Sure, and this is something I can hardly explain, given the thousands of differences. As I often say, understanding color is not enough, you have to know how to navigate between colors.
@@FlorentFargesarts agreed, but paint manufacturers don’t make it easy either. They have a vested interest in making us buy 20 tube colours just to find which two are closest complimentary pair. Often with beginner sets there are one or two pairs to whet your appetite, but never the full set- so it’s obvious they know exactly what they’re doing. I would like to have paints listed in pairs somewhere on the company’s website, as each manufacturer formulates them differently so you can’t even go by the pigment codes. I have a loose, expressionistic abstract style and like the happy accidents which happen where they meet.
@@draweshd8437 I found this! This info really helped me to understand why my color mixing was not going right, plus to know that if white pigments are in the recipe, it contributes to muddiness. ruclips.net/video/wL_ikcquxa4/видео.html
@@FlorentFargesarts this is exactly what i wanted, and you already did it! Lol Loved it, great info that i wish i had back when i started, and applicable to most mediums (i think? Lol) ruclips.net/video/wL_ikcquxa4/видео.html
Glad that you have demonstrated this. In art school, we were tasked to paint a still life where all the colors were to be greyed using complements. It was fascinating but this was the 60's and all the paintings ended up with a purplish cast because of the red-yellow-blue thing. The final stroke was a pure color of our choice at the spot in the painting that was the optical center (known as "home" to some). It was amazing! I do have an issue with your discussion of skin tone. Faces are not all pinky white. What you say about modifying the "flesh tones" can be applied to other color ranges of course. It would have been a brilliant stroke if there was one more minute to demonstrate that. Crucial if you are teaching a flesh-diverse class.
However dark or pale skinned the subject I see warm neutralised browns in the lit areas and cool neutralised more bluey purples in the shadows. To my mind the difference is tonal value more than hues. The main difference in I see between pale and dark skin is the highlight shine is much more visible on young healthy dark skinned subjects. I really notice when tv makeup artists aren’t used to darker skin because they obliterate the shine with powder, making a teenager look like a freaky pensioner/waxwork🙄🤣
Hmmmm. I'm an art teacher, and I've always taught the traditional way (below), and it works well. Even a 12 year old can get the hang of it quite easily and get good results. I am open to new ways of teaching though, so what theory/evidence are you basing this on? Red/green Yellow/purple Blue/orange
Mostly modern color science and observation. Same reasons why most printers don't use RYB or that a photoshop color wheel doesn't oppose green to red? The RYB system works in most cases, I have a video about that here ruclips.net/video/Ob_ytLkqIuM/видео.html so if it works, keep using it. I work with a lot cyan in my paintings so for me it's not good enough but for regular colors, the RYB system is fine.
Florent... You have taken my paintings to another level with vids like this! Can't express how much I appreciate it! I ALWAYS learn something new from you. MUCH appreciated 🤘👽
Thank you Florent, your video is a great source of knowledge. I always get astonished with experienced artists talking about complementaries/primaries. The sentence that hurts most is "the complimentary of red is green"! FOR GOD SAKE! If they do BROWNS mixing red and green, so, what the f*ck they "teach" that they are complementary? The cyan is an ignored color for many artists.
Cyan is such a crucial color to me, it hurts that it's overlooked so often. It's mostly cultural, when you don't have precise words, people don't learn to perceive the color so it doesn't exist, they call it "light blue" or "blue green". It's like calling orange a light red or a yellow-red. But that's how things are. Artists have a role to play in shaping how we all perceive colors.
@@FlorentFargesarts the good thing is that you are here to share a precise information!! Thank you Florent, your effort is worth it. Thank you for your kindness!! God Bless you and your art journey! 🙏🏻🙏🏻🙏🏻
Yes this is so true. I’m also into mixing reds to create alternative reds. Same with yellows and blues. For example, if you want alizarin crimson just mix burnt sienna and cadmium red. Phthalo, green and cadmium red produce a wonderful, gray . Thalo green and magenta create an incredible mov when you add white🙏
Alizarin crimson behaves in a special way in mixes, that is what it is valued for, and that cannot be replaced by a mixture of cad red and sienna. There's a reason it is on so many landscape painters palettes despite rarely being a color found in landscape.
