Beginner Colour / Color Theory - Painting With Colour Temperature | JW Learning | Skillshare

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Beginner Colour / Color Theory - Painting With Colour Temperature

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

12 Lessons (49m)
    • 1. Trailer

      0:35
    • 2. Defining Colour Temperature

      2:25
    • 3. Temperature Relationships

      3:16
    • 4. Light Source and Local Colour

      2:31
    • 5. Light and Shadow Temperature

      2:48
    • 6. Colour Vibrancy

      3:05
    • 7. Demonstration Overview

      2:04
    • 8. Cool Light - Background

      5:47
    • 9. Cool Light - Apple

      9:25
    • 10. Warm Light - Background

      6:48
    • 11. Warm Light - Apple

      9:39
    • 12. Assignment

      0:34
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About This Class

In this Beginner Colour Theory lesson we'll be tackling one of the areas of colour theory that is often misunderstood and that is Colour Temperature. Colour Temperature is a little bit of a nuanced area of colour and is often mixed up with the Hue Scale.  Whilst there is overlap between the two, Colour Temperature is more about how we perceive colours and whether they feel warm and cool, and whether they are warm and cool in relation to other colours around it.  In this lesson we will have a lecture followed by two Demonstrations under different lighting conditions - one under warm light, another under cool light. At the end there will be an assignment for you to complete. 

If you're painting traditionally you will need a set of warm primary colours, and a set of cool primary colours, as well as white and a darker value colour, either Black or something like Burnt Umber. A list of paints is provided in the resource section along with the reference images.  If you are working digitally I highly recommend Realistic Paint Studio as this simulates real world painting very well. 

Expanded Colour Options:
Titanium White
Lemon Yellow
Viridian Green
Pthalo Blue
Ultramarine Blue
Quinacridone Red
Cadmium Yellow
Burnt Umber

Software Used:
Realistic Paint Studio

Continue with the Colour Theory series: 
Lesson 1 - Introduction to Colour and Harmony
Lesson 2 - Value in Shape, Form and Composition
Lesson 3 - Expanding The Colour Wheel and Working with Hue
Lesson 4 - Painting With Saturation and Neutrals

Meet Your Teacher

Teacher Profile Image

JW Learning

Drawing the Body, Head and Hands

Teacher

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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Transcripts

