The Essential Guide to a Perfect Wardrobe: Picking Your Colors | Joy Macdonell | Skillshare

The Essential Guide to a Perfect Wardrobe: Picking Your Colors

Joy Macdonell, Professional Maker and Content Creator

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6 Lessons (55m)
    • 1. Introduction and Color Wheel Review

      3:11
    • 2. The Dimension of Color

      4:20
    • 3. 7 Color Combinations

      4:26
    • 4. Building a Wardrobe Palette

      12:57
    • 5. The Role of Color in Your Wardrobe

      23:43
    • 6. Confidently Build Your Wardrobe

      6:03
14 students are watching this class

About This Class

Your mood, feelings, and attitudes can all be effected by the colors you wear. In addition, your wardrobe is key to eliciting the emotional responses you want from others. Color harmony is essential to a wardrobe. In creating a palette to wear, instead of focusing on a single color, a range of colors should be selected. A wardrobe with a carefully selected color palette will confidently and purposively express your style. 

Transcripts

1. Introduction and Color Wheel Review: We've all been in the store and fallen in love with the color of a fabric or a skein of yarn. We've all come home and realized that the new purse are skirt doesn't go with anything we own. We've all looked at something we just thought and thought. This color doesn't look good on me. How do we learn to trust our color choices? How do we take the right palette for us? How we confidently build a wardrobe filled with the colors that complement each other. Color is a language that communicates without words. Your personality is represented in the colors you choose to wear in your wardrobe. Your mood feelings and attitudes can all be affected by the colors you wear. In addition, your wardrobe is key to eliciting the emotional response you want from others. When you select fabrics and materials for your wardrobe, you must consider the intention of a garment. Matching a garment color to the activity will motivate you and increase your performance. Color. Harmony is essential to a wardrobe and creating a parent to wear. Instead of focusing on one single color, a range of colors should be selected A wardrobe with a color palette will express your style in this class, we're going to get comfortable with color vocabulary. You will understand how covers combined to make new colors. You'll become familiar with color characteristics, and you'll be able to identify seven types of color schemes. You'll be familiar with the five color considerations for wardrobe building. And at the end of this class, you will know how to select colors for your personal wardrobe palette. In order to talk about color in our wardrobe, we need to make sure that we're speaking the same language of color. So let's do a quick review of the color wheel and talk about where the colors sit and how we can combine colors using the color wheel. So first, 1st 3 primary colors thes the most. This is where color comes from, so we have read yellow and blue and these. These are all equal distance from each other on the color wheel. The next thing that we have our secondary colors and we get secondary colors by mixing the primary colors. So when you mix red and yellow, you get orange. When you mix yellow and blue, you get green and when you mix blue and bread, you get purple, so that's how we get the secondary colors around the color wheel. Then you have tertiary colors, and tertiary colors are created by mixing the secondary colors so you can have a red, orange, yellow orange, a yellow green, a blue green, ah, blue violet and a red violet, and that fills in your whole color wheel. It's not still quick review. You have your primary colors, you have your secondary colors, and then you have your tertiary colors to create all of the colors in the color wheel. 2. The Dimension of Color: there is more to color, many layers of color. And when you think about color, usually we just think about those primary colors, secondary colors and tertiary colors. We don't really think about color as a multidimensional piece of vocabulary, but but you should. And when you talk about color, there is the hue, and that is what the color looks like. The Hugh might be red, blue, green, yellow, orange, whatever. We want to call that color where we have a name for that, and we want to talk about more than just what we call the color because you may say purple , and you might mean lavender color has a lot of variety in it. So let's talk a little bit about how we get all that variety in the color. The hue of a color can be changed by this saturation or the D saturation of the color. That means how much of the pure color is present and how much of that pure, intense color is not present. So you go from a fully saturated color Teoh, a range where you can have the de saturated color where the intensity is taken out. So when you think about the hue of a color, the name of it, then you want to think linearly on how much intensity of the color is present. Is it super, super intense and that color, or is it more de saturated, a little bit more grayed out of that color. So first we have that Hugh, the name of the color, and then we have the saturation. How intense is the color? When we're talking about color, the value of the color is very important. How light, or how dark is that color? So we just talked about the saturation on the gray scale. Now we need to talk about value now. Value could be the complete version of white or black, so the amount that the value of that color, how much white is present or how much black is present. So when we get into the value now we're sort of talking about Is it a darker or is it a lighter value? So we have saturation, which is the intensity of that color, and then value is a darker or lighter version of that color. As we