Back Lessons: Introduction and supply list (prior to Sprigg Zoner lessons 1-4)

     Welcome, Sprigg Zoner, to having a wonderful time painting together.   My hopes for this blog: Within 3 months I can have posted reference step by step painting photos. By January I hope to have video's for you too. Meanwhile these are class directions and  lecture notes for my physical location painting students. I think they may be helpful to reflect on as the videos are completed and posted.

Here we go!

      If you are an experienced painter, bring the palette of colors that makes you the most comfortable, or the suggested class palette below. If you've been to workshops or taken lessons from multiple instructors, or read books on painting, you know each can add to who you are as an artist and the work you produce. 

    With each experience as a Zoner, you will grow as an artist: Doing is everything!

    About Susan Sprigg: I am a professional Artist and Art instructor and this is the first time I have made valuable instruction available to the public for free.  It is a project I have wanted to do for sometime, my way of giving to community and encouraging the joy of painting and making art. Painting regularly being a Sprigg Zoner will help you become the best you can be and adds to your foundation as an artist.

    

 What and where the Zoners paint: You are welcome to work on any painting you want, paint while I lecture and demo, or follow along taking notes, or you may paint the class project with your selected subject matter. This informal approach has worked well for my students in the past and I find it a very productive way to teach and assist painters on a weekly basis. Currently we paint at the High Desert Book Oasis lounge area.  We paint outside and sometimes inside and location may vary, however is currently stable at Oasis. Please join Susanspriggsinthezoneapplevalleyoilpainters@meetup.com for Class info and postings. Also join Susanspriggdailyartweekly@blogspot.com. in the white strip across the top under the blog title. Both are new sites. The blog posts are lesson notes with soon to be step-by-step photos to help students on line. I also do critiques by email.

     For a first time in my teaching I will paint on small oddments* when I demonstrate to you individually in our physical class how to apply paint, brush stroke, color choice and it's influence etc., instead of on your canvas during my painter assistance. This insures that your painting is all your own original art. You will achieve skill and mastery much faster by doing it completely yourself, to help you be more pleased by your own achievement. However, I can show you on your painting if you invite me to do so.
Sprigg Zoner Paintings are available for viewing under Pictures in the photo gallery. The Suggested Supply list is below:

Thank-you for joining! See you Soon!

Here are some helpful answers to questions my students have had in the past:
Palette colors: If you are an Advanced painter or If you are a beginner you may start with the most minimal palette of colors, and expand it as you paint. I think it is the best way to advance quickly, learning to mix yellow ochre, burnt sienna, burnt umber, black and main palette colors. 

3 color palette plus whie:

You will need a 3 color selection of 37 ml tubes colors: Cadmium yellow light,(or it's less expensive replacement lemon yellow).

Alizarin Crimson, ( it is spelled many ways depending on manufacturer's spelling - Alizarin fades easily in direct light after a long exposure so it is available in many grades. Permanent Alizarin is a superior fixed color)

UltraMarine Blue

150-200ml tube of White (I use flake white but any will due.)

I don't use black, I mix it.

Brushes:
You may start with a minimum selection of brushes: 1/2 inch and 3/4 inch flat or flat bright (brights are shorter bristles), number 4 and 6, filbert, number 10 or 12 filbert large and a number 4, 5, or 6 round.
Brush sizes are not consistently uniform between manufacturers. So for the basics you need a mixture of flats, filberts and rounds which are small , medium and large in size. Large is one inch flat. Beginners, make sure they are acrylic or oil brushes.Standard Supply list:

Standing easel or table with small easel. ( I have limited table setup for your use at this time but so far so good)
2 clear small plastic or glass jars with lids.
Orderless Turpenoid ( to be kind to fellow students) I prefer quality turpentine when painting in my studio, mineral spirits are okay too.
Viva Paper Towels or cloth rag for cleaning brushes
Disposable palette or a flat plexi or glass palette 12"x 16" or larger.
2 8x10 cotton canvasses for your first painting. (one to paint on one to prep) Or you can bring any size you are working on.


Expanded palette of colors:
37 ml tubes:
Yellow Ochre
Cadmium Yellow Light or Lemon Yellow
Cadmium Red light, or Red light
Alizarin Crimson
Thalo Blue
Ultramarine Blue
Burnt Sienna
Burnt Umber
Flake White is my favorite white, any white will do. I always buy a 200 ml. tube of white. It is the color you will use most.

