Pixel Art Coloring | Parker Pierce | Skillshare

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Pixel Art Coloring

teacher avatar Parker Pierce, Animator

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

8 Lessons (1h 60m)
    • 1. Introduction

      0:59
    • 2. Why Do Colors Matter?

      4:21
    • 3. Make a Thing

      2:21
    • 4. Palette Rip From Other Pictures

      20:49
    • 5. Using kuler Palettes

      10:41
    • 6. Manually Mixing

      11:34
    • 7. Demo and final thoughts

      68:33
    • 8. Outro

      0:22
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About This Class

In this class, you will learn how to color your Pixel Art on a professional level and make it ready for whatever your application will be, such as Art, games, animation, and more. Learn how to develop and troubleshoot your own color pallets and how to look at other Art and images and formulate your own inspired color pallets. Follow along with industry professional Parker Pierce as he teaches you the ins and outs of Coloring your Pixel Art.Ā 

In this class you will learn

  • Why colors matter in pixel art
  • How to use pictures in the world around you for color palettesĀ 
  • What a kuler palate is and how to use it
  • how to manually mix your color palettes
  • additional tips and ideas as a part of a demo session where Parker runs through his process as he colors pixel art

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Meet Your Teacher

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Parker Pierce

Animator

Teacher

2d Animator (classic/pixel/flash)

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Transcripts

1. Introduction: Welcome to my beginner's class on color palettes for pixel art on Parker Pierce, I'm a professional animator, and I built this class to give you some tools and methods you can use for choosing colors to use on your sprite work and everything related. This class is aimed at beginner artists who have the knowledge on how to make sprites, but don't know where to start when it comes to balance. We're going to get to work with color as quick as possible and keep things simple, manageable. This class is not specifically on painting techniques, but I'm figuring out which colors will give you a strong start when you're painting. After brief chat about pixel arts, unique relationship with color ballots, we'll be tackling three Easy to use approaches, repel building and finishing with a demo and commentary, I'll be working in a spray with a little side use of clips studio that the programs don't really matter since we'll be mainly focusing on method and process more than tour specifics. Let's get started. 2. Why Do Colors Matter?: So before we start getting into the process of color and your pixel art, I want to talk about why pellets are so important to pixel art. And I thought I'd give a quick example. I'm currently using a sprite. Any pixel art program will work. So I've drawn this image to kind of demonstrate how in a full high-res page there's kind of a difference between a good and a bad drawing of the exact same thing, right? Like you have clarity. There's, there's obviously style differences that people can have between what we consider good and bad art. You can usually tell when something's crafted clearly with better draftsmanship than other things. But in pixel art, that becomes difficult to do because you're limited. Now I pixels the API to work with. So over here and you can tell like the curvature of the thumb and like the little nuances and the line thickness has changed compared to, you know, cover. Don't be thumb shape over here. But if you're a beginner or if you're an expert at doing pixel art, you're kind of stuck with the same number of pixels, right? Like if I went over this one on the left, you know what, what say a pro looking hand pixel look like compared to a beginner looking pixel. They're both the same, the both one pixel. So if you're working at low resolution are to an extent, there is a lot more uniform look to it because of the limitations. So the only way you're really going to make stuff like this Schein is by your color choices. So you can have, and the same color is red, green, and purple. If you have a sense of color, you can make things look just more unified and general. Morph. I wanted to have, you know, maybe wanted to bring this down, this down. So if you're not changing up the pixels themselves, palette really makes a big difference. And so this class is about how to pick colors that work. And it's not so much fancy shading techniques because there's plenty of classes they'll teach you how to drying shadows and put in fancy highlights and whatnot. And I actually have another class about anti-aliasing, which you might find interesting. But this class isn't about detailing things out. It's just about if you're stuck with a limited number of colors and you want one image to look good compared to another. And I'm going to exaggerate this. Lot of beginner artists. We'll kind of use the most raw versions of each color. They like. I'm going to have Green and I'm going to have red and a map as much. You know, if each of these colors as I can. And it's kinda, it's easy to, he started at this and you look at the palettes and you don't know where to go. And so you have the people that they try and pick most saturate versions. Or you'll have someone that will just grab random colors that might not even work. You know, like there, there's plenty of guesswork colors that if you have no direction, you can just get some really mismatched stuff. So we're getting into some thought processes that can help you decide on your color palettes in general. So now that we've got that other way, let's jump into the first one. 3. Make a Thing: Though hello. So first things first, we're gonna need a piece of pixel art, and we're going to need five colors to work with it. So if you have pixel or of your own, you can skip this step. But if not, lets go ahead and make an image, and I'm going to use something a bit smaller. So you can make an object or if you just want to have anything in general to colour, you can you can make a blob and then, and then give it a main color. Show shape, midtone. And to highlight. So Bob like this has 123 or five. Now keep in mind that if you have a pure white for a highlight, in a pure way for background, that may cause some issues. So it might be worth throwing down a non-white background or having it on its own layer with opacity. So that you can include that highlight as a PIP color. Moving forward, I'm going to be working with a coin that I drew earlier. Well, yeah. Just mix up real quick. It doesn't have to be complex. We just need a thing that you can use. Colors on. 4. Palette Rip From Other Pictures: Hello. What are the best places to go to for colors? Once you've a piece of art finished, is going to be other pixel are games. So go ahead and grab some of your favorite sprite sheets and bring them in. Because if you wanna see how other artists use their colors, well, which ones work well together? Things that have already been published. There really good resource for color choices. So once you have one image, you can simply use the eyedropper, which in a sprite, the eye dropper is alt. If you're on a PC, I would assume probably command if you're on an apple. But you can grab five colours. Once you have all five colors over on your side, you can use the paint bucket tool. Turn off the contiguous, I believe is how it's pronounced. This means that whenever you bucket fill any color will color all of that pixel in the scene instead of just everything that's close to it. So if I take this blue highlight, for example, in a lot of color in the pure white and tackles all of it. And I can just do the same thing, going all the way down the line. And we got ourselves a Mega Man coin. Actually. You may want to switch up the order. Nothing about those two blues. Not quite the best. And here's the thing. These characters have, obviously more than five colors. So you may drop from some of it and realize that the order may not be exactly what you want. So you're not exactly you're not tied down to the colors that you can still adjust them as well. Sprite sheets will give you a great place to start. That's you weren't better. Yeah, there we go. So lots of classes will go into how to use things like the blur tool. Here. And show you how to blend the corners of stuff. But we will probably not be working with this much if at all. Because every time you do this, you make another colour that you have to account for. And every time you do that, your palates, they get harder and harder to manage. So we're gonna be doing is simple five colors. The three to five, you wanna go to six, we wanna go certain simpler is totally fine as well. But five is a good place to start. Let's go ahead and use another example. Over here. We have those five pallets and can simply go in and directly I dropped from one, go to the other. And now we have a new coin, which as you can see, I still have those anti-elitist colors. You see how? Because those are left in, we have little bits, we have to clean up. That's one of the results of the expanding your palettes. X. Let's go ahead and they're up those pixel edges. Some of the older sprites that have more limited palette choices will have more bold choices. When you get into like newer sprite games. Ones are limited by 16 color maximums, then you get a lot more of arranged to work with. Also another thing to keep in mind when you are hunting down spreadsheets is PNGs versus J bags and jpegs. They'll compress things in a way that you kinda have a little bit of a noise. So if you are doing color choices, it's best to stick with PNGs just because they keep solid, consistent colors between them. But if your hardware and styles don't rely on you having an absolute locked in pallets scheme, which no, most games nowadays, don't. You? Jpeg should still suffice in your color begging. Just keep that in mind when you're working with them. So I could go over here and grab a highlight. I drop in paste. And you're going to find in multiple instances, in multiple instances over a character that you can kind of use different pieces like I just use his skin color for this, but it could also very easily just use the hair color. And that her hair color that I picked. What if because this one kind of got to the second highest orange. What if I want to work with the brightest yellow and then work my way down to orange. So you can use the same palette in male, one step of color, different pre-given, use a highlight from the green. And as you work your way down, you try and see if you can locate a color that transitions between the green and the orange. And now I have something that starts in the orange range and then rolls over to the greens, which has more of a dynamic look to it. So anything that you work with, your not hard locked into it. You can kind of Frankenstein room pallets. You can do different different bits and pieces of them, and you can also edit them as you work. For example, this orange is a little bit harsh next to that, yellow right there. So I might want to take this and maybe desaturate a little bit just to make those two more cohesive. And the way