talk about that lighter or darker version of that color, often we speak about that in terms of a shade. So if something is a shade of a color or a hue, the shade would be darker. That is when black is added to that original intense color, and then it gets darker as it goes along. So that's when black is added to a color. We get a shade now on the opposite version of that. If white is added to a color, then we get a tent of that color so it can become lighter so we can take a real intense, pure red and turn that into a pink, a really lighter version off that hue of red. By adding white, you start to get a shade or a tint off that color TV at black. It's a shade if you add white its attempt, and now we can start to talk about how color starts to move along a three dimensional platform where we have the intensity of the color saturated or D saturated. And then we have the light or dark off the color, where we add white and we get the tent. We had black, and we get that shade so now you can start to think about color and sort of more dimensional terms, not just the plain version on the color wheel, but now we start to manipulate color and think of it dimensionally. 3. 7 Color Combinations: Okay, so now that we're thinking about that color dimensionally, let's look what happens when we start to turn that wheel onto its side. So it's not just a ring of color sitting straight up and down. Looking of us in the face is it starts to bend back and becomes a plane. Then we add that layer saturation, and you'll see that with one color here, which I'm just going to show you where one color starts to come out with that saturation. But imagine if all the colors were coming off their spot in the color spectrum. With the saturation, you would start to see how color can pull dimensionally. Then we start. Then we add the value, and that's where we get the light to the dark. So now we have the purest white at the top and the dark black at the bottom, so you can kind of see how do you turn color on its side. The color wheel is one dimension with saturation and hue, and then we have that value that comes into play, and now we can start to really think about color as a dimensional item that really starts to move in several ways, and it's really about getting that depth of the color in your color palette. As you're choosing your palate for your wardrobe, you want to think about where is this color that I like? Where is it in the saturation level? Layers and and where is it in the value in the light or the darkness of that color? When you're putting together your wardrobe? How it you want to think about how those colors are combining together, how they're mixing to make further colors and then you want to think about the depth of the colors? What kind of saturation do I want? What kind of light or dark do I want? And when you start to play with that, that's when you start to get a wardrobe that has dimension in it. That's when you really start to get the magic of the color happening. Now. You may not see this right away, and that's totally okay. It takes some time to play with color. You'll you'll start to add V and you'll start to play with it, and you'll start to manipulate the color and textures and the depths of the colors to get really a a wardrobe that starts to play and become a true palette for your wardrobe. But reviewing the purpose, the places of the color, the roles that they have that is the most important part and understanding how color works , really, just getting that vocabulary to spot where you understand it. Something else to talk about is the temperature off the color Is the color a warm color? Does it have, um, they think about, ah, fire. If you were to look into a fire, what are the colors that you see? Rads, oranges, yellows, really warm colors. And then we have the opposite of the wheel where we have cool colors. Cool colors, sort of. Think about, you know, a nice summer day in the mountains. You're gonna have the blues and the greens and the depths of those purples that kind of fall in there. And those are all cool colors. So in the color wheel, we sort of have a line that draws right down the the center of it. Dead sort of delineates the warm colors and the cool colors, warm colors, brands, yellows, yellow greens, yellow oranges. All of those colors live in that ah, warm area. Then you have your cool colors blues, greens, lavenders, purples that all live down in the cool color section of the color wheel. So it's important just to know how to talk about color in terms of temperature, thinking about your warm colors and you're cool colors. 4. Building a Wardrobe Palette: Now let's talk about seven different types of combinations. You can get using the color wheel for how to start to put colors together. The 1st 1 in the easiest one is the monochromatic color combination. This is where we take one Hugh one color, and we add the tints and the shades and pull out a color combination that is simply made up of one hue with tints and shades that change and that becomes your monochromatic so you can add white to it. You can add black to it, and you can add gray to it. And that gives you the tents and the shades and the saturation that you need from one hue to make up a model amount of color combination. Complementary colors sit across from each other on the color wheel, so they are always right opposite each other, and you have lots of different combinations that you can start to pull this way, just looking at opposite sides of the color wheel. Ah, lot of sports teams use this type of combination to create something that has a great deal of contrast from one color to the other. Thes are opposite of each other so you get a warm color and a cool color, and you get great opposition. It's a vibrant color combination that has, ah, bold way to capture attention when you're using