Transcripts
1. Hand Colouring with Oils Introduction: Good day. My name
is Warren Marshall. I'm a photographic educator and professional photographer
from Newcastle, Australia. This class is all about Hank coloring black and
white photographs. This is a technique
that I learned many, many years ago from the practitioners who used
to do it in the old days before we had color film
or digital photography. Obviously. It's a technique
that worked beautifully. It's not a technique to make a color image out of a
black and white image. It's a technique that
will enhance an image, a black and white image, or a sepia toned image to
make it into something different other than
a standard color or black and white image. Years ago, there were no
colors in photography. Black and white was the norm. So to have a colored photograph was something a bit special. So people quickly
realized that they could use color pigments, color dyes, oil colors to create an illusion of color in
a black and white image. The practitioners back then
very good at what they did. They were specialist
hand colorists who would just work with photographic studios to color
black and white images. Now there are various
different ways that we can do this and I'll go into
that in a little while. But the fantastic thing about
the technique I'm going to describe to you today
is that it's very subtle. We can be very intricate with
the coloring that we do. And take a lot of time
to get the detail and to bringing out particular parts of our image the way we want to. Or we can be a little bit more liberal with the
way that we do it. So we can do a quick
job or we can do a slow job depending on how
precisely we want this to be. It's all under your control. And the beauty of using oils is that you can do this
over a period of time. The oils don't dry or don't
solidify for quite some time. So it's quite easy to repair
bits that you haven't done correctly or to
come back to it later. Every hand colored
image isn't original. It's an image that you
can't create any other way. You can't do this sort of
stuff in software to get the same effect that you can with hand coloring, with oils. It's a very precise method. You don't need a lot of
artistic knowledge or a lot of artistic skill to do
this hand coloring. If you watch the way that
I do it in this class, you'll be able to do it
yourselves quite simply. A little bit of
practice obviously will make it a
little bit better. But you can create a fantastic hand colored
black and white image. Right from the go. You can just get your first
image and it's going to be amazing if you follow the techniques that I
teach you in this class. So let's get into this class. I'm going to talk about
the materials you need. I'm going to talk
about the workflow and you're going to see
quite a few videos of me Hank coloring, different black
and white images. You see practically how I do it and how you
can do it as well. So join me in this class. I'll see you on the other side.
2. Why Oil Paints are Best: Good day. Thanks for joining us
in this class about hand coloring black
and white prints. Now, the reason why I liked
this technique of using oils to color black and white prints is because it's so versatile. Lot of people will
use dyes which tend to sink into the paper
surface quite quickly. So it's very difficult to
retrace your steps or to repair an area that
you haven't done correctly and dies tend
not to be very subtle. They give you an overall wash of color on a particular area. So you can't graduate the
colors particularly well. We can also use pencils, either watercolor
pencils or oil pencils. We can use photodiodes
as a whole range of different ways that we can
color black and white prints. The oil technique
is very subtle. We can use very
small application on it are very tiny application
to do very fine detail. Or we can do larger areas and you'll see how
we do that later on. But it allows you
also because the oil stays workable for
quite some time, even days, you can
go back and go over areas or change areas or
repair areas if you need to. You can even place your print in a plastic bag in the
fridge or the freezer, which will slow down that drawing process
of the oils as well, come back to it the next day or several days later
and work on it again. Sometimes when I work in oils
on a black and white print, I might spend ten hours
in total on that print. Other times 15 minutes
or 20 minutes is enough. It just depends on the
effect that I want, how detailed I want
the coloring to be and how accurate I
want it to be as well. We're going to run
through a whole range of different materials
that you need, which isn't a great deal. And we're gonna talk
a lot more about the application process and the workspace that we need to create these black and
white hand colored images.
3. Your Project: Your project for
this class is to produce a hand colored
black and white image. Use your oil paints, used, you can get students
oils if you can't afford the more expensive outer soils, a packet of student all
she can get for $10. Practice working on a
black and white print. It doesn't have to be perfect first-time, like
anything worthwhile. It does take a little while
to be able to do it well, but I'm sure you're
going to come up with a very impressive
result first-time. If you take your time and use the techniques that we've
taught you in this class. So give it a go, please take a picture of it, put it in a project section so that we can see the
results that you've got. And every time you
do this technique, it will allow you to get
a little bit better, a little bit more intricate, and a little bit more
unique with your style.
4. Why I want to Teach You This: So we can create
original images, either hand coloring someone else's black
and white photograph that we have permission to work on or create the black
and white images ourselves and hand
colored them from there, which is what I prefer to do. I much prefer to hand
color my own images so that I can have that in mind before I actually
take the photograph. Because when we
take a photograph, as we know when we're
shooting in black and white, we need to get your head into
that black and white space. So Hank coloring
is the same thing. We need to be able to visualize that hand colored image in our heads before
we actually take the shot so that we can
get everything in place. Even though this technique is not something that's
practiced by a lot of photographers nowadays or
artists, for that matter. People like David Bowie, George Benson, I say dc. Those sort of people have
had hand colored images on their album covers
because they look unique. And a unique image
is an image that stands out and
people take notice. Some may say that hand
coloring is a dying art because there aren't too many practitioners around anymore. The main reason I wanted
to put this class together is so that I can spread this news and this technique to as many
people as I possibly can, because I don't
want it to die out. I was taught this
technique many, many years ago. Bye. The ladies who used to work in the old photographic studios, they showed me these techniques, how to use oil paints to
color black and white images. And they showed me
the subtleties and they showed me how
to mix the colors. They showed me how to
apply it properly. I'm going to show you
all these techniques in this class so that hopefully
this art won't die out. It will be something
that you can add to your repertoire
of photography. It's something that you
can do that's unique, something different to
other photographers.