that we do that is if I drop both of these colors and look down here like where that little cursor is. You can see how far away roles in the saturation, in the brightness. And then you can see how much it rolls between the actual Hughes down here. So that can give you an indicator of May and we'll put the color here and then rod over a little bit. Or alternatively, you can use a smudge tool, which I believe is our Yup, grab a mill colored undo and then paste that in. So that's one way doing a color mixes. This. Keep in mind that if you use smudge and it's not going to be 100% reliable in what the outcome is. Because the smudge tool looks at all of the eight adjacent pixels to determine what the middle colors going to be. For example, if I, you know, if I have three orange in three yellow and I use smudge right here. Oops, please smudge right here. That color is different. And that one, that one's a little bit lighter. And once you've gotten some pixel art, just know that there are other places that you can do help ripping from. For example, if there's any famous illustrators, they have paintings that you really like. Hi, I'm gonna take one from Alphonse Luca. Drag it over here. Get rid of that. You can also take any classical palettes that you find interesting and run with them. High like these kind of. These warm colors over here. So I'm gonna grab the unlike this, which you're going to have the same issue are the same issues with whatever jpegs you're running with. Which is to say, the hues are going to shift a little bit by noise. You can look at the color palettes down here. You see that wiggles around a bit. So your colors are never going to be 100% perfect. But you can fiddle around with them once you're done. So you could technically, you wanted to just stop, pile a bunch of pallet coins or blocks or whatever you have. And give yourself a bunch of pallets and see what they look like. And then let's grab another painting. Lay in Dekker. Another really awesome illustrator. And when you're hunting down illustrators, the different art movements are going to have their own sort of, you know, pellet flavors. There are different color choices. So this is for when you don't know what you want to choose for your colors. But you want to go somewhere where someone who knows what they're doing with colors has chosen some. You can totally just reverse engineer, use either the cookbook. And what if I want like these pants as a coin? Like can go in. And boom. The doom. And you see how like there's some warmer Brown's over here and there's some greener Brown's over here. But they're both kinda like brightening up the same range because they're getting to the highlights of the pants. You kind of get to choose which colors you want to work with. I gets, even though you're grabbing colors from an image, it's not necessarily something that you can just auto may not think about what your choices are. You're still going to be thinking about what parts of the image have the most appealing colors. So your, even though you're still working with color choices that work well together in the illustration. You're still choosing things to an extent. And this is Minsky action scheme. Not sure how to pronounce his last name, but he's got some spooky or that I enjoy. I like these, these muted sort of like warms to oranges. You also noticed as you, I drop colors from places, you're going to start realizing your tastes. Like for me, I have already noticed through these images that I just really lake when oranges and greens kind of roll through each other. So let's go ahead and read this for my sake of this video, I'm going to roll through a different part of the pellets that's not orange to green. And take the earth or spooky cloth. And this sort of a thing gets a lot quicker than more you do it. Also another thing. Notice how this highlights really break. You don't necessarily have to limit your highlights to being super bright. You can use something that's a little more muted and that coins just gonna look no more subtle like it's a ghost coin now. And that's one of the cool things about grabbing palettes to, as you're kind of you're discovering things like, what if I want this coin to be super bright? Because the opposite is true. What if I want a super bright highlight? Then all the colors will still be up in this high brightness range. More value depending on which typically term we want to work with. People in the artsy community like the use value. But most people know it is just me, brightness and general. Yeah, you can make like a coin that's pretty bright overall. And these ones don't quite work because I put a brighter tone and the lower part of the scale of the brightness to darkness. That's why it's got this. I don't know, it looks a little odd. So Let's keep in mind that you can always go back and revise your color choices and kind of even that out. You may end up with kind of a happy accident sort of a thing. Or you may just give that up like I am right now and be like, okay, I'm just gonna manually drop the colors down myself. The, the I dropping from your resource is once again, just a starting despite. And there's going to be points where you're going to look at a color choice and just feel like no, that's not right. Wait, that's right. And that's where your own intuition kind of builds up. And there's definitely rules and theories and whatnot that can help guide you to their colors. And the more you do it though, you're gonna just, you're going to have an intuition, but you kinda have to build that up. So paintings are another one, but you're not just limited to sprites and paintings. You also have photos. You can ease real photos. Or you can just grab a screen cap from your favorite show. Maybe you like the atmosphere in here. Maybe like his shirt colors are good. And you want your game to feel more realistic. Well. So you can just grab from pretty much anywhere. That's more of a cloth Coleen. So if you're painting something like well, I guess like a purse or backpack or you're a bag of some sort. Well, you can just grab colors from your cloth objects. Same thing, way authorship. So I would highly recommend doing, you know, 33 sprite sheets for screen captures from an old-fashioned game that you like. You'll grab, grab images that are your style. Not just any, because you're, you're going to be building up your own library to grab 33 pixel are examples and it can be from our C-like. And grab three illustrations and then grab three photos. Kinda ci that last one and grab the back back a bit. Let's see what happens. Just gonna run through two more the mix bits and pieces from the entire environment. Because a lot of this is also going to be, let's see if this works. Hey, that kinda works. Save it or toss it all up to you. Go over here, grab that. Grab this yellow. Does that work? Almost? Kinda like maybe if I throw it up there. But can I grab this yellow over here? I kind of want that outline to be a little darker though. Huc two dark. Yeah, now we got kind of a rusty coin. And as you add in colors like this second color a here, it feels a little out of place next to this, this line color in the red. So you're going to be constantly tweaking things and kind of adjusting them. Now looks kinda brassy. We've had like a velvety coin without a ghost coin, We've had a brassy coin. Hmm? Let's see if we can do skin tones. Skin tones tend to be a lot more nuanced. So you tend to see pixel art with more simplified skin tones, then you would be like photos and illustrations. There is an interesting thing that happens when you eliminate the subtleties of having a bazillion colors in your art. Don't expect everything to translate over, but trial and error is going to get you through this a lot. This is just a place to start. This is, Hey, what should we code these with? Grabs them, cool. Hey, we've got some cool. And there you go. So that's your first verse method. I drop from places with cool colors. 5. Using kuler Palettes : Hello, hello. So our next method of making pellets is going to be going to an online resource called Adobe cooler. K U L ER, misses a very great place to generate colors. With intent. You have on the side over here different rule sets that can help you customize your own colors, which as you'll notice, they have five slots, which will work nicely with the five tone image that we were using earlier. So analogous just means that all the colors are going to be next to each other. And the nice thing about this is you can scoot it around, get them all as saturate or D saturate as you'd like. And you can fan them out. And then down here. And you can manually scroll through. And then at any point you can use a snip tool if you're in Windows or screen capture and grab a color, copy it, and paste it in. But just keep in mind, when you do Paste it in, it's going to be a lot bigger than whatever resolution. You have. Four pixel art and most likely, so you may wanna paste it into a new document first. Which if you have copied something, it will automatically make the width and height scale to what your images. So you can make a second file and I drop from there. And we can go through that same process. Over here. Things get tricky because you might end up with colors that aren't in a very obvious light to dark ratio or sequence, sorry, you might end up with lighten dark colors not in the right sequence. So you will have to do your own guesswork as you code these in. And you're going to find that some of these colors aren't going to necessarily be perfect on the first time through which to give this another shot. There's a light. And this is where you'll go over here and you'll manually