Colour Painting from Still Life and Plaster Cast

This course covers:

  • Applying colour theory to observational painting 
  • Organising colour and painting methodology
  • Colour gamuts - how to choose colours for your palette for a particular subject and aesthetic intention
  • Colour harmony, contrast and design

Below: Quick alla prima colour sketches in various colour gamuts.  The colour swatches in the middle image show the three relative primaries that were chosen (in that case Permanent Alizarin Crimson, Viridian and Yellow Ocre - a gamut that lacks a strong yellow or blue), the secondaries mixed from these and a tint of each.  I find this number of colours and tints to be a good starting point as a set of mixing colours for free mixing (with a brush) the subtle colours that are observed in the actual painting.  I would add to this a relative neutral mixed from all three of the relative primaries plus white.

Below: The method used for one of my sight size still life paintings.  "Wipe out" underpainting in a combination of dark neutral colours, followed by progressively more opaque overpainting.

Below: Study by one of Scott's students, investigating colour in a monochromatic subject: