Color Theory Basics: Learning Color Theory With Adobe Color | Phillip Dillow | Skillshare

Color Theory Basics: Learning Color Theory With Adobe Color

Phillip Dillow, Be Driven!

Color Theory Basics: Learning Color Theory With Adobe Color

Phillip Dillow, Be Driven!

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4 Lessons (49m)
    • 1. Welcome To The Class

    • 2. Getting Started

    • 3. Color Theory Part 1

    • 4. Color Theory Part 2

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About This Class

This Is A Basic General Knowledge For Beginners Course. Do you want to create a profession logo, print media, or a website for your business or a client? Do you want a greater understand how each color affects your audience? Discover how to use color theory concepts with Adobe Color to create a deeper and richer experience for your audience. In this course you will learn how to apply color theory concepts to your media, graphics, art, and other projects. This course is designed to be detailed but to the point. We will cover all the information that you need to get started using color theory concepts in your work today. 

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Phillip Dillow

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1. Welcome To The Class: Do you want to create a professional logo, print media or a website for your business or client? Do you want a greater understanding of how each color affects your audience? Discover how to use color theory concepts with adobe color to create a deeper and richer experience for your audience. In this course, you'll learn how to apply color theory concepts to your media, graphics, art and other projects. This course is designed to be detailed, but to the point. We will cover all the information you need to get started using color theory concepts in your work today. 2. Getting Started: before we get started, you're gonna want to go ahead and get adobe color pulled up. You can simply find it by searching and Google or your search engine of choice for adobe color. And then click on what should be the first link colored adobe dot com. And it's gonna take you to a screen that looks like this. We're gonna be working and will be color all throughout this course. So take a moment to get comfortable and familiarize yourself with all the different layouts and kind of things like that in the screen. But don't be overwhelmed. We're going to go over everything in really great detail throughout the rest of the course , but I want to make sure that you had everything up and ready to go before we got started. 3. Color Theory Part 1: were mainly gonna be working rgb today, but know that you can change the color mode. There's a cornucopia, different color modes that are out there but in general, and see their RGB or the 2nd 1 which is scion magenta, yellow and black. Even though this decay there, the K technically stands for black. This is mainly used in like printers and for certain types of printer ink and things like that. And you may, you know, if you remember the old bubble jet printers or digital inkjet printers, you may remember, you know, it wasn't read. It was, you know, magenta wasn't blue with Scion. We're not gonna mess with this to too much if you prefer toe work. Uh, in that format of that color mode, most of what I'm gonna say is for many months the same, no matter which color. Motorin, for instance, whether if you're talking about RGB or ah Sai in my genteel in black, you have your warm colors over here, which is like your yellows, reds, your oranges, you know, things that kind of make you think of like the sun or a warm day. And then over here you have your cool colors. You're more earth, your colors or more oceanie colors. And you have, like, greens, blues blends of those things that make you think or feel cool whenever you look at them. Because everything about the ocean you think of cool. Whenever you think about a soft meadow, you think of cool. So that's where you're gonna find you're cooling colors and over here be where you find your warm colors. That's the same whether, if you're talking about RGB or so I imagine deal in black so it's not gonna make a huge difference. Just know predominately, I'm gonna be speaking in RGB. The next important thing you need to understand about colors is a little bit of terminology . There is huge tent tone and shade, so Hugh is the color itself. I e. If I'm referring to the color blue, the hue is blue, right? Um, something to read something real up, or even going into secondary and tertiary colors. You know, if the colors Aqua Marine, you know, the the hue is aqua marine. Tent tone and shade are a little bit different, and they kind of take a little bit understanding to get comfortable with, So we'll start off talking about shade. Shade is the hue, plus the color black right, and what it is, is the darker your shade is. That's the percentage of black that you're adding to that image. So you can see over here we have a little color map going. This would be, you know, what we would refer to as the shade. It's darker than the hue itself, because we started adding black into the image are black into the color of the hue, so kind of example that, you know, blue just straight up normal blue. If I start putting 25% of the color black and they're 50% of color, like in there, what's gonna happen? Well, it's gonna become a darker blue up until point that it becomes black. And if you think about any time you ever play with color swatches or some type of color spectrum and you're you're moving your point around on the color swatches or on the color spectrum, and you're going, you know, darker and darker and darker and darker and darker on the blues. Until find the blue just gets so dark it's indistinguishable, indistinguishable