Color Theory ▶️ Part #4 of Adobe Photoshop Drawing Course | Xenia Sorokina | Skillshare

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Color Theory ▶️ Part #4 of Adobe Photoshop Drawing Course

teacher avatar Xenia Sorokina, Illustrator & Graphic designer

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.



    • 2.

      Color values: Hue. Saturation. Brightness


    • 3.

      Color wheel & Color combinations


    • 4.

      Temperature & Balance


    • 5.

      Final work: Base colors


    • 6.

      Final work: Atmosphere #1 - Daylight


    • 7.

      Final work: Atmosphere #2 - Evening


    • 8.

      Final work: Atmosphere #3 - Night


    • 9.

      Final work: Atmosphere #4 - Morning


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About This Class

This is the 4th part of the Adobe Photoshop drawing series.  If you haven't seen the previous classes of this course, please, check them out first, because the knowledge we’ve gained there would be needed in this part, as well. 

In this class, we’re gonna be exploring color theory.

During the class we'll discuss the theoretical basics of color theory, explore the most used color combinations and find out the characteristics of the colors, such as temperature and balance. 

At the end of the class, in order to apply the received knowledge, we’ll complete the final full-fledged work. This artwork is gonna be focused on creating the different atmospheres by using the color theory basics.

For this class, and for the whole course in general, ideally, you should have Adobe Photoshop and any kind of graphic tablet.


Previous parts of the course:

▶️ Part #1: Linear Perspective

▶️ Part #2: A Theory of Light And Shade

▶️ Part #3: Materials Study

Meet Your Teacher

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Xenia Sorokina

Illustrator & Graphic designer


Hello there!

I'm Xenia, and I'm an illustration and graphic design enthusiast. I know firsthand how complicated and confusing the new software, tools and simply learning new skills could be, so I'm here for all the neophytes and enthusiasts to help you with learning new things.

So if you want to learn something new or refresh already known but forgotten knowledge about Adobe Illustrator, Photoshop, Procreate and digital illustrations in general - you're more than welcome to join the creative journey!