1. Trailer: In these begin to call a theory listen, we're going to cover one of the most misunderstood areas of color theory, and that is color temperature. Color temperature is a little bit more of a nuanced area of colour theory. So we're going to spend a little bit of time discussing not only how we go about perceiving and thinking about it, but how we apply it to our odd as well. In this lesson, we'll do a lecture as well as to painting demonstrations on the different locking conditions. And we'll finish it off with an assignment for you to complete. If you've ever had issues trying to understand color, temperature, then let's start unpacking it all now. 2. Defining Colour Temperature: Color temperature is often one of the most misunderstood areas of color theory. This is not helped by the fact that many of us, when we start out, confuse it for the HU scale. Color temperature does have a strong relationship with the HU scale, but it's a much more nuanced approach to it. At its most basic color temperature is about the relationship between L warm and cool colors. When we begin to ought to stop learning about color temperature, we tend to interpret it as simply being the division between L warm side of the color wheel and the cool side walls. That is in essence the most basic interpretation of colour temperature. The truth is we're not really talking about something that has an objective measurement to it. There is no more a literal warm and cool side to our colour wheel, then there is a left and right side. In fact, you'll often find there's much debate about exactly where the cool colors end and where the warm colors begin. Some artists will say the temperature split is between the yellows and the violence, or between the greens in the magentas. Some will say the vast majority of the color wheel is warm with only a small group of colors that can really be considered cool. Others will even split the wheel into three categories of cool, warm, and medium. Ultimately, it doesn't matter too much where that division line is in your mind because color temperature is not so much about an objective measurement, but more about how we perceive colours. We associate certain colors with things we are familiar with. And most of the time those things relate to temperature. When we think of reds, oranges, and yellows, we think a fire, summer heats and desert landscapes. When we think of greens in blue-green colors, we think of warmish springs and lush rainforests and tropical waters. When we think of blues and violets, we imagine ice in winter and snow-capped mountains in the distance. So we tend to look at colleges to things in real life that relate to temperature. Even if there's no objective measurement for color temperature, we intuitively feel its presence within odd colour temperature isn't so much about whether a koala is objectively warm or cool, but whether it feels warm or cool compared to other colors around it. So let's break this down now. 3. Temperature Relationships: Let's follow on from what we've just discussed and break things down to a fundamental level. A single color on its own really doesn't give us enough information to convey temperature. If we have a swatch of red on our canvas, we can say it's a color that sits on the warm side about HU scale, but it's not until we put it next to something like blue, that the warmth of that red really starts to stand out. Amazon looks at this and says to itself, this red feels a lot warmer than the blue. And we can do this for any number of colors. This screen feels cooler than the orange. This yellow feels a lot warmer than this violet. So when we talk about color temperature, what we're really talking about is how the colors on either side about warm, cool, dividing line relate to each other. Now, you might be saying to yourself That sounds pretty straightforward, but there's a little more we have to dive into. We're not just dealing with out two hemispheres of warm and cool colors wherever that dividing line might be, but also the temperature range between each colors. If we've chosen a red light before, what we're going to find is that there's going to be temperature variations as our red starts to transition either towards the oranges or towards the violets. We can see here what at first glance seemed like a pretty warm red. Now looks a lot cooler when we start to move it towards its neighbouring red orange. And the opposite is going to happen with air raid when we put it next to its neighbors that are transitioning to the cooler, violets are original red nail looks a lot warmer. He when compared to these other rates. These are what are called Analogous Colors, calls that sit with the night, similar area of the HU scale. In this case, it's the orange red to the red violets. Generally speaking, analogous colors within a range of about 304 colors, or roughly about 1 sixth of the HU scale. This is by no means a hard and fast rule, but rather a general starting point that we can work from. But it's not just around the circumference of the Cusco where those temperatures shifts are going to occur. The moment we shift one of our color swatches anywhere along the hue value or saturation style, we are automatically going to be getting a shifting temperature. If we add either black or white into our red Swatch Here, we start to see the temperature effects that happen both via changes in value, feel a little bit cooler in relation to our original rate. And if we move our swatch along the saturation scale and neutralized red now starts to give off the illusion that it's shifting towards the violet side. Generally speaking, when we move along the saturation scale, our COO colors will give off the illusion they are warming up and a warm colors will give off the illusion that cooling down. So we're not only talking about relationships between our two hemispheres of warm and cool colors, but also talking about a subsection within a hue value in saturation scales where these relationships are going to be found. 