Beginner Colour / Color Theory - Painting With Saturation and Neutrals | JW Learning | Skillshare

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Beginner Colour / Color Theory - Painting With Saturation and Neutrals

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 (53m)
    • 1. Trailer

    • 2. Saturation Scale and Recap

    • 3. Colour Relationships

    • 4. Creating Greys and Neutrals

    • 5. Gamut Masking

    • 6. Saturation Keys and Contrast

    • 7. Demonstration Overview

    • 8. Neutral Background Rendering

    • 9. Dark Saturated Plum Rendering

    • 10. Saturated Lemon Rendering

    • 11. Shadow Rendering

    • 12. Assignment

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About This Class

In the next Lesson in our Beginner Colour theory series we'll be covering the last of our 3 Scales of Colour - Saturation.  The Saturation scale is the link between Hue and Value, it allows us to find relationships between colours that otherwise have nothing in common, as well as helping us elevate the colour intensity of our compositions.  In this lesson we'll start with a lecture and breakdown of Saturation, take a look at painting with and creating Greys and Neutrals, talk about colour schemes and at the end there will be a 30min painting demonstration, as well as an assignment for you to complete afterwards.  

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 and more expensive. Red, Blue, Yellow, White and Black is the minimum that you will need, however it's recommend to use Burnt Umber or an equivalent dark saturated colour in place of Black for this lesson.  Other colour options are explained in the video.  The pencil sketch for the exercise is available in the course notes.

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

Software Used:

