- Lesson Details
In this comprehensive lesson with instructor and color expert Bill Perkins, you will learn how to work with warm and cool colors in your paintings in a clear and easy-to-understand way.
You will learn that temperature applies not only to a color or group of colors as a whole but also is used to describe the relationship between colors. Bill will demonstrate these concepts in his usual clear and accessible style, starting off the lesson with a lecture on color temperature and a breakdown of how color temperature is used in several artists’ works.
Bill will then move on to two painting demonstrations from model references, illustrating a different approach to color temperature in each painting.
- Faber-Castell 9000 Pencil
- Gamblin Artists Grade Oil Paint
- Hogs Hair Bristle Brushes – Filberts
- Gamsol Oderless Mineral Spirits
- Silicoil Brush Cleaning Tank
- Palette Paper
- Canvas Panel
color temperature. We're going to go over fundamentals of
color theory. We're going to look at some master paintings,
some very expressive paintings that also display aspects of
color and color temperature specifically and how we use
I'm going to do a couple of demonstrations. They're going to
show you different ways to handle and harmonize some of
your color. We're going to explore different ways that you
can use color temperature from looking at temperature on our
palette from a warm and cool color hemisphere to the
intricacies of subtle teasing of color in analogous colors
and colors that are around neutral range to a saturation
range and also balancing those harmonies.
Okay, so let's get started.
the interaction of color in terms of color temperature. The
main focus with color temperature is the
intervals of hue in a closely related situation. Normally
when we think of harmonizing color, we think of color
hemispheres and that would be half of the color wheel of a
warm side versus a cool side of the color wheel depending on
what you look at or what you read. The demarcation of where
the absolute warm hemisphere is, begins and ends, and the cool
hemisphere begins and ends is a little bit debatable it varies
from whoever's writing about it. But regardless of that what
we want to talk about today is harmonizing color and color
temperature really based on the nuances of similar hues. Warm
versions, cool versions, and so on. At the same time as you'll
see in my demonstration I do set up my palette based on warm
cool versions of primary colors. Now that's something
that I do all the time. I just found that that's a great way
to lay out a consistent palette and to have a warm cool version
of your primaries in some way and a couple of greens also a
dark value yellow, like a raw sienna, that allows me a broad
enough range at a high saturation level. Now whether my
painting's going to be highly saturated or a low saturated
painting, light painting, dark painting, it doesn't matter. I'm
not going to limit my palette necessarily unless that's the
scheme that I choose. I'm not going to limit my palette
initially because that will give me the broadest range of
variety of options. So that way I want to keep that available
and then it will just depend on what I choose. Now as you go
and select your subject to paint, what you're going to
do is if you want to create a plan, this case being color
temperature, but whatever plan you decide or scheme you
create, you need to set up a plan. And in order to set up a
good comprehensive plan, you have to look at your subject
objectively or just ask yourself a few internal
questions. When you are working from a model how are you
setting up the model? How is the model lit? Are you lighting
the model or is it something else somebody else doing it?
Most of the examples in the New Master's program you're going
to find they're well-lit models and they're set up so that you
can see the structure of the figures the best you can. So if
you're setting up the model yourself, whether it's a figure
whether it's costume, still life, landscape, whatever what you're
going to want to do is look to find not only setting up a
handsome set up. By that I mean create the harmonies or
relationships within that image to begin with okay and
depending on whatever you're setting up whether it's a
figure or your setting up the costume, make sure that the
background, their costume, their skin tone, the hair, the lighting,
all of that's going to work together in a way that's going
to give you the best result or really guide your plan or your
scheme. So often times, you know, as students what we end up
doing is we'll go into class, the instructor will set up the
model and we'll plop down and start painting and what we end
up doing is we end up subject to this rehearsal of over and
over and over being a slave to just what we see. Now when the
model moves, you know, if we step away or the model comes
back, they might not be in the same situation or the same
exact emotion actually. What's going to happen is things are
going to drift a little bit and if you didn't plan your scheme
on your objective up front, then it's going to throw you.
Okay, and as a student oftentimes we're like I said,
we're subject to just go in and sit down and start painting
without stopping first to figure out our scheme, our plan,
our objective. Same thing with if you're landscape painting too,
often times - and I would do this myself many times - I would go
out and go that looks great. I want to paint that, the light
looks great at this moment, and I'm instantly trying to capture
that moment in time, that lighting at that moment in that
time. Well, the sun's going to change. Things are going to
change but you have to retain that idea, that scheme, that plan,
you have to retain that in order that you can follow your
painting through and actually have it land in a place that it
conveys your idea or your intent or your plan. So the
scheme's really important keeping on track with where
we're going with color and color temperature. I want to
show you a few examples of other artists who actually
create schemes that are really obvious and really clear so that
you can get an idea of what you can do as an artist in terms of
just setting up your own assessment first. Okay. Here's
going to be the first diagram that I do. It's Renoir's
drawing of Alfred Sisley in the initial planning of this
painting Renoir probably broke things down into simple groups.
And that's what you want to do is look at the hierarchy of
these groups. Is it light is it medium, is it dark. What's the
level of texture? How would the areas break up? I'm going to
be showing you a good number of more impressionist type
paintings. And the reason I'm choosing those is because I'm
staying with the theme of color temperature and they basically
broke things down into simple patterns, but they gave a good
amount of variation in color temperature in these different
zones, but Renoir went a little bit farther because of
the strokes that he put down and the way that he put them
down. He was creating different hierarchies in a little bit
different way. So I want to show that.
What he might have done in this painting,
and this is just as basic plan. Okay is a basic plan. He has a
portrait here like this is the head, right
Background came in like this, shoulder,
and like this. Now what he ends up happening he's
got a pattern like this. This comes over like that. His hand
is breaking through in here.
Chair has another area here.
within this area
we can see that he's done a couple of different things.
There's this overall plan. Okay. So this is his compositional plan.
But then within this plan it breaks down into little zones
right? Within this plan we have this very dark area.
Okay, that goes almost flat.
Very little texture in that area
as compared to
these brush strokes that work like this. And these are cool
strokes over a warm ground. So that's the theme that's going
on in this grouping of strokes. Okay, and they work kind of
regular. Now on the chair down here another light or middle
value region, what ends up happening is these strokes are
a little bit longer and a little bit more directional
They appear a little bit different, slightly different
than that, and that allows him to keep these zones a little
bit flatter but distinctive. Okay, they'll remain - this zone
will remain distinct from this one just because the way that he
put his marks down. But again in this region, he's putting a
little bit of warm over cool and then he's putting cool back
over the top. So he's going back and forth over that.
We have this beard
that kind of blends into the background a little bit.
And in this area in here, he's got little tiny strokes. Okay.
So this is broken into smaller little strokes.
And these will again be warm next to cool and cool next to
warm to give some interest and vibration in this area. And
then he's got a dark value in here that's a little broken up
down in here. So you can see there's basic different design
zones and the way that he applies the paint is a little
different and his Strokes are a little bit different but what
he's also doing is also looking at you know, this area is cool
over warm. This is warm over cool and then cool back over
the top. So there's a little break up there. In the areas in
his face in here again, it goes back and forth and back
and forth. So that layering effect gives a deeper richer
quality and a little more dimension into the imagery. So
what happens is
by doing that he's mapping out a plan of where these things
are going to occur. So it's not just a case of I'm going to do
a warm cool painting and I like that thing and then
stopping right there and not planning beyond that. And that's
what I want this lesson to be is about the planning of how
you're going to proceed and assessing what's there in its
hierarchy. What's the lightest? What's the darkest? What's the
biggest shape? And what's the color temperature? From there
you're going to look at the areas. Is it a large warm area is it
a large cool area then you're going to break those areas down
and say okay is it warm over cool, cool over warm, or both or
how does that work? So we start with a big simple and break it
down from there.
Okay, this is Edgar Degas and it's a portrait of Henry and
So this is more of a horizontal piece and there's a - Degas
gives us a strong dark pattern. That's the most obvious thing
is the strong dark to light pattern. There's not a lot of
middle value regions or there's a couple only a couple middle
revalue regions, but it's pretty much pretty light and
pretty dark. Now when you're harmonizing your color. The one
thing that you're going to want to do is you're going to want
to look at similar value regions. The effect of the
contrast of Water temperature is best seen in similar value
areas. So that's why I go into this plan and showing you they
plan these zones out first and then they were able to create
these interactions of color temperature within these
separate value groups. It's not a overall kind of guess work.
It's really planned out. So in this painting of Henry and
Lucy, we have a strong design pattern, okay.
I'm going to start here because there's a really strong
directional movement of Lucy's body and her shoulder out here.
And then this chair
that comes across here, the newspaper that helps frame
and then go down here, table that comes in here.
And there's even books and things on the table that helped
quality here. There's things pointing in or aiming in here.
You can see pointing in here. This is a framing device that
comes in here. This is his leg, the dark of his leg
over here. Also
saying there's a mantle over here, fireplace and a mantle and
a frame on that mantle comes over here.
Okay, the dark shape comes down, his hand on the paper.
Henry is here.
And then behind them is a window. Again this is setting
shape behind here.
That's very rigid.