4. Light Source and Local Colour: So we've talked a bit about what color temperature is in theory, but what does it mean for us practically, when we start to apply temperature into practice, what we'll find is that color temperature is really a combination of two things in our environment. The colour of the light source, as well as the local color of the object that light sources hitting. Both of these factors are going to influence what the overall temperature in our pieces, as well as how our temperature changes. So what is local Kali, you might be asking yourself, well, local color is essentially the average color of an object. If we look at something like a lemon, we say to ourselves the limit is yellow. Even though there may be chateaus that transitionary yellow into more darkish riddle violet colors, or a light source that may shift the overall yellow towards the greens or the oranges. We've got enough of a dominant range of human air, lemon to say to ourselves, the color is yellow. Local color can't moralists be looked at as being the object colour minus the presence of light and shadow. So when these two elements combine the color of our light source and the local color of our object. This is where we start to see temperature changes happen. What we're going to find is that color temperature changes a going to be most noticeable in our colors that sit in the middle value range. If we look at our examples here, we've got a little bit of a rainbow of colors in high, medium, and low value ranges. Take note of how the shifts in temperature are getting a lot more intense when old out colors see in that middle range of values compared to our high and low examples. When a color gets too high in value, they look far more blended because the amount of white present ends up making them very pestilence. And when the values are too low, it becomes even more difficult to see where the temperature transitions are happening because of how dark things have become. If we compare these again without mid range of colors, we start to see a more obvious shift happening he. So we're going to have to make a choice for ourselves as we pint if we want to make out temperature change is very obvious to the viewer that we may have to work a little more around the mid value range of colours and sacrifice a little bit about high and low values, the choice is ultimately going to be up to you. 5. Light and Shadow Temperature: Let us now expand upon what it is we've just gone over. If you've ever read a book on color theory or taken some type of color theory class before. You may very well have heard the saying, warm light produces cool shadows and Kou Lai produces warm shadows. The question is, is this statement correct? Well, technically speaking, this statement is correct. However, this I pretty big caveat that comes with this. In a very controlled environment, this sign is correct. In fact, what happens if you project a particular colored light source onto an object in that type of situation is to shut us produced a going to be the complimentary or the it color to the color of the light source. But this is a situation where unlikely to ever find ourselves in. The truth. Is there a Guide to be environmental factors that influence the color of both light and shadows side. The color val lot source is going to be the main influence on the light side. Of course. The shadow side is way things can get a bit more interesting and nuanced. When you hear the phrase warm light equals cool shadows and cool Ly equals warm shadows. What is really being talked about is how the temperature on one side relates to the yellow. We may very well get a shadow side on an object that looks a lot cooler than the warm light hitting it. But that doesn't mean as starting point for our shadows is literally going to be a cooler color. As we said in the last video, at temperature shifts happen not only across the HU scale, but through the value and saturation scales as well. We can very well have a shuttered aside on this tomato that still starts around the same side of the color wheel as the light hitting it. But as we already mentioned, there are going to be environmental influences as well. Like the surface of the object is sitting on the atmosphere, the background, as well as other objects nearby that are going to affect the shadow side temperature. Everything in our environment not only receives light, but itself becomes a source of light. So we can get instances where a warmer light bounces back into our shadow side from the environment around it that seemingly go against the womb like cool shadows rule. However, because those reflections will be wakeup, then I'll warm light source. It's still going to produce a shadow that looks relatively cooler. If we look at our example, he, we may very well be getting some warm light reflections influencing our shadow side. But because of the difference in value, the temperature feels cooler and comparisons still. So what's really being talked about with this phrase is not something that should be taken literally, but something that should be thought of more relatively. 6. Colour Vibrancy: So with that out of the way, how do we start applying temperature to our paint mixes? First, we not only have to consider the color of the light hitting our object, but also the reflected light that it's going to appear in our shadow side. We want to consider our shadow side as also having a light source, albeit a far weaker and less saturated one. All we have to do then is simply apply a little bit of logical thinking into our painting. Going back to our lemon, if we know its local color is yellow and we know when orangeish light is hitting it, then we simply have to mix the two colors together to get the overall right temperature for the light side of our lemon. And the same logic can be applied for the shadow side. In this instance, lm and is sitting on our blue table, which is reflecting and mixing in with its local color and creating a greenish shadow. So what we can boil it down to is that the local color plus the color of the light source is the color that we're going to mix. Now, the intensity of those mixes is going to vary depending on where the light source and the object sit in relation to each other on the color wheel. A warm object being hit by a warm light or a cool object being hit by a cool light is going to make the color of our object really vibrant. They're close proximity to each other on the color wheel means our object colour is going to be greatly amplified. If we look at our example here, we've got a beach scene with two different lighting conditions, one at sunset and the other around midday. If our beach ball here is red, then we