Transcripts
1. Introduction: Hi, I'm Danielle Clough and I'm an embroidery from Cape Town, South Africa. You might know my work from Instagram. I'm under Fiance Knowles and I create embroidery works with bright colors on everything from shoes to tennis rackets, the fabric, anything I can get my hands on. Today's class is about color, understanding values, and being able to take the colors that are inspiring you in your own life and applying it to your work. You can work alongside me throughout this class, just using any material that you're comfortable and confident with. This can be anything from paint, pencil crayon, or Procreate, whatever you use as your daily medium. I hope that you can walk away from this class with a comfortable understanding of values and a confidence to apply the colors that you love in fieldwork. Something to note, this class is recorded live. You'll hear me interacting with the audience while I'm working. Let's go.
2. Color Tones: Hello. It's nice to see you. For everybody who is just joining us now, my name's Dylan Morrison. I am a writer and beleaguered Internet user. My pronouns are he, him, and I'm really glad to be with you guys today. This is my first time hosting one of these classes, so please bear with me if it's a little less smooth than I'd maybe like it to be, but I'm very excited to be here and to help Danielle teach you guys all about figuring out your personal color palettes. It's going to be a really great class. Danielle, go ahead and take it away. As some of you, maybe most of you know I'm an embroidery artist and was asked to do a live class, and I thought, I often get asked about color and how do I choose my color and all that stuff. I wasn't a 100 percent sure how to put it together. I've been mulling around for a while and thought I'm going to just do a live class that focuses predominantly on color but not color theory so much because I know it's so daunting, people are like primary colors, tertiary colors, tertiary primary colors, warm colors, cool colors, and then bad luck, the individual is just like a short-circuit and it's too much. I really wanted to create a class that was about finding your own color language, finding colors that you love, and then giving you the basic tools to implement them so that you can create a beautiful visual. I just saw video on my screen so I was like, oh, my word jumbled. Sorry. I also want to say that sometimes I feel like a few things, I might talk a bit fast about something or maybe if it's slow, and if there's anything anybody wants to ask, there is no, like no stupid questions. I've done enough workshops to know that if you've got a question niggling you, somebody else does too. Don't be shy to just type it in and Dylan will make sure that your question gets into and just don't be shy to ask. In the discussion, I put forward a photograph and a line drawing of a pear, I really enjoyed working with fruits specifically something like a pear because it doesn't matter what color it is, you always going to know that it's a pear. It's a no-pressure subject matter. Before we talk about color, the most important thing to know is actually value. You can be using absolutely any colors but as long as you've got your values down, your image is going to be able to be legible and interesting, and powerful. What actually is more important in any painting or any visual, isn't the colors that you choose necessarily and getting the perfect tones and getting the perfect cubes, it's getting your tonal range or your values right. What is a value? A value or tonal value is essentially just your light and your dark areas. You can see this is a pear, we know it's a pear, and the reason we know it's a pear it's because of the shape, but also because of its dark areas and light areas that create this object. It's what creates dimension and depth and everything like that. Am I making sense with everything and everyone on board? Absolutely makes complete sense to me. Okay. Fantastic. One of the ways people use tone or value to create photo-realistic or this realistic drawings is using a viewfinder like this and you can just explore your image and you can identify. Here I've just actually done a pencil kind of value chart. Values are just essentially your light and your dark. Your highest value would be your light and your lowest value is your dark. Here, if I was to replicate this pair in a pencil, so that is created just with a [inaudible] pencil. If I want to recreate this, I would want to identify my areas so here we go. This is my light area and I can see, okay, that is looking like this over here and exploring my image going, okay, cool, this is my darkest area. That would be here. That's a nice way to look at an image, a black and white image, and then try to identify your tonal areas. That makes complete sense. I do have somebody in the chat wondering if we can maximize the screen a little bit. I'm wondering if maybe there's, as far as I know that's about a zoomed in as we get, correct? Yes, unfortunately. So yeah, without having these, yeah. If you'd like I can raise this a little bit higher and I do know that we can drop this photograph into the chat or send it to you. It is on the discussion board. If I'm just raising that here just to show you a little better. Here we can identify our dark areas, our light areas, our mid-tones, and seeing variations within these. So knowing, for example, I'm going to put this just next to it. If this area was our number here. Let's number them just to make this easier, we go, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. If we were to identify this area as our number 2, and this as our number 10. We can see inside here we have 8, 9, over there would maybe be our 4 or 5. Using the viewfinder, this is really just an exercise to be able to identify when looking at a reference image, what your tonal range is and where it sits. How this applies to color, quite simply is, if I give you these, obviously threads, because this is my choice material, and I just love how they look when you get to play with them. Here you can see a tonal range in color. Absolutely, those are such gorgeous colors too. Thank you. If I was to replicate the pear, say not just with these six colors. Quick math, with these six colors, I would say, okay, here we go this is my darkest area, I'm going to apply my dark green. This is my lightest area, I will apply my lightest green. Then looking in these middle areas, identifying which would be my middle tones, my middle lights, and my middle dark. I'm recreating the pear within or whatever your image is with your tonal values and looking at tonal values as opposed to just looking at the right color. Because you can use pretty much any color but when you've got the right values applied to the right areas, you're going to have a beautiful image and it can be completely absolutely anything. This pear could be pink, it can be blue, it can be pink and blue but as long as you've got your values correct.