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

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: in this next lesson on beginning color theory, we are going to go over the last of their three skulls of color. That saturation saturation scale is about the purity of our colors and is the way we go about leaking out hue and value scales together. This lesson. We'll talk about color relationships. Have a look at how we go about graying and neutralizing our colors. And at the end we'll finish it off with a demonstration as well as an assignment for you to complete thistles. The missing piece to our color theory puzzle. So let's finally put it all together. 2. Saturation Scale and Recap: in the last couple of lessons, we've started to take a look at each of our three Skiles of color individually, listen to We talked about the importance of value and house, the structural foundations for our forms and overall composition. In less than three, we moved on to the houska out where we talked about getting the most out of our color wheel and how color fix everything in its environment. For this lesson, we're going to break down the loss of a or three scales and that its saturation In previous lessons, we've learned that our three scowls of color can be represented in the form of an actual wheel value. All the black and white Skiles sits on its own, an excellent like the axle, the Houston Kyle or out color Spectrum X like the tire and sits around this, a conference overvalue Skiles. We also learned in the last lesson that each you started a different position in relation to the value scale. But this lesson saturation and measurements are made across the radius of the wheel, acting like the spokes to the wheel connecting Bartha hue and out value. Together saturation can be referred to as intensity, chroma, vibrancy. There's a number of words that we used to call this Skiles, no matter which turned we wish to use, though what we're ultimately talking about in this area of color theory is the amount of gray within out colors or, in other words, saturation is about how we go about neutralizing out colors. We start with the purest color on the edge, where are Huse Kylie's and work our way along the saturation scale until eventually we meet the neutral graze in our values skull. Now you may very well be asking yourself right now if I want to paint wonderfully lush green meadows under a bright blue sky or that still life of a bunch of brightly colored fruit. Then what do I need to worry about graying on neutralising colors? The truth is, saturation is the key to bring our calls together, and having the work together is a tank. Where most beginners us to run into trouble with their paintings is often put down colors that are too intense in there saturation. If the colors we choose our all that similar intensities that what's going to happen is it will cause chaos and out paintings. Eyes won't know where to look because there's so many bright colors that will be fighting for our attention. Even if we have Klay values in place, too many intense cows can completely throw off the composition. What we need to do is ensure that even if we are working with paintings that are high in saturation, that we are thinking about where the grain neutral colors up and how they relate to the whole composition. Saturation really helps lead the eye around their compositions, So let's start discussing how we make that work. 3. Colour Relationships: So, as we've already pointed out, saturation is the measurement across the color wheel that allows us to link together any set of colors, no matter what level they begin on the value scale or where along the huge scale, their position. If we were to ignore the range of colors across that color will, then we will forever be limiting ourselves. Saturation is about bringing harmony to our paintings in less and one of begin a color theory. We talked about the ways we can go about establishing commonality without colors. We said we can bring in color relationships inter via the value scale by shifting colors lighter or darker, or by the huge scale bar shifting coast towards a particular temperature. Both of these methods are great, but both also have limitations. We might be able to bring blue closer to read by way of violet. But no matter how much we push things around the hue scowl, we're never going to get an instance where we can get blue to have something in common with orange. This is because they're on opposite ends of the color spectrum, cause they're on opposite sides to each other, are called complementary colors, these air calls that have nothing in common instead of trying to do the impossible via the value or Hugh scowls, the easiest thing we can do to get out compliments to find commonality is go through the middle By constructing a part through the middle of our grain neutral zone. We can finally get out opposites to a place where they are closer together, and this rings true for any set of colors, whether they're opposites or not, moving through the grain neutrals means we confined relationships with colors, no matter where they sit on the value scale or where around the circumference of the hue skull that positioned. No matter how hard our color combinations are, we can now find relationships to get them to work together. What we get when we apply saturation to our thinking is harmony, but we can use this scale across the color wheel to know our only link. Any set of culls. Together we can use our neutral graves toe actually enhance the calls, their images. Let's have a look at an example as toe wigs can help. So this is just a quick little sketch done and they sort of Impressionist style and what that is overly saturated, taken to its extremes. Now, at first glance, you might be saying to yourself, that doesn't seem to be many graze all neutrals happening here but a large spectrum of color and some dark values anchoring everything in place. So how does this relate to add grays and neutrals? The truth is, we actually do have a lot of de saturated colors happening here. In fact, they're actually helping to make this color look far more vibrant than it is if we take a look at the same image. But it's nothing but purely saturated colors. Take note of how much more chaotic his image now looks. What was once a strong, colorful composition has now turned into a little bit of a rainbow mess. Because we've removed more, this saturated colors from the image take note of how difficult it is to really focus on something within this image compared to the first original is still highly saturated, but we've only got a couple of splashes of pure color here and there. The vast majority of our colors in this image have been neutralized to some degree. So what's happening here. Exactly How's it? Our original image looks like it has better colors in the second, despite the fact that has more grain mutuals throughout. Let's get back to buy six to figure that one out. You may have seen this type of illusion in some way before. What we have is a couple