are going to get a far more intense and fiery looking red beach ball in our sunset image because of the orange light that's now hitting it. Mid-day sun image looks less intense because we've got the influence of the sky hitting down the blue colors of the sky are shifting the beach ball towards the cooler violence. So if the light source and the object are close to each other on the color wheel, we're going to get far more vibrant colors. But what about if things are on the opposite side? What happens if the light sources warm and the object is cool or vice versa? Well, in this instance, error object will start to neutralize. If we have a look at out warm sunset again, but our beach ball is now blue. What we'll see is that the saturation levels of our blue beach ball had been reduced significantly. There may be instances where the light sources so strong that it actually overpowers the color of our object. But generally speaking, went warms and cools mix, our objects will start to neutralize. So that's the breakdown for color temperature. It's a little bit more nuanced than other areas of color theory. And one that's not necessarily easy to understand at first, but with a little bit of time and practice, it starts become easier to understand and implement with the lecture overt. Let's move on to doing some demonstrations. 7. Demonstration Overview: Ok, let's just do a little bit of a breakdown of the two images we're going to be paid to k. Now I've set up an image of an apple he with two different lighting sources. One with a cool light and one with a warm light. And we can see what the coolant image here on the left, just how much more vibrant and intense the kala azar With that apple HE compared to the one on the right. So if we just take a little bit of a swatch here from h side that I know IS cool green color he happening on the lift. And I sort of AMI green, almost yellowish color happening here on the right. And we've got something similar happening here without back ground cloth as well. We've got a sort of desaturated magenta color that's happening here on a cool Assad and a far more intense red that's being produced here on a warm Assad. So we can really start to see the temperature shifts that stopped happening depending on which light sources hitting our image net were not just going to get shifts in temperature, hey, but also in intensity in value. If we take a look at where the highlights are, in particular, we can see that the highlight looks a lot brought to on our cool side than the warm side, as we said during the lecture, if l local color and L lot source or on similar facades of the color wheel, the intensity of the colors is really going to start to pump. So we're going to have Qu lots and warm lights both intensifying and desaturating different areas of our image. So let's just have a look at this software that we're going to be using for this lesson as well in previous lessons, we've used Affinity Photo, but for this one we're going to be using one called Realistic paint Studio. As the name suggests, it's more of a realistic stimulated in a digital art program in the way that he both mixes the Kahlo's as well as how it's applied to the Canvas service. So I've got a little bit of a green swatch here on our palate and little bit of paint here on our canvas. If we try to find a different color here, maybe something like this pinkish color in a colour wheel and just try to blend it in a little bit. We can see how realistic and how much more believable this looks compared to other digital pieces of software. So we're going to use this for this lesson. We'll talk about the calls. We have chars and up the top as we go along. But Canal, let's just get started. 8. Cool Light - Background: Okay, let's get started with this background pot first. And I'm going to be looking for a very desaturated and dot cool-looking read for this image. Now, let's just go over the color palettes that we've chosen for this as well. We've got a warm and cool yellow, a warm and cool blue, a warm and cool red, as well as a doc saturated green and a doc saturated yellow and of course white. So I'll put the hex codes on the screen for those who are going to be working digitally. For those who are going to be working more practically, practically with more traditional tools. I'll also put up roughly what the equivalence ADA, real-world pints, these are by no means going to be a 100% accurate of course. But roughly speaking, we're looking at our yellows as Lemon yellow and cadmium yellow. Viridian green. For a dark green, he failed blue in ultramarine blue. A Conoco dime read or permanent Magenta for a cool red alongside something like a cadmium red for our warm raid. And finally, burnt umber. And what route value. So those are roughly going to be the equivalence. If you're working with rural pints for this demonstration, we're not really going to use all of these pints for this particular image, but we will use all them over the course of both demonstrations. So sticking primarily to the cool side of the color wheel for this image. So I'm just working in the mid values for our background, for the monument. And we'll walk our way up to the Dhaka areas. And then we'll put all that in first and then we'll worry about the Apple lost. We just need some type of foundation to work with and we can make adjustments as we go along. So we're going to use all these colors, as we said across both images. Now, we don't really want to go too far beyond this range of colors. Because the more calls we have, the greater chance we have of Stein will lose control of things. We don't really need. Three blues and five raids in six different greens is we're painting. Generally speaking, the fewer colors a palette makes our work a little more manageable. Means we are less likely to get confused in stock getting lost as we mix. But the downside is we weren't have nearly the range of few available to us. So if we're limiting ourselves to fewer colors and this psi one blue, one red, one yellow, whiten, either black or a burnt umber. We're not going to be getting the broader spectrum of color to work with. Which means for an image like this, we've got a nice vibrant, cool Apple that wet painting. It may mean we have to sacrifice some of our temperature. We might not be able to get the sign tub of vibrant cool green collar. If both