Hey y'all! Let's talk color theory, some
vocab,
and some color motifs. Besides the
naphthol/
cadmium red, ultramarine blue, that
that are Hans medium yellow, you all
had to get a few other colors. And i want
to talk about
why we even bothered requesting those colors: the quinacridone, which
i'm going to refer to
as magenta. 0ther similar name is
alizarin crimson. But i'm going to keep
referring to magenta,
because quinacridone i have a hard time
saying. The other
color i had you buy was the phthalo
blue,
or i'm sorry, the phthalo green blue
shade, and then the burnt umber which is
kind of like a
shade of orange, and of course the
titanium white.
So let's talk about the
primary colors or the color wheel or
color triangle.
It takes a few different forms. The primary
colors: the theory is that from these
three colors
you can make all the colors of the
rainbow spectrum, and i guess this is
theory -- theory versus practice. So the
idea is you mix a pair of
primary colors together you get a
secondary,
right, which would be the orange, green,
and purple. If you mix a primary and a
secondary you get that sort of third
tier,
which would be a variation
of that secondary: so more reddish orange,
or more yellow orange, or more purple
purplish or bluish purple, or more
reddish purple,
and so on and so forth. Then you know,
what happens when you mix these
primaries altogether? Well depending on
the amount of one color versus the other
you get more of a brown or you can
get a gray, depends how much you put.
Let's talk about some color motifs.
Here we have what's called
a monochromatic color theme and mono
means one, chromatic is color. I'm
taking one color, one hue
and i'm just tinting it right now. The
top is ultramarine blue
and i'm adding white, white, white. i'm
working light to dark really. This
this is not real acrylic paint. This is a
simulation, of digital software, but it
has the same principles,
right? And it has the effect of me
working wet-in-wet.
Very similar to working with acrylic paint wet-in-wet.
Basic principle: work light to dark. But
what about the "shade"?  You know, when we
talk about value structures,
they go, value structures we refer to
lightness and darkness,
right? So is it possible to get this
ultramarine to be darker?
Yeah sure. You can and the way you do
that is by using the complementary color
of the hue you want to adjust or you
want to shade.
In this case the opposite color the
complementary color
is orange, right? So complementary colors
are colors that are opposite
on the coloring wheel and what that
does is when you put.. the idea is that when
you put complementary colors next to
each other,
they tend to intensify each other. When
you blend them,
they will tend to sort of dull one
another.
Especially if they' are dark colors,
they will help to make a
sort of "black", so depending which way
you go adding more one to the other
you'll get different
kinds of blacks. These are chromatic
blacks. We have that gradation
and i'm going to add the burnt umber to
my ultramarine blue.
Again i'm going to work light to
dark. Ultramarine blue is lighter than
that mixture i made on top. i'm just
going to sort of blend it together so
you can see that gradual effect: the
shade,
to the hue, to the tint of ultramarine
blue.
Monochromatic gradation: shade, hue, tint.
Here's another gradation i want to talk
about it's also dealing with just
ultramarine blue. So in a sense it is
still monochromatic,
but this is dealing with saturation
level, right? Saturation refers to the
intensity of the hue,
the brilliance of it how dull it is or
isn't,
and this is going from saturated to
unsaturated.
It's going from color to tone, it's going
from
brilliant to dull. It's becoming gray,
right? It's monochromatic. It deals with
value structure but it can also deal
with saturation level.
Speaking of gray, my favorite color is
actually a neutral
gray. We used to refer to gray as
"comfortable gray",
or even "grandma gray". My friends back in
the day we used to love wearing gray
t-shirts
because we felt like it was comfortable.
I had a friend that really hated that
and still disagrees to this day about it. But I like gray because depending on its
neighbors or
where it is, it shifts. You know, the
color is relative
to its surroundings, so we perceive it
differently depending on where the color
is situated. I like that. I like how it
always in flux.
So back to the burnt umber and
ultramarine blue, those are complementary
colors. The burnt umber is basically a
shade of orange.
Another way to make a dark chromatic
black is by mixing that magenta color
with the phthalo green. And i'm just sort
of showing you,
i'm adding white to the streak here of
each one so you can get a sense of that
of that chromatic black as it turns gray.
Yes. Yellow and purple
also are complementary colors. You could
theoretically
mix those and get the the black but
since you're not using a shade of yellow
it's not going to be that dark. It's
going to be, it's going to be lighter.
So let's look at those colors that i had
you buy, that were the ones beyond the
red,
blue, and yellow: the magenta color and
also
see what the differences are. They're
both kind of reds.
This magenta and this and this cadmium-
fire truck red, we mix the blue with them.
The purples tend to be a little bit
different
and i think typically the cadmium
naphthol red (the fire truck red)
purples tend to be almost a bit more
dull or less intense. Not gray,
but they don't have that sort of kick
like the magenta might have with the
blue.
It's sort of feel like it's a
synthetic type of purple
that is being created.
and I'm adding white so you can see
how those differ, put the purples next to
each other also to differentiate them.
Same thing with the ultramarine blue
versus the phthalo green blue shade.
What kind of greens do we make when we
add the yellow to it,
right? Same kind of thing. I think the
ultramarine is sort of
synonymous with the red the cadmium red,
naphthol red, that they're both warm.
The phthalo is a bit more intense,
synthetic. So they make, they make
different greens that
are,, ummm, it's just not all that different,
but there's one that's just a bit more
intense.
And you have to kind of play around with
which one you think would be more
appropriate. If you're feeling like the
color is just not as
as brilliant as you would like, then switch
over to that other blue
or switch over to that that other red.
Analogous color schemes. These are colors
that just neighbor each other on the
color wheel
and right now this is a saturated
analogous color scheme. I just took a
portion of what's on the color wheel
there, right?
But, it doesn't have to be completely
saturated you know. These color schemes
the analogous color scheme can differ
by the value structure (lightness
darkness) and also by the saturation
level.
You know: dull or intense. The same thing
could be said
with a complementary color scheme and we
talked about complementary colors a
little bit already..
but...easy breezy.
All right. I think that's it. See ya, Bye!
 
