Creating Harmonious Color Palettes in Procreate

1. Introduction: an illustrator out of San Diego, California In today's class, we're going to make harmonious color palettes. Inappropriate color is something that can really make or break in illustration. So having an understanding of how colors harmoniously work together is going Teoh be a key skill to have in order to make successful illustrations. So whether you dio Children's book illustrations or editorial illustrations or surface pattern design, this class is really gonna benefit you for better understanding how colors work together. Now, this isn't a color theory class, so if you want a real deep dive into color theory, this isn't the best class for you, but we will be covering a basic color will be covering basic color theory and going over terminology that you need to know to have a good understanding of how to create pallets that really work to enhance your illustrations. The first thing we're gonna do in this class is study pieces that we admire and that are using color to really enhance their illustrations. From there, I'm gonna show you how to use the color Carmi tool and procreate to make four different color palettes with just one color. We're gonna test those color palettes and see which how those colors work best together and which pallet we like the best. And after that, you're gonna use your favorite palette to create your own illustration and upload that to the project gallery. So if you're ready, grab your iPad your apple pencil and procreate five and let's get started. 2. Basic Color Theory: before we jump right into making our color palettes and procreate, we're gonna go over just some basic color theory, just the bare minimum that I think that you're gonna need to know in order to understand how colors harmonize together to make some really beautiful pallets. We're also going to go over a little bit of terminology so that as we get through the class , you're not getting lost by some of the terms that I'm gonna use. So the first thing that we need to know is that the color wheel here, which we will be using Teoh make different color schemes, is made up of 12 different colors or Hughes. So all of these colors that are around the color wheel our colors at full saturation, so they are pure colors. Okay, if I were to add white or grey or black to those pure colors or those colors at full saturation, I will I will neutralize the color. So if I add white, I will create a tint. If I add gray, I will create a tone. And if I add black to the colors with full saturation, it becomes a shade. The main thing that you need to know about that is that I am just neutralizing those colors . Most illustrations do not have colors at full saturation. These are very, very bright. The other term, you need to know is value and or brightness. So a value is how bright ah color is, and so a tent would have a very high value and a shade would have a very low value. Um, it's important that we that when we put our palates together that we have colors that have different valve values. Ah, lot of times a illustration that has colors with all the same value is not gonna be very successful because it's not going to be very dynamic. And as we progress through the class, you'll see what I mean, as we as we look at some examples. So these are the main terms that you're going to need to know. And then, um, let's, uh, let's get into color screens now 3. Color Schemes: the first color scheme we're going to talk about is the monochromatic color scheme. So if we look at this piece of art here, what we can see is that we have this almost fully saturated color here this bright pink and over here in this right corner is where you're going to get full saturation. Over in this corner is where you're going to get, uh, tints as you as you move across the top, you're gonna get tense until you turn toe white and then down this side, you're going to get shades as you move to black. So we're almost a full statute saturation here. So all of these other colors within this artwork are a tint or shade or tone of this mean color. These all look like their tents, and we can we can look at that and see what this artist is done. So, um, next lightest color is here, and that is a tint. And we can actually do like this. Hopes that was the same color. Okay, another tent and then, um, closed toe white. And then and that's this color here. And then we have pure white. So in monochromatic schemes you can also have mutuals. So here they have white that could be black. That could be a skin tone or something else that's very neutralized. Okay, so the next excuse me, the next color scheme we're gonna go over is a complementary color scheme. So in this particular artwork, they've got blue and orange and complementary color schemes. If you look at the color wheel, our colors that are directly across from each other, So in this case, it's blue and orange, but it could be yellow and purple. It could be green and pink or green and red, Um, and all the way around the wheel. Now what? You'll notice about this, Um, let me put a, um a layer and so I can draw on it for you. So what you'll notice about this, um, illustration is that it is all blue and all orange. But there are different tints and take and shades and tones off those blues. And of those oranges, Teoh elicit a feeling or a mood or a focal point. So in the blue color