I will introduce other colors for certain pallettes for portraiture, after impressionists etc.

Suggested Brushes:
Silver Brush Grand Prix Brushes
#4 filbert, round, and flat
#6 filbert
#10 or #12 filbert
1/2" and 3/4" sable  or sable synthetic (for glazing, smooth backgrounds etc.)
# 1, 2, or 3 Script liner 

I like mongoose also.

Add to your inventory as you wish. Wear clothes you don't mind getting paint on.

Hope this is helpful. i will introduce you to more elegant setups and suppliers as we go along. For now simpler is better for affordability and familiarization.

Lesson Five Painting Sunflowers PART THREE

Dear Sprigg Zoners,

     A fabulous way to learn about color and how you can use it is to study the Impressionists, Pointillism, Van Gogh and the Fauvists. I mention Van Gogh separately because he is so individual, attaining uniqueness by combining his knowledge from the aforementioned styles and branding it Vincent for stunning everlastingly great results making each painting that exhibits his developed style we know so well, simplistically striking -forever memorable.

     Here are some basics gleaned for you from some of my 6 hour workshops "How to Paint like Van Gogh" and "Become a Wild Beast!". If you have an extra long filbert 4-8, bring it to class for painting sunflowers. If not, consider ordering a #4 and #6 for a Monet style painting later on this year. A long handled, extra long bristled  filbert is an impressionists tool for licking up wet paint from the underpainting to reveal it with the subsequent layer being applied. 

George Seurat

 

• George Seurat was also influenced by Delacroix.
• Seurat analyzes how Delacroix used the artist's law of contrasts.
• Seurat unlike Van Gogh abandoned the Earth tones.
• Seurat and Van Gogh spent time together and Seurat influenced Van Gogh to go lighter with his Palette.
• The palette of Seurat was prismatic or rainbow colors like Van Gogh's minus the Earth tones.
• If he used earth tones he kept them to the siennas and ochres.
• Like Monet he added white to increase the reflective qualities of the color.
• In examples of Seurat's paintings you can see how Seurat crossed one color into the next, leaving a portion of the pure colors to be identified.  This matured into pointillism.

 

 

The Pointillist Dot

 

• Limited mixture of color on the palette. Colors are mixed with white by degree on the canvas, or applied unmixed directly on canvas.
• Palette is made up of prismatic or rainbow colors.
• Think in twos:  Use 2 adjacent colors on the prismatic color wheel.
• Think in twos:  Use patches of orange and blue dot to represent shadow and reflected
  light.
• Think in twos:  Use 2 primaries side-by-side to blur into secondary color.
• The 2 primaries fuse into a third color optically and with small dots appear grayed. 

 

 

Susan Sprigg

 

Delacroix:  See compositional parenthesis in his paintings.

Van Gogh:  Picked up on the circle to emphasize his focal point in his work.  Subtle.

His landscapes will have other approaches to encapsulating his focal points, similar to a parenthesis.

 

Developing Focal Points:

Analogous:  Opposite color used.

Contrasting:  Analogous color used.

Use your selected pallette spectrally – primary colors first closest to or at focal area, then introduce secondary colors. 

Pure color is more opaque.  Add a little white for it to be reflective.

Temperature of Comparative Primary Colors 

Cadmium Yellow Pale:  Cool of Cadmium Yellow Medium

Vermillion = hot / Lakes = cool ( Alizarin is a Crimson Lake color)

Cerulean = warmer

Cobalt = cooler

Ultramarine = coolest of the 3 blues (cerulean, cobalt, ultramarine blue)

Chrome Greens & light greens = warmer)

viridian = cooler

 

If warm surface being painted, shadows are cooler (dark blues/dark greens) and vice versa.

 

 

Pointillism: 

 

Difference between pointillism and traditional painters is the tonal changes in the color.  There is no neutralizing of the colors (well, very little) in pointillism.  It is done by the color put down next to it and white (not black).

 

Local color is the overall color of your puzzle piece before changes by toning it, adding white in pointillism, or adding of contrasting colors. 

 

Local color is influenced by white, yellow, and orange for white. 

 

 

 

 

Fauvism

Turn Yourself into a Wild Beast!

 

This is the final step to understanding color in our lecture series.

 

It's the first step to becoming unique!

