Quick Tip 206 - Alternatives to Black

one of our viewers asked if you can't use black to get colors darker what do you use we have several options and I want to show them to you now [Music] let's begin with the lightest color on the color wheel yo now if we add black into yellow it turns it green we have a video tutorial just about that so what do you use well one thing that you can do is refer back to color wheel and thinking through no matter what color it is on the Clark will you can always start darkening it by going to its complement that's one way and I'm going to show you this so we've got I'm going to start with you yellow as I said so we start with yellow and so I'll pull my yellow that says this is my hamster yellow light it could be any yellow it doesn't matter and now I'm going to go to its complement the complement of yellow as we see on the color wheel is violent or I like to say purple so I have I use the color called dioxins in purple with my oil paint it is a very very dark purple well if I put that purple down right here not right down into the yellow but somewhere in some way around on the palate and right here's where I'll put it now watch what happens if I take just a little bit not much just a little bit now this is very dark as dark as you can get and the yelling far as far as Hugh's go and very very too much toys about as light as you can get all right now I'm gradually add a little bit of that purple into the yellow don't see we're after changing it's a valley of getting your ducky seat it doesn't take much to change it but that still looks purple well I'll just keep pulling a little bit of it into the yellow and into the yellow and now you see it's beginning to look more like yellow and I just wonder what kind of yellow that reminds our viewers of the more of the yellow we pull into it the more yellow yes and so what we're doing here is we're gradually changing that light yellow the period are gradually changing it to a darker color now you see I have on the pellet right over here yellow ocher and you see how similar this is to yellow ocher alright so so that means in another optioning for option for darkening yellow would be to reach for yellow ochre so let's do this and I see there are several options here one thing I would like all the viewers to realize is that there are many many options for working with color there there are no real this there are no real box in rules and if you use box in rules influence or mixing your colors you're gonna miss out on a lot of discovery so let's do that let's let's just show you that how similar those those are yellow ochre is a darker yellow and so if we put yellow ochre here and mix it into this yellow you see we get very much the same thing alright but you say I want any darker than that if you want it darker than that too to other methods you can use one we'll go back to the complement and we see if we really wanted a dark yellow we put the couple now if you'll notice what happens to color when it gets really really dark and what causes color to get dark is either adding more pigment to it or if we're observing color in nature if it's something that is a local color of yellow such as a daffodil you'll notice that when it goes into shadow that yellow is going to change and where it's in the deepest shot of what it doesn't have any light on it you really can't tell what color it is but if you really observe what's happening in that yellow as it moves toward towards its complement or towards shadow it sort of moves through the color wheel this is this a little bit of a trick I can show you where if if the if the light is warm then that color is going to move are going to become orange before it becomes dark it's going to become orange ER before it comes dark so what we can do one thing that you can do is to reach for orange reach for an orange that's on your palate if you have an orange that's on your pendant I don't keep cadmium orange I don't keep an orange in my palette I have a light this is actually Camden yellow deep which is a yellow orange and I have a red orange which is a cabinet and red light so let's just put a little bit of I'll just put this right here let's put just a little bit of orange there now I'll add a little bit of the sorry unless I'm coming around the color will add just a little bit back in right in here and then when I do that you see it begins to feel like a dark yellow and what is that similar to if you look over here I have another color that falls in the yellow range called raw Sienna and if you'll look put this right here that is very similar if I added a little bit more red to it that would be very similar to the raw Sienna so nobody's mix a little bit of that yellow in the raw Sienna here and show you let's put a little yellow down here and we'll put a little raw Sienna down right there now if I continue this mixture where I have the orange mixed in it continue that on into the complement which is violet will see it becoming more and more like we see in in nature when something that she all falls in the shadow know sometimes you mix things on the palate and they don't look the same on the palate as they look on a canvas now what I've done here is what I do with what I'm doing a lot of studies like that I simply primed a piece of cardstock cardstock here just to do Studies on if you want to know how to do that if you if you like doing studies but you don't want to waste canvas and stuff like that a good quick tip number three one of the first ones among the first ones we did and I show you how to just sew a cardstock so that you can have materials there to do Studies on you can also just so if you sketchbooks you can also just other pages in the sketchbooks and and do these studies which is a good way also of keeping a record of your studies anyway so here's hem see is this is henselae pencil yellow light and here it is when we would paint it when we put it on the canvas surface now let's look at how it would grade eight then in the value line and something I'll pick up here the next step this is we're at mix just a little bit not much but just a little bit of of that purple in it and you see there because if it feels very much like yellow okra they put a little yellow ochre dark down here just to show you see they feel very much alike so if you only need to take if you only need to darken your yellow just a little bit then yellow okra is an option alright let's go to the next step here and then I darkened it a little bit more and this is the one that added the orange to there just a little bit more orange into that two loops those too much there we go right in there right in there alright now this is a line and the orange too and you'll see and you actually will see yellow doing something like this as it gets in in you know if the light is warm as it's getting more and more into shadow and you see that ends up being very much like the color Ross ended up yellow ocher and Rosanna in fact almost of the earth colors are going to vary according to the manufacturer so you might you might get a tube of yellow ochre from Windsor Newton and another tube of yellow ochre from say gamblin and they might be different colors of yellow ochre so I would suggest that you find a brand you like and stick with that brand so that you can always depend upon your colors to do what you want them to do right so this is anyone is that that's the Windsor Newton raw sienna and here it is right there you see how simple of those are all right now now I'm going to take it that next step total the real shadow color and let's get just a well