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Adding Colors You Do Not See in the Picture to Create a Different Mood

One of the most liberating aspects of painting is the ability to depart from reality. A reference photo is just that—a reference. It doesn’t dictate what you must paint; instead, it offers a starting point, a suggestion. As artists, we have the power to transform an ordinary scene into something emotionally charged, poetic, or even surreal—all through the intentional use of color.

Why Add Colors That Aren’t There?

When you’re painting from a photo or from life, you’re not simply trying to copy what you see. You’re interpreting it. You’re telling a story. And color is one of your strongest storytelling tools. By shifting the palette—even subtly—you can create mood, tension, or harmony that the original image doesn’t convey.

Photos often flatten light, dull the vibrancy of natural colors, or miss the emotional undercurrents of a scene. That’s where your creative eye comes in. You can breathe life, warmth, or mystery into an image by introducing colors that evoke feeling rather than facts.

Choosing the Right Mood

First, ask yourself: What do I want the viewer to feel?

Do you want to create a warm, nostalgic feeling? Try weaving in soft oranges, warm ochres, or dusty rose tones—even if the photo is cool and neutral.
Looking for a moody, introspective atmosphere? Bring in deep blues, purples, or desaturated greens.
For something dreamy or magical, go for unusual hues—lavender shadows, turquoise highlights, or hints of pink where you’d expect brown or gray.

Where to Add Unexpected Color

You don’t need to flood the painting with new hues to make an impact. A touch of unexpected color in the right spot can change the whole feel.

Shadows are a great place to experiment. Rather than using black or gray, try deep violet, blue, or even green shadows.
Backgrounds can be simplified or stylized with colors that enhance the subject’s presence.
Highlights and reflected light can hold warmth or coolness that complements the painting’s mood, even if it’s not in the reference.

Examples in Action

Imagine a reference photo of a person sitting by a window. The image is neutral—soft daylight, gray tones, beige walls. You could recreate that exactly, but what if instead you infused the shadows with deep indigo, and let warm amber tones filter through the window light? Suddenly the scene feels intimate, contemplative—almost cinematic.

Or take a still life of a white vase and some fruit. By adding hints of coral, turquoise, or even violet in the shadows and reflections, the whole painting becomes more vibrant and expressive. The viewer won’t consciously notice the liberties you’ve taken—they’ll just feel it.

Trusting Your Inner Colorist

At first, adding imaginary colors might feel risky. You may wonder if you’re “breaking the rules” or doing it “wrong.” But remember: some of the greatest painters—Van Gogh, Matisse, the Impressionists—broke from realism to express something deeper. They weren’t interested in copying reality; they were after something truer than truth.

Try this: next time you work from a reference, do a quick color sketch first. Play with tones that aren’t there. Push the palette. You might surprise yourself with how much emotion you can inject into a simple scene.

The camera captures facts. You, the artist, create feeling.

Are You Using Too Much Paint as a Beginner?

Are You Using Too Much Paint as a Beginner?
Here’s What You Need to Know (and How to Fix It)

When you’re just starting out on your painting journey, it’s easy to think that more paint on the first stages is better. After all, more color, more coverage—what could go wrong? But if you’ve found yourself with muddy colors and thick, unworkable layers, you might be falling into a very common beginner trap: using too much paint on the first layers

Eventually with practice you will be able to control thicker paint from the very beginning as you control on values improve. Remember: We need paint on the canvas but first we need to know how oil paint mix on the canvas not just on the palette, we need to improve on mixing color especially for the shadows and value control is the key.

Why It Happens

There’s something exciting (and a little magical) about squeezing fresh paint onto your palette. But beginners often overestimate how much they actually need. This usually stems from a few things:

Fear of running out of the color you mixed
Unfamiliarity with oil paints or acrylics
Trying to fix mistakes by layering more paint

The Downsides of Using Too Much Paint

While it might seem harmless at first, overusing paint can actually slow down your progress and make your painting experience more frustrating than it needs to be.