5. Materials Required: Now the materials that we need to do a black and white
hand colored image, obviously we need a
photographic print, a black and white print, preferably we're going
to talk about that in the next lesson about what to look for in a print and how to
get your print. We also need oil paints
of various colors. Now, the amount of
colors that you purchase with your oil
paints depends on you. I have seen people work with
just three primary colors, and they just mix
all of those colors together to create the colors that they wanted their image. Other people have a range of different colors depending
on what you want. I buy good-quality
artist oils because they tend to last longer and they're a little bit
easier to apply. The other thing is that good-quality office soils
will last a long time. These good-quality black
and white prints with hand colored oils could last
you a hundred and fifty, two hundred years because the oil paints are very stable if you get good quality ones and the black and white
prints a very stable if their process properly get a range of colors
that are going to be suitable for the type
of print that you do. You can block two or three
to start with and then just expand on it as you get
into it a little bit more. Because I shoot a
lot of portraits on a portrait photographer. So I color a lot of
portrait photographs. I do have a flesh tint oil paint that allows me to get
close to my skin color. To start with, I do need to
mix a couple of other colors with this to get a
realistic skin tone. But my flesh tint helps
me in that respect, rather than try and mix all
of my primary colors together to try and get a skin tone that's going to look realistic. Use that flesh tint. The other thing that we need
is some sort of applicator. Now the applicators
that we use with these hand colored oil
paints, not brushes. We use cotton swabs. I have seen people
before do Hank coloring with Q-tips or with cotton buds as we
call them in Australia, Q-tips or cotton buds tend
to be wound very tightly. There are only one size as well. So if we want to be versatile with the way that we apply
our paints to our print. We need to be able to roll particular swabs to
create those brushes. Are those applicators
the way that we want to, the way that we do it is a little bit of a
skill involved in this. It does take a little
while to get it right, but we use a bamboo skewer
with a point on the end. We use a bit of cotton wool, which is a 100% cotton wool. We don't want any
synthetic cotton wool and here because it just doesn't
work nearly as well, the a 100% cotton will lay your paint on much more
smoothly and evenly. So we just apply
that cotton wool to the top of the skewer and roll it on with
their fingers. You'll see here how we
can use our fourth finger and middle finger to
shape that cotton swab. And that gives us
a particular size swapped that we can use to apply our paint to a
particular part of our image. Now, the beauty of
this technique is that we can make largest swabs. If we have a larger area
that we want to apply, we can just use more cotton and simply make a largest swab in a larger size that allows us
to apply in a larger area. Now, these larger
ones are a little bit softer because when
we roll with sun, we can control how
tightly or how loosely we apply this cotton
wool to the skewer. We can also be very accurate
by making very tiny swaps. So we can get a
little bit of cotton and do the same sort
of thing right on the tip of the skewer. And we can make that
cotton swab very tiny. But because they're not tight, tightly wound,
they're a little bit flexible and they're
a little bit soft. So it, it it does it
applies like a brush, but it's not really
harsh as a Q-tip or as a cotton bud would be. So that's one of the arts, is rolling these
little cotton swabs in the size that you need to. Now, I do the whole process
with just one skewer. All I do when I've
finished applying the paint with this
particular swab, I just slide it off, put it in the garbage, and then I start to
roll another one on for my next application, depending on the
size that I want. Also, if I do have a large
area to put the paint onto, to apply the paint, I can just use one of
these cotton balls. I just take the whole cotton
ball, dip it in the paint, in the oil paint,
and just rub it on the surface and that
gives me a larger area. I hold it quite loosely
at the back so that the front of this cotton ball
is quite flexible and soft. And it allows me to apply that paint quite evenly
over the surface. Once it gets a bit saturated
and a bit full of oil paint, I simply grab another one, a clean one, and
do the same thing. The other way that we use these cotton swabs or
these cotton balls is. We can remove our paint with it. Once we apply our paint to a
particular part of the area, if we have any bleed
onto other areas, we can simply use a
fresh cotton swab to rub that paint
off and to clean up beverages so that it
allows us to apply the paint quite evenly and just clean up those
edges if we need to. So it looks very accurate
the way that we've applied that oil
paint to our surface. And you'll see
that in the videos that we've got at the
end of this class, where I actually demonstrate on four different
prints about how to apply these techniques
to an actual image. A couple of other
things that may be handy for you materials wise. The first one is
a kneaded rubber. Now at us know about needed
rubbers need to drive as you get them from
art supply stores. The same place you buy
your your oil paints from. A kneaded rubber is a little
rubber about this size. We break off a little
section of it and we roll it into a little sausage
with a point on the end. The kneaded rubber will soak up any oil paint that
we touch it on. Say for instance,
we want to clean up the catch lights in our persons. I's in our image. We've got some color on horizon. We put it over the top of it. We need to clean up that
little catch light. We can just dab
this kneaded rubber onto that catch light
and it will take away all the oil paint in that particular spot and make those eyes
sparkle and put that, put that catch light
back to absolute white so that we get that great sparkling those
Eisenhower's catch lights, other areas of highlights. If you have light or water
glistening on leaves, we can do the same thing. And it gives you our image such a three-dimensional feel to have those little sparkly
white bits in there. These are sort of
things that you can't do with any
other technique. The oil paints and
the kneaded rubber allow you to do to just pull off those areas of color to
produce those white print, that white paper underneath where that print is
totally highlighted. Possibly another thing would
be to have some linseed oil. A little bundle of
linseed oil can help you. If you're a painter
a little bit thick, you can just apply a couple
of drops of linseed oil, mixed it up with your
palette knife and that will soften your paints
down a little bit and allow them to flow
a little bit better. Some mineral turpentine can
help as well in clean up. If you want to clean up
your workspace or you get some paint on
your hands as you do. It's a little bit
of a messy process. Sometimes the turpentine can
help you do that as well, but that's pretty much all you really need materials wise. So basically you
can just get away with three primary
colors of oil paints. Your cotton wool,
and your skewer. Maybe they needed rubber. That's all you really need
to do this technique. You can do some amazing things. In the next class I'm
going to talk about your print and had
to find a print. This kind of work well, and what sort of quality
print that you need to produce a good hand
coloring by Sprint.
6. Choosing your Print: Choosing the right
printer Hank color, can be a big part of the
final result that you get. Now there are a couple of things that you need to think
about when you're choosing a print to do this
hand coloring technique. The first one is that we
don't use a glossy print. A glossy print means that the oil paint won't
stay on the surface. You need some sort of texture
or some sort of tooth in that paper surface to be able to hold the
oil paint properly, so glossy prints don't
work particularly well. A Mac print is probably
the best to go with. A mat is a quite a flat
sort of a surface. When you are making
darker imprints, you can just use map,
photographic paper. Or if you're having prints
printed at a photo lab, ask them for a matte surface. As flatter matters, you can get the surface
in-between those two, which is a certain type of thing is half mat
and half glass. It can work reasonably well too. You just need to be a little
bit careful about applying the oil in the right spot and making it nice
and even as well. But set and surfaces can
work reasonably well. Because I've used my
own darkroom prints in the past than I've been able
to print them on Mac paper. And it makes it so much
easier for me to do that. Now with digital prints, inkjet prints particularly, I haven't had a lot of
experience with that. You'll have to try yourself. But try to get a Mac paper, a paper that's flat, that's not going to have
too much gloss on it that will allow that oil
painter stick to the paper. I didn't think it would be a problem using digital prints, but give it a go and
see how you got. The other thing you need
to think about with a print is that you don't
want one that's too dark. I mean, it is okay to use an image that's got a
lot of black in it. But you will only
be able to apply paint or oil paint to the
areas that you can see. Detail in. Gray areas, lighter gray
areas or water areas. So an image that's a little bit brighter will hold that
paint a little bit better. But as you'll see at
the end of the class, I do do images with predominantly
darker tones in them. When you are doing a portrait, sometimes it's better to
begin with a sepia tone print or print that's a little bit brown and white rather
than black and white. The brown and white
just hoped to give the skin tone a little bit
more of a realistic look. When you're doing a strike
black and white print and your hand
coloring skin tone, it can sometimes look
a bit gray and it's difficult to make that
skin look warmer in turn. So a sepia tone can
work with portraits or any other images as well as sepia tone imprint is
a good starting point. If you're using a digital print, just add a little bit of brown
to it before you print it. Just a hint. So there's just a little
bit brown and white rather than strike
black and white. I find that infrared images
hand color really well. I don't know if you've
seen any infrared images. I'll show you a couple here. But infrared images tend to be a much lighter toned image then normal available
light images. So experiment with
infrared images. You might be able to see
some on the Internet. You may even be able to
produce some yourselves. It's not a difficult thing if you're a photographer
and you know what you're doing to shoot some black
and white infrared images.