 

Once you experience the Wild Beast within, you can extract the treasured means of logically selecting color.

Up until now, I have focused on design and composition. I've taught you how to neutralize color, greying color down with it's opposite,contrasting color. I've taught you to neutralize color everywhere in your painting except in the direct light in your focal areas. And now you are ready to learn more about color against color.

  Color is the # 1 thing we notice about a painting.

Color calls to us from across the room as we look around. 

Color gets our attention.

Design holds our attention. 

Together the two are spellbinding!!!

 

i)  Fauves means “Wild Beasts"

 

ii)  Two Main Fauves

(a)  Henry Matisse

(b)  Andre Derain

 

iii)  Matisse and Derain formed a partnership like Monet and Renoir leading them to fame.

(a)  They evolved their distinctive styles into vibrant color.

(b)  Colors were anti-naturalistic.

(c)  The colors were not imitative of their subject meaning their goal was not to duplicate color.

(d)  They did however see color and how it spectrally moved in the subjects before them.

(e)  The Fauves plucked out the color in pure extract from the color found in nature and intensify it. 

(f)  Gauguin in 1888 told his students to abandon imitative color and intensify color from the recognized primary or secondary color influence in their subjects.

(g)  In other words is the brown in your tree a blue brown or a red brown then lose the brown.

(h)  Learn to do this folks, and the next step in painting becomes your first step to developing a successful Style through color Knowledge.

(i)  Use this new wild beastie inside you that can identify color and tame it creating a color palette exclusive to you, that shows subtly in your work.

 

iv)   Combine this color ability with the priceless knowledge of composition and there are only two things left.

(a)  Technique

(b)  Production

 

Review: Six questions you ask yourself before painting:

What's my line?

What's my puzzle pieces?
What are my values?

What's my color?

What's my chroma?

What's my temperature?

Painting Sunflowers PART TWO: Let's learn from Vincent

 Painting Sunflowers Lecture Outline

i) Vincent  Van Gogh's Influences

(a)  Dutch Masters

(b)  Delacroix

(c)  French impressionists

(d)  Japanese block prints and ink paintings

ii)  Explain how each of the above influenced Van Gogh.

(a)  Discuss and compare early works to Dutch Masters. Talk about light and browns.

(b)  Delacroix's influence on Vincent came from books prior to studying in Paris. Van Gogh's palette was heavily

influenced by Delacroix's color theory.

(c)   In 1888 Vincent said "I should not be surprised if the impressionists soon find fault in my way of working, for it has been fertilized by the ideas of Delacroix rather than by theirs because instead if trying to reproduce what I see

before my eyes use color more arbitrarily so as to express myself more forcefully. "

(d)  Vincent loved the graphic design of the Japanese. The

influence of the Japanese Block prints and painting style manifests itself in the geometric flat design that Van Gogh utilizes in his paintings. Like Japanese brush painting where paint strokes are iterated in differing type of stroke, Van

Gogh made marks with his brush and varied the mark in

strength and color. Japanese painting outlines form and fills in color. The outlining of Van Gogh's images is

reflective of 17th through 19th century Japanese painting and block print.

iii)  Technique Van  Gogh's Technique was heavy, wet into wet alla prima painting, (or he painted dry) using outlined form, using color instead of tonal colors to convey shadow and light, and is further explained below. 

iv)  Another Van Gogh  Sample Palette

Red Lake

Vermillion

Cadmium Yellow

Ultramarine Blue

Cobalt Blue

Cobalt Violet

Emerald Green

Viridian Green

Lead White (Flake White)

Earth Colors (Siennas, Umbers, Ochre)

   Technique:  Van Gogh:

1.  Used tinted canvas – commercially primed and tinted by Van Gogh.

Painted alla prima* or dry.

2.  Used a ground* of light pink, medium light pink and white. His ground was dry or wet. ( Have your canvas painted with your ground color before class. If not you will paint it in class andit will be a little more slowing to paint because your ground will lick up into your newly applied color to start.

3.  Used complementary colors and contrasted the complements, warm with cool, one light, one dark.

4.  Outlined objects.

5.  Focal points are multiple. One distinct focal point Van Gogh commonly used is in the upper left hand corner.  –Discuss.