of red swatches on different valued backgrounds. The illusion he is our reds is starting to look a ziff. They're slightly different in each swatch. If you've seen this illusion before, you, of course, know that each of these red swatches are the exact same color. What's happening is the shift in background color is pushing that red to look either brighter or darker than what it actually is. Name AIDS in this solution with only black, white and grey backgrounds. But the same is going to ring true if we add in colors. If we start surrounding our red with a more de saturated version of itself, we start to see the same vibrancy changes happening to the point where the red seems to be almost glowing in its intensity in this loss watch. So what's happening is by surrounding out red with an ever increasingly great version of itself. We've boosted our original red Swatch to stand out more than if it was simply on its own. Now I've played a little bit of a trick on you here. This red swatch on the FISA things looks as if it's as bright as it can get. But this red has actually got a little bit of grind mixed into it. If we piped in the purest red we can get, we can now say just how Stop the differences, that brewing intense red swatch that once looked super bright now looks quite don't next to its purest form. So what we can say he is that we can elevate the saturation of one car by putting it next to a more neutral version. This red is more saturated relative to this one, and this one is more saturated relative to the one next to it. If we look back it out painting now, all of a sudden we can start to see out. Brightly colored, highly intense areas of hue aren't nearly as bright, and his intense is. We originally thought that simply being elevated in their saturation by the more neutral calls around it. When we look at this bright young compared to its purest form, we could see it's know as pure as we thought. So saturation intensity, chrome up whatever term you want to use for grand your colors is really the secret source for our color compositions. 4. Creating Greys and Neutrals: Let's talk about creating out mutuals and graze. Now back in this and one, we started there two ways we can neutralize out Hughes. We can either mix black and white in with their chosen hue and great down. Or alternatively, we can mix in the complementary color toe out Charles and Hugh in order to create on neutrals. The result we got was the complementary mixed gave us a much more saturated and far more warm and neutral to work with than out gray mix black and what act as cooling agents Whenever that I mixed in with a color we could see, putting them side by side just how different the temperature is between these similar grace . This is great because it essentially means we have warm and cool versions of grace that we can create. But there's a little bit of a caveat associated with black and white to neutralize out colors. The truth is as convenient as it is to create cool grace this white. This is not really how Grazer created in nature. If we want a true representation off natural grace, then the best way for us to achieve that is to mix different use together. Now there's nothing wrong with using black and white to create grain neutrals if you're not overly concerned with realism. But if you're looking for a more natural feel in your paintings, what often ends up happening if we use black and white is the results will never get quite the calls were looking for. If black of what? Cool out colors that that's not going to be great for us if we are trying to paint that warm, sunny landscape. If we look at these two images here, the one on the left was painted using black and white grace, and the other was paid it, using grace mixed with their Hughes. Take note of how the black and white version looks and feels as if it's missing something. What's missing here is color. If nature grays and neutralizes with color, then our black and white version here is never going to quite look right now, you might be saying to yourself, Well, I'll just add in black when I need to get to the really dark areas. But what happens if we choose not to work with black and all some artists for go using black altogether in their palates for the reasons we've already gone over. Pure black devoid of color doesn't exist in nature, so some artists choose to use a highly saturated dark alternative, usually a dark yellow orange color. But if we are doing this, obviously out temperature is going to change. As a result. If mixing compliments gets us warm colors and we no longer have black to act as a cooling agent to get at cool grays, then how do you control the temperature to get the results that we need? What we have to do is start consulting out color wheel. What we have to do in this instance is look to where l warm great approximately, sits on the color wheel and then adding, It's complimentary color. Let's take a look at an example. If we mix in a bit of red and green and now compare a neutral color to the color wheel, we can kind of see this neutral color is sitting somewhere around the yellow sort of the yusko. If this neutral is sitting around the yellow star Hugh Scowl, then that means it's complimentary. Color is sitting somewhere around the blue violet area. If we add in a little bit of that blue violet. We can now start to bring the temperature down and further neutralize the color if we now compare this neutral to its parent. What we have is both a warm and cool version of paint with, so whether it's green and red, violet and yellow, blue and orange, the key to controlling the grain of our colors is to look to where these complementary mixes end up on the color wheel. Once we've roughly figured out that position, we just put in the complement to that call, too, for the great things down. And we can keep doing this until we get it to the level of gray that we want. So always have in the back of your mind. That key to grain is through the compliments. The beauty of using this method is that no, only can we control how much we gray out colors, but we can also control which direction they start to shift on the Hugh scowl with one slight modification. If we look to either side about complementary colors, we get what cold need compliments by mixing in need compliments. We can not only start to shift the saturation levels about color. But we can also start shifting their position on the huge scale as well. If our orange blue mix creates this yellowish neutral, but instead of blue, we use the near compliment Blue Green. Then Al neutral is not only going to get grey up, but it's going to start shifting towards the greens. And if we go on the opposite side and use the need, compliment Blue Violet out neutral is going to start shifting more towards the Reds. So this method of growing out colors gives us a great deal of control. If we compare our hue mixed grey with the black and white mixed equivalent, we could say we've gotten pretty close to matching the two swatches. But notice how out black and what makes