
Explore practical color theory for portrait and figurative artists by learning a concise color language built on hue, value, and chroma, and applying it across media.
Explore practical color theory for portrait and figure artists by learning color systems, the Munsell model, and the three color dimensions—hue, value, and chroma—plus complementary relationships.
Explore hue, value, and chroma within the Munsil system using page chips and color charts to map a nine-point value scale and the yellow-red skin-tone spectrum.
Examine how value, hue, and chroma interact to shape color in painting, using a practical nine to eleven value range and understanding context over the tube color.
Learn how hue, value, and chroma interact to create believable portraits, using colorants and neutrals, context, and harmonious palettes to approach skin tones in figure painting.
Explore how skin color sits in the orange-yellow range of the Munsell system, comparing skin tones to color chips by hue, value, and chroma, and recognizing three-dimensional light effects.
Learn to mix skin color with an orange-yellow-red oil palette—burnt sienna, yellow ochre, white, blue, and black—to match hue, value, and chroma under varying light.
Mix colors with a limited palette to match any target color by adjusting hue, value, and aroma. Use the Zaun palette with white, yellow, red, blue, and brown.
Question the traditional warm light, cool shadows rule and explore how skin tones respond to color, turning form, and value progression, including the rule of rubies, with practical painterly examples.
Explore how value governs color in representational art by understanding how light, surface context, and surrounding values shape the perception of light and dark in objects like blocks and eggs.
Explore how the color of a thing governs its appearance in light and shadow, driven by local color, light source, and reflected light in still life and portraits.
Value drives turning form, creating three-dimensionality through the light-to-dark gradient. Color supports value, but cooler tones rarely add rounding; focus on value progression and observe real works for true form.
Learn the rule of Rubens: apply cool highlights, warm lights, cool transitions, and warm shadows to flesh tones, using life study and Rubens’ examples to guide color transitions.
Explore how value, hue, and chroma govern believability in skin tones and portraits, using warm and cool transitions, local color, and cross-brand color relationships in artwork.
Explore turning black-and-white references into color portraits using color progression theory, focusing on skin tones, lights and shadows, and practicing with vintage photos.
Apply color theory to skin tones by painting a John Wayne portrait from a reference, using a gray palette to establish light-to-dark values and form with leftward light.
Soften the hairline and blend shadows to create volume, then build color with cool and warm transitions, using contrast and underpainting to bring a portrait to life.
Master color by focusing on hue, value, and chroma within skin tones. Compare to a target and adjust lighter, darker, or warmer as needed.
This lecture series is intended to provide anyone interested in the human subject in art with a guide for assessing and understanding skin colour. An added bonus is that the same concepts and ideas put forth in this course will help anyone in their understanding of nearly any colour, not just skin tones. Although Colour Theory is a vast and complicated subject, and this course narrows in on skin colour, that is itself very broad and far-ranging, so is there is plenty to go through. The course focuses primarily on what is the most useful aspect of colour theory as it applies to representational artists, which is using a simple language when talking about colour. And that is: hue, value, and chroma. More specifically, we will learn how to use this language whenever considering or describing the very nuanced world of skin tones without necessarily relying, for example, on paint names or on any particular colorant. The concepts presented will be useful for artists in any medium.
Through lecture and demonstration, including some exercises that subscribers may wish to try on their own, this course will develop a theoretical framework for the artist. But, as the title implies, it will be more than theoretical because the knowledge gained can and, perhaps, ought to be put into practice and used every day.