Beginner Colour / Color Theory - Introduction to Colour and Harmony | JW Learning | Skillshare

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Beginner Colour / Color Theory - Introduction to Colour and Harmony

teacher avatar JW Learning, Drawing the Body, Head and Hands

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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

13 Lessons (51m)
    • 1. Trailer

    • 2. Value, Hue and Saturation

    • 3. Temperature

    • 4. Complementary Colours

    • 5. Digital Mixing Tools

    • 6. Value Range and Sketch

    • 7. Hue and Temperature Range

    • 8. Saturation Range

    • 9. Painting The Light Side

    • 10. Painting The Dark Side

    • 11. Adjustments

    • 12. Complementary Background

    • 13. Assignment

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About This Class

Colour Theory is a tricky subject matter for any beginner artist, so this series is designed for those who are just starting to dip their brush into the paint. The first lesson is an introduction to the 3 Scales of Measurement used in colour, and an overview of how we go about relating this array of different colours together in order to bring unity to our paintings and illustrations. We will first do a series of lectures, followed by a demonstration.  If you are using digital drawing applications I recommend Affinity Photo as it has the best mixing tools for digital paint. If you're using traditional paints I recommend starting with a cheap set of water based or acrylic paints, oils tends to be a little tricky to begin with. Red, Blue, Yellow, White and Black are all you will need. The pencil sketch for the exercise is available in the course notes.

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Continue with the Colour Theory series: 
Lesson 2 - Value in Shape, Form and Composition

Meet Your Teacher

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JW Learning

Drawing the Body, Head and Hands


Hello, I'm Josh, never ending art and design student.  Drawing and painting can often be intimidating for people who have never sketched in their life but what if I were to say it's not as scary as it looks?  I'm looking to pass on the knowledge that I have learned to people who are new to art, casual hobbyist looking to improve, or to those who are looking at art and design as a potential career path.  The lessons I've put together break down the process of drawing and painting into small yet manageable pieces that allow you to absorb the material without overwhelming you with information.   The aim is to give you simple tools to build complex creations.  The lessons are structured like a pathway, starting from the basic foundations and fund... See full profile