color in a complementary color combination , you really want ovoid using 50% of one color and 50% of the other color. You kind of want to shake up your proportions of your color. You want to add 40% of one color and 60% of the other. Or you could dio 80% of one color and 20% of the other, or 90% in 10%. Whichever way you wanna create those proportions, you just want to have a greater percentage of one color at a smaller percentage of the other color, so that you do get that bright, bold contrast in those colors. Next time you're watching a sporting event, look at the uniforms of the team they are probably made up of to contrast in colors, which grabs attention and really makes that team noticeable on the field. And now it is. Color combinations are made up of neighbors, so if you think of the colors as neighbors on the color wheel, you'll see how they come together to create little groups of colors and these will now. You could do three colors in this. You could do four colors. You could do two colors, but you want to pull colors that are right next to each other on the color wheel, and this is what creates those analogous color combinations. Now these happen to be very. They blend well together. They they merge one color into the other color very gently and softly. They don't tend Teoh. Be bold in your face color combinations. They tend to be more soft or subtle combinations, even if you're doing it with three warm colors, which would usually kind of grab your attention and analogous color. Combination is a little bit more gentle on the I because the colors live next to each other on the color wheel, so the eye tends to kind of just blend them together. So if you're looking at in your wardrobe to create colors, that sort of if you if you like the feeling of a gentle look, then this is a very good way to go in terms of blending colors that move the I from one place right to the other. Now, you you might want to dio ah, sweater in a top that are analogous colors. And then you can add just a little pop of an accent piece, like a piece of jewelry or a scarf for something that kind of just ties around or a belt that might be a good way to bring in, you know, heart. Stay within your analogous color combinations that you have a gentle look to what you're doing. But then you can add just a little bit of that third color to create a pop within that analogous color combination again, you want to think about your proportions here. You could dio the same 30 33rd. Sorry. If you're gonna mix that up, you might do equal proportions off the colors in the whatever you're wearing. Because it blends so nicely, you can combine those in equal proportions. You know, I think everything always looks better if you pick one color toe, have more dominance over the other two colors and let one be a supporting color and one being accent color. That is a good way to sort of draw color across your body if you're thinking about layering objects of like a jacket and a top. That's where you might choose the warmer color to be the one that is, it's going to pop out and be more prominent as you're putting those colors together, a warm color just tense. Teoh. Grab the eye. It's lighter, it's brighter, and it has more ability to jump out at somebody. So if you're looking at your color combination and it's an analogous color combination, look for your lightest color or your warmest color. That's the one that's gonna stand out the most. So maybe that is the one that becomes about, or a necklace or a scarf or something within your combination so that you can have one piece that pops right out so analogous color combinations right next to each other on the color wheel. They are the neighbors. It could be three colors, four colors to colors, and your lightest or brightest color is going to tend to jump out a little bit more. Your warm, light, bright color. It's gonna jump out a little bit more than your cooler, darker colors, Dio. So think about how you want to use that color on your body and where you want to put those colors on your body. A try addict color combination is three colors that are equal distance from each other on the color wheel toe. This is an equilateral triangle that points out three colors around the wheel, and these three colors will go together very nicely because they are equal distance from each other on the wheel. So as you're playing with these colors, pull them together and look for those proportions again. Look for the color that you want to have the dominant position. One color to have a supporting position and one color to have an accent position. And how would you use those colors together now? Because they're equal distance from each other on the color wheel. You're pulling from the different areas of the wheel very, very nicely, so these combinations tend to balance well. You can use the colors to balance what another and they can create a unified, harmonized look very nicely. A split complementary color combination is where you take those complementary colors, one across from the other on the color wheel, and then you split on either side of the complementary color, so you choose the color that you really want to use and then come across to the other side of the color wheel and then split to this to the colors on either side. That gives you the split compliment, so thes colors complement the other color, and they do this in a very unique way. So they two colors that are on the opposite side of your dominant color. They are very good supporting actors to your dominant color. So if you're looking at the color combination where you say I really, really, really wanna wear this color, but I'm not sure what to put with it, look at the opposite side on the color wheel. Look for the complementary color that could be a combination or then split on either side of that complementary color