This is another incredible video - I had to watch this again, so much amazing color theory, that I have never heard anyone else on youtube bring up. This really is my go-to channel for color and oils - the info here is just so on point, thank you for this!
Would love one of your colour wheels but looking at the information re payment, it kind of looks complicated plus I did see any information on it, especially the cost.
Great video. I knew about using the complementaries to make the mixings instead of b&w but I never related with puntillism wich sounds amazing to use complementaries or some specific colors exposed on the cambas and let the viewers eye to blend them👍 I'll try that some time
*Abstract* This video tutorial discusses a technique for balancing colors in painting using complementary colors. The video starts with a scenario where an artist mixes a color, lays it on the canvas, and finds it to be too vivid. The solution most beginners would use is to add black or white to desaturate the color. However, this can often lead to a dull and dirty color. The presenter introduces complementary colors as a way to desaturate colors while preserving their vibrancy. Complementary colors are opposing colors on the color wheel. When mixed together, they create a neutral gray. The video explores the concept of complementary colors and how they work. It also discusses how to identify complementary colors using a color wheel. The presenter then demonstrates how to use complementary colors to desaturate colors on the palette and directly on the canvas. She also discusses how complementary colors can be used to create vibrant flesh tones in portraits. Here are the key takeaways from the video: * Using complementary colors can help you desaturate colors without making them dull or muddy. * Complementary colors can be used to lighten or darken colors without using white or black. * Complementary colors can be used to create more vibrant and complex paintings. i used gemini
@8:56 Yeah, you ain't the only one. I find his paintings annoying to look at, no offense. Some of it ok, don't know why he world famous though, it's just fine. Throw it up on the wall at the dentist.
Nope, i've changed my mind! My RYB scheme works much better on complementaries. R+G make a nice brown, etc. These greys will make my paintings look dead - like the skin of a zombie.
So this is why any 2 complementary colours from the RYB scheme combined form a sort of muddy brown! It's because they are not truly complementary! I've worked with this scheme all my life, and still love it ( I dont like magenta and cyan, they look too artificial to me). Yet! Your optical illusion convinced me ! I even covered the other squares leaving only the RED. I hoping and praying id see green. But NO ! IT WAS CYAN! Very depressing for me...
I would have suggested for beginners in portraiture a green pigment easier to handle for skin tones like terre verte or viridian instead of the overpowering pthalo.
Sure thing, I could have mentioned that. I have phthalo because it’s good for everything but rarely use it in skin tones. I would most likely make a green with cobalt teal and yellow ochre. Forgot to mention that.
I mean, teal, specially cobalt teal is the blue with the most green shade before we actually start calling it green so, I don't think it's wrong to call green complementary to cad red, cause you can remove all the blue shade from it and it still will be complementary, but not the other way around, removing all the green shade will only lead you to violets, so it is actually the green in it what makes that blue a "complementary"; and we are not even taking into consideration the yellow shade in the cad red, which also mixes with the blue and creates... Yes, you guessed it: GREEN, which also neutralizes the red when you mix them.
Is this still a viable strategy when you're only using a very basic color palette? I only have cadmium yellow, ultramarine blue, cadmium red. Would it be wise to invest in, let's say, cobalt, pyrrole, quinacr. and yellow ocre? Colors I normally don't use since I was told to try to mix everything from just the colors I own.
@@elisahill6583 Thanks for taking the time to respond! Which ones would you recommend I invest in out of the ones mentioned in the video? All or are there some you'd prioritize? :)
My palette is normally Cadmium Yellow, Cadmium Red, Ultramarine Blue, Titanium White, and Yellow Ochre (it's easier for mixing than Cadmium yellow in most cases), but I've never needed any other colors, aside from occasionally Ivory Black to get something really black. I actually recoiled at the beginning when he mixed in grey to desaturate red. I normally mix up a bit of green with blue and cadmium yellow it to desaturate red (no it's not the exact complement, but it's more than good enough). If you need a lot of a particular color (say green when painting a forest scene), it's probably worth investing in a tube. Otherwise I don't think it's necessary.