are yellow and blue, are sitting closer to the warm Assad or the color spectrum where the reds and the oranges are just mixing a bit of this wound unburied. Taba college-age is trying to work on these values and we'll just use this for the moment. But sometimes that something we might actually want. But all of us are going to be wanting to paint realistically some of his, a guy who eat perfectly happy painting with just three primaries, white, black in orbit on buffer our values. So just looking in these Dhaka values now and you can see in the color wheel, he would actually shifted this dock a value to the more orange red side of things. Keeping in line with that cool lot warm shadows ID for the moment anyway. Just going back to now pallets again, the other advantage of a more limited palette is that it's going to force us to think a little bit more about color theory. Think about it a little bit more mathematically. We've said in previous classes that color theory is a bit like cooking. And cooking. We'd like to store a whole bunch of salt and pepper into the, into the suit potent mix it through we gradually adding small amounts as we go and try to build up a flight of that white. But we also need to think about color theory. You know, a bit more of a logical wife with trying to make this cool desaturated magenta background. And we have to have an understanding of which way we have to go around the color wheel and across the value scale as well. In order to get these tought of results. There's gonna be a lot of experimentation that we're going to have to do he good exercise is to actually mix l, two primaries of cools and warms. Mix them together and see what the results that we get. Mix sale, cool read and L. Warm yellow, well, warmer and now cool yellow. Mix the cool yellow and the cool red together and just see what we get and tried to build up an understanding of exactly which way we have to go around these color wheel in order to get the results that we're looking for is going to be a lot of trial and error involved. So will consider a background moralist on maybe a little bit too much on the warm side of things, but we can play around with that a little bit more later on if we've got time. 9. Cool Light - Apple: Okay, so now onto a OWL, vibrant green apple hand. We'll put down this nice vibrant doc ring here and bring it up a little bit in terms of value. It's probably a little bit too saturated. So a putting a little bit of L, warming yellow here is to bring down the saturation. And the reason we've got a highly saturated duck reign, he, is that it gives us a higher place to start from in terms of vibrancy, who was to simply mix a blue-green and a coolish yellow together, we'd still get a noise, vibrant green. But by virtue of the fact that we are mixing two colors together, we automatically getting D saturation. So they're going to be instances where it's simply going to be a lot easier working with a particular pigment straight out of the tube, or in this case, digitally straight from the color wheel. And it is mixing them off because it gives us the highest starting point in order to bring down the levels of saturation value. So we need to remember anytime we mix two colors together, even if they are close to each other on the colour wheel, we are going to get some level of D saturation happening. And for an image like this where we've got that cool light hitting owl, cool objects, in this case air Apple, and really illuminating, illuminating that local color. We really want that high level of saturation to begin with. So there's sometimes it's going to be much easier to just taking something straight from the tube and mixing it together. So I'm just feeling my way through these at the moment and I've probably got this too much on the warm side at the moment. So I'm going to add a little bit of blue here to help cool this alpha, be it, bring down the saturation levels a little bit as well. Just play around with this and I think this is looking a little bit better. So we'll go over this for the moment with remember that on these it's going to be a increase in vibrancy compared to the next image that we're going to paint. But just in terms of value as well, we're getting a high level of brightness by virtue of our cools and cools mixing with each other. So we have to remember that any time that the two colors are near each other on the color wheel, when tones of a light source and error object. Anyway, we're going to get that enhanced elimination, but it also goes for any other objects in the environment. If this cloth that the apple was sitting on was also blue or green or some color around that area of the color wheel. We get some reflections into this Apple that would also help to illuminate things as well. So I'm going to get these instances where not just those light source is going to help with that vibrancy, but also other objects in the environment. We have to remember that, as we said during the lecture, everything in our environment, not only he's going to receive light, but itself is going to become a source of light as well. And we're going to have all these influences at attacking places gotten even more complicated when we have more objects in the scene than what we've got now we're only working with a simple apple sitting on some cloth at the mine. But if we were doing in toiled bowl of fruit than it's a whole, another set of challenges and a whole other set of mathematical sums that we have to stop thinking about. What happens if we put a banana or an orange or some grapes right next to this apple, how's that going to influence things and the temperature as well as the temperature of the apple, but has a lot going to affect those the pieces of fruit too. So when you start to look at things that way, it becomes pretty obvious why color theory? General just tends to be a very difficult subject matter. We've got so many things that we have to think about in terms of lights and temperature, saturation levels and how everything's bouncing light off from one thing to another. Everything's influencing everything else in the environment. So it's not only shadow side now, working a little bit more Dhaka value in seeing how this goes for the moment. I think we'll just try this. I think that might work for the moment. We'll just go with this and we'll make the adjustments. So