scheme, we have almost black about the top and then around the bottom here. And then, um, this tree is pretty dark too. So what this is kind of doing is creating a frame so that our eye goes down to our focal point here. And then these rays of light of that are, um basically tints of that blue color are creating our I toe Look down at this focal point here. So there's a lot of things going on here that are working really well to make this a successful peace. Now, if this artist used just one color blue to color in the tree and the, uh in the leaves and the, um, background in the ground and then just one color orange to create the lanterns, then this just would not be a very dynamic or successful illustration. So, in your complimentary patterns, don't be afraid. Teoh, um are in your complimentary pallets. Don't be afraid to add tints and tones and shades and mess with the values, right. Make sure that you have really, really light colors and really dark colors. And then the same thing happens here in these oranges. Um, there's deeper, darker oranges here and then light oranges, which creates that really pretty glow. Uh, that the lanterns give off Okay, so now let's move into. And now, I guess colors and analogous color schemes are colors that are net right next to each other on the color wheel. And this could be three. Or this could be more colors along the color will. They could keep going if they wanted to. So when we look at me, make sure the right Larry up. So when we look at these colors, we see this dark green, we see a mid tone green and we see a, uh, almost like a yellow green. So let's kind of let's grab that dark green. Let's just put it over here. It almost looks black, Um, kind of that midtown and a bit yellowish. So these air, I mean, these are obviously not fully saturated colors. The saturation has really been pulled out of these colors, and it creates a really interesting piece with, um, and it helps create the mood. If these were fully saturated, the mood of the peace would be much, much different. So that's something to pay attention to is well, when you look at it are pieces that you like. How are the colors adding to the mood of the peace. And are they? Is it because their tents of a color or that their shades of a color and then it's just something really good to look at. So let's look at these colors here. And so if we grab, Sure, we get the full color here. Okay, so we are in. Um, we're kind of in a yellow spectrum here, but we're in a very, very dark yellow almost to see if that's correct. So let's grab that green again. Let's see if that's right. Yeah. So we're in an orange, actually. Um, and then this color were in green and this color were in yellow. So actually, we're in orange, yellow, green. But it's still analogous, right? I just love that more green than it did orange. Interesting. So, um, a couple things to note here, Uh, this red color is, um, across from green in the color wheel here, and so you could make the argument. And then there's also kind of a pinkish color back here. You could make the argument that this is actually a complementary color scheme here. Right. Um, because these colors air so neutralized when you first look at this it looks more analogous to me, but, you know, for argument's sake, it could be complementary. But either way, it works because we're using harmonious color schemes. Okay, Um, not we are using her money's color. Seems the, um, illustrator is using money. A scholar shames. Okay, so the last color scheme we're gonna go over is the triad a color scheme. Um, and this is a These colors in this piece are much more saturated there, much brighter. It looks a lot more editorial or pop art ish. And I wanted to use a couple different kinds of illustrations because people in this class are going to be coming at this from a lot of different places, Right? We might have Children's book illustrators or editorial or service pattern designers or fine artists. And so, um, color and the saturation that you use is going to be very different, depending on what it is that you do. Um and so I want to make sure that we have a couple of examples of different types of art Now, I had said earlier that, um, a lot of times using full saturation, um, or close to full saturation in the piece is going Teoh. It's not gonna work because it's because there's no focal points or because it's not visually interesting enough. But why this works really well, for what it does is because it had has these black lines that are breaking up the, um, the colors and the space between the colors. So if you are doing more pop art or editorial, take pieces than that, something to kind of study is, well, Howard neutrals being used house black, being used house white being used. And how do I How do I use that in my pieces? If this is the type of art that I want to do so anyway, the try out a color scheme is three colors that are evenly spaced throughout the wheels. So the's air, actually our primary colors yellow, red and blue used in here. You could obviously make the argument that this blue is a little bit more here if we're off by one than it still technically fits the steam, and we can play around with that. You don't have to be stuck to the exact definition of all of these, Um, but it would hold true, right if it was orange and pink and blue or, um, yellow and orange and ah, Bush purple, right So you