@@sukritact Hey! Thanks for sharing your thoughts. Really helpful for me as a beginner. I pretty much do the same as you, except that I use burnt umber (w/ ultramarine blue) to create black. I just realized I DO have yellow ochre, I just never use it. Somehow I'm not sure what to do it with it. I also have burnt sienna and phthalo green, both of which I never really use. Phthalo green especially I find really difficult... it never looks natural and I have to dull it down A LOT. Do you have a rec for a good green color for nature scenes?
Channel "Draw Mix Paint" suggested when mixing to "darken" colors, instead of ever use black, just use blue or burnt umber. This is because when you "think gray," you should "think blue" instead. With that being said, he also suggests using mixing "complimentary colors" into your paint to desaturate your paint, so it appears more gray. Honestly? Floren Farges and Draw Mix Paint have reinvigorated my love for painting, especially oils. I bought the techniques course online and it's such a treasure trove of great techniques that helps you set up, and maximize your ability to do good painting.
Wonderful video! You touched on this a bit, and perhaps you have a video on this topic? If not, I think you could shed some insight making one that breaks down a painting (especially painterly style) using optical blends where you see the contrast up close of complementary colors next to each other, but they blend stepping back.
This is based on the color of Lightwaves not the color of pigments. Look up lightwave color wheel and youll find what hes talking about. While this will be a fun way of working the complement of green IS red. I challenge you to pair red and cyan then red and green. You will get a far more dramatic effect from red and green. They also help neutralize eachother very well. Imo better than red and cyan. I only say this because you say the color wheel is wrong and green isn't the opposite of red. It is. But you can also consider things in the way you're talking about. But it's an alternative way. Not the true complement.
Finally! Someone thinking same as me about whole color theory and these color wheels. Sad, but digital tools still not providing artists with proper color wheels
When I was in school I worked for a while in a shoe store that specialized in dying wedding party shoes. Since they mostly brought in swatches so I became an expert at doing a second or third coat to perfectly match it.
Complimentary colors are also found in lenses. When you experience color fringing, high contrast areas around the edges of a photo can exhibit color fringing and they are complimentary
Yeah ok, but this results in muddy colors already in the palette if not used with the right pigments and the right quantity. To tone down colors is better to use slightly different pigments of the same tone or a very little quantity of certains complementary or using white with a little of mastery and not using black, you don't need so much, using magenta and cyan like this is really like throwing a bomb on a flower in order to pick it up and the colors you get are really strange. You can put blue on skin in the underpainting or on a glazing but better look at how Ingres or Sargent use the colors on not at this.
Sure, I get your point and agree. I don't use magenta and cyan like that but the quantities I normally use are so subtle that they don't really appear in the video, you have to think about the format. I have to demonstrate with clearly visible effects but the reality is much more moderate. I disagree with one thing, Blue in underpainting is fine, but it's also nice in the overpainting.
@@FlorentFargesarts you can use also purple for the skin or green. There are really not clear rules but you have to master what you do, sorry for the critic but I think that a not experienced painter can found this hints not useful at least. Maybe it's better start with the basics. I agree that white make colors chalky and black dull but it's something really relative to what you are using and what you do. You can use black and white or cyan and have wonderful colors or dull colors. It greatly depends on how you use it and what you want to do. It also greatly depends by what pigment are you using. Every pigment has a almost a different rule. There are cyan that are easy and cyan that kills everything. For a beginner using cyan and black is really difficult, better use something else or start with a limited palette. In my opinion obviously
@@squarz No worries, I don't think your comment was a critic, just stating facts I don't even disagree with: there are thousands of ways to use colors. I never said anything against black and white, to the contrary, it works. But to take color mixing to the next level, at some point, an artist might want to use complementary colors, that's what this video is all about.
I am unable to differentiate between word CUTTER AND COLOR. I try to understand it as u r saying COLORS but the sound cutter disturbs the brain to understand the subject spoken 😭
Complimentary colors of red and green is nonsense. Many world country's flags have red and green; like Mexico. In nature; you have red flowers with green leafs. So, what the F are you talking about red and green not being complimentary.
Color is my hardest thing. I only seem to get it right by accident. I've taken theory classes, know it intellectually, but it's mostly hit-and-miss with me. I'd rather work in black and white. My strong suit is composition. I get that without thinking. Color frustrates me.