between black and blue. That's an example of shade. Next, we'll talk about tent. Tent is the exact opposite. So we're adding white to the image and you can see that over here we have our tent right here, and we have a little bit of 10 right here That is making the image like a like a lighter. Blew up to a point where it becomes white, the same kind of story as playing with shady. If you ever been with color swatches of color spectrum playing around with the point Yeah, and you're moving in towards that lighter and lighter blue because you're looking for, like, a like a really like pale, pale, pale blue. Well, eventually, once you go too far, you're gonna end up with just white. Ah, and that's kind of how it works, you know, think of shade. Intent is kind of, um, on a spectrum. And in the middle is Hugh. So if you is the zero, the true color Shea would be going in, you know, like negative one negative to negative. Three intent would be like 1234 safe, like 10 right? You know, in 10 would be white and negative, 10 would be black and zero would be blue. So somewhere in there, all your different you know, shades of light blue or dark blue and any different way that you can kind of create colors . The last thing to talk about in terms of understanding some basic terminology is tone now. Tones weird because it's adding gray to your color, and it makes it makes it hard to can't understand if you're not a person familiar. Well, these terms on the bad, because like Okay, well, manning wide event in black And get that Why would I want to add great to a color? And they're gonna be times where that's gonna make sense, depending on the color that you're trying to get or the mood that you're trying to create. So it works just the same as shade intent. But you're adding gray or, you know, half shade half 10 you know, great, right? And, you know, the mortgage gray, you add that blew, the more it's going to start to drift towards gray. So you know, kind of sort of something thing on the spectrum. If Hewitt zero as we and Gray, although I have to say 10 you know, 123456789 10 10 would be gray. And everything in between is gonna be like your your steely colors of gray. So, like, you see, are you stealing colors of blue like you see, right here we have a very almost kind of like, you know, fresh industrial steel color. Like, you know, it's just come out and, you know, it's got kind of that weird mentally bluey color. No, there you go. But those are the four basic terms you need toe kind of commit those two memory having in the back your brain or if you want to pause the video and write them down. You know, Hugh is the color itself. Shade is adding black to the Hugh tent is adding white to the hue and tone is adding gray to the hue. So why is all this important? Well, any time you're doing any type of design or any type of creative process, whether you're talking about watercolors or you're talking about making an illustration for your social media or you're talking about color grading and say divinci or adobe, um, colors matter, color color's manner want. And depending on how you ballin those colors and put those colors together, it can make for a certain mood. It can make for a very appealing image or can make for a very disturbing image. And knowing how to manipulate color will allow you to be more creative in your process. So let's look of a couple examples of bad. So if I take a green, I take a purple and I take a yellow and let's go with ah, weird red. And then, um, this, uh, kind of soft, orangey color does that look good? You know, if I stopped and I went over here to Canada and I put all these colors together, is that going to make for a good image? Well, let's take a look. So just make a bunch of squares real quick, and we'll pick a green and shove him over there and then we'll take a purple and then we'll pick. I think we had a blue Yeah, and, uh, let's get a weird or NGO we'll just due to whatever let's get a blue back in there, and then one other random color. Well, we'll do this, Brett right. If I put all these together in some type of format and we'll get one more, otherwise Miles City will drive me crazy. We'll just pick yellow. Does that look good? You know, would that make four a good document in a good color pattern for say something? I need to look really clean. Really tight, really commercial. Probably not. You know, you kind of get a rainbow of colors going on here, and there's nothing wrong with that. If that's what you're going for. You imagine if you are making say, like, Children's book, right, well, you're gonna want Tom Color, and you're gonna have a talent color going on. But if you're trying to make something commercial or you're trying to make something as I get gritty or a grim dark or a moody feel to it, these aren't gonna work. If you're just trying to make something that looks, um, artistically good having all these colors together, that doesn't really match very well. And you're not going to create something that looks clean, professional. You're gonna create something that looks what kind of like a hodgepodge lack of a better would have put it. So that's while this is important learning how colors go together to create the most pleasing or whatever mood you're trying to create, or whatever feeling you want the viewer to experience is really important for your artistic process and expressing your creativity So we're gonna be going into is all of these different setups for color. Um analogous chromatic try and complementary compound, and then we're gonna cover shade. We technically already covered it, but I want you understand what it is. This is why adobe color is such a powerful tool. It does a lot of the work for you does a lot of thinking for you. You know, you know that whenever you come over here