Give Character Designs a Fun Color Scheme | Brian Shepard | Skillshare

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Give Character Designs a Fun Color Scheme

teacher avatar Brian Shepard, 2D Game Artist and Illustrator.

Watch this class and thousands more

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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

9 Lessons (38m)
    • 1. Introduction

    • 2. Your Assignment

    • 3. Everything Is Relative

    • 4. The Color Map Method

    • 5. Light and Color

    • 6. Color Palettes

    • 7. Color Ensembles

    • 8. Color Expectations

    • 9. Color Swaps

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About This Class

Do you ever think about how your favorite fantasy characters decide what they're going to wear when they get up in the morning? Does red make them feel more empowered? Do blue characters want the world to know just how sad they are?

This course is about figuring out the "why" of color in regards to character design. We'll begin by exploring some basic ideas on color theory, and transition into how those colors are integrated purposefully into characters from video games, movies, cartoons, comics, and any other fantasy medium you can think of. Color can be a scary, complicated thing to learn at a glance, but the idea is to make it not so complicated, so that anyone can be confident in the palettes they choose for their own made up characters.

This class requires no specific software, but I'll be doing most of my demonstrations in Adobe Photoshop CS4 and Adobe Illustrator CS4. The way colors interact is something that people have studied before these programs even existed, so you're encouraged to follow along with whatever tools you feel most comfortable with. All I ask of you is a little of your time and a willingness to make mistakes!

This class is the second in a series about the components of an art style. Be sure to check out the previous course on shape language in character design!

Meet Your Teacher

Teacher Profile Image

Brian Shepard

2D Game Artist and Illustrator.


A slightly-above-average illustrator and character designer for video games. Trying to improve my understanding of character design, storytelling, and how we culturally respond to visual cues like shape and color in everyday situations. Making an effort to help anyone else who wants to learn the same things!