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1. Trailer: welcome to this introduction into color theory. Color is one of the most difficult, if not being most difficult areas in art tackle because we have got so many things that we have to consider before we start putting paint onto a canvas. In this lesson, we're going to break down the three basic scouts of color. Take a look at color temperature and how we go about making these calls work together as a team and wolf in Cheryl off with a painting demonstration as well as an assignment for you to complete. So let's get going with this very tricky subject, Meadow. 2. Value, Hue and Saturation: when we start our journey into art more often not, we are super eager to break out the acrylics, the oil paints and the colored pencils. Almost immediately, we want to create these magnificent epic scenes, create these awesome character concepts, portrait art and breathtaking landscapes. But what will find out very quickly early on is that color is a very difficult thing to tackle. Most art teachers won't even touch color until late in the first year of schooling and instead will stick primarily to black, white and sometimes brown color schemes for all drawing and painting purposes. The reason for that is we have to get used to the idea of creating three D shapes and forms first, before we even start thinking about applying any color to the images and simple black and white scales or simple brown value scales is the easiest way to begin learning to create those shapes and forms. Now the person's we're going to go over in this tutorial is going to be done digitally, but the idea is we're going to cover are going to be applicable with real paints. Also, the results and techniques, of course, are obviously going to be a little different in less intent off the begin of figure drawing Siri's, we discussed an introduction toe, light and shadow or, as it's also called value value, is but one of the scales in the coloring process. The other two scales are hue and saturation. So there are three scales of measurement that we're going to have to juggle when we start moving from out to turned process of drawing to the full spectrum of color and all its intensity. These three Skiles, in no particular order, can be best described at the most basic, as the following value can be best described as being the scale of black to white or the grayscale. Simply put the range of gray from the lightest lights to the darkest shadows. The more we add white into our color, the lighter it becomes, the more we had black the doctor becomes. He was best described as the range of color up around our color wheel, and that wheel is usually broken up into two hemispheres. Ease got a cool side and a warm side. The warm side starts from the yellow and moves all the way down to the Reds and the cool side from the yellows all the way down to the blues and finally saturation. Or as it's also called intensity or chroma. This is the amount of purity in the color or, in other words, the amount of gray in the color. The further away we moved from our chosen Hugh along the saturation scale, the less intensity its color has, and the more dollar and great it becomes the easiest way we go about visualizing how these three skills work together is to think of them as being an actual wheel structure. If we look at this three d example, this poll represents our values. Scout. The circle on the outside represents out range of Colorado Hugh and the circle in the middle is representative off s saturation range. If we start moving thes circles up and down our value scale, this is going to change the value of both out chosen hue and its range of saturation. Now, you might be saying to yourself, Okay, I kind of get where you're going with this. But where exactly do my hue start along this value scale? Do they'll start right in the middle, right around the 50% gray mark. The truth is, not every hue around our color wheel is going to start at the same level on the value scale . If we look at these two colors side by side, it's pretty easy to have a look at them and say this yellow It looks a lot brighter than this blue. So if we were to convert these colors into their grey equivalents will notice that one is sitting higher on this scale than the other. So our first goal is ultimately to fire the equivalent gray value off. Whatever our chosen Hugh is, this is our starting value. And once we figured out that starting value for out Hugh, we can then create its own Value Scout. If we add white to wear blue, we start to get more sighing colors. And if we had black, the coolest us to shift to something that resembles teal, we can see this better in our three D examples. If we shift out, color will up or down. We're going to shift the hue accordingly, so yellow is going to shift to either a lemon or an olive color are red to either a pink or burgundy color, etcetera. Now, because we've added in either black or what we are in fact changing the purity of our blue . But these are still the most saturated versions of the color along this blue value scale. They are, for all intents and purposes, still almost saturated colors. Now, to reduce their saturation, we simply have to move away from the edge of the color wheel towards the center where the value scale sits. In other words, we are adding great to neutralize this color. White and black alone will merely lighten or darken out blue whilst retaining its saturation. But mixing them together will start to remove the intensity of our color. If we look out three d reference here again, we can imagine the saturation scale as looking like the spoke to a wheel. So what we end up with is are chosen blue collar, gradually losing its purity until eventually it merges into a neutral great all of which can shift up and down accordingly along that value Skiles. So those air out three color Skiles. It's a lot of information that we're going to have to juggle, and it's going to take a long time to really wrap your head around, but if we are looking to create beautiful colored pieces, it's information we're going to have to work. 3. Temperature: So we've gone over the basic ideas for out three scales of color. But that's really only going to take us so far because we've really only focused on one area of the color wheel. We started with a single Hugh, found its value scale and have created a range of saturation. The next thing we're going to have to look over is what's called color harmony. Harmony is the relationship of our colors. Or simply put, ensuring that our colors are mixing and working together as a team. If our calls don't have something in common that what's going to happen is they're gonna start fighting for the viewers attention. So our main goal, when we start working on our compositions, it's the first figure out how we go about relating these calls together. Let's have a look at what we mean. All three primary colors and Ott, red, blue and yellow primaries, by definition have no other calls within them. These colors are impossible to crate, which means the three of them have nothing in common. Blue sits on the cool side, Read sits on the warm side, and yellow is neutral, sitting somewhere in between the two temperatures, so nothing about these three colors relate to each other. But when we start moving things around on a huge value in situations girls, we can start to get these primaries that have nothing in common to start relating mawr and more to each other. Let's first look at doing things violate Huse Kyle. If we shift things around without hue