6.  Paint is thick and one application on top another one stroke at a time.

7.  Van Gogh often used a course heavy canvas that demanded lots of paint. A smoother canvas has less tooth and thicker paint may appear a little less textured than the immediate appearance of paint on a courser canvas.

8.  He separated areas by outline and then painted wet into wet.

9.  He often reworked the paint and built it up alla prima.

10. Next, Van Gogh used strong strokes of color wet into wet to reinforce his outlines.

11. Van Gogh then let his paintings dry and finished describing his objects on top the dry paint.

12.  He didn't varnish.

l3.  Sometimes Van Gogh's ground would be split, i.e., blue grey top and vermillion pink bottom.  Then he worked in short horizontal strokes over the color joint of the 2 ground colors.

14.  To denote distance Van Gogh used narrow bands of color.

15.  He used white in most of his colors.

16.  He slabbed directionally to describe carpentry. (Buildings, tables, chairs).

17.  Van Gogh's technique is dense, opaque painting, wet into wet, and then lets it dry to drag wet paint over dry. The paint hops and skips over the uneven surface for a stippled look.

18.  He used mixed broken color. His greens and blue though were pure and unbroken.

Van Gogh quote talking about his use of contrasting compliments in answer to why did he choose to use these  kinds of opposites:

"To express the love of two lovers by a marriage of two complementary colors, their mingling and their opposition, the mysterious vibrations of kindred tones."

*Vocabulary 

alla prima  : painting wet paint into wet paint, mixing color on the canvas by painting one color and then adding a second color to it wet into wet and changing the initial color.

ground : the base color or underpainting laid down as the surface color of the canvas. Parts of this color can be left to show through and influence the entire painting. A ground can also be left wet so that applied strokes lick up the paint color and influence the next applied color by mixing into it.

Lesson 5: Painting Sunflowers PART ONE

 Lesson 5     SunFlowers (something went wrong with post so here it is reposted)

Lesson 5 is held  July 20th on location at Oasis.

We will take a look at Van Gogh to influence our sunflowers painting and to learn more about painting using a pointillism approach to color like Van Gogh did rather than using a tonal approach to color. Tonal means a color plus white for light or tint, and color plus black ( in our case, a mixed black) for tone like a gray scale. Van Gogh was influence by Delacroix. We will also be looking at the Fauvists to follow, who unlike Van Gogh didn't paint with tertiary. I will also post a second part to lesson 5, and take a closer look at  analysing Van Gogh's approach to painting his subjects.

Part One of Painting Sunflowers:

We will use sunflowers and other arrangements out of my yard. I will have 3-4 arrangements set up. We will be using pallette knives and brushes. We will use a Split palette of warm and cool colors. What follows is a is a Van Gogh palette of colors to buzz color against color like Van Gogh, the pointillists and the Fauvists. 

Van Gogh Split Palette (Split palette refers to warm and cool temperature in your selection of each primary and secondary color). Try to have these colors: 

Yellow:  Cadmium Yellow Deep

               Lemon Yellow or Cadmium Yellow Light

Red:    Vermillion

            Cadmium Red Deep

Blue:   Cerulean Blue

            Ultramarine Blue

Green:  Viridian Green

            Green Oxide

Brown:  Burnt Umber

             Raw Umber

Sample Palette

Red Lake

Vermillion

Cadmium Yellows

Ultramarine Blue

Cobalt Blue

Cobalt Violet

Emerald Green

Viridian Green

Lead White (Flake White)

Earth Colors (Siennas, Umbers, Ochre)

Tue, 7:11 PM

Message starred

Susan Sprigg In the Zone Oil Painters Notes

Painting Sunflowers Part One
 

Ideally  read and print out these notes and bring them to class. 

Show

 Look up these Artists and Identify the line they used in their compositions.

Delacroix:   See how he often uses  parenthesis type of composition to group his elements which draws attention to the area inside the parenthesis.

Van Gogh:  Sometimes he painted directionally using a circular approach to colors and brush stroke to emphasize the focal points in his work.

  

In painting Sunflowers today quickly do your thumbnails both line and value studies. I will check them. Consider laying down your direction by using your brush stroke direction to match your line.

Some Additional Ways to Developing Focal Points besides darkest dark against lightest light:

1. If your painting is an analogous color scheme:  Opposite (contrasting) color used in the focal areas to draw attention.