going along with it, a little bit of reflected light that's bouncing back in from the environment. That a little bit of an orange reflection bouncing off from somewhere in the room. He said, I've got to take that into account. Also got some reflection that's possibly coming from a ceiling as well. Some cool a lot which is hitting the top of the top left of the Apple way. But we'll just worry about getting the shadow shaping first and then we'll start to refine that a little bit more. Always thinking as we're going along here, I'll just about the temperature and how that's being affected, but just the values in general, that's always going to be the most important thing to get, right. We can really screw up along the way in terms of hue and saturation. And we can kind of screw up at temperatures well overall, but if our values is still pretty solid, then generally speaking, the, the peace is still going to work. So it's always going to be our sort of default position here if nothing else is really working for us, if we really do manage to screw up the other areas of, of a color theory, our three scholars of color always lean back towards the values as all my stool, saving grace really. So what's gonna get you add a trouble cuz if we screw out values and try to offset the mistakes we make there through through temperature or through saturation and when would conscious wasting out time because we can still get a good solid image down with just light and shadow is working in this reflected light from the ceiling. He will be a little bit to Han value, but can work on it a little bit later on if we need to. As we said during the lecture, they shut Assad is where things get a little bit more interesting and nuanced. The light side more or less takes care of it. So if we can get other influences that affect the, the effect the temperature and the color of things they had. But it's really the shadow side where a lot of the interesting stuff actually starts to happen. So as we can see here, we've got sort of a bluish reflected light coming from the ceiling and then an orangeish lot that's coming from somewhere else. It's definitely not the cloth in this instance because it's too warm a cola. So we get some very interesting stuff that can happen t on the darker side of things. And then I've probably got the saturation on these two reflected lots and the shadow side of probably a bit too high. So I'd probably need to neutralize these a little bit more to be more in lot of the image. It all still relates well enough to the foundations that would put down almost to look at this, I wouldn't necessarily see that something is sticking out here that shouldn't belong. We don't have these bright red reflections bouncing back into our Apple. If we did, it would be super noticeable. And we don't necessarily want to draw the audience's attention to that. Not only is going to stick out like a sore thumb in, distract from the main focal point of our image with a lot sitting it. It's just too much of a literal interpretation of what we're talking about during the lecture, Hal was saying that, well, I produces cool shadows and cool lights produced warm shadows. We don't want to get that literal with things that all has to be relative. What, what it is we are doing. It's all about how the warms relate to the cools, how the lots relate to the shadows, how the saturations, the saturated Radha lights to neutrals. So just a little bit of clean up here for now. So this is really just the quick study to do practice with. We don't need to spend hours upon hours just on one image in order to really develop a healthier skills. These short sort of 1215 minute paintings, sketches is all we really need. We can build up to the more complicated stuff later on. But for now, these type of quick sketches, and we don't even need complicated objects either. These quick sketches out more than enough to help us develop our pathway and knowledge about pathway through, through the, the color wheel up and down the value skull around the circumference of the HU scale when through the middle of the saturation scale. So we'll bet just practicing this stuff up and getting out. I used to what the result size we mix these paints together. So we'll finish this one up here and we'll move onto our warm colored image. 10. Warm Light - Background: Alright, so I want to buy a warm colored image now, so we'll get a little bit of L warm raid first this time and use that as a starting base. Now, notice how much more muted things are looking in this image compared to l lost. Put a bit of this green mixing just to D saturate things a little bit, test that outs from it needs to be brought down in value a little bit more. So at a bit more of this green mixing here, and that'll do for now. So as I was saying, the image is far more muted compared to the loss one. That's because we've got that orange light hitting it and it's most noticeable in our Apple L upon, in the last image, stood up quite a lot, is very vivid in, was actually standing at quite powerfully compared to the background. And this image though the worldwide has really neutralized that bright greenness of air Apple. And as a result, it's brought out Apple much closer to the color of the red cloth that it's sitting on. A red background. He in contrast as well compared to the last image, that's fueling a lot warmer and a little bit broader as well and are really sort of deep magenta every type of cholera he, and because we've got that warm oranges lot source now, it's really shifting our rate to be this FOMO vibrant fire engine red top of color. Need to make this a little bit broader. The beauty part about having a yellow actually is because it's, it's higher in the, in the value scale compared to the other Kahlo's, it means we can retain a lot more saturation. So if we were to just adding white he stead of yellow, We'd really just be cooling things off actually because y acts as a cooling agent. What tends to be slightly bluish, at least in real life it is that we're using real pints. So having yellow as and I'll turn it method for lifting out values super useful, especially for warming images like this. So just going back to the two images again and comparing them with not only getting the shifts in saturation and temperature, but we're also getting shifts in value across both images to the saturation