7. Your Workspace: When you're preparing your
workspace to do hand coloring, it's important to be in natural light if
you possibly can. Artificial light will give you a little bit of a color tint. Your perception of the colors in your image will be a
little bit different. So try to use
daylight if you can, up next to a large window or even outdoors just
in a covered area, veranda or somewhere
like that or a patio. So that you're using daylight
to assess those colors, you'll tend to get a
better result that way. You need to cover your work area because it is a little
bit of a messy technique. Your clothing as well. I often finish a hand
colored print and find that I've got
paint all over me, particularly on my
trousers and my shirt. Where all clothing
cover your workspace with some newspaper or some
butcher's paper or something. So that's going to protect
your work surface. It's best to have a work
surface that's fairly smooth underneath
your print because any texture underneath
your print in the surface that
you're working on may come through in
the final result. So you could put a piece of mountain card or something
underneath your print to give it a nice smooth bass to work on that will
help you as well. You'll also need a
receptacle to put your old swabs in your cotton swabs because she goes through
quite a lot of them. A little garbage bin just on your workspace will allow
you to pull that cotton off, put it in the garbage,
and then rolling new one. I typically go through maybe 50 or 60 cotton swabs during one hand
coloring of a print, that garbage bin gets
filled quite quickly. We've used cotton buds
and cotton swabs. Have that garbage bin there too. It's handy to have
some turpentine close by two just in
case you do spill something or get some
stuff on areas that you don't want to a good palate, a nice white pellet, whether it's a
disposable one or a, or a permanent one, you need something to be able to
mix up those colors. Because we don't
just want to use primary colors in our image. We want to be able
to mix your colors and customize our colors
to suit the purposes. For instance, if we were
doing a forest scene, we might use 56 or ten
different colored greens. So we would mix those greens with the yellows and blues and purples just to get those different colors
as we go through. Being a hand colorist
makes you much more aware of the colors
in your environment. You don't notice when you, when you're just
looking at things, the different colors
that are in there. When I look at the back of a gum tree that we
have here in Australia. I can see purples and I can see greens and
yellows and blues, all different colors in
the back of that tree. Whereas somebody else will look at it and think
that it's just great. Having a perception and seeing those colors and things will
help your hand coloring. Because you can be
more realistic. You can put those colors into, make your image look
much more realistic.
8. The Technique: Now we get to the technique of actually hand
coloring our print. The way we do it is that we use generally a large cotton
ball to start with, to color your background. I like to try to work from top to bottom just so that I'm not leaning on areas
that I've already colored because that can
pull some of the color off. If I'm working on new image, I like to work either
from the center outwards or from the top-down. So I often will color
the background first. So I get my cotton ball. I will dip it in some oil paint to get a
bit of oil paint on it. And I just rub the areas that I want to color
with small circles. It looks quite hideous
when you first do it because the
colors everywhere, it's just very dark
and it's obvious that it's in circular patterns, but you just do it as
evenly as you can. You do it in circular patterns because it rubs on
much more evenly. If we do lines or move our
cotton swab up and down, we're going to get vertical. Differences with
their color tone. Small circles, just rub. It doesn't really
matter if you go over the edges at this stage because
we can clean it up later, we put on as much oil as we can in those areas
to make it nice. And even then we get
rid of this one. We grab another one. And holding it quite softly. We just rub over it softly
again in small circles. And it will even out, it will make it much more
even it will take off some of that excessive oil paint that we have to start with, and it will even adapt. We can also, at this stage, push it out to areas where we didn't quite get to the edges. Last time in the
last application. So each time we rub off, we can push it to
areas that need that cover that we haven't
previously pushed it into. Once that's done, we
would do it again. We can do it a third time. As many times as you
need to get that color back to the tone that you want and the evenness
that you want. We just rub it very lightly. The softer you can have your cotton ball or
your cotton swab, the more even that
paint is going to be. Now this is where it's much
better to have a 100% cotton because if you have any
synthetic In your cotton ball, it's going to leave
lines in there. It's just not going
to be as nice. And even in a soft 100% cotton is by far the best one to use. We keep rubbing it back, keep rubbing it back
until it's nice and even over that whole surface
and we're happy with it. Then we can roll a small
cotton swab as we did before, just with our fingers with a little bit of
cotton on the skewer. And we can go through
and just rub off any areas that we overlapped
onto the wrong area. So we can just go through and
rub it off gently turning this swab as we go to get a fresh surface to
rub on our image. Once that swabs got
paint all over it, we just put it in
the bin and we roll another one that
allows us to rub off any areas that don't
need that background color on it that we might
progress to the next area. We might do a part of the sky. We might rub some, some blue color onto that sky. The same way. We use the cotton,
cotton ball and we just rub it on all
over the sky area. Then we might rub
it back again to get it as even as
we possibly can. Then we'll use a cotton
swab just to rub back the clouds a little bit to take a bit of blue offers clouds. And we can create quite a
bit of three-dimensional, three-dimensionality
with our image, which isn't really a word,
but you know what I mean? We can make it look more
three-dimensional by cleaning up the highlights with a little
bit of cotton on here. If we've got our cotton swab, we can just rub over the
highlights of the image. And the great thing
about Hank coloring a black and white print
is those highlights and shadows are already there. We just have to look
for them in a cloud. We might have because the
sun's coming from above, the top of that cloud might be brought out than the bottom. So we will just rub the
color off the top of their cloud a little bit
more than we do the bottom. And that gives it
that feeling of shape and that feeling of depth. The same with faces. If we're coloring a face, we could just keep rubbing that oil paint back until
it's nice and smooth. And then we might touch up little areas with a
little cotton swab, pull off some paint
down their nose, maybe on the eyebrows, the chin, or maybe on the
lips just to give those little highlights that make that image look
more three-dimensional. Then of course, we would
use our kneaded rubber just to pull off some of
those little white spots. If we want any areas
to sparkle with white, we can use your kneaded
rubber to do that. Then we just get
down to our detail. If we've got a particular piece of jewelry in our shot
with our subject, we can just get a little
bit of gold or oil or yellow oil paint on a
swab and just rub it on that jewelry very
gently using strokes that will go parallel to the chain on that jewelry or that the
shape of that jewelry. And then we can just turn
over your swab where it's clean on the other side and just clean up the areas where
we've got a little bit of spill of that oil
paint around it. The technique is quite simple. It doesn't take a lot of effort, are a lot of skill to do it. The most difficult
skill is actually learning to create
these little swabs. So I'll show you a couple of close-ups about
how to do this. But generally we're just
using your fourth finger and middle finger to shape that bit of cotton on the
end of the skewer. And we do need to roll
it a little bit tighter down the skewer so that
it's going to stay there. We don't want to swab, that's going to spin or alternatively on
while we're using it, we want it to be quite
tight down here, but quite loose at the top end. We can vary the size of it
depending on the detail that we want to get with
their particular swab.