and see what are these supporting acting color is going to be, and then you can start. You can. You can use them together as a balance. They will wait well and balance well off that primary color you want to use, or you can then split these up into different proportions as well. So you have your dominant color, which you're going to use in your largest amount, and then you have these splits that you're going to use in different percentages. So it could be, You know, you could use 60% of your dominant color, 30% of one of the split compliments and 10% the other one. So you just want to think about how they balance together against the dominant color. And then, in what proportion do I want to use them? Do we want them to be equal, or do I want one to be greater than the other? And that's when you can start to think about what role will this color have in my wardrobe ? Do I want this as tops or bottoms or accent pieces? Or do I want it to play an important role in a print? If I if I'm looking at a print, do I want one proportion, one color to be a one place primarily in the print and then the other colors supporting it , or what role will all of these take on? But knowing where they are on the color wheel and how they kind of come to be associated with each other is really important in understanding how the colors work together, so split compliment opposite sides of the color wheel and then the two colors. Next to the compliment. The tat tragic color combination is four colors. No, really. It's two complementary pairs that are combined to make a color combination. So if you look at how these this is a rectangular shape, if you think about it as you're pulling those colors, they are compliments that are right next to each other on the color Well, so as we're playing with these colors, we're looking at two pairs of complementary colors that come together to create a four color combination. A square color combination is also a four color combination, but this one is pulled using equal space between their colors. So, like that, try had a color combination. This one is square in shape, and you're pulling four colors that are equal distance from each other on the color wheel. So this gives you a little bit more dimension in how you're pulling your colors and gives you a wider variety of colors. But again, they are all spaced equally from each other on the color wheel, so it starts to pull in some different types of colors with the ones that you like. Now that you know how to pull seven different types of color combinations out of the color wheel, you might ask yourself, Well, where do I really start? Where do I begin? And my advice to you is to start just looking at the color Rio. One of my favorite color wheels to use is the Rainbow Color Selector. I'm gonna give you a link in your class materials so that you can find this on Amazon. Um, I like this particular color wheel because it gives you all those different color combinations bright on the dial's off the color wheel on. Then the window shows you each of those monochromatic color combinations, and you can place this color wheel over ah fabric so that you can see where on the tints and shades does this color that you're looking at really line up. So as you're pulling colors to work on the on the color wheel, you want to think about pulling colors that are similar in shade or similar intent, so that your originally pulling colors that you know work well together. And then you can start to play with the tents in the shades and the values a little bit more 5. The Role of Color in Your Wardrobe: the first step in building your wardrobe power. It's too late. Take a look at your favorite colors. What are your favorite colors? What do you like to wear? I've attached some color palettes to this class in PDF downloads. If you're having trouble or you don't even know where to start, take a look at some of those color palettes gives you an idea of what colors could go together. Now you could. You could just use one of those color palettes and Colin today and and go over there. Or you can really take a look at what are your favorite colors? What do you like to wear? What do you feel comfortable in? What represents your personality and then go back to the color wheel and look at one or some colors that go along with your favorite color. What are some of those combinations that you could pull that gives you ideas of what colors to mix together. So take that favorite color look at what are some of the color combinations that you could pull out before back to the pallets that are attached in the class and start to pull some colors together. That you really like. Then, once you have your colors like a good set of them, you might only wanna have four colors. Somebody else might want to have 10 colors. The thing that you want to avoid is picking every color in the rainbow because that doesn't really give you a palette. You want to start with a manageable number of colors. I would say no more than, and you probably will narrow that down as we go along, too. Let's take a look at one of the pallets that I put together, and then we can see how to deconstruct the palate and ordered so that you can see how it fills out into the color wheel. So this is our exhilaration palette, and something that I do want you to notice is that the pallets are connected with core palettes, so this particular one goes with core palette Number one. And that's for the neutrals, which will talk about in just a little bit. So let's look a little closer at this particular palette. So we have a little circle right here that's gonna represent our color wheel, and then I'm also going to include an equilateral triangle and move the red down to the top of the triangle. And what this does is it tells me my primary colors. I can fill those in right here and you'll see that as I'm