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1. Introduction: Hello everyone, my name is senior and welcome to the fourth part of the Photoshop drawing. Serious, if you haven't seen the previous classes of this course, please check out them first because the knowledge will again, there would be needed in this part as well. Into this class, we are going to be exploring the color theory. During the class, we'll discuss if theoretical basics off color theory, exploit them most use color combinations and find out the characteristics of the colors, such as temperature, M valence. The end of the class, in order to apply the received knowledge, will complete the final full-fledged work. This work is going to be focused on creating the different atmospheres by using the color theory basics for this class and for the whole course. In general, ideally, you should have an Adobe Photoshop and any kind of graphic tablets. But the knowledge you'll get, you'll be able to apply in any other graphic software or even traditional materials. So if you're ready, let's begin. 2. Color values: Hue. Saturation. Brightness: In today's class, we are going to be talking about the color in general and the color theory in particular. The color theory is a practical combination of science and art that is used to determine what colors look good together. But before diving into the color theory, we need to talk about gala characteristics. We've already been talking about colors earlier in the previous parts of this curse. And we've already been working with the colors, but we did it very superficially with a lack of understanding and without some knowledge about what colors consists of and what characteristics any color should have. So let's enhance our knowledge and start from the very beginning. The first characteristic of the color is the few. The hue is the color itself or the base, and it is any color you want. Here you can see three circles that I filled with a different colours. They are cyan, magenta and some kind of yellow. If we select any of these circles and go to the hue saturation panel. And if we start dragging the handle on the few slider to the sides, any college year would be the hue. So that's what the hue is and it is a color itself. The second characteristic any Kala has is the intensity of the hue. And the intensity of the hue is called saturation. On the left, we have the Q or the base color. And if we are going to be agent that gray color into it, we're gonna be making this huge, less saturated. If we are going to be adding some of you to the grey color, we're going to be agent the chroma and we're going to be increasing desaturation. So the saturation is the intensity of the hue and the less characteristic of the color is the value. The value could be divided into two more characteristics. The value has the deans and the value has the shades. The value itself is the brightness, all lightness of the hue. So if we are going to be mixing our HU With the whites, we're going to be creating big teens. We are bleaching the hue and making it more passed out. If we are going to be mixing out here with the black color, we're going to be making the darker version of the Hue, thereby making the shades. The last in the line will be white and the last sheet in the line will be black. So these were the characteristics of the colour. To sum up, there are hue, saturation and brightness. And all of them we've seen and use before, they all are here in the color panel. And that's why we are using the HSB sliders. So now we shed some light on the theory. And the next thing that we are going to be talking about, easy color wheel and how the colors can be combined together. 3. Color wheel & Color combinations: Now when we know the characteristics of the color, we can move on precisely to the color theory. Here on your screen, you can see the color wheel. And the color wheel is the basis of the color theory because it shows the relationship between the colors. So what all these scholars are entwined exactly these colors, we have three gradations of the colors. Colors could be primary, secondary, and tertiary. Let's check them all out in order. The primary colors are these colors inside the triangle. And these colors can be Meeks from the colors. Primary colors are red, yellow, and blue. The next level intervene upgradation is a secondary colors, and these colors are mixed from the two primary colors. Red and blue gave us purple, red and yellow gave us orange, and blue and yellow give us green. Purple, orange and green are secondary colors. The last level into this gradation is a tertiary colors. Sarah Sheree colors are mixed from this secondary and primary colors, and these mixture gives us new colors. So effect on buying purple and red, we're getting read of violet. We're getting an error at yellow. If they're combining red and orange, we against an yellow orange effect combining yellow and orange and so on. So the rest tertiary colors are yellow, green, blue green, and blue violet. Now you know how all of these colors are made and also that they are not random. Now let's move on to the concept of the color wheel. We are using the color wheel to get the color harmony and to get the combinations of the colors that would look nice together. So how can we make the color combinations and color harmonies by using the color wheel? And the short answer is that we are going to be following some rules. But before diving into the multicolored combinations, let's explore the monochromatic color scheme. We've already seen it before in the previous part of this class. And also we use this color scheme in the previous part of this series while creating their materials, monochromatic color scheme is majors from one color, we have one queue and all the combinations of the colors into these color scheme just made from one base Hugh, colors can be darker because you added blacks. They can be less saturated. They can be more pesto because you added whites. You are using the values and you are using this saturation without changing the hue. This is a monochromatic color scheme, and as you can see, it's very harmonious. It's very subtle, but it might seem kind of conservative. Now let's move on to the other color combinations. There is a few color combinations or schemes that can help us to create a nice color palette for our drawings. Let's begin with the complimentary colors. Complimentary colors are the colors that are opposite to one another. On the color wheel, it's not just red and green as we have here as an example, we can move this handle clockwise or counterclockwise and thereby finds other combinations that would look nice. Complimentary colors make the vibrant Luke, but might be a