Bill Inman

Bill Inman
Reference on the left

                 Transparent red oxide and Tr. Y Oxide as base colours

Smoothen

 
  Cool lavender further away (more blue)      Warm lavender closer (red)
Paint laid down with very soft touch - not blended. If you do you get a grey.
Break up edges so that elements fit together
Little strokes added - working around colours already there - not blending

Bringing in middle value colours

Tree trunks  Sap green + UMB + AC
Stay away from Yellow in Tree trunks > clean darks
This is Wet in Wet -  Yet Colours must not mix/blend with the under colour
    This is a skill that takes practice   To lay a colour on top of another without blending

              Dry brush strokes - varying pressure - brush strokes with holes in them - great for foliage
              Working Warm/Cool  >  
              Below the lavender is being pushed back by the warm colours of the foliage
             

             ^^^^^^^^^^^^^^^^^^^
                                                              The Waterfall

Poenies
Reference photos


Use Photoshop to compose the final image



Blue black colour from RGH

Underpainting choice
Very thin paint


The yellow on top will compliment the blues and lavendar of the sky

The B Sienna at the bottom will work well with the greens of the grass

                                                                 

You dont want blending when you start putting down the sky colours
Its like a dry brush technique
Warm and cool greens   Ph Blue and Cad Y   // Ph Blue + TW  // Man Blue + Cad Lemon

Warm shadows

He rubbed out the areas for the flower heads

 so that its easier to
come over them with thicker paint and
different reds

Quin Red + Cad Red to warm and darken + a touch of white

The white adds to the coolness

Rub out centres

Warm red and cool red used together

Warm comes from the Cad Red - also darker

Quin Red is COOL - doesnt have the blue that A Crimson has.  Adding TW makes it even cooler

 

Painting waves at dawn    2 Parts   Michael Lewis art

3

Eva Wolf

4   John Pototschnik   Limited Palette

Analogous color scheme

White added to row 3 so we can distinguish

The bias of colours chosen is all important towards the final outcome

UM    AC (dominant colour for his painting)  Cad Y  

UM  much warmer than Cobalt B  It has RED

AC   has RED also

Cad red has Yellow

Lemon Y has Green  beside CY it looks warm

AC not the red for a sunset because it has Blue Instead Cad Red + Cad Y

UM + AC give a good Violet because neither has Yellow _so avoids muddy)

AC+ LY   Because AC has Blue we now get a mix with all 3 primaries

results in muted colours - 4 under the CY

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The Daily Yupari     Mixing PORTRAIT COLOURS

TW   Burnt Umber   Al C     Cad Red Light     YO    Sap G     UB      I Black

Tw  +   CR  + YO + BU to 

Various values from same mixes

Warmer 4 side of nose AC  BU  TW

Subtle changes in values/colours