and you click on try and and you got in here and you pull the color codes, it's gonna be a good color. And it's gonna be a color that most other programs are going to know. They understand and accept that there's not gonna be weird stuff. You know what? If you're talking about Canada, are you talking about premier? You're talking about Carell or, you know, whatever in general, everybody's gonna accept some something either similar to adobe color or adobe color itself in terms of the color codes. So that's why this is so important knowing how to get the best out of your color combinations to create that style that aren't that mood or that clean looker, that vibe that you're going for and create a more professional feel to your work. Even if you are trying to go for rainbow explosion or unicorn explosion everyone wherever you wanna call that if you know how to do it right and you know how. Blend your colors, right? You know, having a lot of this having a little bit of that. Having this with this, it can just really take your project in the next level. That's why you know, yet again, this is such an important tool free to have in your tool kit. On top of that, it's free. 4. Color Theory Part 2: All right, So the first color pattern we're gonna talk about is analogous. Want that means is you're looking at the main Hugh you wanna look at? So in this example, we have green, and you're looking at the colors closest to it. So this is a little bit tougher to look at because the way adobe color does is they give you the full spectrum of color. But if you're looking on like a block model, you know where it's, you know, say, like, eight or nine colors away around Ah, it's gonna be really easy, cause that's gonna be green, then yellow and blue. And that would be the analogous color pattern for really simple color wheel. You know that's working on, like sale the secondary colors in the primary colors, because what are the two closest colors to green while it's yellow and blue? If you go to a tertiary color wheel and gets a little bit more complicated, because then you're gonna have you know green is gonna be your middle hue, and then you're gonna have, like, greenish yellow, maybe going into something that's more like a a weird color of dry yellow, green and then you're gonna have more of a bluish green or like a nautical marine. Um, you know, kind of somewhere over towards the blue blue category. But just know, analogous color is the main Hugh that you want. I eat here in this example. Bring then it is the closest colors to it. And when they're if you're talking about, you know ah, three color pattern, which is going to be the hue and then one color up or down each side, or you're talking about a five color pattern, like with every right here. It all means the same thing. You're talking about, the closest colors to the hue that you've selected saying if you go all the way out like what you have here with Adobe Color, where they got no five points on the color wheel, it's still true because of the furthest extends way have green, we have yellow. We have blue, depending on how complicated you're going with your coloring. It's true, but that is analogous color kind of roughly in nutshell. Next is monochromatic. This is gonna be the easiest one to understand of the color pattern options in adobe color . Maybe because you're picking a que whatever you want, and it's just showing you a full color palette, using different tents and tones and shades of that hue. So here I have selected green as my hue it right here in the center, and it's just going to show me different tense, different shades of how that color is gonna look. But if you want to go would say an emotion, you know that emotions like, uh, say Blue, you know, you're looking for something that's gonna make a kind of a moody, dark, lonely feeling. Well, there you go, or it. Let's say you're doing something corporate and you want to give it that vibe of experience , professionalism, trust. Here is your spectrum of blues that you can use, and you'll be surprised how often you end up using monochromatic. And you don't even realize it just because, you know, sometimes blue on blue or blue on blue on blue looks good. If you do it correctly in the stage, everything correctly and you can create some really unique effects with it. This will help you really nailed down what shades of blue what tints of blue are gonna work best with all the different blues or if you pick green and pick yellow kick read whatever. What's gonna work best to create that feel of that look that you're going for? So the next to color palettes we're gonna discuss which are trying tick and complementary. You're probably getting abusing those the most, Um, mainly because a lot of what you're gonna do is gonna bowl down to You're working only a couple of colors outside of black and white, and you're just looking for something that's gonna look good together. Try. Attic is probably one I use the most, but that's probably just a me thing. So what is try attic Try. Attic is whenever you take three colors that are evenly spaced apart or three hues that are evenly spaced apart on the color wheel. And that's how they go together. It's really simple. So, for instance, here we have an orange here we have a purple, and here we have a green there, just spaced out evenly. Now, Adobe Color gives you some other options. They give you another choice on purple, and they give you another earthy kind of, you know, kind of dirt color coming soft dirt color if you want to go with that. But in general try. Attic is just three colors are equally spaced. So if you're talking about the primary colors, well, the primary colors are try a color spectrum. So it is really pretty easy that right, if you're talking about secondary colors, you know, it's