tweak the brightness routers. These are all pretty much just a face to work with. So going back to cooler, monochromatic means that it's all one color. But you have saturated and desaturated versions and you have lighten dark versions. So we can do the same thing. Copy this. Okay? And this is all just a quick and easy way of giving pellets without having to login or register for stuff. If you're just doing a quick and dirty, you know, low effort. Screen caps were going to be the go-to. And we got kind of a frog looking coin. And then we adjust this one. I don't like this gray. C1 of ways that you can figure out. If a colour you'll doesn't feel like it belongs, is looking at the adjacent colors and how bright they are and how saturated they are like whenever the pattern is. Because at a five color palette has points of information. It's like if you had a number that went from no. 124816, you're going to know that it doubles each time. So in the same way, when colors are saturated, saturated, saturated, the saturated saturated. You, you look at the pattern and you adjust the color to fit that pattern. So let's jump back over to cooler. Triad is, hey, you got three colors. Triad. Complimentary means that you're just picking colors that are opposite of each other on the color wheel. Split complementary is kind of like the tried to mix between complimentary and Triad. Because you typically do have three colors. But on one side it's two opposites that are almost the exact opposite. They're just not completely. And some of these get pretty complex. Double split, complementary, square, compound. And so it's not necessarily aware it all stops if you're still like, I don't know if I like pick a my own colors. They actually have an Explore section. So in the exploration, you're gonna find a mixture of pellets, but also stock photos. And you can go to all sources and just use color themes. And that should eliminate the photos. And so you have a bunch of five color palettes that people submit. And any one of these, you can just, oh, I really like this. These colors down here, this may look nice for, say, if I'm working on a table in some characters, house or something like that, well, I can just paste it down here, which once again, keep in mind that the resolution of your screen caps or snps are gonna be different each time depending on how wide you run with. Then over here, the exact same thing. Yeah, not bad. But I'm gonna use the smudge tool and grab a middle color here, bump that other one out. And over here, he's a smudge tool. Grab a color. Now it feels a little bit more unified. And if you have like a one material object, it's not always going to accept some of these color balance perfectly. But if you have a character that has no a hat and a pair of shoes, you know, each one of those materials can have its own different palette. And then you can do any searches like if you want your, if you're doing like a gym that your character picks up. Hey, you want happy colors? And what does the Adobe Community think of? Happy? Thinks of Brighton saturated. And then what if I were to do sad? We'd be here making a horror game of some sort. And you also may find that sometimes your searches, you'll find color palettes in there that don't necessarily feel like they're descriptors like I wouldn't necessarily call this one's sad. This seems more like a happy color. But you ever entire soil, entire search page to look through. So I would recommend going through in grabbing a bunch of pallets and do like five or ten coins using the library or custom colors from Adobe cooler. And that's going to be your second way of generating colors. 6. Manually Mixing: Hello. So our last method of coloring is a bit more of an advanced version. Sometimes when you're using sprites and you're just dialing through colors, and you have a complex character. Manually rolling around here just doesn't feel the most intuitive soap or some people rolling through this area to pick their color clicks. And for some people, they're just not into it. So using kind of a more traditional approach, we're going to do paint mixing. And this is usually something that you'll need either another Digital Art Program in or actual painting materials and a camera. For this demonstration, we're just going to use a Digital Art program. But you know that nothing is holding you back from grabbing actual paints of the album. So I'll be working and clip studio. Generally you're going to want something to work with. So you may want to use this in combination with some photos to give yourself a place to start. So go ahead and grab a photo. Grab any spot. You like the colors. And you want to paint it solid so that you can I drop code them better. And some people painting directly on the photo is good. Some people don't like it because, you know, if you're seeing a character in a desert, for example, that's going to influence how you might mix the colors. So once again, it's all preferences. But you can basically just grab a lot of these colors you might normally use as just freed up. Ra I dropped. But just kind of you gathering up your groceries pretty much like you're going to you're going to take them home and make yourself a more nuanced construction, like a pallet sandwich, V2. Maybe you just want food. Anyhow. Once you have a good number of chunks that color, I'm going to isolate them. You can use smudge tools, which include studio. They have, you know, some various types of blends. Like Ireland blend brushes that you can customize, but also download your own specific ones. I'm going to put a texture on one of these. This is more of a technical thing. Okay. What we do, you just kind of blend between different colors to see what, what do the transitional colors look like? This is kind of a reform thoughts. Don't lead to higher. And at a certain point, you might start to find some colors that you like because you're kind of like radians between the gradient in between them. So you might grab your brush again and then maybe I like the way that these ones look. And we'll play around with that more. And hey, I like how this looks. And grab those out of there. Then if you're not sure, like the brightness darkness, hierarchy, you don't necessarily have to put them one right out really, you can set two of them next to each other and then you realize, Oh, this one's slightly darker than this one. And this was a bit more saturated. And then even though we have this blended down here, we could always go back to the new five colors. We've made. This blend between the two. You don't have to. But this is like you're constantly building up new options that you can work with us to keep in mind that if you have white background, it's going to dim the colors. So it might be worth making kind of a neutral gray given like a brownish, reddish. Sudden that's nowhere near bright, nowhere new dark. Now once we have a set number of colors that we like, and use the lasso tool and copy paste them over to do few pastes, something like that. And then I have two groups. Five, which keep in mind your paste smite contain opacity, might have to make a new layer, then drag it underneath, and then merge them. Which I have a class on, which I have a class on how to use the tools and clip. If you're interested in that sort of thing. I definitely recommend checking it out. Once we have our makeshift pal over here. And go ahead and switch to a dual mode and begin the process again. The first is pretty much just going to be kind of a Very casual guesswork sort of a thing. And I still have the a contiguous I believe is pronounced option on. So that's why all of the colors are certain sort are being affected. You may find that, hey, some of these don't work out as well as you'd like. That's when you go in and you manually adjust them up anymore. Guy, like the highlights to be a little bit yellow. And hey, I could stop right there. Or I could say, hey, I don't want the entire thing to have that palette colour. I'm going to grab from the second one. Maybe I want a couple of these cubes were like the head or the tail to look a different color. So you can manually turn out the contiguous or turn it on so that when you color fill, it doesn't affect all the color. It only affects everything that's adjacent to it. Or you could keep that on or the or you could keep the all pain bucketing effect of not having a check on. It's a very complicated way of saying it was. You could check or uncheck it. And then you can Lasso Tool sections that you do want affected. And then go in and see what kind of stuff you can make. Then at a certain point, you're going to have a nice variety of colors. But having something where all this is blue and all this is the orange, sometimes they don't look as cohesive as they could. So the way you solve that is by bringing in bits of one pallet to the other. So I take some of the orangey bits from the orange palette. I scatter those into here. And then I take some of the buoy bits, and I put 0's in here. So this is how you make the colors more cohesive. You just kind of just know bits and pieces. And you may find yourself adding new colors just to fill those gaps. Like I want something to kind of fill in this dark body tone. But any of these blue colors are still just two bright. So I might just break out the smudge tool just so I can get one color that fits in pretty well with the others. And I might bring that one back in to see the other one. And so that's how you would mix your colors and apply them to your pixel art. And painting usually requires a level of multiple passes. Like you're not really going to get the first colours. Perfect every single time. Unless you've been doing this sort of a thing for years, even decades. So don't feel discouraged if things don't come out perfect the first time. It's a process. And when you are starting to use it, you're going to kind of tailor it to your own needs. 