beat tricky if you've done those and damn, the next color scheme that we have here is analogous colors. This is the colors that are next to each other on the color wheel. So we are moving along the wheel and have three colors. Keep in mind that if you're using the analogous colors, you should determine the main dominant color and balance it out with two other colors. Use one of them as a support and the other one as an accent. The next colour scheme is at riots that tried colors are evenly spaced around the colour wheel. We have three Hughes between each of the colors that we are going to be using while using this scheme unit. So pay attention to the hierarchy. One color should be Dominance and two other colors should be set as accents or support each other, also unit. So pay attention to this saturation. The next colour scheme is a split complementary. It is almost the same as complimentary, but it has one more color as a support or an accent. So it creates a strong contrast, but has no such tension as a complementary scheme and you can achieve a better balance. The next colour scheme is a rectangle, and it has two pairs of complimentary colors. Each should be well-managed, and it should have one color as dominance and others as support or accents. Also here, you should pay attention to the balance between warm and cool colors. Will talk about warm and cool colors a bit more into the next part of the class. So the last color scheme we have here is a square. It's almost the same as a rectangle, but they needed use are evenly spaced around the wheel. We have two colors between the colors that we are going to be using and the same as in the rectangle scheme. You should pay attention to the balance between warm and cool colors and T, you should set one color as dominance and the other three S supported and excellent once. So this is almost eat, but these rules are not the universal Guan stance. These schemes are good when you're just starting to understand colors. And if you are using these combinations, you will be sure that your colors work perfectly well, but it's not like you can't use any other colour combinations. You just need to balance them well, if you are using them, everything comes with an experience and enzyme. You'll get a better understanding of where you can skim district rules and follow your own. Also now we have a lot of websites with already prepared color schemes, both based on the rules and not. For example, checkout the Adobe colors. Here we can find the color schemes, use the color palettes, user colour wheel, and explore the schemes based on the photographs. Or there's another website which is called color supply. Here you can find the different combinations based on the rules. So you can check out how the colors worked together. And of course, if you just search in Google color pallets, you find a bunch of different websites with prepared gala schemes. But anyway, at first, try to understand how the colors work by using the color wheel, you get a better understanding and will be able to see what works well all by yourself and without being tied to prepared kava schemes. 4. Temperature & Balance: The next thing that we need to talk about is at temperature of warmth and coolness of the colors. If we split our col will into two pieces, right in the middle of red and green. We will have warm colors on the right, and we will have the cool colors on the lefts. Weren't colors have more yellow in them and the cool colors have more blue in them. And that's how we define the temperature of the color. We are paying attention whether there is more yellow or blue in the hue. So the temperature creates depth. It establishes a specific mood, and it defines relationships between different objects and between parts of the same object, S4, the moods, almost everything that you can imagine while thinking about yellow color and all of this warm colors would be associated with warmth, comfort, autogenous happiness, and so on. And as for the cool colors, it's what you can imagine while thinking about some blue color. It's stillness, coolness, and maybe some sadness. There's probably a lot of other adjectives that you can think about and have associations with while you are reflecting about some cover and from one person to another, these associations might vary, but on average, you'll still have these type of division. Cool and warm colors, as you can see on your screen, are opposite to one another on the color wheel. So this color's warm and cool wouldn't be complimentary colors. Also, we need to talk about red and green and why they've been split in vet way, red and green colors have some kind of neutral temperature because it depends on what you add to the color. If you add a bit more yellow to red, you'll get a warmer color. And if you add a bit more blue to red, you get a cooler color. And the same for the green is you add more yellow, it will be warmer. And if you add more blue, it will be cooler. The temperature might seem a bit subjective, especially if we talk about two almost similar zones, but it depends on the comparison between colors. Keep in mind where they would be placed on the color wheel and their relative proximity to yellow or blue. The closer to yellow they fall, the warmer the colors. Are, they closer to blue? The cooler? There's a few more things that we need to talk about while exploring the temperature effects organ about drawing some composition, warm colors advance and cool colors recede. So the tip to success is to include warmer colors in the foreground and the cooler colors in the background, warm colors expand and cool colors contracts. So if you think that your proportions of sampling look kinda weird, you can play around and fix the proportions of objects by tweaking the color temperature. Also, getting back to this subjectivity, each color has both warmer and cooler tones within less saturated zones seemed to be interpreted as schools zones. You, they are surrounded by the bright and saturated zones. So it's again, all about comparison between two colors. The hue is the same, but here works. There, saturation, less saturated or darker zones look cooler. The main purpose of the temperature is to balance cool and warm colors to achieve a nicer peak check cool and warm zones in a draw and create the atmosphere that x_B show some mood and provoke you viewers on some emotions that you want them to experience. So let's see how we can work on the balance. Here we have two spheres and let's illuminate them in different ways. Let's enlightened our sphere with a warm orange color from the soap rights for the right sphere will take a cool blue color and end the load to the bottom left. Now we can take one sphere and move it to