3. Tonal Spectrums: You have your range of values, but how do you know what color sits within what value? Because you've got so many. It's like looking at these in gray. I've got purples, I've got blues, I've got greens and I can tell you that these are primary and tertiary and the warms and the colds, I can give you all of that, but that doesn't apply here. Now, I need to know what are my light colors and what are my dark colors because we're just applying, that's1-10 value system here. I'm going to just as a basic exercise and quick and probably not completely accurate. I'm going to arrange these from lights to dark. I highly recommend if you ever just playing around, if you have anything at home to just do the same things, whether they're paints or little pieces of colored paper. I'm just going to do this quickly. Actually, I have too many so I will stood for the few. Now, I think I have the right versions of light to dark. We've got that same color spectrum or tonal spectrum but now just with colors. Really cool exercise to see this as opposed to actually be able to visualize this a little better. I'm going to use my absolutely gentleness iPad to do this. Let's write that. Thank you. I'm going to take a photograph of all of these colors and then just with this image, I'm going to edit it. Got to have that fingerprint. No, it's got to know everything and turn it to black and white. Once it's in black and white, you can already see, hang on, I've got this tone here, it might not be that legible, but let me zoom in. I can see here if I'm looking at my colors. I've got something to do. Let's see what this one is. This is the green. This green is definitely lighter than the other two and would probably sit closer to here. There's a really neat way of saying actually, these are the values of colors. Taking images of anything. Do this with your work. If you're looking at it and you're like, something doesn't look right, something that's maybe too dark or too light, but you're not too sure what it is. You keep trying to fix it by putting the perfect color in there. It just doesn't feel right. Take it the black and white. Take an image of your work, turn it into black and white and see if it's the tonal range as opposed to the color not being right. Just looking at these, just as an example, I want to show you grouping colors together. I have a dark blue here, a dark green, a dark purple. These could be in the same space. Say now I was doing my pear, let me get my pear out. I have said that way too many times in 2021. I could use all three of these colors in this dark area. It doesn't just have to be the perfect shade of green. It can be the right tonal value of green that works with a similar blue and a similar purple. In the same way, if I'm looking at my lightest tones that I've got here in front of me. I have a light green. I have a light purple and there's some really light ones. Those live really beautifully together. This could be the same, live in the same area of the face. If you just look at this video of me, you can see because I have the light coming from one side, this side of my face could be created in these purples and these greens. Whereas the darker side could be done with a dark rich, a brown, and a green, which all live in the same tonal, within the same values. We're going to try it. Instead of looking at colors as being light and being spot on, we're going to look at values and then choose our favorite colors and then apply our favorite colors to the right value. Does that make sense? Makes complete sense and sounds awesome. I do have a question from Anna in the chat. She wants to know if the shininess of the thread could throw off the tone potentially and any suggestions on what to do with that is the case. It will throw off the tone because it's reflective so then it will always have a glass especially when it's done with other threads that aren't reflected. If they're mapped threads is one glass. I think it's good to be mindful of that and then use it in the appropriate places. If you're doing an eye or something with the high light, using something with the shin is really great. That can work with any material. The different textures obviously do reflect light differently and they can look like a high light as opposed to just looking like the exact tone that it's supposed to be.