and start moving out, yellow towards the red will create orange. Orange is the relationship between yellow and red. We've moved these two primary colors closer together and have linked together to form a new color. And that's going to be the same for the red when we mix it with the blue to create violet and for the blue and the yellow to create green. By moving these primaries closer to each other, we have no only created relationships. We've created what a cold ass secondary colors. Take note of what's happened here as we've done this. If we look back at just at three primaries, we can see they are equidistant in length from each other, and the same is now happening with their second years as well. We've created a triad of colors, but if we look at how as secondaries now relate to at primaries, we could see that distance is starting to shrink by creating our engine Violet, we've moved blue and yellow closer together, linking them through red. The blue now has something in common with the red. The red now has something in common with the yellow. We are harmonizing our primaries around the warmer side of the color wheel. What started as a big triangle of equal distance for our primaries has now become a much smaller try attic area. And we can take this even further. Instead of just having an orange and violet, we can shift both their orange nl volatile even closer to wear red, shortening that distance even further. We are harmonizing out blue and yellow primaries not just through the warm hemisphere of the color wheel, but we are harmonizing them through red. In particular, this idea will apply whether we push the colors to the cooler temperatures with the blues or the more neutral temperatures with the yellows. When we start creating our art compositions, we're going to have to make the decision whether or not we are working with a cool or a warm light source. So whichever temperature we choose, we have to ensure that all their calls that we are using relate to that overall temperature . So temperature and Hugh is the first thing we have to consider when harmonizing. 4. Complementary Colours: now this is great, nor, but we're going to come across situations where we can only harmonize through the Hughes so much if we look it out primary and secondary calls again. What we're going to notice is we're going to come across a problem with colors that are on opposite sides to each other. These are called out. Complementary colors calls that out directly opposite to one another. For instance, Violet is a combination of red and blue, meaning it has no direct relationship with yellow, in fact, that in competition with each other when put side by side the audiences, I is pulled back and forth between the two because there's nothing relating them together. They stand out very much on their own. So how do we go about harmonizing these opposites? Well, one thing we can do is to move our yellow and violet over to either the warm side of the hemisphere, the cool side of the hemisphere that will certainly start to push them towards each other towards common ground. This is what it called knee compliments, and it's actually what we want to be pushing for when we start painting in color as we've already said. When we start adding in color, we're going to have to make a choice as to whether the overall temperature of the images cool or warm. It's not going to make much sense if we are using an overall warm collis game and adding a cool color into it that is really vibrant and stands out from the rest. So to start bringing a yellow and our violet closer together, we really have to start shifting them to one of the temperatures. And that goes for other complementary colors, also shifting the red and the green and the blue and the orange. But there's only so far we can push our complements together on the huge scale. Even though they were late, more, they are still very far away from each other, so we have two other ways. We can relate out compliments. Instead of harmonizing through huge, we can also harmonize through value and saturation. If we look at a pure yellow in a pure violet hue, it's pretty easy to see their light and dark values are significantly different. But if we had white to our violet to match the light value of al yellow suddenly out to opposite colors now have something in common. We've got something more along the lines of pastel colors, and we can do the same with the yellow by adding in black to make it closer and value to the violet. They might be further apart on the Hugh Scout, but they now have commonality on the value scale. The problem with the value scowl, though, is that it's often the least effective because value has to be applied to our entire total composition, which is often going to limit just how close we can make these calls relate to each other. This way, if our overall composition has a dark foreground in a light background, then this method starts to become less useful for us. But the other method that we can use is through the saturation skull. If we start moving our yellow and our violet towards the middle graze, take note of how much closer we've made the distance between them compared to before, instead of going around the outside of the color wheel to try and relate them together, we are moving them towards the centre towards each other, and yellow has become more of a gray, yellow and violet has become more of a gray violet. The more we reduce the intensity off their saturation, the more we pushed them towards the center, where the neutral graze up, the closer they are to finding common ground and the more they start harmonizing together. Now we have two ways we can go about graying and neutralizing out colors. We could, of course, simply add in black and white to create great and mix them together. Well, we could do it another way that is actually closer to what happens in night Sha and gray down out Hughes with its complementary color. So if we take our yellow and adding a little bit of violet, we're going to start reducing the intensity of our yellow. And the same is going to happen without Violet. If we add a little bit of yellow into its mix by mixing them together, we start canceling both colors out, neutralizing and grinding them down. What you're going to notice is mixing our two complements together is actually going to retain the intensity of our saturation a lot more than if we were just adding in great gray is going to make the purity of our color. Ah, lot less intense. So you're going to have a choice as to how you go about de saturating your Hughes. And if we add in 1/3 color saying orange and start pushing it towards the centre graves. Also, we could start to see how quickly we can get any group of colors working together. Notice how small out triad has now become are three colors now have commonality not only through saturation but through temperature as well. There's still a clean separation, but they're now clearly linked together. So that's the way we go about relating our colors. Just to reiterate harmony is when our colors have one or multiple scales in common with each other. We get our calls working harmoniously. Our paintings are going to be better for it. With the lecture out of the white, let's now move on to doing a demonstration 5. Digital Mixing Tools: All right, let's start doing a demonstration out. Now. We're going to use a platonic shape for our exercise here. And the reason for that is it's going to give us a large range of society to work with in order to get the full understanding off hue, saturation and value. If we would