Color Schemes Through Animation

1. ColorIntro: Welcome to this course on practicing color theory with animation exercises. There's a lot of theories and templates for colors, but I find there's not a lot of exercises to iterate on them and I found that animation is a very good way of practicing motion as well as color at the same time. To basically drill the color schemes and related topics until they become second nature. We need to go over some of the basic terms and terminology of coloring. Values how dark to light something is. All of the steps between are different levels of value and value is the basic fundamental the ground up, the base for painting. If your values aren't correct, and your paintings not going to read. We'll be working with values now we have hues hues are all the colors that you can choose from. You got your red, yellow, green, all the shades between are still hues. Then we have warm and cool tones, which pretty self explanatory. Anything that drifts warmer like your reds and oranges are going to be your worms and anything that's in your blues and purples and everything in between, going to be your cools. Just like hues in general, there's a whole bunch of shades, basically an infinite numbers of worms and cools. The thing about color is it's all contextual. A color that's warm might be a cool color when it's next to other colors. A color that's warm might be cool in comparison to other colors. So for example, when we have a red, the farther we scroll from the red you get to a purple, you can still say it's warm. But if we go further, because this color is further into the cools, this color by comparison is a warm color. We'll be going into more of that later on. If you're already familiar with these type of topics, feel free to skip ahead at some parts. 2. QuickSetupRefresher: Quick primer on the setup of this class and the basics of animation. The first part of the class is going to be explaining a lot of the basic color palettes. You'll find them as one point X or whatever number it is. After we've gone over all of the palettes, then we'll move on to the exercises, which will be found in two point X. The exercises are going to involve moving circles, various number of steps, and those steps are going to be used to work within our color palettes. Now that we have that out of the way, I'm going to assume if you're taking this class that you know clip studios animation setup, but if not, we're just going to briefly go over it. Make a new document. You have a lot of presets here, the very right side, animation, default height resolution, you can leave these as is. You have a default, a time length and the default frame rate, which you can have whatever you want. I like to have a little bit longer just so I have room to move things around. When you press Okay, you're going to end up with this timeline below. This is our animation timeline, and you may know of the classic illustration layers over here. These two are both linked. This says animation folder. On the right side, it says animation folder. If I update it over here, it updates down here. We have a frame one. Here. And there's a button here, new animation cell. You see it makes a two. This is how you make frames. You can set up a hot key to make additional frames. I have mine set to zero, and you can see, as we make frames down here, it puts them into the folder over here. So I can scroll through, can delete. There's a button right here called onion skin that will show you the image before and the image afterwards. If I go to frame one now, you see there is the ghost image of two. At any point, you can click on one of these frames and drag them around so you can change the timing of your animation this way. You can also find a spot between two frames and make a new one and it will make a A, for example, here. Every time you do, it adds a new frame slash layer to your animation folder on the right side. You can do things like over here and duplicate, delete, stuff like that. But for this class, the most you're going to be doing is sitting down frames, using onion skin, and then clicking Play. That should cover everything you need for this class. 3. 1.1 Complementary Colors Scheme: All right, so first things first, we're going to be getting used to the color scheme types, which we do a quick Google search online. I'm sure you've seen these from time to time and it seems like, Okay, well, how do you actually use them and what does this mean? And you can see how they relate to each other, but what does that mean in action? So the thing we're going to do at the very start, it just getting used to making these color schemes very quickly. Color and then throw away and then do it again, repetition because we want these to become ingrained in your mind so that as you're working, you just pull out the color schemes that you want without needing to think too much about it. So the first one is going to be complimentary. Complimentary is just one color and the opposite color. Colors that are completely opposite on the color wheel have have the most pop to them. We have a red opposite of red. It's going to be somewhere in the Cyan color. Don't worry about being on the exact opposite side. Not that important. But what we're going to do is just pick a random color, paint it in and just go to the other side, grab that color, place it next to it. Pretty much all you need to do, but you need to do enough of them that you instinctively remember what they are. I can go over to this, purple. Then if you want to test your memory, try and think of the color and the opposite before you jump over and paint it. Like, can I tell myself that the opposite of this is green? You'll always be able to check by just looking at your color scheme and jumping over, but you're going to want to be able to say red Cyan, for example. You don't want to have to go red and then scroll over and then say, Oh, Cyan. You can do that for checking, but this exercise is just grab a color. And try and think of what the opposite side is. And in mechanics, it's pretty easy. It's just grab a color, look at the opposite side, and there you go. And we're going to get into doing animated color palettes later on. But first, we just need to get used to everything. You can do this as much as you want to, take a break, let your brain absorb it, come back to it, do it again. Try and remember blue, yellow, red Cyan, you got your purple green. Just want to reinforce the complimentaries. 4. 