of Apple. He is also a causing it to lose some of its light of values. Whilst the red cloth is actually getting a little bit of a value boost in its law to areas due to that intensity that's being created with that warm light source. So this one shift in lighting temperature has resulted in something that is actually a bit more of a closer, harmonious relationship between our background and our subject meadow. A cool image had a relationship between the apple and the background that was far more distant. And as a result, they really did stand out from each other. We saw just how much more intense and vibrant that Apple was compared to this one. Now if we wanna get both images to have a similar harmonious relationship, we can just simply Mike adjustments as we go along. It's going to have to make some sacrifices along the way though, if we want to bring L cool images closer together, the cool Apple and cool background, then we're probably going to have to sacrifice a little bit of saturation. Maybe shift the temperatures around a little bit more to get them closer to each other bit. That's kinda what we want. We want that level of control over the image. We want to reduce the values of things. We want to be able to. Just the saturation temperature if we need to, we don't need to be bound by what it is. We see a lot of it is just simply going to come down to Thyestes. You'll probably end up finding a color palette that works for you. What an artist's work around a specific temperature as well. If you're now dole pint of, for instance, if that's something that you like doing landscapes or whatever it might be, then you're probably gonna stick to call us on the warmer side of the color spectrum. And obviously that's because the sun is a worldwide source. So what if it's going to come down to just whatever suits you and what your tastes are. Ultimately, this goes back to our previous call Theory lessons. We really talking about gaining control over how it is we pint. Everything we've learned so far is about moving our scales of color around and figuring out how things relate to each other and whether or not we want to change things around. So if we want to make something look lighter, we can put it next to something that looks a lot Dhaka. We want something that looks a lot more vibrant. We can put it next to something that small, desaturated and neutral. And if we want something that looks warmer, of course we put it next to something that looks cooler. So what about those relationships? The light versus the shadow, the cool vs. the warm, the saturated versus the neutral. Even one local color versus the local color that's next to it. So we're not really looking for the right colors. We don't really want to approach it in that way. We want to be looking for the right relationships. This is coming together. We're just using a very small area of the color wheel really for this, is that really what Analogous Colors. We talked in the lecture a little bit about Analogous Colors and really clarify a little bit better that they not just the colors that are next to each other on the color wheel around the HU scale, or I should say, that it's also the values of those calls, as well as the different levels of saturation as well. So when we took analogous colors, we're talking roughly about three or four colors as well as the different levels on the value and saturation scholars. Well, these images have been specifically set up so that we know over complicating things with ourselves at the stage. In keeping it simple to more analogous colors for the background and for Apple image, as well as a good starting point for us if we just try and understand color temperature. So then why do us for starting point for the background for quite some time later on we'll come back and fix these values up a little bit because they're not quite right. But let's move on to the apple now. 11. Warm Light - Apple: Okay, let's move on to our apples so we'll put in some avail. Green here again and we'll go directly to the whoami yellow is in this instance. So we really need to bring down the saturation levels. Hey, so we're going to bring a little bit of raid in his. Whoa. Remember in our previous lesson on saturation and neutral colors, we know that if we mixing the opposite color to a grain, he would going to neutralize it. And that's exactly what we want for this image. We want sort of an AMI green top of Cala. For Apple. He, It's pretty close, so we'll just start with this one for now. Take it a lot closer than what we go to a cooler apple. So a little bit of luck, he, Amit wrinkle here, we're gonna get some reflection happening. Reflected light happening off the surface of that, that red cloth. And that's going to neutralize things even further. So these are the things we have to think about. What's in our environment. How is the object going to react with the surface it's sitting on? And also how the temperature is going to shift depending on where the values are. So as the planes of our object move further and further away from the light source arrow object is going to start seeing is shifting temperature. If I lot sources womb arrow object is gradually going to shift to cool. A call is the less light it receives. And obviously the opposite to that is going to be true as well. If we, for instance, painting a portrait of a person outdoors in some bright sunlight, the flesh tones and that post and skin is going to capture more and more of that womb sunlight, coulomb, the Mole Day head faeces that sunlight. So we'll end up transitioning from an orangeish scheme tied to something more Magenta, sorry, as the light hits the side of the face, until eventually it transitions into the coolest brownish bluish shadows. So really Temperature and value in some ways linked with each other. We're going to get shifts with both. Some reasonably happy with hail the lots od is going at the moment to working a little bit of the Highlight. Hey, we don't want it nearly as bright as what we had in the cool image. Probably a little bit too cool actually, highlights spot would have been a better option here to use the lemon yellow color instead to bring up the values there. But we'll press ahead. So I'm just looking to neutralize and bring down the value a little bit more. On this bottom area, the light side. So as we said, we're getting not