can go all the way around the color wheel, evenly spaced three um, colors, and you would have a triad of color scheme. Another thing to note here is that there are so many different color schemes I'm giving you for giving you monochromatic, complimentary, analogous and tragic, because those are the basic for and they're really, um, harmonious. And they're really good to start out with and practice with and get really comfortable with your color schemes. If you get comfortable with those for, then I would recommend going crazy and testing out a bunch of other color schemes as well. But for now, as we get comfortable with color these air before that, we want to start out with and master before we move forward. So in the next piece, we're going to start studying actual illustrations 4. Collecting References: The next thing I'm gonna want you to do is go ahead and open up Pinterest or Instagram or Google or whatever search engine you want and pull up some of your favorite illustrators. And this is a pincher sport that I made for the class and these air illustrations that I'm drawn to. This is the type of illustration that I make and that I want to make. And I like how the colors are working together and I'm drawn to them. So I want to know mawr. Why I'm drawn to them. And color is a huge part of whether an illustration is working or not. And all of these illustrators are using color to enhance and better there illustration. And so we're gonna look at why that ISS So whatever it is that you do surface design, editorial, Children's book, whatever type of art you create, find illustrators and artists that speak to you and speak to what you do so that you can really study, um, how you can utilize the techniques that they use with color to make your illustrations better. Um, this is my picture sport. I'll put a link to it in the um in the show notes so that you can utilize thes photographs if you want. If you want to find your own, that's fine too on. Then I'm gonna take some screenshots, put these into procreate, and I'll take about four of them and then I'll me either. 5. Color Studies: in this portion of the class we are going Teoh dive into other people's illustrations to see how they're utilizing color to make a illustration work. So this first piece when I and I chose pieces and you might want to do this is well, that I know have different color schemes. So I don't want to just study on Lee monochrome chromatic schemes unless that's all they want to dio. But I made sure that, you know, this looks very monochromatic to me. This looks like it is try attic potentially. It has three different colors going on. Um, maybe this is complementary or may be analogous and, you know, so make sure that there, with all the illustrations, are within what you dio, but that they are different enough that you're gaining a lot of knowledge from studying them. So let's zoom in here. I think this is monochromatic as I go, what you'll also notice. And this is just a tip. I have a color wheel down here in the corner so that I can look at what kind of scheme this actually is. But another thing that I do is keep a color wheel printed out on my desk so that I can just refer to it any time in the middle of drawing. So if I'm having a hard time making a, um, a color palette, uh, then I can refer to that. Sometimes having something that's on paper is really nice. Another thing doublet cat is that your disk is a color wheel. So if you look at the disc, um, format under your color, that is, that is a color wheel to refer to as well. So OK, so let's get started. So what I'm gonna dio enshrined in a new layer. I'm going to just grab some of these colors and then and then look at what I've got going on. So I'll start with the darkest and I don't have to grab every single I don't need to grab every single color. And I'm just using like a pencil here. Um, but I'm just going to keep going up Teoh what I think is next. Starkest or next. Lightest, uh, and then keep going from there. So So I get an idea as to how they built this out. It's darker than the other one, so it looks that seem there um, it's go Peter and waiter. Okay, so that actually this color of this, um, seaweed read what are these called kelp is Looks like it's the lightest to me, but actually, up here is even lighter. Um, and so this will also kind of tell you how colors work together. Um, because there's a kind of a slow fade into the brightness. This doesn't look quite as bright as this does, because this is up against a very dark color. Right, So this is looks brighter than this does because of that gradual fade. So, um, so color can definitely play tricks on your eyes a little bit, but this is a, um, a monochromatic scheme. Now, what we want to dio is look at these different colors within our classic, uh, color palette. So here we are, in the green, almost like veering on blue, but on the in the grain. And we are very, very dark. Um, and then our next color is a little bit lighter than that. But still Oops, but still, um, pretty dark town there, and then we go up. So we're so we're moving up on and were kind of in. We're in a very neutralised zone here, right? We're pretty far away from full saturation, and we have a lot of gray mixed into these colors. Okay. Okay, so this is interesting. So our lightest color here actually has some orange in it, right? Let's see with this and this also has