this side, thereby combining two spheres together. If we take the Eraser tool and if they erase the bottom part of the top sphere will have an interest in effects. We achieved the balance between these two colors and we already have a lot of depth, even if we have only light and no shades, when we're balancing out cool and warm zones, we create a more vibrant Luke that temperature is a great instruments to play with if the light on your picture is warm, tried to make this shadow school ends on the opposite. Even delight is school. It will be good to add the Worms Shadows. And that is how we are working with exemplary chap, knowing this will help you to improve your drawings a lot. That's mostly eat for the basics of the color theory. We'll finish up this class by applying this knowledge and by creating the final peak chat. 5. Final work: Base colors: So let's start working on our final peak chat. Here on your screen, you can see the line work all the house that we are going to be working on. You can use it or you can draw your own house. Probably. You can draw any object you like. But it's better to use some house because we are going to be talking about the atmosphere and how it affects objects. So let's start the work will start with some neutral Atmosphere and explore that the lights in the layers panel, you can find the color palette that we're going to use for this example. You can apply the scheme or you can try to make your own based on the knowledge we've got from the previous parts of this class, the color scheme that we're going to use in this example is based on some square. So we have red, violet, green, neutral yellow, and some blues. If you're making your own color scheme, there is if you rules you should follow in order to create a nice combination, try not to use too many colors. Start working with 345 colors. Stops. If you overuse colors, you lose that balance and probably you'll lose some sanity and you picture will look too overwhelming. Try not to oversaturated the colors. You can always add more saturation during the workflow Lita. And the last tip is to use enough contrast both in tonal values. And Hughes tried to give these rules in mind at first. And when you have more experience, you'll find a way to avoid them if you need. So let's start by making the background for that zeolites. We are going to be using these two blue views and we are not going to be aiding the solid color. We're going to be aide in the gradient, find the gradient x2 on the toolbar in order to use it when it's a peak, two colors, one for the foreground and one for the backgrounds. So let's start with a bit darker color. And for the background will pick a bit lighter one. Here on the top toolbar, we need to select the first icon with two colors and not the one with the transparent parts. So we're selecting the first icon and go into our canvas, hold down the Shift key and draw a vertical line with the left mouse button. You can go a little beyond the canvas frames in order to create a smoother color transition. Just do it a few times and when you're happy with your gradient, we can move on and start working on the house. Let's look delay with the background and do one trick that will help us to work faster in the nearest future, will make some kind of mask of the whole house and it will save us a lot of time, highly color palette and check the simple overlays and go to the layer with the lines. Select the blink area outside the house and all the blank areas inside the house. When we have all the parts selected inside and outside, everything except the house, let's click on the selection with the right mouse button and choose, Select Inverse When we have just outhouse selected, will create one Malaya and put it under delay with the lines. Now pick some dark color because it will be easier to work with the dark colors and just feel the selected area if you want, you can use a bit more saturated color. This math is made just for our convenience. It will help you to see the sports you haven't painted over yet and would be a good use for selecting the whole house if it's needed. Now let's deselect everything and let's start working on the house. We're gonna be working on each section of the house individually. So let's create one Malaya and start from the base of the house. Check the sample or list check books for more convenience and let's start selecting the needed parts. Sake the magic one tool and select all the elements that we need. You can decide by yourself what you want to select, or you can repeat the same steps, n, the same workflow as you can see on your screen. Don't forget that in order to select multiple areas unit to either hold down the Shift key or to activate this second icon on the upper toolbar. When you have all the elements that you need selected, we need to go to select, modify, expand, and expand our selection by one peeks out when you're ready, let's pick the color for the base from the color palette or the color of your choice. Use our delete keys to feel the selected area with color. And let's continue selecting our elements. A little reminder that we are creating the new Leah for every new section of the house. Now let's work on the panels. So continue selecting the elements by using the magic one. So for now, let's select all the panels and fill them with one color. And later we'll decide where to put the excellence and add another color. We can also select the window frames. If some elements are very tiny to select its fine, you can leave them unselected and we can work on them a bit later. Continue to work and select the parts that you need to select. You can also use a polygonal less at x2 if it's more convenience. When all the needed elements are selected, we need to expand the selection by going to select, modify, expands, big the color, and let's feel the selection. Now let's deselect everything and move on to the next section, all the fixed since we're gonna be making a bit later, let's create one more layer, call it roof, and let's go and select the needed elements. Here it's easier to use a polygonal lists at Sewell makes sure that the second icon is activated and continue selecting the roof parts. If it's easier for you, you can select the whole shape like that. Activate the first icon here on the toolbar and get rid of the elements that we don't need in that way. When you have your selection being the roof color and use the owl delete keys to feel the ARAF. Let's move on to the last section, the bricks. Here you can see that we have some spaces between the bricks that makes some ledges. And it wouldn't be an easy work to select the whole area either with a magic 12 or polygonal lists that soon. But because we made the mask