4. Mapping Out Tones: For the next section, I did on the discussion drop, a line drawing of a pear to make this a little bit easier. What I've done here is I've already drawn one. I'm just going to redraw it in case anybody else needs to do it. While we're together, if you've downloaded that drawing and printed it out, or if you're using an iPad Pro just to put it into Procreate. I'm just going to go along the lines. I love working on tracing paper, so I just have everything here on tracing. I just want you to look at that line drawing and look at the picture of the pear, both of them should be in the chat or should be on that discussion. What I love doing is I essentially go around the areas of different tonal ranges. I'm just going to show you, and I want you to just look at it and look at the line drawing and identify what you would call each area. Possibly, one of the best ways to do this is to start with your lightest areas. That's my lightest area and that's my lightest area, so I can put that as my lightest. Then you don't have to draw this on, but you can just mentally look at it and identify each area. This little section here, which I would call my darkest area, and along the edge here, I would definitely consider this my darkest area. Absolutely. Now I do have somebody who is asking, how can we use warmer and colder tones, and how can we put them together? I'm getting the sense that that's something that we're going to delve a little more into as the class progresses. Is that correct? Yeah. I think the thing with warm and cool tones is that, it can be so innuendo. Browns are very good to indicate this, but I only seem to in front of me have warm browns. Here's a good example. This is a purple, this is definitely a cool purple, where even though this is a darker purple, it would be a warm purple because it has a brighter undertone. I don't see a problem with mixing them. There is a lot of color theory of what is right and what's wrong, but I think the most important parts and the strongest foundations any artist can have is to have their own style and the thing that they love the most injected into what they do. I do find a lot of theory and knowing exactly what's right, can move you far away from knowing what you love. Do I make sense? Sure. The perfect is the enemy of the good sort. Exactly. Just for this exercise, what I think is the focus is to find the colors that you love within your life and then applying them to the values. Then within that, you start finding things that work for you. You probably will find that you gravitate towards more cool tones, more warm tones, and how they work together. I'm just going to quickly outline this. If you have your pear in front of you, if you want to draw that pear that's out there, that would be great, because that's going to be the next section of the exercise. This is really making me hungry for pears, I got to say. I'll be honest, I'm not a fan. Really? Yeah. I love fruit, I've got a watermelon tattoo. I'm a huge fan of fruit, pears are not on my fruit list. Eats their own. Here I can quite easily see, this is definitely the stalk, would be dark, so I'm going to label this dark. I think what I'll do is, I'll just show you that I'm going to segment this into five values: a light value, a middle light value, a middle value, a middle dark value, and a dark value. We can also just call this 1, 2, 3, 4, 5. Looking at our areas, we can quite easily see these are our lightest areas. This highlight, and there's a little area there, which I think would also be similar. We can say that's light, or one, however you prefer, and then our darkest area, I would call this and this. I think we're looking at our middle tone, would most probably be down the center here, so we'll call this middle. If you feel like using something like this, if you identify this as your middle area, you can just move this around and go like that. That's also my middle area, that tone and that tone on the edge looks the same, so I'm going to call this middle. This area here in between my dark and my middle is my middle dark. It seems to go around, but actually, maybe I could section that, call that middle. This here, I would call middle light, this area between those middle area and these highlights, and then my counter highlight here, I would call middle dark. Always remember if you're doing something spherical, the darkest area, there's always going to be a counter highlight on this side here. We often want to make the one side really dark and the one side really light for anything spherical. That's same as a face, or a ball or an apple, will always have something just a little bit lighter on the side here to show that it has shape. Again, using something like a black and white image and then exploring it with a viewfinder, breaks you away from our preconceived ideas of how something looks and how something actually looks.