some orange in it. So, um, that's pretty interesting. So a lot of times with our really break neutrals because they're in the white spectrum, it's difficult for us to see exactly what type of color what color they are. But I would venture to say that there's probably some neutral yellow in here as well. And if you want to get super technical, we might actually have an analogous scheme her. Um, because those oranges or yellows are neutrals. They could just be considered neutrals. And then you have a monochromatic scheme, right? So that's just technical. But the point is that you don't have to stick to exactly the rules, right? You can, um, you can play here, and I encourage you to play here, but, um, this is ah, very nice example of a monochromatic scheme. Um, it is a really nice example of how value is used right there is a bright, airy here without very high value, that is bringing our attention to our mean subject here. Right? And then this is very dark around here. And there's this dark leaf here that's creating this frame and kind of saying to you that this part of the illustration, although it's lovely, doesn't really matter that this is our focal point, so that when we look at this illustration, we're focusing and honing in on, um are mean, mean character here, the turtle. Um, let's grab those and could him Okay, so let's move on, Teoh. Let's move on to this illustration. Down here, I'll grab my color wheel and also move it so we can refer to it. Okay, so, uh, let's grab because we can see quite a few different colors happening. Let's grab two of each color. So let's go with a dark blue that we see here and a light blue that we see here. I mean, maybe let's grimmer than that because we've got a mid tone and then we've got light. Okay, okay. And then let's get her pinks here. So I see a very little light pink. There and darker, deeper pink there, um, and then orange and kind of orange and yellow. Schworm, Um, here. And then I guess these guys our dark, maybe blue. We'll see. Okay, so, um, what we have going on? Let's see, we've wrapped blue blue, we've got orange and we've got pink. So what we have here and this is maybe more of this color here, So we've got blue, orange and pink that make up our trey attic color scheme. Okay, um, is a pretty, uh, classic try attic scheme. What something to notice is well, is that they play with a lot of, um, tints and tones and shades within, uh, this illustration to make it more dynamic, you'll see that the colors back here are much lighter inch and, um uh, tint here. Right. There's a lot of white added to these colors. Um, and that makes those objects thes bushes and plants look a lot further away. Um, another thing to notice is that this dark color here is helping frame where we should be looking, and then this light color lips script dark. This light color here, uh, with a high value is helping us hone in on our focal point are subject, right? So all this really pretty color and foliage is creating this frame and tells us what we need to look at. Okay, so that's a little bit more about composition than it is about color. But the color is helping create the composition, if that makes sense. Okay, Um, let's get rid of that. So we've seen now a monochromatic schema traumatic scheme would see what use other ones look like. And if you're using different illustrations than I am, which I hope you are, because I hope that you're really tailoring this class to what it is that you dio. Then I'm follow along with the types of things that I'm doing. But study your own pieces rate. You can study mine, too, and then some years. But make sure that you're really tailoring it to you. So a couple of the colors that really stand out to me here are, um, greens and orders. So let's grab. Let's grab oranges to this. Que tal squirrel is or injure almost a reddish orange. Six. A little bit lighter, but close. Okay, um, from this and it's almost like a gold color okay, And then let's grab the greens now. So green, kind of mid tone light green. And then this looks to be kind of Ah, almost more of a bluish green, but still may be in the same spectrum there, and then some more that gold color, some neutrals and the brown, the white the, um there's more orange in here, so I think we've got kind of the main colors as well. And And what we talked about before rate is that this kind of brownish tone, which I'm gonna call in neutral that's pretty neutralized is, um, getting lighter as the trees get further away. Right? So that's creating that illusion of depth by, um, utilising, um, a lighter tone. So Okay, so let's look at that. So we've got orange is the kind of all along the spectrum there, and we've got, um, greens. And let's this is blue or not. Yeah, we're blue. Okay, so we've got, um oranges, yellows, greens and blues. Honestly, um, I would say that you're either looking at a analogous color palette that's taking up more than half of the wheel, or you're looking at a complimentary palette with the blues and the oranges across from each other. But I leaned more towards, uh, analogous palette here. Okay, um, let's look, let's look at these colors a little bit. So it's nice toe kind of look at where they fall within this classic range classic tends to be the easiest way to really analyze. Um, what type of tints or tones or shades are being used within these color spectrums? So this is this is a red, actually. So