Muddy colors: Too much paint on your brush can mix unintentionally, especially on the canvas, leading to dull or muddy results.
Lost details: Thick paint can cover up sketch lines or fine details you’ve worked hard to establish.
Break value Structure: When you have too much paint it becomes difficult for the next layers to light up or darken up colors.
Longer drying times: If you’re working in oils or acrylics, heavy paint can stay tacky or wet much longer than desired, making it harder to layer or refine.

How to Tell If You’re Using Too Much Paint

Ask yourself:

Do I often have large amounts of leftover paint on my palette?
Is my canvas hard to control because of thick or slippery layers?
Do my colors blend too much when I don’t want them to?

If you said yes to any of these, you’re not alone—and it’s easy to adjust.

How to Fix It

✅ Start Small: Dispense smaller amounts of paint onto your palette and add more only when needed. You’ll quickly get a sense of how far each color goes. When you control this you can add thicker paint remember Shadow have thin layers than lights

✅ Use Mediums (when appropriate): If you’re working in oils or acrylics, adding a bit of medium can help stretch your paint and improve its flow.

✅ Practice Brush Control: Take some time to practice different strokes with different amounts of paint on your brush on top of other colors.

✅ Work in Layers: As you see that the values are good on the first layer now you can add more paint just remember do not break up the value structure, I mean do not light up the shadows do not dark up the lights. ( I can not repeat this enough)

Final Thoughts

You’re still learning how to work with your tools. With practice and awareness, you’ll develop a more intuitive feel for how much paint is just enough. And as you do, you’ll notice more control, cleaner colors, and a more enjoyable painting experience overall and then would be the time to add a ton of paint.

So next time you reach for that paint tube, pause and ask: Do I really need this much?

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How AI Can Sharpen Your Blurry Photos

“I teach art and paint commissions, and for both, I sometimes have to deal with bad photos.

So many times, I search for reference images to use in my classes, and occasionally, I’ll find a beautiful picture—but when I zoom in, it’s not clear. It’s blurry. What I used to do was skip it and look for better ones.

When it comes to commissions, nowadays, most people provide nice, high-quality photos. But every once in a while, someone asks me to paint from an old black-and-white photograph. The lack of color isn’t the problem—if you know my channel, you’ve seen me paint color portraits from black-and-white references. The real issue is when the photo is blurry. If I can’t see the details clearly, it becomes much harder to capture the likeness accurately.

The Solution? AI Restoration

Maybe you’re not a fan of AI, but it’s actually really helpful for bringing old photos back to life. There are many AI tools out there, and this is one I’ve used—it’s pretty good, though not perfect. A couple of times, I’ve still been told the restored image wasn’t quite right or that the likeness wasn’t fully there. But overall, it’s been a game-changer for working with difficult references.”

Here some examples

The website is: https://picsart.com/es/ai-image-enhancer

This one was for a class, the picture is beautiful and I wanted to paint her

This one was for a commission is just amazing how AI can help us

Another one for a class

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The Artistic Principle of Transparent Shadows and Opaque Lights in Oil Painting

In oil painting, one of the most enduring techniques for achieving luminosity and depth is the deliberate use of transparent shadows and opaque lights. This method is not just a stylistic choice but a fundamental principle rooted in the behavior of light, the physical properties of oil paint, and centuries of artistic tradition. Understanding why shadows are painted transparently and lights opaquely can transform an artist’s approach to realism, atmosphere, and three-dimensional form.

1. The Physics of Light and Material Interaction

Light interacts with surfaces in two primary ways:

Direct light (opaque highlights) – When light strikes an object, the brightest areas appear solid and dense because they reflect the most light. Thick, opaque paint mimics this effect, making highlights stand forward.
Shadows (transparent darks) – Shadows are areas where light is blocked or diffused. Since shadows are not light sources but rather the absence of light, they naturally appear softer, deeper, and more atmospheric. Transparent paint layers (glazes) replicate this effect by allowing underlying colors to subtly influence the shadow tones.