just use something like a cube, then we're going to run into the problem. We were on the ever going to have three sides visible to us. And so a shape like this is going to be far more beneficial for our purpose. Now the app I'm gonna be using his affinity photo. This is more along the lines off a photo shop climb, but it does have painting tools within it. The reason I'm using this as opposed to a piece of software like Procreate, is that it's got a very specific brushing here that actually mixes our digital paint. Most pieces of painting software have some type of smudging tool which enables you to be able to combine culls together. But it's not really mixing them in a way that simulates what would happen in real life. Infinity fighter. We've actually got a brushy called the point mixer brush, which accident very similar way to what we'd be doing if we were actually using real pints . Now it has to be stressed, of course, that this is never going to be 100% exactly like would be in real life. But the ideas and the way we go about here are going to be very similar. So if I take a little bit of black and white here and use our mixer brush and start combining together, we can say we can stop to my great and the more white or black that we add into it, the lighter or darker that gray is going to become. And of course we can then start mixing it with one of the other primary colors here, creating a kind of army green color without yellow. Now there are two options down the bottom here that we will be using auto load brushes, going to be essentially the digital equivalent of adding more paint in. If we don't choose this option, if we just leave it on load brush, we're going to have to continuously go back to selecting the call that we want, Toe added. into this mix, and it's just gonna be a lot easier living on auto load brush mode. The other option. He is clean brush, and that's just going to act like the brushes actually clean. So if we got some point here that we haven't mixed properly, we can just use that clean brush and just blended in together a bit better. Now one should we are going to come across that we're going to have to consistently go back and forth with is actually the color settings within this brush. Now our blue and yellow mixing together is obviously going to create green. But let's have a look at what happens if we try to create orange without red and yellow. We get this murky brown color, and that's obviously not going to be reflective of what happens in real life. So you might notice down the bottom. There's an option here that says mode, and it's currently sit to art Wie beat. So if we simply change that mode to be, RGB will be able to create orange. If we want to create violet, it's not going to matter too much which option that we use. They makes pretty much the same, no matter which mode has been selected. So that's just an overview off the AP and the brush settings that will be using. Now we out working digitally, and it's gonna be very tempting to simply just use the color picker tools, which are available in all of these APS. But I strongly suggest trying to actually mix colors in a similar way to what you would in real life. Not only will you get a better understanding of how Cole's work and have a mixed together, but you're going to be able to actually kept all of this into real life if you ever want to . Working digitally is fine, and it's a lot more efficient in many ways, but it's also gonna be limiting if we don't actually understand what it is we are doing. So try and avoid at least a this stage using the color picker tools that are available in all of these applications. When you start developing a better understanding off you saturation value, then you can kind of go to town with selecting your colors. Vie those tools and if you're using real points to go along with this demonstration. Just get yourself a cheap set of acrylics at this stage. There's no point spending a whole lot of money on expensive oils if we're just practicing. So with that out of the white, let's now move on to starting out demonstration. 6. Value Range and Sketch: all right. The very first thing that we have to do is create for ourselves a value range. And what that means is that we need to break this shape down into its basic components of light and shadow. Now, before we try to figure out where, exactly on the value scale all these sites is sitting, it's good just to get an idea of the overall area off light and shadow. So we're going to be looking for at this initial stage at just breaking up, out platonic shape into these two areas instead of just diving head first and trying to figure out where exactly all of these sides are sitting on your value. Skype. We're just simplifying things and started with a two value scale, a hemisphere of light and a hemisphere shadow. Before we start worrying about the rest of El values, hue and saturation, we have to construct where are light is coming from and where our shadows are being formed . So painting in out little rough sketch like this just hopes to get the ball rolling. So once we figured out where our light is coming from and where I should I was being formed . We could then starts to break those two areas down, even food up into a greater range of value. So if we have a look at what's going on here, we've clearly got the light coming from the top right, which is causing a shadow to be formed on the bottom left. So let's look at the shadow first and stop breaking the stand into a broader range of values. Clearly, the segment off the shape in the bottom left is the darkest area, so we'll label this accordingly as number one number two will label as their bottom bright segment here because that's clearly lighter than the previous one. So we'll level that as segment number two, and obviously the one left over is going to be segment number three. So that's out shadow side taking care of. That's its range of value that's happening there. And if we moved to the light side, we simply have to do the same thing. We're going to start making things like that. So this will be number four here. This is out darkest area. On the light side, the panel up the top is going to be our next lightest area. And of course, the one getting most of the light hitting. It is going to be the one on the right. So we've initially started with one big area of light in one big area of shadow, too big areas of value that we have since broken down into a greater value range. What you might notice he is that each of these segments on this shape, each of these planes are positioned in a different direction, and each changing direction is causing a shift in value for each plate. So what we can say ourselves is that a change in plain or a changing direction for any object is going to result in a change of value. Now that change can be very shop like we're seeing here. A sharp edge on an object like this or something like a box, is always going to result in a very easily distinguishable changing value for something that is smoother in round up. The changes in plain are going to be a lot smaller to the point where they blend into each other. This is what's called a gradation, which is simply a smoother version of what we're seeing here If we were to smooth all these corners off off this platonic shape, these value changes would still be prison. But the change in plain will be significantly smoother. It's a fast, softer transition than what we're seeing here. So whatever object it is, we end up drawing. We can now say to ourselves that whenever we see a change in