also really just super duper simple. You're gonna look at what is, You know, if you cut everything up by thirds kind like you're you're slicing up the pie are a pizza into three equal portions. Well, wherever your lines would be, that would be with your colors will fall. So use this, you know, and don't make it too complicated. You know, if you're working in Canberra, you working adobe, working, Carell, whatever. And you just want you want to have some really good color options. You don't know how many colors you want to use, but you know you want to use more than two. This is a great place to start. And like I said, general kind of going here most the time just because I can pick, you know, whenever color I want to work with, Let's say I want to work with this random shade of yellow, right? Well, then automatically know these kind of kind of rusty, kind of blood colored reds. We're going to go well with it. And then this kind of softer kind of Thiel's gonna go well with it. And then this kind of drab yellowy green kind of almost like a like a lighter version of a military color is gonna go well with it. And I'll put those into my artwork and, you know, it works out. It looks good. So just remember, tragic is super to resemble. Pick your hume and then equally space out the color wheel by thirds. And those are your corresponding. Try it Colors complement areas, probably the simplest of all the color patterns to talk about because you're you're looking at opposing colors. For instance, Right now I have yellow selected. Well, the opposite of yellow on this color wheel is blue. Now, granted, depending on where on the spectrum Oh, yellow, you select. It's gonna affect what blue you're talking about. But in general, you're just looking across the color wheel. So if you're standing over here on green or what's the exact opposite of green and that's gonna be the color that works best with it. I know it might be looking at this now going. I don't know. You know, green and purple? No, but let's take him over. Let's put him in gambling. Let's see how they work together. So I'm just gonna have her green color now and let's grab our purple and weaken grabby they want really is a matter. I'm gonna go with lighter the do and there we go. So if you ask yourself, doesn't look bad. No, not really. It actually kind of works together. It's kind of funky, you know, if you're going for that vibe, I mean, that could be really cool, especially if you're looking for something that had kind of like a nice little artsy tone to it. Those two colors would play really well together. Um, now with this work for, say, like a heavy commercial project now, probably not. But if you go back over to your color wheel, a lot of commercial projects are done in blue. You know what are the corresponding colors to blue? It's going to be yellows, so we'll go back over here, will do the same exercise. There's your blue and here's re alot. And how many times have you seen that in some type of business advertising, You know, a goldie yellow and blue, you know, probably usually like a blue background with kind of a golden yellow lettering on it. I mean, that has just been used. I don't know for how long, you know, forever and ever and ever used by a ton of new stations and almost all the random corporate videos I'm sure you've ever seen. It's just a classic combination that looks good together because whenever you have that kind of yellowy gold lettering on the blue background, what happens? The lettering, it pops. You know it. Yet it's cliche. Yeah, it's overused, but it works. And if you're trying to make something that looks good, whether you just make it for yourself, you're making for your job. Or maybe you're doing this like for, ah, five or an upward job. What's more important on the answer is having clean, professional work. That's what's more important, having something that looks good, you know, So if you find yourself in this situation when you're looking at it like it's good that God's been used a lot. Well, there's a reason why it looks good. Reason why has been used a lot because it looks good. So that is complimentary color. Um, you'll use this a lot. You know? I tend to use traffic a little bit more like I said earlier, but in general, there's a lot of times where I don't want to do a lot of thinking. I just want two colors. Go well together. And I know all my other coloring is gonna be black and white and I don't really care. I just want to look good. I want to be quick. I want to be done and I'll come here. Click complementary. I'll pick my base, You and Bam. I am often running in whatever design software I'm using. Okay, so now we're gonna talk about compound color, and you're probably going to use this one the least when you're learning how to properly work color patterns and the color wheel and everything else just because it's a little confusing. It's a little difficult about the easiest way describe it is. It's similar to complementary, but as opposed to selecting the color immediately opposite your your cue. It's going to select the colors next to what would be the immediate opposite of your hue and you, Hugh itself. So you can see here. My main color of my hue is green, and it didn't go to that same color purple that we had a minute ago. It went to the purples that were next to it and went to the greens over next to it. And if you learn how work with compound color, you could make some really killer artwork. But it's difficult to kind of get in your head like OK, wait, no, it's not something opposites. An analogous. It's kind of like some weird blend, you know, and it's just gonna take a little bit of practice, to be honest with you, to get used to. But what I will take it is a great thing about Debbie Color. It is all the thinking for you. So