This contrast between solid lights and translucent shadows creates a convincing illusion of volume.

2. Historical Use in Oil Painting Techniques

Old Masters such as Rembrandt, Caravaggio, and Vermeer mastered this principle through layered techniques:

A. Glazing for Shadows

Shadows were built up using transparent glazes—thin layers of dark pigment mixed with a medium (such as linseed oil or varnish).
Glazing allowed shadows to retain depth without becoming chalky or flat. For example, Caravaggio’s deep blacks were not pure black paint but multiple layers of transparent browns and blues, giving richness and luminosity.
Since oil paint dries slowly, artists could blend and adjust shadows while keeping them soft and atmospheric.

B. Impasto for Lights

Highlights were applied opaquely, often with thicker paint (impasto) or even with a palette knife.
Rembrandt’s golden highlights, for instance, were built up with lead white or thick strokes of light-colored paint, catching real light to enhance the illusion of illumination.
Opaque lights create texture and emphasize the solidity of forms, making them appear to emerge from the canvas.

3. Practical Advantages in Oil Painting

A. Preserving Luminosity

If shadows were painted opaquely, they could appear dull and lifeless. Transparent glazes allow light to pass through and reflect off lower layers, maintaining a sense of inner glow.
Conversely, opaque lights ensure that highlights remain bright and crisp, rather than getting lost in translucent layers.

B. Controlling Depth and Atmosphere

Thin, transparent shadows recede, enhancing the sense of space.
Thick, opaque lights advance, creating a dynamic push-pull effect that guides the viewer’s eye.

C. Avoiding Muddy Colors

Mixing opaque pigments into shadows can make them appear chalky or desaturated. Glazing keeps shadows clean and deep.
Opaque lights, when kept pure, prevent highlights from becoming murky when layered over darker tones.

4. Modern Applications and Variations

While this technique is rooted in classical painting, contemporary oil artists still use it:

Alla Prima (Wet-on-Wet) Painting – Artists like Richard Schmid maintained transparent shadows by keeping dark areas thin and lights thick, even in rapid plein air work.
Indirect Layering – Some painters start with an opaque underpainting (grisaille or imprimatura) and then glaze shadows over it for depth.

Conclusion: A Timeless Method for Realism and Drama

The principle of transparent shadows and opaque lights is not arbitrary—it is a reflection of how light behaves in nature, optimized through centuries of oil painting practice. By using glazes for shadows and impasto for highlights, artists achieve:
✔ Greater depth and three-dimensionality
✔ Luminous, atmospheric shadows
✔ Vibrant, textured highlights

Whether working in the style of the Old Masters or experimenting with modern techniques, mastering this balance remains essential for any oil painter seeking realism and emotional impact in their work.

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Choosing the Right Brushes for Oil Painting

If you’re just starting out with oil painting, choosing the right brushes is essential. Like any craft, using the right tools will make the process smoother and more enjoyable.

Why Brush Choice Matters

From my experience as a teacher, I’ve noticed that most beginners don’t give much thought to brushes. They usually buy the cheapest ones—often bristle brushes—without realizing how much this affects their painting.

If you were my student, I would ask you to buy two sets of brushes:

Bristle brushes (for rough, bold strokes and first layers)
Synthetic or sable brushes (for blending and fine details)

Many students struggle with blending because they try to achieve a smooth finish with bristle brushes, which is not possible. I constantly remind them to switch brushes until they develop the habit of using the right one for the job.

If you’re a beginner, don’t feel bad if you make this mistake at first—it takes time to get used to it.

Organizing Your Brushes

To make things easier, separate your brushes:

Bristle brushes (hard) → one jar
Sable or synthetic brushes (soft) → another jar

This way, you’ll automatically reach for the right tool as you paint.