doing this, I'm taking the colors off the pallet that's at the top of the screen. So now we have our primary color combination. The colors are equal distance from each other on the color wheel, and we have a great start here. When you originally looked at this particular palette, you might not have seen that these primary colors were living in the palate. So this is one trick to looking at a palette and realizing what's really in it. Just look for red, blue and yellow first, all right. Now that we have those, let's take from the red, the split compliment and that will give us a yellow green, and it will also give us a blue green. Then I'm going to take the tents, and I'm putting the tents on the outside of the circle. Now we know that the tints and the shades kind of run vertically in a three dimensional world, but we're going to do this as a two dimensional world, and I'm just going to put tints and shades together so that you could get an idea of where they are. So the 1st 10 I'm putting on is the blue green, and then the 2nd 1 is the blue. We have a tip for red, and then just so that I can get some spacers and some idea of the colors that I have that I'm bringing down into the color wheel and some spots where there aren't any colors. I'm gonna go ahead and put some spacers into the color wheel so that we can at least know that a color could go there. But we don't have a color in this palette. From that space, however, we do have a tint of the purple, so the hue itself of purple is blank, but the tint goes into its location on the wheel. Then I'm going to add a blank space, and then we'll add a red violet into the color wheel selection. Now I'm gonna add a couple more of the blank spaces because I don't have something to put in those locations. But coming around the wheel, we do have a yellow orange so I'll go ahead and get that into its spot. I also want to add a placeholder for green at the bottom of the wheel. Now we'll go ahead and start to add those shades into the wheel Now something that I do want to show you here. We'll just go over this one more time. If I were to move the tint to the inside of the wheel and placed the shade towards the outside of the wheel, you would see how the tents and the shades would flow. But because I want to show you some detail on the inside of this particular wheel, I'm going to move both the tents and the shades to the outside of the wheel. Okay, so I have a blue green shade to put on the outside of the wheel, and I also have a bread violet to put on the outside and a yellow orange to put on the outside of the wheel. And I want to go ahead and make this well a little bit bigger so that we can start to look at how the color combinations work. Now here's the cool part about a palette when you deconstruct a palette this way. Now you can start to see where the color combinations come from. So if you were going to have this in your wardrobe, using those different types of color combinations will give you ideas for how to put pieces together on your body. So So take a look. Here we have our equal animal triangle that shows us our primary color combination the red , blue and the yellow. And it also shows us that we have the two tents that are in this combination. Let's look at the split compliment. This is the one with red at the top of our wheel and then the yellow green and the blue green. So what this shows you is that you can combine these particular colors together into an outfit so you could use that tint of red and one of the tents of the blue green together, and that would look spectacular together along with that yellow green. And you might not have thought to put those colors together, but clearly they can go together as the color wheel is showing us. We also have some complementary colors, so the lavender and the yellow, orange or red across from each other on the color wheels, so that is one of them. And then we also have the yellow green and the red violet. That yellow green with that really Hugh intense version of Red Violet is beautiful together . Now we take those two compliments and combine them together. We have a te tragic color combination, which is the rectangle, and this shows you how another group of colors can come together from this particular palette. We also have the analogous color combinations, so we'll just kind of put our mask over the top of the color wheel, and you can see how we have that cool combination of the blues and the lavender. And then now remember, an analogous color combination can have 234 colors in it. When we turn that analogous color combination to our red and red violin, that gives us a very beautiful combination in and of itself that works very nicely together . And then if we turn down to the yellows and the greens, we have another beautiful, analogous color combination. So from that exhilaration, pau it. You can see how, when you take the colors apart, where they fit on the color wheel and how you can work with these colors to create combinations and groupings. And all of a sudden, this one pallet that might look like a mystery to you when you first start, when you break it down, it makes a ton of sense. Let's do a second example, and this time we're going to build up our color palette from a blank canvas. This is a template that you can download from your pdf and use this to build your own color palettes. But let's start as if we were walking into our closet and looking at the clothes that we have and starting with this blank palette. Let's add some blue because Denham is usually in everybody's palette, so we'll just start with some denim and we'll add a little light blue as well, so that we have are two colors of Denham. And then let's just say we're starting our palette with a blue green, and this is the very beginning of the pallet. We walk into the closet. This is what we see