1.2 Analogous Colors Scheme: Our next color scheme is the analogous colors. Analogous are colors that are just next to each other, one step, one way and one step the other way. Much like the complimentary, you don't need to worry too much about getting the exact color that is on one side or another. Color is relative and no one's going to call you out on a slightly more orange color next to your red. So pick any color. It doesn't even have to be full saturation. It can just be anywhere. Grab any color and then think of the color scrolled up. You can color grab again to make sure you're right in the middle. Color scroll down. Suddenly, we have a unified color palette. You do the same thing where maybe you want to do full saturation. Grab one color, drag it down. Eye drop to make sure you're right where you were, drag up. Go blue. You can do this with desaturated colors. We have a blue, rotate over into the purple, grab that color, rotate it over into the cyan. A lot of times having desaturated colors, in fact, most times, it's going to be a lot easier on the eyes. It's going to give you a lot more room to branch out your colors. Whenever you're in doubt, start with something just directly in the middle. And instead of just grabbing this color and going one step in both directions like that, you can actually just grab that second color and go one step further. You're still going to be three steps in color, so it's going to be harmonious. But the directions don't really matter as long as you're going in a proper color step. You may even want to start playing around with slightly larger steps. You'll see how the farther you go, they're still going to work, but they'll slowly lose their harmony because of how large the jump is. Instead of just scrolling over here a little bit and placing that color, I'm going to scroll further. Then I'm going to scroll further. You can get pretty far with your steps, but these all relate to each other because it's a starting point that you're making these jumps. If I really exaggerate it and go super far down, You see, at this point, it just feels, it still works, but there's a different feel to it versus grabbing this color and going one step over and one step over. I might put that one a little bit farther. These two both start from the same color, but one of them has more of a jump to it and the other has less of a jump. So once again, this is an exercise that you want to repeat, come back to it, take a break, do some more. Ideally, you'd want to do several iterations of this over a long course, make it part of your daily activity and you'll start to get a feel for when it's more intuitive and built into your psych as opposed to having to well sit down and remember it again. And as you do these colors, you may start to see them out in the wild. You'll look at an apple and see that the apple, maybe you have one of those golden delicious, which aren't delicious. I hate the name. But you'll start to see that they share similar colors. Instead of having to sit down and think, what colors do I want to paint this app in? You're just going to instinctively know, hey, analogous colors work for this object. Hey, I've done analogous colors. I'm just going to grab this base color and work from it. That about covers analogous colors. See you in the next video. 5. 1.3 SplitComplementary Colors Scheme: All right. In this video, we're going to talk about split complimentary colors. Split complimentary are, you know, well, it's pretty self explanatory. It's a complimentary color scheme, meaning it's this one, but it's split, so it's not just the opposite. It's two ones adjacent to it. Now, another way you can think of it is a combination of the analogous and the complimentary. Because if you go from one side and you grab the two adjacent colors, it's almost like you're using an analogous. You're just not using that base color, but you can use that to step over and pick the other two. You see how you jump across and then you got those two. Now, because these two colors are almost the opposite, they still relate back to your main color. You still have a harmonious feeling to it. The way we're going to do that is just grab a color. Go ahead and grab blue. We'll start by putting it right in the middle. The blue on the opposite is going to be your yellow. You could start off by just doing complimentary so you know where your shades are going to be. You scroll over to one side, pick that, grab the middle again, scroll over to the other side, pick that. Then if you want, you can just erase that out of the middle. So that's one comp split complimentary color scheme. Another way is just grab a color, and you can just hover over the opposite. And if you don't want to pick that color, and then just scroll to the side a little bit. I drop that color, jump across, and just move your cursor up Then just like your analogous colors, you don't have to just do the most adjacent. You can scroll over to the side and the farther that you go, the less the colors are going to relate to each other, but you still have a certain range that you can safely relate to that base color. So you can grab a color over here, jump across, and I'm eyeballing it. I'll grab this color. Color drop the middle color again, jump over and pick something over here. So it's not a hard rule. It's a guideline. There are no, correct color schemes per se, except for what your goals are. So right now, we just want to get a feel for the colors. And so getting a feel, you have to practice. In order to practice, you go through the motions, and you can try the motions with don't be afraid of just grabbing some very dull colors because dull colors are going to give you a lot more range when you want to use stronger colors. Because if I have, let's grab this red. Put up to 100%. When I jump across, you have the complimentary, but you have the most change between these two colors. By grabbing a color on the opposite side and grabbing something a little less saturated, it feels more subtle. Then from there, if I want, I can drag over and then bring the saturation up so you can still do the complimentary. You could try complimentary or split complimentary with one color, grab an opposite to the side. Then when you grab the other side, make that one dull. Do the same thing, reach across, make this one really strong, bring it up to max. Grab that color, go across and make that one really dull. Do the same thing with, you know, grabbing this Sian, jumping across, dragging up. Let's try a dark one. This would be considered a tint. Or a shade, actually. This would be a shade. Shades incorporate more black into it. Tints have more white into it. So all these color schemes, you have your tints and your shades that you can work with. So it's not just one set of splits for one color. You still have wiggle room to maneuver. So once again, these are guidelines. They're not set in stone. And that about covers it. That about covers it for our split complimentary video. Look forward to seeing you in the next video. 6. 1.4 Triadic Color Scheme: Hello. In this video, we're going to talk about triaic color schemes. Now, triatic color schemes are similar to the split complementary. There are two colors across from a main color, but they're a step further to where you end up with your primaries more or less. You can also say that it's similar to the complimentary in which you have opposites so that they pop really well. The difference being they've drifted over to the primaries. Once again, the way to get used to triadic color scheme is not just talking about the definition of it or just looking at the example, we have to practice it. Pick one color, any color. You're going to drop the color and remember that you don't have to be completely dead set on what the colors are on the opposite sides of the triadic color scheme, you can drop to the other side and rotate up, grab that, drop to the other side and rotate down. We got ourselves a triadic color scheme. You can do the same thing with tints and shades. So you grab one color, you drop from the other side into the left. Grab that color again, drop to the other side and to the right. At this point, sometimes if your values aren't quite what you want them to be, you just grab the color and bring up its value a little bit. Whatever colors you pick, you're still not stuck with them. You may find that after you just one color, why I