How do I obtain your colour wheel?
Knowing colors is good, understanding pigments is better
Sure, and this is something I can hardly explain, given the thousands of differences. As I often say, understanding color is not enough, you have to know how to navigate between colors.
@@FlorentFargesarts agreed, but paint manufacturers don’t make it easy either. They have a vested interest in making us buy 20 tube colours just to find which two are closest complimentary pair. Often with beginner sets there are one or two pairs to whet your appetite, but never the full set- so it’s obvious they know exactly what they’re doing. I would like to have paints listed in pairs somewhere on the company’s website, as each manufacturer formulates them differently so you can’t even go by the pigment codes. I have a loose, expressionistic abstract style and like the happy accidents which happen where they meet.
Tell me where can i understand them, except some complex 1000 page book, I'm cool with books though, just not too much chemistry ones
@@draweshd8437 I found this! This info really helped me to understand why my color mixing was not going right, plus to know that if white pigments are in the recipe, it contributes to muddiness.
ruclips.net/video/wL_ikcquxa4/видео.html
@@FlorentFargesarts this is exactly what i wanted, and you already did it! Lol
Loved it, great info that i wish i had back when i started, and applicable to most mediums (i think? Lol)
ruclips.net/video/wL_ikcquxa4/видео.html
Glad that you have demonstrated this. In art school, we were tasked to paint a still life where all the colors were to be greyed using complements. It was fascinating but this was the 60's and all the paintings ended up with a purplish cast because of the red-yellow-blue thing. The final stroke was a pure color of our choice at the spot in the painting that was the optical center (known as "home" to some). It was amazing!
I do have an issue with your discussion of skin tone.
Faces are not all pinky white. What you say about modifying the "flesh tones" can be applied to other color ranges of course. It would have been a brilliant stroke if there was one more minute to demonstrate that.
Crucial if you are teaching a flesh-diverse class.
However dark or pale skinned the subject I see warm neutralised browns in the lit areas and cool neutralised more bluey purples in the shadows. To my mind the difference is tonal value more than hues. The main difference in I see between pale and dark skin is the highlight shine is much more visible on young healthy dark skinned subjects. I really notice when tv makeup artists aren’t used to darker skin because they obliterate the shine with powder, making a teenager look like a freaky pensioner/waxwork🙄🤣
Never use black.
Dont mix colors. Paint one into the other with one stroke.
Keep the colors alive.
You got it.
Hmmmm. I'm an art teacher, and I've always taught the traditional way (below), and it works well. Even a 12 year old can get the hang of it quite easily and get good results.
I am open to new ways of teaching though, so what theory/evidence are you basing this on?
Red/green
Yellow/purple
Blue/orange
Mostly modern color science and observation. Same reasons why most printers don't use RYB or that a photoshop color wheel doesn't oppose green to red? The RYB system works in most cases, I have a video about that here ruclips.net/video/Ob_ytLkqIuM/видео.html so if it works, keep using it. I work with a lot cyan in my paintings so for me it's not good enough but for regular colors, the RYB system is fine.
Florent... You have taken my paintings to another level with vids like this! Can't express how much I appreciate it! I ALWAYS learn something new from you. MUCH appreciated 🤘👽
Thank you Florent, your video is a great source of knowledge.
I always get astonished with experienced artists talking about complementaries/primaries. The sentence that hurts most is "the complimentary of red is green"! FOR GOD SAKE! If they do BROWNS mixing red and green, so, what the f*ck they "teach" that they are complementary?
The cyan is an ignored color for many artists.
Cyan is such a crucial color to me, it hurts that it's overlooked so often. It's mostly cultural, when you don't have precise words, people don't learn to perceive the color so it doesn't exist, they call it "light blue" or "blue green". It's like calling orange a light red or a yellow-red. But that's how things are. Artists have a role to play in shaping how we all perceive colors.
