Tag: depth in portrait painting

How I Mix Shadow Colors for Portraits

This is an exercise it does no apply for every portrait, I consider this a easy way to explain the logic behind mixing color for shadows

Hello, and welcome to my channel! Today, I want to take you through my process of mixing shadow colors for a portrait. This isn’t just about throwing complementary colors together or adding blue to shadows. It’s about understanding how light, form, and color interact to create depth and realism. I’ll walk you through my approach, step by step, and share some of the insights I’ve gained over the years. Whether you’re a beginner or an experienced artist, I hope this guide helps you see shadows in a new light.

Setting Up My Palette

Before I start painting, I organize my palette into two sections: one for light colors and one for shadows. For shadows, I use the following colors:

  • White
  • Cameo Yellow Hue
  • Orange
  • Cameo Red Hue
  • Alizarin Crimson
  • Cerulean Blue
  • Ultramarine Blue
  • Ivory Black

These colors allow me to create a range of warm and cool shadows. The key is to start with a neutral gray (a mix of white and ivory black) and then adjust it by adding small amounts of other colors. This gray acts as a foundation, helping me match the value of the shadow I’m trying to create.

Mixing the Base Shadow Color

I begin by mixing a neutral gray. This gray should match the value (lightness or darkness) of the shadow I’m trying to create. Once I have my gray, I tweak it to make it warmer or cooler.

In one side of the palette there are pure clean colors as soon as you start mixing the colors imaging them getting closer to the gray mixture, you need to know when to stop is the color get to close to the gray is going to become too doll, remember this exercise is to understand how important are values and the gray mixture helps to calibrate lights mid tones and shadows and move the colors to a warmer tint or cooler.

BUT when you are mixing colors is better to use complementary colors to get the shadows, continuing with this exercise follow the next.

  • Warm Shadows: I add a touch of orange or red. Warm shadows often appear in areas where light bounces off nearby surfaces, such as the cheeks or the sides of the nose.
  • Cool Shadows: I add a bit of blue or green. Cool shadows are typically found in areas that receive indirect light, like the forehead or the sides of the face.

I always keep in mind that the face is divided into warmer and cooler zones. The lower part of the face (cheeks, nose, and chin) tends to be warmer, while the upper part (forehead) is cooler. This natural variation adds depth and realism to the portrait.

Applying the Shadows

When applying shadows, I think about the form of the face. Shadows aren’t flat—they follow the contours of the face. For example:

  • Cheeks: I use warmer, reddish tones to suggest the roundness of the cheeks.
  • Eyes: The eyelids and areas around the eyes are often warmer because the skin is thinner and more translucent.
  • Nose: I add a touch of warmth to the tip of the nose to make it stand out, while keeping the sides cooler.

I also highlight the importance of transitions between light and shadow. I avoid harsh lines by blending the edges of my shadows. This creates a soft, natural look that mimics how light interacts with the skin.

Adjusting Values and Colors

As I paint, I constantly check the values (lightness or darkness) of my shadows. I squint my eyes to simplify the shapes and see if the shadows are too light or too dark. If a shadow feels off, I adjust it by adding more gray or tweaking the color temperature.

I often use a technique called exaggeration to test colors. I’ll apply a highly saturated color to see how it interacts with the surrounding areas, then tone it down if necessary. This helps me find the right balance between warmth and coolness in the shadows.

Refining the Details

Once the basic shadows are in place, I refine the details. I pay attention to areas like the eyes, nose, and mouth, where small changes can make a big difference. For example:

  • Eyes: I add subtle highlights to the whites of the eyes and a touch of warmth around the eyelids.
  • Nose: I use cooler tones for the sides of the nose and warmer tones for the tip.
  • Mouth: The upper lip is usually darker than the lower lip, and the corners of the mouth should be slightly shadowed.

I stress the importance of blending and softening edges, especially in shadow areas. This creates a more realistic and three-dimensional effect.

Knowing When to Stop

One of the biggest challenges in portrait painting is knowing when to stop. I often feel the urge to keep tweaking and adjusting, but overworking a painting can ruin its freshness. To avoid this, I step back frequently to assess the overall composition. If the values, colors, and proportions feel right, it’s time to call it finished.