Brush Types and Painting Styles

🎨 If you want to paint like Van Gogh → Use bristle brushes.

These hold more paint and create bold, visible brushstrokes.
Perfect for expressive, textured painting.

🎨 If you want a smooth, classical finish like Bouguereau → Use sable or synthetic brushes.

These allow for soft blending and fine details.
Ideal for realistic portraits and delicate shading.

I personally only use synthetic brushes—I don’t want to support the use of animal hair. Synthetic brushes today are excellent and can achieve the same smoothness as natural sable brushes.

Buying Brushes: What to Look For

📌 Don’t buy too many at once!

Some soft brushes lose their shape when loaded with oil paint.
Others are too stiff and remove paint instead of laying it down.
Some leave unwanted marks on the canvas.

The only way to know if a brush is good for your style is to test it.

🔹 I personally buy brushes often, but never in bulk. I usually get one or two new brushes to test them. Over time, I’ve discovered amazing cheap brushes that work just as well as expensive ones.

With experience, you’ll learn to choose the right brush just by touching the bristles. You’ll know which brush to use for:
✔️ Painting backgrounds
✔️ Blending skin tones in a portrait
✔️ Achieving texture vs. smoothness

Final Thoughts

The right brush makes a huge difference in your oil painting journey. By using bristle brushes for texture and soft brushes for blending, you’ll have better control over your technique.

And remember: Experiment! Finding the right brush is part of the fun. 🎨

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The Role of Background Color in Oil Painting

Have you ever wondered why some paintings have such harmonious and striking colors, while your own paintings might lack the same vibrancy? Many artists initially assume that the brand of oil paint or the thickness of application is the key to achieving those rich colors. While these factors do play a role, the true secret lies in the contrast between the subject and the background.

The Background as the Foundation

Next time you observe a painting, start by analyzing the background. The background colors set the stage, creating the contrast that makes the subject’s colors shine. Without the right background, the subject’s colors won’t appear as vivid or soft as intended.

An artist must study color contrast to control the mood and intensity of a painting—whether creating bold, vibrant effects or gentle, subtle tones.

Understanding Color Contrast

1. Complementary Color Contrast

One of the most powerful types of contrast is complementary contrast—where two opposite colors on the color wheel are placed together. This creates high contrast, making the smaller or less dominant color appear even more intense.

Examples of complementary pairs:

Yellow & Violet
Orange & Blue
Red & Green

This doesn’t mean you must use these colors in their pure form. For example:

An ocher vase will contrast well with blue-violet.
A pink subject will stand out against a blue-green background.

Using a large color wheel can help you find more complementary color combinations for your paintings.

✅ Rule of Thumb: For the best effect, one color should take up more space than the other. If both are equally distributed, they will compete for attention rather than create harmony.

2. Light-Dark Contrast

Colors change drastically depending on the surrounding colors.

A light color will appear brighter if placed against a dark background.
A dark color will seem darker when surrounded by light tones.

Let’s take a cube example:

🟧 Ocher Square Example: Even though both squares are the exact same color, they appear different based on their surroundings. This shows how important background selection is when designing a composition.

Practical Application in Painting

When planning your painting, think about shape, size, color, and contrast between the subject and background.

In my own painting of a Nemo toy, I experimented with different backgrounds:

First, I placed it on a gray concrete floor—but the contrast was too weak.
Then, I tried a blue cloth—this improved color contrast but didn’t enhance texture.
Finally, I chose a wooden table with visible strands and grain. The rough wood texture contrasted with Nemo’s smooth surface, enhancing not just color contrast but also tactile contrast (soft vs. rough).

✅ Lesson: The right background not only improves color contrast but also enhances the visual and textural impact of a painting.

Final Thoughts

Understanding color contrast and background choices will take your oil paintings to the next level. By carefully selecting complementary colors, light-dark relationships, and textural contrasts, you can control the mood, depth, and harmony of your artwork.