5. Choosing Colors: If everyone's kind of [inaudible] or below the line drawing, what I'd like you to do is to grab something from your house that has colors that you absolutely love. Something that you bought and you just gravitated towards because it's got a combination of patterns and colors that you think are awesome. I've got a few examples here of things that I have. I've got this mask which I have no idea where this print is from, but I just think it's super pretty and it's got these grids and these pups of pinks and these browns, it's awesome, with a little bit of rave in it. I have this liberty prints iPad case, which I think is really beautiful. When you start looking at the colors, something that you just haven't heard that you just love, you don't necessarily know why, you just enjoy the colors, that's your color palette. That's your taste. Yeah, just grabbing something. Another example, I have this really beautiful black print dress from Cote d'Ivoire, which I love these mustards, and these pinks, and these oranges, and these are just colors, as you can see, once I start bringing all my examples parts. This is my color language. This is what I gravitate towards and what I always have at home. I'm going to use this as my working palette. I'll put my dress and my mask and my iPad cover away. They are lovely. While we can't see that little pair, can I have you lift your drawing up just a little bit towards the camera, I've got a couple of people who can't quite see the notations that we've made on it. Perfect. Again, with this pair we can see which areas are light, middle, and dark. We've got it drawn out and just looking at the photograph and looking at what we have and identifying in these value pools, or value islands, which ones apply? It's so cool to see this. You hear a lot about how art is mostly about learning to see and in something like this, you can really see the truth in that. Yeah. I think about black and white movies and stuff and how it's amazing when you watch them. You always know what color everything is. You have so much of that information in you already, you don't necessarily need to have it told to you. Then your creative interpretation of what you imagined when you see something and what you put down is really all your own taste and flavor and creativity and stuff comes out and it's beautiful because it doesn't have to be right, which I think is so because it's the way your brain processes the world around you, which I think is so special. I'm just going to quickly show you an example of what we're going to do. Here, I'm going to use this beautiful wax black print that was gifted to me from Nigeria, it's incredible, and it's just a cool little piece of information, maybe just come out called the wax prints, which is all about wax black prints around the world, so watch it. I'm going to use this one and I think for this exercise we've done here, we've got our large, medium, middle. This are 1-5. Just choose five colors from your palettes or your piece of fabric or your piece of something or whatever it is, your blanket that you've chosen. I am going to just identify, I think I would probably use the red, the pink, the purple, the orange, and this dark chocolate. As an example of how this can work, this is a print of an embroidery that I've done on a piece of fabric, and this is the pattern of the fabric in the background. I took the dark pink, this acid green, this light yellow, these pink tones, and these little flicks of blue that are in the fabric. Then I just translated my design through the values into this wrap. This wrap ends up becoming a part of its surface. Again, just using those yellows, those mass, things like olives and mustard green, mustard colors, and the dark and light pinks. That's an example of how you can take these palettes that you love and directly apply them. You have truly captured the beauty of that wrap. Here is another example of Jeff Goldblum, national treasure, I have been told. Taking a floral fabric and just drawing these dark blues in here, these deep reds, the pinks, and just creating him out of the information that's already there because I saw this fabric and I was like that is so cute. I just really wanted to create something with that, and then using that as my palette created him. But by applying the values that I've identified in here. I just have my line drawing of the page. I've just done it again here because I'll [inaudible]. What I'm going to do, is I'm going to create swatches, essentially of my color palette. Using literally everything that's fallen out of my stationery box, whatever you guys use in front of you, whether it's your iPad Pro, you're using Procreate or if you've got pain to whatever you're the most comfortable with, I would like you to create a color palette next to your pane, trying to find the colors that you like within your pre-determined palette. Getting to know your materials and how that attaches, and how it works compared to your fabric. I'm just going to use a lyra pencil and just next to it, figure it out. That's quite a nice red and that looks pretty good. Yeah, just to add this, if you guys can all just follow along and create your own color palette from the fabrics or whatever you've got. Yeah, I'd love to know what people have got. Yeah, if you guys want to go ahead and shout out in the chat and let us know what objects you have found in your house that you're going to put color palettes off with, we'd love to hear about that. Ideally, what we'd like to do is create our color palettes with five colors, but if you've got more colors in your, what would the would-be, your found color palette and then just pulling a three bit, I think we've got what we're going to do is once we've got the right colors, we're going to assign them to our lights, middle, middle light, middle dark or dark so 1, 2, 3, 4, 5. Grabbing, creating these, creating your palettes and then determining where they sit on your value scale. It sounds awesome. We've got a number of fascinating, different color palette choices here. We've got somebody with a flower candle, we've got somebody with a troll doll with rainbow hair, you're my hero, I have no Idea where mine are. Looks like we've got a Willie Babble hat, which sounds lovely, very cold here in Cleveland, Ohio. I love the sound of that. How a vintage tin can? That sounds very cool. Beautiful. Yeah. I find people often like, oh, like, well, what color should I use, or what do I try? The base colors that you're going to use to create work that you love are the colors that you love. You want to enjoy the process and I think color is such a gift. It really is. You'll see, I often just tell people, look in your cablite and what stands out to you or what is your cablite look like? Is you'll cablite full of beautiful autumn tones and mustards and both, move that to a color language. Then that's what you just have to work with and bold that and that's how your work is going to stand out as well. I find people, when you've got to ask how do I make my Instagram page look nice or how do I make it look consistent? If you're consistently abiding by your own taste, it's going to look great because it's going to consistently look like you. Just again, I'm going to take this pallet that I've created and just next to each other, put them so that I know how they work together. Here, I can see. I'm looking at this, I'll just bring this a little bit closer to the camera. Looking at this, I can really see, hang on. The colors are cool, I'm really enjoying them, but I feel like this isn't dark enough because these two now have the same value. If I was to turn this into black and white, you can identify the fact that this is actually not dark enough. We have a value 1, value 2, value 3, value 4, and this is essentially also value 4. Now that we know that values and the depth and the lightness to darkness is more important than the color, I'm going to go in, then I'm just going to change that color because that ain't right. I'm going to try find something little bit darker than that, and I might even actually just borrow with a black. Even though black is not the color, I'm going to do it, anyway. I actually avoid using black almost entirely in general, and usually so most things will have, if something has a shadow, the cut we tend to want immediately after darkest area is black. But what a shadow usually is a dark version of the color that it falls onto. For example, let me try to create a shadow on this. There we go. I'm going to divide this thing in half off the light. You can see on this side of the eraser, it's a rate, and then on the shadow side is actually just a darker red. We tend to want to use black, but it's usually a dark version of whatever color if there is, whether that's dark browns or dark purples. It's really nice to work with that. Then as opposed to black, which can did in a space. But that's just a personal preference.