Now what he's done here is he's given
on Lucy she has dark hair and he frames her head with dark
hair. And then again this shape comes over here. Okay, so we
have a dark zone. Let's just fill in these dark zones. A dark
zone here, a dark Zone over here.
Locks with this zone over here like this. Okay. There's
another dark zone reinforcing that. A mid value zone in here,
It's a mid value area in here.
And this area has a lot of color temperature break up. Okay
in this mid value region in here, okay?
Dark zone goes all the way around.
All the way up into Lucy's face in here.
All of this gets
brought into the same.
This is middle value in here. That's light. This is all
dark in here.
Okay. So here's our - here's our plan. He's got a little bit of
on Henry over here just in the strong -
there's a pretty strong contrast on that. Other than
that, you know, Lucy's got some shadow on her as well over
That holds that area together and then she has
dark eye on this side and same with Henry but his is
something like this, okay.
Not all that worried about the specific shapes in there. And
then we have a little bit of a middle value back in here. Now
the reason that I'm calling these things out and just in
the design and laying it out in the design is that there's a
plan for this and that is that we have an area in here
where we have different color temperature.
So the color temperature is working the best one when it's
working at a similar value region. So and it's clear as
seen in these mid light to mid dark regions when you go really
dark it's going to be a little bit harder to discern some of
the breakup of the, you know, the effect of color
temperature unless you've getting it pushing some
saturation there a good amount of saturation. Just a dark dark
dark saturated. You can get good warm cool temperature
changes but it might be easier perceived in the mid value
range. So we're going to perceive a lot in here. We're
going to also perceive a lot in this area,
in this area, and this area back here.
Okay, we're going to get a lot of color temperature difference
in there and some along here.
Now the darks
serve as a good complement to these zones of color
temperature change. So in planning out your image, in
these cases if we're talking about color temperature or
creating a color scheme, then you want to plan out or map
out really, how are you going to arrange those schemes? Okay.
clear on the way he broke his images down and he overstates
his value structure and really makes his paintings about warm
cool in different ways. He actually keeps a great contrast
between different zones in his painting between color
temperature. It's a low-key, low major key. So it's overall
dark, but then there's some really strong chiaroscuro in
this painting and he breaks it down into these different
zones. Okay, so he has this area down in here, This area it down in here,
which is this warm area. Okay and everything in this area
down here, the still life elements in here, are all warm.
So this whole zone is warm and then he has a woman
and what we see is this all fades to dark
and we see,
you know, in a situation like this
all of this goes into the dark, her hair.
Her hair's a little bit light in there, but all of this goes
the dark zone.
And the dark zone is this big heavy dark zone is pretty
much the intermediate area.
It's just dark.
But within here there's warm and cools in this dark zone
and they sit together at that strong value level.
But she's predominantly blue. Okay, so you have this very
strong cool and down here in this zone is a very strong
Okay, so you really get the strong difference and it's
areas. So this area's warm. This area is cool. That's a
predominant plan for this this image. Now we also does some
other images where he'll create the drama in maybe more high key
situation, but what he'll end up doing is crafting a little bit
more color temperature difference in one area than
another and I'll show you that right. Now this other image by
Mezzonis is managed in a little different way. The main focus
here is going to be about lightest area and the area with
greatest color contrast. Okay, so he's going to break it down
into zones simplifying values in different groups. And so
that he pushes those values in order that you have a
simple plan. Now the images and the illustrations that I'm
showing you here are a little overstated for these artists.
And I'm pulling these on purpose so that you can see
them more clearly because they have such a strong value
contrast and they break into zones a little bit easier. You
can do it with your own work. You can increase the
the difference of contrast if you want or plan for it and the
whole idea here again is creating schemes and and
building your color scheme. He uses values along with the warm
cool treatment just like the other artists. So
in that case there is an area in here that becomes the major
area of focus.
Okay, and this is the area of focus, although it is a full
figure this is kind of cropped off and her whole figure
is like this.
Now as things get broken out, let's see.
See there's - and when I say they're broken out when
I'm defining these different zones that he's providing in
this image, I'm going to be grouping values a little bit
more. So this is the area where there's going to be the
greatest color temperature change. Okay. It's all a very
cool keyed painting. But we have some warm areas in here.
There's a little bit working in here and a little bit down in
here, okay, that he's going to provide for you to give
you some eye movement within that zone. Outside of that this
is very cool and light.
But it's still darker than
our area of focus,
okay, and then we have a darker region out here.
Now remaining cool, these areas are all remaining cool. But
what they're doing - and then the darkest zone in they're the The Arc is Zone in
which is similar to the other values out here.
So you can see in this image the values are fairly close
within here and here to here, these three values he keeps
separate as well. But the big gap is in here and that
jump in value change in that zone plus the increased colored
temperature change focuses your eye into this area in
Okay now setting a plan for what our demonstration is going
to be today. I'm going to do the same model, but I'm going
to paint her two different ways. Okay, it's going to -
they're both going to be about the contrast of color
temperature. But I want to handle a color temperature in a
couple of different ways. The first way that I'm going to do
it is a flatly lit or what could be more of an ambient or
backlit or flat lit situation which designs and a little bit
flatter pattern kind of like what you saw with the
impressionist. I'm going to do the same thing with the model
here and I'll just kind of briefly describe the zones that
I'm going to be looking for as I proceed through the demo.
in this image, like I said, it's flatly lit. It's more of a
flat light situation and
this is just kind of the basic plan. Okay, she has dark
Okay, so there's just kind of a rough plan. But what I'm going
to be doing is I noticed that, you know, having dark hair in
this situation. So I see that I'm going to get a dark in
And this has a lot to do with how I break down my color
temperature because like I said, the color temperature
difference really works best when it works within a similar
value area. That's why it's important for me to break down
how did these zones or patterns work first so that I can get
the best interaction out of that color temperature change.
So I know I'm going to have a darker region up here. I know
that this is going to kind of lead my eye down into here.
Again her eye was going to be like this and this again, this
is a flat light situation or a notan scenario. So what I'm
going to do is I'm going to see her eye coming this way
and a little bit more
around her ridge here.
And I'm going to see most of the local values will be
dominant in here, right? That's what makes it more of a notan
scenario. That's flat lit kind of ambient
and local values
will be the strongest feature here.
Now within this, because it's flatly lit,
okay, because this painting is more flatly lit,
I'm going to want to look for more temperature changes within
her skin. As you can see this is a larger region in here. So I'm
going to look for things that have to do with her forms, her
skin texture, the coloration of her skin, her complexion. I'm
going to look for those because this painting is a flat light
situation. So it's not dependent on strong form
elements. It's more dependent on shapes and surface textures.
So that's what I'm going to look for my color temperature
in this scenario. Okay. I do have a little bit of a
darkening of a
of a shadow under here, but I don't want to make that the
most dominant thing. If I make this really dark it's going to
sever her head and it will be is equal as her eyes. What I'm
going to do is I'm going to make sure that these areas are
my darkest zones. These are going to be my accents in here, right? So
these are going to become my darkest zones as I move through
bring a little form into this
situation this way.
Okay, so that way I keep
things separate. Now I'm going to notice, all right, I
do notice that around her nose in here I am going to get a
little bit more red along the edge here and along the edge
I notice that under her eyes in here I'm going to see - and
I'll show you this in the demonstration - I'm going to get
a little bit more warm or darker tones in some of these
areas, right, and then through this mid-range, this mid value I get
area of a little bit redder tone going through a whole
I'm going to get some of the coolest area up in here.
So this is where I'm kind of mapping some of these things
out. I'm taking notice in my first observations so that I
can go back and take advantage of this in some of the folds
of her eyelids and stuff in here we're going to see a little bit
warmer values in here where skin folds into skin. Now,
what's going to happen in the big picture here
is that we've got a large shape
and that's going to reflect a lot of light even though it's
flat. It's going to reflect a lot of light. We have smaller
forms like her nose on here. Okay. It's a smaller form. It's
going to reflect less light and appear a little darker. Okay,
we're going to have forms around her eyes in here, right,
and around these smaller forms.
They're going to appear a little bit darker. Okay, and
where skin folds into skin we're also going to get the
effect of this warmer quality. Okay. So because her skin
is fairly warm and it goes into itself or reflects
Okay, so we've got those kinds of situations where we're
getting those changes and then we're going to look at the
surface and her surface or her complexion, okay, and she's got
some - no makeup so she's kind of a little bit
pinkish and it has a little bit more apparent complexion or
break up, you know, in this region in here than she does
overall. Now this area here she has a lot of - her there's she has a lot of your
cheek structure comes down here her lip there's smaller forms
here, here, and this as another plane that comes down here. So
these things bend break into smaller forms. The largest mass
is up in here. So on here is going to appear lighter than
these others. Okay at the same time, if the light direction is
coming in from this way, it's going to hit the planes that
are most perpendicular to the light source, even though this
is fairly flat ambient lit. They're still going to hit
those areas. So we're going to see it here. We're going to see
it here. We're going to see a little bit where it turns right
in there. These are the areas where you get your
greatest effect of the color of the light source that color
temperature. Okay, and we may see it a little bit on this
little light right in there on here. But again, this is the
largest shape. It's going to be most dominant. Her cheek the top
of here around this orbital area this is going to be
another fairly light region in there
and then not until we get to this area down in here where we
have the side of her esophagus is turning a little bit closer
to the direction of light. We're going to get a little bit
of light on that outside of that. There's going to be
smaller little bits and smaller little bits are going to be in
some regions like this, but they are secondary compared to
the big spot. So we're going to break it down from big to small
and this is going to be our plan in this
scenario, that's more notan.