still feels like it's missing something. This is the downside to using black and white for mixing out grace, but ultimately it's down to you which way you choose to neutralize your colors. There's many a discussion in art circles about whether you should be using black to neutralize it all. I'm of the opinion that as long as you're mixing in some color with the black and white to create your Grace, then it's a perfectly valid way to go. Just be aware that creating neutrals and graze throughout Hughes is going to be closer to what happens in nature. So if realism is what you're trying to achieve, this is going to be the way to go. 5. Gamut Masking: so a lot of what we've covered in this lesson in the last few lessons has been a relation to working from life. But what if we wanna work from our minds? If we are working from life, we can usually defined the areas of color that we need to work with. If you want to delve into your own creativity, however, and build your own fantasy compositions, but you're not 100% sure where to begin on the color wheel, then where exactly do we start? Well, a good tool we can use is actually something called a gamut mask. A gamut is just another name for the full range of human saturation in our color wheel with a gamut mosque. What we could do is create a defined area of colors for us to work with. The beauty of this is that it's relatively easy to approach, establishing our color scheme this way if we're not 100% sure way to begin. The first thing we need, of course, is to have an actual color wheel in front of us, one that we eat the pipe ourselves or one that we can print off. We're working digitally. Of course, we can just find an image online if we then overlay a piece of paper or a new fuel layer. If we're working digitally with a wedge cut out, we could then use that hole to help establish an area of colors to be the base for our composition. The bigger the wedge we cut out, the more calls will have to work with, and the smaller obviously means the palate is going to be far more limited. We can then move this wedge shape around their will to see what color relationships we can get and which ones might work best for the idea we have in mind if we're looking to paint something that feels very old and fashion than maybe we place our wage cut out over this warmer area of colors on the color will and paint within these boundaries. Now we're not just limited to working with the colors within these boundaries. It also means we can incorporate not only the different values of each of these colors, but also their secondaries and neutrals as well. So if we've got a gamut mask giving us a border of color that stretches from the bright, warm yellows to the cooler, less saturated reds to a touch of the neutral blues. We could expand this range by adding in their larger and darker values, as well as whatever secondaries and neutrals we can create from these mixes. Now you might be asking yourself, Well, what shape does this gamut mask have to be? And the truth is, there are no rules about what shape the mosque has to be or how big or small the baskets debate. We're not limited to a triangular wedge or even just one shape. We want to break free from what we see in real life and establish our own mood and feeling in our images. Then this masking tool is going to be a great aid to help us. It allows us to quickly test out new color combinations to see what does and doesn't work with the ideas we have in mind. So if you're looking for a starting point for your colors, but you're not sure where to begin, then a gamut mask might be the best option 6. Saturation Keys and Contrast: and listen to about begin a color theory. Siri's. We went over the idea of our compositions having value keys or, in other words, the proportion of light the shadow shapes, we said. Our compositions come in either high keys that are predominantly made of lunch shapes, low keys that are predominantly made of shadow shapes and medium keys, which at roughly balance between the two with saturation. We also have keys and shakes we need to consider. In this instance, however, we are looking to identify the proportion of saturated shapes to neutral shapes. Ah, hiking in this instance leads towards having bigger ranges of saturated shapes and smaller areas of neutral shapes. A low key leans towards having a larger amount of neutral shapes and a smaller area of saturated shapes in a medium key sits somewhere in the middle, with a more or less even distribution of both saturated and neutral areas. The other thing we need to consider up is the range of intensity between almost saturated shapes in our most neutral shapes. Again, back in the lesson on value, we learned about looking for the range of contrasts between our lightens shadow areas or in other words. How far part please light and shadow shapes sit from each other on the value scale. We now want to consider the same thing for the intensity off. Saturated in neutral shapes we want to look to wear the most saturated and least saturated areas are and work out roughly where these areas sit apart from each other along the saturation scale. And like value, we can have a range of intensity that is very close with these neutral and saturated shapes , or have an intensity range that is far and wide apart from each other. So we not only have to consider the contrast in their values, but the contrast in our saturation as well. The reason we want to do this is because we want to have a checklist of things we can tick off before we start putting brush onto canvas. If we have that list to check off, it means we can create a process for out painting before we start. We want to break down a list of questions as follows. What is the proportion of light to shadow? What is the amount of contrast between the light and shadow shapes? What is the overall color temperature off the composition. What is the overall dominant color if there is one? What is the proportion of saturated to neutral shapes and what is the range of intensity between those saturated in neutral shapes? If we don't take into account a series of questions like this before beginning and just dive headfirst into mixing, then there's a good chance will start losing control over our colors. By having this list, we can come at out painting with a more structured approach, giving us a great deal of control over what we're painting and how we go about planting it . 