@@FlorentFargesarts the good thing is that you are here to share a precise information!! Thank you Florent, your effort is worth it. Thank you for your kindness!! God Bless you and your art journey! 🙏🏻🙏🏻🙏🏻
Yes this is so true. I’m also into mixing reds to create alternative reds. Same with yellows and blues. For example, if you want alizarin crimson just mix burnt sienna and cadmium red. Phthalo, green and cadmium red produce a wonderful, gray . Thalo green and magenta create an incredible mov when you add white🙏
*mauve yeah it's a weird word... definitely derived from French :p
Exactly!! Lot's of fun to have outside of boring black and white
Alizarin crimson behaves in a special way in mixes, that is what it is valued for, and that cannot be replaced by a mixture of cad red and sienna. There's a reason it is on so many landscape painters palettes despite rarely being a color found in landscape.
What does mov mean?
This is another incredible video - I had to watch this again, so much amazing color theory, that I have never heard anyone else on youtube bring up. This really is my go-to channel for color and oils - the info here is just so on point, thank you for this!
You really master the color palette! It's an amazing skill to have!
Thank you so much!
Wow,
So excellent Performance, wishing you more and more Successes, greetings and Blessings 💜🌺💐
I haven't checked in on your videos for a while. Wow! The production level has really stepped up a notch or two. Very professional.
Sounds a lot like the munsell color theory. I learned it in art school. Changing color with value vs chroma (warm-cool).
J'ai suivi tes vidéos peintures.Bien👍, celle de la couleur se traduit-elle en français comme sur celles de RUclips? Encore merci de ce beau partage.👋
Would love one of your colour wheels but looking at the information re payment, it kind of looks complicated plus I did see any information on it, especially the cost.
Great subject...
Doing it intuitively is a real pleasure and joy of mixing paint
Couldn't agree more!
Ain't he repeating this from years by similar titles?
Yup
I knew about complementary colors for grays, darkening and lightening. However, I was largely using other pairs
Love love LOVE this video. Also, the B-roll of the paint mixing is just...*chef's kiss*....so good.
Yes I love these shots as well, sometimes the paint looks so different in macro.
Great video. I knew about using the complementaries to make the mixings instead of b&w but I never related with puntillism wich sounds amazing to use complementaries or some specific colors exposed on the cambas and let the viewers eye to blend them👍 I'll try that some time
*Abstract*
This video tutorial discusses a technique for balancing colors in painting using complementary colors.
The video starts with a scenario where an artist mixes a color, lays it on the canvas, and finds it to be too vivid. The solution most beginners would use is to add black or white to desaturate the color. However, this can often lead to a dull and dirty color.
The presenter introduces complementary colors as a way to desaturate colors while preserving their vibrancy. Complementary colors are opposing colors on the color wheel. When mixed together, they create a neutral gray.
The video explores the concept of complementary colors and how they work. It also discusses how to identify complementary colors using a color wheel.
The presenter then demonstrates how to use complementary colors to desaturate colors on the palette and directly on the canvas. She also discusses how complementary colors can be used to create vibrant flesh tones in portraits.
Here are the key takeaways from the video:
* Using complementary colors can help you desaturate colors without making them dull or muddy.
* Complementary colors can be used to lighten or darken colors without using white or black.
* Complementary colors can be used to create more vibrant and complex paintings.
i used gemini
As far as mixing oil paint, yellow and blue are not complimentary. Complimentary colors mixed together make a muddy color.
Excellent, well explained video thank you so much 😊
@8:56 Yeah, you ain't the only one. I find his paintings annoying to look at, no offense. Some of it ok, don't know why he world famous though, it's just fine. Throw it up on the wall at the dentist.
Hehe, Seurat is also not my cup of tea but I respect him. How about Signac? I do like him.
Thanks! I have printed out your wheel, and I'll use it.
Where to buy Cyan? Can't mix it, can't buy it. Help
Nope, i've changed my mind! My RYB scheme works much better on complementaries. R+G make a nice brown, etc. These greys will make my paintings look dead - like the skin of a zombie.
So this is why any 2 complementary colours from the RYB scheme combined form a sort of muddy brown! It's because they are not truly complementary! I've worked with this scheme all my life, and still love it ( I dont like magenta and cyan, they look too artificial to me). Yet! Your optical illusion convinced me ! I even covered the other squares leaving only the RED. I hoping and praying id see green. But NO ! IT WAS CYAN!
Very depressing for me...