I'll do them side-by-side and this is how my plan works
towards the demo that I'm going to do for you.
As far as this goes, I'm just diagramming this out. So my
proportions are going to be a little wonky and it doesn't
matter because this is my plan.
Okay, and you can see I started out quite a bit like I
So we're looking at something like this.
But the difference here is where I broke this the first
one down into this darker pattern,
a little bit more of an angle on this one, I'm going to
start with this. Let me just start with that.
That's a dark pattern.
In this image the shadows remain fairly contrasty. So
what I'm going to do is I'm going to do whatever I can to
maintain the contrast and it's going to be one's own against
So I'm going to see different things like this, like a little
bit down in here, okay?
Forehead goes into shadow.
Here hair is the darker. It'll come around.
And so what I'm going to do is I'm going to look to find how
the light and shadow works in here breaking all these
a light and shadow shape.
That's going to be the overall plan for this image.
So all of this
is going to be my my shadow shape. I get a little bit of a
light source under her eye in here and across
on her eyeball this way.
I'm going to see this area in here.
Okay. So these are going to be my major areas now on this
image. Okay, as you can see here, it's the pattern out here
in these darks. In this one. I'm going to be grouping these
darks in this way. So here's going to be my darkest dark.
There is some reflected light playing in in here.
Okay, so I am going to get a little bit lighter in this in
this region in here. But like the other one I'm going to see
that there's -
her hair is going to be - and her brow region - is going to be a
little bit darker in there, too. But other than that, these
are those major group. So I'm going to look for -
I'm going to look for color temperature differences
differently here than I am over here. I'm also going to notice
that there's secondary planes, you know, this one we talked
about the ambient light on her skin and I'm playing up the
color temperature difference on those those flatter more
ambient areas. Here I'm going to be looking for them in these
little half lights.
Okay, maybe a front plane there, maybe There may be a
where this goes into a plane something like this.
Okay, so - let's see
and a little bit under here.
And I'm going to get some in here, too.
Okay, so these regions we have the dark. Okay, and then we
have a light in here and then we have these other regions in
here. These might be the areas that I'm going to be looking to
put a little bit more color temperature difference. So I
have this this dark area, this area, and then this area. So
we're still working with zones, but we're planning them out. So
if I'm going to paint the model, I'm not just going to
look at the model and just start drawing and throwing
color down. What I'm going to do is I'm going to set up a
plan and as you can see in here this one this would be my plan
for a more notan scenario. I'm going to be looking for
color temperature differences in these certain areas. When we
have a stronger light source I'm going to be looking in
different areas, grouping my values, and looking to create
color temperature shifts in each value group. That's where
you see it most clearly. So let's get on do a
regular palette for all my paintings. It's really
a matter of choice in which colors I use when I'm painting
but I usually set out the same palette starting with a
titanium white and then I kind of go around a color wheel.
Here's a yellow, cad yellow light. CAD yellow light.
Okay, and I usually keep like a warm and cool version of each
hue, primary secondary hues, with an addition here of like a
orange and a venetian red. I'm going to do that. So I'm going
to put it like an orange here
and raw sienna works as a dark yellow. And on my palette I
want to have a light value yellow and a dark value yellow
so I can keep saturation in my darker hues
and mixtures. Okay, so then I'm going to go from
two yellows and an orange. Like I said, I added that in
to a warm red, this is a napthol red. Okay, I use a napthol red
and it's a warm red.
And they cool red. I'm using a quinacridone red. Okay, I use
the quinacridone instead of alizarin crimson because it's
a little more significantly cool and a very
intense color and I'd rather start with some intense color
and mix down a neutral then start with something that is a
little more neutral and I have to mix it or you know, use
other colors instead. I wouldn't be able to get a full
saturation. So from here,
from this cool red, I'm going to go into a warm blue. This is
So there's my warm blue.
And then a cool blue be my phthalo blue.
I'm gonna use a phthalo green.
See where it's getting a little transparent in this
See the nature of that. Now this is - the phthalo colors are
very very saturated. But I would rather start with those.
Like I said, I rather start with a more saturated hue
so it gives me the complete flexibility
of hue. And then this is a viridian green.
This is a venetian red or English red.
And then sometimes I'll use a black as well, an ivory black.
I might want to harmonize different hues with gray and if
I want to use an absolute grey I'm gonna use a white and the
black to make an absolute gray that I can mix into if I'm
going to mix that way. Another way to do it might be
complementary neutrals. So I'm just going to sketch in. I'm
going to sketch right in on this canvas. I'm just going to
do a rough sketch of
the set up, the model.
And what I'll do is I'll mix kind of a neutralized hue.
So this as you can see is pretty saturated in here okay,
I can use something like a cobalt to neutralize this down.
I want to go just with a simple little neutral.
I'm going to start with an area that is mostly in light. Okay,
and when I'm going to try to harmonize color, I'm going to
look at the big things first and then get to the small
things. And the main thing that I want to do in this first
painting is to say okay within this painting, what's my
greater area? And I purposely chose this image because it has
a greater proportion of her face in light. Okay. And a
smaller proportion in shadow. Now she has dark hair and
there's areas that are you know this area over here is all in
light. But the local value over here is dark. So what I'm going
to see is that the local value of her hair is actually as dark
as some of the recesses down in here and in here, so I'm going
to connect this simple mass of dark value throughout her whole
hair with the shadow shapes here and the shadow under here,
so that'll lock in my design that locks this all together.
So what I end up coming up with is four basic areas, and I'm - so
I'll just kind of number these things out. Okay, my
darkest area is going to be here. Okay. It's going to be in
the Dark of the hair in here and there's some of it
over in here. So this is the darkest region over here
besides a couple little accents in here. Now the next area is
the shadow side of her face. Okay the next darkest, so I'm
going to put it too in here. Okay all the way through. And
this is going to help me organize how I'm going to plot
out this . Not just in the drawing and the design but how
I'm going to plot out my scheme. Okay my color scheme. So team. Okay my color scheme. So
what I'm going to do is I'm going to identify my darkest
zone, my next darkest zone, and then my next darkest owned and then my next darkest
zone which is three like this, and then my lightest area which
is the four. Okay. So now I have four areas. So once I go into
the four areas and this isn't just in color alone, but
harmonizing the overall painting as well. What is the
area? That is the - this is what I'm asking myself. What is the
area that I have my values that in four different values basic
value groups. So out of those four value groups, what area do
I want to have most interest in? Okay. So if this is my area
of focus in here, or maybe it's along this line in here, the
shadow at the edge of the shadow in here, or maybe it's
in some of these dark recesses in here. Maybe along here
is the most interesting area that I'm going to have in
here. So if this breakup in here if I say it's either the
light zone overall or if it's the break-up in here I might
approach it slightly differently. Okay, but I might
say, okay, what area do I want the most amount of frequency of
breakup or design. And some people might call it detail or
or rendering I try to eliminate those terms and try to just
look at it from the
picture making terminology and that would be less about the
rendering of an object and less about the
her face and look more at the shapes in general. So I have
four basic shapes. And I have my lightest area which is this four
and then the next darkest is the three. The next is a two and
the next darkest area is the one. So I have my value
structure. Now I'm going to look at the area of interest
and if I look at the area of interest I might say this area
in here has the greatest amount of contrast and break up in
here around her eye and in here. So I'll make these
areas the areas with most contrast and the most interest.
Okay. Now that might be texture, that might be whatever you
in this case, I'll just say that this might be the area of
most interest. Okay, and then I'm going to say, okay beyond
that what is next? Okay, would it be
if number two in here is the area of Interest would I make
the next area of interest three or would I make it - excuse me -
would I make it four area of her skin in light or what I make
it one her hair in here, or would I make it three? Well, I
can see from my reference and this is where I'm going to
depart from the reference. I'm just going to take take this
one note and that is I had the least amount of texture or
anything in the background. Okay. So this would be - number three
would be the least amount of texture or interest that I'm
going to put in there. So even when I'm harmonizing my color,
I might not get the most broken color, the most in there. The
background might seem a little simple and a little layered or simple
and flat compared to the other zones. So once I make that
decision, I'm going to go ahead and block the background in and
keep it fairly simple. So it may mean that it will start a
little a bit thinner or less saturated color.
I'm not going to try to stay necessarily exactly with all
the skin tones that I see in the model in here. What I'm
going to do is I'm going to set this painting up so that I
could take advantage of my reference and make a little
departure push the color create color harmonies and demonstrate
how a might adjust color harmonies rather than trying to
match a lip tone to a chin and so on. I'm going to
look at the overall color harmonies and break it down from
the big areas to the small. So
if I say my overall scheme in here, I have like a cool
background. Okay. It's a blue neutral background and in her
skin tone there's some areas that are kind of yellow
greenish, and she and it really plays the highlight of her pink
cheeks in here and her lips.
background area that's a little bit cool. So I'm going
to use a little bit of the cool blue and the warm blue. Okay.