Next time you plan a composition, start with the background—because the foundation of great color begins before the first brushstroke on your subject. 🎨

The Relationship Between Distance and Contrast in Painting: A Comprehensive Guide

Introduction

In painting, creating a convincing sense of depth relies on understanding how objects change as they recede into the distance. Two key factors in this illusion are contrast and color saturation. By observing how light and atmosphere affect visibility, artists can replicate these effects to enhance realism and three-dimensionality in their work.

This guide explores:

The science behind contrast and distance
The role of atmospheric perspective
How color temperature and saturation shift with distance
Composition techniques to reinforce depth
Practical applications in different painting styles

1. The Science of Contrast and Distance

Why Do Nearby Objects Have Stronger Contrast?

When an object is close to the viewer:

Shadows are darker and more defined (due to direct, undiffused light).
Highlights are sharper (reflections appear more concentrated).
Edges remain crisp (less atmospheric interference).

As objects move further away:

Contrast decreases (shadows lighten, highlights soften).
Details blur (edges become less distinct).
Textures fade (fine lines and surface imperfections disappear).

This phenomenon occurs because light scatters as it travels through air, blending shadows and highlights into midtones.

Relationship Between Distance and Contrast in Painting

Atmospheric Perspective (Aerial Perspective)

Leonardo da Vinci was among the first to study atmospheric perspective, noting that distant landscapes appear:

Lighter in value (due to scattered light).
Bluer or grayer (because short-wavelength blue light disperses more).
Less detailed (particles in the air act like a soft-focus filter).

This effect is strongest in:

Landscapes (mountains, forests, skies).
Urban scenes (distant buildings fade into haze).
Seascapes (horizon lines blend with the sky).

2. How Color Changes with Distance

Color Saturation and Value Shifts

Nearby objects:
Colors are more saturated (vivid and intense).
Warmer hues (reds, oranges, yellows) dominate.
Shadows retain their local color (e.g., a red apple keeps its deep red shadows).
Distant objects:
Colors become desaturated (muted, milky, or grayish).
Cool tones (blues, purples) dominate due to Rayleigh scattering (the same effect that makes the sky blue).
Shadows lose their chromatic intensity, blending into the ambient light.

Practical Applications

Landscape painters often glaze distant hills with thin, cool layers.
Portrait artists soften background edges to push them back in space.
Still life painters use warmer, richer colors in foreground objects.

3. Composition and Depth Cues

Positioning Objects for Depth

Our brains interpret depth based on placement:

Lower in the frame = closer (we perceive objects near the bottom as being in front).
Higher in the frame = farther (distant objects appear elevated, like mountains).

Additional Depth Cues

Overlapping forms – An object blocking another reinforces spatial order.
Size scaling – Smaller objects appear further away.
Linear perspective – Converging lines (e.g., roads, buildings) enhance depth.

4. Applying These Principles in Different Painting Styles

Realism & Traditional Painting

Glazing techniques build atmospheric haze in layers.
Soft vs. hard edges separate foreground from background.
Temperature contrast (warm foreground vs. cool background).

Impressionism & Expressive Painting

Broken color (using separate brushstrokes for distant vs. near elements).
Exaggerated color shifts (e.g., Monet’s use of violet shadows in faraway objects).

Digital & Concept Art

Depth layers (foreground = high contrast, midground = moderate, background = low).
Blur effects (simulating depth of field).

5. Common Mistakes & How to Fix Them

❌ Problem: A painting looks flat because all objects have the same contrast.
✅ Solution: Increase foreground contrast, reduce background contrast.

❌ Problem: Colors appear unnatural in distant objects.
✅ Solution: Introduce subtle blue/gray tints to faraway elements.

❌ Problem: The composition lacks depth despite correct values.
✅ Solution: Use overlapping shapes and size variation.

Conclusion

Mastering the relationship between distance and contrast is essential for creating believable depth in art. By observing nature and applying principles of atmospheric perspective, color shifts, and compositional depth cues, artists can produce more dynamic and realistic paintings.