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1. Introduction: plenty of us have covered the insides of our sketchbooks, no past and napkins with fun characters and ink and graphite. Have you ever wondered what it might look like in color? If you've ever struggled with understanding how to bring them to life with bright, lively tones, this class will help you get started. By the end of this course, you'll be well equipped to deck out your character designs and glorious color. Color is something that transcends media, so the lessons we learned or something you can use whether or not you prefer oil paint there's still software, crayons or anything in between. We learned how to make color schemes. They look good together, understand why certain palace are used in existing characters, and I'll give you the chance to add color to one of my character designs. By the end, my name is Brian Shepard. I create characters and all sorts of our lady of things on a regular basis. Most of my work pertains to video games abstract to study characters from all kinds of sources, from live action television to film two sequential art. Recently, I taught a class on state language and how it relates to character design. I encourage you to give it a look. There are some things that shape and color have in common as far as the role they play in a character's personality and appearance. So this class builds on some of those concepts. But if you rather jump into color first, starting here is fine, too. And on that note, let's die right in. I hope you'll join me in the next lesson. 2. Your Assignment: bring a character to life that putting your own spin on his color scheme for this class will take the line are of one character and apply to different palettes of your choosing. So how do we do that? You want to begin by thinking about what sort of color combination you like to use. Your character is supposed to look scary or cute or both. Do you want to use a lot of different colors, or do you want to focus on one color with different shades? Coming up with a good color scheme isn't as simple. S catching in the notebook. You may find it helpful to look at color combinations in real life that you like, as well as color combinations that other artists used that inspire you. Snap photos, take notes and collect palace to help you decide how you will tackle this assignment. You don't need to worry about designing the character itself. For this class, I'll provide a file of the character already drawn with dark outlines. All you need to do is fill the space in between with color. They give it like a coloring book like the kind we were given when we were in grade school . I'll give you several different Tim Place to choose from so you can decide what's character you want to use. Now. You don't have to use my designs. The idea is to remove any stress you might have about designing a character from scratch and following the project guidelines. If you'd rather use their own character, that's totally fine. You'll upload to files as part of your class assignment. The 1st 1 is simple. Show us The palate you shows upload an image of four squares that represent the scheme you use for your character. Now. This doesn't necessarily include the characters, physical features like skin or eyes or hair. But they can't if you really want to. The second part is where you upload the image of the character itself first. So it's the characters Leinart. If there is any, if you're using one of my templates, then that part's already done for you. Next, show us the two color schemes you settled on. These will be J. Pay or PNG files of the character template. Completely colored in your palace in your field and character are the final product, but you're welcome to share any additional progress work. You have up a little photos, artwork and any other inspiration that help you is completely assignment. I'll go over the details again at the end of the class and walking through an example of project. But for now, let's talk about colors. 3. Everything Is Relative: every color had his own behavior, and not just in the sense that orange is fun and blew his dad. Believe it or not, they behave differently based on who's around. If there's one thing to remember about colors is this. Everything is relative. As faras behavior goes, bright colors are the most distinct. For example, raid is always going to stand out, no matter what other colors are nearby. This is probably why a ton of heroes, leaders or protagonist characters and fantasy where this color in some form it's a surefire way to joe attentions of themselves. Gray, on the other hand, is a bit of a sick of fans and contrarian. It could be itself when it's all alone, but when put next to other tones, it takes on the opposite personality. The truth is that it can give off the illusion of being any color, which makes gray and gray s colors very powerful tools. You don't need pure great to see this effect. Even dull array looks very different. Next to bright red is very important to remember. That color is relative and less saturated is the more sensitive it is to what's going on around it. Color can have the same Hugh but look very different, depending on saturation and value. So what do those words mean? Let's take a quick moment to understand three important components of color. Hugh is the cars identity. Red is a hue, oranges a few and so are yellow, green, blue and violet is basically their location on the color wheel. So these are all the same, Hugh. But look how different they are. One is clearly what we call red, but the others are more commonly referred to as pink and maroon. In everyday conversation, you can create a monochromatic scheme like this and still have a lot of variety. You've probably seen a special like this somewhere before. Value is how light or dark something is. Light colors are closer to white and dark. Colors are closer to black. Naturally in real life objects and direct light or of a lighter value, objects that face away from light or a darker value. Saturation is how close or far away a color is. Some great. This bright red is the maximum saturation. Gray is zero saturation color schemes like the kind of steel old movies. What is commonly referred to as black and white, have no color, no saturation. It's important to note that each individual of you gives off his own inherent value regardless of how saturated is so, If you say a completely saturated yellow next will completely saturated blue, the yellow will naturally be lighter or closer toe white. So I'll ask you this. What if you didn't want that blue to have the same value as that yellow? How would you do it? Remember, color is made of three basic components, so the answer must lie in changing one of the other two. You can't change the hue because