I'm going to neutralize that down a little bit, see what I get,
neutralize this in here somewhere.
If I want to make this a little bit more violet, if I use
red that has some blue in it I'm going to maintain
saturation. If I use a warm red it will neutralize this a
little bit and if we use a warmer red with a more orange
red it'll neutralize it even more. So I'm going to try to do
that. I'm going to neutralize it even more. Keep it in the
range of blue, but I'm going to neutralize it even more and I'm going
to keep this pretty simple.
Okay, I'm going to use - add a little bit of a medium. I use a
Gamblin alkyd in here that I'll just use
at this point just to stretch the paint out just a little
And it's okay if I go over this, over my line a little bit
because I'm going to paint back into it anyway back and forth
and kind of wax on wax off and that'll give me some softer
edges and just help build up some luminosity in there, too.
So I'm going to
put this on.
and fairly flat because again, I mentioned that that number
three area the background is the area that has the
least amount of interest that I want to play in this painting.
Now, I can always add thicker paint, add more texture do
whatever in there. But right now I want to set this up as
clearly that the the flattest the simplest. Okay, I can even
add a little gradient in there. I'm not going to get to all
that. I want to block in my whole canvas and then I'll
determine where I need to make some subtle adjustments in here, but
I want to get my simple relationships, my first first
set of relationships in there. Okay. So then what I'm going to
do is I'm going to lay in these darks and then the dark of her hair.
and I'll start with those on her skin tone here and what I'm
going to see is it's a little bit more neutral than her skin
in light. And but what I want to do for this painting is
if this is going to be my area interest, I'm going to try to
harmonize my color so I get a little bit more interest and
color vibration in this area. Okay, then in my other areas
so that being the case I might start with one color and then
build into it, but it rather than make this a little bit
more darker and more neutral, I'm going to maintain some
saturation here along this edge. And I may even tone it
down a little bit in some of these areas. Okay, so I'm going
to change the balance of this. And I'm departing from the
photo because I'm looking to find an arrangement, a color
arrangement that's actually going to enhance the purpose or
what I want to pull out of this this imagery. So
what I'll do is I'll start with this. I want to keep it in a
lower value. That's why I start with my
darker yellow in here. Okay, if I want to warm it up I can
warm it up like this.
A little medium. It's pretty saturated in there and it's a
little bit more than what I want. I want to lighten it up
And I'm going to start out,
little of this cool red and some of the yellow in here.
See if I can't get something out of that. Maybe pull a
little bit of the cool back into it. I think this works a
little bit better. Okay. This is a little bit too dark
and red in here, so I'm going to reduce that down and then I'm
going to go ahead and put that in.
Now I am putting it as one big - one big simple color and
I know there's variations in there, but I'm putting it in as
one big simple color just to start with. I see a little bit
of it in there. But this is all lighter because the form around
here doesn't go really really deep. I'm not going to make
that that dark in there. There's only a couple of little
bits where where it actually gets a little bit deeper, but
that's pretty much it. Okay, and then right along the
corner of her mouth in there. So from that
again, I want to keep this area pretty rich
There we go.
Bring it a little bit lighter yet just to bring it in here,
something like this.
We go back to this and lighten this just a little bit.
Getting a little bit of cooler tone in here because I want to
bring that into
this area on the forehead, this larger area that's reflecting
some of the area out there. So I look to harmonize it with by
bringing some of this in particularly in and where I
know I was going to be reflecting some of the light or
you know, the surrounding area.
Darken that just a little bit.
Make it pretty, pretty dark right in here.
So this - again this is kind of this area of interest that I
have and within that zone I'm going to start dealing with
the edge of that zone now.
And if I want to make her cheek read a little bit
warmer, I'm going to just start to build a little bit of that
in there, you know, there, and then I'm going to build a
little bit maybe along the edge
as her nose turns. I'm also going to - if this is the area of
the interest that I want, I might start working with the
color of her eyes too. A bit on the green side. I'm going to
keep some saturation up.
See where this goes, and then I'll bring it into here.
Get a little bit more yellow in those eyes.
And then neutralize it just get them a little little more
neutral, little darker there.
back over here her
eye's darker over here, so we'll follow that up.
Now if I'm going to keep some interest in here, this
area in here is pinker. Okay,
so gonna get a little bit of that in there and make sure it's
just a little bit lighter and I'm measuring that, this hue a
little bit because if I want to make
her lips a little bit more saturated
I can get into something like this.
Or if I want to make them cooler,
let me get some cool, little cooler red in there, too.
Let's make this lighter and cooler.
White's a cooling agent, will cool things down as well as
kind of blues things out just a little bit.
Now I'm going to go in. I've got a - I know I've got some of
this raw sienna here, this darker yellow and I've started
with this cool red, add a little bit of the blue which makes it
a little bit more of a violet, but I'm warming that up a
little bit and I'm going to bring that into here,
particularly on the outside
because I've already expressed some coolness out here. So I'm
bringing the coolness into this. From there if I want to warm
that little bit but keep it dark, okay, I can do that. I
warm that up even if I want to darken a little bit and keep it
warm I can do this. Just a little touch of the black in
there and keep this part of her - the occlusion in her between
her lips there. Keep that a little bit warmer then the
outside of her lips.
I'm going to lighten that a little bit but keep it cooler.
Like that, I can get a little bit of the outside of her lower
lip out here.
And again, I'm mixing these cool colors from this
arrangement because then it feels like it's picking up some
of the color from over there and that's keeping a little
variation on a theme. Okay. You also notice I'm using a little
bit thicker paint, breaking this up just a little bit more. Okay
breaking up this area just a little bit more and I'll add
a little bit more of a red into
this area. This is a little bit
lighter, but I'm going to bring a little bit of this in here
because I see the warmth in
under her eyes a little bit and also
at the base of her nostril in
here. Okay. So I'm going to leave this area right now.
Okay. I'm going to leave this area now and I'm going to
continue over for the dark mass of her hair because I want to
get a little bit of difference from this and bring around that
dark. Okay, and I'm going to start to look for a little bit
of the greenness that I want to put in her skin here. I'm going
to look to get a little bit of it in her hair as well. I'm
going to start out with a darker yellow here.
And I'm going to add a little bit of black and get it into
this kind of region,
put some more green in that, and then I can get a dark warm
red into that.
Get little bit more into that.
Get more of the greenness in it.
So this - I'm setting the ground for this,
the greenness out here in
her hair and I'm like again, I'll put it in with a just a
simple stroke in here. Try to get the basic shape and then
I'll work some other colors into it and around it to
harmonize those just like I did earlier with this Shadow shape.
Lighten and punch that up just a little bit. I'm going to go
ahead and neutralize a little bit as well. Let me get a
little bit of this in there.
I'm even gonna cool it up a little bit more.
Get a little bit more red in there
Neutralize it just a little bit more, a little area in here.
And you can see I can get - I can put this in soft or I can get a
little bit of texture in here. I'm getting a little bit more
in here, but I'm going to make the most interest here. So I can
always play this up or play it down. I can soften it up or
make it stand out more.
But right now I'm just kind of filling in that area. It's a
little bit rough. I want to just kind of tame it down a
little bit. So I'll soften it up a little bit so it's not so -
it doesn't call so much attention to itself.
this darker shadow shape I'm gonna to continue on down here and
I'm going to stay a little bit yellower with it down here.
So I'm going to work out of this zone or this area of
Warming it just a little bit, neutralize it just a little
I'll a warm this just a touch if I want to get a little
reflected light in here.
I'm going to go from there.
Okay from that point I know I need to darken it slightly
and from there I wanted to neutralize it and I'm going to
go ahead and I'm going to neutralize it with a grey and
here I'm going to grey this out just a little bit and again I'm
choosing to grey this out. Now remember when I started I was
saying this as a tendency the shadow tends to be in my
reference material seems to be a little more neutralized
overall then the area in light and except for some of these
little saturated little bits in here. So I wanted to - I chose
play this up a little bit more, push the saturation in this
along the shadow area and edge in here her eyes in here a
little bit more. So I'm going to go back to the more neutral
arrangement that's most obvious in the rest of her
shadows, and I'll put it in.
Need to darken this down just a little bit.
so I'm lightening a little bit of this, cooling a little bit of
this just to kind of play along the edge. I'm going to get rest
of her jaw in here.
Just at the turn of the edge so I can see the difference
between this cool area in here and the warmth of the
reflected light, this warmer bit in there that's a little bit
more orange. And as I bring this up into where her ear is over in
here I can see where it goes from this little bit more
neutral area right in here into an area that is much more
pink and has a little bit more saturation up in there. So
go back into something like this, pick up a little bit more
of that pink, h harmonize that into there to get that
into more of this region in here. Okay, and the bottom of her
ear is like here.
Okay, so as I went from this shadow area in the shadow under
here I started to bring this up a little bit. Now I can
step this up in value. It needs to be just a little bit
brighter and that's why I wanted to kind of wash this out
just a little bit so that I keep my saturation in this
area. Okay, and I'll use it to surround her face a little bit
because this is where I want the interest. if you want the interest
Remember, I just said the background number three was
going to be the least amount of texture and interest and then
let's see, one that was the darkest of her hair and that's
going to be kinda moderate. I might still have a little too
much in there. Let me reduce that just a little bit
and see if I knock that down a little bit. It brings a little
bit more focus to the other areas, kind of soften the edge a
little bit there and then
what I'll do is now go ahead and lay in this area we're
facing here and then I'm going to start to make my adjustments.
