Quick Tip 329 - Lowering Color Intensity
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- Опубликовано: 6 июл 2021
- There is more than one way to lower color intensity as artist/art teacher Dianne Mize demonstrates.
www.diannemize.com
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Хобби
Dear Dianne, hello from the Scottish Highlands! Thank you for these succinct and fabulous videos. It is easy to pick up bad habits, especially when the quality of instruction is lacking as is the case by many (albeit well intentioned) youtubers. In contrast your videos are full of wisdom, and dignity and clearly the result of many years of experience and practice in both art and teaching. Furthermore it is a great incentive to never stop learning and I suspect this is a mantra you possibly adopt, too. Thank you so much.
100%. Hard work beats talent - but experience trumps them both, which is why this channel is my go-to. (Hello from Brighton, UK.)
Wow! Thanks to both of you, Gael and Mr Snrub!
@@mrsnrub9780 well said!
There is no difference in color knowledge and skill between Richard Schmid (bless his soul) and Graydon Parrish…both approach(ed) it same yet different. So I am wondering to which “bad habits” from which you tubers you are referring to. Is it the complexities of mixing and using neutrals via Visual and/or Actual opponent material paints vs simple “neutralized” “blacks and whites” as in this particular video lesson? Perhaps color theory models and primitives? Don’t they all get us to the same place? I LOVE Dianes teaching style-no “rules” just concepts with alternatives and practical real world usage and go out and explore it yourself! However hard she tries though…you can still see bias such as “black is anathema for common usage” LOL (NO offense Diane! That’s your style-go for it!). Two things I truly would love to see from her though as a “neutral” teacher: 1. Let us watch you completely paint a beautiful painting! 2. Put a tubed “black” on your instructional pallet please (give it the glory you give other paints) because they are all beautiful and worthy of attention and usage!
Thanks Dianne! I enjoyed watching your mixing demonstration broken down so logically. Once again, I needed that. 😊
So glad! I always love knowing a Quick Tip has been helpful.
I agree, compliments offer a world of possibility that you otherwise wouldn't see from a monochromatic black. I once painted an entire canvas using phthalo green, madder lake and white; and you'd never believe how much range I could get from JUST those two colours (blues, purples, sap green, etc.) Fair enough, it wasn't the prettiest painting in the world, but it sort of debunked the myth that red and green don't mix. Kind of unrelated to the point, but you've jogged my memory.
There are a lot of myths that need to be debunked.
“Red and Green don’t mix” myth? As in “true” neutralization to black but not any other color?
True IFF they are actual direct opponent colors (material paints). In a more “purer” mixing system of light R+G makes Y. In a less “pure” system (as in material mixing, i.e. paint) we deal with reflective light mixing and we already have the “purest” Y (R+G post mixing of light) we are gonna have in our chosen primitive set. We all know how sensitive Y is to change in material paint mixing and it’s no different in light mixing: changing R or G or both in light causes Y to fast track to a very dark Y. It is actually the same in paint mixing. A number of R’s + G’s will produce Y’s near neutral, but the closer you mix the various R+G proportional mixes you will obtain higher chroma Y’s. Of course you will never get back to the primitive Y (post R+G reflective light) that we started with. Also, starting with R’s containing V’s or B’s and/or G’s containing V’s or B’s, causes further distance in the color space and a faster track to neutral or past neutral to the point the Y is not “Y” anymore (since we are introducing the 3rd and 4th primitives of V and B). So R+G (in theory) were NEVER opponents until 1 or both passes the “threshold” of B or V bias. This is also true in the other direction of R+B. The problems occur in the Material Uncertainties and a host of other things. As all color Engineers will tell you, “You can ‘predict’ a color from a mix all you want, but you actually won’t know the resultant color until you actually mix it and see and it will actually change all the time.”
Thank you! I learn so much from your excellent and thorough explanations!
It's a pleasure to share these. Thanks for watching.
Diane, you are truly a gem. I have learned more from you than any other teacher and the principles you teach hold true in any medium. Since applying the principle of neutralizing with a complement, my paintings have become more harmonious and more lively, and who wouldn’t want that! 😊
I am delighted, Jane. It always warms my heart to know my teaching has made a difference.
It’s a great way to paint! But it doesn’t change the usage of the “neutral” colored paints and their interactions with other colors. For example: I’m looking at an old gray weathered wooden deck that needs to stay a near neutral gray that I have mixed as it’s local color. I’m analyzing the color in light and shadow. Well…the sun just went behind a cloud…ahhh…here it comes back…all I see is a darker gray chroma in the shadows. I don’t see a Hue shift…just chroma shift (the only thing changed in THIS case is subtracted light brightness). Adding a blue will shift my gray into blue-gray and I don’t see blue-gray…so I only add my neutral gray at the right value and I have it. I ask then is my color “dead” and not “lively” or is it as perfect as I can get it to the truth? I’m not saying Hue shifts do not occur-they often do occur-but allot of the time a chroma shift is the only thing occurring and non “anal” mixers tend to grab to much paint and totally shift Hue. But if that’s what you want (or want to spend extra time on while the scene changes even more) go for it.
i love this lady. brilliant teacher. Learn so much.
Thanks!
both systems are valid if one of the two is maintained throughout the table. Adjusting with black means using a single color for the shadows and this facilitates harmony. The adjusting system with complements facilitates the liveliness of the color. It is good to have both options.
It's the awareness that counts. Thanks.