then it wouldn't be blue anymore. It would be turquoise or violated or something that only leaves us with one solution. We need to sacrifice some saturation as we increase the value. So you see how this powder blue now matches the value of yellow. They're about the same distance away from white. Notice how this new blue isn't quite as vibrant as its royal cousin. You do the same thing if you want a saturated yellow to match the value of saturated blue, but in reverse, who need to lose some saturation as you decrease his value. This is why you can always just begin drawing in grayscale and slapper color filter on top . You'd be adding a new layer of values that weren't a factor in the original artwork. This is probably why black and white shows and movies that are colorized sometimes end up looking a little. Uh oh, a grayscale drawing is its own thing, a color drawing hat so account for color. From the very beginning, it's part of his DNA. Technically, this balloon could be any hue could be yellow, seeing as it's such a light value. But it could also be something dark like purple, as long as this doll in the color version, we'll never know. So that's what I mean when I use the word hue value or a saturation, keep these in mind as we navigate throughout the rest of this course. 4. The Color Map Method: As we now know, colors behave differently, depending on what their next to what color is usually armed blobs of stark contrast on a canvas they can blend together. In fact, you can blend any color into any other color. All right, so look at this spectrum. Sure, one side is red and one side is clearly green. You could even say that the middle is yellow, but at what point does one become the other? When you look at it like this, there's no boundary between the two ends, which means there's no clear separation to divide them into separate colors. Earlier, we saw that a everything is relative and be any color can become any other color, depending on his surroundings. It's easy to blend things with perfect rectangle Grady Insane Adobe programs. But it might be hard to fathom how say bright blue can become orange in an actual artwork with context. This color spectrum represents every hue you can think of in a way, colors like a map, and each you represents a different location on that map. Colors at opposite ends are called complementary colors, red and green, for instance, parent complements together is a safe way to create contrast in the characters visual design. Or you might see two characters whose dominant colors are compliment. Expect them to have very different personalities. There are millions of different relationships like this, based on Hugh analogy ist monochromatic triads. The possibilities are endless. Try picking out different combinations of red, orange, yellow, green, blue and violet to see what sticks out to you. Each of these in its own location on the map. Mixing colors together with pain is what we call a subtracted process. That means the Maury mix things together from There is no colors. The dollar, the resulting paint color will be mixing. Two compliments is the fastest way to get a gray. So back to our original idea. We have bright blue, and we have orange, which are compliments. How in the world do we get from blue to orange in a way that looks, well, good the shortest throughout my work in real life maps. But it's not always the most interesting for colors when blending opposite the facts route is to just cut through great to the other side blue, gray, orange. We've arrived at our destination, but the trip leaves much to be desired. Let's take another out This time. Let's say you want to keep your color somewhat bright, which means staying away from great in that case are out will have to bend a little. We started blue past slightly closer to magenta. They finally res orange, So our spectrum is a little livelier. This time, however, it takes longer to get there. You need more space on this subject matter to make this transition work without it looking to cram together, we'll do one more so you have a blue character and you want to give it orange polka dots. Remember that colors change depending on their surroundings. You could just slapped bright orange on there. But there is another way that long route to orange takes you through. Magenta also considered that greatest tones appear to take on the opposite you of brighter colors. So what do you think? What happened if we made those dots? Greatest magenta? Because the being said against bright blue, they still end up looking orange. You don't have to have bright, literal colors on everything. Sometimes you may want to focus on a single dominant one and allow the other colors toe work. With respect to that, it's a good idea to balance total colors with saturated ones so that your character doesn't become an eyesore. In real life. Color transitions like this will be bent for the most part. So the boundaries between light and dark and you'll see that things may get a bit more saturated close to the edge of light, rather than just being a straight path from a light you to a darker version of the same Hugh. Light and color are inseparable. Lighting conditions in reality will teach you everything you could possibly want to know about colors. This is why understanding values the range from blackness, toe whiteness. It's so important, even in color works. If you want to replicate believable light and shadow, which is probably most of the time, it helps to know how they behave. So far, we've been learning concept that worked fine for flat characters, but let's dig a little deeper and see how light and shadow affect them 5. Light and Color: Let's take a look at the common form of lighting. On a sunny, cloudless day, you'll notice surroundings are typically bright and saturated. Look at the shadows they take on a sort of bluest tent, don't they? There's a complex scientific reason for why does happens. But the important thing to remember is that sunlight is made up of every color in the spectrum. Light is what we call an additive process. Unlike mixing paint, mixing different color lights produces white sunlight pours down into the earth and a generally narrow, concentrated form. The sky appears blue because blue faux times are scattered in all directions when they passed through the atmosphere. Blue skylight comes from everywhere, so even surfaces that aren't directly facing the sun. Get this blue tent, as we discussed earlier objects that face away from the light are darker and value their cast in shadow. Every object had his own local color. The sunlight, which is white, typically brightens that up on any given object surface. The planes that face away from the sun will be darkened. Darkened planes that face upwards towards the sky will still receive a little bluest 