Once I get my whole canvas covered I'll start to make
some more adjustments.
I'm going to clear a little space on my palette here because
this is - these are all the colors that I used in these
darker areas. So
I want to make sure that my value stays separate. So as I
go forward, I might pick up - start with a real light. And
then I might get a little bit of the yellow. This is what I
was saying I wanted to maybe get a little bit more of the
quality of yellow in the overall skin tone.
I know that I'm going to need to warm this up.
So warm it up a little bit. But I'm gonna use a cool red
instead of the warm. I don't want it orange orange.
Otherwise, I would have dipped into the orange. I want a
little bit more neutral. Okay, but I still want the feeling of
some greenness in there. Okay, so I'm going to look - use a
little touch of that in there as well.
little bit more of the yellow
and a little bit of the warm that up there.
Somewhere like this.
and this might look a little bizarre, but I'm
going to block this in.
Now as I do this, I know there's different regions.
There's like a pinkish zone across here and I can see that
it - her skin in here gets a little bit more saturated so I
can go ahead and saturate that up just a little bit.
Okay, and I'm using kind of a warmer yellow. This darker
yellow is actually feels like it's warming it up just a
little bit. Then I can get into some of the areas here that
make it a little bit different than than outside, you know, on
our forehead there.
So that's just warming it a little bit if I warm it just a
little bit in here. I might be able to pull a little tone up -
oops - pull this a little bit of the same warmth up along the
edge here. Okay, and then I also want to get a little bit I also want to get a little bit
more of the red. I just got a little touch of the red in
there so that I can get a little bit of it in the -
this zone in here.
And then her chin.
Now I'm going to go back to this yellowish tone and
I'm going to add just a little touch of the - of a cool, maybe
make it a little bit of blue and get a little bit of a
violet in there. Get back into there, get a little
bit cooler in here for this area right in here.
So I can get a little bit of a temperature difference in
there. Okay along that. Now that might ride along that
plane and I'm going to see I might need a little bit more of
but yet cool,
along the side of her nose down here.
Where it starts to get a little pinker in here.
I'm going to make sure that I can pick that up.
Okay, so pinker in here as well.
Then I'm going to get the real
the warmth of her cheek in there.
Make sure that I can get that in. Maybe I'll leave a little
bit of texture. So let me get a little bit of broken color on
my brush and I can even put this in with a little bit
texture just to get a little bit of her
complexion but at the same time what it's doing is giving you a
little bit more interest in there because it's giving
you a little broken color in there.
And I can add or take away as much as I want in there, but
let me get in here with a bit more warmth.
Darken it slightly.
The ridge of her nose. I need to get make it a little bit
Not too red though.
Starting to get a little bit away from the yellow or green
that I want in there. So I'm going to put a little bit
of that back in there,
slightly darker value
than that above
on her forehead.
I'm still a little too dark.
If I go a little bit darker and a little bit saturated right
along the edge up here, it's going to - again it's going to
keep the interest right along in that region. So that's kind
of what I want to do. I want to keep that going in there make
that the area of the focus that I have chosen to
to represent a little bit more saturation in there.
Neutralize this area just a little bit, but I need to
lighten it up.
Keep it a little bit more neutral, lighten it up so
that I can get
this area above, above her lip.
I cooled that side of her nose so I need to go back and cool
that a little bit.
Then I'm going to go ahead and neutralize,
which is cooling down a little bit, this whole area in here.
Again, just like I did here. If I let this saturation fall off,
that's going to push those those more saturated colors up
in here. You'll feel that the difference of a little bit more
saturated hue in that area and that will give some direction
to where I place my saturated colors, my neutralized colors
and how it can kind of overall harmonize the total.
just so there's a little less contrast when I get into the
her shoulder over here. I can warm it up slightly.
Okay, so I almost have the whole thing blocked in. I've
got a couple of little areas in there that I want to
work with. There's a bit of her -
under her eye here there's an area that's actually
in light, but that won't be as bright as the rest of her skin
on this side. Because if I paint - if I grabbed a color here and
put it over here, it would be surrounded by this dark. Now
what happens when you put the same value over here surrounded
by dark it's going to seem to contrasted. It's going to be too much
contrast there. So let me show you how you can play that out.
I kept up some warmth in this area. So I'm going to maintain
it being a little bit warmer and you can see this is a
little bit darker than my overall color here so I can
actually get away with having something a little bit darker
and it still reads like a very light value or like the value
in light over there.
I can get a little bit pinker.
So that it comes into this the cheek area there.
Okay, so it starts to read across.
And yet this area is not nearly as light as anything in here and
that's going to be important. Also the areas within her eyes
is lighter areas and then little area - let me get around
her lip here and just refine some of that shape.
If I make that a little bit lighter and then
make the inside there just a little bit darker, get a
little bit more the shadow in there.
But I'm going to keep it a little bit saturated.
Go back to this.
A warmer tone from -
on the shadow side of her nose. I'm going to get some of this little
accent down in here.
It's a little too dark because I want to save a little bit for the
Okay I'm going to make this a little bit lighter a little bit
Than when I just had there, little more neutral a little
more yellow there.
Right there. And then I'm going to go ahead and -
work on it down here because
what I want to do is I want to pull out the her forehead in
here too. And since I played with the yellows and
little bit more neutral in there I can do that by
again, going back to kind of her basic skin tone, which I
had kind of in the yellow greenish
with a little inclusion of
a little cool green or cool red. Okay, but if I lighten
that and warm it - or excuse me lighten it and cool it
slightly I can come all the way over to here and just use a
little touch of this if I want.
Okay, let me see how that works.
I can go even lighter, maybe even want to go to slightly
pinker, but pretty much
to kind of build out the form along there.
Because the light source is coming down in this direction.
And it's a fairly neutral light. Normally, you know, your
highlights are always going to reflect mostly the color of
your light source, and so -
and they're the least affected by the local color. They're
really more about the light source, so I might get a little
bit more -
since it's more of a neutral light a little bit more in
there like that.
And you can see I'm building up the little bit of the texture
as well. I'm going to start leading your eye around with a
little bit of the interest from the texture that I'm going
to bring into this. If I
make that slightly pinker.
Bring it down into here, could bring it down into here.
And now what I want to do is I want to start dealing with some
edges so that I can start to soften some of these start to soften some of these
areas, but I want to make sure that in this area I have my
most interest. Now a couple things are going to happen: if I
keep some of these areas saturated around in here
that can keep pushing it, I can keep pushing it that way. I
also have the value that I can keep working with in there. And
if I want to make this stand out a little bit more I can
start darkening the background down a little bit. I don't want
to do it too much over here. I can do it up here and I can do
it down down here or I can bring it from here up, but I
don't want to make it darker because it's going to disappear
into the background if I want to hang on to that a little
Let's see. So keeping this a little bit on the - keeping the
light on the kind of the neutral side, okay, I can keep
it in here kind of in this this kind of neutral zone and I can
see that all these little areas that are
maybe the ridge of her nose on here. Okay, and maybe
right here on her nose you're going to start to see
a little bit of a turn in there.
In this area. It's going to be more towards the light source.
So it's going to pick up a little bit more light. So I'm
going to lighten this slightly
on this side over in here. It's a little too much so let me
sort that out just a little bit.
Okay, so I can build in a couple lighter areas and I can
keep it kind of neutral.
Darken it down in here but still see if we keep it neutral
and start to build up this area here.
Gives you a little bit of structure but what's happening
is the warmed cool - see I lay down a little bit of a warm in
there and the warm to cool relationship in there will give
it a little bit more interest.
Okay, again, I want it to be along this this area up in here
that you really get this kind of a warm cool kind of a
quality and I can see I cooled this down and darkened it but I
could cool it even more. Okay, I can keep that even
cooler yet. And if I cool that down
even more it might be a little bit more interest in there.
And I know that I want to make it in turn it into the pink.
Because again, this is the area where I want to maintain that
to harmonize that the quality of this picture.
So I'm focusing on getting it into those areas in there.
I can go a little bit darker.
A little bit more of the red back in there.
Again if I'm going to warm up this - along the edge over here
and really kind of keep a -
keep the warmth along this
edge and kind of push the color temperature difference, I can
go like that I can - as there's a little bit of light
that's hitting the top of her eyelid in there in this
region I can just make sure to cool this down a little,
keep it soft.
Cool it down.
Now I'm going back to her eyebrow on this
darker side over here. I want to make sure that I get
some richness into that color as well. Not just dark but dark
and rich, so I want to get a little bit more.
There we go.
So that's my - like I said, my main focus is to keep a lot of
the saturation along this this area over in here. So with that in
mind I'm going to try to stay with it.
Moving into some darker little accents in here, but I want to
make sure that I'm doing it with some very saturated colors
in here so that again it keeps - it keeps them - keeps your
interest right in this area. So next to that cool I put this
warm down in the corner over here I see that. I see that in there,
but I want to kind of accentuate it a little bit
on the shadow side. There's a little bit of warmth on
the underside of the lid in here. So I'm going to
use a little bit of that in there just to kind of correct
the shape of her eye there.
needs to get - I want to get a little bit less orange and a
little bit more pink, a little cooler.