7. Demo and final thoughts: Parts more of an extra. It's just some demo in case you want to see someone go through the process of coloring and get some commentary and tips and thought process. So I made myself a few objects and I'm going to color. And I've grabbed a bunch of pallets of Adobe cooler. And I use them kind of the plan in mind. Like I've grabbed kinda of a diamond, ruby, emerald, sapphire amethyst, and an amber for the gemstones. I've got sort of an unorthodox, I guess, not unorthodox, but a typical and uncommon pellet choices for gold, silver, bronze is steel, maybe a thriller, a gemstone sort of thing for the coins. Last and we'll probably just wing it, see what I can come up with. And I got some happy ish colors and some grim colors so that we can see now what those might look on various objects. And I'm going to apply and cross mix the colors. And well, I'm just going to show some various ways that these palettes can be used. And then I'm just gonna talk as I go about it. So let's get started. And if you have your own image, go ahead and follow along. Or if you want to make a copy of this, if you want to follow along. So I have my objects separated onto their own layers. This is an as vital with pixel art because it's easy to cut and paste and you're often working with single layer stuff, but it still can be for the sake of color picking. Well, I am going to go to my palettes. And since the coins are at the top that start with those and pretty familiar here. And use my box. Just drag these over or actually copy and paste, duplicate. Scale it down so it's a bit closer. And we can sort of skip this around as we do our colors. I'm gonna cut this onto the object layer just so I don't have to shuffle between these as American. And I'm going to use q to lasso because I want to use the bucket fill technique with the a contiguous leave at SAS pronounce content, it's contiguous or contiguous. But I'm not going to Google to find out. Anyways, if you have this unchecked, then that's where we have the effect of it fills in every pixel. So that's why we're using a lasso. So fills in every pixel. But it's only filling in every pixel. In the last US election, which The coins, they're all one color, but that'll get more practical when we get to the cacti and the monster. So the first thing we do is obviously very raw, pass at coloring just to see where it lands us. And you know what? Not bad, not bad at all. And then we can do some tweaking. Maybe. What if I want use the dark on that last shadow and red for the line work. And it's not quite as, not quite as good. I think we'll stick with the earlier example. My dropping in. And then notice I'm still working with older version. So let's go back through and close those gaps. And that's one of the tricky things about copy pasting things for different palettes is that if you live in one mistake, well, it's going to be there through the whole thing. Let's uneasy and ethics. I say as I then wonder what happened to there's a layer Shadow and then I unknowingly got rid of. So let's give this another shot. Lasso, select, Bill ourselves a gold coin. And then also you have for doing silver, Probably going to blend in with the background pretty well. Like on the color wheel, you'll notice that these are still in the blue range, the little bit of a blue to them. So it might stand out. You don't really know until you give things a shot. But we may have to alter things as we go. But once again, never really going to know until you give things a shot. Muscle, it's quite easy to lose track of your Iraqi sometimes. And that turned out all right. Sometimes you're going to find that they just need a little more tweaking. There'll be almost there and just kind of like a little bit more that highlight. And this will make, we'll give it a little more blue kinda cartoon eyes is silver Venus. Because yes, Silvers kind of Lake. A no color, gray sort of a thing like it's a nuanced gray. But doesn't stop us from taking little artistic liberty here. I always like to add a little bit of a blue is like steel. Steel you can have is just. Boring gray but silver Maybe I just want to have a special gray, special blue-gray. That's one of the cool things about colours to it you'll start to find because obviously that blue and there is a very subtle blue compared to like this blue which is an alter blue. So you can have gray, you're going to have bluish-gray, and then you can have blue. And those are all technically kind of like a blue, blue, but the, the intensity of the same color or the same family colors can give completely different results. Especially in combinations like when you have multiple colors together. Like you know, golden, bronze for example. Both kind of, you know, a brown or in orange if you were to oversimplify it. But we all know that. Which coins gold in which coins bronze. And if you're just picking a random color, you might end up throwing some sort of orange into things and it just doesn't pan out. But if you have a predetermined palate, that's where it shines in like this isn't. You're given some LeBron's and look, gold isn't really going to be dependent on how are you, you blend it and you shade it. Although you can make coin look pretty. Because diode re, remind about how this classes colors had to use colors. And the impacts that colors get that kidding itself can't quite on its own. You'll probably be getting faster the more you do it as well. Also something interesting is this is kind of a steel, but these two are almost blacks. But they have a slight different nuance to them, like this one is slightly more blue and this one is slightly, won't really say red, but it's warmer or cooler colors and warmer colors. Anything that drifts more towards the red as you can see in this palette. Over at Read. This was over a blue. So you can have essentially the same color, but a warm and cool version of it. And that itself gives a lot more nuanced options. Though it can be a little risky in pixar when things are so small and simplified that here you're always going to want to be careful, smudge things, trying to deliver a nuance where it just colors things so car-like UCI, I brighten it up a little bit and kind of rolled back the saturation just a little bit. And it's, it's a little clearer. And like this coin is a gray. But also notice how that changing into the pixel art is it's got different fields, the same group, different field. That's what we're going for. Over here, now we get something interesting, pretty broad difference between cool color, going over to a warm color. And I'm always a fan of when the hue roles for the chroma, Whichever choice of words you'd like to use. Basically, you have brightness, which is how lighten dark things are. Yes, saturation, which is how much colours in it, then you have the chromo, the heel, which is nowhere does it roll along the color spectrum? Yeah, this one, Hesiod, it's an interesting lineup. The clarity kind of gets lost. And that's okay. Because we can go back and fix things up ourselves. Maybe I'll take this color and roll it a little more towards it. Or maybe you're really into a green 2k, too much, too risky. But hey, that's what it colored experimenting for. There we go and see, it's strange that this is technically a green. So I have a blue next to a green, next to a yellow. But if you play your cards right, you can make these things look like they belong. And it's all about like the pattern that goes across it. How, how much of a difference in the brightness changes over here, how much of the Hue rolls along here? Once you notice a pattern, you can make things that are unified within the pallets pattern. I calculate the blue, the myth really blue is getting a little lost. So I'll go ahead and add a little bit blueback. Dick will keep most of the green just in this town. And I don't think we're gonna mess with this highlight. But no, we got ourselves a me throw coin herself, cup of dark steel, bronze, silver, and gold. This last one never grabbed a six mm for the coin because I don't know, you're kinda ran out of New What coin idea should I have? We could just simply leave it as a gray coin. Or maybe I'll grab across from here and see what I can come up with. Maybe it's like I had a mysterious alloy or like an impure hybridity mineral coin of some sort. So Let's go ahead and see what happens if I were to just grab your colors from unrelated pallets. Now most likely this is going to look really bad because these pilots were designed with their palate in mind, like the group choice. It's kind of like if you have certain ingredients that make up a good smoothie in certain greens that make up a good sandwich. Maybe others work great for the sandwich, and others worked great for the smoothie. But, you know, some people aren't going to work. Pizza sandwiches or ice, garlic ice cream. You are, there's just, there's certain things that don't necessarily mix into the best. But you know, not always the case. Some people like to use your different dipping sauces for whatever they're eaten. I don't know of any other good analogy off the top man, but let's go ahead and just try this instead of me rambling, you'll see what I mean. I'm, I grabbed this dark blue and R1 as the sack and second color. We'll grab this dark red. When there's the black. Grab medium yellow here. We have light yellow. And then weapons for grabs em darker for the highlight. See it's not