9. Watch These Demonstration Videos: Okay, so now you can have
a look at a couple of videos of prints that
I'm actually coloring. You'll see the techniques
that I've been talking about. You'll see me apply the paint. You'll see me rub
the paint back. You'll see me get it as
even as I possibly can, and then clean up those areas
with those cotton swabs. You'll see me touch up the
fine detail pool areas back. If I need to have
a need to remove some paint from
particular areas. You'll see a portrait,
you'll see landscape, you'll see a couple
of different types of images so that you can practice on any sort
of image that you have. This technique works with any sort of image that you have. The more detail in it, the more intricate
it's going to be, maybe the longer
it will take you. But it's up to you. You can do a delicate image
quite quickly if you want to. It depends on the look that you want and it's all up to you. You're the artist,
it's your decision. How to look at these videos. I'm sure you'll get
a lot out of it. And a lot of what I've
just said will fall into place when you see
it done in practice.
10. Moonlight Bride Part 1: The first print we're
going to color, he's a fairly basic
coloring job. There's not a lot
of detail in here to have to color and to control. This is a good one to start
with just to show you the basic techniques of
what we're going to do. We've got a moonlit seen
here taken late at night. I took this about 30
years ago or so by moonlight with a little bit of torchlight off to the
side to light to figure. It's quite a grainy
image because it was a fast film that
I used back then. But I quite like the feel of the grain and the
feel of the image. To start with, we're going
to color the sky in. Now the colors that we
use are fairly up to you. You can use whatever
colors you like. You can make it look
realistic or you can make it less realistic. But I'm going to do a bit of blue around the outside
and the darker areas, maybe a little bit
of warm colors, yellows and reds
towards the center. And then I'll tackle the girl at the end because she's down close to the
bottom of the print. I want to stop fairly
up at the top and work my way down so I'm not
touching the image as I go. So we use a cotton boll,
fairly loosely packed. We're going to grab a bit of the blue paint
that we have here. We're just gonna do small
circles around trying to add the paint in an even manner
just so that we can get it fairly well spread around because this is
only the first step. Remember, we're
going to rub it off later as long as we have
it fairly evenly spread. When we rub it off, he's
going to work much better. We're going to use a couple
of different blues in here. When you find that
your cotton bud is not working particularly well when it's a bit clogged up. Just throw it away and
we use another one. We go through quite a
lot of cotton when we do these hand
coloring techniques. So again, we're just
applying this blue as evenly as we can
to start with just in small circular motions. The reason why we want
to get an even is because it makes it easier
when we go to rub it off. We don't need to go
too close to where edges because they are rubbing. Motion is going to feel that in a little
bit closer to our edges. Okay, so that's our
first starting point. Now we've gotten to
use a fresh cotton bud and we're going to go over
it again more lightly so that we're
spreading that blew out out to the areas
where it should be. Again, don't worry
too much if you don't get it perfectly
on the edge, because we can repair
that later on. That's the great thing
about using oils, is that you can do a
little bit of repay later on because the oil paint
stays wet for quite a while. When I'm rubbing this, I'm
going over onto my figure a little bit as well
because I know we can clean it up at a later stage. That's our first rub off. And we'll just grab another one. And lighter again
with our field. We just a little bit
lighter with their rubbing. We continue circular motions, just pushing it out
further towards the edges. We go. Now, when we start
to put our other colors on, when we rub those colors back, they're going to interspersed
with a blue to give it a nice sort of
graduation of color. All right, so now we're going
to use a little bit of red. Now, we need to be
bit careful with red. Red does tend to take over a little bit for
you to do too much, but we're just going to use a little bit around
the outside here, just where that film grain is just showing up a little bit. Circular motions. Now this is actually the moon, which is this highlight here. The moon is so bright on these dark nights that it
doesn't record particularly well on your film or on
your digital screen. So that's why it's a burned out wide area which has a little bit of a
problem for us. His hand colors because
there's no detail in there. But we're going to just blend
this blue and red together. And then we're going to use a little bit of yellow
now because I don't have too much paint on this
swab on this cotton ball. I'm just gonna put some
yellow on there and that will help me to blend that
yellow in together. Now again, I'm not gonna put
too much yellow in there. I'm just going to put a
little bit in the middle. Get rid of that, and then use my clean cotton ball
just to rub it back. Now, I can rub this back
as much as I like to get rid of as much
calories I need to. I'll just keep getting
fresh cotton balls. And keep rubbing it back. Knee onto the stage where I want to blend it in a
little bit more. So I'm just blending those
colors in around the outside. Yellow still a little
bit too intense. So I'm gonna continue
rubbing it back, making sure those
colors are blending together so that they're
nicely graduated. The fact that we're rubbing
it back multiple times means that it's quite
even over the surface. Now I do want the center
of that to be almost white because that's
going to give us the effect of that
very bright moon. That short. That's
looking quite good. Now we're going to color our girl because she's
got a white dress on. A black and white print makes
it looks reasonably gray. I'm going to use a bit of
blue into that dress now, we need to be a little bit more accurate with the
coloring of the girls. So I'm going to pull
a little bit of cotton off my cotton ball. And I'm going to use my
skewer and wind it on here. Now this does take a
little bit of practice, but you can wind it on with various different
softness or you can, which isn't really a word
but you know what I mean? Or you can make it
various different sizes to give you the detail
that you need to get. I'm going to use a
little bit of blue here. Just to put it into the stress. Just to give me the feeling
that it's a white dress. Don't hesitate to turn
your print if you need to. Because you need to be able
to often get that swab in an upright movement that you can get that detail
where you want it to. That's pretty much
all I need to. I don't want to cover the shadow areas
because it's going to look a little bit dull and it takes away
from the shadows. If I do that, I just want
a little bit of blue in there just to give that
dress a little bit of white. Now I'm going to add a little
bit of skin color in here. Now, my skin color
is a little bit more critical because we all know
what skin color looks like. We can buy flesh
tint, oil paint. But what I'm going to do
is to mix the flesh tint, which tends to be a
little bit too pink, with some yellow and
some red just to brand it down a
little bit to make it look a little
bit more realistic. I'm going to take some
of that flesh tint. I'm going to put a little bit of little bit of red in there just to mix it down a little
bit with my palette knife. And then just take
a little bit of yellow just to warm
it up a little. So you can see that that skin
tone there is a little bit warmer and a little
bit darker than the natural flesh
tint out of the tree. So I'm going to use
small amount of cotton again because
I'm doing fine area. Lengthen the cotton out. I use my thumb and
my four fingers just to shape that cotton. The end of my bamboo skewer. That gives me quite fine detail that I can put just
into that phase. Now it looks pretty
hard at the beginning, but we're just going to I
can just turn that swab over and rub a bit of that off because it's
clean at the beck. I get rid of it. And I do another one. Clean one's going
to allow me to rub it off a little bit more easily. Just rub it off a
little bit more. Give me a little bit of
warmth into that skin. I can do a little
bit down the hand, but the hand is mostly shadow. Anyway. That's looking good.
