Hand Colored Photography Mosaics Why Not?

Coloring Digital Photography  Hand coloring photography dates back to the eighteen hundreds where soon after the invention of the Daguerreotype the public wanted color added to their photographs.

Coloring Digital Photography  This lesson may be approached a variety of ways however one of the best is from the point of color theory however it could also be used as basic photography composition, the art of working with a group or collaboration project or just a precursor or study to individual hand painted photographs.

 We are going to approach it from a color theory lesson.  Depending on the age and advancement of the student will determine where you will begin this lesson. We will approach from a high school perspective but it could be easily simplified

Coloring Digital Photography  Let explore some basic color schemes  Monochromatic  Analogous  Complementary  Primary

 Monochromatic – A color scheme that uses only one color with its various values and intensities

 Analogous - A color scheme composed of related hues – colors adjacent to one another on the color wheel for example – blue, blue-green, green, and yellow- green

 Primary – A color scheme that uses primary colors in which to organize the artwork

 Complementary – A color scheme based on one or more sets of complements.  Complementary colors are contrasting colors that lie opposite each other on the color wheel. Blue and orange, red and green, and yellow and purple.  Complementary colors in large areas tend to intensify each other  Strokes of complementary hues placed adjacently neutralize or cancel each other and therefore they are seen as a grayed or neutralized tone

 There are many different color schemes that an artist can use to organize an artwork  The color scheme contributes to the overall mood and meaning in a work and is related to aesthetics and psychology of the work however it must also meet the demands of the artist’s personal vision.

Coloring Digital Photography  Once you have reviewed color schemes with your students they need to determine what type of color scheme they will work on or you can decide before hand.  You could also test their knowledge by having them draw from a hat a type of color scheme and they complete their work in that particular scheme.

 For this particular project you will have selected the photograph or artwork that you are going to use with the students.  Prior to the students beginning you will have tiled that work in either 4 x 6 prints or larger depending on how large you want the final image to be as all the pieces will be reconstructed to create the whole image.  Once you have determined the size you must decide the media as that will determine the paper.

Coloring Digital Photography  The paper?  We experimented with a variety of paper as often our budgets are varied throughout the state.  Our discovery was that most any regular paper worked!  You don’t need to purchase a specialty digital photo paper for this technique!

Coloring Digital Photography  We also experimented with a variety of papers to see what works with what media.  You may use a 90lb watercolor which has a nice texture  90lb drawing paper, Charcoal paper, Pastel paper, and even Tag board.

Coloring Digital Photography  The media?  We are all for using what you already have as we have found you do not have to purchase specialty photo pencils, marker, or oils.  Colored pencils (all kinds), turpentine (even the turpentine substitute will work), old pastels, new pastels, pan pastels, tinted charcoal, and pastel pencils

Coloring Digital Photography  Picking a Photograph or maybe a masterwork to incorporate art history?  To achieve a good end result you must however start with a good image.  Aesthetic reasons for this choice is subjective however there are some technical criteria to consider also.

Coloring Digital Photography  Individual prints should be large enough to work on – a 4 x 6 will be ok for older students but younger students with less hand control may need a larger image.  Avoid prints with too much contrast as the color will not show well when applied over very dark areas and they look unrealistic when applied over pure white.  The best images will have predominantly middle to light gray tones

Coloring Digital Photography  Once your image has been chosen and printed on your desired paper the decision now must be made on what to color and or the color scheme that you wish to move the piece in.  Consider what you feel will enhance the photograph or make it more interesting.

Coloring Digital Photography  The basics?  You will find it easier to work from light colors to dark colors, using light pressure and intensifying colors by building them up in gradual layers, not by increasing pressure.  When working with a sharp pencil or pastel be sure not to dig into the fiber of the paper as it will not be able to be removed as once the fiber has been broken it cannot be repaired,

Coloring Digital Photography  If you want to achieve an aged look, use mostly sepia, ochre, sienna and earth tones with small amounts of brighter colors.  In areas of shadow, use browns, dark blues or greens  Do not use black as it will create muddy colors or completely overwhelm other colors.

Coloring Digital Photography  Blend colors with your finger, a paper stump, or towel using a circular motion much in the same way you applied the media.  For a nice blending quality use a touch of turpentine to blend the colors of pencils and pastels. When using turpentine dab your Q-tip or brush on a towel before applying to the photograph as too much will just leave streaks as less is certainly more.

Coloring Digital Photography  Experiment! Be creative and determine what works for you and what does not.  You may discover new papers and or techniques and media if so please share.

Coloring Digital Photography