of the whole house earlier, we can ease our live with it. We can hold down the Control key and click on the icon of the layer in the latest span out, the whole house will be selected and all that's left for us is to create one Malaya name. It breaks sake the brush, pick a different color and just feel the needed area with Gala. We don't really need to be very accurate here because the layer with the bricks is placed under the layer with the panels. So the panels are overlapping the brakes and you won't go beyond the frames with a Greek scholar. And now let's deselect everything. We need to end the call for the windows and we need to fix some elements as well. Let's create one more layer for the windows. Select the window panes, go to select, modify, expand, and expand the selection by one peeks out. Being some neutral color, make it a bit darker and just feel the selection with the color. When we have all the elements colored, We need to go and fix error fan. We need to add the pains for the dewormers and the color for the frames and just work on the whole drawing in general, let's start from the panels, goes to the relevant layer being the color, sake the brush, and just add the color where it's needed. Also, you can see that we have some corners that are not colored well. We need to fix them as well. And now we also need to add a window frames. So we the brush by holding down the Shift key, create the strokes for the frame's. Continue working on the whole shape in general and tried to make everything neat. If you messed up somewhere, USA areas at PSU, checkout, all the corners and other tiny places that need your ads. And when we're done, let's get back to the base. You can see that there are a lot of blank spaces that we need to fix. But here we can take a larger bras and paid over these places freely because our base is underneath the layer with the panels and you won't ruin any fan. Always pay attention to the last position in the layer span out. Sometimes you need to be more accurate and sometimes you can let yourself work a bit more sloppily. If delays position allows you to do its work on the MRT colored places on both layers, base n, the panels. When you have the clean base, we can start working on aid in the details. Let's start with the panels and make some of them green. Create one Malaya, abandon, lay with the panels and set it as a clipping mask, beak the green color and accurately paints over the areas that would like to recolor, use the polygonal less so and magic one soils to select specific parts. Remember that we are aging accents, so we need to think about the balance and try not so overdue error fan. When all the elements are selected, let's use the owl delete keys to feel the selected areas with the color. Now take the brush and to work precisely on the areas in order to fix them. Don't forget that we are working with a clipping mask so you can freely paints over the wood areas without messing up, pay attention to the panels and accurately fix everything that you need. When we have this, dan, let's add a few details to the Greeks. Randomly select a few bricks and don't select zoom menu of them because we are aids in the egg sense. Now invoke the hue saturation winds up by heating, control you and play with the selected areas. For example, we can make them a bit darker or recolor them. You are free to do anything you like, but try to keep in mind the balance. We can even use a D fringe view for some Greeks. So take the brush being the new zone and change the Q on the color wheel without changing the tonal value. Enlarge the brush and paint over some recs. Deselect everything when you're done, Let's unzoom that canvas and check out what else weekend fix. We need to recover the frame of the largest winds. Oh, let's get back to the panel slayer and paint over the frame by using the green color. Let's unzoom that can, must once again and check out if everything looks fine for now, we colored ARAF scene we needed if you need to fix anything, you're welcome to do it now, the color base is done. And in the next part, we are going to be aiding the shadows, highlights and working on the atmosphere. 6. Final work: Atmosphere #1 - Daylight : Let's move on to some rendering and let's start with the shadows. Big this dark blue color and create one more layer above all the lives that we have will name it as shadow and send the blended mode of this layer as multiplied n. Let's start aid in the shadows zig the polygonal lists at CSU, let's say as an example, the light will go down from the top left corner, will start A1. The shadows from the main building's roof starts electing the areas by using the polygonal is set x2 to cast the shadow to the facade, uses parallel lines and keep in mind the general rules that we will follow when in the second class of the series, when you've selected the first element, use our delete keys to add the shadow by feeling the area. Also, let's fix it right away. Some parts of the facade are more convex so the shadow would behave a bit differently on them. It will be shifted to the sides. If we fix it, even for a little, will already create more leave and Mindy shaped more believe about. Let's take a look at that green panel under the window. Take the polygonal lesson x2 and CAB DPS, thereby shifting the shadow a bit to the left. Let's do the same for the green panel on its own. We can do it for the shadow on the right. So plain and everywhere where we have the protruding parts. So go through all the quantity x parts and shim the shadow for a beat. Some enzymes in the drawings we need to exaggerate some things or break some rules a bit in order to achieve a more picturesque affects. But anyway, try not to get carried away and keep in mind that everything should be balanced when we're done with the first piece, let's continue. Aid in the shadows. Take the brush and start adding the cast shadow according to our light source. All the protruding parts will cast a shadow either under themselves or to the right sides, go through all the elements of this facade and add the shadows. Pay attention to the thickness of the lines. The thicker your shadows are, the mood protruding the object casts in it is when you are agent, the shadows from the window pay attention to the ages or the shadows. They will be beveled according to delight, NGO keep working on the vertical panels and end the shadows here as well. Zoom and unzoom your canvas to check out how it looks from a distance. Go down and the shadows. For more convenience, you can also select the mask layer by using the control key and by clicking on the icon above that layer in the layer span out. At the largest shadow under the boards and panels next to the BRICS. Continue