2. If your painting is a contrasting:  Analogous color used.

3. In this particular lesson, Painting Sunflowers,  try moving toward your palette spectrally – primary colors first, then introduce secondary colors. 

4. Pure color is more opaque.  Add a little white for it to be reflective. Adding white will diminish it's focal quality, decrease chroma and help with distance between the stronger pigment and the one diluted with white.

Some info about the temperature of the colors we are using: 

Cadmium Yellow Pale is the  cool of Cadmium Yellow Medium.

Vermillion is hot whereas  Lakes are cool. Alizarin Crimson is a Crimson Lake color.

Cerulean is warmer, Turquoise is warmer ( has yellow in it).

Cobalt  is cooler than Cerulean. Cobalt starts moving toward the violets.

Ultramarine is cooler than Cobalt.

Chrome Greens & light  greens are warmer with more movement toward yellow.

Viridian is cooler with more movement toward blue.

If an object has a warm surface color paint the shadows with  cooler colors(dark blues/dark greens) and visa versa.

A Word  About Pointillism:

Van Gogh painted by using color to buzz the next color to it, instead of tone.  

Difference between pointillism and traditional painters is the tonal changes in the color.  There is no neutralizing of the colors (well, very little) in pointillism.  It is done by the color put down next to it and white (not black).

Today's Vocabulary: Local Color 

Local color is the overall color of your puzzle piece before changes by toning it, adding white in pointillism, or contrasting colors. 

Local color is also influenced not only by white, but by yellow, and orange used as a lesser white.

 Lesson 5     SunFlowers 

 ( Lessons will be out of order until I'm caught up posting back lessons... my apologies. Lesson 6 Painting a Horse will continue in 3 parts after Sunflowers Lesson 5)

Lesson 5 is held  July 20th on location at Oasis.

We will take a look at Van Gogh to influence our sunflowers painting and to learn more about painting using a pointillism approach to color like Van Gogh did rather than using a tonal approach to color. Tonal meaning a color plus white for light or tint, and color plus black ( in our case, a mixed black) for tone. Van Gogh was influence by Delacroix. We will also be looking at the Fauvists to follow, who unlike Van Gogh didn't paint with tertiary colors.

We will use sunflowers and other arrangements out of my yard. I will have 3-4 arrangements set up. We will be using pallette knives and brushes. We will use a Split palette of warm and cool colors. This is a Van Gogh palette of colors to buzz color against color. 

Split Palette: 

Yellow:  Cadmium Yellow Deep

               Lemon Yellow or Cadmium Yellow Light

Red:    Vermillion

            Cadmium Red Deep

Blue:   Cerulean Blue

            Ultramarine Blue

Green:  Viridian Green

            Green Oxide

Brown:  Burnt Umber

             Raw Umber

Sample Palette

Red Lake

Vermillion

Cadmium Yellows

Ultramarine Blue

Cobalt Blue

Cobalt Violet

Emerald Green

Viridian Green

Lead White (Flake White)

Earth Colors (Siennas, Umbers, Ochre)

Tue, 7:11 PM

Message starred

Susan Sprigg In the Zone Oil Painters Notes

Ideally  read and print out these notes and bring them to class. 

Show

 Look up these Artists and Identify the line they used in their compositions.

Delacroix:   See how he often uses  parenthesis type of composition to group his elements which draws attention to the area inside the parenthesis.

Van Gogh:  Sometimes he painted directionally using a circular approach to colors and brush stroke to emphasize the focal points in his work.

  

In painting Sunflowers today quickly do your thumbnails both line and value studies. I will check them. Consider laying down your direction by using your brush stroke direction to match your line.

Some Additional Ways to Developing Focal Points besides darkest dark against lightest light:

1. If your painting is an analogous color scheme:  Opposite (contrasting) color used in the focal areas to draw attention.

2. If your painting is a contrasting:  Analogous color used.

3. In this particular lesson, Painting Sunflowers,  try moving toward your palette spectrally – primary colors first, then introduce secondary colors. 

4. Pure color is more opaque.  Add a little white for it to be reflective. Adding white will diminish it's focal quality, decrease chroma and help with distance between the stronger pigment and the one diluted with white.

Some info about the temperature of the colors we are using: 

Cadmium Yellow Pale is the  cool of Cadmium Yellow Medium.

Vermillion is hot whereas  Lakes are cool. Alizarin Crimson is a Crimson Lake color.

