Watercolor/Oil: Colour Lesson: Creating a warm glowing red – Part I
Creating a warm glowing red
This is not a step by step guide of how to paint this subject. What I want to highlight are a number of points using this study as an example.
This Parrot Tulip study will be an ongoing tutorial where I will teach you many of the invaluable lessons that will help you create form – no matter which medium you choose.
Lets take a look at the two steps in this study:
Art-1-1 - Parrot Tulip - Step One
© Susan Harrison-Tustain
(Art 1-1) Although this painting is predominately red – you can see that I have been able to create form with what is almost a monochrome painting. How did I do that? You can see I didn’t simply rely on tonal value to create form.
The answer is simple – I used warm and cool colors to establish and mold the form: Warm hues on one side of each shape and cool on the other side.
In my next newsletter we will have an in-depth discussion on warm and cool reds. But for now let’s take a look at the layers I used and let’s chat about why I used them. I will show the alternatives and this will help you, not only understand my reasoning, but also help you with your future studies – no matter which color, subject or medium you choose.
This is the first stage of creating the basic shapes where I use warm and cool colors to help me establish form. You will notice the glow I create in the inner sanctum of the tulip prior to applying my shadow color.
Art-1-2 - Finished painting - Parrot Tulip - Step Two
© Susan Harrison-Tustain
Let’s discuss how to create a glowing red hue:
Art 1-3 - Scarlet Red on white paper
Art 1-4 - Aureolin Yellow Modern underwash. Scarlet Red wash over top
Compare these examples:
Can you feel the warmth of this glowing red tulip? Compare these two examples of red: One has an Aureolin Yellow underwash beneath the Scarlet Red wash (Art 1-4). The other has Scarlet Red (Schmincke) on the white of paper (Art 1-3).
Can you see how the white paper gives the red a ‘raw’ appearance? Conversely the red that has a yellow underwash exudes warmth as well as giving the appearance of substance and a glowing ‘from within’. The degree of glow depends on the depth of yellow underwash we use. More yellow = greater glow
Highlights are generally cooler than shadowed areas
What else can you see in this tulip painting? Have you noticed the outer petals are hit by light – whereas the inner petals and the petals at the top of the tulip are not in direct sunlight? You will have noticed how much warmer these inner and top petals are.
Direct sunlight generally casts a cool light on a subject. This tulip is no exception. You will have noticed how the red hue closest to the highlight is affected by cool light. This is why I have used a cooler red surrounding the highlight. As the petal recedes away from the light – you will notice the red begins to glow. This is how we can use light describe form. Warm and cool colors allow us to create the impression of shape.
Ruby Red for cool red areas
To describe this space where I need a cool hue next to the cool highlight, I choose Ruby Red (Schmincke) which is a Quinacridone hue. It is cooler because it is closer to blue on the color wheel in comparison to the much warmer Scarlet Red we used on the other areas. Scarlet Red is warmer because it is closer to yellow on the color wheel. But when we need our red to emit warmth and glow – using a warm red is not enough on it’s own. We can emphasize the warmth by creating a yellow underwash below our red washes. You will see the difference this makes in the examples below.
Glowing Centre of flowers
Generally in the centre of a flower you can find areas where warm glowing color is bouncing around enhancing the beautiful warm glow that we see in these enclosed areas. This requires a greater depth of yellow in our underwashes. The cooler areas such our Ruby Red passages need to be kept cooler. To achieve this we don’t use a yellow underwash there – or we use an almost unperceivable yellow underwash – just enough to take the raw look from this cool area.
What is the Effect of a yellow underwash under purple/pink?
What would happen if we put our normal strength yellow underneath the purple/pink Ruby Red? Why not try it? Take a look at my mini demo of what happens when you do that. Can you see how the yellow dulls the purple/pink? (Art 1-5)
Art 1-5 - Ruby Red with Aureolin Yellow Modern underwash
Why does a yellow underwash mute and dull Purple/Pink?
Do you know why this happens?
I speak here in general terms. As with most things in painting – there are scenarios – however rare – where we see exceptions to what we mostly know to be true.
For the answer to this question, we need to think about our complimentary colors. Understanding what they do will help you understand why the yellow underwash didn’t allow our purple/pink to glow – instead we see how a yellow underwash will mute a pink/purple hue:
Art 1-5 – Yellow is the complimentary color of purple. This means it is opposite on the color wheel to purple. When we want a muted shade of purple, we simply use a touch of the complimentary color which is yellow. This will dull our purple down a little or a lot – depending on how much complimentary color (yellow) we use.
Art 1-6 - Ruby Red with pale Aureolin Yellow Modern underwash
Art 1-6 – So the converse of this is that if we want our purple/pink hue to look fresh and vibrant – when this is the case we need to avoid using yellow ( or create a very pale yellow underwash).
Art 1-7 - Ruby Red on white paper
Let’s get back to our pink/purple that sits next to our highlight in our tulip painting:
Had I used a strong yellow underwash in this area – I would get a more dull hue as you can see demonstrated above (Art 1-5). But you can see the purple/pink in this painting is fresh and not dulled or muted. Now you know why!
Understanding warm and cool colors and how to use them effectively in our paintings is not an easy thing to grasp initially. So let’s leave it at that for now. Try to recreate the examples of color I have shown above. Experimenting will help you see the logic of it for yourself. Once you can grasp it – you will be amazed by it. It will feel as if someone has turned a light on for you.
As we progress through the lessons in this Parrot Tulip study in future newsletters, I will bring more examples for you to learn from. You will find this awareness will make all the difference to the reality and feeling of presence in your work.
You will find more in-depth information in my DVDs. Being able to listen as well as see something in a DVD – unfold before your eyes – is a far more enduring way to learn and retain the information. But hopefully these mini demonstrations will help you ease into warm and cool color and the huge difference this will have on your future work.