Now, all I need to do is clean up the areas that I've been a little
bit messy with. Again, I roll another piece of cotton on here,
the smallest web. And I can just clean
up those areas. That went over a little
bit on the color. Just clean up that area. There's not a lot that I want
to change up around here. I'm quite happy with that. It's not an intricate job, but it's just showing you
the technique so that we can move on to a little bit
more advanced stuff later on. I would probably like when
I sit back and look at it, I'd probably like these colors to be a little bit less intense. So I'm just going to
use a clean cotton full just to rub that
back a little bit more. And that's the
result that we get. Now you'll see why I mentioned earlier that you should cover your work surface
because I'm gonna be in big trouble when my
wife comes home and she said, You know, I've got oil
paints on her table, but we'll be okay for a couple of hours
until she gets time. All right. So that's our first image. Now we're gonna move
on to something a little bit more complicated.
11. Louise Profile Part 1: Our second print
that we're going to color is this portrait, the profile of Louise? Again, it was taken
quite a long time ago. It's a beautiful photograph,
really nice lighting. It's quite a dark print, which is a bit unusual
for a hand colored image. We often like to have lighter tones so we can get
some color into those areas. But I think it'll be
fine where Andrew be limited with our
coloring in here. We're not going to
color the whole print. We're just going to color
Louisa skin tone in her earring, little
bit of her hair. But this is a good
one to show you a little bit about using the
kneaded rubber and using some highlight recovery
when we do this image. So we're going to start
off with his skin tone. Again. We're going to use
our flesh tint, but we're going to mix it up with a couple of other colors. We're gonna take a little
bit of flesh tint here. We're going to mix it with a
little bit of lots of brown. Now, these colors will
depend on your palettes and the type of colors
that you have. But it's a matter of
just mixing them up. Sometimes it's good just
to mix them up beforehand, just so that you
can try them out on a test print before you actually tackle
your proper print. But the main thing where
there are flesh tint is we don't want it
to look too pink. You can see this is
getting a little bit browner as we go. That's gonna be good. We're not going to use a full
cotton ball for this one, but we're going to wind
a fairly large swab, be able to cover this area
of skin on always his face. So again, I've grabbed
a fairly large piece of cotton and I'm using my
fingers and my thumb to shape this cotton onto the skewer or need to
wind it tightly enough at the bottom so that it doesn't rotate when I use it loosely enough on the top so
that it's going to give me nice even coverage. Large ones are harder to
wine then small ones. And often you need to just hold your finger on here
so that it doesn't rotate when you're
coloring your image. So I'll take a bit
of that flesh tint, start in the middle. And I'll just simply use those small circles to get around and cover
that whole area. Not going right to the edges. Because I can get those
edges more accurate. When I start rubbing off a
little bit on her ear here. It looks quite hideous
when you first start rubbing this paint on. But as we rub it off,
the magic happens. The great thing about
coloring black and white images is that the
tonal range is already there, the shadows are already there, the highlights are
already there. So those details show through. And if we get L oil paints the right consistency.
It looks amazing. So we've got that
mostly on there, a couple of little bits of
cotton that I want to get off. So we dispose a
little cotton swab. Then we want another one, similar one, quite
large and quite soft. We start rubbing off. So again, we use
those small circles. Now this is a quite
a glossy print, which isn't ideal for hand coloring because
it hasn't got the tooth to be able to hold the
oil paints very easily. So we need to be
a little bit more delicate with the way
that we rub off on. Print us a little
bit more glossy. This is actually a
mid gloss paper, so it's going to hold it
to reasonable degree, but it's not going to be
as easy as it would be if we used a matte
surface print. So that's our first rubbing off. Then we can progress to
our softer cotton ball. Again using a light light hand. Just rubbing it around so that we get it off nice and evenly. Don't worry too much about
the edges because we can repair them later on. Because some of this area
down here on her neck line is fairly dark and fairly shadowed. Will need to do something
about that in a little while. When you find that your paint isn't rubbing off
nicely and evenly, just change your cotton
ball or your cotton bud. It's going to make
a big difference. We just keep rubbing his back out in this technique
is the rubbing back. Here we go. Now you'll notice
that we have got some extra paint on
these dark areas. I'm going to roll
fairly large swab once again and just clean those areas up because
the oil paint stays wet. We can get in here and clean up a lot of
these areas quite well. Just turning, swap
over to a clean side so that we can get rid of
some of the shadow areas. I'm going to try and rub
back a little bit more. Just use a cotton
swabs cotton bud here because it's a
fairly large area. Any areas that you can see
that a little bit uneven, just go in and touch them up. Turn your cotton ball over so that you've got
to clean side. You can rub that off. I'm going to do the same
thing around her ear. Just make it a
little bit smaller. Just going to clean up stuff around hairline a little. Exclude some areas
here that's still need a little bit of
little bit of rubbing off. Good. Now you'll notice
on a glossy print, you can often see the
surface of the oil paint. Here. It's a matter of
either mounting it behind glass or putting some sort of lacA over the top and
that will disappear. And it won't be a
problem for you.
12. Louise Profile Part 2: Okay, so now what I
want to do is to clean up some areas that I don't
want as that flesh tone. I want you to clean up
her eye because I don't want that to be
oiled at the moment. So I'll just use a
clean little swab here. Ellipse as well. Just make sure there's
nothing on this earring. That's looking quite good. As you go, you'll see these
little bits that just stand out to you that
a unevenly call it. Now, um, I need to
color those lips. I'm not going to color the eye because if I put tried to
put any coloring that right, it's gonna look a little
bit odd because it's in profile and it's facing
directly away from me. But I am going to
color the lips. And how I do that is I just
use a bit of my flesh tint, just add a little
bit of red to it or whatever color makeup was. But I can't remember it
because it was 40 years ago. I'm just going to put a
little bit of red into there. We don't need very much. Use a touch swab. Probably a bit
tighter than that. The more you do
these techniques, the better you'll get at
the rolling of the swabs. Little bit of color in there. It'll be on the top. We
don't need very much. Then we can use the
back of that swab just to spread it out, rub
it back a little bit. Just to give that
slightly different color into ellipse just
so that it looks a little bit of a contrast with her skin tone.