direction off the object, it's going to result in a change of value. So now that I've worked that out, I can paint in for myself a black and white sketch. Now it's a good idea always to do just a little black and white sketch for yourself, just to get an idea of where exactly your painting is going. So I've started with segment number four on our shape here as their starting point, and this is going to be the starting point, not just for this range of value that would putting in with this black and white painting. It's going to be the segment. We're going to use this as a starting point for ass saturation as well, so this is really going to be the midway point for everything in terms of value, terms of saturation in terms of Hewas Well, once you establish your light and dark sides, your to big areas of light and shadow, it's not going to matter too much exactly where you work from there. So we don't have to be to clean with what we're doing here. This is again just meant to be a sketch for us, a rough idea as to exactly whereabouts. We should be going without overall painting. And once we've established the range of value for our object or out range of value for air in tyres scene, we could start thinking about adding in our color and working out their situation. So let's finish this up here and move on to the next part. 7. Hue and Temperature Range: or let's start taking a look at Temperature and Hugh. Now, the object we've got, of course, is red. So the type of light that is going to hit this red object is going to shift, depending on what the actual temperature off the light source is. If we have a look at air light source again, we know that from the last video that our main source of light is coming from the top right , which is causing a shedded be formed in the bottom left that the light source in this image is a warm light source. And we can tell this by looking at the two hemispheres of light and shadow again. Out life aside is shifting towards warmer temperatures. If we have a look at this middle square here, this is a very prominent red color. The surrounding plains in this lighter hemisphere are also shifting. We've got a sort of seven color on your top plane in a sort of de saturated, orangey color on the plane. It's getting most of the light so we can say the planes are now object here are getting warmer in their temperature. The closer they are to the light. We're starting with a reddish color in our middle value and gradually moving towards a de saturated orangey color as our values get right up. So in essence, we are moving from the reds to the oranges. Now, if we shift focus to the shadows, we're going to notice that our temperatures starting to cool off. We're not getting anywhere near the amount of this warm light that we are on this light outside, so at temperatures are going to start cooling down, adding in those violets in those bluey purple colors. But we're still sitting very much in that red area of the color spectrum, even though the reds on the shadow side of Kulak, they still relate to the over warm feeling off the image. So we consider ourselves that we're not only dealing with a temperature range that is warm , but we also dealing with a huge range that is within the red side of the spectrum. If we just find out a little bit of a swatch here, ignoring for a moment the changes in value and saturation in our image. What we'll see here is that this is roughly what the range of hue is on this object. We're starting on the warmer side of things where the light is sort of the orangey cars and working out way to the dark out violet reds. So just to reiterate, we're dealing with a primarily warm color scheme here and a range of calls that are sitting on the red side of the spectrum. So let's take a look at saturation finally and start moving on to developing this object. 8. Saturation Range: right finally onto saturation. Now saturation, as we said, is about the intensity off the color or the purity of the color. Another way to look at it, of course, is how vibrant that color is. And, as we said in the electorate's also referred to as intensity as crime, it can also be looked at as vibrancy as well, which ever turned you go for. What we're really talking about is the amount of great within our color. If we have a look at our platonic shape, it's pretty straightforward to see which of these planes is the most saturated. It's this middle one. Here's got this nice, vibrant red carpet. It's not exactly a pure red. There is a little bit of a great tinged to it, but relative to everything else around it, it is the most saturated color in our image. So whatever image we're working with when we start looking for saturation, we are looking for the purest color that's available to us. So this first segment facing towards us is obviously our default starting position for the most vibrant area of image, and if we moved to our life aside first, obviously the top plane here has got that warm pinky shoe to it, and that's still relatively vibrant. But not so much is that middle area, So air top plane is less saturated in the middle plan, so we'll mark that as number super saturation range. And obviously number three is going to be decide. Facing the like the most. The side of the object that is facing the light source is, by its very nature, going to start becoming less and less vibrant in its saturation. So this is going to be the least saturated area overall platonic shape. Now, if we move on to our shadow side, we've got a little bit of a battle going on between our top left and bottom right panel as to which of them has deep, most intensity in the Hugh. But because that top left pedal is sitting higher in the value range, we could make a pretty educated guess and say that this bottom right panel is not nearly as intense in its purity as this top left, so we'll rank These is two and three, respectively, relative to Amma Saturated panel, and this last panel will, of course be number four and That's outrage of saturation in the shadow side. Now we talk about two ways during the electric pie, the tutorial about how we go about neutralizing our Hughes. So let's add in a little bit, very red swatch. And as we said, the two ways that we can go about reducing the intensity of our saturation in our Hughes is by either adding in gray or the complementary color to the hue that we've chosen. So let's first adding a little bit of gray to neutralize are red, and now we'll add in a little bit of the complementary color, which is grain to neutralize it. And what you might notice very quickly is just how different these two grand methods actually look out. Red, mixed with the gray has a lot more, very violently color to it. It looks a lot cooler than the neutralised color we've created without green. So what we can say is that when we mix out two complementary colors together, the neutral color that we end up with is going to be a lot more intense in its saturation than what it would be if we were just simply adding in great. It essentially means that we've got both a cool and a warm option when we need to neutralize our really intense Hughes. So that's the breakdown for our value, hue and saturation for this image. Let's move on to finally painting it. 9. Painting The Light Side: All right, let's get going. Will focus first and foremost on this middle plane facing towards us and because it's the most saturated area off their shape will just start. Adding in just some pure red at the moment is to see how this looks and I can, or until this is probably just a bit to augment. So we'll add