Welcome to the First of 6 tutorial installments that follow the development of the drawing below. This
series was also created as a way to introduce some key subjects within the process of building this
drawing.
As long as the artist is relatively consistent with their use of color temperature relationships they can
bend and tailor their choice of colors without compromising the visual integrity of the image. Take for
example the following photograph of Dunnottar castle. Spend a moment examining these images and then
scroll to the text below.
The first image above is the original photograph, and the following three I modified using photoshop. The
second image shows when all the relationships are pushed more towards red and magenta, and the third more
cyan and blue. The fourth image I combined elements of the 2nd and 3rd in a themed manner: I let the reds
show through more in the rocks, castle, and darker value range of the sky.
The above illustrates how color is a flexible system that can be tailored a great deal without compromising
visual integrity or believability. Let’s take a more ‘real world’ example in terms of painting. Take a minute to
view the following two images below and compare differences.
When I did this portrait study I grabbed an available canvas from my studio that was already toned with raw
sienna, resulting in a yellowish wash. As it turned out, the light on the model was considerably cool, and
when I came back the next day and looked at the painting it seemed like there was a clash between how
separately cool the face felt against the background wash. To solve this I looked for the relatively warm
areas/range in the face, and brought some of the same yellowish/red warmth found in the background into
those areas in the face. I also tried to use the same cool greens/turquoise found in the ribbon in the cool dark
halftones of the face and in the iris’ of eyes. It’s possible the dark halftones on the face had more of a blueish
cast in actuality, but since relative temperature changes are more important that specific color, it was
possible to lean the cools more towards green/turquoise in order to echo the ribbon and eyes. The
opposite could also be implemented, meaning altering cools of the ribbon to match those of the face etc.
Drawing with just Black, White, and Red chalk are an excellent way to step into the world of color.
Limiting our color options forces us to think in terms of temperature relationships above trying to
match any specific color. This way we can learn to work with the more important aspects of color without
juggling too many variables at once. If executed well, it can be remarkable how ‘colorful’ one of these
drawings can appear. The opposite is also true: a full-color palette can easily yield a lifeless, ‘muddy’
painting. I’d go further to say especially when using a multitude of colors on the palette it’s important to
understand color temperature relationships.
Rubens drawing in black, red, and white chalk
(© public domain)
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or all content is forbidden unless arranged with Tenaya Sims.
Affiliates
1) Whidbey Island Fine Arts Studio
2) Aristides Atelier
3) Art Renewal Center
4) Gage Academy of Art