6. Filling in With Color: Now, we have our pair and we have our own little color palette that we've created from the thing that we love. We can go and identify out areas. What I like to do is start with my middle area. I've got my middle tone, my number three as this rate, and I've said my number three is here. I'm just going to make this a little bit darker so you guys can see what I'm working on. Essentially, it's this tone here which I've identified as my middle tone. I can even number all of these. Let's see. [inaudible] middle dark, but it's just this area, middle dark, and I think this I will also call my middle, okay? No worries. Using my middle tone, which is my radius from the palette that I created, I'm just going to start filling this in. [inaudible] By this point we've got like a paint by numbers situation happening. I was just going to say there is a real paint by numbers by to this that I first [inaudible] very simple. Yeah, takes the pressure off, once you're doing that, you've done all the hard work, really. This outline area, I've also made a medium. I absolutely love working on tracing paper because I feel like it's so disposable and you can just layer things and crumple it and then put it on a different color paper and just feel like it has absolutely no pressure to it. It's very encouraging for me to watch you use tracing paper because as somebody very much on the other side of knowing how to do any artwork, I always feel a little guilty tracing anything. Like I'm supposed to be able to do it without. I know, there's so much pressure on being able to be a part of the whole creative process. But I'm such a firm believer that you've got to find the part of the process that you love. For me it's color. Color is my absolute everything. I will build everything around being able to explore color as opposed to feeling like every part has to be perfect. So, we've got our medium area. I think what I'll do is, I will just put in my darkest areas. I kind of like working within my medium tones, and then bringing my darkest tones in at the end and my lightest tones at the end. I find that that really just helps you see it and then brings it to life. I'm going to choose my medium dark, which is my purples. I got this cool, jelly roll. I'm just using jelly rolls and [inaudible] and sliders and these cool wind up wax pencils that I haven't seen since I was 10, but still have my own. I'll do my medium dark. This purple seems to be a bit light, so I'm just going to add more [inaudible] It's so cool to watch you do this just based on the colors and without working any of those outlines in and to see how that still ends up building the shape of the pair. The color is so cool and it's so nice to explore it but once the values work together, you'll just start seeing that depth grow. This should be a little bit. Obviously, as you can see, I'm Le Monet in the situation, but just going to make it cool. I am sure that even Monet would not have classified himself. I'm sure that we all have some comparative barrier, right? Yeah, definitely. I'm sure Monet maybe wasn't the best painter either. I have never seen Monet's pears. Maybe they're still out there. Neither have I. Or maybe he was too nervous about making pears that he does like, [inaudible] too much pressure. Or maybe he loved them and just ate them all before he can paint them. What can you do? Now, I do have somebody in the chat who is wondering, I think I know the answer to this, but I want to make sure that we get your answer. They have a couple of different pinks that are of different values and they want to use them at different ends of the value scale. But they're wondering if they all have to be grouped together because they are all pinks. Am I correct in thinking that the value is the most important piece here? The value is the most important piece. Exactly that. I'm so glad you asked because often not, it's so hard to separate yourself from seeing a color as a group as opposed to a value. Like I was showing earlier, these are all greens, but they sit on [inaudible] piece of paper. It's different. On the value scale, something like this would be a one and a two. These are very similar, so I'll put these together. These would be like a three and a four, here goes a five, a six, something like that. The value scales, this is our lights, our middle lights, our middles, middle darks and our darks can be different whether this is a scale of pink, a scale of greens. It's the values that we're going to do and then you apply your tonal value to your paint in the right place. Getting somewhere. I can see with this my red and my purple values are too close. What I'm going to do is I'm going to put in my darkest value last, and then I'm going to be able to see it with more depth. [inaudible] There we go. Just kind of working in. When you think of things like crosshatching and how people shade with crosshatching, which is when people shade like this, doing little lines and stuff and the denser the lines are darker an area is. That's kind of working the same way. Even within one shade, you can create so many different tones by like density of lines or by the pressure that you use the same paint with, the pencil with. There's so many ways to work with value. What we're doing now is finding ways to apply that value