit.
There’s a little cooler version of it.
I’m seeing it in some areas in here.
I’m also seeing in there, if I go a little bit warmer with this yellow like this and
a little bit redder, I’m seeing what looks like some of the shadowing
above her eye in here like this.
So, in keeping with this simple range of red, yellow, blue, and then the cool redness.
Take a little bit of this, and I’m going to see what I can get for her lips.
I’m going to need to warm them up just a little bit with a little bit of warm red.
Not going too far with it.
We compare that to this. It needs to go a little bit lighter.
And her lower lip is going to be much cooler, lighter.
Now I’m going to go back to those in here a little bit.
See this here.
Now we’ll go back to what I’ve started with her skin in light.
I need to desaturate that just a little bit, so I’m going to be using a little bit of
the red, a little bit of the blue to neutralize that.
I’m seeing it in here.
And I see some of it up in here as well.
A little bit warmer, a little more saturated.
Lighter and warmer.
Lighter and cooler.
A little bit of pink it in it.
That’s over here on this side.
Mixing down into this range they see a little bit on the frontal plane here.
It's a little bit cool. That’s a little bit too much. Back off of that just a little bit.
From here and the frontal plane here, I do see a little bit more neutral.
It has a little greenish in here. Almost a greenish-orange.
A little bit more like this.
Blue is pretty potent in there.
Okay, so in her skin tone we’re going to get some variations in these yellowish kind of overtones.
I’m going to get in and get her cheeks in here.
We’re going to be the warmest area in here.
So, I’m going to go with my yellow and my cool red to get the warmth of these.
Stayed with my cool red predominantly through this, and it’s going to seem really warm
compared to everything else.
I can go down a little bit darker, a little bit darker.
I neutralized it down just a little bit just to get the variation in there.
I’m going to see a little bit of a…
Quite a bit darker, I guess, would be in her earlobes back here.
They’re tucked in underneath her hair.
Now, her nose is going to be a little bit warmer too,
but not quite as warm as her cheeks over there.
I’m going to bring this down just a little bit like this.
Or, neutralize it down.
Let me go back and just neutralize it down.
I don’t want to darken it down too much.
I’m going to neutralize that down just a little bit for the sides of her nose.
These side planes over here.
Let’s get a little darker.
A little bit darker yet.
I’m going to get a little bit of this—I’m still using this more neutral and reddish
tone in here to get the top of her eyelids up here.
These areas are still a little darker.
They’re not in full light because they’re turning down, but I want to get them to start
to wrap around little bit.
As you can see, I can go a little bit more yellow above and start to really round that out.
Same thing up here into her temples in there.
I want to go back with some of this warmer tone.
Get a little of that. Push that.
Her cheeks in here like this.
Okay, now getting down into her chin.
As we get down there it’s going to get a little more neutral as well.
I need to keep this light.
It’s really light at the corners of her mouth.
It’s really light.
Then it gets a little warmer and darker.
And we have the darkening under her chin, too.
I’m going to go and get that darkened down here.
I’m going to go back into this kind of magenta and get some of this raw sienna and yellow
into that, neutralize that back just a little bit.
This is underneath her chin, underneath her
lip where she is getting some reflection of her blouse.
That’s just a little bit saturated.
I’m going to neutralize that just a little bit and get that in there.
Just softly… ends a little bit like that.
Then as her forehead tapers around, rolls around, its’ going to get a little bit greener.
I’m going to go out of this, but I’m going to use my green in here.
Keep this a little bit saturated and then see what we can get out of this.
There we go. And the sides here.
Look into our medium mixture here, needing a little bit more yellow.
Again, this is the area of this painting that is mostly this yellow.
So I’m going to keep that in mind as we get there.
If I can get some redness back into her cheeks,
I’m going to go completely into this area in here.
This needs to be a little bit darker.
Now I’m going to get back into her eyebrows,
and I’m going to still try to stay with some of the yellow.
I’m going to keep the yellowness in here if I can.
Maybe I need to do a little bit of that and some black.
I’ll try getting some of the black out of this.
There we go.