That's looking good. Now we want to do a little
bit of her hair. Hair. Hair is fairly dark
in this image. So I'm going to just selectively put a little bit of
brown into her hair, a darker brown than we
used for their skin tone. That's going to just allow me to brush those
highlights out and give it a bit more of a
three-dimensional feel. I'm gonna grab some of
this darker brown up here. Just put selected
bits into that here. Don't have to be perfect First up and turn
your swab over. Just rub it in a little. Looking to get some color
into those mid tones. That here. We'll just clean up
those little bits. The dark areas
around the outside. Now we're going to
use a clean swab, a small one, and
we're just going to rub off those
highlights in her hair. Because the highlights in a colored photograph
would appear to be white. Just rubbing their eyes
back a little bit. We got a little bit of
brown in the mid tones, but we just rubbing back
some of those highlights. Just to give it a bit of a
more three-dimensional look. That looks fine. Also, we're going to do a
little bit on her face too, a little bit of
contouring on her face. You'll find that in a black
and white photograph, the lighter areas
contain less color. Then the midtone areas. We're just going to find those lighter areas
and just give them a little bit of a little
bit of a wipe down. Now, it's looking a bit
obvious to start with, but I'm just going
to do a couple of those areas and then I'm
going to even it out with Cotton swab. It gives me a little bit
more shape to her face. A little bit overboard
there. So I'm gonna put a little bit
of color back into it because we can
repair these areas. As I said, just use a light touch,
circular motion. There we go. The last thing we're going
to do is her earring, which I'm assuming
is a gold earring. We're going to use yellow with a little bit of black mixed in just
to darken it down. I'm going to grab a little bit of this yellow,
little bit of black. We don't want too much black. You don't need to touch, mix it in even
deeper yellow color. We don't want this
color to be two pure, because that's going to give us the little nuances that we want from the hand coloring
that we do and oils are great for that sort of
thing because it gives us those little nuances of color. I'm going to use the
back of most swab just to clean up those areas
that we don't want. The yellow one, we'll just clean it off
a little bit now, the yellow wearing
the gold earring is quite a focal point
where this image, we do want it to stand
out a little bit, but we don't want it
to look on realistic. Just rubbing it back a
little bit as we go. Then we can use kneaded rubber. Now I needed rubber, will pull up any oil paint and absorbs the oil paint
that it touches. So we can use this to
pick out highlights. In adhering. We just roll it so that we've got a
little point on it like this. So that we can just dab on
those areas of highlight. That will give us a much
more realistic look. This gold earring. Go, we start to see the highlights and the
shine come through. Because the brighter
parts of the image are the ones where we
want less color. So I'm quite happy with that. That's the first portrait. We're going to do another more intricate portrait
in the next video. We'll move on,
we'll see you then.
13. Young Jordan Part 1: This next print that we're going to color is a little
bit more intricate. There's a little bit
more involved in it. This picture of Jordan with his braces on some beautiful
little photograph. What we want to do is
color this whole image. This time, I'm going to
start with the background. And then I'm going to move on to putting the color
into Jordan himself. So we're going to use
a large cotton swab. We're going to
choose our colors. What I would like to do, I'll probably like to make that background a
little bit green. And then I'll put blue into Jordan's genes just so that
it's separates a little bit. So we're gonna start off with a little bit
of green in here. You can mix up whatever
green you want to use. I'm just using one straight
out of the tube so it makes it a little bit easier for me to do this demonstration. So I'm just trying to put
this on fairly evenly, once again, just in small circular motions to cover over this whole background. It can be a good idea in
a lot of people do type their print down so that it
doesn't move around too much. I don't particularly bother
doing that because I like to spin the print around
sometimes when I wanted to do some
detail at the top. So that I can do
that without putting my hand on the image
in the places that I've already laid the paint
green all through here. We can do sum up
through there as well. It doesn't have to be perfectly accurate as we found out before. We just want to make
it reasonably even. Now we're going to ditch that cotton ball and
we're going to use a fresh one with lighter pressure simply to spread that green out a little bit more
into that background. Again, we use small circles. And that allows us to control the spread
of that oil paint closer to the edges that we
need to go over the edges. It doesn't matter too
much because we can clean it up as
we've seen before. For the purposes of
these demonstrations, I am working a little bit
quicker than I would normally. Sometimes I can spend up to eight or ten hours
on a hand colored print. Sometimes I'll spend a few
hours and then I'll come back to it the next day
or a few days later. Again, it's the beauty of using oils because they didn't
dry very quickly. You can pop it in the freezer
to slow down the drawing. You can come back and do
it again on another day. My third rub back on this background to
make it nice and easy, nice and even. It's good. Now we'll just do
a quick clean up. Some of the areas. His hair that I laid some
of that green on just with the clean swab rubbing over that area and some down
on his feet as well. Okay. That's good. Now I'm going to start at the top
and work my way down. So I'm going to do
his hair first. Jordan's got blonde
hair in this shot. So I'm going to use a reasonably
small swab just to grab some yellow ocher that down reasonably carefully. His hair. Use the back of the swab that's nice and
clean to help to blend it in. On the sides, a little bit more swab to rub it
back a little bit more. It doesn't make
you more aware of the colors around you
when you're shooting, when you're doing
this hand coloring. Because you need to know what colors are in
particular, images. An object's just cleaning up
as highlights a little bit. That looks good. Now we're going to
lay some skin tone down on Jordan's
face and his arms. I'm going to roll a
swab that's reasonably large and I'm going
to mix up skin time. So I've got some
flesh tint here, which as I've said before, is a little bit too pink, going to grab a little
bit of the reddish brown, some of yellow ocher as well. Now he's a child, so his skin is not going
to be particularly dark. We need to mix your skin
color with that in mind. We're going to pick up a
bit of this skin color. Small circles. His face, same color on his hands and his arms. If you're uncertain about
what colors you need to put into this skin color, you can just try it out on a
test print before you start. That will mean
that you can alter that color to suit the
skin tone of your subject. Portraits are a little bit
more critical in the coloring in that we need to try and get that skin color as
close as we can. Depending on the purpose
of your hand coloring. Of course, some
people like to hand color with colors that
are a little bit, a little bit different
to real life. It's up to you,
you're the artist. You can choose to do
it anyway that you want to. That's nice. And even on Jordan, I forgot to do his feet. Fader important as well. So we'll put little bit of
color in there on his feet. And I'm trying not to place
my hand when I'm studying the print on the areas that
already have the color on the background
is not so critical. I can't repair it
later on if I need to. But I don't want to alter
any areas that I've finished by placing my hand
and blurring that paint. Just keep turning your swab so that you can get a fresh area, clean area to do
you're rubbing back. Okay. So that's looking fine.
