How to Hand Color B&W Photos with Oil Paints : Amazing Results with Few Materials | Warren Marshall | Skillshare

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How to Hand Color B&W Photos with Oil Paints : Amazing Results with Few Materials

teacher avatar Warren Marshall, Passionate Photographer

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

18 Lessons (1h 37m)
    • 1. Hand Colouring with Oils Introduction

    • 2. Why Oil Paints are Best

    • 3. Your Project

    • 4. Why I want to Teach You This

    • 5. Materials Required

    • 6. Choosing your Print

    • 7. Your Workspace

    • 8. The Technique

    • 9. Watch These Demonstration Videos

    • 10. Moonlight Bride Part 1

    • 11. Louise Profile Part 1

    • 12. Louise Profile Part 2

    • 13. Young Jordan Part 1

    • 14. Young Jordan Part 2

    • 15. Bond Street Window Part 1

    • 16. Bond Street Window Part 2

    • 17. Bond Street Window Part 3

    • 18. Wrap Up

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About This Class

Before the invention of colour photographs black and white prints were hand coloured by professionalstudios to make images seem more life-like.

Artists nowadays use hand colouring as an extension of the creative process.


Every hand coloured image is unique, hand-made and original.

Art galleries, album covers, private collections all exhibit hand painted black and white photographs.

This process is a dying art so I have created this class to teach you the possibilities of this oil colouring process.


I’m sharing these techniques so that more artists and photographers will learn and continue this art into the future.

The value of hand colouring is in the rarity of the process and the scarcity of practitioners.

This process can be done by anyone with a minimum of supplies and no experience

If you make a mistake it is easily fixed.



Various Methods:

There are a few different methods used to hand colour prints – Dies ,water colours, Dry pastels, pencils, acrylic, oils.

What I like about oils is that you have the choice to be very intricate or more liberal with your approach.

I regularly spend up to 10 hours on one image but a great result can be achieved in 15 minutes.



The materials needed for this process are minimal.

A few tubes of oil paints, some cotton wool and a bamboo skewer


After watching this class and with a minimum of practice you will be creating hand coloured black and white images yourself.


Meet Your Teacher

Teacher Profile Image

Warren Marshall

Passionate Photographer


Hello, I'm Warren Marshall.

I am owner and head photographer at “Imagine Studios “ in Newcastle, Australia.

I am also owner and principal of “Newcastle Photography College”.


I have been a photographer for the past 40 years and a full-time professional photographer for the past 26 years.

I am passionate about image making. I also have a thirst for learning new techniques and love experimenting with my photography.

Our studio specialises in people photography from Weddings, Portraits, Headshots, Glamour, Lifestyle, etc.



In my time I have photographed many celebrities, politicians and entertainers but it is the average people that I enjoy working with the most.

See full profile

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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.