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  • Hi, welcome to my new mini series. We're going to be talking about how to improve your art.

  • Today, specifically, color combinations. To start off with, we'll talk about the analagous scheme. And so what that is, is it's any colors

  • on the color wheel that are next to each other. So what I've chosen are the colors from blue

  • to yellow, and everything in between there. So, you can see in this one, we've got a blue

  • sky, blue mountains, green trees, and most of the yellow is in the ground. And then another

  • thing you might notice is there's quite a bit of red and browns in there as well. The

  • truth - you're never really going to get too pure of a color scheme, and if you do, chances

  • are it could be very boring. So don't limit yourself just too much, but think of the color

  • scheme as a way to promote harmony in your painting. So, for instance, the analgous color

  • scheme works very well when you're trying to create one solidified mood. It could be

  • a calming mood using blues, yellows, and greens. It could be an intense mood such as with a

  • fiery sunset. It coudl be something even a little more melancholy if you went jsut towards

  • the blues and a couple purples. Let's move on here. We're going to go back to our color

  • wheel and explode out the next scheme. The complimentary scheme starts off with two colors,

  • opposite each other on the color wheel. I've chosen green and red. I want to extend this

  • a little bit, so I'm also going to use the colors right next to my complimentary colors.

  • basically, what I get is a split complimentary scheme. Th advantage of this is it doesn't

  • limit me to just two colors it allows me a full range. What you see when you look at

  • this painting is primarily muted green, browns, and reds. In the background is some purple

  • and that's where it's important to have additional colors added. But what you don't see is a

  • strong puyrple. We've taken that color out and we're focusing on red versus green, and

  • there's also yellow in there. Without all those colors, it woldn't be as strong as it

  • is. If these colors go back down to the color wheel, once again we can pick a different

  • scheme. This time what I want to look at is the monochromatic scheme. So if I pull up

  • my blue, I can get anything from a dark value to a light value. A foggy seascape or a night

  • scene might be very well suited for a monochromatic scheme. In this painting, you can see lots

  • of purples, blues. blacks, some turqoise, and even up in the sky, some grays which compared

  • to the blues looks warm. Which brings up a very important point When you're painting

  • with a color scheme, you want to think in terms of warm and cool colors. Any time you

  • can layer warm and cool colors, you create a more vibrant scene. In the sky, we have

  • cool grays against warm greys. in the background rocks we have warm grays against the cool

  • gray foreground. What you get with the monochromatic scheme is something with highly intense detail

  • that is focused on shapoes, primarily. because you are talking about value contrast. You're

  • no longer talking about colors, you're talking about how do the shapes become rendered, and

  • how do we identify what is that shape. The last one I want to talk about is the prismatic

  • scheme, which includes all colors. You'll see that usually, you're loooking for a prismatic

  • scene that is biased towards another scheme. You don't ever want to limit yourself too

  • much. Happy Painting!

Hi, welcome to my new mini series. We're going to be talking about how to improve your art.

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