Light is often the making or breaking of a painting. Some subjects seem uninteresting or lifeless until bright lights and the consequent shadows become parts of the scene. Light not only creates interesting shadows for a painting, but it also produces tonal extremes, lights and darks. Without dark tones and areas of shade, the light parts of a picture will seem bland and not stand out. Dark tones are needed to emphasize the lighter ones. In the same way, without light areas, the darker tones have nothing to contrast with. The issue is not just how much light you put into a painting, but also how DARK you can make your darks! Very dark areas near very light areas will give your painting the greatest amount of contrast and impact.
On a sunny day, the main tones are pushed to extremes. Areas of BRIGHT light will be bleached out to some degree, and thus you will paint them with pale washes. The brighter the light, the paler the tone, BUT also the more opportunity to offset light colors with dark. Sunny areas contain warmer colors like yellow, brown, or red, whereas shaded parts of a scene will be grayer and cooler in tone. At the same time, when painting a brightly lit section of a picture, do NOT think that a thick layer of brightly colored paint will convey the brilliance or glow you are looking for. If you apply paint thickly, it can appear opaque because the brightness of the white underlying paper has been covered up. Therefore, add lots of water to your color before applying it. The more water you have in your mixture, the more the white of the paper will show through to suggest brightness.
Because the bright spots in a painting will appear even brighter next to dark areas, SHADOWS and shaded areas ought to be a part of any painting. A lack of light creates the darker tones within an image while also creating shadows and areas of shade. An object blocking the light casts a shadow which can fall across a lit part of the scene. SHADE tends to be simply a larger area of shadow. The darkest tone in a painting is often the deepest area of shade, where the least amount of light reaches. As light is reduced, color tends to become darker, grayer, and more muted.
A shadow across an area of white (for example, snow) will show as a blue, gray, or violet. However, shadows that are cast across several changes of color (for example, over a field, then a road, then a stone wall) appear to require several CHANGES IN SHADOW COLOR to look realistic. That is ONE option. To create a shadow color, you could first look at the color as seen in direct light. In this case, the shadow color must relate to the color it falls across. If a shadow falls across a green field, its color will be a gray-green. A shadow cast across a variety of features will change color appropriately, although the shadows MUST remain the same TONE (darkness) throughout (even as the colors change). Furthermore, shadows cast across a landscape will follow the contours of the land, showing dips and depressions.
If shadows falling across a part of a painting are a darker and cooler version of the base color, how would you paint a cast shadow that crosses a path with grass on both sides (with this method)? First, you would paint the areas themselves, with the grass painted green and the path perhaps painted a gray-brown. Paint one area and let it dry before painting the next to avoid blurring. When the painted grass and path are dry, next create a grayed-green and a grayer gray-brown for shadow colors. Then paint the shadow in two different stages, one for the grass and the other for the path, with drying in between to avoid bleeding of color. In theory, the overall TONE of the shadows stays constant throughout, even though the COLORS change according to the features underneath.
Artist Robert J. O’Brien uses a somewhat different (and simpler) technique. Instead, he suggests creating one TRANSPARENT gray shadow color from indanthrone blue, gamboge, and quinacridone rose. Instead of mixing/using multiple shadow color mixtures (as described above), he uses his one transparent gray to glaze over ANY areas that require a shadow. He paints the areas first with their local color, then, when dry, he paints shadows with the ‘shadow gray’. To vary tone and darken certain shadows, he glazes the same gray over previous layers. (Two, or more, layers are darker than one layer!) Since the gray shadow color is transparent, the base color already on the paper continues to show through the layers and remains visible.
So, to create LUMINOUS shadows, you need to be able to see through the shadow to the color beneath. Using a TRANSPARENT paint color is a must! Your shadows should NOT be thick and opaque. The most transparent blues are phthalo blue, indanthrone blue, ultramarine blue; the reds are permanent alizarin, quinacidone rose, permanent rose, or quinacridone red; the yellows are quinacridone gold, gamboge, burnt sienna, or hansa yellow light. Most blacks and grays straight out of the tube are NOT transparent, so it is advisable to mix your own shadow colors. Mix your shadow color DARKER than you think you need. Don’t be afraid to paint the shadows dark!
Sometimes color or light can reflect back into a shadow, especially at the shadow’s edge. REFLECTED LIGHT may require a lighter or warmer section within a shadow. Reflected light can be very subtle but can create varied color intensity within the shadow itself (for example, warm light suggested by a touch of yellow in the shadow, or a yellow underlayer). In other words, areas of shade close to brightly lit parts of a painting might absorb more light; the painter could use more color and less gray here to create a bit more color intensity in the shadow.
In most cases cast shadows have CRISP edges, which you would paint wet-on-dry (wet paint on dry paper) over a dried wash. As previously mentioned, nearby objects can reflect light or color into the shadows. A painter could brush in reflected colors while the shadow color is still wet, for SOFT blending. Other shadows may be SOFT-edged (for example, where fleeting light flashes over a hillside, or in some snow depressions). Paint these soft-edged shadows wet-into-wet.
The general process for creating a watercolor with enough contrast to make your picture “pop” involves painting in stages and layers. Your aim is to paint confidently with a brush full of color and to paint shadow areas right up against the lightest parts of your painting. Think of it this way:
Stage 1 is the initial drawing and any light toning down of the papers,
Stage 2 is painting in the light washes,
Stage 3 is building up the darker colors and shadow areas,
Stage 4 is adding the darkest marks and details, and
Stage 5 is painting the cast shadows.
Remember that your light colors need BOLD DARKS!