10 even though they're being blocked from receiving direct sunlight. So for a red character standing in sunlight, we must figure out how to gear from light to dark. Every lighting situation is different, but for the sake of simplicity on a sunny, cloudless day, shadows are usually more saturated versions of the services in direct sunlight like we discussed earlier. Most color transitions aren't just straight lines, from light to dark, with no change in saturation. All right, so now our character is lit from above. The next step is to replicate this bluest 10 in the shadows, which in this case means figuring out a transition from red to blue. Let's see what happens when we put some blue highlights on the character. Well, that's way too bright. That doesn't look natural at all. Remember, our little blue goes blocked from the previous lesson. When we want to the transition from blue to orange, we ended up using colors. In between dole. Magenta dots ends up looking warmer compared to bright blue, so let's back up and refer to the mat method. We have a red character, and we want to ask solo blue highlights onto its surface. We want to find a graceful path from red to blue. What color is on the map? Live between red and blue? Naturally, we'll need some magenta, So let's try again Now that still doesn't look right. Doesn't look like blew it all. It still looks like magenta because they're both saturated and they're both competing with each other. We need the highlights to work together with what's already there. Bread is the object, local color. So let's doled out the magenta a bit. Now the highlights look blue, and the character conveys a believable sense of lighting on a sunny day, Just like with the character. From before, we didn't need to paint was actual blues to give off the impression of a cold color. Greatest Magenta is so sensitive to the red around it that it pushes away from red towards blue. Why stop there? Let's say you're Drew. An alien planet where the sun is blue. In the atmosphere is perpetually orange. Bryce services still have their own local colors, but they tend towards blue in this grid, sunlight and warmer and shadows. Think back to our earlier pathways, from orange to blue on an object with distinctly different surfaces, like a Cube. The difference between light and dark is pretty easy to see. But on something more around or organic, you might need to create a seamless transition from light to dark, which means deciding whether or not to bend your routes were cut straight through. It depends on what you want to convey, but understanding how it would work in real life should be enough to get you started. Soas faras color is concerned. It's not really about the sun or photons. When you get right down to it. We're basically doing is establishing a dominant light source like the sun, and a weaker secondary light source, like the blue sky, is very helpful to decide what your dominant light sources in a scene and what color, if any, it will attend the objects in its environment. There's much, much more that goes into how light bounces around. But these factors should help you get the gist of how can Korea palette in a scene once you know what color your lighting is and what natural color your objects are, combining them will give you a clear idea of your overall palette. Don't guess for not sure how lighting effects something. It's usually pretty easy to make a real life study, so we'll take some time to fully understand how it all works from memory. There are millions of interesting color schemes and lighting conditions to study out there . They all have their own palette. 6. Color Palettes: palace to go a bit further than lighting conditions. It is extremely important to understand how light and color tie together, but sometimes you just want colors that look nice together, even if they are realistic. If we only deal what was realistic, mankind would be missing a great deal of useful arts. I'm going to play this broken record and say that everything is relative. With millions and millions of colors to choose from, you might be wondering where to begin. In selecting the right ones, it helps to focus on a specific part of the color wheel. Let's look at warm and cool pallets. You probably say that that's a red shirt, a green scarf and a blue hat. But if I pushed him to maximum saturation, their true locations on the color will become a parent. They're really orange, yellow and red, respectively. Bring out colors, makes them more sensitive to the stuff around them. Remember, the closer we get to great the Morris affected by surrounding tones. Since there are a lot of warm tones here, anything that strays even a little from the warm end of the color spectrum sticks out like a sore thumb moving closer to great means, moving closer to the other side of the spectrum. So it ends up looking cold by comparison, even if it is technically not incandescent lighting. But the kind you see in homes are orangey, and appearance that was hard to notice is you sit under them for a long time. Your eyes get used to them. Look at your house when it's dark outside, with the life's on inside through the window, the light probably looks incredibly warm, but when you're in thigh is harder to tell. You're accustomed to it, so why object Little white when there really likely dull, warm oranges? You can use games like this for your characters rather than jumping all across to the color wheel. Pull a few colors that are close together and Hugh, but far in value and saturation to ensure you have a lot of variety. All right, so look, a character like link. We know who wears green and white and brown, but it's usually a specific type of green and white and brown. They're warm, earthy tones. The white is not literally white, as is most often the case. It's kind of a standing off white because that fits well with the rest of his colors. The same principle applies for cold color schemes. Colors are grouped together near magenta blue and green, and grayer tones appear warm by comparison. We'll need to spend some time practicing with the color spectrum to figure out how to get from any given color to another. But once you understand how the mat method works is pretty easy to grasp. If you know how color relationships work, you will be able to draw the same character in different lighting conditions and environment. Picking the right colors is all about getting gracefully from here to there. There's more to it than just picking the cars themselves, though you can also play with the proportions and how much. One color dominates the others using the same combination in different ways. Part of creating a palette is deciding the amount of space watercolor takes up as opposed to the rift. Small patterns with multiple colors can also a cool less and give