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Introduction to the Color Wheel and Color Harmonies

combining those we are going to get. We are going to be able to construct like something called like a color will, which can help you find harmonies in those systems and how they work and how they relate to each other on gun. Basically, that's just to illustrate how colors are like next to each other, is what I would say. So this is how you do it. You take the primary colors each and every color system. Rgb red, green, blue, C M y que cyan, magenta, yellow and the K is like the value of the whole thing, which is like I think the easiest commissions would be like the K is black, right? So adding black, which is basically dark, and the whole image on our would be is like rez, yellow and blue. So then, if you mix those going back and forth, mix those everything that's next to each other. What you are going to get is like another color, which you can see her. It's going to be different in those you know, like systems. It's a different colors that are the secondary colors here, and then if ...

you mix those together like the neighboring colors. Once again, what you are getting is full. A full color will because obviously you can mix these again. But then, so we have this color. With that, we just construction. Good job, very good. So now what? We need to get it. We need to look at harmonies right on the way. Most of the times you get harmonies is that you look at one of the color wheels, and it's mostly the R Y bi color will. And it is because, let's say, like multiple things, just think about a painting. A painting deals with paint, obviously, and painting has thes going back. Yet the R Y be primary colors because mixing anyone out any any else color, you can't just get to this. So those are the primary colors on bond. So the way these painters try Teoh make sense of the whole stuff, how they work, how these have these colors work together. How harmonies actually work is that they created color wheels, which were like more basic than what we have now. But they created that, and they try to make sense of the whole thing on because of tradition and because of, you know, like I don't know miracle those things. Those colors and r Y b color will work very well together. But once again, since it's like perception, it's very difficult to know why they work together, you know? But let's look how they work together and maybe we can figure out the why. So as I mentioned here is like one example of how you can keep create, like a a very non contrast e Anna locus color like a color, you know, harmony which is like this. You take a primary color on your color wheel, go back to the color will. Once again you take a primary color and then you just get the two neighbouring colors and each side, and that will be like your You know what you have here and I have like, an example image that I worked on on. As you can see, just apply it to this image. But well, you would need is that you have the highlights which are like a yellowish tone. The mix turns are more like into the orange and then you have, like the lips and the very dark shadows, and they are like this deeper orange, which is, like, you know, next the primary color what you could notice, and I could. You know, this is something that we could have an argument on is that perception matters so much. So now we can take this and we can say, Well, this is not this color harmony, but another one because we have another color. The eyes look blue, right? But I tell you, they are actually great because you know, I worked on them on day are actually like grayish brownish color. But because of your perception of it, it looks it looks blue, so we could argue that it's not this palette. It's It's an accented one. Yeah, it's, I think it's a back and forth. It's not that I sat colorists. Not that easy. It's it's kind of complex, so this is the next we're going to look. It's a very pleasing stone. The previous one was non contrasting, like a very want chrome is what I would say if you want to create like a harmony in your photo, you try to apply that even if your photographer try to grab like a a background that that's going Teoh correlate with the whole thing, and then you know you don't have to reach out to do much, but if you have to, then you can do that. So that's what you have on Bond. If you want to give just a bit of a twist, it you can throw in an accent to the whole thing so that the first part is the same in the primary and the neighbouring on both sides. And then you get like an accent on that accent, as you can see, is the blue on. You could see the blue in the ice, and there is actually some blue that kind of balances the whole thing out in the shadows of that hair. I don't know if it's visible at all on that monitor or on any other monitor. Anyone's looking out. But that blue in the hair is going to neutralize the whole whole color harmony and just just going to create that accent. So it's not that's one or chromatic, because you have something else that can stand out, which is good. For example, you have, like a food image. Just try to think of that you have a main element And if if it's like an accent color to something that you can create, like a color palette, which has an accent, which is that you know that particular object you want Teoh elevating Teoh really paying attention to? So that's basically how you use that now. The next one is like a very generally used maybe, with some others, like a complementary color scheme. You can see that most of the times, like in in movies, I think nowadays, like blockbusters, what you have is like, you know, the blue and the orange. One thing to note there is that how it if you were to and it's a pain to thing, so I hope I'm experienced correctly. But if you look at any object and you light it, what you get is like the light is never white, obviously, because we don't see like White Knight, everything looks collard in a way just in relation to other things. We can say, Well, yeah, that's wife, but I think we can be sure 100 sent anyway. And most of the times the Shadow is going to be a cold called temperature like a a bluish tone. Even if it's if it doesn't feel like it, it is so when, as