we can even go further here since a red um, let's see. Orange, orange, yellowish orange and what you'll notice, too. When you look at this color here, it looks really, really muted. But against that orange, it really pops like that's That's the most pop, uh, in the illustration other than obviously the white and so creating, um, pop doesn't necessarily mean you need a really saturated color. You just need a difference in value. So OK, so Okay, so we're really utilizing our tones here, and we're staying within this range. So when you look at ah, illustrations that you really like also notice where in the, um, range that they are, Are they using really saturated colors? Are they using really tinted or pastel type looking colors? Or are they using really muted colors? Um, and that's that's something Teoh study into Take note of It's Get rid of that and we can move. Our color will down to our final illustration. Okay, And so the super cute. Um, let's grab our our darkest would be these rocks back here, which were once again creating that frame rate. And then we can tell that these air all in the same bluish spectrum Uh, yeah, I got this late one and that light color really makes him our main character. Pops of color is really being utilized here to bring our main character to the forefront. Uh, this looks more like a It's like a purple and I think, and same thing here, right? This is a kind of a deep, muted pink right. There's a lot of gray in that pink, and on this picture it looks very highly saturated. Almost looks like it glows, and that's because it's against such a deep, dark background right? So colors can really, um, they can affect each other in really interesting ways, and it's fun to explore that. Let's grab that too, Because it's really light. Okay. And this is this is something else to take note of. Of how color effects, other colors. This looks white to the eye. But then we we look at it here. It's obviously a shade of blue. And so just taking note of of how color? Um when color is put together, how it changes to our eye. Okay. Okay. So, ah, if I'm looking at this here, I would say that this is probably blue and purple and pink and is another analogous scheme . But we can study it a little bit closer here and look at where we're falling. So that's actually kind of ah, purplish bluish tone. There's blue, um, blue. And we're just obviously the start blue is just a really, really deep shade of blue, almost a black. And then we're moving up towards a more saturated color. Um, now we have a lot of white within that blue, and this is the one I'm interested in. Um, it's I guess it's not purple, but it's close. And then, uh, pink. So, yeah, I would say this isn't an analogous color palette here where we have blue and purple and pink. I'm coming. So go ahead and do that with your own illustrations. Really? Dive into how the colors air. Working What kind of color scheme it is in the in your project section. This will be your first project. And what I would like is for you to have your color palettes like, um, like this rate and then just a note that says, what type of color scheme? Uh, you chose to study so analogous. Analogous. Try attic and monochromatic is what I would put, um, under my color studies in the next section, we're gonna create our own palettes. 6. Creating Palettes: in this section, we are going to now create our own palettes from one or two colors that we really like from the illustrations we chose to study. So, um, one of the colors that really stands out to me is this, uh, turquoise color here. And another color that stands out to me is this gold. So they grab it the school color here. Okay, so I'm gonna go into my, uh, colored section, and I'm going to go into my palettes, and I'm going to create forming pallets. Okay. Groups, huh? Uh, and I'm just gonna name those. So my first pallet, I'm gonna name mono chromatic. My next palette. I'm going to name complimentary the next pellet I'm gonna name analogous. And my last pallet, I'm going to name Try Attic. And in each of those, I'm gonna grab the color that I'm drawn to, and I'm just going to stick it. What? Right in my palate. Now, I can do this just with one color, or I can do with multiple colors. I think, actually, I'm gonna buy this kind of purplish blue. I'm really drawn to that color, and I'm gonna put it on the bottom here. I mean, I would normally create another pallet. Um, but just for the sake of visuals here, I'm gonna put it down at the bottom. So I'm gonna create time to start with my monochromatic scheme, and I am going Teoh, um, said it as my default here, and then I'm going to go down to this tab here called Harmony. I'm gonna click on harmony, and actually, I'm not going to do that. I'm gonna go to classic for monochromatic. So this is the only one we're not gonna use harmony for. We're just gonna use monochromatic here. So, uh, we'll start with this color, and we're gonna grab something that's really saturated. Um, something that's it's not a saturated, and then something that's really braked on. Maybe I'll grab a dark too. So really easy to make a monochromatic scheme here. What I would suggest is that you just go straight across for your monochromatic scheme wherever your original color is, um, and then or somewhat close to shoot across and then grab something, uh, pretty highly saturated. Okay. I'm sorry. Highly, um, close to