off a sort of color texture. You can see this and dithering used in pixel art. The same idea can be seen with dots or hound's tooth or whatever pattern your character likes to wear ness from the 1994 game, Earthbound is a good example of a character with a primary color palette. He stands out from far away because his color ringing stresses across the entire spectrum, and they're usually very saturated. Now. These all still come across as primary color schemes, but the Illini in different directions. You could say each variation is being dominated by a specific source. Because of the way that colors weren't relative to each other, we still get the impression that he's wearing red, blue and yellow in each one. This is why adjusting many colors simultaneously with color sliders and digital programs can cause problems. The program only knows how to add or subtract numbers it doesn't know anything about. He was having their own values or saturation or color interactions, so the relationships of the palate end up looking weird in certain areas of the spectrum. I don't know how sliders to make complex color decisions for you because they can't. You're a pal. It could be focused on just one color, or it can be a dominated by two or three. It might help to exercise their strength, though, and not go crazy with too many bright colors. Remember, saturated Hughes are very good at commanding attention. So all of your colors, air yelling, none of them are being hurt. Save your bright areas of contrast for the important parts of your artwork. The same goes for values. Pure white and pure. Black are dangerous weapons to be used sparingly if you had to. Most white or saturated color in your light areas and highlights won't be as powerful to most black, and you've left yourself. No room for concentrated darks or shadows. In either case is like hitting a wall back up and leave your colors room to breathe. 7. Color Ensembles: so if you're designing a character, it might help to decide on a few important colors and work around those as we mentioned before. A character's palate is highly dependent on the proportion of its colors, even though there are other colors in his uniform. Mario is more or less a red character if you want to draw. Still aware of him? Read would be the color to go with. But that's not to say that non dominant colors aren't important. Visually, Red makes up a very small part of sonic design, but he'd be very different if issues were blue to American. Audiences are red, white and blue. Character is subconsciously different than a plain blue and white character, not to mention bright red shoes. Make it a lot easier to get your footing on tricky platforms and old to de sonic games. A group of characters can have colors that work together in ensembles. Do you recognize these color squares? They had no distinct characteristics, but I bet at least a few of them are ringing bells because of the way they're colored. If you're making something that involves a group of characters, consider how well their palace work with each other. Are the Chloe coded based on personality? They all have different arrangements of the same palette. Think about how their uniqueness would be different if they all wore the exact same colors . People typically respond to bright colors, not only because they're easier to see from afar, but it's easier to remember colors that you can name. The big green guy is more distinct than the big sort of greatest guy with light purple stripes. We're creating a palette for character or a group ensemble. Try giving East one at least one important color that's easy for the common person to identify. 8. Color Expectations: one of the hardest parts are working with colors can be gazing the expectations of your audience at some point, and artists may ask yourself, What does red mean if I put it here? That's a really hard question to answer, one because Red can mean a lot of different things, depending on where it is. And two, because everyone has their own personal experience and perception of the color red arrest up light is a warning. A red triangle with the point facing down is a sign of decrease. A red heart on Valentine's Day shows that you care. Color and state language can also team up to do things that either couldn't do alone. So if we alter the colors on this palette, this cross shape can have a very different meaning. If it becomes red suddenly, she looks a lot more like a medic type character. Let's try another one. All right, so these robots are identical. Now let's just throw a little bit of color onto it and see what kind of difference that makes. We're a little more worried about the one on the right. Just because we know that read Austin implies danger. Actually, if we want to, we can exaggerate their difference even more. All we do is flip their eye shape and their personalities become even more pronounced. Ah, highly recommend checking out of the class on state language to further understand how these two elements of our style could work together. Color can also be elemental. We already used the words warm and cold for certain colors. Read. It can be hot. Yellow can represent electricity. Blue could be water or ice. If I only told you that one of these Pickman were good at swimming and one was immune to fire, you'd already know which ones were which. The possibilities are endless. If you look at the wisps from sonic colors, you can see that no. Two or colored exactly alike state language also plays a big role in their design. But you probably have your own idea of what sort of powers each one has, and it will be different than the next persons. All right now, how do you feel about a character that looks like this? When two characters have opposite color schemes, people have a tendency to expect their personalities toe follow the same pattern. All right now. How do you feel about this character? Look closely and see what they're really having, a comment and what's really different about them. Even if a character is completely androgynous in its shape and appearance, suddenly color has the power to invoke gender norms in our minds. This is something that we learn from a very early age in Western cultures. Sometimes just changing the color of a character's clothes. Gonna have a big impact. Suddenly, our perception of this guy becomes very different if we make all of his clothes orange, we could go on all day with this, but you get the idea. And these are mainly from a Westerners perspective. They have completely different associations across the globe. We have all sorts of conceptions about color that we're probably not fully aware of, but we use them all the time. Chances are you and I make many connections like this several times a day without even realizing it. Colors have been given so many different