I'll just do it with my brush you could do it either way so with my brush the next shadow color and I adds get just a little bit more of that yellow into it right in there I'm going to add it a little bit more than orange into it now that not quite deep shadow yet but very close to deep shadow and we get this now that looks like very much like burnt umber now I just happen not to have any burnt umber I have to show you but you can test that you can see for yourself how very much like burnt umber but the thing about burnt umber is it does tend to be more red so if you really want to be real real picky and split hairs about this the color to the darkening color to go far would be the raw umber and that's what I have right here raw umber and I'll just put the raw right here and you see raw umber in value is very close to the burnt umber with a futon out a setting it's just a little bit the hem so yellow with that right here to see pull it on out like that and you can see that it's not quite as red as the feeling of burnt umber so now if you really want to take it darker than that and if you sit had an occlusion shadow there's absolutely blood you could actually use black at this point because it wouldn't it wouldn't interfere with a the hue so so there is a use for black but the what we need to do is to think of black as not necessarily a value changing but a color change it now there's one other thing I want to show you here about about the color yellow the color yellow might tend might lean a little bit more towards green depending on the kind of y'all like lumens often well it depends on the I guess it depends on what kind of lumen it is but a lot of times lumens will lean a little bit more towards green so what are you doing that case well in that case you still go for the complement to darken it I'll show you don't want to make this quick tip too long because once you get the principal it's not it's not you're taking notes this I did this and I did this and that is it you're getting the principle of what to do with any color in order to change this volume without using black so I would still then go in to begin and still begin with the complement if the if the lumen is turning or if the color is turning yellow as it moves into shot a turning green I'm sorry as it moves into shadow I would still begin with the compliment okay now I hear okay let's get just a little bit more yellow you've got a little stand you there there we go right in here now now what do we do here well when it gets to this point this point right here we would reach for a little look what happens right over here as it moves in this direction it's picking up a little bit more blue or it's picking up a little bit more green so what what I would do in that case is either either use as the compliment here or blue violet or just pick up a little bit of ultramarine blue and less because what happens when we do that if we pick up a little bit of ultramarine blue and add into it then it begins to give us that green this is ah okay that is a little bit too much but you can see what I'm talking about there now that I've got them to just a little bit here on on the the candidates to show you okay here's the yellow again now if I'm getting that yell I'm gonna have just a little bit of the green of that mixture right here so you see this is usually what the kind of go usually what you would see happening to if the if the lemon tended to be more towards green you see moving more in that direction and then it would begin to get a little bit greener but then it began to get a little bit more neutral and as it begins to get a little bit more neutral then as it gets darker like that then you would add a little bit more of a complicated to it so so any any color now any of the warm colors of the lighter colors can be darkened by beginning with their complement and then adjusting what's what's happening as it moves into the lighter versions of the shadow color or the darker color adjusting by adding back in something that's on one side of the cogwheel or the other that is in between the color and and the compliment of the original color and the complement now that's a principle I can go all day we could make a two-hour video here where I go through every single color and show you how that principle works why don't you do that all you all you need to do is to follow these simple steps begin with a single color if you begin with yellow orange begin with the other orange now to darken your orange go for blue violet first a little bit at a time into the blue violet if it seems to be not feeling like yellow orange then go up here and pull a little bit of orange into it just look just a little bit so you can work that way by working the colors that are at the colors as they are the most saturated on the cogwheel or you can choose from the earth colors or from the other colors that you have there in that range so if you were working for with yellow orange for example still the raw Sienna it does lean more towards yellow orange so you could act actually darken the yellow orange with raw Sienna and then you could carry on that next step further to get it darker add a little bit of the of the complement into raw Sienna so you have a lot of flexibility there where you don't have to use black at all the only time black is black is when it's in the occlusion shadows and all those times I think I'm gonna I think I'm pretty accurate in saying this if you don't know what an occlusion shadow is by the way a little of sidebar here an occlusion shadow is any shadow where all the light has been shut out so where one object is sitting next to another there's a tiny occlusion shot up where they touch where all the light has been shot out and in those those shadows whatever mixture that you put there that is the darkest dark is going to feel like black so you could use you can use a combination of two copper two colors that are inherently dark for example alizarin crimson and phthalo green or alizarin crimson and we're in Brant Viridian and they will look like so so you could do that or within those Clues eye shadows look maybe at just a little bit of black added to it after it gets this dark where you can no longer read the original hue so I would advise you if you really really want to pursue this that you develop some color charts adjust and some mixing exercises using this principle just like I've done here and develop color charts that actually show those options and show how they change and I think you'll see how it will actually liven up your painting when you change those values by using actual hues that are related to each other somehow on the color wheel rather than just adding black hope you enjoyed this quick tip if you have questions or suggestions for a quick tip if is comment right down here in the youtube comment box and take a trip over to dynamite calm and look at all the things we have there for you including full length video tutorials while you're there sign up for a newsletter so you're always be informed of our latest adventures thanks for watching [Music] [Music] you [Music]

Channel: In the Studio Art Instruction

Views: 12,485

Rating: 4.989233 out of 5

Keywords: in, the, studio, art, instruction, in the studio, art instruction, with Dianne Mize, Dianne Mize, SauteeLive, quick tip, 206, Alternatives to Black, painting, oil painting, fine art, online art lessons, online art instruction, online art classes, how to paint, color threory, mixing paint, easel, palette, canvas, brush

Id: ptfr94p9Jec

Length: 17min 54sec (1074 seconds)

Published: Wed Feb 27 2019