if you want to practice with compound color, um, patterns all you have to do come in here, pick your hue, for instance, I picked Green and then there you go. It's going to have free automatically. It's great. You don't have to do a whole lot of thinking payments done. You just have to ask yourself, Do you like it? And that's probably where you're going to spend a lot of your time with compound colors. You may like it more than complimentary. You may like it more than analogous. Um, but it's gonna be one of those deals where, you know, you got to make sure it fits what you're going for with your project, and it fits What? You what you see in your mind in terms of what you want express with your work. So just keep in mind, you know it. The definition is the colors adjacent to the complementary color to your hue and the colors adjacent to your hue itself. And that's really funky definition. But in general, that's that's kind of the pseudo textbook answer. You can see it here yet again just to go over one more time. My hue was this kind of middle green. And here we have our purples in here. We have our other colors agreeing which are, you know, kind like if you drew a little weird ultra wide V. Um, that's how that would look. And if I swing it all the way around to say, Let's just go to read. You see the same thing. It's not gonna be the exact opposite. It's gonna be just kind off a little bit and then just kind off a little bit, so I would definitely, definitely recommend. Whenever you're playing with this, just start off slow, use adobe color to your advantage and realize you could make some really great our work. It's just gonna take some time to get comfortable using this color pattern and finding what's gonna look best for what you're trying to do. So the last quote, quote, color pattern and obi color that we're going to talk about is shades. It's not a traditional ah color pattern. It's just a It's a bunch of different shades of whatever Hugh you select. This is still a very beneficial tool, especially in every trying to understand what shades are, but it's gonna feel somewhat similar to monochromatic. But it is different because these air predominately all shades, Um, whereas monochromatic has some tents and some tones in there. Now, when would you use this? I'm sure if you stopped and really thought about it, and you looked at this kind of middle blue shades color pattern. You've seen something similar in, like a law firm advertisement or some type of corporate training video or something like that, because, you know, it's one of those deals where whenever you're talking about certain colors, they're just gonna invoke certain feelings and certain feelings, having a fit, certain industries. For instance, If I go with her to green, you might recognize this from some advertisements where no gas stations or oil companies were talking about how green they are. Yeah, because it's just a bunch of green. So what are they trying to get across to you by the TV or whatever? Ah, it's that they're you know they're earth friendly because every see green what we normally think about Plants, grass, Earth, right? So that's shades, you know, use this as a tool. It's there. There's nothing wrong with it, just no, it's not one of the traditional color patterns, So last thing we're gonna talk about in Adobe Color in terms of the color patterns is custom. Hey would recommend staying away from this, and the reason why that is, is your brand new to working with color and building color swatches. Um, this this is gonna be some really troubling area for you because you can You can make anything. You can pull colors from anywhere on the color spectrum of the color wheel here, Um, So if you don't really have a good grasp on how to Bullen colors together to make a really gets watch, you could make some nasty looking stuff kind like what I showed you earlier in canvas. So you know that it's here, but ah, no mess with it. So other things you can do an adobe color that could be really beneficial to you. If you have an image which you're trying to say, man, I want that read. I want that orange you can upload. The image will extract the color from the image. Other things you can do if you come across a color palette actually like you can save it to your personal library if you have an account with Adobe. Um, in general, I don't really use these two features a whole whole lot, but I can imagine if you were working and photo shop a lot, and you're trying to a lot of color matching, especially if you're doing a lot of work and five or or up work. You can see where if they don't know. You know, let's see you doing work for a small business and they don't know their color codes. But they have all of their previous artwork. You can already managing what they're gonna expect to do. They want you to match the previous artwork, but they don't know what their color codes are. What their colors are blue, right? It's all blue, right? So this could be really beneficial to you if you know that's your situation. If not, you know, if you're doing more digital illustrations, are you doing, you know, color grating or whatever. You may just want to come in here and kind of, you know, pull the colors as you need them, but know that you can do that. You can save them. Ah, you can extract from an image, and those tools are there for you to use. We're gonna talk about color context, and this can be a difficult subject to get your head wrapped around. And what you need to understand is it's more of like, um, on a mental trigger, an optical illusion, and it effects how the brain and the I see and understand color, even though the colors haven't changed. And I know that sounds really, really wonky, but it'll make more sense. Tournament. So I have two examples for you, right? And