Next lesson playing in 5 seconds

  • Overview
  • Transcript

2.11 Applying Color

Hi, my name's Brian Lee and welcome back to Dynamic Gesture Drawing. Now that I have gone over the thinking process I use when applying tone, I wanna show you how I apply color to complete a gestural portfolio piece. So here we are in Photoshop again. I have the tonal piece from the previous lesson. So you can see I can kinda just toggle on or reduce the amount of opacity of either my sketch or my tone. I'm gonna go ahead and create a new layer. I'm gonna go to my blending mode and make it a color mode, and so now I can just go over to my reference image, choose sample the color holding Alt, and then come over and just start painting in the color on my new layer. So the purpose of the color mode is to allow you to apply color, and it also allows you to keep the tone underneath that color layer. So you can see why this is really powerful, when you already have a black and white tone, it's really easy to just come in and apply color over the top of it. And you can also go back into the tonal layer underneath the color layer and continue working on that while leaving the color as it is. It is another the one of those great ways to create reasons digital workflows amazing. These layers are just makes it super dynamic way to create just your poses, create paintings you can just kind of do so much by using these layers. So we're just gonna go ahead and keep Referencing the color over and the reference image and bringing it back over. So you can see when I turn off the tonal layer the color just disappears, these two need each other to survive And if you feel a little bit more confident with color, you could always just collapse these layers. And just paint normally on top of everything, blending colors as you would in a traditional medium. It just doesn't give you the same amount of flexibility should you want to change tone or color separately. And will just go ahead and in so you can see I've gone in the back into the tunnel there, and I'm darkening up some of these wrinkles. Just trying to bring a little bit more realism into the clothing but, I mean, in general you can see that the color is basically already there and just a matter of working out the tone now. And like I said in the previous lesson, it's great to have both of these, the color and the tone right next to each other in the portfolio. So remember to save these out separately. You can see how bringing back some of the tone underneath the color layer really helps to change the shades of color And I'm just kind of playing with bringing the darks down and the lights up, and I've reduced the opacity of the tonal layer down to about 86%. You can see over there on the right, I just thought it was a little bit too dark which was making the painting a little bit too muddy. And keeping a little bit more of the medium value here rather than going complete jet black, like in the reference image just because I think it It gives the piece a little bit more life, a little bit more color and interest. I generally don't like going to the complete blocks are complete whites. It's nice to keep keep as many tones as possible involved. Let's get a little bit more detail in here on the eyes. And the mouth just darkened down the far side of the face a little bit more. In color in a way is a lot like Tom in that you are going between two extremes. You have that extreme dark color and you have the extreme light color and you want to just fill in the tones in between, a nice gradual fall off. So I think we're looking pretty good here, I'm just kind of playing with the layers seeing if reducing one over the other is going to help give it a little bit more interest. Again, if you want to go super like detail portion on this you definitely could using these same exact techniques. All you need to do is go in a little bit closer and just start getting more detailed with the colors, and and just getting closer on that reference image and then get closer on your you're painting in itself. And just do the same thing over and over again. You just get closer and closer and closer, but for this one I think we will leave it and leave it as more of a gestural and idealistic painting stylized. I will leave some of the old sketch there to kind of give it a little bit of flow and sketchiness, and that's not a bad thing, it's great to show, again, to show process in your portfolio. You could have the tone and the medium color mixed in and then the complete portrait next to that. That would be a great piece to have in your portfolio. So the sky's the limit when it comes to color and we have only scratched the surface in this lesson. So I encourage you to practice and learn as much about color as you can. Remember the best education comes from practice. I hope you can now have an idea of the power of gesture and how it applies to your career as an artist. In the next lesson I'll say farewell and give you some parting advice to take with you. So thanks for joining me and I'll see you in the next video.

Back to the top