And then I need to get a real dark
warm for the her nostril in there
because this black in here is a little too - it's a little too
harsh. Let me go just a little bit
brighter in here.
Gonna clean up the edge just a little bit on there.
There we go.
This was a little dark. So let me lighten that up just a little
Little too light.
Again from here there's a lot of little fine-tuning. I can I
can fine-tune shapes,
you know, play with with different shapes in there. I
can go in and actually
get, you know, add a little bit of
saturation in some of these areas that might have been a
little bit more neutral. I can kind of push those a little
Get some harder edges or softer edges.
So now what I want to do is I want to go back and
reinforce some of the warmth in some of these areas. Okay, so I
might go in and push a little bit of this.
When I say push what I mean is get a little bit more
saturation into some of these areas and I'm also looking at
it from the standpoint of
maintaining contrast between some areas that are cooler and
some areas that are warmer. I want to keep pushing some of
these little contrast
and also keep that interest in this area because of that
range of saturation that I'm trying to provide in there.
I'll go in and as I go in and start making some really
dark accents, what I want to do is I want to keep them
really rich. Okay. I don't want to just make them black. I want
to make them rich. And if -
if I'm harmonizing with this green and these warm greens
like this with some reds in them I want to make sure that
I can get these just as dark as I can.
And keep them rich at the same time.
See, I've got a little bit of
hard edges on there. I want to soften it up just a little bit.
I made this a little bit too orange. I want to make it a
little bit redder,
more like this.
There we go.
And because I also want to make sure that this area in
has the most interest, I might have some warmth along
the edges of some of these
Moving from that greenish skin tone I made a little bit warmer
around her eye and I want to make a little bit warmer on the
fold on her eye, too.
Okay, just to kind of soften that in there and I also see a
dark in the back in here too on this side.
Just an indication, I just want to give a an indication of that.
I can use a real dark
saturated red again for this occlusion between her lips
Well, we're - it's going to be pretty saturated in there.
Okay. That's because you have this - the color of her lips are
the same and if they're reflecting in one another
as they turn closer and closer to one another what's going to
happen is they're going to be reflecting the same color into
the same color, which will intensify, it will saturate it
Off of this warmer area. I can go a little bit darker
and warm this - just to get this just a little bit, get a little
bit more turn on her eye going around the front.
So as you can see, I'm building up the the texture and stuff in
in the areas right in here as well. So I'm going to kind of
keep the interest in there.
I even pushed the greenness in her eye.
Give a little bit more in there. And it was a little bit more
yellow and darker in on this eye over here. So let's give a
little bit of that.
It still allows me some range to get even darker yet.
You know the way I've set it up it allows me the darker and it allows me to darker
staying warm in here like this, adding this into here and
keeping this warm.
I can bring some shadow into there.
And if I want to keep it getting - make it a little bit
warmer yet and a little bit more saturated down into this
And here I can pull that down just dark.
Lightening it up just a little bit because I don't want to
dark under there. I just want to give the impact or the
impression of a little bit of the
her eyelash underneath her eye.
Soften that up a little bit
then I'll go in and even make it a little darker in here yet
just to get the
turn of her eye in there and then continue it on over with
fairly saturated warm tone.
Again it keeps my interest into this area.
Okay so now that I've kind of pushed that I can add
and subtract in different areas and I think right now
what I want to do is I want to get a little bit of a gradient
in some of the background.
Scrape a little bit of this off. And I want to get a little bit
of a gradient into the background so that it's not
quite as flat and then I'll start dealing with a little bit
of her hair. Because remember I talked about having these
different regions that have a little bit more interest in
harmonizing the overall color. We have this real simple back
here and then there's more breakup of color and color
temperature difference and saturation right along the edge
in here. So I'm maintaining that and but what I can do out of here
by keeping this simple, I can keep the values the same or I
can darken the value and keep the hue or the saturation the
same but I want to keep out of hue, value, and saturation I
might want to keep two of them the same and just change one or
change two subtly, you know, in this case if I start with this,
maybe I want to just make it a little bit neutral, a little bit
more neutral. Okay, then then blue. So what will happen is I
can do that a couple of ways. I can take this, I can start with
the blue somewhat like what I had and I did.
Neutralize a little bit with a black but then what I can also
do is I can
warm it up just slightly with a little bit of a complementary
mixture. Okay, and the warmth of this
orange that I'm putting in here could actually
help to harmonize a little bit with
Or kind of bring it together just a little bit. That's a
little bit too much. Maybe what I'll do is see I'm keeping it
similar in value,
okay, but I'm just changing the the
saturation level and temperature.
Okay now bring it back bring a little bit more of the blue
back into it.
Okay a little bit warmer
I do something a little bit, kind of reach out here just a
little bit and get this maybe darken this up here just a
little bit too.
This back here.
Again, I'm trying to keep it similar in hue. But what I'm
doing is I'm neutralizing slightly and I'm making it darker.
Try to pick up a little bit of more of the saturation though
and keep it dark. That's a little too much.
Now I've got some variation on there.
And I'm if I keep adding more strokes and stuff like this
I'm adding more interest in the background. Eventually it will
become, you know, could become as interesting as the
foreground. I don't want to do that. So I want to keep some of
this a little bit simpler.
I little bit's okay, but a little bit too much is too much.
but again, it's balancing these different areas. So I'm
watching how this works with this. Okay?
here. I wanted to get a little more of the green quality into
I pushed a little bit in there, got some of it in here. I could
go a little bit farther with it.
And I can do that on the edge of her hair as well.
Bring some of that in and that this could be a nice contrast
to - oops. It can be a nice contrast to the
darkness there, you know, along the edge maybe I'll
bring a little bit more saturation in here.
So I'm getting a little bit of the variety back in here and
maybe maybe there's a little softness in here that I can get
back in. Get more yellow.
So I can soften that edge in there.
Open this up just a little bit back here.
And you kind of lose it and then I'll find it again.
Since I lightened and cooled the - this
little highlight region in here, I'm going to lighten and
on her hair as well
a little bit more. I'll get a little bit more
cools in there. I just want to make sure it doesn't go so
cool that it becomes a hole where we look through her
Okay, and then last part again in this region, I wanted to
keep that area warm in there. So I'm going to push a little
bit more warmth into the - in her hair over here, too.
I'll do that on the inside
now and then
try to get a temperature difference on the outside of
her hair up above like I've got -
let's see. Get back to the hair color in here
and I'll cool it off a little bit with that, darken it down
and cool it off.
A little too green.
Get back to this.
Okay. Now there's a lot of little things that we can kind
of play with and play with this for a long time. But just, you
know, things that I wanted to get a little bit clearer, a
little bit different,
little bit warmer again, and when I keep going back to being
a little bit warmer along the edges here.
I can get a little bit more green
into the quality of her skin.
Still a little too much.
Okay, I'm going to keep the -
keep the saturation up around in here. So I'm going to push
her inner ear here just a little bit warmer in there.
Gonna make that just a little bit warmer.
I need to make a little bit darker. There's a little
section there that's
deep inside there. Need to make a little bit darker
I'm gonna just pick this up just a little bit
on the inside so we can get a turn of that ear.
Hang on to the inside of her ear there.
you know from here I can do a couple of different things. I
can - I might have a little bit too much texture in here, which
might cause a little bit too much attention in that area or
over in here and if I reduce the amount of brush strokes and
texture in there,
it's going to make these a little bit more dominant. So gonna go
ahead and soften this up just a little bit.
And I'm doing it in a reaction to this over in here. So if
I want this to be a focus of some of those strokes, maybe
even this is just a little bit crude.
I want to just simplify it just a little bit or soften that.
Sometimes you can get a little bit more out of your painting
by taking things away than adding more so
it's always a consideration way to look at it. So that's what
I'm doing now is like how can I simplify things
by reducing things down rather than adding more?
Same thing in here. I'm kind of using my fingers and
just to soften this up. I can use a soft brush and just kind
of blend some of those things as well.
For instance it's just a soft clean brush.
You know, I can get a little softer edge in there or what I
could do is mix an intermediate color and put it in there as
Okay, so that's how I might handle some of this in kind of
harmonizing these colors from these very very cool color into
determining where I want most of my color temperature break
up and interest and then step it through. So if I have
four spots, I want to make sure that I have one that's the
most dynamic and stepping down to the least dynamic. So, you
know even here if I said, okay, well this maybe the background
has gotten a little bit too dynamic I can pull a little
bit of this out of this, you see, and bring it by bringing some of
the brush strokes away from there it'll simplify that and
again it will boost this out because I'm pushing that back.
And that's really creating relationship between these
things where you have more of one thing and less of another.
Those are the important parts of harmonizing your overall
image along with your color.
I'll get into it, but I'll do a
rapid sketch and get started here.
Now that I sketched this in, what I'm going to do is I'm going to
look to create some kind of a color harmony in here. I'm
looking at the image and in the image I can really read
the background and this image has a little bit of a
violet hue back here. So this is a little bit more violet and
dark. Her hair is the darkest
element in here and then and plus some of her features but
most of her hair is the darkest and then the
background, okay, and then
some of the tones in here in these kind of half shadow areas.