we're gonna start with the big one down here. The bottom. We have a red dot with a black background. Then we have a red dot with a gray background. Are those two reds the same Red. Go ahead, take a minute. Take a really good stare at him right now. You're probably arguing with yourself. Yeah, no there. Definitely the same red. Uh, no, they're not. Maybe you're doing the opposite, you know? No, they're different. Are they no longer nine? Short of is, you probably took more than one. Look, the answer is that the same red, but they don't feel like the same red. And it becomes even worse whenever you really start to space him out. And Alison, nothing out, side by side who got a lot harder, didn't it? The red with the dark background looks lighter. The redwood, the light background looks darker. And it's just one of those funny things about how colors lineup and about how we view color through our eyeballs and how our brain processes color. And there's some elements of contrasts and a bunch of other things in there. But color context is one of those really fun ways that you can create some truly interesting art, um, with doing very simple things. But it can take a little bit getting used to in terms of implementing it into your work and actually meaning to implement into your work. You can accidentally do this all the time. You he probably accidentally done more times. I want you can't even count, but using it as a tool can take some definite practice. Now let's look up here the more difficult example here have. And I'm saying this very liberally. I have a bunch of different versions of yellow now, obviously saying this is yellow and this is yellow E yes, technically, they're both yellow, but you know, this is more of, ah, dirty mustardy kind of a heavy shade yellow, whereas this is more like, um, a softer kind of canary yellow, but nonetheless, they're both on the ilo side of the spectrum. And then we have blue now. Same exercise. Is that the same blue now, since you're already used to You know what we talked about Below the red dot You probably going home, heavens and yeah, it's all the same. But of course it's same Blue you and you'd be right. They are all the same, Bloom. But look at this on a on a broader you know, spectrum. How different do these blues look as we start to space this out and the answer is quite a bit. And it's just kind of those funny things of it yet again about how your brain and your eyeballs and everything work. But color context is very deep subject. And it's not something that I can cover along with everything else that needs to be a class unto itself. But if you're interested in this, I hope use this course as a springboard to really dive deep into this. But be prepared. You're gonna be impacting quite a bit getting to where you master this unable, implement it in a very effective way. Now, talking about the bands out of this, if you don't understand that this exist, you can get really frustrated, you know, If you're making an illustration and you're like, Man, I know this is the right code for this blue, but it just looks wrong. Well, the answer is color contacts. Because of the way that you've put your colors together, it's making that blue or that green or that red or whatever look different than what it actually is. And it's just it's one of those weird things about color yet again. You need to know how toe how to avoid the pitfalls of this, and you understand that it exists. You don't necessarily need to know how to use it in terms of just no implementation. But it's one of those things that's out there. It can be really frustrating or can make some absolutely amazing artwork if you learn how to master it. But like I said, be prepared. This is Ah, it's a long journey gained where you can use this very effectively very well, but it could make some really cool stuff. That's color context. In a nutshell. Um, I hope you guys use this course is a springboard to really dive deeper into that and really kind experiment with it, if not just knowing that exist might save you, Ah, from having some trouble spots down the road. So this is gonna be the part of the course where we talk about kind of the more touchy feely side of color theory. Colors invoke emotion. They invoke feeling and depending on, you know, the type of work you're doing, the type of industry working in the medium that you're using. Some of these rules kind of have a little bit of ah ah, wiggle or, you know it's not. These aren't hard terms. So we're just gonna talk about this and kind of, Ah, a broad spread spectrum approach, you know, understand that what I'm about to tell you isn't the hard and fast rule. It's a general understanding of the emotion invoked by color or the way of colors used to create a a certain emotion in the viewer but known yet again, depending on the medium, depending on the art form or the industry. Or, you know, whatever it is, these rules can change a little bit. So we're going to start off with my personal favorite color to talk about which is yellow. And the reason why I like talking about yellow is, I do a lot of commercial work and specifically recruitment, advertising and yellow makes us think caution, right? You know, like, Oh, what's going on? That's probably the one that using construction sites. What else did ILO make us feel? Well, depending on what resource is you use, it could be everything from warmth, energy to creativity to fear to danger. There's a lot of different things that yellow can mean, but in general yellow because it's a brighter color, you know, we're gonna notice it because it's bright. It's not like a a black or Navy blue where it blends in. It's going to stand out because you know it's yellow. It's got a lot of pop to it. Um, the other thing is a societal, you know, whenever we