black. Uh, let's now go to our power back to our palates. I've created a monochromatic scheme for both colors. Now, these can be tweaked as I go, not a problem. But I'm just creating these pallets to, um so that I know that they will work together, that they will be harmonious. And then I can apply them to an illustration or sketch, and I can adjust as I go after that. So set default for complementary. Now we're going to go into harmony. Um, excuse me. We need to start with a color here. So, uh, when we click over here under colors are all different kinds of color schemes We have complementary split, compliment, complementary, and Al Agus, tragic and tech critic. So, um, we're only gonna be using three of these. But like I said before, you can play around with what others? Whatever schemes you want. But I picked before that I think are important to master first. So let's go to complementary. I give this blue color across the way on the color wheel. Uh, and I'm gonna put it somewhere in the middle there, and then I'm going to go into my classic, um, pallets here, and I'm just gonna grab something that's highly saturated. I'm gonna grab something that's very dark, and I'm gonna grab something that's very light, and then I'm gonna grab my gold, and I'm going to do the same thing, and I'm gonna build out a complementary color palette here. Okay? Um, what you'll notice is that I'm really, uh, concentrating on creating colors that have different values and that are different enough from each other that they're going Teoh, they're not gonna blend into each other, but they're going Teoh harmonize! Now, that might not always be the case once I put them into an illustration and I can make adjustments after that. So let's go to our next complementary palette store harmony. Uh, grab that color. Oh, we're close to the same. Huh? Uh, these were gonna be similar. And they, um Let's skip that. Let's grab. It's from a different color, then, just to make it a little bit more exciting. So let's go green, then, just for the purpose of just some indifferent, right? Okay, so here's our company repellent. Let's grab green and let's go to a classic over here. And let's grab a couple from colors that became used together. And let's grab our purple and do the same thing. Okay, so now we have two different complementary patterns. Let's go back to our palates, and we'll just continue to do the same thing. So set default on analogous. Go over to harmony. Um, click on the tab underneath colors and grab Analogous. Let's grab our gold color. Let me have green. We have pink here, Um, are blue. He's gonna have a different color here, so we can use that that, um, bluish purple again. Go. Here we go. Okay. And we'll grab one of these colors. Go back to classic. Um, and just add a couple colors that are going Teoh harmonized Huntsman darker here. Here we go. Um, light. It's crab are green, um, great. And are pink. And this involves, you know, a lot of play. Okay, these might be a little too close together, so I'm going, Teoh, change that color a little bit. Something lighter. There we go. Um, I like that variation a lot better. And maybe this one I'm going Teoh. Just make it a little bit more white. Um, Same thing here and this is really all about play until you find combinations that you think work really nicely together. Um, and what you'll notice, too, is that when you end up in the white section, a lot of times, the whites are gonna look a lot like so sometimes you only need one really light, almost white. Um, looking color. Okay, let's play with that. So those are two different analogous schemes there, And then let's go back to our palate. Uh, set default on Traumatic. Put a classic. I'm sorry. Goto harmony. Uh, try attic. And then for our gold, we have a kind of took place. It's a really pretty color and a purplish color. They're pretty and blue. We have a green and okay, and now we can grab one of those colors. Go to classic and kind of fill in different colors here. And the possibilities with making color palettes this way is so endless. Right? Um, one color can produce so many different schemes. And so the more you play, the more you're going. Teoh realize kind of what part of, um what part of the square you are more drawn to and what works best for? For you in your heart. Um Okay, so blue and we're just gonna keep playing around and keep setting different colors. Him. That's cool. Okay, great. So now we have where are two different? Try out of color schemes here. So if we go into our palates will see that we've made four different color palettes or eight different color palettes a monochromatic, complementary, analogous and try attic color schemes. And so we're now in our next section going to test those on on a sketch on thumbnails to see how those colors harmonize together, how they play off of each other and decide what palettes we like the best and, um, continue to play. 7. Thumbnails: Now it's time to implement our new color palettes and test them out. So what I would suggest is using a very simple sketch and creating thumbnails so that you can see how your colors air interacting. You can zoom out. You can see if they're clashing or if they're harmonizing. Uh, before you dive into a full illustration. I have put this particular document, uh, in the show notes so that you can download it. Um, put it right on your app and, uh, and use it to