Cerulean is warmer, Turquoise is warmer ( has yellow in it).

Cobalt  is cooler than Cerulean. Cobalt starts moving toward the violets.

Ultramarine is cooler than Cobalt.

Chrome Greens & light  greens are warmer with more movement toward yellow.

Viridian is cooler with more movement toward blue.

If an object has a warm surface color paint the shadows with  cooler colors(dark blues/dark greens) and visa versa.

A Word  About Pointillism:

Van Gogh painted by using color to buzz the next color to it, instead of tone.  

Difference between pointillism and traditional painters is the tonal changes in the color.  There is no neutralizing of the colors (well, very little) in pointillism.  It is done by the color put down next to it and white (not black).

Today's Vocabulary: Local Color 

Local color is the overall color of your puzzle piece before changes by toning it, adding white in pointillism, or contrasting colors. 

Local color is also influenced not only by white, but by yellow, and orange used as a lesser white.

 Lesson 5     SunFlowers

 ( Lessons will be out of order until I'm caught up posting back lessons... my apologies. Lesson 6 Painting a Horse will continue in 3 parts after Sunflowers Lesson 5)

Lesson 5 is held  July 20th on location at Oasis.

We will use sunflowers and other arrangements out of my yard. I will have 3-4 arrangements set up. We will be using pallette knives and brushes. We will use a Split palette of warm and cool colors. This is a Van Gogh palette of colors to buzz color against color. 

Split Palette: 

Yellow:  Cadmium Yellow Deep

               Lemon Yellow or Cadmium Yellow Light

Red:    Vermillion

            Cadmium Red Deep

Blue:   Cerulean Blue

            Ultramarine Blue

Green:  Viridian Green

            Green Oxide

Brown:  Burnt Umber

             Raw Umber

Sample Palette

Red Lake

Vermillion

Cadmium Yellows

Ultramarine Blue

Cobalt Blue

Cobalt Violet

Emerald Green

Viridian Green

Lead White (Flake White)

Earth Colors (Siennas, Umbers, Ochre)

Tue, 7:11 PM

Message starred

Susan Sprigg In the Zone Oil Painters Notes

Ideally  read and print out these notes and bring them to class. 

Show

 Look up these Artists and Identify the line they used in their compositions.

Delacroix:   See how he often uses  parenthesis type of composition to group his elements which draws attention to the area inside the parenthesis.

Van Gogh:  Sometimes he painted directionally using a circular approach to colors and brush stroke to emphasize the focal points in his work.

  

In painting Sunflowers today quickly do your thumbnails both line and value studies. I will check them. Consider laying down your direction by using your brush stroke direction to match your line.

Some Additional Ways to Developing Focal Points besides darkest dark against lightest light:

1. If your painting is an analogous color scheme:  Opposite (contrasting) color used in the focal areas to draw attention.

2. If your painting is a contrasting:  Analogous color used.

3. In this particular lesson, Painting Sunflowers,  try moving toward your palette spectrally – primary colors first, then introduce secondary colors. 

4. Pure color is more opaque.  Add a little white for it to be reflective. Adding white will diminish it's focal quality, decrease chroma and help with distance between the stronger pigment and the one diluted with white.

Some info about the temperature of the colors we are using: 

Cadmium Yellow Pale is the  cool of Cadmium Yellow Medium.

Vermillion is hot whereas  Lakes are cool. Alizarin Crimson is a Crimson Lake color.

Cerulean is warmer, Turquoise is warmer ( has yellow in it).

Cobalt  is cooler than Cerulean. Cobalt starts moving toward the violets.

Ultramarine is cooler than Cobalt.

Chrome Greens & light  greens are warmer with more movement toward yellow.

Viridian is cooler with more movement toward blue.

If an object has a warm surface color paint the shadows with  cooler colors(dark blues/dark greens) and visa versa.

A Word  About Pointillism:

Van Gogh painted by using color to buzz the next color to it, instead of tone.  

Difference between pointillism and traditional painters is the tonal changes in the color.  There is no neutralizing of the colors (well, very little) in pointillism.  It is done by the color put down next to it and white (not black).

Today's Vocabulary: Local Color 

Local color is the overall color of your puzzle piece before changes by toning it, adding white in pointillism, or contrasting colors. 

Local color is also influenced not only by white, but by yellow, and orange used as a lesser white.