bring this one down again. As I'm adjusting the values, it's still stuck in the triadic color scheme framework. Grabbing one color opposite into the side, grab that color opposite into the side. You can also do this with farther colors because even though it looks very the three primary colors whenever you're picking something, it's still a guideline. So it's not something you have to follow super hard. So you can grab a color, go to the opposite side, grab a color. I drop, go to the opposite side and drag a color, and then you can take this color, bring it a little bit further. I this color, you could drag it out further, or you could drag it in further. So these colors, you notice right here where it is in the color wheel, this color is not completely in that triatic edge, and neither is this one. Yet these colors still fit together. If you look over at the triatic color scheme, it still fits that framework. Once again, just really want to reinforce these are guidelines. These are color recipes to get an effect that you can still tailor to whatever it is you're doing. So say I have an idea in mind, I want to make an apple and grab one color, grab over to the side, and grab this color over to the side. Obviously, apples aren't very blue, but I can take this, drop it down you know, less saturation, and maybe the green is going to be the flour on the apple, but I don't want to be strong. I can drag that down. And so because we're using shades, they're not as powerful against this main color. Still a triadic color scheme, but it's not going to vibrate as aggressively. So I can grab this dry in the apple base, grab this, dry in the leaves, then grab this and maybe it'll be a core shadow. You see how with an apple, you wouldn't think that there'd be a blue type color, but it still works. It's still within that framework, and then you can go and do the rest of your painting, revise things as you want. That's about it for our triatic color scheme video. Look forward to seeing you in the next video. 7. 1.5 Side Complementary Colors Scheme: Let's talk about side complimentary colors. Let's restart that. Let's talk about side complimentary colors. As you see, just by looking at it, it's pretty similar to just a complimentary color scheme. The difference is that it's not completely opposite. It's one step over. Now, the effect of this is that they're still related, but you don't have that aggressive pop of a pure complimentary color. So you grab one color, paint it in, jump to the opposite side in the color wheel, and then drift over in one direction. It can be either direction. I can grab this color, jump to the other side and drag up. Both of these are side complimentary colors using the same base. This is good when you just want something that's not as intense because opposite colors have the maximum pop. If you really grab one color and put it complete opposite the place where it aligns where they overlap, it just really vibrates. If I were to blend this a little bit, does it out. If I grab that same color, if I grab that same color, I actually going to start with this one. Instead of jumping straight over, I drag up a little bit. It's a similar pattern. But you see how this edge right here doesn't pop as much. I'll get rid of that edge right there. See, look at these two. These two, they're both greens, both purples, but look at the edge. So side complementaries, there's not a whole lot to say about it. Pretty self explanatory, pretty similar to what we've done in the past. However, just like all the other color schemes, you have to practice it. So grab some colors. Pick a corner that you haven't messed around with, be it a tint or a shade. You know, when you're in doubt, just go in the exact middle. Don't just go straight towards the saturated. Go the middle. You want to have range, but make sure you're practicing different ranges. So, you know, pick a shade corner. Then go to the opposite and go in one direction and paint it. Try the same thing. Grab that color, paint it, jump to the side, and go somewhere opposite. We try it with tints. Grab a color up here, in a tint, jump to the opposite and down a little bit. Grab that color again. Jump to the opposite and up. So you see how these two relate and how they're both side complementary being the opposite. At the same time, they're similar but different to the complimentary color scheme. You want to keep doing these, take a break, come back to it, just do more of it, get yourself familiar with it. Repetitions is the key. You're not going to learn it in just one go, you're not going to know it because I just told you in this class, you have to practice. There's no other way. You have to practice. That's about it for side complimentary colors. Look forward to seeing you in the next video. 8. 1.6 Split Complementary Color Scheme: In this video, we're going to talk about double complimentaries. Double complimentaries, which you can guess by the name are related to your complimentary color schemes. Difference commentary being two. You have one and you have a second. Now the notable thing about the double complimentary is that you have the really strong contrast of two colors however, you have a second one which also has its complimentary and both the complimentary and the base have a relation to each other, meaning this one is more of a green area and this one is more of a blue area. Not only do we have the amount of contrast between two colors, we have a range so once again, the way we practice, grab a color, paint it down, and you can go to the left or right. You'll notice that it's about two steps away, which you can very accurately do two colors, or you can just scroll and guestimate. Once again, guidelines, not strict rules. I grab this color, go to the opposite roughly, paint it in, grab this color, go to the opposite, paint it in. That's how you do the split complimentary color schemes. The way to get better at it is to practice. Grab a color if you tried it in a tint form, grab a color, jump on the opposite side, grab a color, take this one, jump to the opposite side. On your complimentary side, you can also try things like having a tint for one side and having a shade for the other. Or take the main complimentary, give it a little more saturation. So we're making changes that are still within this frame here. Delete, start over again. You can also pick a theme to give you a little more direction for the color scheme. Like say I want to have carrots. I think of one color and is shifting more towards yellow going to be a carrot type color or is shifting towards red going to be a more carrot type color. We're going to drift more to the yellow. Then we're going to grab that opposite color blue. Grab the opposite color here, which is also a bit of a blue. For a carrot, the blues obviously aren't going to be very strong. In fact, you wouldn't think of blues with a carrot, but everything is relative to itself. We can grab this and let's just drag out the saturation, maybe give it a tint. Same thing here. Maybe on this one, I want to have it more of a tint than a shade. You can just take the color and move it around and see what's going to work better. Now, it's trying a carrot. Maybe on here, I might want to try something like that, trying a little highlights. Maybe I have it as a core shadow, not the perfect carat. But also, once again, because these colors are not strict, you can take one of the complimentaries, just paint it in a little bit. Dull down the complimentary side. And now, when I paint these in, you know, maybe it's a little bit shallower. You'd want to get reference for your colors. This is obviously something I'm just pulling out of nowhere. As you can see, it's not exactly a very super carat type of color scheme. But once again, the only way to get better at these is to practice. That covers it for the split complimentary video. I look forward to seeing in the next video. 