working on the shadows into the light direction, start aiding the shadows to the Left door Mar, go through all the protruding parts. And the cast shadow to the right side of the roof and to the right wall. At the shadow that the dormir roof casts on the main roof. We might not make the shadow super correctly because we are not robots. And it's been said before, we can sacrifice the strict correctness for the sake of picturesque illusion. Of course, until every field looks balanced, all the zoom and zoom your cameras to see if everything looks nice. If you're making something not in the right way, you will definitely see it. End 50K sets, continue working on the shadows into the light. Finish the whole left sides. When it's done, let's add the shadows for these little gaps between the Greeks and the shadows for the window panes. And when it's done, let's move on to the right sides. Let's enlarge the brush size at the end, the guy shadow from the roof. So parallel to the direction line and paint over the area on the roof to add the shadow here as well. And the shadow under the window and to the right area next to it, we are making an illusion. Maybe in real life, the shadow one cast in that exact way. We just need ARAF interloop, believable and nice continue edge in the shadows to the dorm elements. When you're done and zoom your canvas, deselect everything. And let's see if we added all the needed shadows. If everything is fine, we can make the shadows not that bright by pleading with the capacity of the layer zones. Pay too much attention to that right now. We'll get back to it a bit later. Let's move on to the highlights, create one Malaya and name it as light. Also, lets quickly get back to the shadows and add more volume to the roof. We can add the shadows under the roof tiles. So just with a brush, go through the bottom parts of the tiles and the shadows, try to be accurate and use the pressure brush for more convenience. Also, this clause isn't about its extra, but for better Luke, we can add a few texture elements. It is optional so you can skip this part if you wants. For example, let's go to the BRICS layer. We can work on that exactly at o, we can create one Malaya and set it as a clipping mask. Let's use one of the special FX brushes that we used before. If you created equilibrium mask centrally as multiply, if you're working on the same layer at peak AB, darker color. And now by using the brush at a few searches of texture here and there, adjust the opacity when you are done. If you're working with a clipping mask, let's move on to the base, create one more layer. It's probably easier to work with Molly's neither than peak in different colors all the time. Said delay as a clipping mask and said the blending mode as multiply big the color from the base and add a few touches of texture with special effort, brush. Go for the panels and roof layers, repeating these steps, try to pick the related colors to each layer and try to make the texture less visible. It shouldn't be super icky Hn. When you're done playing with its extra brush, let's finally move on to the light parts. Get back to the heart round brush, and let's go to the light layer that we already created. Now we can take some worm color, something like that, yellow, and we either can try to work just like that, or we can select the blending mode for this layer. Let's go with the second option and stop at the lights and blending Modes. Decrease the capacity, right the way back to the canvas and start. Highlights the light direction. Go through all this. Work on the window panes. On the main window you need and continue working only highlights the whole heap. If you highlights. But try not to overdo it. We just need a few highlights. If you forgot to add some shadows and get back to the shadow color sake the brush. Get back to the layer with the shadow and add what you need. For the bricks like, you might need to change the color to the bluish one to balance it out. We also can end the lights to some separate bricks to show more volume. Try different zones in that case, but try not so overt x2 error fan. Billy With a pastizzi and maybe play with a few saturation wins out. We already have the whole base. Now let's create one more layer above the layer with the lines and set it as a clipping mask. We're gonna smooth and the lines that beats being some darker color, not black, but a dark one and fill the whole layer with the scholar. Now involve the hue saturation window and adjust its own, make it a bit darker and play with the Q. Now let's move on and add details to the backgrounds. But firstly, high delay away the color palettes. Create one Molly above the layer with the backgrounds in the project and resto stop. You can find a few new special FX brushes that we are going to use here. These brushes are made for the clouds. So let's take the white color, seek the sketch smoke brush, and just create some shape of the clouds. The effect these brush makes might be not very rarely sick. And in order to resolve it, sake, the arrays at x2 and symbolic loud brush number two for the arrays that go through the clouds with an eraser and create a better shape. If you overdid the arrays in, you can get back to the brush and add the missing parts. When you are happy with the results, let's move on to the beautification. We can work a bit more won the color balance. And we already know how to work on the color balance from the previous part of this series. But before diving into the color balance fund, we need to think about the atmosphere. We need to know and keep in mind the atmosphere perspective or objects in existence are going to be a bit cooler, a beat lights or in a value and a B dollar. So let's pretend that these horizontal parts on the sides of the main builds in our elite and more in existence from the facades. So let's take the polygon Alyssa tool and select this horizontal parts on the sides will get to the mask layer and select the whole house by clicking on the icon with a held down Control key. Now with the polygonal less that, activate the third button on the top toolbar and deselect them main parts. Now we'll create one Malaya above all the list that we have will take the paint bucket tool and just feel this area with a bright color. Of course we want leave it like that will decrease their capacity. So deselect everything and play a bit with the capacity of this layer we want make it very bright. Because if we do, it will seem very distant. And it will seem that there might be some kind of missed. We just need to dissolve it a little and make it a beat lights or in the values, something from 12 to 15% will be fine. Now let's take a look. If we need to fix some fan, I'll fix a brick