Hi Joan,

Even though color temperature is a good place to start with a painting, it can be overemphasized sometimes. Warm colors beside cool colors help to model the form and turn edges. In an area where there is not an obvious turning edge like the cheek of a young child for example, the transition of a warm 'reddish' skin tone to a cool 'reddish' skin tone suggests that the cheek is turning away from the viewer. Remember that the more obvious the transition the sharper the edge will appear. Color temperature changes paired with shadows give the illusion of depth.

I understand why you're confused. You're reading and trying to learn as much as possible so you will be able to paint 'right.' Am I right? I hate to tell you this, but there is no absolute 'right' way to paint. Everyone has their own opinions and use techniques that work for her or him. The longer and more a person paints, the more they learn--but not by getting everything right--but by getting things wrong. Everytime someone makes a mistake then finds a way to correct their mistake, the person learns what works and what doesn't. William Whitaker has said on his website, "Many people would like to paint, but not enough to paint those endless failures necessary to get to the good work."

To fast forward the learning process, find workshops that are taught by phenomenal artists who can not only create some of the best paintings on the planet, but who can TEACH as well. The investment will pay off ten-fold.

Good luck,

Renee

Ahh......We have come full circle to my original post about this subject.

: )

Thank you Renee!
 

Dear Renee,

Thank you so much for this insightful response! You are amazing, you really seem to understand the cool and warm concept AND you are good at explaining it. This one paragraph will help me immensely next time I stand before my easel.

Thank you again,

Joan

After pushing the send button, I realized my comment may come across the wrong way.

I do not wish, in any way shape or form to offend people on this forum.

My point in writing what I did was to say I agree 110% with Renee. A great painter / great teacher combination is worth more than you can imagine.

Sorry if I came across snotty.

Hi Joan,

I just returned from my two week Atlanta WS. I'll be posting the step by step demo I created there on my site shortly. It may prove helpful.

In my work and teaching I try to eschew all rules and paint from observation. I identify the hue, value and chroma of each shape of paint I want to place on the canvas. I believe that all preconceptions, such as alternating warms and cools, tend to inhibit my ability to see objectively. Others may find that certain rules such may work for them, but I'm explaining what I do here because it is my approach that has been called into play here.

I don't use ultramarine in my flesh with the exception of depicting reflected lights in the shadows or indicating certain makeup applications (circus clowns, war paint, etc.?). Many of my students will take what they learned from me and personalize it. I say if it works for you, then do it!

When I'm addressing problems that my students may be encountering I have rarely seen work where color alone is the problem. Shapes (drawing) and value errors are more often the source of the problem. Color is the least important element in painting.

Joan, I am not sure if this will be helpfu - my photos of my work are not the greatest, but I thought I would show some of the important things you can do without leaving home.

First, I did have the great opportunity of taking workshops, and one of them was Marvin's. His palette is very comprehensive but very simplified when compared to one like Daniel Greene's. It is hard to have really "bad skin" when using it. I do concur with Marvin that a lot of the problems are not color, but value and drawing.

Finally getting things to click for me, was a very intense but enjoyable study of Bouguereau using Marvin's palette. Many people think the reproduction studies of the "masters" are not of value, but once you get the paintings to offer a resemblance, you have learned tons. For myself it was a question of value, and how not to make the dark side darker, but work with the subtle changes of chroma and line to form the head. I can't tell you what a life changing event it was for me.

Although, I might not produce the effect or I should I say skill like the studies, I am very aware of what may be going off course, which I think is very important in the learning process.

Just to illustrate here are three samples; I apologize if they do not reproduce well, I know one person in particular who can attest to my bad photography skills of my paintings.

Values
 

Hi Marvin,

Thank you for your thoughtful answer. Since I have heard it more than once now, I think I need to take a step back and really work on my values. Though that's the reason I posted that charcoal drawing I did, to show that I can actually see the darks and lights and the full range between the two extremes. At least I thought I could.

I need to do some small studies and try to transfer the values I see (in black and white, or whatever monochromatic color I use) into color. And I keep hearing it but it's hard to believe that color isn't so important. My mind has a hard time getting used to that idea, but I hope some small studies will show me otherwise.

On another note, a color note, I guess one way to make cool flesh tones without blue would be to use a cool red? Until a couple of months ago I thought all reds were warm, except those with blue in them . . . . hmm, maybe if one uses a certain red it essentialy has blue built into it already? Obviously I think too much!

thank you again Marvin,

Joan

Great idea
 

Dear Elizabeth,

Wow, what great advice. Your post was very helpful. This is so obvously what I should do!

It's interesting that in your first painting and the third painting it seems like the values ranges aren't that different, but what a difference in the painting! The third one looks so much more three dimensional and alive. I would love to hear in your words why that is. The color isn't supposed to be so important, though the color is different in the third painting. I have a feeling you'll say it's the subtle changes within the face, but I would learn a lot from your explanation of how the third differs from the first painting.

BTW I think your paintings are great, you are very talented. Thank you for sharing these paintings and your thoughts.

Joan

Beth,

Those are beautuful little fragments. What a way you have come. I have been working with THE PALETTE from life, this summer, another biggie dancer, only in oil. Will post it when it is finished, fairly soon.

I would never have been able to do something so complex, color and design wise without it.

Beth is absolutely right about copying master works. One of my best learning experiences was copying the head and shoulders of 'Child at Bath' by Bouguereau. I learned so much, and recommend reproducing master paintings to anyone who wants to fast-forward their education.

I agree with Marvin about color being one of the last concerns. To attain a likeness the shapes must be right, for dimension and solidity the values must be right, and to make it breathe the color must be right. I'm attaching the underpaint of a portrait I'm working on now. Adding color will be the easiest part--getting the drawing and modeling right were the hard parts. Don't get me wrong, I'm not saying that color is easy because believe me it's not! I'm just saying that shapes and values are the most difficult and most important parts of a portrait.

As for underpaintings or wash-ins--the level of finish is up to the artist. I chose to leave a few hard edges that will be softened in the finished work, and chose to block in the collar and leave details for the end. Some people do more finishing in this stage, some do very little, and some people do not do underpaints or wash-ins at all. There are no absolute 'rights' or 'wrongs;' just use what works for you. :D

I hope this helps,

Renee

PS Janel, I didn't read your post as offensive toward anyone :)