Viewer Insights and Questions

Throughout my tutorial, viewers asked insightful questions and shared their own experiences. Here are some highlights:

  1. Patrick’s Question: When do you know you’re finished?
    I responded that it’s a combination of technical accuracy and intuition. When the values, colors, and proportions feel right, and when nothing feels “annoying” or out of place, it’s time to stop. I also mentioned that stepping back and looking at the painting from a distance helps me make this decision.
  2. Cindy’s Comment: How do you handle the transition between light and shadow?
    I explained that blending is key. I use a soft brush to blend the edges of shadows, creating a smooth transition. I also emphasized the importance of squinting to see the overall shapes and values.
  3. Joyce’s Observation: The shadow on the right cheek is so strong. Do you keep it sharp or blend it?
    I clarified that I prefer to blend the edges of shadows, even if they appear sharp in the reference image. This creates a more natural and painterly effect.
  4. Chris’s Question: Do you use black in your shadows?
    I acknowledged that many artists avoid using black, but I find it useful for creating deep, rich shadows. I mix black with other colors to avoid flat, lifeless tones.

Final Thoughts

Mixing shadow colors for a portrait is both a technical and intuitive process. By starting with a neutral gray and adjusting the warmth or coolness of your shadows, you can create a harmonious and realistic painting. Remember to pay attention to the form of the face, blend your edges, and constantly check your values. And most importantly, trust your instincts—painting is as much about feeling as it is about technique.

My approach is a reminder that painting is a journey. It’s about experimenting, learning, and growing with each brushstroke. As one viewer, Terry, commented, “It’s amazing how much depth you can create with just a few well-placed shadows.” So, grab your brushes, set up your palette, and start experimenting with shadow colors. With practice, you’ll develop your own approach and create portraits that truly come to life.

Happy painting! 🎨

Inspired by my portrait painting techniques. Watch my full tutorial for more insights and join the conversation in the comments section!

The Planes of the Face: A Deep Dive into Portrait Painting

Alright, let’s get into it. Painting a portrait is like building a house—you need a solid foundation, and in this case, that foundation is the planes of the face. These planes are the flat and curved surfaces that make up the structure of a face. Think of them as the puzzle pieces that, when put together, create a realistic, three-dimensional likeness. But here’s the thing: it’s not just about drawing the eyes, nose, and mouth in the right place. It’s about understanding how light and shadow interact with those planes to give the face its form and depth. So, let’s break it down, step by step, and keep it casual while we’re at it.

Starting with the Basics: The Center Line

Every portrait starts with the center line. This is the imaginary line that runs vertically down the middle of the face, dividing it into two symmetrical halves. But here’s the kicker: faces aren’t perfectly symmetrical. One eye might be slightly higher, the nose might tilt a little, or the mouth might curve more on one side. So, while the center line is your guide, you’ve got to be flexible with it.

As I was working on this portrait, I kept checking the center line, the eye line, the nose line, and the mouth line. It’s like a constant dance—you’re always measuring, adjusting, and re-measuring. And don’t even get me started on the triangle formed by the eyes and the nose. That triangle is your best friend when it comes to getting the proportions right. If the triangle is off, the whole face feels wrong.

Studying the planes of the face is essential for understanding structure, form, and light in portrait painting. Breaking the face into simplified geometric planes helps in achieving depth and realism. Here’s a breakdown of the key planes:

1. Major Planes

These are the broadest divisions of the head, which establish the overall structure:

  • Front Plane – The face’s flat front surface.
  • Side Planes – The areas that wrap around from the temples to the cheeks.
  • Top Plane – The forehead and upper skull.
  • Bottom Plane – The underside of the chin and jawline.

2. Primary Facial Planes

These define the major shapes within the face:

  • Forehead Plane – Often divided into the upper, middle, and lower sections.
  • Cheek Planes – The prominent areas that catch light, shifting toward shadow at the edges.
  • Eye Sockets – Recessed areas that define the brow ridge and contribute to facial depth.
  • Nose Planes – The bridge, sides, and bottom of the nose have distinct planes.
  • Mouth Area Planes – The upper lip angles inward, while the lower lip has fuller, rounded planes.
  • Chin and Jaw Planes – These define the transition between the face and neck.

3. Light & Shadow Considerations

Understanding planes helps control how light interacts with the face:

  • Flat planes catch more light (like the forehead and cheekbones).
  • Angled planes create shadows (such as the sides of the nose and under the jaw).
  • Subtle transitions between planes give a realistic form.

How to Study the Planes of the Face

  • Use Asaro Heads (Planes of the Head models) for a simplified geometric approach.
  • Practice sketching faces in blocky, angular forms before softening into natural curves.
  • Use lighting from different angles to observe plane changes.
  • Sculpting (even digitally) can reinforce your understanding of form.