9. 1.7SquareTetradic Color Animation: In this video, we're going to talk about the square triadic killer schemes. So the squared triatics are once again, similar to the complimentary. A lot of color schemes that use it as base. The big difference here is that it uses essentially the entire color wheel. The double complimentary is just a few steps over. So in some senses, the double is similar to the square triatic ettic but the big difference is the range in which this one has. So once again, it's a guideline. It's a guideline that we need to practice. So we're going to grab one color of any choice. Okay. Let's start in the middle. You're going to paint it. You're going to jump to the opposite side. You're going to paint it, and then we're going to eyeball it where you rotate about halfway down, pick a color, and then you can just jump to the other side. Here, we have a square I need to figure out how to say that tratic color scheme. Let's try it again, Strab a color, paint it in, jump to the other side, paint it in, try and roll about halfway to one side, paint it, and then jump to the other side, paint it. These colors, once again, you can play around with them. You can put tints or shades in them. Save this purple I don't quite like. I feel like these three relate more to each other than this one does. You can grab this color and desaturate it a little bit. So it's still in the same spot along the color wheel. So it's still a triatic color scheme, but we're just adjusting aspects of this color. So tints and shades, just play with them. If we want the red to be dominant, we could go with a pure red. Then if you want, another thing you can do is just grab a little bit of that color and put it in the other ones, paint it up a little bit. The more intense you put into it, the more it's going to drift straight towards this. Make sure you don't go aggressively towards it. But now we have a color scheme that's not really as tetatic, but it used that as a base, and we've now scaled it more towards a goal, which once again, this could be an apple. You could have a base shape, maybe you want to these two are actually a little bit too close. Let's go ahead and drop that a little bit. Yeah, once again, as you work, you can still edit your color schemes. You're not locked into them. Something to keep in mind as you work on these colors is the more you know what your goal is for your colors, the more you're going to know how you want to tailor them after you get the base in. Say I want this to be blueberries, we'll say, can shift this more towards the blue, can grab this one, shift it further towards the blue, grab this one and shift it towards the purple. I'm not going aggressive with my color changes. I'm just tiptoeing into it bit by bit. On this one, maybe I'll roll towards the blue and give it a little more saturation. You see how this feels closer to a blueberry now? We can try a little something. Then from here, obviously, you can just grab one of the colors and blend stuff and work as you want. It's good to have a color scheme that's locked in place, but you can still mess with them. That about covers the traic color schemes, the square tetratic. Look forward to seeing you in the next video. 10. 1.8 DoubleSplit Complementary Color Animation: In this video, we're going to talk about the split complimentary colors. I will say upfront that honestly, I don't hear about or see a lot of people using these colors. Obviously, it's an available color scheme, but it's one of those outliers that people don't use to get that complex with their colors. That being said, we'll go over it anyways. The split complimentary color scheme, as you can tell by the name is similar to the split complementary color scheme. In fact, it's pretty much the base of it. There's a couple of differences between these two though. First one being the double split complimentary incorporates essentially the entire color scheme in and the second is that you have one color and two opposites that relate to this one. But you have that two times and as a result of having these two, every color is just a couple steps over. You have a two step gap here, but you have one step gaps over here. It can be a little bit hard to manage these. So for that reason, I'm actually going to copy this and bring it over to the other side so I don't have to keep scrolling back over. We're going to grab any color. Go down here and grab a blue. Let's start with something a little more towards a tint. When you paint it in, you're going to go to the other side and shift to the left. I drop that color again, go to the other side and drift to the right. But and then this color, you notice we have two steps over in one direction. You've shifted over roughly two steps. It's all eyeballing because again, I keep saying it, but it's a guideline. There's no truly correct colors. They're just colors that relate to each other. With this color, you jump and you scoot over a little bit. Grab this color, jump over, scoot to the other side. These together are going to be our double split complimentary color scheme. You can see that because we have so many colors, it's not exactly easy to manage. You can grab one color, scroll over to the side, grab another color, jump across into one side, grab that color, scroll over to the other side. You want to jump and scroll to the other side. Grab the color, jump to the R side. Grab the color, jump to the R side. And so when you have these two colors, they're going to support your main color. Basically, you have your main colors and you have your supporting colors. And from what I've heard, people like this color scheme because the fact that it covers the entire color wheel, it gives you a lot of options and it tends to make your colors more vibrant. We'll just work with this color scheme as a base. We're going to jump over and you can jump right here, grab this color, plug it in. You can see how these two blocks separately, just on their own. Either one of them is pretty vibrant. Say we want to make not straw. Straw. Let's draw a side, for example. All of this in there. So this one, it's got that almost complimentary feel, which is why the yellow pops so well against it. Notice that this one pops almost as much as this one. That comes from the complimentary got a split complimentary aspect of it. We can go down here see what that looks on the other side. We can grab a color Now, it does seem like this green is not popping as well, I'm not entirely sure why because it has that same across effect. Let's go ahead on the colore and drag up that saturation. Now you can see it pops just as well. When you know what you're trying to do, you have these two aspects that you can work with on the split complementary color scheme. But as a reminder, you're probably not going to be working with this color scheme as much. I would very much recommend spending more of your time in the simpler color schemes and only really worry about these last three. If you're just looking for a challenge or you're looking to elevate and expand a little bit beyond the normal. That being said, I hope you've learned a lot from these videos, and next videos up, we're going to go into an animation workflow where we play with these colors. Look forward to seeing you there. 