slide, make it less saturated and non that icky Hn. If you need to fix some places, you are welcome to do it now. And one more thing that we can do here is to play with the color balance, as been said before, weakened by going through all the layers one by one. Or we can create the layer of adjustments while you are on the very top layer, click on this circle icon in the layer span out. It is called create the new feel or adjustment layer in the dropdown menu, select the color balance. It will behave the same way as if we selected it from the tap Image Adjustment Color balance. So you get the window on the right. It has both Zone and color modes as the main color balance window. Let's start from the shadows. The adjustments would be applied to the whole draw when and as we are working on the atmosphere, we need to pay attention to the time of the day. Maybe we need to add more yellow or maybe we need to add more magenta or make it more suitable to the backgrounds. It's all up to you. So feel free to play with the sliders, uses eyeball on the bottom of the color balance window to check out if the picture is starting to look better. Don't forget that you can play not only with the shadows, but with a meat zones m, the highlights. So go through all its own options and play with the colors, sliders, there is a lot of freedom. Just tried to make it look better according to your vision and aquatic the whole atmosphere. Let check out the difference between how it looked at what the color balance mates click on the eyeball back and forth and compare that peak chairs. If you still think that you can make it look better, you are welcome to continue plane we the color balance. When you exam, just hide the color panel and the first base atmosphere is ready. In the next part of the class, we are going to create a few more atmospheres by using the same draw in. 7. Final work: Atmosphere #2 - Evening : When we have our base atmosphere, we can move on and work on a few more variations. So let's just start by moving this house into the evenings scenery. Let's select all the lists we have and group them in a folder by clicking on the folder icon in the layer span out, name it as day, and let's duplicate this group. Click on it with the right mouse button, choose duplicate and give it a name evening. In the evening folder, we can merge all the lives that belong to the house, but leave the layer with the clouds and background as they are. Select the house Layers, click on them with the right mouse button and choose merge layers. Now we have the house layer, color palette, clouds, and backgrounds. So let just start creating the evening atmosphere from the background. We need to make this guy in the background in general, a beat more per pow. We'll unlock the layer with the background and go to the image adjustments, color balance, or you can hit Control B to invoke this pan out and legis play with sliders on the meat zones balance to achieve the evening atmosphere. Play with these sliders, make the whole background more purple. You can play with the shadows balance as well. When you're done, we need to make it a bit darker so we can invoke the few saturation Winslow and play here as well, adjusted until you are satisfied with the results. Now we need to work on the clouds in order to make them being. So let's invoke the few saturation window. Check the colorized checkbox, increase the saturation and ship the lightness slider to the dark sides. You can also play with the Hugh If you need, but try to stay in the pink basin, check and uncheck the box to see the difference. And when you are happy with the result, just click OK. Now let's move on to the house. Go to the image adjustments, color balance, or hit Control B and play with these sliders here as well. We'll start from the shadows and darkening the house in order to inscribe it into the new atmosphere. Play around here and go through all that zone balanced panels. From time to time. Check out the navigator window to see how you picture loops in the smaller variants that will help you to see the colors and the whole composition better and clearly see if you need to fix some fan, invoke the few saturation window and darken the house a beads. Now let's move on and add some lights to the Windows. We can select the window panes right here with a marquee o polygonal lists at CSU. But it will be easier to go to the previous folder to the daylight, find the layer with the windows and select them by clicking on the icon near the layer, by holding down the control key when they are selected, we can get back to our evening atmosphere folder. Create one Molly, above big the colour, say the brush, or use our delete to field a Windows with the color. Let's adjust it a beats, make it darker in general by using the hue saturation, we know. We can use a basic soft round brush to add a bit of gradients, make the windows brighter, ONE that soap and darken them on the board. Some use the color wheel to pick the colors or use the overlay blend modes of the brush. When you're done playing, deselect every fan, a jazz, the capacity to balance out the window slides. And it seems like our evening atmosphere is ready. 8. Final work: Atmosphere #3 - Night : So the next atmosphere we're going to be working on ISS and night one, let's get back to the day light folder, duplicated, name it as knights, and put it on top. Here, we will get rid of the clouds and start working on the backgrounds. Here we are going to be aging the gradients, not the solid color. So peak almost black for the foreground and some kind of dark, not very saturated blue for the backgrounds. Zig the gradient tool, and add the great dance. Let's use the hue saturation window to adjust it. Now we need to dark in the house. Remember, when we were making the daylight will lighten the parts of the house. Here. We need to make everything darker to inscribe the house into the atmosphere, we can merge all the house layers between the color balance, m color pallets. So we have the whole merged house and color balance layer above it's legit. Start working on the atmosphere with the house. If you want to change the whole picture atmosphere, click on the color balance Layer icon to invoke the adjustment window and play around with the sliders. Select the layer with the house, invoke the few saturation when xo n dark in the objects. Go to the image, adjustments, color balance, and start to play with the atmosphere, go through all the zonal balance options and play with these sliders, thereby inscribing the house into the atmosphere. If you still need to darken the house, uses a few saturation winds up. Once again, maybe we even darken the backgrounds, rely on your senses and find what suits