play with colors. Or you can create your own sketch, whatever you prefer. So to start with, I'm gonna go over into my complementary, um, scheme. I'm gonna set it as my default. And then I'm gonna grab, uh, this line right here, and I'm gonna pull it down next to my first cactus to play with. So this is really useful. This is new. I believe in appropriate five to be ableto pull your palates down and then have them right there so you can switch between colors as much as you want. I'm gonna create a layer below my cactus thumbnails. Um, and I'm gonna play with color and just added, And now this doesn't have to be perfect. It's better if it's not. We're just seeing how those colors work together. So let's work with our first. So I grabbed complimentary. I meant to grab, uh, monochrome. It doesn't really matter. We're going to use all of them, but, um, there we go. Okay, So we'll start with our gold color, and I'm gonna grab. Um, Let's start with a light background here and just gonna put it in the back here, and we're just going to start laying, uh, color in and not being too worried about how careful this looks. Um, what you'll notice is that I'm gonna pay attention to value here. I'm gonna pay attention to how, um, my colors pop, um, off of each other. Maybe some dark flowers. Um, maybe I want those flowers to be white. I think I like white. There were more dainty or something when they're white. And, hey, my strips can be that dark color. Okay, um, I don't have to use all of my colors. Um, it's okay if I don't. What I do want to do is make sure that I'm balancing my colors, so that I don't have a color that just shows up one time. Um, if I just had these white flowers here, it would look a little bit unbalanced. The fact that I have the white and the white pot is gonna balance that out of it. The fact that I'm using the same color as the background as thes little prickles. I don't know what those are, Uh is gonna balance that out as well. So, um, let's grab our thumbnails and let's just put it at, like, half a pass ity, uh, so that it's not messing with her, our view. So this is our first monochromatic, um, color scheme. Now, we could play with that same palette on her next, okay, on our next. And let's say we want to use a darker background on this one. And what I would suggest is for all, um, four illustrations that you play with the same palate and then you decide which one you like the best, and then you grab the when you like the bust and put it in your project is gonna be a example of a monochromatic palate. A complimentary compel it and so on and so forth. But pick your your favorite one. I'm not gonna do all of that with you just because I know that's a lot of me talking. And at this point, you're ready to just do, actually, let's go with the way since that, um, And what you'll find two is that sometimes, um, sometimes these don't work, and that is OK, uh, you're gonna find that you're going to create some stuff that you're like, Ew, that's gross. And maybe you'll find that you really like, um just guessing here on that now. And maybe you'll find that you really like, uh, dark backgrounds or you really like light backgrounds, and you're gonna start to find what it is that you were drawn to and what looks good to you . And what you're also going to find is that, um when you create a like this, I'm drawn to a lot more than this, right, and that's okay. Um, what you're going to find a swell is that if you put colors, let's do it over here, uh, that are too close to each other together. So let's say this is our background, and we use this color here as our cactus because those colors air so close in value it's the cactus really isn't gonna pop off of that background. So a lot of times, you're gonna want to make sure that the values of your background ever see values of your me and subject are different enough that that they don't just blend together and they become less dynamic. Okay, um, so go ahead and play with those monochromatic schemes. Um, another thing to notice here is that I don't have any. Green and cactuses are normally green rate, and so don't be afraid of creating pieces that are not true to there color in their natural environment. You're going to get much more interesting illustrations when you do things that are maybe a little bit more, um, unexpected. Okay. All right. Lips didn't mean to do that. Finish this one real quick. Real sloppily. Andi. There we go. Now we've got a couple different monochromatic. Seems okay, so pick your favorite one after you're done playing, and then put it in that top top spot. So I'm gonna go ahead and of all these guys and then just play around with, um excited that we'll go back and we will grab our complimentary pallets, said those is there default and then bring that pellet up, OK, And now let's play with their next cactus. So maybe I will grab my greens and my purples here, since they are, uh, the natural colors have a cactus. So creator background here, I like that color a lot. And so what you can do is well, is like if you create a palette, maybe, um, you play with this palette and like, I really don't like it. It's not working. It's, you know, whatever. But you discover a color that you like, like this color. Anything is really cool. Um, I would grab that color and then go through and create all new pallets with that color. And I'm gonna come up with a bunch of