in a little bit of great to this mix. Now. The ultimate Gulf of this is not necessarily to replicate exactly what it is we're seeing. There's going to be a little bit of interpretation when we start putting the paint onto a canvas. So I'm looking at this original reference image and thinking to myself, It's probably just a bit too dull for my liking. So I'm going to intentionally start bringing up the saturation of ALS these panels, just to make it look a bit more interesting than what it currently does. Now we're paying you digitally. Of course, if I really wanted to get an accurate representation off these cars, I could simply use the color pick up. But if we try to somewhat simulate what happens in real life, we're not always going to have the correct paints in order to get exactly the right color. Plus, we've also got a choice in the matter. So if we don't necessarily like the type of colors and the type of vibrancy that we're seeing in the subject matter that we're painting, that we have the option, then if we really want you to either lighten or darken or make something a lot more vivid than what it actually is. So we got our first panel done and I'll move to these top panel here with this semini color , and we'll just start with adding pure red and a little bit of what together to see how this looks. And I'm thinking that maybe it needs a little bit of yellow and he just to warm it up ever so slightly, probably not quite as Semini as it needs to be. So we'll put a little bit more yellow into this mix, and we'll just change just sitting see so we can do this properly and have a look at that, probably not quite right. Still, I think it's needs a little bit more of a light of value to this, so we'll add a bit of white into the mix and see how that looks now I can already see. That's probably called it off just a little too much. So we might have to add a bit more yellow into this just to make some warmth back into it. But we'll test it first, and you're probably just a little bit more so. We're going to have this sort of trial and error period when we start putting down our painting. Foundations were just sort of feeling our way through this seven environments, and it's going to take a little bit of time to sort of work out all these areas. We're happy enough with this for our purpose. I will just fill the rest of this in with this particular saturation value range, so there's going to be a lot of trial nearer at the start. Eventually, you'll find a footing for yourself, a good foundation that you can then build the rest off the painting on top of just fill these what areas on the ages and not gonna worry too much about keeping this 100% tight and clean. This is just a practice run, so that's the 1st 2 planes of our platonic shape completed. Now we'll move on to our least de saturated area, the plane that's facing towards the light the most. And we'll just use the existing so many pink hole that we've created for a top plane. And, of course, we're going to have to add in white to lighten its value. So let's just have a look at that first and see where things stand for this and already I could tell that the value and this is not quite right. So we're going to have to bump this up slightly so well, adding a lot more white and see if we need to do anything else to it. Now we have to go for a somewhat de saturated, orangey color, so we'll have to add in a little bit of great. It is just to take out some of that intensity cause it's looking probably a little bit too vibrant and maybe even a little bit too Pinkas Wall. So we'll try this first and you can already tell we need to just shift the human. It's just a little bit towards the oranges, so we'll add in a little bit of yellow and because we are adding yellow toe a pinkish mixed . We are naturally going to start shifting it towards the orange, a end of the spectrum, and this is looking a little bit better so it will stick with this for our final panel on the light side, probably could be saturated ever so slightly more. But it's probably more important at this stage just to get something down onto the canvas that we can then come back to later on and start making adjustments to so we'll consider our lights. I'd done and dusted, and now we'll move on to the shadow side to finish it off. 10. Painting The Dark Side: all right onto the shadow side now, because we are shifting from the warmer reds to the cooler reds, we gotta be adding blew into our mix. So let's just start mixing a little bit of a Swatch chief for this first panel in the top left. You got to try to keep things a lot more saturated than what's happening in their reference image. Just looking a little too dull and a little too are interesting, but we're still going to keep it all related to each other and looking at this first, a lot of pain on this side here think it's a little too red still, So I had a little bit more blue into this mix to push it to the violence a lot more. We'll see how this looks, and I can already tell it's probably just a bit too saturated, so we'll start to put together a bit of a grey mix and add that in just to reduce the intensity of our vitality, red color. And as we said in the previous video, it's just going to be a little bit of trial and error with all of this. The important thing is that these two sides relate to each other that they feel as if they are all part off. One object putting in really vibrant blue violet colors is not going to help. It's hit, and if we have a look at that, that's a little bit better. It's a little bit less saturated, so I think we'll just stick with this one for the time being. So yeah, as I was saying, We don't want colors which are contrast into the overall temperature off the object that we're painting. So what we're actually working with here is a set of warm reds instead of cool reds. And that might seem like a bit of a strange concept at first when you think ready don't necessarily think cool. But in truth, all of our major primaries and secondaries have cool and warm versions, so we'll have a cool and warm yellow, a cool and warm blue etcetera. Now we're only using after remain primaries for this practice session. But when we start developing a greater understanding off painting and color theory in general, we're going to find that there's a real benefit to having those cool and warm options on our palate because it's going to mean we're going to get a greatest spectrum of colors toe work with. When we stick with a very simple palette like this one, we can't necessarily use the full spectrum of colors that are available. So they were going to be times where you might have to reds on the palate or two yellows on the pellet. But that's something will come up in a future. Listen, so let's move on to this bottom rights panel of their shape. Now, even though we are working in the court side, this particular panel is picking up a little bit more warmth than what the others are. The value wasn't quite right in this one. So if we just mixed in a bit more black and give it another shot that might do it. So I don't think we'll have to add in any blue to cool it down. I think the temperature is roughly where it needs to be. That value is still not 100% so adding some more black and see how that looks, and I think that's going to go close. So we use that. So yeah, this is the warmer side of a shadow area because that lighting source is coming from the top, right? It's still catching a little bit of that warmth. So this is going to be a significantly warmer upside a warplane in our cooler side. So we're going to