meanings over time that has just become second nature for us. It's important to understand why we do this to use color purposefully and deliberately 9. Color Swaps: So if you have ever played a fighting game before, you know that in most games each character will have multiple costumes to pick from, apart from the normal wardroom. Why? Well, let's say you and your friends choose the same character. Um, o Okay, so I'm the green one. Your assignment for this class is to create to color palettes for an imaginary fighting game character. One will be the characters normal color scheme, and the other will be an alternate. The alternate can be based on a specific motif or not, but try to make the two very different. Consider how the character's personality changes with the scheme. As I stated near the beginning, the characters are already made for you, so your job is to focus on colors. If you do decide to make your own, the character doesn't need to be human, but they shouldn't just be a single, flat color geometric shape, either. Give them features that can have their color slopped out headwear, closed horn things like that. Remember, that east color palette consists of four different colors that work well together, and you'll be making two of these. Keep experimenting until you find combinations that you like. All right, So I'll walk you through how to color one of these templates digitally. There are several templates to choose from. So pick which everyone do you think looks the most fun. Okay, so if you open up the Photoshopped file, you'll see that we have the character ah, fully fleshed out on a transparent background. For now, they're all agree, and your job will be to add your own palette. So I divided the image of each one into separate parts on the right. Here, you can see my layers panel. Um, the top most layer is the outline. So, you know, if I turn this on or off, you could see the lines will so up or disappear. Um, this is always be the uppermost layer. So, you know, just leave this alone for now. Below that, a Z, you can see after two different groups. The 1st 1 which is named palate, is something you can use. Teoh easily access the colors you want to use. Um, so up up in the top left corner of the candidates, you can see four squares aligned vertically. Um, those. You know, these other layers that represent those squares. So as you can see on these layer, there's a great square. This square represents the color of that layer. So as you can see, they're all agree. Everything is great right now, and your job will be to feel and ease layer with color. The second group beneath that, as you can see, is called colors, and this is where the characters main Colors are grouped together, so you know it's arranged the same way as the palate folder. Each layer represents a different shape, and they're all named according to what they represent. So let's see, Yeah, if I click on this layer called face, it will open up a color palette. As you can see anywhere I click on this palette, um, her face will automatically change that color. So if you've never used the ah Photoshopped palate before, basically, as you can see, you can slide this spectrum vertical each of change that you So right now, um, is kind of ah, scion color. And but if I click here in the Purple zone, you know, becomes purple and so on and so forth, Um, from left to right represents saturation. So always with left zero saturation completely gray all the way to the right. Um, you know, you get bright statuary called and vertically you couldn't just value. So in the top left is pure white and ah, the bottom represents black. So, you know, just just have fun with it. It's, ah, pretty straightforward and easy process all the hard work has done for you. Um, all you have to do is click on each layer and adjust the color according to the palate you want to use. So let's just go ahead and fill this, and just so you can see how it works Ah, you know, we'll give her something. You know, remotely, the color of human skin will fill in fill in the eyes. Uh, let's see. You know, give her a hair color. You know, that's that's the basic process. You will whatever character you have, of course, well, have you know different state layers for different parts of the palate, but you'll fill them in all the same way. And like I said earlier, the palate folder is so you have easy access to your color scheme for the project assignment. So let's go up here, just like with the ah, the characters colors. Um, you double click this square to open up the color spectrum and you change them to wherever you want to and something you can do. You know, once you have your color scheme decided in the upper left, you can open up a state layer on the character. You know, the spectrum window will open is normal. When you move your mouse over the cannabis, you can see that it turns into an eyedropper. So now you know wherever you click, we'll select the color on the canvas. So right now, we're just in the color of her hair. So where we click on the canvass, her hair will become that color. So you can You can use your palate this way very easily. Apply your scheme to the characters. Ah, the character of shape players. So basically all you're really doing is picking out colors. It looks easy, but is not as you stays earlier. The color palette is more than just two colors themselves. You also have to decide how much of these color you want to use, where you want to place these colors. You have to decide, Of course. How How will this palette? Um how this color skin on their face? The character's personality. But, um no. There you go. That's your assignment. Um, she was whatever character template you think looks in those fun, and I just go wild. You know, you can always change the state layers whenever you want to. So, yeah, have fun. Once your characters all filled in, save it as a j pay or PNG and show us what you got. I look forward to seeing all the different palace you come up with. Don't forget to also upload progress, work If you're taking your photos or you find any interesting object that help you come up with a good color palette, show us That's about all they have to cover. In this course. As Faras Color is concerned, it adds an undeniably significant dimension to a character's appearance in design. Sonic wouldn't be the Blue Blur without color. The Simpsons wouldn't be who they are if they weren't yellow. And Superman is not the same without his bright primary palette. Take what you've learned here and make your own icons. I can't thank you enough for taking the time to complete this class. And I truly hope you'll check out my course on state language. If you enjoy these lessons, this is only the beginning of what you can achieve with color. So I hope you will continue to explore it from here.