your draw in. Now let's dark in the horizontal parts of the house, go to the needed layer, send the blending mode, so multiply and increase the capacity, invoke the few saturation Winslow and decrease the lightness. If you still think that's unique to darken the house, you are welcome to do it. After that, let's continue making the atmosphere by doing the following. We'll create a new layer and select the house by clicking on this relatedly with the Control key, seek some basic soft round brush and pick some bluish light color. Now going from the bottom right, start, agent, the illumination wonder main facades. Make sure that you're using the overlay blend modes. You can also move this illuminates in layer under the layer with the horizontal parts darkening. You can try to use the different Blue Zone and edit to the lightening parts. Try not to overdo every fan when you play a bit with the capacity on the other side of the facade, we're going to balance out the colors by adding the yellow lights. We can pretend that we have some kind of 1r and out of the frame, when you added the yellow light to the left side, let's deselect everything and play a bit with the blending modes of the layout. Let's stop the heart lights and also adjust the capacity EBIT. If you want to darken the horizontal parts a bit more, you're welcome to do it. Now we need to add the leg to the wind. Zoe's, let's do the same way as we did before. So go to the D folder, find the window slayer, and by holding down the control key, make a selection. Get back to the folder with the knights, create one Malaya, get back to the normal blending mode. And by using the brush or by using the owl delete keys and the yellow color, fix it a bit with the hue saturation window. Use the overlay mode to add the gradients. Play with a capacity. Also here, we can add some glow effects, create one Malia and with a larger soft brush, just a few such as applied to the Windows OS a, just the capacity. Now let's take a look at the drawing in general and check out what we can fix. A just everything you need. You can create one Malaya of adjustment with the vibrance or with the color balance and play more with balance. When you're satisfied with the result, let's add some stars to the backgrounds, create one more layer above the layer with the background's sake, the speckle brush big some white colour and add a few touches on the backgrounds. A jazz the capacity. And if you don't like how the stars look, Sapient arrays at two with the clouds brush and play between the stars. A just their color, if you like. Fix the capacity, strikes a balance amount with the whole atmosphere. And the night scenery is ready. The main three atmospheres, the lights, evenings and nights, are ready. You can create one more additional atmosphere with this draw in any kind you like according to your vision and wishes. As an example, I'm going to be making the morning scenery. 9. Final work: Atmosphere #4 - Morning : So for the morning atmosphere will once again select the daylight folder, ends up replicates, it, gave it a name and put it on soap. Let's start from the background. So let's unlock it. Heed the controlled B, and let's make something brighter this time. Go through all the balance options and find some combination. Create one Malaya, peak some orange color and take the gradient tool, these term will select the second option with the transparent parts. Add the gradient going from the board some invoke the hue saturation window and play with the lightness and saturation. Balanced these two background layers together by using the hue saturation wins out. Now let's work on the clouds. Check the colorized box, and inscribe the clouds into the atmosphere in order to make them a bit more visible and dreamy. Wiccans obligate this layer and adjust the capacity. As it is the morning weekends obligate delay with the stars from the knights folds are move the duplicate to the morning folds are adjust the color and more stars if you need by using this speckle brush. When you're done, let's work on the house. Will select all the house layers and merge them together as we did before. Play with a capacity of the lightning Layout. Create one movie and take the basic soft drawn brush, big the yellowish color. And by using the overlay mode, let's just add a bit of light to the bottom left side of the house. Don't forget to select the house and pays only overread without backgrounds and the light here and there and check out maybe some blended mode of the layer will work nicely here. For example, you can use the beam lights blends in modes. Don't forget to adjust the capacity. Now let's get back to the house layer and play a bit with the color balance. So heed the control B, and you already know what to do. Stars from the shadows and go through all the options to inscribe the house into the atmosphere. Also, just stick week nodes. These class isn't about the shadows, so we're not paying a lot of attention to their rightness. But anyway, when you're working on the atmospheres, you need to keep in mind the light source and eats position because it will change the length of the casts shadows. If you want to make everything right, you can fix the shadows for each atmosphere. It's all up to you. It's not that necessary here in the color theory class. So continue inscribing the house into the atmosphere. And when you're done with this part, let's use the hue saturation window and lighten the house just the beads. Also, lets work on the Windows OS. So as always, go to the daylight folder, find the windows and select them, get back to the morning folder, go to the layer with the House and lighten the windows. Just the beats change the Hue if you want, but keep in mind the balance. And now let's add the final adjustments at more yellow lights and brighten the horizontal parts. Maybe even lights in the backgrounds. Also, lets do the following. Create one Molly, above all the layers being the white-collar sake, the gradient x2 with a transparent sides ends at this gradient throughout draw when thereby creating some missed Fx. Now play with the capacity. You can leave it like that going from the soap or inverse it by going to the aged transform, flip vertical with the move to drag the gradient down and play with capacity once again. The last atmosphere is ready. Let's check out all four pictures that we made. That will be all for the fourth part of the drawing course series, which was dedicated to the color theory. I hope you found this class helpful and if you liked it, please subscribe. So you want to be is the next part of this series where we're gonna be exploring decomposition, checkout the other classes and leave your review. And thanks for watching.