Now. The easiest thing to do is start with the equilateral triangle and build in our primary colors. So we would add a yellow, and we would add a red. And as I'm adding these colors, I am looking at the depth of tints and shades and saturation to choose colors that create a tone in the wheel that works well together so you can adjust your tents, your shades in your saturation to fit. Whatever you have is your foundational colors. So the next thing I want to look at is this cluster of blue and green and work in this area of the color wheel. And I have some choices. I could go with the green that's an open space or the blue violent as an open space, and I am gonna go ahead and do the blue violence. So let's look at what this looks like when I add some blue violet to this color palette. And I also want to add some tents here because I like the way that these colors are working together as an analogous color combination. I'm gonna add some tents, and that would give me to Hughes within this analogous color combinations, like work with in this color palette to this look back at the palette as a whole, and then look at where we could have some compliments because we want to create some balance in the in the palette that we have. And so I'm gonna look at the other side of the color wheel. And right across from my Denham is an orange, not a one, A really bright orange. I want a highly de saturated orange that kind of balances out without getting too bright within that red and the yellow. So I'm gonna choose something that's a little bit of a darker shade in that orange area and then that this is what it looks like just this to compliments of the Denham and the Orange . Now that also gives me a split compliment with the orange and the blue green and the blue violet, and that's that's great as a foundation for this color palette. So let's look back at the palace as a whole, and we can look for a square color combination and again looking for that balance in the palate. We can go down to a yellow green and add in a yellow green, and because I'm working with a square color combination, I would then come up to a red violent and add the red violent into that combination. And these four colors look really nice together. So I have the that blue with the orange, yellow green and the red violet together. Now go back out and look at this palette as a whole again. And then I realized that I want to work with some of those yellows and orange is that I have in this palette something it go over here and look at this analogous color combination and I have a spot for a yellow orange. And again, I'm going. Teoh kind of go along the Tyneside this time on choosing a color here because I don't want something that's going to compete with the yellow and the yellow orange. I want something that's gonna work well with that de saturated, darker orange. So I'm gonna go ahead and pull in a yellow orange that's a little bit more of a tin, a little bit more intense in its color, and I think that balances nicely in that area. So we look back at the whole palette again, and I want to draw my attention up here to this red, orange, red, red, violet sort of violent area and I have a choice. I am going Teoh. I could look just at the two colors that I have an add some tint here, or I can expand this a little bit and add in a red orange. I think I want to go ahead and add in a red orange again. I want to go for a really light tint here so that I get a unique combination with these three colors. And then I'm gonna add one more color to the palate, and I'm gonna add a deep shade of red so that I add depth to this whole palette. And when I go back out and look at the entire pallet together, I really like the way everything is coming together. I like that I have left the green as an absent place in the color wheel and the violent as an absent place in the cover meal. Because I think that adds a nice balance to the whole wheel cause I have the tints on the blue green and the blue violet side, and then I have sort of those de saturated colors on the other side. So let's also look, this gives me a blue violet, yellow orange complementary color combination. And if I look closely, I also have a blue green red orange compliment that will come together to create a Techtronic color combination that is very nice and works very well together as a whole. So within this color combination, I have a nice full palette that gives me lots of combinations that I can pull together with a good balance of reds and oranges and the greens and blue greens and the blue violet. Now, within this palette, I would also choose some neutrals, so I have some good balance there. And as I look at it as a whole, it's interesting to think that in the very beginning of building this palette, I made a choice with that blue violet. I could have gone down and selected a green, and that would have changed this entire pallet toe look completely differently. So this shows you where you hit forks in the road in choosing your colors, and 11 little change can make such a big difference. If I had chosen a green, that would have given me a complementary color combination of red and green and a split compliment off of that green that would have included probably a deeper, brighter version of the red orange and a deeper shade of the rent violence, which would give you a whole different feel in that color combination. Just by changing and making that decision in the green area, it would have changed the red area and how I would have chosen that whole color palette. So it's kind of cool to think about how you can build a power based on just a couple of colors that you have available to you and make an entire palette that looks gorgeous together. The interesting thing about building color is that everybody does it with their own I. So what I see to pull out of a color