11. 2.1 Complementary Color Animated: Hello. This class is going to assume that you have some underlying understand of the Tut animation process. But if not, I'll briefly go over a few of the tools in Clip Studio. You can do this part of the class in any animation software, but my preference is Clip Studio. That's what I'll be working with. I'd recommend having a color scheme page has reference, and we're going to make a new file. Go to go over to your animation. You can use whatever defaults. We don't need a lot of frames for these animations, so 24 is just fine and press. For clip, you have your timeline down below. You can scroll. We currently only have one frame in the timeline. To make a new frame, you're going to scroll over and look for the new animation cell button. We now have a one and a two. If I put the one here and I put the two here, you can see the animation plays. You can grab any of these keys, move it around to adjust your timing. An point you can delete them out. When you press delete, the frame itself stays there, but the canvas is cleared. You can click and drag frames in front of each other. And if you make any additional frames, which I have a shortcut set up for egging frames, you can change their order. You can also overlap and cover one of them to replace it with another frame. And if any of your frames are gone, you can right click and you'll see a list of all the frames that are currently in your animation folder. Now you can rename your animation folder and that corresponds to the right side where your animation or your illustration frames are. When you're starting off, if you haven't used any clip animation before, you'll probably notice that you have really big images, whereas I have small ones. If you right click and go to the thumbnail size, you can click none and that will give you a more compact, easy to work with timeline. That being said, you now know how to make frames, add them, move them around, change your thumbnail size, see where they are on the side, and right click and pick them from here. D. Now that we have those basics out of the way, you find yourself needing to reiterate to get that process burned into your brain, feel free to pause right here, go through it, watch it again, take a few steps away, go have a snack, come back and really make sure that you have this ingrained in your brain enough that you can work with it as we do our animation exercises. So first things first, we have our colors in the second window, and I'm just going to grab some of these copy because we're going to work with complimentares first. Go over to here and I'm going to make a new folder, which it's not going to have any frames in it. You want to make a frame, and then over here, you want to right click and make a new layer folder so that we can paste the image in which it's working. I'm not entirely sure why it's not weird. We have a frame two here for whatever reason. I am not sure why that is. You make a group out of this, and then you paste it. Now we have this inside that animation frame, which is right down here, you see the one. I can drag it around. It doesn't really matter where it is as long as you have it as a reference. I'm going to drag it up to the corner. So I'm going to call this one Main. You can name whatever you want. I'm gonna call this other one Ref. So we need to make say five frames, roughly six. And as you make new frames, you'll notice that the naming conventions get a little bit off. It doesn't really matter. But for the sake of keeping things organized, you can always right click on the folder, Edit track, rename and timeline order, and you'll see the numbers are now cleaned up a little bit. So we're going to pick a brush and I'm just picking a default brush of sorts. We're going to be working with the color, picture down below. If it helps, go ahead and scale it up so you have a little better view of it. Our first things first is complimentary colors. We can review what it is. You pick one color, and then you go find it on the opposite. The way we're going to work with it is grab one color, paint it, go to the next frame, turn on your onion skin, and we're going to jump over to the other side and we're basically just going to move a dot around one frame at a time where each frame is a new color. So we've jumped across. We know that if we jump across again, we're just going to end up back here. Let's go ahead and jump across. But instead of picking that same color on the next frame, we're going to drift more towards a tint or more towards a shade. Doesn't really matter. We're just getting used to using complementary colors. Jump back over next frame, you can work with the tint equivalent or you can jump up or you can work with a shade equivalent or you can jump up to the tint equivalent. And so you can make as many frames as you want. It can be a very short animation, very long. When you're done, go ahead and turn the onion skin off. I can grab this color, flip over to the other side, we drag a little bit more towards the black. Turn on your onion skin, to ride in a new direction. The spaces between it doesn't really matter too much, just as long as it's close enough that the piece is going to jump to the new area. Our primary goal here is once again to play with our color schemes, use the built in color scheme types. We're using animation as a way to structure whatever it is we're trying to do. But this isn't an animation where we really have some end go other than the colors, which if you want as you're going, you can play with the sphere and make it more of a blob. You see as I'm working, it's becoming more of a intuitive thing. Also, I'm not being too uptight about exactly dropping over. I can drift up a little bit. It doesn't matter. In fact, it's a good way of exploring subtle complementaries. Then you can see that every one of these colors, it's a very different color. It's jumping across, and yet when we click Play, they relate to each other. We just have an animation of complimentary colors. That's the idea of what we're going to work with each one of these color schemes. Then at any point, you can right click on it, it track, rename and timeline order, and now we have our very clean numbers down below. If you want to, you can make frames in between, turn on your onion skin. You can grab one color and you can try and do a middle color to further break up the animation. You can see what happens when your colors are accurately between each one and when they're not. Because remember, there is a frame of getting colors. There's no right colors, there's just better ones. As you do this, your brain and your thought process are going to be more in tune with this color type and you'll find that you can start going over to paint something or do whatever illustrations you're doing, that thing or your animations, there's going to be a built up instinctual way of working that comes through repetition, much in the same way that doing figure drawing or composition or any other type of animation art practice is going to get you more familiar with the process. So we can drift more to a tint. Pick this color, drift it more towards a tint. Between this color, I'm gonna grab the color afterwards. Go back. It's still using one color and it's opposite. But I'm playing with the jump between them. While you're doing this, at any point, you can use this as a reference and say, I want this color, I want this color. Keep in mind I'm painting on one of the animation frames, so it's going to jump. If you do do this, you'll probably want to make a new folder with one frame that carries across the entire thing. But that being said, I can grab one color, grab another, scroll over, say I want this color. You can use as many of these as you like. You know, this is more than two colors, but it's still using that complimentary opposite. So we're still working within the complimentary color framework, reiterating that it's a framework. It's a scope, an idea, a way of getting to colors. But the right colors are the ones that work for you. So play around with this, have fun. And when you are interested in moving on, I look forward to seeing you in the next video. 