💕💯🎨🎨🎨 thank YOU very much for this great video and teaching 😊😊
You're very welcome 😊✨️🎨
Man, you are awesome! All the best Florent!
Thanks a lot!
I would have suggested for beginners in portraiture a green pigment easier to handle for skin tones like terre verte or viridian instead of the overpowering pthalo.
Sure thing, I could have mentioned that. I have phthalo because it’s good for everything but rarely use it in skin tones. I would most likely make a green with cobalt teal and yellow ochre. Forgot to mention that.
@@FlorentFargesarts oh yes especially with PBR24 (PY53 also), those light titanium pigments are great !
I mean, teal, specially cobalt teal is the blue with the most green shade before we actually start calling it green so, I don't think it's wrong to call green complementary to cad red, cause you can remove all the blue shade from it and it still will be complementary, but not the other way around, removing all the green shade will only lead you to violets, so it is actually the green in it what makes that blue a "complementary"; and we are not even taking into consideration the yellow shade in the cad red, which also mixes with the blue and creates... Yes, you guessed it: GREEN, which also neutralizes the red when you mix them.
Can't brown also be used to tone down the chroma?
Is this still a viable strategy when you're only using a very basic color palette? I only have cadmium yellow, ultramarine blue, cadmium red. Would it be wise to invest in, let's say, cobalt, pyrrole, quinacr. and yellow ocre? Colors I normally don't use since I was told to try to mix everything from just the colors I own.
I'd say yes, yellow ochre really speeds up the process and some colours mentioned like cyan and magenta can't be mixed very easily with other colours
@@elisahill6583 Thanks for taking the time to respond! Which ones would you recommend I invest in out of the ones mentioned in the video? All or are there some you'd prioritize? :)
My palette is normally Cadmium Yellow, Cadmium Red, Ultramarine Blue, Titanium White, and Yellow Ochre (it's easier for mixing than Cadmium yellow in most cases), but I've never needed any other colors, aside from occasionally Ivory Black to get something really black.
I actually recoiled at the beginning when he mixed in grey to desaturate red. I normally mix up a bit of green with blue and cadmium yellow it to desaturate red (no it's not the exact complement, but it's more than good enough).
If you need a lot of a particular color (say green when painting a forest scene), it's probably worth investing in a tube. Otherwise I don't think it's necessary.
@@sukritact Hey! Thanks for sharing your thoughts. Really helpful for me as a beginner. I pretty much do the same as you, except that I use burnt umber (w/ ultramarine blue) to create black.
I just realized I DO have yellow ochre, I just never use it. Somehow I'm not sure what to do it with it. I also have burnt sienna and phthalo green, both of which I never really use. Phthalo green especially I find really difficult... it never looks natural and I have to dull it down A LOT. Do you have a rec for a good green color for nature scenes?
Mixing black from two complementary colors is called "chromatic black". Googling it should result in interesting videos and results.
Where is link to download your colorwheel?
Channel "Draw Mix Paint" suggested when mixing to "darken" colors, instead of ever use black, just use blue or burnt umber. This is because when you "think gray," you should "think blue" instead.
With that being said, he also suggests using mixing "complimentary colors" into your paint to desaturate your paint, so it appears more gray.
Honestly? Floren Farges and Draw Mix Paint have reinvigorated my love for painting, especially oils. I bought the techniques course online and it's such a treasure trove of great techniques that helps you set up, and maximize your ability to do good painting.
Wonderful video! You touched on this a bit, and perhaps you have a video on this topic? If not, I think you could shed some insight making one that breaks down a painting (especially painterly style) using optical blends where you see the contrast up close of complementary colors next to each other, but they blend stepping back.
This is based on the color of Lightwaves not the color of pigments. Look up lightwave color wheel and youll find what hes talking about. While this will be a fun way of working the complement of green IS red. I challenge you to pair red and cyan then red and green. You will get a far more dramatic effect from red and green. They also help neutralize eachother very well. Imo better than red and cyan. I only say this because you say the color wheel is wrong and green isn't the opposite of red. It is. But you can also consider things in the way you're talking about. But it's an alternative way. Not the true complement.
I think I just learned why my color pencil complementary work has not been working, I have been using the wrong color wheel-wow. Time to adjust.