7. Demonstration Overview: Okay, So before we move on to our demonstration, let's just do a little breakdown of what we've got here on the palate. Now, similar to the last lesson, we've got a Siris of cool and warm primary colors here. We've also got a couple of darker saturated versions compared to last time. The reason for that So we can get a broad range of values for a more neutral colors for the darkest color here, we're not gonna be using black. Instead, we're going to be using what, roughly the equivalent of a burn number a dark yellow orange. So this is going to give us a great deal of control with their saturation. Now, also in the corner here, you're going to see the color wheel that I'm using. And I'm going to refer to this every self and just to see where my mixes ending up on the color wheel and also where those complimentary calls a sitting to. So we're going to paint this image of some highly saturated fruits sitting on eight more neutral background. So let's get painting 8. Neutral Background Rendering: All right, let's get going. As I said during the electric pod. Good. Have a checklist of things for us to the remark off just before we start putting paint to the canvas here. So I'm just looking at this whole image in thinking to myself. Well, it's a pretty balanced individual around the keys, roughly about even good. A warmish color scheme going very bright. Don't want it, lemon. He that it's really standing out so could have this little checklist beforehand. So I'm going to start with the background first, mixing in a little bit of that dark orange in the Magenta raid. Just try to feel my way through this at the moments far too saturated the moment we have to bring this down a little bit. A bit of what, here to just to great up ever so slightly why it is still going to act as a cooling agent for us. So even though we're not using black in this instance, we've still got white there to help us as well. It's a little bit of this blue mix to just neutralize it a bit more, so there's going to be a lot of trial and error when we start mixing up colors. Because even though we can follow formulas to a certain extent, weaken, look to the value scale and judge roughly where certain policies opposition. And we know if we makes red and blue together, we're going to get violent. So we have a little bit of a guide that weaken sort of mentally have. It's always gonna be a lot of testing because we're never going to get the colors that we won't right the first time around. So I can already see haven't quite got this saturation levels right for these more highlighted area in the background. So a little bit of trial era and you're gonna have to be patient with yourself as well because we're trying to try. And now so does he. We're essentially learning a new top of exercise for our brain. We're not really used to trying to determine half of mixed colors. We can point out exactly that this limit is yellow. Obviously that this poem is the dockets raid. But how do we get that mix exactly? That's what the tricky part of all this is gonna be. So getting in this darker area this talk of value, He for the background. So, yeah, we're gonna do a lot of training for I. We don't need to dive into full paintings. Oh, it's gonna be super beneficial if we just do little studies. If we just dive headfirst into trying to do these beautifully rendered colored images, then we're going to really get lost on the way. We're going to get frustrated because we haven't really learned a process for ourselves, which is going to end with the good result. So you have to do little studies here and there to work with color. We don't need to do for masterpieces that comes later. First things first. Like all exercises, we have to have to train the yo out. There's gonna be a lot of comparing Teoh color wheels, and putting out brush is up to areas that we're trying to paint, trying to match the color on the tip of the brush to that lethal that flower or whatever it is we might be painting for working digitally, of course, weaken have a reference image on the screen with us, and on a new layer we could paint over the top to try to see if we've mixed in the correct color to that particular party image that we're trying to paint. So I like everything is just gonna be what of exercise involved. And it's gonna be a continuous 12 So and it is working a little bit more neutral colors he for this back. It's still a bit too saturated. I like to compare color and color theory to cooking because it's a lot of it's subjective where never or going to see colors the same way I look at a red, it's going to be slightly different to how you have you read. And so the mix is that we make in the the choices of paint pigments or swatches that we use from the color wheel. We're gonna be slightly different colors, a bit more about taste, and we have to sort of feel our way through the process. I like cooking where adding pictures of salt and pepper here and there as we go. So sort of getting someone now with this background. So you could say I brought down the saturation gradually with this background started off a lot more intense, and that's actually probably the bed misstate to Mike. It sounds like an odd thing to say that there's a good mistake, but we're much taking things to the extreme first and then just start scaling it back if we think that we've gone a bit too far. And that goes for not just all areas of painting an Arctic kind of guys for all areas of creativity. General, if you're writing a jug, you're much better off, you know, making one that's a bit too funny than one that's not funny at all. So I've got the background in reasonably happy as a starting point so you could start working on the table surface now, bringing down saturation levels he and mixing in these compliments of the orange and that blue quality. I'm sorry, that blue green color in this instance you got a surface here that's ah, somewhere between the oranges and reds, I would say in the color wheel. So we need to just bring in a little bit more neutrality to this mixture cause to 70 at the moment. So we'll try this one else. Yeah, I think this will do for the moment. Got a few areas here that are gradually getting more de saturated, the further in back around the table is going. So we're gonna have to make note of these little things along the way. We're going to have these changes in de saturation and changes in temperature and, of course, changes in value throughout. Well, the image and they're all going to have to relate to each other. So we're getting warmer, lighter values on this table towards the bottom, and it's gradually getting a little bit sort of greenish cooler, greenish graze, furthers. Receding in the background is there's less light is hitting the table so you can really start to see why color theory and color painting ends up being a very tricky and complicated thing. Toe learn because I just got so many things we have to consider. And as we said earlier, it's going to take a little while to sort of training I to see these. These subtleties. It's not always going to be right first time, and we're going to make it many mistakes along the way. I can guarantee you that. So putting in some of these light of values now for these table I mean, got this a little bit too much on the cool side of things. I think so. Too much white. I might have to bring a little bit more warm yellow into this mix to bring up the temperature ever so slightly. That looks like it's gonna be a fit. But yet you can see why it ends up being a very complicated subject matter and why it takes , ah, great deal of time to develop our images to we. I just want