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Once you’ve got those, the saturation and values of can be adjusted freely to give you your individual colors, but there are rules to help… SaturationĪlso known as chroma*. If you’re picking a palette off a color wheel with these methods, that will give you your base hues. If you draw an equilateral triangle, across it, it’s a triadic scheme – no matter where on the wheel it points. If you draw a straight line across the middle, it’s a complimentary scheme. The color schemes I advised you look up in the last article (did you?) are based on the colors’ relative positions on a hue wheel. That’s why in image editors, hue is expressed in degrees, noting where on the circle that shade would be found. It’s just the spectrum from above, bent into a circle. This would more accurately be called a “hue wheel” since that’s the only color property it represents. Which, for our purposes, we’ll expand to the more comprehensive this: You’ll probably think of something like this: In a way, this is the simplest trait, since it’s just a position on a slider. When you describe a color with a ROYGBIV word-red, green, blue-you’re identifying its hue. Hue is your color’s place in the rainbow: This is known as the Munsell Color System, although it’s been modified and expanded for digital use.
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The other three variables you can use to identify or make a color are hue, saturation, and value. CMYK – but that’s the long way around and was developed so printers had more control over ink values. * You can also make any color out of cyan, magenta, yellow, and black – A.K.A. So each set of primaries would make an incomplete range of colors for the other medium: You can’t get yellow paint with any mixture of red, green, and blue paints, and you can’t get most shades of green with just red, yellow, and blue pixels. That’s because of the physical differences between the two media: Paint grows darker the more colors you mix into it, eventually turning black, where pixels don’t they just grow closer to the last color you mixed in. These are called the subtractive primaries, and might be what you learned as “the primaries” in art class.
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Traditional artists use red, yellow, and blue. “It’s not pretty, but it gets the job done.” In the digital space, it’s these particular shades of red, green, and blue: There are two possible sets, depending on your medium. This is based on the ratios of three primary colors: the colors that can’t be formed by any others, but that when mixed in different proportions, form all others. There are two most common ways colors are categorized in digital spaces, and aside from picking one at random or typing in a hex code, they’re also the two most common ways you can “make a color from scratch” in most image editors. Digital painting is like traditional in that way, except when dealing with pixels, which are pure light, the actual process is the total opposite. Out of the ~16,000,000 colors a monitor can display, ~15,999,997 are formed by mixing others. Instead, I’ll lay out the basics of how they’re put together, taking you a step closer to being able to make your own palettes from scratch.įirst, a little behind-the-scenes: The Two Acronyms This, and many like it, do a much better job summarizing the types of color schemes than I could trying to reiterate them. If you didn’t-which I don’t blame you for- here’s a decent guide. If you did the last article’s homework (or have a passing familiarity with color theory), you’ll know the eight different types of color schemes. This one will be strictly about colors in digital space. My first article dealt more with the (dumbed-down) physics of how light forms color in the real world, and on palette use in the abstract.