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:
- 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. - 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. - 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. - 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!