to put down the first batch of pipe that we mix up, especially when it comes to saturation and the graying of their images. Because it really is the key to bringing these things to life. It's the linking part between shoe and value value very much works on its own. We don't really need color images. We can always work with black and white and still get a good composition. Color, on the other hand, doesn't really work unless it's linked with these other two. As we saw in a lecture, weakened do really highly saturated compositions. We don't have to do still lifes, of course, but if we don't have those neutrals there that helping toe link the values that are in place and those bright colors, then it's just going to look like absolute chaos and a miss. So even though we want to start really as the better mistake, making things really intense, we don't want to stay that strong as well. There is going to be a little bit of a trade off if you want to do compositions with those really bright, intense colors, and we are going to lose some of the value structure, the opposite is going to be true as well. If we want a really strong value system in place for our compositions, then we're probably going to have to give up a little bit of our few and saturation. So there's going to be some tradeoffs, depending on what our ultimate goal is for our painting. If we're doing some type of still life like this, and of course, we're never really going to use super bright, saturated colors throughout. Even though this lemon looks like it is a really strong vibrancy, you're too. Use the color picker tool here in our digital tools and choose the brightest yellow. There will most likely find that it is still somewhat de saturated. It's never going to be a pure yellow that we're working with. We might get occasional situations where they're splashes of that pure color. But more often than not, every color that we're working with will have some level off de saturation within it. Now it bears pointing out that when we talk about neutralizing, we're not just talking about mixing compliments. It's really any two colors on the color spectrum. So if we are creating an orange with red and yellow, we are neutralizing that color there because that's not going to be as pure and oranges. If we were to get one straight from the paint tube or for working digitally straight from the color picker. All right, let's move on to the fruit. 9. Dark Saturated Plum Rendering: Okay, so plumb is very dark, but it's also highly saturated. So far, we've avoided bringing blacking for this image. I want to get this color down first, to see how that looks in this definitely a bit, too. Lotso bringing a little bit more of this stock orange to get the values down a bit more. And I just use this one for the moment, I think, and just I know we're onto the fruit now, but I'll just go back to the the neutral background just for second. One thing that forgot to mention there is that the type of colors that we can mix there with those background calls in the tablecloth, actually, really by those colors serve the only neutrals that you can get. When you mix two different hues together, we're working digitally. Of course, we got the color picker tools where we can select this type of culture. But if we're working practically those colors I want, you can't really by. So this is the limitations of with value, and you are We can't really get these interesting neutral colors just by those two alone. So if we want they sort of interesting browns and neutrals and even something like pastel colors cause pastel colors up really just be saturated colors. They sit hard on the values. Kyle. They are very much related to saturation. If you want, that is, we're going to have to mix them up. So getting in some more of this slightly more saturated raid, as you said, there's no a great deal of difference between the two levels. Good, just a little bit of a difference in terms of saturation and in value. But it's enough to just make that red pop out a little bit more. It's these little subtleties that helped to bring the form to the image. Now these DACA colored areas is where we can start getting a little bit lost because it starts with a little bit more difficult to see. What exactly is that color doing and what's in its environment? That's reflecting light back onto it. What color is that shifting to? So you ever run into a little bit of trouble? It's always good to just sort of put in a of a neutral, dark area for the shadows. That list is a placeholder that we can then come back in later on and start to make adjustments to so a neutral gray color if we're not 100% sure for the shadow areas is probably a good bet. So I got a couple of neutral gray reflections that are appearing on these like a sort of our plum. So stop putting these and probably haven't got this quite right. But let's put this in for now. Probably a bit too much on the on the cool side of things we think logically about it. Out Plumb is a sort of Darkman gentry, red color than kind of a little bit of that magenta color sort of email, more de saturated areas as well. Certainly there was a logical path that we can take with their color choices. We need to add a little bit of that cool red to get that mixed right. Then that's what we do just like this. So I always think about what the underlying calories of whatever is withdrawing, whatever the surface calories you may have heard of. The term local color is essentially the average color of the object of the thing that we are fighting, so we can tell that that lemon is yellow, even though we've got shadows and we've got highlights that are shifting the colors around that lemon, our perception of it is that it's a yellow object. So if we think of color in a bit more of a mathematical way, what we can say is that the color off the object, plus the color temperature off the light source, is going to be the color we need to mix. So it will cover a bit more about color, temperature and how it affects the service of our objects in a future. Listen, but that's just a little bit of Ah, we have a quick lesson there about what we need to think about when we mixing colors. We just take the time to stop and think about what we make singing have looking out color wheel charts that we've created for ourselves with ones we've printed off the Internet. We continue to go back and forth and consult with them. We can generally make the right choices. When we start to get those muddy colors that blosil the character, then it's usually because we haven't really thought about what it is we are mixing. If you're trying to create that sort of birth. T read neutral color, and it's not coming out quite the way you expected. To is a pretty good chance that somewhere along the line you missed a step that in your mixing of these colors you're neutralizing. You may have gotten to check your color wheel. Does it put a little bit of that more saturated red onto that surface? And it's not the most pure red that is available to us. As you can see the most