14. Young Jordan Part 2: Now I'm just going to clean
up those highlights on his face with a
slightly smaller swab, cleaning up his eyes, rubbing that paint off his eyes. That's it. Just contouring some of these areas on his face
where the highlights are. Checks his chin. You can see the
brighter parts of the image where those
highlights appear. That just gives it that nice
three-dimensional look. Make sure I blend that skin
tone in with his hair. Good. All right. I need to put a little
bit on that other ear, which I neglected to do. Just a fraction. And then clean it up. Here we go. A little bit there. I need to clean up. Not quite so critical because
his shirt has gotten to be a few different colors. Scrape. Yeah, I'm gonna put a
little bit of brown, dark brown into Jordan's eyes. Just going to grab some. This is actually
a reddish brown, but it's going to
work quite well. Just gonna do it
very, very lightly. Because I don't particularly
want to get it into those into those
white areas of his. Because we are working
on a small area, we need a smaller swab
bit of branding there. But you'll notice that that
highlight the catch light in his OA is taken
the color as well. So we're going to use
your kneaded rubber. Just roll it to a point. Use that simply to
devil net highlight. That will pull the
color out of that. And you can see already how those eyes are sparkling because that catch light has
been pulled out. Great. Now comes
the intricate part. We're going to use a
few different colors on Jordan shirt here
because it's a check shirt. I've taken on a
little bit more work here because we've
got this check shirt. We don't have to be
perfectly accurate. You can be as accurate as you'd
like with this technique. But what I'm going to do, I'm going to just put a few
areas of green dark parts. So if he should just moving my swab parallel to
the stripe on his shirt. Continue that.
Might fast-forward this bit so that you don't have to sit here
and watch us all. I'll see you again once
the shared is finished. Do a little bit on his color. Green up here. Blue. I'm using the same swab, which is fine because
those colors are going to be intermingled. Now I'm just going to use
the full cotton ball, just using it to blend
those colors together. Any errors that you can see
that shouldn't be there, just getting in and give
them a bit more attention. Clean up some of that blue
on different spots where it shouldn't be clean up
that color a little bit more because it
needs to be a highlight. That's looking good. I'm
just going to rub his face back a little bit more
because I think it needs a little bit more
brightness in there. Being a bright portrait. I was gonna cover
color his jeans blue, but I think are locked
in the way they are. That gray color, I
think works quite well. Just one little bit I can see on this buckle on his braces. There we go. I'm quite happy with that. I think that image looks good. We don't particularly
want to make it look like a color image. We want to make it look
like a hand colored image. So perfection is not
our aim or goal. We're looking for
something that's aesthetically pleasing, which is a hard word to say. Something that looks a bit
artistic and a bit unique. Alright, so we'll move on to another image and we'll
do another video.
15. Bond Street Window Part 1: This next image was taken just after the New
Castle earthquake in 1989. There was quite a
lot of damage to buildings around New Castle. And this Bond Street Store, which has been renovated since, had these magnificent old
windows and old facade. I went in and took
photographs around that area. So this is one of my favorite
shots from that area. We're going to hand color this. It's a little bit more intricate than some of the
other shots that we've done. But as I said, we can do it a little bit more carefully or we
can do it a little bit more quickly depending
on how we want to go. We've got a lot of different
colored stone work in here. So that's going to be the thing that's kind of stand out for us in this image. To start with. I'm going to start with this concrete area around the outside because
it's the greatest size. And then I can concentrate on some other areas if I need to, I need to choose
a color for that. I'm going to mix up a little
bit of a color for that. I'm going to grab a little
bit of this raw sienna and a little bit of a darker brown and a little bit of
black there as well. Because I want this to
be a sort of a brown, gray type of an image,
top of a color. We're gonna put
that in. Again, you need to be careful how
much black you put into your mixes because it
can turn out quite dark, but I'm looking for
more gray than brown. With this concrete surface. I'm going to use my
full cotton ball once again into the paint, Starting at the top. And using those small
circular movements to color that concrete. Once I've laid on this color, I can put little variations into different parts of this
concrete if I want to. But because it's
the largest area, I'm going to get it on first. And then I can just adjust those little nuances
at a later stage. Once my cotton ball gets
a little bit clogged up, I'll just change
it to another one. You go through quite a lot of cotton doing this technique. And you'll find that a
100% cotton is by far the best any sort of
synthetic in your cotton. It's not going to go on
as easily or as smoothly. And it gets very frustrating. Make sure your cotton
is always 100%. I'm actually going to
leave a little bit down the bottom here so that I can secure this print. And I'll put my color
in there at the end. Because it's gonna
be handy for me to be able to secure
these prints. I was not moving
around too much. My colors on there
reasonably evenly. I just grabbed my cotton ball
again just very lightly. Over pushing out
towards the edges. Make sure that my
edges are colored. Posts. We put a bit of black into this color
when we mixed it. It is going on fairly darkly. I think I might rub it
off a bit more than usual to lighten it up a little bit more to make it
look a bit more realistic. It's important to use
those circular motions because you'll find if you do linear motions is
going to show up quite easily on the
surface of your print. I'm going to rub it
back a little bit more. To lighten up that color. I'm going to concentrate
a little bit more on the lighter
parts of the print. Those areas that need to
be a little bit lighter. My starting point. And I'll repeat this
area down here later on. Now I'm going to rub off
some areas that I don't want that paint on so that I can
lie on different color. We're going to clean
up one street sign. I'm going to clean up these
areas down here where these bricks will be
a different color. Some of these areas
where the plants are in the concrete edge. That looks okay. All right, Now we're going to start coloring
some of their bricks. You see, we've got some
exposed breaks up here. I'd love to color
them a different color because I want them to stand out because that's
a feature of this, some buildings damage
from this earthquake. So I'm just going to put
some light color into them. Not all of them are same. I'm going to make them
a little bit different. Just to mix it up and make them look a bit more realistic. Rub it back a little bit. You'll find if you cottons
weren't too tightly, It's quite difficult to
get a nice even result when you're rubbing back so
little bit more loose a wind, going to make it easier
for you to rub that back. I'm going to add a little
bit of darker brown into some of those other bricks. Just say that they appear
a little bit different. Most rub over and just
rub it back a little bit. It doesn't have to be perfectly even because the
brick surface is not It's not perfect. Good. I'm going to change the color of this facade
around here as well. I will just rub that off. That color. Rubbing too
much of my brick off. I'm going to put some
lighter color into there. Just cleaning it up. Now because this
is a linear shape, the circular motion is not totally necessary because
having a little bit of line in this paint will suit this particular
linear sort of arrangement. For an area that's
small like this, that little bit of wiping can be a little
bit more accurate. Micro facade look a little
bit more interesting. Now the same thing happens
down the bottom here, because we've got similar
concrete seal on this window. I'm going to use the
same color down here. I'm not worried about plants particularly
much because I know that I can rub
this paint off. We go because we're doing concrete. It's a little bit easier than many situations
because it's uneven. The color is not always perfect. An uneven surface gives it, that gives us that little bit of license that we don't
have to be perfect. Okay. Just cleaning up those little
bits of foliage down there.
