Dear Toon, Thankyou so much for your extremely helpful presentations on color mixing. There doesn't seem to be many accomplished web artists taking the time to teach this information. I'm now planning to repeat your exercises and properly learn/ remember(!) all this valuable info. More information on mixing neutrals is always a bonus ... not sure if you've already covered that topic?
Thanks for your kind comment, I don't know if you've already seen the video on muted colors? Here's the link: th-cam.com/video/hIeXpmuWF54/w-d-xo.html Have fun painting!👍
Do you use black paint often? Here's the link to the blog with the differences in characteristics of black paints: www.toon-nagtegaal.com/blog/difference-in-black-acrylics/
That's a red that's almost black, so it's very dark and desaturated. So easiest way is to mix black with a tiny bit of pyrrole red for instance. But you can also use dark colors to make a color that's almost black and then shift the color slightly to red (and in this case it looks like a dark reddish brown). The term 'muddy' is a bit confusing, because 'muddy' colors can look very pleasing, especially when they are combined. And if you have a combination of a lot of muddy colors, then a less muddy (but still muddy) can look very bright and vivid. By the way, it seems you're familiar with color systems on computers, and if you look at the RGB values of 30-0-0 in most software you can also check the CMYK values. In this case: C68%, M84%, Y64% and K:91%. By looking at first glance you can tell already that there are three primarys involved (cyan, magenta and yellow) so that already means that the color has to be 'dull', and on top of that, the color contains a lot of black. When painting we use pigments and then in fact we use the principles of the CMYK system. Hope it helps, I think this is a great question that i can use in a future video.👍
It would be wonderful if you could make a video on where to apply each black to make a scene as natural as possible. Actually I am presently working on a leopard, it contains quite a bit of black in its spots, and then there are the grays which in many parts are in shadow but not only for example on the muzzle there's a fare amount of Grey. Sometimes I get a bit frustrated for not knowing what direction to take in these cases. Would be lovely if you could show us when to apply a cool or warmer in relationship to neighboring colors. 🙏🙏🙏
I'll put it on my list of video ideas! Might take a while before I can make it, because the list is long, but meanwhile you could try the following (maybe you're already doing it) It can be very helpful to 'isolate' colors that you see. Take a piece of sturdy paper or cardboard, cut a small hole in it, put it on the photograph and that way you can look at a certain color without getting confused by the surrounding colors. 👍🎨
Recently I had a project where I needed to add a dark zone, so as to make the lighter zone attract more attention: and so I mixed clear acrylic gel and black paint to make a transparent grey that looks more like a smoke or fog. It's a strange effect but for my project it looked in-theme. I think the most important thing for me was to try everything, even if it seems like a lot of work: I found that once I had tested different effects/tricks/techniques, I felt like the tool-belt in my mind had more tools that I could then quickly apply these tricks to solve problems. Once you find tricks that you like, make sure you do those techniques like exercises, like an athlete, to warm up, so that when you are creating your art: you can use different techniques to create different zones. Zones that are next to identical zones are repetitive and give a muddy appearance. I use contrast through different patterns, color, pigment, styles: so as to reduce repetition.
If someone does not have experience with dividing a canvas into zones. What I do is scatter random shapes onto the page and rotate the page before adding another one. I then look for lines that almost align and I then link them. I divide zones into triangles like a Sierpinski triangle. I repeat this technique until the smallest triangle I will allow is drawn. The smallest triangle will be so small that it can be generated by using a single dot. But first I divide the canvas into triangles by drawing triangles where I want my most significant props/characters. These items are usually at the 33/66 positions due to the way the human eye rests. No offset from these points results in very obvious art but straying too far from these points results positioning important/significant elements too far from the rest positions for the eye. The rest position is the center of the image but the eye seems to focus on the zones between 33 and 66 very easily. And so I draw triangles throughout the page and I link them in chains and sequences. I can change their shape, detail, color, etc to blend them or make them stand out more. I use triangles because they are the easiest shape to work with for me because I somehow see existence as being made from lots of shapes but everything in my mind breaks down into triangles, vertices, edges, polygons, circles, etc - so I use these prime shapes it in my art when building the structure of the art. For me, I like triangles, but too many triangles results in mathematical and draftsman style art so now I am using the triangle style to create zones into which I draw my cartoon characters. I know the correct positions because the triangles will create the zone/overall shape etc and you can work out where to do anything within that triangle by dividing each triangle into 4 triangles and repeating that pattern for any detail at all. Once you do it for maybe 80 hours, you will think in triangles and you won't need to draw them anymore. In fact, now I use objects to replace vertices and edges etc so I hide my triangles but to the trained eye, they will understand the method. To the untrained eye, the triangles will lead their eyes on a journey in the direction that points to the corner of the triangle that is the most distant from the center of the triangle. And so you can use triangles to guide the eye around the art. I feel like as an artist I am revealing too much information however I see the future and the world will change a lot, so if someone wants to do art, now is your chance.