And I call them half shadow because it's front lit it so
we don't get real dark dark dark shadows in here because
her form is kind of smooth. If her forms were more chiseled
you would have harder angles, sharper edges. There's only a
little bit in here that you can see and then right under
her upper lip casting a shadow on her cheek. The lighting is
pretty much frontal like this. So that being the case is
almost a notan scenario where you just have local values
determining where your light and dark areas are in your
painting. So given that I'm going to - I'm going to start to
create a color relationship. I'm going to let the color
relationships kind of overpower the real skin tones
and stuff to a certain degree. So what's going to happen is
I'll end up doing a painting that's going to be more about
building the relationships than just rendering a face.
So in this case what I'm going to do
I'll just kind of work off the side here.
I'll mix something like what I might have here for the for the
If I see it's a bit of a - it has a little bit more violet
in it like this, I might just go and neutralize it with some
of the yellow here.
Warmer, a little warmer yellow here might neutralize that down
just a little bit.
If my background is too saturated back here, then it's
going to want to come forward to certain degree. I'm have to
make sure I have warmer tones on here. But what I'm going to
do in this - I think what I'm going to do is I'll neutralize
it down slightly.
Okay, I'm going to grey it down just a little bit.
And I'm going to look for a relationship that's -
I'm gonna go down as little bit darker yet.
Here we go. So it's a little deeper like this. Okay, and
then on that
or surrounding that I'm gonna have it surrounding her.
And what I'm going to do is I'm going to -
I'm going to look at building a warmer tone.
You can see here I've got a little bit of a green in here.
This is a yellow. I want to put this yellow almost have a
complementary scheme in here, but I'm going to take that and
I'm going to warm that slightly.
Lighten it up. I'll neutralize it down as well.
I'm gonna cool this off just a little bit more.
I'm looking to find something like this in my something like this in my
And I'm going to go back
start building in the relationship of her hair.
And a deeper,
little bit warmer
Something like this.
This is going to be my basic plan.
Now within this mixture here, this skin tone here, I can
get a lot of different range if I -
if I take like warm this up a little bit and push this in
here, I can get some of these colors at the same value. This
is what I'm looking for it. So I put it in here. I can build
them into the same value and put some things on there like
Okay, if I want like more out of her lips or something, that
might be a little bit -
maybe a little bit darker
Could do something like that.
Her eyes on the other hand, maybe I want to get a little
bit more effective green, but I'm going to get this warmth in
there again to bring it in with her skin. Maybe I want to get
something like this in there.
And then bring that together with
along the edge here.
I can make the most of her ear.
Somewhere over here like this. So this is the kind of
the - this is the color scheme that I'm going to be planning.
I'm going to build out of this. So I'm really kind of pushing
her skin tone a little bit more neutral and I'm going to
try to get a little bit more saturation. So I get a little
more color vibration in through her skin then actually
if I was trying to render her skin tone. Because I want to get
a little bit more excitement in there. So what I'm going to do
is is push the color contrast from my background to
her skin tone and then let her skin tone be a nice ground, a
little bit more of a neutral ground that I can start putting
these little saturated areas into and try to get a little
bit more excitement into this painting, make it a little bit
more about the color arrangement than just rendering
So I'll start with my initial
background, lay that in.
I had gotten a little bit of this in there too, just to neutralize
it a little bit by color. Not just by grey, but I wanted to
neutralize a little bit of color as well and to lighten it
up just slightly so I can get the darkness of her hair to
Now in this painting what I'm going to do is I'm also I'm not
going to worry quite as much about
having a different amount of texture and break up on the
background as the foreground because of the lighting scheme.
I'm going to take advantage of the flatness of that and I'm
going to go ahead and allow some texture in the background,
texture on her figure foreground as well. I'll
leave some of these variations in here because they can kind
of work as a variation on that level of saturation is similar
There we go.
Okay, so I first set it up with that and then I'm going to go
into this - my skin tone that I chose in here, clear little
Start into this,
pull that down a little bit.
Pretty good amount of white in there again.
Neutralizing this back down. That's why I wanted to -
it got a little bit too yellow on me so now it's getting a
little bit dark so I'm going to lighten it back up again.
Lightening is going to cool it down a little bit as well. I
need both lighten and cool it.
So I'll make sure I don't put any warm colors in. I'll
put some paint on
my brush here.
I'll get a good amount of white in there to lighten and you
can see it neutralizes that a little bit.
want to keep it in this cooler world. You know that
I've already established with the background. I'll keep a
cool, added a little touch of a cool red in there.
And I'm going to keep that nice and cool. I can keep this
fairly flat too, you know, this painting might be a little bit
flatter. It has less form in it. So we'll go ahead and minutes. So we'll go ahead and
just kind of block this in.
Warm this slightly.
Lighten it up a little bit. Get a little bit - because this is a
large mass up in here. So I'm going to give it a little bit
more light because it's going to reflect more light.
And this one again, like I said, I'm going to give a
little bit more texture
than the previous one.
For the - my other painting.
Just because I want to get
quality because I'm looking at my - at this flat lighting. I
want to get a little bit more texture in here because I can
make it part of the general effect on this this
painting which I think might be nice. So I'm going to coming nice. So I'm going to
give it a
Okay, so my general block in here.
And now what I'm going to do is I'm going to start changing up,
say for instance I want to get a little bit more a
little bit more red in the ear I can push a little bit in
there. I can see that it's a little bit in the cheeks in
here too. So I'll go ahead and get that in here.
Actually can go a little bit darker
in there as well.
A little bit too much texture too soon. So let me back off a
little of that.
Little more than I wanted right away.
Keeping the color on there, but I'm just getting a little bit
of the texture off and you know, if you're worried about
the - copying the skin tone,
I'm not. I'm looking really more at creating an interesting
harmonious color relationship in here that - I am more
concerned with that that I am with matching a skin tone here
that's kind of where I'm going with this. Let me go into
her mouth. I'll get that laid in.
And maybe I want to go a little cooler than this too. So I'll go
in and add just a little bit of a
cooler red and blue
in there. Bring it back to a little bit more -
a little cooler. You can see this warmer and cooler in here.
I'll go more with the cooler one in here.
I get a little bit of this to warm up the cheeks a little bit
go with a combination of kind of a green and an orange in
Might be kind of interesting to kind of pull that into
some of these areas like this, where we see the skin kind
of turn around or there's a transition into her dark hair.
I can add some of this in.
Okay. So now I'm starting to get this relationship built off
of this more neutral cooler skin tone. I'm adding these
warmer variations like this - a little more red, a little more
orange green. Okay and a little bit more saturated in some of
those areas. Then what I can do is I can bring a little bit
more of this
and neutralize it just a little bit.
It's a little bit more. Torquing it down.
And I'll neutralize it just slightly as well.
So getting a little bit of form out of that here down on
Gonna get that.
I was a little bit too warm, let me cool that back down.
Here we go.
And again keeping this kind of cool.
I can get an area right in here
above her eye.
It's a little bit lighter
on her forehead, a little clearing here too.
I can play it with a little bit of warm cool temperature. Now
that makes the rest of her skin tone look slightly warmer.
And I'll keep some the warmth
over in here and merging in with this more
warmer tone right along the edge here.
Get a little bit more in there and it's going to
bring a little bit more form around here.
Another thing I can kind of play with is is building the -
building some of the form in here. I can
utilize some of the
purple in the background here if I pick up
some of these purples like this and I get into
color like this I can get in and get some of the
colors that might be. Let me go a little bit more saturated
with that. Let me see if I can pull off a little more
saturation with some real darker colors that kind of
bring into, you know, from the
background in. But I don't want to get the same
value and same color as the background because if I do
it's going to look like a hole, you know, in her eye. So I
want to make sure that I keep enough warmth or enough
difference in there so that it doesn't seem like part of the
Alright. Now I'm going to warm up in the area for her nose,
her nose seems to be a little bit darker than the rest
skin because it's a smaller form.
And like I mentioned it's going to reflect less light. So I'm
going to warm it up this way.
I want to utilize a little bit of the edge in there.
You know some of these warmer tones that I see
And at the same time I want to make it a little bit
From pushing a little bit of a of the red into there.
Taking this down on her cheek. And I'm actually seeing a
little bit more
warmth down on her cheek and in here like
So as you can see in here, my values haven't changed a whole
lot. I don't have a lot of range of value in here right
now. Okay, I am keeping it kind of narrow because I want to - I
want the the harmonizing effect be similar values but very
different hue and a little bit different saturation in there.
So I'm keeping together -keeping the area to sitting together
because of similar values.
I could do it by similar hue or some other way, similar
saturation as well, but I want to get the variety in this
zone. So that's why I'm really kind of pushing for that right
in there. And then
I can push to get a little bit more saturation in some of
these areas and I'll go back and lay in
darker values and some lighter values.
From that violet, I can keep - I can get a little bit more
warmth coming in here like this. And then I also want to
get a dark accent in there.
little warmer accent in here.
But I'm going to make it kind of this
greenish reddish kind of a color that you can see in
here it's got a little bit of both of these
colors. Just kind of bring that in there just like that.
Also see I can put some in here, too.