16. Bond Street Window Part 2: As you practice this technique, you get the skill of rolling the skewers,
the shape that you need. It won't take very long at all. Because the Bond Street
sign is at the top. I'm going to just do it next. I'm going to add little
bit of contrast in there. I went a little bit of
red into that sign. Just turn my skew it over. Rub that to give us a little
bit more even result there. I'm actually going to
clean up some of those. Let us in that sign just to make it look a little bit more highlighted so that it
doesn't look like it's just an even tone on there. I want to look a
little bit uneven. That's it. Then I'm going to put
a little touch around the outside of a contrasting
color will be blue. It doesn't need to be
a lot because it's a it's a very rustic
sort of assign, been around for a lot of years. You can see the damage
that is in this. So I'm just starting
a little bit of a complimentary color
in edges so that it stands out a little bit more. Now the breaks down
the side here I could run through and do
them all individually. We're just gonna
take a long time. You guys are probably got better things to do than sit and watch me for three hours
doing individual bricks. So I'm going to do it
as a single color. And then I'm just going to pick up brick every now and again, I'm going to use
a different color than what we used
on the concrete. So I'm going to go through
this darker brown up here. Use that just as my base
color for that record. Now these oils that I'm
working with here are quite stiff because they've
been used a lot of years. You can see that it's really not working particularly
well, which is good. Because it shows you that things don't always go perfectly when you're
doing this stuff. So I'm going to try
and salvage this. I could use a bit of
turpentine or linseed oil to loosen up this
paint a little bit. But I'm not going to do that because on pig-headed,
on persistent. And I think that I
can come up with a good result
without doing that. Again, the circular
motion on the bricks is not as critical
because they are detailed on they're all little
cubes and little squares. Little bit of linear strokes is not really gone to
upset them too much. I just want to try and
make it reasonably even over that whole brick work. Then you find that you do get cotton and paint on your
fingers doing these things, but It's good fun. We
don't mind doing that. Get rid of some of that cotton. Alright, yeah, I'm looking
for another brick color. Might use some of this, which is the color I
used for the stonework. But I'm just going to do
it on occasional bricks. As we go down. You can spend a bit more time
mixing up your own colors. If you like. It's
up to you again. I didn't want to bore you
with a four-hour video. I'm pretty much using colors
straight out of the tube. Just so that you'll
get the idea of what's involved in doing his
hand coloring technique. I'm just laying these colors pretty much at random
on random bricks. It looks a little
bit more realistic. I just get through it a
little bit of rubbing off. I don't rub it off too much
because I want it darker color to be visible on
each individual bricks. Here we go. I'm happy with that.
17. Bond Street Window Part 3: Well, I'll say I'm
happy with that, but then I'll give you
an undo a little bit more because I want to just pull a few highlights
out of his brick wall. Again, the areas that
are lightest are the ones that I want to
rub back a little bit. Just so that it
gives me the feeling that the light's
hitting this wall. And it's glancing off on
those highlighted surfaces. Here we go. Okay, great. We're going to put a bit of color into
this great on the wall. I'm not going to be
too subtle with this. I'm going to put a fair amount of blue into that
area that I'm just going to touch it up with
red and a little bit on the green foliage. Again, just grab a
little bit of blue here. Onto this. Over that in a surface. Little touches where
we can see through that foliage. That's good. Even though they
had a little bit another cotton swab and
just clean up these bars. Just rubbing it along the edge just to clean up oil paint on the bars because I'm going
to give them a rust color. Another swab, some rust color, which we have probably
here. It should be good. Just run it across across there. We just carefully rub too much that calorie out
because these rusty bars, again, I'm not perfectly
colored over the whole surface. We can afford to be a little bit streaky
technique there. That's good. Now we're going to
do this foliage, which can be quite simple. We're going to put a couple
of different greens in here because no green foliage
is just the one green. I'm going to start out with
our basic green straight out of a tube. You can see some of these leaves have little highlights on them. We know that we'll
need to clean them up. After we've done this. Just being quite random, making sure to get all
of these areas of green. Otherwise it will
look a bit untidy. Here we go. We just rub this off a little bit just so that it's not too thick. We're going to put a little
bit of yellow into some of those highlight
areas just to show that the areas of
yellow are the areas where the sunlight is
hitting that green foliage. Now this is where we
need to be a bit choosy, where we put our yellow. Try to choose the brighter
parts of the foliage. It will look much more natural. The mixture of the
yellow and the green. The viewers Brian actually creates couple of different
colors of green as well. Let me just lightly
dust them back. Rub it back too much because
you want to try and keep that brightness of the yellow. Some areas I've put
it on a bit too thick so I need to rub it
back a little bit more. I'm quite happy with that.
That's looking good. I'm just looking around for
areas that need to be redone. We need to finish off with
this little area here. But I'm quite happy with that. We'll just use our original
power of concrete. I'm hoping was that one No,
it wasn't. It was this one. Here. We go. Just apply that right over the edge and we just rub it back little bit. I've got a little bit
too much red in there because I chose the wrong color. Back a bit more, and then grab little bit more of
that proper color. Here we go. Just a quick rub up there because I think there's bricks are a little
bit too intense. There's our final final print
of the Bond Street Store.
18. Wrap Up: In conclusion to this class, I hope you'll give this a
go because I really want this technique to be out there
for people to be doing it. There aren't too many people
doing this sort of stuff. That's why I wanted to
share this in this class. It's a fabulous
technique and I'm sure you're gonna be able
to get amazing results. One of the benefits of doing this hand coloring
I've found over the years is that it's very
restful, it's very peaceful. It allows you to debrief
quite a lot because of their lives are
very hectic and find out all the time
sitting down for a couple of hours to do hand coloring on a
black and white print. Just allows you to breathe
a little bit more, hit, it clears up your mind. Works in a
psychological way just as much as it does
in an artistic way. Please give it a go.
I'm sure you'll be impressed and you'll be able to do things with images and colors that you never thought
were possible before. You can bring black and
white prints to life. Not that a black and white
print is a bad thing, but it just gives you another option to be able to create something
a bit different. So thank you for
watching this class. I hope you've got
a lot out of it. I hope you try this technique, and I hope a lot of people get out there and start
doing this technique. I'll see you in the next class.
Warren Marshall, Passionate Photographer
