1 Balancing the values and Intensity of Complementary colours
2 Creating mood/feeling with values and colour choices
3 The Monochromatic palette
4 Tints Tones and Shades
5 Low and High key
6 Face proportions
When putting complementary colours together sometimes wee need to vary either the values or the intensity
e.g. Intense red much less intense green More pleasing to the eye
Using the same intensity can be too much
Complementary Palette Colour Bias Temperature
You can have a warm YELLOW and a cool Yellow (Below)
A warm Blue and a cool blue
Cool Purple is on the blue side
Warm purple is on the red side
In a Dominant warm colour field using a COOL Compliment gives a very pleasing effect referred to as warm in cool or cool in warm
S Sergeant Complimentary colours Use of cools and warms
Far away yellows are cool
Temperature bias between the warm dominant purple water and the cool sky
CC = Complimentary Colours
3 ways to get CC to work together
1 Change Value
2 Change Intensity
4 Separate with a neutral
Red and Green do NOT always look good together
Balancing a set of Complementary colours
Much better - Change the VALUETo improve how these work you can add Black or white or grey between the two colours
The neutral colour helps create a sense of Balance
To Balance
Use a neutral colour made from mixing the two CC together
Example Red and Teal Not very pleasing to the eye
With variations sing different intensity/Values and Neutrals (Black and white)
MOOD / Feelings
Red and green are very close in value
Warmest and coolest on the CW
Big contrast Tension Happy feel
Need to play with their values
A very balanced happy colour scheme to use
Double Split Complementary Ideal for BOLD SCHOOL
STEPS
1 2 sets Bottom circled (above)
3 Violet
3 Subordinate Accent colour - very little
Example
Dominant Colours are the Magenta/Orange set which mixes as Salmon
The Yellows are very desaturated and light value
Blues are also desaturated
Example Variations and different moods
The analogous family is Purple/Blues
CC is Yellow
1 So choose a Dominant colour - various values and intensities of that green2 Analagous family is dominant
Same families but very different outcomes
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Primary Magenta Sap Green Cad Y Phthalo Blue
Mixing neutrals between Red (magenta) and 2 different Greens
PURPLE and ORANGE
(Uses PHTHALO BLUE and CAD ORANGE)
Very warm and very cool
Your paintings should be mainly full of neutral and semi neutral colours
If you are using a lot of vibrant colours make sure to use lots of PURE NEUTRALS - GREYS which will tone down your canvas
The mix goes from COOL blue neutrals towards the warm Yellow side - as you add more Orange
Cad Y (very bright) and Dioxine Purple (very dark)
Purple and yellow are vastly different in value and that will make mixing this pair tricky.
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The Monochromatic palette
Monochromatic takes colour out of the equation - creates space to learn value and saturation
One colour - incorporate various shades, tints and tones of the main hue.
Tint add white A shade add black Tone add grey(neutralise)
Acromatic palette - no Hue just Black and white
This poprtrait is done with
an acromatic palette
Portrait using shades, tints and tones
of a pure hue
Ways to use the Monochromatic palette
Between the 12 colours on the colour wheel - taking tints, tones and shades into account we get 216 possible paintings
High key and Low key colours
This portrait is High Key Major with one dark accent in the shadows and eyes
So use all High key values and One dark value.
Middle Major - midrange - middle third of value range - most popular range with one High and one low key accent.
Use for more realistic result.
Low Major key with an accent of one high key
The high key should not be the highest available. That would be too much contrast.
Use a good range of darks otherwise it gets too dark.
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High Minor keys
Low contrast with no dark accent
This is the LOW minor
MIDDLE MINOR
LOW MINOR
High, Middle and Low Major and Minor keys
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Semineutrals
Instead of adding Grey to neutralise - make a neutral colour by mixing in the complement to create a rich variety of neutralised colours in this monochromatic palette.
4 ways to change a pure hue. ADD >>>
VALUE is the most important factor in making a painting work.