Thanks for sharing your experience! You're absolutely right: only by trying things and experiencing it ourselves we can really learn. Also, what you say about practicing out of the context is very valuable. Indeed in sports it's commonly accepted to train, in music as wel I guess, but in painting and drawing I hardly ever see people testing, trying and repeating practices. So many thanks, it's a good subject for a future video.👍
And for those that struggle with dividing a triangle. The secret is to look at the three lines of each triangle and draw/imagine 3 dots. Each dot will be at the 50/50 midpoint on each of the three lines. And so these three dots you have created, if you draw a line from one dot to the next and then back to the first dot, should get a triangle. And so by drawing a small triangle inside a larger triangle, using the mid points, you have created 4 zones of equal size within the triangle. You can pattern each of these zones or you can use it like a canvas of 4 pixels/triangles that you can use to try and create a feathered edge or some other shape. I always focus on emphasizing whatever shape I see, even if it is a crazy shape. I like to add the letters of the alphabet or numbers so as to create random shapes on the paper from which I will look for shapes and if I see something amazing, I will trace that shape using the lines that already exist. But you can connect lines, create curves, and use triangles to divide up a zone that feels like it needs more clarity.
@@toon-nagtegaal And thank you for your videos. I always enjoy them very much. I apologize that I write too much, because of the way my brain works, I write way too much because I always want to explain context and I go on tangents.
![เปิด อาณาจักร หมื่นล้าน "สาระตั้ม" l [Nickynachat]](http://i.ytimg.com/vi/3XE0nPF4YkQ/mqdefault.jpg)
Thank you this is a good video. Look, see and the idea of black usage.
Dear Toon, Thankyou so much for your extremely helpful presentations on color mixing. There doesn't seem to be many accomplished web artists taking the time to teach this information.
I'm now planning to repeat your exercises and properly learn/ remember(!) all this valuable info. More information on mixing neutrals is always a bonus ... not sure if you've already covered that topic?
Thanks for your kind comment, I don't know if you've already seen the video on muted colors? Here's the link: th-cam.com/video/hIeXpmuWF54/w-d-xo.html Have fun painting!👍
Your teachings are precious knowledge. Thank you so much for teaching us such valuable information so generously.🙏⭐⭐⭐⭐🌟
You're welcome, I'm glad it was helpful. Enjoy painting! 👍🎨
😄👏🏾👏🏾👏🏾👏🏾👏🏾👏🏾👏🏾👏🏾👏🏾👏🏾loving your channel ❤!
😂thanks and have fun painting!👍👍
Wow! Thank you for teaching about ultramarine blue and burnt umber. I had no idea! And it does look better than a black paint.
Glad it was helpful!👍👍
Learning so much from u. Tyvm. ❤❤❤
You're welcome, enjoy painting!👍🎨
I love watching you . I learn so much. Best wishes from one dutchy to another in Australia
That's great, enjoy painting, hartelijke groeten! 😂👍🎨
Very useful material. Thanks.
My pleasure!
“Nostrils aren’t the only dark things in our lives.” ☺️
There are earholes as well!😅
Just found you. Thank you so much for your videos! Kelly
My pleasure and welcome to the channel!👍🎨
Do you use black paint often? Here's the link to the blog with the differences in characteristics of black paints: www.toon-nagtegaal.com/blog/difference-in-black-acrylics/
How do you make a very dark and clean (not muddy) red. Like 30-0-0 (RGB scale) on computer screen.
That's a red that's almost black, so it's very dark and desaturated. So easiest way is to mix black with a tiny bit of pyrrole red for instance. But you can also use dark colors to make a color that's almost black and then shift the color slightly to red (and in this case it looks like a dark reddish brown).
The term 'muddy' is a bit confusing, because 'muddy' colors can look very pleasing, especially when they are combined. And if you have a combination of a lot of muddy colors, then a less muddy (but still muddy) can look very bright and vivid.
By the way, it seems you're familiar with color systems on computers, and if you look at the RGB values of 30-0-0 in most software you can also check the CMYK values. In this case: C68%, M84%, Y64% and K:91%. By looking at first glance you can tell already that there are three primarys involved (cyan, magenta and yellow) so that already means that the color has to be 'dull', and on top of that, the color contains a lot of black.
When painting we use pigments and then in fact we use the principles of the CMYK system.