only just that shifted temperature, but shifting value two and chickens saturation as well. So we've got that neutralizing effect that's happening here, even though it's not super obvious in the reference image. And we have an understanding of how Colors interact with each other. We can, we can certainly take these liberties. So now I'm just thinking about the area between the shadow side and a lot side is always a slightly more saturated area just before al lato i transitions into shadow. And I'm just looking at this right now and saying to myself, this looks a little bit little bit greener, a little bit cooler as well. As we said earlier, a lot of this is going to be subjective as well. So none of us are going to see color in the sign White House. I'm seeing things right now is that there's a lot more of a cooler green color in this area. But that's just what my eyes are telling me anyway. He might very will look at the same image and say to yourself, well, I can kind of see the more bluish green colors sort of happening more towards the shadow side than what you've got here. So what I've warm radius to you is slightly different from what, a warm radius to someone else. So there's really no point in trying to duplicate everything that we see exactly all try to get the right Green, Although right orange. Truth is, nature paints with lights and we paint with either pigment, all pixels. They're not even really close to being the same thing. So tried to copy. She is a little bit of a waste of time. As we said earlier on. Or always really looking for is just the relationships that we seen. H0. This area is lighter than this area. This is more saturated than this area of the heat. This is much cooler in relation to the area next to it. Really China just mixing these shutter calls. Now, get this get this scene. I think it looks alright, so I fall maybe a bit too yellowish. But we'll just use this for now. If a Wiccan with rural pints, and we find that inevitably as often happens, L pellet gets too messy with all these mixes that we put together. And sometimes it gets so bad that we have to clean the palette. We don't necessarily want to just wipe off the paint that we using. Next thing, not a bad idea to scrape off the the point that we are using and then mix it all together to get some type of neutral color, whatever that neutral color reason and keep that and put that to the side. Because it's especially handy is a little bit of a shortcut sometimes instead of having to create a neutral ever again, sort of have these brown mix that will end up having that we can use for something like this shadow side. So it's always useful to have these neutral mixes on the side. Instead of just throwing them out, you'd be surprised how often they can come in handy for something like blocking in a shadow side like this one. We get to reuse that panel ever again instead of just wasting it. So just keep that in mind before you just WIPO folio paints on your palate. Ok, so I've got the values in place. Fresh Edison Just want to work in this orangey area that's reflecting into it. We'll see how this orangey colored goes for this reflected light. Maybe a little bit too saturated, but it has to be a little bit more saturated in this image compared to the last one anyway. So as long as nothing stands out too much here, it should be I k. But that reflected light bouncing back from the ceiling. So mixing in a little bit of a blue here to shift the temperature along and put it in a little bit of a white he to boost the values up. So this is a good example of when not to use yellow in this instance, we need to bring the temperature down. And as we said, x is a cooling agent, that's certainly going to be the better option in this instance then using a bright yellow, both Black and White act as cooling agents. So that's something we have to remember. This was some oddest prefer to use something like I burnt umber for the darkest value instead of black because it gives us a warmer option to bring in the value of colors. We could also use the very dark blue are very dark rate as well. In fact, it's not necessarily a bad idea to sometimes have a doc value version of each of the three primaries. Because that gives us a great deal of control as to how we go about creating the temperatures of L Dhaka valued areas. So this is why it's a good idea to play around with different types of colors and different types of pellet setups for yourself. And try to figure out which of these actually works best for my purpose. You may very well be okay with using black is something of an unwritten rule within OT circles that were not suppose to use black. It's dead collage. I'm sort of of the opinion that it's totally up to the AWS whether or not he or she wants to use black. So I'll just spend the loss minimal. So just tidying things up. Don't really have any Tom to adjust the values on this background because they're not quite right. We'll just have to put that down to another listened learned really, we're not going to knock it out of the pocket every time. So keeping things to the short 10-15 minute type of sketches, he is going to be a lot better off for learning color theory than just diving headfirst into doing that landscape or doing that portraiture work, we really need to build ourselves up to that point. But even if we do get to something more complicated like the human head, our approach is going to be the sign. We're going to have a lot side and a dark side. We're going to have shifts in temperature, shifts in saturation. And we have to do is really just map things out as we've gone over these last couple of color theory listens. So we'll finish this one up here and we'll move on to the assignment. 12. Assignment: Alright, so the assignment for this lesson is to do your own version of the Apple images that we painted in this demonstration. Now, if you want to go the extra mile and paint your own object, I recommend doing it under two different lighting conditions. One with a cool filter, N1 with a warm filter. The image references used are available in the project resources section for download, as well as the sketch that was used for this lesson too. So I'll leave those two images for you to paint up. If you've got any questions about the class, please post them in the discussion section. So until next time, keep practicing hard.