to color and then being able to implement color anyway you like. I've been taking a couple of different very hands-off art classes, trying to learn all the things that I didn't learn in our classes as a child. It has been really wild to me the degree to which I thought you could just make a line with a pencil and that was it. In fact, even just one pencil contains within it so many different values, so many different things that you can do with it. Complete infinite possibility. Yeah, that's just really cool. So cool. I'm sure that's why everybody in this class is creative and in one way or another can probably identify with that feeling of going into an arts store and just looking at everything because everything is potential and within the one thing there's so much more potential. It can feel overwhelming. Oh, for sure. I can't lie. I'm really a danger to myself and others in any kind of craft store. I spend too much money, I leave with things I've never needed. That feeling. Now I'm at the basis of my page going. I'm really out of place of myself, but that's fine. One of the things I can see it's already wrong is my middle area is exactly the same as this purple. This purple is not dark enough to give it any depth. Just working the colors into each other. Again, always identify value over color. I'm sorry. Go ahead. I've darkened my purple a little bit and my reds. That's the thing with tracing paper, is that it's kind of so disposable that it holds the material in such different ways. But already you can see a little bit more depth now that I've darkened that purple up. Now we've created more dimension. Always identifying if the values are working together and if the values are correct. I do have somebody who wants to know how you mix different colors of the same value. It depends on what you're doing and what you're using. For me, for example, I'm going to pull up Jeff. This, if we look here, at this area of his skin, I've got purples and pinks and blues and reds. Then here where there's a slight more lighter area here, I've got a pink and the orange and the green. With my medium, which is embroidery, I just throw it all in there. It's just layering it and you'll find sometimes a color will maybe stand out a bit too much, like there. I enjoy it in this way, but here on his side and that way just by changing the value, I didn't change the color, I just changed the value and it stood out. Here, his jaw line is created with a lime green and a pink and a blue and another blue. I guess the trick is to just mix them and to experiment and to play in that with your own color. Love the colors that you enjoy and that you're drawn to. Mixing them together and seeing how the values work together. For example here, I've got a lot of purple. I'll just bring this up closer. I have a lot of purple here and I'm not too sure about this black. I'm going to play with something which I feel is going to be within the same values, but a completely different color. I'm going to use a blue jelly roll in this purple area and just work in some lines. I'm going a little bit more, so that this area isn't just flat and colored in. We'll see if that works. I'll show you. I've already added a bunch of blue in here. You can hardly see the difference between the blue and the purple. It just mixes altogether. You register it as still the same value. I have done my pear, not a game changer, bit embarrassed. I think it's a lovely pear personally. Thank you. I'm not too sure how far along everyone is. But as a comparison, here I've got my reference points, and here I've got my pair. It's not a direct relation. I think because these purples are used as my middle dark, which this lilac has probably more like a middle light tone. I interpreted that more as a dark purple to work within my color palette. But just to show you that this is really how you can use things that you love to draw from and then to reinterpret into your own way. This is how you develop your own color language just by applying the things that you love to an understanding of value.
7. Final Thoughts: Thank you so much for joining. This has been really great, and I hope that from this class you've built some confidence and now able to apply your own color language to your work. Something you can do to keep exercising and practicing your understanding of values is taking photographs, seeing it in black and white, and adjusting the contrast because, really, values is just an understanding of your lights to your dark areas. Then, constantly seeing the world around you in values and then being able to apply those values to color is really what's going to bring your work to life. Then also being open to the colors that are around you all the time. When you go into a shop, what do you gravitate towards? When you look at your cupboard, what are your favorite things in your house because that's your color palette. The more you understand yourself and the things that bring you joy and the things that you love, the more enjoyment you're going to get applying that to your work. If you get a moment, I'd love it if you could upload your projects to the project gallery. I get so much enjoyment seeing what people create. To see more about me and my other Skillshare classes, you can go to my Skillshare class.
Danielle Clough, Embroiderer
