I did what I could and then put a pale wash of warms around the Great White Shape (which is what I should have done the first time). So, if your dominant temperature for the painting is going to be cool, why paint around the GWS with warms? Because, later you are going to overlay those colors with cools and that will really grey them back and make them not important at the edges so your COI and area of interest will really be shown off.
When the area around the GWS dries, you locate where the darkest darks are going to be (outside of the GWS) and paint some of those in using your dominant color temperture and making sure some of the paint runs up against the GWS and even overlaps it in places. You are painting your darkest darks here. In a mix of colors in your dominant temperature.
When that dries, you "integrate" your shapes and grey your colors outside the GWS by layering a wash of colors on it in the dominant color temperature. So, I start painting around the GWS in opposite temps - where I see a warm green, I put down a cool red, where I see a warm yellow-brown, I put down a cool purple, and so on, leaving the whites where I want them but covering any areas I don't want white (like at the outside edges). I'll do that tomorrow.
This all sounds very complicated and brain zapping - but its coming on amazingly. Good exercise in colour theory though.
Thanks, Sandy :) Glad I could salvage the first boo-boo! Joan, sometimes it does seem like algebra to me - but it's really a simple technique once you learn the steps - we try to make it harder in our minds than it is - at least, that's what I think, having seen and heard complaints and whines and confused looks in class whenever Sandy shares this with ut. It is about color theory and value - and what more do you need to make a good painting? Next step coming up today...
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