Color in Shadows
by
Don
Andrews
Most
watercolorists
seem wonderfuly
color-oriened
when paint-
ing the lights
in their land-
scapes. They
fill these areas
with vibrant and
lively color. But
when they address
the shadow areas,
they seem to lose their concern for
color and resort to cold, inky darks. In
truth, the shadow pattern in a painting
is where the richest, most exciting color
possibilities can be found.
Problem darks Not all shadows have to be painted in analogous col-
A common problem I continually see in the workshops ors. It’s O.K. to have color temperature changes in the
I teach is a lack of color excitement in the shadow pat- shadow pattern, if these color temperature changes are
terns of my students’ paintings. Their shadow areas strong enough to overpower the underlying wash. Put
appear murky or unnecessarily dark. It seems these simply, if you’re going to switch from warm to cool, or
artists automatically reach for dark, blue pigment vice versa, put the pigment down powerfully.
whenever they describe a shadow.
In truth the shadow pattern in a painting is where Shadows aren’t necessarily
the richest, most exciting color possibilities can be
cool or dark
found. When observing the passages of light and
Shadows aren’t necessarily cool or dark, though
shadow on a model or in the landscape, notice that a
there’s nothing wrong with occasionally describing
strong light source can make the subject’s color seem
them that way. Shadows can be as color-varied and
diffuse or washed out. The shadow areas will report a
experimental as the lights. Try painting the shadows
deeper, richer value of the local color. While the lights
with rich middle–value reds, greens, and violets. The
in your subject are usually quite limited in value range,
trick is to use richer, undiluted mixtures of local color
the shadow patterns offer a wide range of values from
rather than automatically reaching for the blues or
light-middle, middle, middle-dark to dark. This fact
dark neutrals— or both.
goes to the heart of this color concept.
Remember to paint through the value scale with
I believe the most vivid color range on our palette
your subject. Don’t skip the middle–value range—live
revolves around middle-values and that’s exactly where
there! Build as many steps around middle–value
most shadows exist. We’re limited when we paint light
as possible. Middle-value is where your best color
values: we either leave white paper or dilute our colors
opportunities lie, and that’s where the majority of the
to indicate illuminated areas. However, when we paint
shadows are found.
the shadows, we’re able to use pigment much stronger
and, if we’re willing, just as creatively.
Solving the problem of murky darks
There are a couple of factors that contribute to the prob-
lem of murky or overly dark shadows. Many shadow
problems develop from a poor color/value selection.
For instance, if you first paint in the lights with warm,
dominant washes and then overlay the shadow pattern
with cooler washes in a similar value and intensity,
these opposing color temperatures can create a murky,
neutral shadow. To overcome this problem, try to
mostly stay in the same color temperature for shadow
patterns as in the lights. Richer mixtures of similar col-
ors or color temperature will keep the shadows clean
and vivid.
Don’t rush into darks
Darks are necessary for emphasis, but don’t rush into
them. And remember: less is more. Save the darks
in your shadows for special accents placed after you A different approach
have developed the majority of shadow shapes in the One of the best ways to create clean, powerful shad-
middle-value range. ows is to paint them first. Leave the light on the figure
Remember: or landscape and begin the painting by addressing
Clean, vibrant shadow patterns and shapes will the shadow pattern. This is especially effective when
enhance any subject you paint. And middle-value is the majority of your subject is found in shadows.
the key to a successful shadow pattern statement. It is important to begin with a little stronger value
statement when painting the shadows first. I’m often
fooled into thinking I’m being bolder in values than
I’m actually being, because I’m visually comparing
Don Andrews, A.W.S., is a prize-winning painter, popular teacher and the this first wash to the white of the paper. So, start with
author of “Interpreting the Figure in Watercolors,” Watson-Guptill. A native of
a rich, light-middle value and work through the value
Alabama, Don recently moved his studio and home to Exeter, New Hampshire.
scale from there.