12. 2.2 Analogous Colors Animated: In this video, we're going to work on the animating of analogous colors. So we go over to our reference, copy it, make a new animation. Whatever defaults you have, probably good enough. We have our animation folder, right click. I want to make a new animation new layer folder. What you can do create folder and insert the layer. That way, it's inside the new folder you make. It's just one step quicker. So you paste it in. We have this empty layer here. You could merge them down, right click, merge with layer below, or if you have a hot key setup, you can use your hot key to merge. G pull this to the side and we'll call this folder reef. Going to make a new folder, I'm going to call it animate, but you can call it whatever. Make a frame. Let's just go through and make a bunch of empty frames. Analogous colors, like we talked about earlier, they're adjacent colors. You can see the adjacent look here. With this helps with animation, you can pick a color and you can go in any direction. You can double back. And whoops, wrong layer. Make sure you're on your right layer. You can bounce between them. You have multiple ways of stepping between these colors. Then like any other colors, you can do tints and shades and they'll still be analogous colors. Let's go ahead and give it a shot. Grab a color, go with your first frame. Blob in a, a dot, turn on your onion skin, go the next frame and scroll your color over in an analogous direction. You can have it super close, you can have a little bit far away. Remember that the farther it is, the less unified it's going to be. But these are guidelines. It's a structure. It's not a one color correct incorrect thing. We can scroll over again, go to a new frame. You can go the next frame and you can rotate back. Next frame, rotate back, turn off your onion skin, and we're rolling through with the same colors. Now, let's take that color and go two steps over. Interesting thing here is that we can now jump into a second analogous color. I can say this is one color, jump over again. This is another and jump over again. You notice these three colors are not the same analogous colors up here, we're essentially starting a new jump of analogous colors. This is where you can really play with your colors. You can also take those colors. I'm going to rotate back. I'm going to go down here and pick a color that's more of a tint, scroll back, pick a color that's more of a sorry, this is a tint. The other one was a shade. This is a shade because it's closer to black. This is a tint because it's closer to white. You can scroll down here, pick another color, give it more saturation, jump again, drag it over. Pick again, drag it over, pick another color. Then when you have enough frames, turn off your onion skin. At any point in here, you can make a new folder and you can just grab a couple colors that you like. Yes we have the area where it jumped into a new analogous color scheme. You kids say you're not going to pick colors because it doesn't cover that first analogous we did at the beginning. But once again, it's a guideline and like with split complimentares and such, you can still grab these other colors and they're going to relate to each other in a certain way. This is where you take the analogous colors as a base, but you jump off of them to pick the colors that you actually want. And like we did before, if you want any of these colors to feel more unified, just grab a little bit of an adjacent color and pull it over and paint it in. If you use just a little bit, you drag one color closer to the others. You can even drag the color over all of these colors. Shift them over. It's all a process of exploring and practicing really simple animations and seeing how colors fit into animation. So have some fun with it, and when you're ready, move on to the next video. Look forward to seeing you there. 13. 2.3 SplitComplementary Colors Animated: In this video, we're going to look at the animation and exploration of split complimentary colors. You'll want to grab a copy of this, which you can find it on Google. If you just search color schemes, go to our new animation, make a group, paste it in, drag it up to the side, merge it if you want, make a new folder, add a frame, call it animation or anim ref. So in our animation, gonna make a bunch of empty frames. We'll start off by grabbing a color. I'm might go over to red, make it a little saturated, grab my brush. We're going to dry in one color, and we have our split complimentary so I can go on the opposite and down a little lower, turn on your onion skin, drag it here. Then I can go back, grab that color again, two frames forward, jump over here and go up. And then go to the next frame, grab that first color because we're going to bring it back. Now I can click Play. You can see it's already got interesting motion to it and there's those jumps and colors. Now we're going to jump across and down and you can pick a color that is more of a tint or more of a shade. If you don't want to jump back up and try and use the base color again, because you can use that to jump across and pick a location. But you can just guess it drag down drag back up, really reinforcing that this is a framework, a recipe. I'm going to do two colors of the opposite before I jump over to the side. I rotate. So you're able to play within these colors. I can click Play. Then once again, I can make a new folder. I can pick any of the colors from here that I like, can say, Hey, I like that color. Kind like that one. I like that one. At anytime if I feel like these complimentaries have drifted too far from the base, I can grab one and paint it in the next one. If I feel like these two colors have drifted too far from the main, grab a little bit and just brush in the colors. Then at any point, if I feel like they've lost some of their saturation, you can just grab the saturation from where it's at. You don't have to go up towards a tent or down to a shade. You can just pull it straight towards saturation, you can mess with it. You even bring one of these complimentary colors and drag it back towards the main color on the opposite side. At any time if you find these colors worth exploring, you can start a whole new folder. Make a bunch of frames, we're going to hide that other one. You can start at here. I can say, Hey, I'm going to drift off a little more in a different direction. This might be going outside of the traditional split complimentary, but once again, if the colors work, they work. It's a framework. It's a starting point. Play around with some more, get more familiar with it. When you're ready, let's move on to the next one. No. 14. 