new, um, new pallets that that maybe will work. Um, okay. All right. So I got a green cactus here. Let's grab. Let's make some purple flowers here. Let's make a deep pot that's really gonna stand out against the green background and is that dark color in here? And as the shadow here, Onda, we can, um, grab that same color reused for the detail in the pot to balance out the illustration and maybe the background color for these little ducks. These don't have to be perfect, because obviously we're just creating thumbnails. Were just laying coloring to see how those colors work together. And I think that coercion actually works really nicely for simple illustrations you're gonna find monochromatic and complementary schemes are they tend to be really pleasing to the eye. Uh, so let's go to and keep playing, right. Do that with all four and pick you pick your best one. I'm going through quickly, and I'm just gonna, um, show you how to play with each of these. I'm gonna set my default for analogous and then grow my palate. And now I'm gonna play with this third illustration here. Um, I'm so tempted to use this color palette because I know it's gonna be pretty. I know that the pot being this gold color and the tact is being green and the flowers being read. It's gonna be really, really nice. But I'm gonna challenge myself, and I'm gonna use, um, this palette instead. And let's just see what we get on what? You'll notice that I start to get drawn to is I start to get drawn to lighter wreck rounds . I tend to like the background to be lighter. It's just a personal preference, but something that you can challenge yourself on if you start noticing that you fall into these patterns is doing the opposite and seeing what happens. Because sometimes there's these happy accidents and you just never know until you try. So on my next one, I'm gonna challenge myself to use a dark background and just see what happens from that, Um, in your once again noticed that my, um, backgrounds and my main pieces are going to be a much different value so that I get that really visually interesting pop. Um, all right, let's see. That's a pretty color and go with. Yeah, keep using that background color is the spot. Maybe we can even use that for the stripes. All right, there's are analogous colors. OK, so now let's go on. And to me, I don't know personally that this color might be a little bit too dark for the cactus. So on the next try with analogous, I might use more of a mid tone and see, uh, if that works better for my eye. Okay. So, I mean, last one, I'm going to go in and use. Oops. Said default for Traumatic. What am I doing pulling this pallet out and then let's play with this last one here. Okay. So, uh, I said I was going to use a dark background. Pains me, but I will. And that is really pretty calling enough. And once again, like since I really like this color, I would use that and then, you know, just create more pellets. All right? It's something that pops here. Uh, let's grab meal light purple here. Okay, um, let's grab gold color. Something lighter since since we have such a dark background Yeah, okay. For in here and our shadow in here. Now, let's say I don't think that shadows dark enough for the illustration. Obviously, I could go back into my classic color at a little bit of black to it and, um, color that in, and that's still gonna be within my tragic scheme. So let's go back to my palettes. And that's an easy fix. Um, let's see. What do we want to do here? We want a dark here, Or do we want a light here? I don't know. Just play, Um or do we want purple here? Maybe that would be more visually interesting. Yeah, uh, and some maybe some types about this time. Okay. And I'm feeling like that's kind of a happy accident, because, um, I really like this color and this color next to each other. Maybe I would change up these purples. Maybe I would use this purple instead. Or maybe I would use this gold instead. Yeah, I think maybe the gold, Um, and obviously, you can just keep playing and keep messing with it. But, um, I really like the, uh those colors together. And like I said, I'm not drawn to those dark backgrounds. But because I'm forcing myself out of my comfort zone, I can find some combinations that maybe I wouldn't try normally. Uh, so please play. Get out of your comfort zone, and then this is kind of what your final project will look like. You can right on them. The type of color scheme they are. This is monochromatic. This is a complementary great and then so on and so forth. And then post that to the project section when you're done with this, uh, what I would like for you to dio and I'm either, uh, let's see. I'm going Teoh post this to the class notes. So you can either take this illustration toe full color with your favorite color scheme, or you can turn your own illustration. Are you can I'm sorry. Take your own illustration to full color using one of the color schemes that you created. I'm posting this just so that if you don't want Teoh, uh, if you want the pressure of making your own sketch or your own illustration, you don't have Teoh. You can use this, That's that's not a problem. But if you want to implement it into your own work, whether that's service pattern or Children, Children's illustration or editorial or, you know, whatever you dio, let's see how your palate is working with what you do and what you can come up with.