Further Study

Study J.M.W. Turner’s landscapes for masterful atmospheric effects.
Experiment with limited palettes to force depth through temperature shifts.
Practice monochromatic studies focusing solely on value contrast.

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Observation in Painting: How to Train Your Eye Like the Masters

I remember when I was an art student—young and full of enthusiasm—thinking that painting was simply about applying oil paint to the canvas. That was it. I had learned to paint, but not to plan. It took me much longer to understand the importance of observation—not just a quick glance, but truly seeing and carefully planning how to start a painting.

After years of painting, here’s the observation process I’ve developed:

1. Analyzing contrast and values
First, I focus on contrast—where the darkest areas are most intense and where the lightest ones appear. I also assess the proportion of space occupied by each of these zones. This helps me decide whether I’ll need more dark or light colors on my palette. If the darks are very deep, I remind myself to avoid overusing white, which could lead to milky tones. If the painting has mostly light colors, I take care not to muddy them.

Pro Tip from the Masters:

Degas kept a “value finder”—a card with small holes to isolate tones
Sorolla worked on toned canvases to establish midtone harmony immediately
Sargent would squint intensely to simplify values before painting

2. Selecting colors
Next, I identify the strength and purity of the colors, as well as the presence of grays. This helps me choose which colors to place on my palette. I typically work with a range of 10 colors, I have more than 30 colors including three shades of yellow, five reds, four blues, four greens, three oranges, and four violets, among others. Since I can’t place them all on my palette, I carefully select the ones that best match the subject in front of me.

Historical Insight:
Vermeer’s limited palette (just 7 pigments!) created his signature harmony. His use of natural ultramarine (more expensive than gold at the time) shows how strategic color investment pays off.

3. Evaluating temperature
Finally, I assess the contrast between light and shadow, this time paying attention to color temperature. I observe whether the light is warm or cool and whether the contrast is strong or subtle. I also analyze warm, cool, and neutral colors—especially the neutrals, as they are the trickiest to identify. I take special care when mixing grays to ensure they remain balanced and harmonious.

Atmospheric perspective (Cooler tones recede, warmer advance)
Reflected light (As taught by Richard Schmid, shadows contain their light source’s complement)
Neutral orchestration (Sargent’s “mud” was actually carefully balanced grays)

Bonus: Old Masters’ Preparation Secrets

Rubens’ Sketch System: Created small oil sketches (modelli) to plan compositions
Velázquez’s Ground Layers: Built complex undertones with colored imprimatura
Turner’s Notebooks: Filled 300 sketchbooks with light observations before painting

Why This Process Matters
As art historian Ernst Gombrich noted, “The artist learns not to copy, but to see.” This analytical approach channels your creativity effectively.

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The Day My Teacher Took Away My Black and White Paints – and How I Learned to Avoid Muddy Colors.

(How to avoid muddy colors when mixing paint)

I still remember my first year in art school. I was working on my second still life, and while the volume and structure of my painting were fine, my colors looked milky, and my shadows were muddy and dirty.

As my teacher walked around observing my classmates’ paintings, he stopped at my spot and said:
“Use less white and black.”

The next day, he said the same thing. And the day after that, he took my tubes of black and white paint!

Instead, he handed me a tiny amount of white and told me:
“To lighten your colors, use only lemon yellow and this little bit of white. To darken, use ultramarine blue.” and think about value contrast is not just about color mixing is about color harmony too (this is going to be for another article)

I thought it was impossible—how could I paint without black and white? But I had no choice. For the next three days, I painted this way.

At first, it was frustrating. I had to pay more attention to color mixing. To lighten colors, I used yellow with just a tiny bit of white. Darkening was easier because ultramarine blue is naturally deep.

Then, something amazing happened.