Mixing Colors: The Art of Skin Tones

Now, let’s talk about skin tones. Mixing the perfect skin color is like trying to find the right spice blend for a recipe—it’s all about balance. You start with a base color, something close to the person’s skin tone, but then you tweak it. A little more red for the cheeks, a touch of yellow for warmth, maybe a hint of blue for cooler areas like the shadows under the chin or around the eyes.

But here’s the thing: skin isn’t just one color. It’s a symphony of tones. The forehead might be a bit yellower, the cheeks pinker, and the shadows around the jawline cooler. And don’t forget about local color—that’s the base color of an object before light and shadow affect it. For skin, the local color is usually somewhere between peach, pink, and ochre, depending on the person.

I spent a lot of time mixing variations of the base color—lighter versions for highlights, darker versions for shadows, and more saturated versions for areas like the cheeks and lips. And sometimes, I’d throw in a wild card, like a touch of blue or green, just to see how it would affect the overall harmony. It’s all about experimentation.

Shadows and Highlights: Creating Depth

Shadows are where the magic happens. They give the face its three-dimensionality. But not all shadows are created equal. Some are warm, some are cool, and some are neutral. It depends on the light source and the surrounding colors. For this portrait, I kept the shadows relatively neutral, but I added a touch of warmth to areas like the nose and cheeks to make them pop forward.

Highlights, on the other hand, are all about catching the light. The brightest highlights are usually on the forehead, the bridge of the nose, the cheekbones, and the chin. But here’s a pro tip: don’t make your highlights pure white. Mix a bit of yellow or pink into the white to keep it natural.

The Eyes: Windows to the Soul

The eyes are the focal point of any portrait. They’re what people look at first, so you’ve got to get them right. But here’s the thing: eyes aren’t just white with a colored iris. They’re full of subtle colors and reflections. The whites of the eyes, for example, are rarely pure white. They’re usually a bit gray or yellowish, especially in shadow.

I spent a lot of time on the eyes, adding tiny highlights to make them look alive. And don’t forget the eyelids—they’re warmer and more reddish than the rest of the skin because they’re thinner and have more blood vessels. But you’ve got to be careful not to make them too red, or it’ll look like the person has been crying.

The Nose and Mouth: Balancing the Features

The nose and mouth are just as important as the eyes, but they’re often overlooked. The nose, for example, has its own set of planes—the bridge, the sides, the nostrils, and the tip. Each plane catches light differently, so you’ve got to pay attention to the transitions between light and shadow.

The mouth is another tricky area. It’s not just a line with some color inside. It’s a complex shape with its own highlights and shadows. The upper lip is usually darker than the lower lip, and there’s often a subtle highlight on the lower lip that gives it a moist, natural look. And don’t forget the corners of the mouth—they’re usually a bit darker and can add a lot of expression to the face.

Hair and Background: Framing the Face

Hair can make or break a portrait. It’s not just a mass of color—it’s made up of individual strands that catch light and create texture. But for this portrait, I decided to keep the hair relatively simple. I didn’t want it to distract from the face. Instead, I focused on getting the shape and volume right, adding a few highlights here and there to suggest movement.

The background is another important element. It’s not just empty space—it’s part of the composition. I added a bit of yellow to warm up the background, but I’m not sure if I’ll keep it. Sometimes, a neutral background works better because it keeps the focus on the face.

Knowing When to Stop

Here’s the hardest part of painting a portrait: knowing when to stop. It’s so easy to keep tweaking and adjusting, but at some point, you’ve got to step back and say, “It’s done.” Overworking a painting can ruin it. You start losing the freshness and spontaneity that make it come alive.

I’ve learned to trust my instincts. If something feels off, I’ll fix it. But if it feels right, I’ll leave it alone, even if it’s not perfect. Because here’s the thing: perfection is overrated. What matters is capturing the essence of the person—their expression, their personality, their soul.

Final Thoughts

Painting a portrait is a journey. It’s about more than just getting the proportions and colors right. It’s about capturing a moment, a feeling, a story. And the planes of the face are your roadmap. They guide you through the process, helping you build the structure, add the details, and bring the face to life.

So, next time you’re painting a portrait, take a moment to study the planes of the face. Pay attention to how light and shadow interact with them. And most importantly, have fun with it. Because at the end of the day, painting is about expressing yourself and connecting with the world around you.

Happy painting! 🎨