combination will be very different from what somebody else might see. And that's why a color palette is very personal to you. So as you're looking at these colors, you might say, Oh my gosh, I never would have picked that, and that's totally fine. You might make selections that are different, and you might start with the same colors I started and your palate might end up looking very different from mine. and that that is exactly what you want to be doing, because you are then looking at the colors that you like and you're putting them together in a way that fits your personality and fits who you are as a person. So now that you know how to pull together a palette and we've seen the construction of a palette in the deconstruction of a palette, let's talk a little bit about neutrals and how neutrals play a role in a pallet because you need to have a neutral palette to go along with your color palette. What kind of neutrals do you like to wear and get specific with us? Is it a white white or is it a creamy white that you like? If you're looking at Brown's, is it a brown that has more red in it, or more blue in it? And you can think the same thing about gray. Is it a grey that has sort of a brownish reddish tint? Or is it one that adds a little bit more green into it? Once you have selected a grey or brown or a black or white, then take a look at your neutrals and see how they match up with your colors that you've got neutrals. Air Hughes that do not compete with other Hughes because they're made up of equal parts of several colors because of their makeup. Fashion. Neutrals are colors that can go with anything, and they are the essentials in your wardrobe. They could help to put focus on certain colors, or they can help to tone down colors that might be overpowering on their own. Black, grey, navy, ivory, brown, khaki, olive and white off fall into the category of basic neutral colors. Of course, the tints and shades of these hues are also considered neutrals, ranging from light tents to dark shades of a hue. Thes colors create the backbone of a wardrobe. Neutral metallics bring a modern sophistication and chic elegance to any wardrobe power. The key to reading a neutral is to pay attention to the undertones of the color. Remember when we talked about a color's temperature that it is either warm or cool? This concept applies to neutrals and is one of the key characteristics toe look for when categorizing your neutrals. In general, brown, khaki, olive and black are considered to be warm neutrals, while white, gray, navy and ivory are somewhat cooler neutrals, you do have to be careful making generalizations because the undertone of a neutral can swing a seemingly cool color toe a warm color very easily, especially when the neutrals air placed near one another. Here is an example of several neutral colors next to one another. You can see that the warm neutrals have a little bit of red or green in them, and that the cool colors have a little bit more blue in them. This idea of an undertone in a color can be confusing, so let's break it down so you can see what I'm talking about. We will use this brown as an example. This is a Grady in of a color. In the middle is the hue and to the left or the tents, and to the right are the shades. Let's look at this mid tone color just a little bit bigger, as with all colors that are digitally rendered red, blue and green come together to make up this color, you can see the proportions of the red, blue and green in this graph right here, and red has the larger amount in this recipe that makes up this color, which then makes the neutral a warm neutral. So as you're looking at neutrals, think about what could this make up be. And if there's more blue, or if there's more red in the color, it can swing from cool to warm. The most important lesson to take away from neutrals is that they go with almost every color. They can act like a blank canvas in your wardrobe to highlight or tone down a hue. So when you're choosing a neutral palette, you want to consider how the neutrals interact with the Hughes that you are selecting. You're neutral. Palette should act like a blank canvas, and it should share the same undertone temperature as your color palette. If you would like to go a step further to make sure that the huge you are selecting for your palate are truly personal to your hair and eye colors, as well as your skin tone, then check out the attached pdf that will guide you through a step by step process to take photos of yourself and digitally analyze your coloring to learn if you have a cool or a warm complexion. And then you can get suggestions of Hughes. That would be good for your wardrobe. How it finding your wardrobe, how it is a bit like playing hide and seek. You are really at the very first steps of your color journey. You might ask yourself, How do I even start this? Where do I get these colors from? There are tons of choices. You can take pictures of things and pull some colors together. That way you can pull together swatches from fabrics that you have, or yarns that you have and sort of form your color combinations. It might be closed that are already organized in your garment in your wardrobe. So just start to organize some of those clothes. What kind of colors go together, what you already have. And then, if you like, a certain color. If you see something where you're out shopping or you're out in the world and you say, Oh, I just love this color and I want to wear this color, take a picture of it and store that for yourself. That way you have a reference start building your color reference. You can also use color pencils. You can use crayons. You can use markers. You can use water colors, whatever kind of medium you are comfortable using. Just start ticket color together. Another thing a lot of people like to dio is to visit the paint