I love it how you pronounce "colors" :-) thank you for the lovely videos
Finally! Someone thinking same as me about whole color theory and these color wheels. Sad, but digital tools still not providing artists with proper color wheels
When I was in school I worked for a while in a shoe store that specialized in dying wedding party shoes. Since they mostly brought in swatches so I became an expert at doing a second or third coat to perfectly match it.
Complimentary colors are also found in lenses. When you experience color fringing, high contrast areas around the edges of a photo can exhibit color fringing and they are complimentary
Where is the download for the color wheel? Couldn't find it in description or on website. Thank you.
Great video. Subscribed
WOW THIS is a great education thank you so much for this one.
Great work nice painting
I'm interested in the color wheel you use at 11:31. Is that available as an app?
So helpful and well explained! Thank you. 😊
This advise is a real game changer! Thank you very much!
hablas mucho
Terrific video and so much food for thought. Thank you.
Amazing for sure, thank you
Grazie Florent. Your video is very us
Love it! Finally color talk that makes sense to me
Great video-thank you!
Merci! 😊
Great technique, thanks!
Wow, this is what I needed.
Wow 😳.
Brilliant ! Thank you so much 🌷
amazing tutorial!
Thank you! Cheers!
Thanks for that!
Thanks a lot!
Useful, sorry
Thank you 😊
This is wonderful, thank you.
Thank you too!
👌💕
Very clarifying ❤ !
Yeah ok, but this results in muddy colors already in the palette if not used with the right pigments and the right quantity.
To tone down colors is better to use slightly different pigments of the same tone or a very little quantity of certains complementary or using white with a little of mastery and not using black, you don't need so much, using magenta and cyan like this is really like throwing a bomb on a flower in order to pick it up and the colors you get are really strange. You can put blue on skin in the underpainting or on a glazing but better look at how Ingres or Sargent use the colors on not at this.
Sure, I get your point and agree. I don't use magenta and cyan like that but the quantities I normally use are so subtle that they don't really appear in the video, you have to think about the format. I have to demonstrate with clearly visible effects but the reality is much more moderate. I disagree with one thing, Blue in underpainting is fine, but it's also nice in the overpainting.
@@FlorentFargesarts you can use also purple for the skin or green. There are really not clear rules but you have to master what you do, sorry for the critic but I think that a not experienced painter can found this hints not useful at least. Maybe it's better start with the basics. I agree that white make colors chalky and black dull but it's something really relative to what you are using and what you do. You can use black and white or cyan and have wonderful colors or dull colors. It greatly depends on how you use it and what you want to do. It also greatly depends by what pigment are you using. Every pigment has a almost a different rule. There are cyan that are easy and cyan that kills everything. For a beginner using cyan and black is really difficult, better use something else or start with a limited palette. In my opinion obviously
@@squarz No worries, I don't think your comment was a critic, just stating facts I don't even disagree with: there are thousands of ways to use colors. I never said anything against black and white, to the contrary, it works. But to take color mixing to the next level, at some point, an artist might want to use complementary colors, that's what this video is all about.
I am unable to differentiate between word CUTTER AND COLOR. I try to understand it as u r saying COLORS but the sound cutter disturbs the brain to understand the subject spoken 😭
This isn't an underrated oil painting technique lmfao. This is basic colour theory.
Complimentary colors of red and green is nonsense. Many world country's flags have red and green; like Mexico. In nature; you have red flowers with green leafs. So, what the F are you talking about red and green not being complimentary.
I don't think you understand what complimentary means.
@@imrelukacs7962 Don't go around the bush. Just say what complimentary means. Get the dictionary 🤣
Color is my hardest thing. I only seem to get it right by accident. I've taken theory classes, know it intellectually, but it's mostly hit-and-miss with me. I'd rather work in black and white. My strong suit is composition. I get that without thinking. Color frustrates me.
Bonjour ❤
Bonjour @Narjes Fadel 😊✨🎨
@@FlorentFargesarts Merci beaucoup pour l'explication des couleurs de peau Salutations de la ville d'Angers
Who mixes black and white with a color? Using compliments is how I was taught to paint from the very beginning.
This is basic knowledge. Nothing new here