It’s a little greener over on this side so I’m going to go with a little bit of
that, and I’ll pick up a little bit of the green on this side.
Then it gets a little bit warmer as it goes over the brow ridge.
It’s a little lighter and warmer and a little bit darker on the other side.
I’m going to get a dark brown in here.
With the magenta I’m going to get a little bit of this mixture in here.
I’m going to darken that down.
I’m going to use this for her eyes.
This side over here is a little bit cooler, so I’m going to make sure that I get this
one just a little bit cooler than the other.
There we go.
Okay, so you can see how I kind of pushed the yellows and pushed the blue and the red
into her face so we get a conversation of color out the yellows
from cooler yellows to warmer yellows.
Going to warm that up just a little bit.
That might be something kind of across the bridge of her nose and then much more yellow.
lighter and yellower in here.
Along her brow ridge, help to build that out.
There we go.
Coolness of this and the brightness of this is going to make this stand out.
See a little bit of variation in here.
Part of her hair, more yellow.
Blue, put a little bit of it in there.
Okay, and now we’re going to deal with that pattern in the background,
so I’m going to go into this lighter blue.
I’m just going to indicate these little marks as the last thing I do here.
Now, you can see these are really saturated.
I’m going to get a little bit of yellow in that.
Mixing a little bit of yellow in here.
I’m not mixing it completely, but I’m just getting some of that kind of teased in there.
As long as I make a pattern that seems like it’s equidistant.
My positive and negative space is somewhat similar.
It doesn’t have to be the actual pattern that is on the material, but as long as the
positive and negative shapes stay similar, then we’re going to end up getting—that’s getting too bold.
I’m going to break that up.
That area started to get a little bit even.
If it does I’ll just break it back.
Get more of that other color of the darker blue in there.
I can take that and I can even push a little bit more red in it.
It'll also help harmonize it just a little bit.
A little bit more. And there you go.
Just cutting back on these things so they don't become too much of objects.
So, here's the case where, again, we'll work with...yellow.
And a red, and a blue.
We’ll work to harmonize those things in there.
I can even put a little bit more yellow into this.
Let’s see if I get a little bit more yellow into this yet.
I can pull this and pull a little bit of the yellow out from her skin into the background here too.
We get a little bit of transition in here too that you can kind of build out into here.
Alright. There we go.
Well, I hope you enjoyed this series on color and this color boot camp.
I’ve enjoyed doing it with you.
This format that we’ve used through this section on painting, it’s that short drawing.
Keep that separate from your painting.
Just block it in your sketch until you feel comfortable.
Then, looking for the specific notes of color.
Do that in a time box fashion.
And if you continue to do that--and you can take pictures.
You can set up still lifes. You can set up models. Keep working in that same way.
Or, if you like to go outside and paint and do plein air paintings, this is a wonderful
experience to get you used to going out and painting in that change of light situation.
You don’t have much more than 30 minutes in a good light to get your painting done.
This has been a good prep for that.
If you want to continue this, it’s always a good exercise to continue on, and I encourage
you to keep going with these short sprints.
You may need to do longer paintings to work on your brush strokes, work on the quality
of your draftsmanship and your drawing.
I’m not pushing you to get great drawings in these paintings.
I really want you to look at the color and the harmonizing of your color relationships.
If you want to continue, then just stay with this same kind of a format and enjoy painting.
So, happy painting.
Free to try
Watch the whole lesson with a subscription
-
10m 4s
2. Introduction to Hue -
31m 56s
3. Assignment 1: Magenta Top, Neutral Background -
34m 1s
4. Bill's Approach to Assignment 1 -
31m 21s
5. Assignment 2: Orange Top, Green Lighting -
35m 50s
6. Bill's Approach to Assignment 2 -
31m 33s
7. Assignment 3: Blue Top, Orange-Yellow Hue Range -
36m 48s
8. Bill's Approach to Assignment 3 -
31m 19s
9. Assignment 4: Flat Lighting, Bold Shifts in Hue -
38m 39s
10. Bill's Approach to Assignment 4
CONNECT
New Masters Academy
16182 Gothard St
Huntington Beach, CA 92647
Contact US