2.4 Triadic Color Scheme Animated: Next, we're going to be covering triatic color schemes. At this point, you probably know the drill a little bit, doesn't mean we play with all the colors. Let's copy, make a new animation, whatever the defaults are, make a group so that you can paste into it, paste in a reference, bring it up out of the main area. Merge it down to keep your animation folder tidy. We'll call this ref, make a new fer, call it main or animation or whatever. Make a frame, make a bunch of frames after it. The manual way of doing it is to find the new animation cell. However, you can assign a keyframe the way I just did to very quickly make all the frames. And we're going to look at the triadic color scheme. You have the three colors that cover the entire color spectrum a bit. For this, we're not really going to be going to the adjacent colors, at least not by default. Once again, frameworks or frameworks. You can always play around with the nearby colors when you're done, but we're going to start off with grabbing a color using our brush, painting it out, and we're looking for that triangle in there, and we're looking at it very loosely. Then you can grab the previous color if you want, move up, and basically go in reverse order. Then from here, you can try and do the triatic but you can drift more towards a shade or more towards a tent jump across here, jump back across over here, make it a tint, jump back over, make it even more of a tint, jump down here, make it more of a shade. And go grab a very strong color, bring it in, go to the next one, drag it over. This is a very loose triangle. Watching the video, you can see I'm not really aiming for the most accurate as far as where they are in the color scheme. We're looking to explore colors, not dogmatically follow the color scheme rules. Just a reminder that are a place to start, not a hard rule set. You can make a new folder, put one frame in there and go around and pick the colors from here that you like. Then if the harmonization between them is not the best, grab a little bit and introduce it to the other colors. And having an object in mind will help you pick how you want the e to behave, such as I was default to an apple because it's pretty easy and straightforward. Colors that you might not even think would work can actually turn out pretty decent when put into effect. But that is our triadic colors, play around with it some more, take a break, come back to it, iterate on it, come back to these lessons more. When you feel confident in moving on, I look forward to seeing you in the next video. 15. 2.5 Side Complementary Colors Animated: In this video, we're going to start experimenting with sod complimentary colors. Take your color scheme ref, go down here, grab a copy, make a new file defaults, make a group, paste it in, merge it down, drag it up out of the way. New folder, main or animation timeline, whatever you want to call it. Make a bunch of empty frames. Now, because we've already done complimentary, you're probably going to know how to work with this one pretty well. But the fact that it's side complimentary lets you play with it a little bit more interestingly. So you can pick a color, get your brush out, and paint. When you pick the opposite in one direction, instead of just jumping back, you could then or instead of jumping back to that first color, you can just pick the opposite of that color then on the next frame, you're not just jumping over and making complimentary, you're jumping over and scooting to one direction. The fact that the side complimentary moves a step over means that you can shoot over and grab a color that's not the same. But every time that you jump over, you can make another step over. The step part of this makes it so you can slowly go around the timeline, even if these are just opposites. This color, I'm not just going opposite like a complimentary, I'm going opposite and to the side. And then I can jump back over, but I can jump back over into the side, jump back over to the side. Jump back over to the side. Jump back over to the side, jump back over to the side, jump back over to the side, jump back over to the side. Jump back over to the side. Jump back over to the side. Again, these are guidelines, not rules. I color works, it works. Turn off the onion skin. The range has dart around more to here than just here, but it's by going across that we can get to those other sides and still have it make sense. So it's a little bit more free flow than a straight up complimentary color animation. Play with this some more, get used to using complimentary colors. You can strictly go from one color to the next, or you can jump across. If the color works, it works. Have fun and I look forward to seeing you in the next video. 16. 2.7SquareTetradic Color Animation: Next code scheme up is a squared tetratic color scheme. Going to drag our selection over, make a copy, new file animation, defaults, make a group, paste it in, drag it up out of the way. Merge. You can right click on the folder and merge it, whatever the case, call the folder ugh, make a new folder. Call it anim or main or whatever. Make a bunch of empty frames, about one frame apart. And let's get into it. So the square tetratic is two complimentares, again, it's two complementaries that incorporates the entire color scheme. In a way, it doesn't cover the shades in between, but that doesn't mean we can't use the shades. So let's start out by grabbing a color painting it in, turning on our onion skin. Next frame, jumping over, grabbing the same color. Next frame, when we jump back, we can make it more of a neutron. We can make it more of a tint. We can make it more of a shade. We jump back again. Same thing. This incorporates two versions. So at whatever point, we can look at this spot instep going completely across, we go halfway, and now we have our new complimentary so we can go to the next frame, jump across, painted in. Next frame, jump back, painted in, jump back, next frame, painted in. Then at whatever point, we can grab one of these and we can jump halfway, grab a color, then we can also just jump in halfway marks all the way around because we're jumping in a way that is allowed in the square tetratic color scheme framework. Jump back. Jump back. Jump back. Click play. Left in a bit of a line there. Go in there to race that out. We have a whole bunch of colors that are related to each other. You can make a new folder, like one new frame. You can pretty much grab any of these colors. Because remember, they're all the same complimentares that are related to each other. Why are these related to each other? Because they're the same distance across in the square format, which means any of these colors that you grab are going to be related in some sense. They're going to be related in different ways. Made those frames when I don't want to. Oops. Keep painting on the wrong layer. Reminder at any point, you can adjust these colors by grabbing a little bit from one and dragging it into the others to blend colors that have a relationship between each other. And you may also find that as you do this, you lose some of the vibrancy of some of the colors. It's always good to make a backup copy if you do something that you don't like. But once again, reinforcing that this is it's a base. All colors are relative to each other. There's no wrong or wrong, there's just do they do their job? Are they informed by what you're trying to do? Have some fun with this and when you are confident in it, feel free to move on to the next video. Look forward to seeing you there. 