really working out. But it doesn't mean I can't fiddle around more until it does. It end up with like a happy accident sort of a thing? Let's go ahead and keep, keep playing around with this. I listen to starting to look a bit more like the one over here. So let's go ahead and revert back. And you know what, you know what? We'll throw this, throw, throw this in here. Oh, curses. Okay, what if I experiment is not quite pan out the way I want to? Here's what I'm gonna do. I'm gonna take this color and I'm going to manually, because this green and this yellow are pretty much the ones that stand out the most you can say at this, this yellow here in this orange, they feel like the most unified. So that's I'm going to use as the base. And I'll make this green fit with these. So if these are both yellow and red and warm colors, and both of these are kind of a medium highlight. If I take this green and make it lighter and make it a little bit warmer, That's going to roll it into more of a unified palette. So I'm going to take on this wheel, you know, towards the sea the reds and yellows are over here. If I take this and roll it over, it's going to end up in the green. You might think. Why would a green fit with a yellow and red? You know, it sounds crazy. And I can't is colors are really weird because you can make some pretty unorthodox things match. You know what you're doing. Basically the farther a colour is from Micah group, if you desaturate it more, That's kind of how you can very easily fit it in with the others. And then value range, like just making sure it's close in how, how bright it is. And this red, orangey red will roll back that a little bit, kind of bridge the gap and we'll get a little more saturation. And you know, sometimes you might not even want, you might want to keep it kind of a separation because maybe, maybe this is a marble coin, you know. And maybe we'll grab some blue and see what we can do with that. Because like this yellow bit here was originally a highlight. But maybe these are just veins through the coin. And that's another thing is you still have room to play. Like this is no longer a typical coin. The shine like these to Marble layer coin and ten points kind of break. And my rule here, I am going to do a fugal at its, because sometimes it makes things look intentional. If you odd, edit your art to fit with the palette has. So if I put several lines through here, it feels more like it's made out of marble surface of some sorts. But now we got our mystery coin and some of them will get turn out better than others. And you can very easily see some like this being the currencies in a indie game or a mobile game. So same thing applies to the gems. Let's grab these pallets. Make sure I got my lasso tool selected. Copy, object layer, paste it, shrink it down. Bring it over. Yes, I'm going to have to jump back to it pretty quick because I can't put it up on top because the coins are in the way, but that's fine. You may also, as you're working on color balance, find similarities like this. Top one is what happened when I searched for diamonds on Adobe's cooler website. But it might end up looking pretty similar to silver. And that's going to be interesting because you'll basically be able to point out what makes diamond diamond and what makes silver silver. So you'll be teaching yourself your own color tastes. And like learning about the nuances. As you work. Which I'm going to close this up. I'm going to close that up. And we'll copy paste because once again, Actually let me use Yeah. Updating the rest of the art updates to make peace. Also, you're pasting over and over you and you can actually paste a pre pelleted version if you want to make a modified version of that palette. We'll show an example. So if I wanted to see how this one look, you could copy and paste it over here. And then give maybe some different color choices. Maybe I want this diamond to have some exaggerated blue. And maybe I want this to have a little more blue. Like what if I really want to exaggerate and make a kind of a Minecraft, the diamonds where it gets a lot more blue exaggeration in it. Well, I got that got that option. And you know what? A kind of like that especially compared to the other ones. But then again, I also do like the subtlety of this. Maybe all choices, choices like this blue though I'm going to copy a copy of that blue. And MOND while this limit over here. Lasso. Though that in May, I'll just draw back that blue a little bit. There we go. So yeah, if you saw this, hopefully mentally you would say, oh, that's diamond and that's silver. And it's just like this little bit of a purply blue. Listen also has a little bit of a blue, blue. And so there's definitely kind of your own personal rule sets and different, you know, world pallets from different games that will have their own twists on things, colors, not one absolute, right or wrong, correct or incorrect. It's more of a, you know, better or not as good palettes sort of a thing. You can always make things better or worse. Let's go ahead and grab this one. And let's see what happens when we run through of just the raw colors. You may even think why is there a gray for a highlight. But sometimes you can work this time, not quite, but I do like the idea of not going pure white for the highlights. Because when things get super bright, they might actually have kind of a blue core, kind of fakes. Like you've ever actually gotten a streak as sunlight in your face. You may have noticed that there's kind of a blue core inside the white. And so you can actually do a little bit of that. With color palettes to doesn't always work, but it can. And this one's pretty good. I like this one. I'm going to try. Now I do like that dark red. We take this one down a little bit because these two colors are closer to each other than this dark red, but unlike this dark red and don't want to give that up. So I just want to cue shifts so that this middle red matches the Cali color ramps evenly between the other ones. Now we got ourselves a nice Ruby going over here. And on ourselves. Some good. Here we are again. Which one of these two? This one is more saturated. This one's desaturated, but it's darker. And we'll try and try this one. I see what I did. I didn't didn't even start on the darkest, dark. Silly me. Yeah, I'll put that on there. That they're yeah, these two are too close. But sometimes they just need a bit of a nudge. You see, i like that. Barely any change at all. And it just kind of feels like this green and this greener still very close to each other. But this kinda blurs the line that you can't minDistance tell that they're separate colors. But if I add a little bit, does stand out a little bit, or it stands out a little bit more. And that's another thing is make sure to zoom out and see what your palettes end up with. Because most people probably aren't going to be zooming in this close when you're playing whatever game or, you know, viewing whatever you have. So time to time, It's probably good to go take a look at it from a, from a distance like this. Diane for example, Kind of want to bring the brightness down on this. And this one. You make certain colors. You might find yourself backtracking a little bit to make the other ones more cohesive. Because, you know, if I'm making gemstones for a game, and both of these are in the same universe. And this one looks a certain way. It's actually going to affect how the other ones look sometimes. Which is why a lot of people put together rule sets and ground kind of laws and whatnot for how they choose their colors. So now we ourselves and emerald, let's give ourselves a sapphire. And we've got another Trixie, one. See these ones blues, a tricky one. Little blues. They, I can very easily get lost in each other. Glue just seems to be a really, really dominating type color. You've ever mix paints before. You know, blue absorbs everything else. And I could huge shift this towards more cyan. And that might work. But there's also just kind of a blue newness, a distinct blurriness that maybe I don't want to sacrifice because sapphires are blue, blue, you know, like they're not kind of a cyan like this, there are blue. So sometimes if you have an intent in mind, you're going to be a reworking the other colors to fit around what that goal is. And that's fine too. Maybe all that down. Not quite. Maybe on just a little bit too much about them. And eBay enforcing it. Maybe I should just leave it. The app. It's also possible to overthink your colors because you can always come back to them later. Maybe you don't want to rush everything. But we all know artists can obsess over details and failed the finish anything because there are two particular to worried about. Paul. It's gotta be just this right, perfect color. But you know, if you're doing your own project, it's kind of up to your own up to your own decision. And let's go ahead and grab those colors and bring them to the other side, which have to be careful about with a sprite. Because if you move a selection and move it again, after you've moved home, maybe they updated that bug. They used to accidentally clip into each other and remove part of your drawing. Let's go down to an amber and see what we have. Got to make sure to lasso. There we go. Now I want actually turned out pretty good. You've upbringing that up a little bit. And you also find, what are your habits like You'll notice? Or my highlights. I tend to go pretty close to Y and a lot of them, sometimes I go with the gray. But certain artists then might just take this and goes broad yellow is they can. Some people will try and do something new, outlandish, crazy and wow. You