That's kind of sitting on some of the similar planes as you
go. You know, even
building it deeper into maybe the shadow.
Like I said, there's a little shadow from her lip
and the greenness in there can work out fine.
A warm that's just a little bit. I might be able to get a
little bit of the shadow under here.
Actually, that's a little too warm. So I'm going to keep it
on the neutral side over here and I'm going to do this.
That's going to make her
lips still stay pink by getting a little bit more of a
next to it.
Got like a little bit of the green. better something?
Just enhance that.
Okay, I want to get make her cheek a little bit more full.
I'm going to bring it down here just a little bit more.
So bring a little bit more the blue back in there and I also
see a little bit more
blue, blue-violet. I can also bring it up in the
her eyelid up there, too.
To help bring her eye around, move your eye up and around
If I make that cool going up in there I've got all these warms
in here. Then what I can do is on her hair
I can take that dark area of her hair on the inside
okay and try to get a little bit more warmth in there, but I
need to bring it in a way that's going to harmonize with
some of these. So it may mean that I need to get back over
into a little bit of this
kind of arrangement. Get this redder. And then get back up
into this. That'll give it a little bit more
more hue. It's a little bit light.
But I can bring the warmth in just a little bit that way.
Warmth along the edge up there.
Okay, so I'm building up this kind of green as I have some
darker value, greenish. I've got some redder
neutral tones in there. They look really red because they're
sitting on more of a yellow greenish ground, okay.
So I'm building in some variety in there. I'm going to go
from this green, gonna warm it a little bit
and then I'm going to lighten it up a little bit.
See if I can't get more of the
a little thinner brow color.
I may just get a little bit more of the greenish into it
that I just had there.
I'm going in with this kind of an orange kind of bridge that
over in there like that.
And then maybe I want to get a little bit more violet in there
too. It's one thing that I'm kind of -
I want to harmonize some of that the violet from the
background into her face just a little bit more. So I'm going
to try to get it in a darker value, you know, like right
around in here.
Maybe I can get that in here.
Now if I look for some
really rich accents that I can
try to put in here.
Back to a little bit of this violet, I'm going to get a warmer this. I'm going to get a warmer
violet in here.
Light warmer violet.
And get like her eyelid up here.
The same on this one.
This is a little bit more warmth on her chin, I made her chin
So I want to get a little bit more warmth in there.
Little bit more white in here.
I'll try to get that back on it again a little bit.
and by doing that it's going to allow me to get a little bit
of my -
some little pinker values
in here as well that I might want to just bring along the
bridge of the nose in here.
build that next to it there.
I can also slightly cool off and lighten up just a little
bit in here, too.
under her eyes and stuff.
And I want to get into this kind of a little bit warmer -
a little warmer than a violet but it has more red in it.
Something like this.
This gets a little darker over in here, too.
see quite a bit of saturation in
the corner of her eye in here.
Maybe a little saturated in there in the inside of her eye.
I'll try to
by darkening this a little bit.
Then also I want to get into -
there's some little folds in her eyelids and I want to keep
dark, and I want to keep it fairly saturated and I'll go
pretty warm with this
because I want to have it
as a little bit of a contrast to the existing colors that are
Same thing I'm seeing over the top there.
Now a lot of this I could be I could be reworking shapes and
all kinds of things. It's really it's easy to get into
and rework these shapes and kind of adjust the drawing, kind of play
Right now what I want to do is I want to make sure that I can
color relationships down there first that
make it a little bit more exciting.
But what I'll do is I'll go in now and get a couple of these
few little dark accents in there.
I need to go much darker, but I want to keep it saturated.
So I'm going to look in here to get
some warmth back in this.
The darker values I'm still trying to keep them
fairly saturated, but I want to make sure that
they're working within the scheme that I've that I've kind
of set up here.
I know this painting has a good amount of texture
all through these
areas and I'm kind of letting these kind of bold
brush strokes kinda stay there. Even though I can stay there. Even though I can I
come back and
adjust subtle relationships, you know, into these
kind of let these sit for right now
just to get the most out of the
this color relationship that I want to try to try to build up
And again getting back into the her lips I think
we need to get a really
kind of a dark accent down in there.
And then a little bit warmer.
But still dark accent in here, too.
Get a little bit lighter
And again, like I said, I can take these and soften these strokes
Take the hard edges off of some of these, move my shapes around
a little bit.
You can do that to the degree you want, you can make it
photographic if you want.
I just find that it's easier to begin with a color idea and
work through that color idea. And then it makes it more
interesting. You can always - you can always work on your on your
shapes and your edges and stuff all the way through, you know,
you can start building some of these softly in.
But if you have the color arrangement set up you can
always come back and adjust your shapes and adjust your
your relationships of edges and so on.
Soften some of those things.
Some of those edges, pull some of those strokes out. Strokes hat.
Go back and forth.
But if I've got the color Arrangement, it's going to be
easier to go back and forth with that kind of a color
green back under the - under her lip
we can use as a little bit of a contrast to her lip there.
The orange and the silver look good.
The pinkness of her lip we can get the greenness of this
shadow back there.
As you can see, I'm not following as much the
absolute color of the model. But what I'm doing is
I'm making choices that like here I want to make this just
a little bluer
to kind of turn it back towards her -
towards the background there.
I made it a little bit darker, a little bit bluer in there
than what it was and then I can add a little bit of a cooler
red to that
as I go up
like that. If it gets a little too dark I can bring it back
Okay, so what'll happen is I'll get a little bit more
variety in there.
And I still want to work with a little bit of the pinkness of
you know of her cheek and her complexion particularly.
With some of this cooler light I get a cooler blue
in there with that,
Maybe I can get a little bit more of a pink in there.
What I'll do is I'll bring it from the top of her cheek
down along this
area right down in here.
Finish a little bit more with a little cooler over on this
That's a little too much.
That's about as much as I can afford over there.
And if I go back into this area up in here
and we get just a little bit cooler in there as well.
Maybe I can kind of pull out
less yellow, more blue.
As you start to refine some of these areas you can start
see how close and similar or how much you can
deviate from that. So it gets a little bit more
sensitive the whole painting the color relations get
relationships get a little bit more sensitive the farther
along you get into it.
That's a little bit too blue
for these relationships, so I'm going to neutralize that just a
little bit into this the same skin color.
Pull that off a little bit.
There we go.
It's almost better like that, but I'm going to -
there we go.
I need a lighter value in there. So I needed something
let's get a real bright cool.
I see like right in there.
Little bit more saturation in here, a little more
little lighter in there.
And you can see in here that really isn't saturated enough
because it kind of lays on there kind of flat. It just
kind of goes dead. So what I'm going to do is I'm going to
punch up the saturation there quite a bit. We'll take a look
at it again and see what happens if I can get this
See that reads a little bit better, kind of ignites the area
around it and
I can go with a little bit cooler.
It needs to be a little lighter and cooler. There we go.
More saturation into her lip there.
I can cool this area up here too. I don't want it quite
as bright but if I cool this area under her eye here as well
I can afford a little bit of a cool change off the ridge of
her nose and against her cheek.
See what we get. We got a little bit more warmth under
here, under her eyes.
Then this needs to go quite a bit darker.
Towards into there.
And then I think I'm going to go back to green.
Something nothing like that.
A little bit in here, too.
So there's some kind of variation in there. I don't
want to -
want to sit here and
keep picking on it until I
make a big old mess out of it here.
What I want to do is I want to get these -
just get those color arrangements clean, clean and
apparent. Then like I said before you can work on it on
the shapes and everything else all you want later once you get
bring this down, her cheek needs to come down just a little bit.
Here we go.
Softer in there.
Now, I get a little bit too much texture in here too.
I can pull some of this out.
And pretty much just leave it where I want to leave it.
Or blend it off.
The other thing too is
once this dries, starts to dry just a little bit.
I can go over with the dry brush.
Or brush without color in it, and go back and revisit some of
I want to
rearrange the shapes, push the shapes a little bit, knock down
a little bit of the texture. I can even wait until it dries
a little bit and then boost the the
texture, add more to it if I wanted to.
There you go.
So, I hope this lesson has given you some new ideas on how
to use color temperature in your own work to enhance the
richness in those middle values and lighten up the feeling
of your paintings, make them feel more like real life or
more like a vibrant feeling that you want to carry into
your work. So until next time. Thank you.
Free to try
1. Lesson overview1m 6sNow playing...
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2. Introduction to color temperature and analysis of Renoir/Degas paintings17m 57s
3. Analysis of Mazzonis paintings and mapping out a plan for first demonstration15m 18s
4. Mapping out a plan for second painting demonstration5m 58s
5. Lay-in of first painting and establishing zones of interest14m 9s
6. Laying in the background, first zone of interest, and hair15m 22s
7. Blocking in the light side of the face15m 29s
8. Adjusting values and adding highlights15m 48s
9. Refining the lips, nose, eyes, and background16m 17s
10. Finishing touches on demonstration 118m 9s
11. Laying in the second demonstration and blocking in the background and hair14m 50s
12. Blocking in the flesh15m 53s
13. Blocking in the eyes, nose, and lips15m 30s
14. Refining the features of the face and adding highlights16m 43s
15. Finishing touches on demonstration 217m 54s