Hope it helps, I think this is a great question that i can use in a future video.👍
Thank you
You’re welcome!👍
It would be wonderful if you could make a video on where to apply each black to make a scene as natural as possible. Actually I am presently working on a leopard, it contains quite a bit of black in its spots, and then there are the grays which in many parts are in shadow but not only for example on the muzzle there's a fare amount of Grey. Sometimes I get a bit frustrated for not knowing what direction to take in these cases. Would be lovely if you could show us when to apply a cool or warmer in relationship to neighboring colors. 🙏🙏🙏
I'll put it on my list of video ideas! Might take a while before I can make it, because the list is long, but meanwhile you could try the following (maybe you're already doing it) It can be very helpful to 'isolate' colors that you see. Take a piece of sturdy paper or cardboard, cut a small hole in it, put it on the photograph and that way you can look at a certain color without getting confused by the surrounding colors. 👍🎨
Recently I had a project where I needed to add a dark zone, so as to make the lighter zone attract more attention: and so I mixed clear acrylic gel and black paint to make a transparent grey that looks more like a smoke or fog. It's a strange effect but for my project it looked in-theme. I think the most important thing for me was to try everything, even if it seems like a lot of work: I found that once I had tested different effects/tricks/techniques, I felt like the tool-belt in my mind had more tools that I could then quickly apply these tricks to solve problems. Once you find tricks that you like, make sure you do those techniques like exercises, like an athlete, to warm up, so that when you are creating your art: you can use different techniques to create different zones. Zones that are next to identical zones are repetitive and give a muddy appearance. I use contrast through different patterns, color, pigment, styles: so as to reduce repetition.
If someone does not have experience with dividing a canvas into zones. What I do is scatter random shapes onto the page and rotate the page before adding another one. I then look for lines that almost align and I then link them. I divide zones into triangles like a Sierpinski triangle. I repeat this technique until the smallest triangle I will allow is drawn. The smallest triangle will be so small that it can be generated by using a single dot. But first I divide the canvas into triangles by drawing triangles where I want my most significant props/characters. These items are usually at the 33/66 positions due to the way the human eye rests. No offset from these points results in very obvious art but straying too far from these points results positioning important/significant elements too far from the rest positions for the eye. The rest position is the center of the image but the eye seems to focus on the zones between 33 and 66 very easily. And so I draw triangles throughout the page and I link them in chains and sequences. I can change their shape, detail, color, etc to blend them or make them stand out more. I use triangles because they are the easiest shape to work with for me because I somehow see existence as being made from lots of shapes but everything in my mind breaks down into triangles, vertices, edges, polygons, circles, etc - so I use these prime shapes it in my art when building the structure of the art. For me, I like triangles, but too many triangles results in mathematical and draftsman style art so now I am using the triangle style to create zones into which I draw my cartoon characters. I know the correct positions because the triangles will create the zone/overall shape etc and you can work out where to do anything within that triangle by dividing each triangle into 4 triangles and repeating that pattern for any detail at all. Once you do it for maybe 80 hours, you will think in triangles and you won't need to draw them anymore. In fact, now I use objects to replace vertices and edges etc so I hide my triangles but to the trained eye, they will understand the method. To the untrained eye, the triangles will lead their eyes on a journey in the direction that points to the corner of the triangle that is the most distant from the center of the triangle. And so you can use triangles to guide the eye around the art. I feel like as an artist I am revealing too much information however I see the future and the world will change a lot, so if someone wants to do art, now is your chance.
Thanks for sharing your experience! You're absolutely right: only by trying things and experiencing it ourselves we can really learn. Also, what you say about practicing out of the context is very valuable. Indeed in sports it's commonly accepted to train, in music as wel I guess, but in painting and drawing I hardly ever see people testing, trying and repeating practices. So many thanks, it's a good subject for a future video.👍
And for those that struggle with dividing a triangle. The secret is to look at the three lines of each triangle and draw/imagine 3 dots. Each dot will be at the 50/50 midpoint on each of the three lines. And so these three dots you have created, if you draw a line from one dot to the next and then back to the first dot, should get a triangle. And so by drawing a small triangle inside a larger triangle, using the mid points, you have created 4 zones of equal size within the triangle. You can pattern each of these zones or you can use it like a canvas of 4 pixels/triangles that you can use to try and create a feathered edge or some other shape. I always focus on emphasizing whatever shape I see, even if it is a crazy shape. I like to add the letters of the alphabet or numbers so as to create random shapes on the paper from which I will look for shapes and if I see something amazing, I will trace that shape using the lines that already exist. But you can connect lines, create curves, and use triangles to divide up a zone that feels like it needs more clarity.
@@toon-nagtegaal And thank you for your videos. I always enjoy them very much. I apologize that I write too much, because of the way my brain works, I write way too much because I always want to explain context and I go on tangents.
@@theGreaterAwareness no problem at all, no need to apologize, I always like enthusiasm!👏👏👍