can really tell who's our Sue by how they do those highlight colors. Sometimes that can be pretty cool. Actually, I think this is a good example of. You know, something that looks so bright that it's gone into blue. Not I'm gonna stick with that. I do like the yellow. And as you work with color palettes and see how the result ends up, you'll probably be able to go with your gut intuition. Grab palettes that you tend to trust more to work with their first go. So cut ourselves some coins and some gems. Now let's go to the cacti. Go to our palettes. This is where things are gonna get crazy. We got more than one object up. See you there. It did the thing. So this one, we might use separate pieces of pallets for like the flower, the cacti itself and I guess the cactus in the pot. And we might even recycle these pellets and multiple times on different different ones. Michael lasso, select this fella here. And what colors do you think will work best? You know, I am going to use these five because you just feel like, hey, these could work. Pretty wrong. Note cursors are pretty nice. Pretty nice looking. Flower on top. Notice that there's only four levels here, so I didn't actually use that green. Now, let's go ahead and see. This is going to be some kinda crazy looking cat die. They're not going to all be green. You don't have to stick to the rules. I'm sure not. These are fantasy cacti choices, choices. Now what I'm not going to use, use this Shh. You see how it's too bright, dark in that up, desaturated. And this, I think will allow more towards the green. Maybe we'll D saturate it. And then that because green is close to yellow and yellow is the opposite of purple. So they're going to contrast a lot by default. So this purple and might actually toned down as well. Mnl back and forth like this. Ok, now I'm going to tone that down a little bit. And now, now I didn't quite like that one. So maybe I'll turn it. Of it. Yes, I like that. Take this purple would drag it in more towards a blue because this blue is closer to the green zone. So chromatically, you see how it's starting to look a little better and will darken a little bit more. Basically, we're just kinda fudging around colors. Like this is kind of a samadhi pink color. But it's located, you know, it's, it's in the orange you ready area. And then there's this teal green sort of a thing which is in the blue green area down here. So if I want these two to feel unified, I just dragged them closer to each other. Just a little bit. Hair by hair. In the chroma or the color, the heel. Ok, that did not work. There we go. And the other thing is if you perfectly try and blend everything in the middle, sometimes the color identity is going to be lost a little bit. Sometimes they work, sometimes it won't. You might want to backtrack because as you unify things, they will sort of lose their contrast of bed. There we go. Kinda weird to imagine that this came out of this bomb color row. But that's just kinda how others can be. Sometimes at least with pixel art, you know, we're not using buckets of actual paint. And then this pot, I'm going to use these top four up here because they're conveniently kind of a general brown color. And I had assumed those would be pretty good. And they kind of are. But this is like really powerful, like the yellow compared to these two colors sets is just really strong. And I don't want this pixel art to be all about this golden cacti part that it's sitting in. Cactus by Though I like seeing cacti more than lexicon cactus. Any who, if we want to take this and make it less dramatically attention-grabbing, Well, we'll just desaturated. Throw in a little gray on all these colors. Just drag it a little towards, you could, you could make it towards white, which to me contented. You can make it towards black, which is a shade. Or you could drag it towards gray, which I believe it's considered a wash out. Other all technical terms that most people nowadays don't really hyper obsess about technical lingo. You're gonna be like, how dare you use awash in a shaded in the incorrect word AJ your sentences. Now it's, it's make it look less. Contrast it with the throwing the gray and the white in the back-end stuff. By the end of it, oh look, we got a cactus. Which going back to earlier, you want things look unified. Take a little bit of the different colors, and just kinda int them through the rest of the art. Sometimes you'll find work, sometimes a won't. But as long as you can get a little bit soon here in there. It feels like, oh, these, these belong here. Throw in maybe. But there. Maybe we'll call them up there. And you can continue to refine like a lot of people at this point be like okay, I'm going to use the blur tool and I'll plant in all the other colors. And that's a totally valid thing. And that will be the next step if you want a detail these out. But now this class is mostly about just making the colors. So we're keeping it simple. And you know what? Some of these aren't going to turn out particularly well, I don't think the lake dyed green. I'm going to change that green. I'm gonna make a little more yellow, something about it. Just not. Here we go. So that's a little better. I'll take this one, make it a little more green. Yeah, you'll continue to fiddle around with these bubbly for awhile. This I still don't like a huge shift these yes. A little bit too much. Yeah, that's looking good. Yeah. Mean you'll eventually just kind of Oh, this looks good. Why does it look good? I don't know. It just does. It looks better. Meanwhile, some other artists might say, oh, it's terrible, it's bad. Color palette. But you know, everyone's got their own tastes. That one's good enough for me. And it's also one of the reasons why multiple color passes are super bad way to go about going up to a final. Because not everything you do is going to be perfect on the first time through. Let's go ahead and Lasa pick this. And I'm going to work with the blue flower McGrath. I'm a grab from multiple color palettes like so far I've been doing per row what you can just find relatively cohesive colors and just kind of grab from the whole block if you want to grab. I'm not gonna do the whole thing at once. Sometimes you can just unify, color it, and then go back piece by piece, like the coin. But I do think these ones are worth separating to flower and the cactus and the pot into separate sections. This one, and you know what, I'm going to run with this color. This one is going to be me that we're using yellow highlight. And we'll use this tool will be the dark one. Is blue. We got kind of a, an aquatic looking cacti which oh no. And just use the same blue as that flower and they may bleed into each other. And you might you might want those to bleed into each other. You might not. My case, I don't have this blue. See what that does. I can work with it would drag it more towards guess I must have gotten too close on my color choices. There was color and the flowers. That's why I was oh, knowing. You'll have those moments. Do you have your own own knows? Little more green. It's funny how just like one color can change it from looking like a C cactus. It just, Oh, it's a cactus. Now, all of the eye colors are the same, but just one color change. Color is very context sensitive. Like no colored is correct or incorrect on its own. It's all about what's next to it. And I'm gonna go ahead and use these ones down here. If I can make just a cool look and maybe it's made out of some sort of see material and oceanic. And you know what, this is kinda the shadow, but I'm going to take it and make it a little bit of a highlight. So that looks like It's got maybe some reflections on the bottom of the ocean. It's kinda brightening up the edges, maybe. Especially since this is pixel art, you can always infer various things into, you know, why is it looked that way otherwise, look that way. I'm going to put a little bit of blue here, which once again kinda cheating them. Brushing and stuff you don't have to do is you don't want to. But I'm making it look like a there's some there's some reflection on the bottom of the ocean that's coming up because it's, it's an aquatic cactus. So I'm doing any fancy polishing or anything like that. And then maybe we'll take take is kind of an orangey yellowish color. Just add a few little bits into the top. Maybe. Maybe there's some speckles on these flower petals. Ply and aquatic cactus would have flower petals. I do not know. But there's crazier things in pixel are games will call out one good. Now can we take away those two pixels now it's unified enough. I was changing the shape of the art. That's cheating too much, too much cheating. Here we go. Let's give this one a shot. I'm just going to use reds and make this an angry cactus. That's my goal for this one. This one going to luck. And we'll get angry. It's going to be reds. Is Reds. That's not what I wanted. And then we can adjust. Evil. Dangerous cactus. And maybe the top. We use. Oranges, will use greens. This is a really strong green. Holy cow. Let's make it work. And grab that, that, and that. And then dan here. And I grab, you know, I'm going to grab this, make it even darker. Now, make that clear black. And then grab the space, and we'll grab it, grab that. They'll have a little bit of a shared back ground. This is like very aggressive. Maybe it's like a nuclear cactus. So if you're ten intent are, so if your intent is to make it hurt to look at, you can still do that. You can still make some that's just sits intense. It's scary. It's the cactus that you don't want to bump into. And it's just, you know, one option. And let's see what happens if we start with