Monet
Berthe
Morisot
Berthe Morisot “La Fable”
Rembrandt
John Singer Sargent
John Singer Sargent
John Singer Sargent
Maurice de Vlaminck
Alexei Jawlensky
Emile Nolde
R. B. Kitaj
Color theory to enhance the illusion of “light”
The contrast of warm and cool versions of each color
What’s the ‘true color’ of the house?
It depends on the time of day and the weather
The ‘real’ color doesn’t exist independently of the light
Claude Monet painted ‘white marble’ on the Rouen Cathedral in different times of day, showing that color doesn’t exist independently of the light
Colors
a "warm yellow" Cadmium Yellow Medium
a "cool yellow" Cadmium Yellow Light or Pale or Lemon
a "warm red" Cadmium Red Medium or Light
a "cool red" Quinacradone Crimson or Alizarin Crimson
a "warm blue" Ultramarine Blue
a "cool blue" Cobalt Blue or Cerulean Blue or Turquoise Blue
a "warm green" Sap Green or Chromium Oxide Green or Perm Green Light
a "cool green" Pthalocyanine Green or Viridian
a "warm brown" Burnt Sienna or burnt umber
a "cool brown" Raw Sienna or raw umber
a "black" Any black or mix your own: Alizarin Crimson + Pthalo Green
a white Titanium white or "Permalba" brand oil white
Chromatic scale to enhance the
illusion of “light”
Lighter b/w value in the light
Brighter intensity in the light
Warmer (orangey) red in the light (vs bluer purplish) in the shadow
Dramatic light comes from the contrast of light and dark.
This is called “value” – the black-and-white version of the color.
thumbnail sketch first – block-in light & shadow
No detail
Then paint (but the painting doesn’t have to follow the sketch)
• Step-by-Step
• Block in the whole composition, including the lighht
• Then let dry and clarify detail
Work from thin to thick, allow each layer to dry, block in the whole composition, including the light and shadow