talk about, you know, where yellow is used Well, it's used in construction. Obviously, it's using a lot of caution stuff. It's used in a lot of advertisements as a as a pop color standout color. So whenever we are talking about yellow, we're usually talking about something that's making you say, Ah, look at me, You know whether if that emotion is invoked by excitement by energy by fear by creativity, by caution, Whatever it is, dance yellow. So why would you want to use yellow and women? Do you want to use yellow? Well, if you're looking at it from my perspective, where I use it for job ads, Whenever you're scrolling past your instagram feed or your Facebook feed, I want you to notice me. You know, I want that that yellow to just slap you in the face and say, Hey, look at this. Look at what I'm talking about here. And that's why I tend to gravitate towards using yellow in a very particular way to get people to notice, you know, whatever it is that Ah, the company I work as hiring for but yet again these are, you know, kind of subjective rules. If we're talking about saying, you know, like like high art, you know, yellow could mean peace, you know, yellow could mean, you know, fear for boating or maybe even pestilence. But understand that that's kind of the rough, you know, overview of yellow and the emotional spectrum that you're gonna create with yellow going to go to red next and red yet again, just like Gilo has Ah, really broad spectrum, but in general it's gonna kind of hanging out like yellow in tow into so many things. So what are we think of? Red? What do you think about danger, Anger, passion, Things like that. You know these air. These were strong emotions, and some of them kind of go together. You know, like aggression and passion. You can you can see those fitting together relatively well. Danger? Not so much. But when do we see red? Used a lot. Well, read can also invoke feelings of strength, you know. And if you look at, like a car commercials or, ah, lot of small business commercials, you're going to see red used as a background color, like in a lower third. Or you're going to see red use whenever they want. You notice something like, Hey, look at me 10% off and why are they doing that? Well, it's similar toe part the reason why use yellow. You know a lot of my job ads. I want you to stop and pay attention, but also read, Is it because of the emotions? Air associate with red New passion angered Russian danger. It's a strong color and it's going to make you feel that strength whenever you see that color. Now granted again, I'm talking extremely abstract. So if you're sitting here going, I don't know about that, Phil. Well, yeah, a lot of this is extremely subjective. And yet again it goes back to the medium that you're using. You know, if you look at some of the great artist from the Renaissance, they used red in a cornucopia of different ways. Ways I came to begin to explain, and they did some really amazing stuff. That is just full spectrum of how to use the color red and how to invoke a motion with the color red. And it wasn't necessarily because of passionate danger. Aggression. So red is usually a strong emotion. That's probably best way to understand red, Thanks to talk about orange. Orange is kind of a difficult one because it's somewhere in between, you know, yellow and red, and you're going to kind of have not's from both And, you know, like for instance, you see orange used along with caution stuff, So fear, caution, warning. Those things were in there, but also oranges, a warm color. Whenever we think of orange. We think of, like, you know, maybe like a sunset or sunrise. So I think of warmth. Piece We think of a campfire or the fireplace around the holidays yet again. Warmth, peace, happiness, things like that. Orange is a strong color. It doesn't invoke as strong as emotions is red, but it's going to invoke some type of and Commons really wrong word. But some type of you know hey, noticed me blended with a noticed me. But it's OK, That's right, The best way I can put it. And yet again, I'm gonna say this every time. Very subjective, depending on the medium that you're working And, you know, for a lot of people, you never think of cheese. I think orange because when I think of cheddar, right and cheddar units a yellowy orange, but still orange. So some people associate orange with yummy. You know, if you think about, you know, like any scream or even fruit, you know, a lot of people, like an orange, too appetizing. Well, that doesn't necessarily have anything to do with caution or, you know, optimism or cheer. You know, it has everything to do with, you know your stomach telling you. Hey, that looks good. Right? So that's orange. Next, we're gonna go to green in green. Pretty much across. The board is used to represent Earth in some form or fashion When arrested. Earth, I don't mean dirt. I mean, Earth is in the planet that we currently reside on. Um, you know, and you've seen a ton this especially here in the past decade or so where the go green stuff has been really big. And, you know, there's a lot of major companies they're trying to show. How there not trying to destroy the earth by, you know, doing green advertising. Ah, it usually means, you know, nature. Fresh healthy care is usually associated with green. Peace is associated with green. So, you know, a lot of times where I'm using green and my artwork, it's It's probably like a background color, you know, And that's mainly for me. Cause it again, I'm doing either some type of recruiting advertising or I'm doing something for corporate training. I don't usually use green a lot as a front color, but there's some really good examples out there. If you look at any of the oil companies or any of the energy companies or a lot of car companies