the coin approach where we just kinda universally lock in the colors. I think at this point, I'm going to start doing a little bit of just grabbing a second color of my own. Kind of manly like look normal here. Some with the options are because you might end up CM colors that just eave used up all the good ones. We saw, the ones that you want. You can kind of you can free range at times and find out like without any direct, I dropped coloring. Where does your mind Guilford, color palettes? Well, this is kind of where I'm at. I don't like that green icon like this. So maybe I'll work with the flour. And I want this flower to be, see what colour. You know what? I'm just going to grab this amethyst filter set and run with that because we've already proved that it works. There's no reason not to sample from other places. Now we got this really nice purple flower and you know what? We got that bronze. It's making it no, no Bronze palace. Use the steel. Let's use the steel. I'm gonna go up here. And that's where having your own libraries of colors gets really interesting because you can know how a warrior, and then you don't have to worry about making the steel pallor over and over and over again. You can just go and grab what you know works and run with it. Which can really speed up your process. And then maybe I'll put in a little bit of purple, maybe yellow, grab this highlight and I'll cheap that towards purple. Then maybe I'll grab some coffee shop in here. Like, oh, I want this look better but I don't want to like goofed up too much and answer like that. I don't think I like the idea of this being so lets try a bronze. Please just try the bronze. Doop. Doop. Doop. Yeah, it's more cohesive. Alright. Moving down the line. Going to grab this and scooted over here and see what God can do some variety. I think this is the one that I don't like the most. I I want to jump back and do more updates on this one. So when in doubt, just desaturated some things and you'll find that they'll unify, bring them, bring things down to middle range. Oftentimes, if you fix the values mean the brightness range. The colors will kinda sort themselves out. Colors are actually pretty secondary to the actual Brighton dark, which is why a lot of traditional painting classes start you off in black and white. If you can get some new work in black and white colors, a cinch. The more that you make these more that you're going to be kind of stretch in your brain trying to figure out what's the next thing that's new. And let's see, I've already made kind of a C1s will say blue, already done green, kind of a desk degree. And I've done read. I guess I could try and make a space cactus. And how's a space cactus can look different than a C cactus? I don't know. By gotta find out some out. I'm gonna roll with I roll with it and put open and they're like that, something like that. Okay. Start me use purples. Ouch. You see how that hurts. You see out there hertz, because the, the yellow and the purple are polar opposites. So complimentary schemes, if done right, can make really cool contrast. But if done wrong, they're going to really hurt when you look at them. So you learn through trial and error, but you see how I desaturated that and instantly it goes from how that hurts to kinda like, oh, okay, yeah, I'm usually right, so alright. So alright. So colors. If you VG, just know how to make them organized, yo. And if you practice organizing colors, you'll go to intuitively pickup. This can be desaturated and that can be schooled around. And you know what, I'm going to try and try something new for the flower. I'm just going to saturate the exact same colors. We're gonna bring these colors up, bring that to appear yellow, that white, and bring that more of a blue. Not quite. And we'll bring that over to a blue. Blue. Yeah. Okay. And then the part let's try and Brad Bird bring or drag, bring them all over to orange just a little bit. So this one pretty close, orange. Skip like that. This one would drag over and what these saturate, this one will bring down. And then, whoops, Lasa tool going out of control. We will continue to refine. And that's one of the nice things about color choices when you have a limited color palette is you can very quickly just, just paste. Does this. Where does this work? Does this work? You will have to redo all the brushstrokes, which is kinda what happens if you're doing lots of fainting or fancy painting techniques with a bunch of different colors. He can't bucket clean, tidy. It's better to get the colors work in this way and then blend them out and make them look complex. Then to try it and put the cart before the horse. Hope for this, we'll bring that up a little bit. This not so saturated. You notes. This is something I don't think I add, that's better, that's better. And that'll work. And I'll do. Now is shuffling things around a bit. And also knowing what your intent is will help you choose colors. Because right now I'm just kind of like I want this to be something different than the others. But I don't necessarily have anything in mind. Whereas coins up here, I knew from the beginning that that was gonna be go, that was going to be silver. That was gonna be bronze. More than you know, what you are. The easier it is to research, the easier it is to implement colors. Not completely about hardcoding in, you know, these are the colors I'm using an account stream from the nurses 30-some exploration. But striking a balance is going to really help you out in the long run. But for this one, let's try. Let's try. I'm going to steal the amber. Amber was a nice color set. I like this one. It's punchy. And I could even leave it at that. You know what? I want to shop around. And we use that mystery coin for the base down here. Because that was kind of a fun set up. I'm not going to be streaking through several layers of the color. So maybe it's not going to be as intentionally marbled LeCun. But yeah, I'm not too bad. And then I can very easily just grab a flower from the previous one that I liked. That look good here, that kind of does. And I could just leave it raw like that. Or I could go in and maybe I'll just make it similar but darker. Maybe only tweak a couple colors, or maybe all of them. Once again, it's all about what your intent is. And this is exploration. So some of these and we're going to work out, some of them are not. And that's fantastic. Because not everything can be great. And I think it has to be like my favorites, kinda like these ones to be honest. And then these ones. So, so these two could use a little more work. And maybe you viewers watching this will have completely different opinions. Maybe, oh, that one element looks like it's meta. There are no Someday I can't think of anything. So let's get down here and try out some other grim colors. They got so many green colors for only a three monsters. Take this and the palate section, copy it, and paste it over, rub it down. Now I can very easily access it. And let's get back into experimenting. I'm gonna grab this. Also notice that as I'm painting, looking at how light these greys are, and I'm trying to match up light colors down here, light parts up there. And the same thing with the dark areas and trying to look at the dark colors over here, which these paths down below are kind of dominated by dark colors. And there's gonna be some light colors in here that I'm going to have to make do with. So once again, planning. Planning helps in the long run. And let's see what happens if I use. And we'll go with that. Doop, doop. Norway wanted. Swear. I already used kind of a spooky swamp Google look in tombstone monster thing here, I guess. I don't really know. Just blocks and the monster body, water Benzer been baking a which I need to update this. And I'm gonna do the same over here and over here. Alright. Now, let's go ahead and say, we'll go with the tombstone motif. And these are all grave rock of sorts. And I'm going pretty, pretty loose my lasso tool, you'd probably be spending a lot more time knitting down every little pixel, making sure it's perfect. And run into here. I'm going to go like that. And I'm gonna go that like that. Like that. Bow now too much, too much. Let's try working the other way. And that's true, right? That, that Right. Ok, did is really close to o. It's because I'm wondering why that highlighting is getting mapped. We'll go ahead and make those Enter we go. That's what I'm looking for. Yeah. I could leave it at that or I could do that thing where I introduce little bit. So the color palette around some places are going to make sense to add colors. Some art by these dark greens down here. Not really going to like put them onto this stone. It doesn't belong there. But this Brown that I used for the stone here, I can put a little speckles on monsters body and that's going to be kind of the way I'll make it more cohesive. And then maybe we'll put a few little blotch is up here. Does qualify and little bit again is manually drawing on top. But, you know, we end up with the button appeals more cohesive. Or this one with the purple. And then that No, I don't quite like that. But if I use this yeah, that's kinda got a little bit of a maybe Castlevania vibe. And then maybe the stone up here 8. Outro : In review, we've gone over how to grab colors from various sources, how to use a mix your own palettes, and how to modify base palettes to fit your projects better. Color is a massive topic and a lifelong pursuit, but you should feel a little less afraid now that you've gone through some of these exercises, Keep in mind you'll develop your own sense of color, taste as work. Take care and thanks for watching.