have these things that pop up here that even though we're working in the cool side of things, they're going to areas off that shadow side that pick up more areas and you're going to have the same thing happened with lot of sort. Of course, you're going to have areas which are catching a slightly different temperature to the areas around it. So we'll start work on this final swatch here for this last panel. So, yeah, it's gonna be a real challenge with color in color theory, because we're juggling so many things that once he we have to look at our lighting source, we have to worry about the shadow side of things we have to worry about their other objects in the environment that are actually reflecting additional light sources. Everything that absorbs light reflects light. And so we've got a lot of these properties of light which bouncing around in our environment, all of which are going to affect the object or the objects that we are painting, which is why can get overwhelming quite easily in the next part off. This demo will actually go over a little bit about how light works because we've got not only a change of light happening on our overall shape. We've got a change of light happening on each of these planes. On this shape, we've got a gradation of values that are happening within them. So we'll finish this up here and we'll move on to the next part where we will tackle these areas. 11. Adjustments: all right, let's just go over a little bit about how light is actually affecting the entire object. Now we already know there's a light source coming from the top right, which in turn is causing a shadow in the bottom left of our platonic shape. But what that light is also doing is that it's hitting the surface that are platonic shape . It's sitting on. The main principle in life is that anything that receives like itself then becomes a source of life. So what's happening with this surface that our platonic shape is sitting on is that it's not only getting the same light that out platonic shape is, but it's also reflecting light back into our shape. What we're seeing here with their object is that each of these planes, each of these panels of this platonic shape, are seeing different values being created within them, depending on how much lot they are receiving. So what that means is, if we look at our middle plane facing towards us here is that it's getting a lot more lights in the top right than it is in the bottom left. So we're not just getting a different value for each of our planes on our object. We're getting a range of value within these planes themselves were getting that smoother transition in value from lights too dark. That's al gradation that we talked about earlier. There are no hard agency to interrupt that flow, just a nice transition from light to dark. So if we are aware of this change in value on this plane, that means we have to now go back in and make some refinements to bring further three dimensionality to it. So we'll just take a little bit of the color that we use for this center panel, and we'll makes it a little bit of black to it, just to see how that looks so far. Now, we're probably not gonna have to add too much black into this mix because we only really want a little bit of that change in this bottom left hand corner. And that's because the change of value here is quite subtle. This bottom left hand side is not capturing nearly as much light as this top right we talked about a change in direction equals a change in value, and even though we can't really see that happening here compared to a with these other plans around, we've got these nice hard edges. What's actually happening here is that this middle plane, it's sitting at a slightly different position at the bottom. Then it is at the top. This plane, if we just looked at it on its own, is actually tilting backwards. So the light is going to affect those two areas differently, Right? So let's now move on to our top left plane. Now you can probably see here. It's a little more clear in this one way, that change of values actually happening. That new source of light that is bouncing off the surface out shape is sitting on is affecting that small area in the bottom left hand corner. So we're going to have to adjust that accordingly. Now the other thing we have to consider here is not just the light the war might that's coming from the top right, But we have to consider what actual color these services as well. So it's not just a case of adding in white to this mixto, locking it up a little bit. We have to add a little bit of yellow in as well just to retain the wolf, Our original light sources giving off and what that little bit of yellow is going to do is just reduce the intensity off the saturation in that particular area. That's because the paint we've chosen here on this particular plane has a little bit of a violet quality to it. So we're mixing out compliments and neutralizing the color. So under this bottom right panel now, this is probably where the greatest range of value is visible in our shadow side. And as we know, because this is the warmest part of that shadow area, we need to retain the warmth in it as much as possible. The more white that we start adding into this, we're actually going to start cooling things down. So that's what we need to add in that little bit of yellow. We really need to consider black. And what is being cooling agents. In fact, another way to look at them actually is to think of them as being a very light gray in a very dark gray. And as we saw earlier in electric, if we simply add great into whichever Hewitt is, we have chosen the neutralizing off that Hugh tends to look a lot cooler than if we were to mix that you in with its complement. So let's move on to this next panel. This is getting the least amount off our direct light in the top, right? It's also getting the least amounts of the light that's reflecting off the table. So the change of Al he is a lot subtle. But of course we have the option of making changes and adjustments to suit our tastes. If we really feel like we need to bring out some of the illumination of that area a bit more, we have the option. Were not bound to the literal truth of the image. Yes, there are certain principles of light and color that we do have to follow, but we couldn't manipulate them to our tastes. I could have added a lot more gray and a lot more of the complementary colors into the mixture to just reduce the saturation to make it match out reference image a lot more. But everything still works. It all still feels unified. Moving on to that top head on now, the lighting conditions here are pretty flat for the most part because the light is coming from that top, right. Pretty much all of this top panel is being illuminated. So I'm just gonna exaggerate a little bit here on the right hand side and make it a little bit like that just for the purpose of demonstration, because it's quite flat and really hard to see there being any riel change of value on this top plane. If the object wasn't in such a brightened, illuminated environment, we'd see that change a lot easier. So it's not just the temperature off the light source. It's the overall brightness of the light as well. That's going to affect our hue, saturation and our values. And we'll just do the same thing for our final panel here, which is catching. Most of the light will just exaggerated a little bit more cause again. It's coping most of the direct light here. There's not gonna be much of a change to values on this side, so that's our shape done and dusted. But it's