17. 2.8 DoubleSplit Complementary Color Animation: Our last compliment our last color scheme to work with in our animation is the double split complimentary. Reminder that this one isn't as common as the other ones because it is a bit technical. It requires more thought upfront, and there's just a little more steps to work. So we're going to go over here, make a new animation, defaults, group paste, move it to the side. New timeline, main, then we're going to drop two frames between each. We can drag our reference a little closer. So we pick a color. We go into a neutral because it's easy to manipulate and work with. Grab that color, drop it over, so we can go opposite and to one side, the onion skin on. Scroll back, grab this color opposite to the other side. Grab that color and we're moving just a little bit, scroll back, and then you can grab this color and you see how it's two steps over. We're going to estimate and go one step, two steps. We'll go over here, and then we jump over and one step to one side, scroll back, grab it, jump over one step to the other side. You can see even though we start from two spots down here, they still feel like they belong together. You can be very accurate and grab that first color and move forward. To start the loop over again. But once again, guidelines. If you want to make sure that you have a constrained palette that uses a certain number of colors, then yes, you'll want to go back here and reference that color. But if you're just winging it, you can pick any color around that area and work with it. We jump across and going in one direction, pick a color, grab that again, jump across, go to the section. Then one of the things about the split complimentary is that even though we have the two steps to one side, there's nothing really to stop you from going in the other direction and then picking two colors. You can jip across and add multiple split complementaries the same way that we took the complimentaries and jumped over one step. There's still a amount of playing around that you can do. I grab this color and I'm going to rotate over here. Take my color, put it right here, jump over and one step to the right. Grab that color again, jump one step over into the other side. Even from here, I could say at this even though it's on this other side, I could act as if it's one of the bases of the crossover. I can say, Hey, this is one color. I'm going to grab an adjacent one on the opposite side, paint it over, grab that color again, go to the opposite side in the other direction. Then I can go ahead and maybe grab that color again if I just want to finish off this animation, turn off our onion skin, go back to the beginning. You see, even though we have one color, two on the opposite and one color and two on the opposite, somehow they just feel like they belong. Even with me jumping a completely different area and doing that again at the end, it still fits because we're using that split complimentary idea, but in new ways. We can make a new folder, make a frame, scroll through. You can grab any of the colors from here in whatever order you want them to as many as you want to. Five colors is a split complimentary color base, but you can use more or less. We turn this off. Hey, these are all a dull neutrals color. We didn't have to take these colors and drag them into a full saturation. It's those neutrals that allow the colors really have a fine they work together quite well. That covers the split complimentary colors. Go ahead and experiment with it more, get some more reps in it, play with it, get used to it, and look forward to seeing in the conclusion. 18. Conclusion: So to conclude on this class, color schemes are a framework in order to pick colors that match up, but there are no way hard rules that you don't have Wigooom in that give you a place that things relate to each other. Then from there you customize it to fit your needs. We've also seen how just picking different colors for blobs, you can move them across screen and get a feel for how colors work as well as give you a visual animation representation of colors you can grab to further refine your color scheme ideas. Complementaries are colors on the opposite of the color wheel. Analogous are colors one step to one direction or the other. Split complementaries are complimentary where you're using one step off when you cross the other side. Triatics are a low form of grabbing the entire color wheel. Side complimentares are a step off from a regular complimentary giving you a little more wiggle room to play. Double complementaries are working with two complimentaries that can relate to each other because they're both one step aside. Square tetratics are another whole color scheme encompassing idea. They are one step broader than a triatic In split complimentary are two complimentaries, where you have more wigoroom to play with, but they still belong to each other. So this is not something that one play through this class is going to instill it completely. Repetition repetition, practice. You have to learn this knowledge and then you have to encode the memory into your brain in a way that you're actually going to be able to work with it, and that's going to take time, it's going to take review. If you want this class to really affect your color schemes, practice, practice, practice, review, review or review. I hope you've had fun with this class. I enjoyed making it. I hope you got some new information out of it, and I hope your career moving forward with illustration, animation, illustration, whatever you're working on is more fruitful with knowing how these color schemes work and having play with them a bit. Thank you for watching this class. 19. HomeWork: All right. So for the homework, you're going to make animations like this. Just a dot moving around in a nice pattern. The way that I did this for the complimentary color scheme was I picked two colors. They're opposites and every dot just jumped over to the other side. As I jumped over again, you notice that's still a red, but I had a little wiggle room as far as how I want to navigate down here. I'm still using complimentary colors. But I'm animating this dot within those color ranges. You make the colors that you want depending on what part of the project you're working on, and then you animate a dot going around screen when you're done, clip, you go up to File Export animation, animated gift. You're going to have whatever you have set up here, name it whatever. The size and whatnot don't really matter. I would recommend just keeping it somewhat small. Then once you have it exported, you are going to go over to the class, scroll down here and submit your project here. You can either submit them one by one, or you can make a zip file with all of them together. As a reminder, this is an example of one animation. You want to do one of these for each scheme in this class. I've included some instructions for some derivatives of it if you want to have a little more fun or low variety in the practice.