pure red on the palate, there is significantly brighter than what's down on that. But by virtue of their being, what more D saturated, darker value colors around those couple of red splashes on the plum, it really looks saturated. If he noticed, the color wheel on the screen is always selecting it. We're saying that was no way need close to being the purest rate. So sometimes all we need are just a couple of splashes here, and they're off saturated color to really make the image pop all right, I think that'll do it for the plum for the moment. So let's now move on to the limit 10. Saturated Lemon Rendering: right onto the lemons so I will get out purist warm yellow, he and start to bring it down a little bit. Neutralize it with that warm red Teoh, create ourselves and orange in orange base. So stop from a pretty extreme point here. Work our way down to get some foundations in. First it got a big defined car shadow that's happening on our lemon. Here it's a little bit cool off, so I've got some warmer form. Shadow is being created around the surface, and we've got this cooler cost shutter that's being caused by the plum, a little bit of a greenish tinge to the bottom of their LTD's world, where it's touching the surface of the table. That's because it's not getting nearly as much of that. Won't light that more great surfaces, also bouncing light back off onto it, so it's de saturating things as well. So as we made mention in last couple of tutorials, everything that is going to receive light is itself going to become a source of light. So we've got reflections that are happening off the table, off the plumb off the lemon. Off the background here, everything in the environment is bouncing light off, and so that's going to affect the other objects in the environment so you can see quite clearly, actually, on the the tough brought of the plum. We've got a lot of that yellow reflection from the lemon bouncing back off it, even in an image like this, where we don't have a huge color spectrum that we're working with God, very narrow range of colors. He in this image. There's still a lot here that is going to have to make us pause and think about what's bouncing off. What we've got. The service here that's going to affect the shut aside with lemon with lemon affecting the shadows side of the plum, we got the background, got the subtle gradation off saturation and hue at the front of the table compared to the back. So this is just with two pieces of fruit. Imagine if you're doing an entire bowl of fruit, apples and bananas and oranges, and how all those different colors and then going to start bouncing off one another, and how they're going to affect the color choices that we're going to have to make Farmall crazy is shifting value in human saturation. So that's why it's always a good idea when we're starting at to start with something simple like is gradually work your way up to the more complicated stuff. The assignments in the practice sessions that we've done over the last couple of lessons have really been designed in a way to sort of just get your feet wet because there's no point just diving head first into, As you said, that bowl of fruit, all that luscious green landscape will what are highly colorful image it might be because it's just gonna be too much information that process. We need to gradually work our way up. Start with these more simple I DS and simple shapes. Practice these up again and again and then gradually start moving on to the more complex ideas. Because this is, without doubt, the the area of our that is the most difficult. We can figure out how to draw plum or a lemon or a human figure that's far more straightforward than having to then think about. Well, how do I put color on to this thing? So we need to get used to the idea of where things are positioned on the color wheel, how they relate to things on the value scale and how we go about getting those different scales toe work together. As a team, we need to find commonality those relationships, the light to dark, the cool toe warmth e Richard colors to the neutral colors. And this is going to ring true, no matter what area of art you might be in if it's still life paintings or comic book illustrations or animation, even some type of abstract work. Whatever it is, these same ideas thes century scales we're going to have to consider throughout all those different areas of Ott. So I need to bring in just a little more of a highlight here on the surface of this lemon just looking a little too a little too flat here. That's gonna be enough. I think they so the closer to the light source that the services, the more de saturated things start getting and the opposite starts happening When the form starts moving away from the light source, the color start to become a beautiful, saturated up until the point way before meets the shadow. That's when things start to get neutral So I've got this area between L light side and our shadow side. When we get a little bit more saturation just before that light side meets the shadow side , you can see it clearly with lemon. Have got the highlight day that is sort of pest Ili colored. We've got the form shutters on the lemon, which are not nearly as saturated, sort of a pinkish color on the top there and sort of greenish color on the on the bottom. And then in between that you've got the mid tone area, which is quite vibrant, and it's you past courses we ever going to get to a pure yellow. Truth is, we don't really have a pure yellow or pure red or pure blue, mostly because there's no real defined part on the color wheel, which specifically says, Well, this is the truest ray. This is the truest yellow sort of relates to what we were talking about. In the last lesson, we were talking about expanding the color wheel that a lot of what is taught in schools, especially when were younger, about the primary colors, the red, yellow and blue, and how that's all you need to make the full spectrum of color. It's all a little bit of a a little bit of a lie that they tell us. So when we break free of those misconceptions, we can start seeing things in a different light. We could start saying to ourselves, Well, we have yellow, but it can be either a greenish yellow or it could be a slightly orangish yellow. You have a slightly reddish blue and a slightly greenish blue, so we don't have these solar definitions for what color is what and we don't even really have definitions for the temperatures on our color wheel is well, we hear a lot about there being a cool side in a warm side to our color wheel. But even that is completely arbitrary, too. Where exactly does that cool side start? In our hemisphere of color? What is the warm side start? We just assigned warm and cold temperatures to this scale simply because we associate things in nature towards these cause. The blues, purples and blue greens we associate with deep blue ocean ice and winter and things like that, the red side of the spectrum and yellow Assad. We associate fire and hates and those type of things. It's