looking a little bit boring at the moment, so let's add a background in to finish it off 12. Complementary Background: so onto the background there, as you can see in the reference, we've actually got a complementary color that's taking place. So as we said in the lecture, when we have complementary colors next to each other, they are going to be fighting for the viewers attention because they're on opposite ends of the color spectrum, they have nothing in common. So if we put in this really hideously green color right now for this background, that background is now going to start fighting for our attention with the red in our platonic shape. So we're gonna have to bring these two opposites closer together. Otherwise they're just going to be continuously fighting for our attention. Now we know we've got that warm light source coming from the right. So the easiest thing to start with is actually to shift our green towards the yellow, a end of the spectrum. So a little bit of blue into this mix is all we are going to need. It means now that we have got this background relating somewhat, at least to the warmer areas, all their objects. So if we just paint full of this scene, we can start to get the feeling that this relates a lot better than that hideously bright green color we saw before. It's probably still a little too saturated, but at the very least it's a starting point force. And if we move along the gradation that's happening in this background to the lower left hand corner, where the shadows of forming we're going to get less of that warm, a light and a gradual transition in value. Now because we're still trying to relate this background to our over a warm color scheme for our object, we're gonna add black into this mix to start to reduce its value. Instead, we're just gonna add a little bit of read into that mix. Now the red is going to do two things. Of course, it's going to start to neutralize out background. It's also going to retain the saturation a lot more than if we were just adding in black. But because that red is already a dark of value than a lot green here it's going toe act in a similar way to what would happen if we were simply add a touch of black and they're so our red is not just going to reduce the intensity off the screen and harmonize it more without shape. But it's also going to act as a value changers well, so we are not limited to just using black and white as a means to change the value of a huge. We can use other Hughes. As we said in a lecture. Every hue starts at a different level on the value scale, so we can mix, use and not only create our secondary colors, but we can also shift the value within those colors as well. So I got down main foundations in for this background. But like I said earlier, this lighter part is definitely looking a bit to de saturated. So I'm just gonna take a sample of that. And to de saturate this, I'm going to add in a little bit of this pink mix that we've made earlier because it's going to do most of the work for us here. We don't necessarily have to continuously go back and get first paints. If we've already got some painted with mixed earlier on like this pink, we don't really need to go back and start adding in white and red into our green mix again , and we can start to see now just what, adding that mixes done to this bright lime green color. This background there is really starting to relate to a platonic object. All that brightness that was earlier on that really obnoxious green that was really fighting for our attention has been reduced, and now it makes this entire scene feel like it's farm or in unison, the red in the green a now working with each other. They're not fighting each other anymore, and this is exactly what we want to be happening when we start working with the are complementary colors. So we've done the background, but we still need to work on the surface a little bit here. So let's just move over to that, and what you might end up seeing here is a bit of an illusion that takes place with that green background before, in a reference image, what we had was just a white surface that the object was sitting on. But since we've put that green background in, what's happened is that we've got a bit of an illusion that's happening. He without flat surface, that it's actually starting to shift in its value ever so slightly. So it makes the very light green swatch for us, and that's clearly to vibrant and two green. It's nature. So again, if we add a little bit of that pink mixing just to take the saturation out and bump up the value a little bit more because it's still a little too dark. Then we can start to paint in something that resembles the reference image a little bit more now. So you'll find these type of things that are happening. Once we start adding in additional colors, we're going to start seeing illusions happening. We're already seeing now that with this green background in this has actually shifted the intensity of our platonic object. If you go back to the start of this part of the lecture, what you'll see is that object looks a lot brighter than what it currently does now, and that's because we've surrounded it with its complementary color. These illusions are going to happen if we put out objects into a doctor or a lighter environment as well. If that background here was just solid, black out platonic shape, he would actually look a lot more vibrant than what it would if it was just on a white background like it was earlier. So these illusions are going to take place, and if we are aware of them, it means we can make adjustments accordingly. Sometimes we might intentionally make the decision to make that object a lot more vibrant or to reduce its intensity. So as we've gone over in this tutorial, there is a lot to cover when it comes to color and color theory. And it's not something that you're going to learn overnight. There's no point trying to sugar coat this. This is a really difficult subject matter in art. This tutorial is really just an introduction toe. All of these ideas that we've gone over future lessons will just break all this down individually so it will have a tutorial on value on Hugh on saturation on complementary cause. There is a lot more to go over and a lot more practice that is involved, So this is just the first stick, so we will consider this done and move on to the assignment 13. Assignment: Okay, so on to the assignment, this is going to be a two part assignment. The first part is simply to create a series of swatches and to get used to the idea of how we go about creating our range of value, hue and saturation before we start diving into anything too complex. We have to get through these basics first and foremost, so it may seem a pretty straightforward exercise to do to create this range of colors, but it's also an important one that we have to get used to. And the second part of the assignment is to simply create the same platonic shape that we saw in the demonstration. Now this sketch for this shape is going to be available for download in the reference notes , but also it feel free to draw your own. The reference image itself about platonic shape is going to be available as well as a couple of color variations as well. So that's going to be enough of a starting point. You want to try and challenge yourself with your own reference images us just sticking to things that are pretty basic and shapes that a spherical that a cylinder that a book shape ? Nothing too complicated at this stage. So I'll leave you with this now and I'll see you in the next lesson.