area of the home improvement store, collect some of those paint chips and start to put some of those together to that will really help. In addition, on a paint chip, it'll have tints and shades of a color so that you can really get a good feel for how things kind of mix and match. So I visit the paint store frequently to see if there's something in there that I really like as a color, and then sort of tuck that away into, um, my wardrobe planning book or on a sheet of paper or tacked up on a board next to my desk. So just start to collect colors for yourself. Start to think about how do I feel about these colors? How would I feel when I'm wearing these colors? How would other people feel around me when I'm wearing these colors? And that's how you start building your wardrobe power 6. Confidently Build Your Wardrobe: the next step in building your wardrobe, How it is to think about what are the roles or the positions of these different colors that you're choosing, So you're gonna choose some colors to be your dominant colors. These are the ones that you're going to weigh are the most, so these are going to be insignificant. Gorman's like jackets, trousers, pants, um, and kind of blouses that you were frequently you want to think about thes the colors that I tend to go to the most, and they're gonna dominate your wardrobe. So think about what colors do I want in a dominant position in my wardrobe. If I'm gonna make a hand in a sweater or have cardigans thes, they're sort of the colors that you're going to use in larger amounts. Then think about the supporting roles. Thes are sort of your base pieces. Your neutrals will generally tend to be in thes pieces, so if you have slacks or jeans, denim is a color. So if you wear a lot of jeans, denim is going to be an important basic role, essential items for you. So you want to think about what are the essentials, what are my basic pants. What are my basic tops? What are my basic by winter coat? What color is that gonna be in? So those cut your neutrals generally tend to dominate into these areas because these air your essential core items, then you want to think about your accents. What colors are you going to use as accent colors? So this might be a little pop of color that you have that shows up every once in a while. Maybe it's a scarf that you wrap around your neck. Or it's a belt that you like to wear a lot, or two pair of shoes or its necklaces or bracelets or places where you can add color. Maybe even if you have longer hair and you let toe wear hair ties or bows or anything in your hair. This might be a place where you think about those colors. Where, where, what kind of colors With those items be in any of your accent. Additional pieces that you have so you have positions for color. They have. You have a dominant role. You have an essential, basic kind of neutral role, and then you have an accent role, so as you look back in the color palette that you're starting to build from Step one. Now start to think, all right, thes the colors that I like. But what roles will they serve in my wardrobe and then start to plan out how those those colors will take positions in your wardrobe? The third step is checking the versatility of the colors that you're choosing. So now that you kind of have an idea of what colors you like, what roles they will have in your wardrobe. Now you need to do the practicality. Check. Do that. The items work well with each other to your dominant colors. Work with each other. Do your accent colors act as accents to your dominant colors? Are your neutrals really a blank canvas for your wardrobe, where you can add those extra colors in Now your accent colors don't necessarily need to work well with each other, but your accent colors need to work well with your neutrals, and they need to work well with your dominant colors so that you can bring those in each at a little time. So as you're looking at your palate and you look at your accent color section. They may not work. You may not ever wear those together, but they need to work with the other positions in your wardrobe. Now, here's the big practicality test. If you can look at all of the colors and you can look at those accents and those neutrals and you can start to envision Oh, I could wear this item with this item. I compare this with this, I can put these together. That's when you start to know that your palate is really working because the versatility and the the options here are what we're trying to create. You were trying to create options where all of your garment pieces mix and match and work together. Now, the reality is you may choose a palette that you feel like this is gonna be great, and then you start to use it and you realize, uh uh, this color just isn't working. You might tweak it a little bit. You might look for that saturation of the color. You might look for the light to the dark. You might change from a tent to a shade. You might all turn a little bit and then you hit that great nerve and you'll say, That's it. That's that's what that color needs still look like. That's what it needs to be in this wardrobe, and that's gonna happen over time. So don't put a ton of pressure on yourself. You have all this color knowledge. You have the steps for how to build your wardrobe. Start to feel good about what you're doing. Just try and you will see that your wardrobe will build. So don't be afraid, really. Open yourself up to working with colors playing with options and have fun and build that wardrobe and really, truly enjoy the clothes that you're making and that you're wearing. I hope you enjoy this class, and I hope you enjoy building a wardrobe pallet that's personal to you. You can all of me on social media. You can also find me on crafting with joy dot com and please feel free to take us many classes as you'd like at MIT with joy dot com