Right before my eyes, my painting became vibrant, clean, and full of life. No more muddy colors—just pure, brilliant color, obviously not on the whole painting, one more thing I learned was about the proportions of colors on a painting, gray down colors (muddy colors 60%), neutral colors(30%) and pure accents(10%).

When my teacher saw my finished painting, he finally gave me my paints back and said:
“You need to learn to control these two colors. It won’t be easy, but remember this lesson every time you squeeze white and black onto your palette.”

Understanding White and Black to avoid muddy colors

White and black are powerful but tricky.

🖌 Too much white → Colors become opaque and milky. Even shadows can turn cloudy, making the painting look dull.
🎨 Too much black → Shadows become heavy and dirty, instead of transparent and natural-looking.

We often overuse these colors without realizing it, so controlling them takes practice.

How to Control Black and White in Your Paintings

✅ Use Alternative Colors

For shadows: Burnt umber + ultramarine blue → a deep, dark tone close to black.
For highlights: Naples yellow + lemon yellow → a warmer, fresher light instead of a flat white.

✅ Use Complementary Colors for Shadows
Instead of black, use the opposite color on the color wheel to create shadows:

Orange shadow → Add blue
Red shadow → Add green
Yellow shadow → Add purple

✅ Be Careful with White in Shadows
Adding too much white to a shadow will make it flat and lifeless. Shadows should be transparent and glowing, not cloudy.

A Student’s Painting: Before and After

📌 In the first painting, the artist used too much white and black.

The lights look milky.
The shadows appear heavy and dull.
The colors of the grapes are muddy and lifeless.

📌 In the second painting, the artist used Naples yellow instead of too much white and avoided pure black in the shadows.

The colors are cleaner and more vibrant.
The shadows are transparent and glowing.
Even though the painting is unfinished, it already looks fresh and full of life.

Final Thoughts

Learning to control white and black takes time and practice, but once you do, your paintings will become more vibrant, cleaner, and full of light.

🌟 Next time you mix colors, remember my teacher’s lesson. Instead of reaching for black and white right away, try using their colorful alternatives first. Your paintings will thank you! 🎨✨

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Why is it so hard to capture shape and volume?

Struggling to define volume and shape is one of the most common challenges for painting students. Volume represents the three-dimensionality of objects, making them appear real to our eyes. If your paintings lack volume, it means your eye is not yet fully trained to perceive and replicate tonal values accurately.

Training Your Eye to See Volume

Developing volume in painting requires visual training. As artists, we spend countless hours observing color mixtures, objects, textures, and transparencies. But simply looking at things isn’t enough—we must actively analyze details, paying close attention to:

Shadows
Highlights
Reflections
Contrast levels

This ability to observe and interpret tonal variations is what allows us to create depth and realism in our work.

Using a Cube to Understand Tonal Values

To improve your understanding of tonal values, try painting a simple cube in any color of your choice, preferably using tempera or acrylic paint. These dry quickly, allowing you to repaint as needed.

The cube serves as a visual reference for the three main tones used in painting:

Shadow (darkest side)
Midtone (middle tone)
Light (brightest side)

If you’re painting a lemon, for example, observing a cube in the same color will help you distinguish the necessary shades. To enhance brightness, simply add white to your mixture.

After the cube you can move to this one:

Mastering Soft Transitions and Blending

Achieving the smooth, curved surface of a lemon—or any rounded object—depends on practice with brushwork, especially blending techniques. Start with the cube exercise to grasp the basics of tonal contrast, then gradually introduce more variations to your color mix. Remember, not all lemons are purely yellow—some have greenish areas, subtle color shifts, and reflections.

With experience, you can refine your technique using glazes, allowing you to create stunning, realistic artwork.

Final Thoughts

Defining volume and shape takes time and practice, but training your eye to see and replicate tonal values is the key. By starting with simple exercises like the cube, you’ll build a strong foundation that will improve your ability to paint more complex subjects with depth and realism.

Keep practicing, and soon, your paintings will gain the three-dimensionality that makes them come to life! 🎨✨

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