far as I'm concerned it when it's advice to, like, drawer and object, what they do is that they do, like called shadows on like warmer highlights, because that's just going to equalize the whole thing. So if you think about these kind of images or all the movies I mentioned, it's just a very, very similar technique. Like you have skin tones, which is most of the times, like orange right on the So what's Thea other color that's going to make you pop from the screen. That's like blue, So why not add that to the background and the colors and stuff? And that's why so many people where like blue in movies or like dark suits, are always not colored a bit blue. If that's the color scheme they are going for, obviously. So that's the complementary won the sprint. Complementary colors are like you take the complementary. This is the complimentary on your non primary. So their primaries the orange right. Now that you are getting from the skin tone, that's like something that you can't change, you got that, and then you find the complementary color, but you don't take that. You take only what's to the side, right? So that's going to be like a split complementary. And I even though I don't have, like an image example, you can see I have the same colors on the size, but with different saturation and different brightness levels. Because the thing you have to remember is that what messes is the cue on what was Hugh Hughes like? The purest form of color, which is, like, you know, 100% saturation, and that's what you get there. But by, you know, playing with saturation and playing with brightness values you can get like the same like this free, like orange on scion and violet or purple color together that can look like skin turn that can look like clothes that looked like, you know, just to match, to look natural while having also the great thing that you have the color scheme applied, you know, So that's another one. Let's look at another example, which is like a trial. It colors it's the same a split complimentary, but but they are the same space away from each other as you can see, like free. I mean on this color where we have, like, three between all of them. So that's how you had that. And again, Not great example. I actually have, like a cover coming up with these color harmonies. I could not, unfortunately, right now show it. But as you can see, I have a skin color from the orange one. That's kind of skin color. I know. I remember. I have the green and I applied it to the background, which is like a lighter background. So that's why I have the green just there. And I put in the shadow that put some, you know, purple heart put, pool colored, the shadows purple kind of, but to steal look natural. So that's what happened there. That's how you get like this. There are many other color harmonies that work together like there's going to show you people get a complimentary and you can do a cup double complementary. So now you have orange and the complementary color of oranges like blue. And then you can have like another one on the color wheel, which would be like, let's see like red and you know it like green to complement so that that would be like double complementary. And, you know, there are other monochromatic stuff, but I think these are like the most important ones. So let's just go to the next one. Yeah, so as I mentioned, there is, um, most times there is one color in your photo, which is going to be consistent, which is most of the time, was like human skin color. Andi, that's mostly can be found in this range, right? You can find like a dark skin, like anyone who's been in the sun for too long. It's probably there anyone who is under, like a very low life going to appear very saturated because the darker you go, it gets more saturated. The lighter it is, the less saturated it is. So this is like based in this. Apparently, you can match your skin tones. It depends on where they are in this will. You can match it. Tiu have, like a complimentary of green to like a blue right, or like anything else. So you have to, as I mentioned before, take it really into account that they are. It is not like a very precise things like colors, way see it differently. We have a different preference all the time on like someone would see and I could. Blue color is a threat for some reason. Then, if you're making like your adverts like very investment, like very inviting and that person would see that blue advertisement, then they would just, you know, shy away from it, probably and not going to buy your products. That's important to keep in mind. Obviously we're catering to the bigger audience. So since in this culture, red would be the threatening one. That's the one we are not using. If we don't want to, you know, has have that effect. So the next one is like again perception colors they do not exist in vacuum on duh hair is like an example a very good example. Like, you know, there are those optical games like thes perception based stuff. You can see that the left one is just so much lighter than the right one, when in reality it's just the same tone, which is the same brightness. But we feel it's not. I brought like a very exciting example. I know that Jim loved it because it's got is mind boggling at this one. The colors, the green color on this scion color, they are the same color. For some reason, I actually use like a color picker, and I measured is the same color. I don't know how it happens, but it is a god. I had to bring this for you just to take this into account that the East things can happen. Probably this is like in the rack here says that this going to happen, that your green is going to turn like science. But when you're doing like color harmonies, try to look with your eyes and not your color. Pick us right because that's what's going to matter. This is just almost like the reiteration of the example we have in the think like a researcher. Class is like if you have two colors with like the same values, but one is like a de saturated color, then it's going to be like the complimentary of what's surrounding it. So right now we have orange surrounding this block on. It appears like like a cool color, like almost like a blue right, but it's like a neutral gray. I can assure you