He offers the way he uses the relationships between colors on the color wheel and the tone of the light in a composition to change the way he approaches a figure. Now that you have a handle on the basics of Mike’s Color Theory techniques have a look at the tutorial Mike has prepared on this dashing Older Knight. He walks us all through the steps he takes to make sure the color values are right and the light and shadows are effective in his drawings. This first step is essential to making a solid painting, colors are great, but they can’t save a bad drawing. When sketching out the figure, I like to think about the attitude of the character and the simple geometric forms that compose his structure. Once the structure is set, I like to go straight to color. I select colors that are 50-70% dark and not very saturated since you can always add more color later. It’s good to think about this stage as the “original colors of the objects before adding direct light source and shadows”, the true color of the object or subject.Īt this stage I think about the direction the light comes from, which planes are definitely not facing the light source directly and the shadows casted between objects. In this composition I use a dark orange because I want to have a blue light on the figure and adding a bit of the complementary color to blue creates the effect of shadows accurately. I find that most of the time adding shadows creates more volume than adding light does. So I like to create accent shadows, tiny dark shadows that reinforce the form. I especially place them when objects are in contact and I love to use triangle shapes for these.
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