right now who are trying to put forward their green options of the Earth from the options. And you can also see it, too. You know, in a lot of other different advertisements, and they're using green as a as a calming color. It's a it's a peaceful background color now can use Green as a hey standout noticed me color. Of course, depending on how you combine, Green Green can have a ton of pop. But that kind of goes back to talking about color contacts and how you're mixing colors and everything else next year. And talk about blue and blue is probably the most used commercial color, and a lot of people feel that blue invokes trust, strength, intelligence, you know, integrity. In depending on the context. That's right. It can also invoke, you know, loneliness, sadness. You know, the litany of different. You know, I'm never going to find my way out of this mood moods. So if you look at some of the great artist who went through blue periods, well, were they expressing their blue periods where they explode? The expressing integrity. No, they were expressing your sadness, loss, loneliness, you know, maybe a bit of fear in there, too. But whenever you're talking about, from a corporate standpoint, you know, you see this in a lot of law firms. They want that anything that makes people think like, oh, we're trustworthy Blues also associate with regal stuff not as much as purple, but in general, it's seen as, Ah, sorry, strong, very noble. Probably the right way to describe it. Color. So if you're using blue in a corporate setting, it's usually you can. You can't lose a blue. But if using blew in like a high art setting, depending on how you're using that blue, it's really gonna be seen as more invoking. You know, the sadder emotions and extra and move on to Purple. Purple is a weird one, because it, you know, on one hand purple is the color of royalty and invokes all these different emotions, their associate royalty, but the same time purples considered a very whimsical color. You know, there's not a lot of, um, traditional like you don't see loss. See, P A's are accountants using purple ah in their advertisements. You know I'm sure there's the odd one here there, but in general it's not, Um, it's not seen as a very serious color, even though it comes from very serious roots in general. Purple is seen as, ah, playful or imaginative. Or, you know, something is used a lot like Children stuff. People can be really cool. You can invoke a lot of emotions of purple, especially depending on um, you know where on the shades and the tents you're falling with purple. You know you can use purple to show passion. You can use purple to show loneliness. There's some really cool films out there where they do a purple overlay over the film, and it creates this feeling of sorrow within you as you're watching the film. At the same time, there's been a ton of really great media put out there were They use purple, and it's It's used in a very, um, suggestive tone for intimacy, and it works. It makes you feel that. But you know, purple is is always gonna be a tough color just because of calico, the other colors as a really broad spectrum, this one has a little bit broader spectrum in some of the other ones. But just keep in mind whenever you're using purple, depending on how you're using it, it's gonna really wide berth. So if you're trying to use this say in like a commercial setting, you know, probably leaning towards your darker tones is gonna be the way to go. Ah, you can see there are some major companies out there that use purple, but they don't really use whimsical purple. You know they're going to use a stronger, richer purple. By contrast, if you're talking about maybe illustrating your own Children's book, you're gonna want more whimsy. So you're gonna use more of the violence in the softer purples in there. Next, we're going talk about Brown, and this is kind of a tough one to talk about in the color will, because you could make brown kind of sore two ways. You can come over here between orange and red, make brown, and you can come over here between purple and red and make a a brown like thing. So Brown's tough brown kind of falls, you know, means comfort, because if you think about like leather and sitting in a big overstuffed with the chair. It means Earth, cause obviously, you talk about dirt. Brown's used a lot in a lot of different ways. It's predominately uses a background color you don't really see. Brown used a lot as a foreground color because, well, it's brown, you know. What do you feel whenever you think about Brown? Well, I think a chocolate chocolate makes me feel good. But, you know, then I think about dirt, and I think about things that come out of the back sides of animals. You know, Lou, you know, so brown kind of gets, ah, kind of. It's a tough rap, and unless you're talking about, you know, certain things, like maybe desserts. Um, Brown is just not a great foreground color. Now, if you're talking about intense, you know, tan, which is ah, kind of tent of brown. You see that used all over the place, you know, so brown is gonna be a tough one for you. In terms of using its foreground color as a background color, you should have no problem with brown. And if you're especially using it for something where you're talking about holistic stuff, you know it's gonna be really easy. Use brown talking about dessert, especially anything associate with chocolate or cake or whatever. It's going really easy. Use brown and invoke that you know those feelings of lust for the desert or passion for the dessert. That's gonna be really easy to do. So the last two. We're talking about a black and white, and they're they're difficult to use. And the reason why the difficulty uses because, yes, there used their colors. Um, but you know, a long time.