Create studies with a certain number of values.
With more values you get more form.
Hue is ORANGE
Then Orange + Black to create a shade
Orange + white to create a tint
Orange + grey or complement to create neutral palette
l MOD02//Drawing a face Lesson 2 of 7 done
Portrait of a lion 12 lessons x 25mins each No reference photo
1 Applied gel matte medium to create texture dry 24hrs
2 A ground of warm low key colour Primary Magenta Cad Orange into the centre
Begin with darker colours Sketch in the lion
Finished
The Colour Playbook Various palette
Workbook and reference downloaded Print??
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Reference photos #1 #2
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Prep the Canvas for a Portrait 12x16
2in cheap brush
Grounding with a selection of colours -
Grounding is getting the canvas covered as against underpainting which is done with one colour
Grounding: Choice of Opposing temperatures - warm face then a cool ground
Cool winter scene - warm with a warm ground
Dark or black
Sepia tones will match most colours - warm the face of a portrait
Use a midtone or dark ground
Multicoloured ground
Complementary ground - eg green tone where the red of a face will be
Dry the canvas
This is Carlas grounded canvas
Draw the portrait - grid. B&W for values.
Carla paints with a dry brush putting in highlights first
Big brush for loose work
Midtones next - salmon colour
Working the midtone into forehead
A lot of value changes in the nose - use the midtone colour to cover all in between areas
Neutralise the background
Next she used Teal over parts of the highlights
Y Ochre/orange type colour over parts of the pink
Some Yellows on top of the orange - working up to more saturation
Cools into the darks and Warms into the highlights
Module 8 Creating Depth
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Children and Likeness
Colour palette
The Tetrad Palette
4 equally spaced colours on the CW - includes two sets of CC
To create vibrant, colourful paintings
Choose the Dominant colour - so the opposite colour is the CC
e.g. Teal and Orange - they will dominate the painting
The other CC pair Yellow and Purple - second fiddle -accents
Using warm and cools of these colours
Select the paints. Using a cool and warm of each.
Amazon.de €20
< 4 inch brush for background
2 inch brush also
The 8 colours Mixed on the right and laid out in tints on left.
The colours used are
Turquoise Phthalo - Golden
Permanent Green Light - Matisse
Cad Yell Dark Golden
Benzimidine Yell Light Golden
Cad Red Light Golden
Cad Red Medium Golden
Permanent Violet Dark Golden
Dioxazinee Purple Matisse
To Mix neutrals she mixed a little of all colours to get a black
Also mixed some Cad Y Dark and Cad Red Light + White (tint)
(Where her finger is pointing - Dark neutrals to the right
Grounding on a 36x48in.
Spray water first. Add some neutral splotches and spread with spatula
Transfer the image with a water soluble crayon
Value mapping values for likeness with mid tone TEAL
Now adding the CC of teal which is the RED
Purple and yellow next - Purple in the shadows of the face
More Purple and therefore less Yellow
Teal and Purple will dominate the piece and the Red and and yellows will be less.
When bringing in additional colours do so in proportions that do not overwhelm the eye
Check values with a BW photo
Here she begin to add brighter colours
layering them over the ground creating more
volume and depth
This is a dry brush technique which allows you to
see the under colours
When paint is put on it is not blended
Do sketches and studies - it helps
Value transitions depend on the light source.
Here we have more than 5 values
The transition between the values needs to be such that there is not too much of a contrast
otherwise the eyes are distracted there
Instead of blending we add a colour similar in value over them - Blending without blending!
So in the bright part of the face where we use various light colours - we need to use light values of those colours
If the colours are in the right value - it will work
Value studies are great to see how to achieve similar values with various colours,
Doing a value study in Monochrome works very well as a learning tool
Value can be confusing because of the intensity of colours
Cool colours recede - warm colours come forward
Colours create mood - depth - meaning - impact
Eye brows of children not dark.
Why Layering
Like a sculpter - refining values - details - likeness. Sculpting with values,
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