completely arbitrary. It is gnome or a cool and warm side than there is a left and right side. 11. Shadow Rendering: speaking of temperatures just working in this cast shadow, which is going to be cool because it's obviously not capturing any of that warm light. And there's, ah, little bit to talk about in terms of shadow colors, which will cover in a future. Listen, you know, having worked on the shadow side for a little bit, I'm just looking at the Levin and I'm thinking to myself right now, probably haven't quite got the The mix is right for these colors, probably just a little bit too vibrant and orange in these midtown areas. So if I was working on this a bit longer, I would spend a little bit more time in that. But I want to focus on getting the rest of this cost centre ween the one behind the limit as well. But, yeah, it's going to be just a lot of trial in area he fuel, focusing on painting one area for a long period of time. You'll often find you missed the errors that you're making, and sometimes it's a good idea to just move on to a completely different area for a little bit. Give your eyes a little bit of arrest, then come back. Teoh that area later on, once you've got fresh eyes and another good trick you can do to give yourself a first perspective is actually to reverse the image after working digitally. Of course, that's usually pretty straightforward. There's usually some type of short cut on the keyboard that you can make to flip the image , to give yourself a different perspective over, and you'll find that if you do that, you can actually start to see the mistakes that you're making because your eyes are near seeing it from a new perspective. If you're working practically, of course, you need a mirror to do the same thing. But the idea is the same is just giving your eyes a rest. If we reverse the image or even turn the image upside down, we can start to see where we've gone wrong, and we can go back and forth in to get those first perspectives with their eyes and to, of course, make the appropriate adjustments. That's not just going to be four forms and structural things. It same for color as well. It'll starts it cause a little bit differently, too, because your eyes are having to refocus on what is essentially a completely different image to what you're working on. Okay? Little tricks we can use to help us with the construction of things and color compositions , and the color wheel is also gonna be a big thing that you really should have on handle. Times don't necessarily have to be continuously going back and forth looking at it because eventually you will develop a feel for what colors you need to mix together. So you'll know that if you need a sort of reddish neutral color, you're gonna have to mix it with green or science type of color that will just come with time. I always have one on stained boy I always have. What we talked about earlier is, well, that gamut mosque that we can use if we know 100% sure about which cause we want to be using. We're doing some type of their own ideas, some fantasy drawings and things like that. There's a really super useful tool because it gives us a set of boundaries toe work with so practice with the gamut mosque and just practice pining neutrals as well. It seems like such a simple thing, but just mixing calls together starts to give you an idea of the results that you're going to get now. We said in a lecture that we can use black and white to neutralize that calls, but we're not going to get those really rich, warm neutrals that you'll see in nature. So there's gonna be a little bit of a trade off there. You're not overly concerned with that, then it's a perfectly fine way to de saturate things. I'm not of the opinion that you shouldn't use black or that you can't use black in your paintings. It's for me anyway about what you're trying to achieve. So, as we said in a lecture, if you're wanting a more realistic representation of how neutral colors work and how great holes work, then missing things down by the houska ill using DACA pigments like I've got here or should say dark, it's saturated cause that have got here, that's going to be the way to go. You got to be patient with yourself as well. Now, if you're working diligently, I strongly recommend avoiding using the color picker tools, and the reason for that is if you understand how these scales work digitally. You can then transfer that over into real life. If ever the need arises. Some odds can work great digitally, but if you put a paint brush in the hand a likely to get lost, that's because they just used to select in the color that they need not thinking about. How did these two cars actually mixed together? What is the complement to this color? Etcetera. So I always highly recommend if you're working digitally to to create your colors, at least at first, when you start to get a feel for things, then you can start using the color pickle, the cull sliders, whatever the color Select Tool is in the program that you're using. Photoshopped affinity, photo outrage, whatever it is. I'm using Affinity Fighter he because it's going mixer brush that reacts and very natural feeling. White rule pints. But there's a number of programs out there that do something civil. So have a search around for the software that's out there and see which one works best for you. So it was not the war, this one up here, and it's looking overall, I think everything is working reasonably well that I do think the limits probably not quite right in terms of saturation, just a bit too bright, and probably it will be too much of the orange started the spectrum, but just another learning experience, Really, That's what all of these little studies are. We don't need to go crazy with the details. No need to worry about how accurate the shapes in the forms of our object sites or just a learning experience tryingto work out. How do we manage this crazy world of color that we're trying to put down onto the campus? So practice of a lot of these short little studies to a couple of these a day if you have to, they don't have to be big, either. Just small little studies. So we'll consider this one done, and we'll move on to the class assignment. 12. Assignment: okay. The assignment for this lesson is to do your own version of the demonstration image that was just painted. Now there's going to be a second image in the class notes there for you to try as well. But feel free to just paint your own images to try to apply what you've learned over the last couple of lessons he to your own compositions. Another part of the assignment is just a simply try mixing some neutrals together, trying to create a broad range of swatches that you can from your cues. Try mixing complements together near compliments and also black and white graces. Well, practice control your neutrals. See how far you can push things to a pure great and also try to shift the temperature around the color wheel as well. So I'll leave you with that assignment to complete practice hot and also you in the next listen