Best teacher ever!!! This just unlocked one of my stumpers thanks sooo much 🧐😘
Great! Have fun with it.
Fabulous video! So much depth in creating muted colour! Thanks so much! :)
Always a pleasure. Thanks for watching.
Thank you for the clear explanation! This was something I knew in theory, but didn't really understand
My pleasure. Now, have fun with it.
This is so helpful and perfectly illustrated. Thank you!
You bet. Thanks for watching.
Thank you! You are a treasure Dianne!
Thanks for that, Jeannine.
Such great information! Your teaching helps me to very much! Thank you for sharing you knowledge! You continue to encourage and inspire!
You bet. Thanks for watching.
Love all of your videos. I always learn something new. Thank you.
I am delighted. Thanks for watching.
Thank you Dianne. Your Quick Tips are always very interesting .
Thanks, Christer.
This was awesome! Thanks Dianne!
Thanks, Melissa.
You continue to teach me so much through your quick tips. Thank you so much
Great! Thanks for watching.
Hi Dianne! Thanks again for another master class in color! I've been doing art for many many years now and this blew my mind. I'll be using these techniques from here on out, 100%! Thanks so much! New subscriber!
Have fun with this!
Very, very nice demonstration!!!!!! Thank you for all of your educative videos.
Franceska, it's a pleasure to do these. Thanks for watching.
Thank you Dianne!
Always a pleasure.
This was so helpful. You always do an amazing job! Looking forward to this month’s workshop and your Georgia workshop in September!
Thanks, Marie.
I really love your fantastic demonstrations of how to think about colors and color mixing! Thank you so much!!!
You bet.
Great demo. Will watch it again.
Great! Thanks.
This was such a helpful exercise and definitely made an important point for using compliments to create neutrals! Thank you Dianne:)
You're so welcome!
Wonderful teaching! Thank you! :)
You're very welcome!
Thank you so much for sharing knowledge! All the best!
My pleasure.
Fabulous demonstration. Thank u thank u thank u 👏🏻👏🏻👍🏻👍🏻💕💕
My pleasure. Thanks for watching.
Thank you very much for the explanation!
You are welcome!
thanks.. very helpful video..
Thanks for watching.
i have learned so much from you im old didnt think i could learn new tricks lol thanks so much
Too old to learn new tricks is a hug myth!!!
Fantastic explanations as always Diane. Thank you.
I'm in awe of your neat paint piles. For some reason I'm struggling in that department
Just squeeze that tube a bit harder, Noel :)
@@IntheStudioArtInstruction Will Do! :)
I am working on a painting for which this has been a challenge. Thank you!
You can do it!
So useful thank you
My pleasure.
Thank You!
Welcome!
I find that both systems are helpful. In fact many artists will put out value strings in the colors they are using along with a string(s) of “Neutrals” to be able to produce very quickly and efficiently any color nuance they need. On one hand when painting in a less color restrictive way the complements are great! On the other hand when one has the specific hue and color in that hue and does not want to shift color and hue line greatly into another hue line, but just adjust chroma then the “truest” and least expensive neutral is the fastest way to go and maintain a “linear Hue/Color” line.
Yes there are many “paths” to get a specific color within some Hue and many ways to obtain a “near perfect” neutral. But for those who have already obtained the desired colors in the painting via premixing then it is only a matter of chroma changes and very minor hue shifts for THAT color and when a “NEW” totally different color is called for the process is the same since it is already mixed. Now this is very important to Hyper Realists (such as very realistic Portrait painters and “Photo” realists, Classical Artists, Color Matching Systems, etc.). For Artists who’s tendencies are to less realism (or even those who are normally producing higher realism, but painting in another mode for whatever reason) and more prone to make everything more “colorful” and less natural, then by all means “true” and near “true” Complements are the way to go.
For me (and many I know) “balance” on a palette is better. It’s not only cost effective, but it’s also far more reaching when the entirety of the chosen spectrum is considered and less to remember actually especially when we consider we find ourselves in need of “black” and “white” and “browns” mixing all the time. Our tubed blacks are nothing more than a deeper near neutral version of a color to begin with. And that’s the funny thing-we can live without many “convenience” paints because they can be mixed yet there they are right on our pallet! It’s cheaper to buy “black” and slightly adjust when needed than it is to spend time and expensive paints to mix a black you don’t even know where you’re going to start with! Call me crazy, but where does the “madness” end? It’s maddening enough when you buy a paint from another manufacturer (let alone the same manufacturer) to deal with it’s changes so why throw in the additional “latitudes” of complexity of a maybe “perfect” complement? The “latitude” of mixing neutrals was never removed from the pallets when you want to “swing” to blue or any other hue. The problem is when you DON’T want to swing HUE and chroma at the same time.
If one prefers-after spending a long time and money finding your matching color-to then mix and spend more time and money to find it’s “perfect” matching complement that won’t shift Hue while changing Chroma, then by all means stick to “complements”. Other than what I’ve already stated…mixing Visual Complements and Actual Complements are great and should be learned for many reasons, but to ignore convenient and less costly “standards”-both in time cost and paint costs-should not be ignored, especially when I don’t find any “dullness” difference between the “truer” complements and “truer” convenience mixing of neutral black and white. So it all ends the same provided you make it end the same but hyper realists know the shortcuts as should everyone. Munsell and tons before him already knew this and proved it. This clinging to the “rebels” or anti-black and therefore “no black in my palette nor on my pallet-I’ll just mix it and still have it and use it” folks is absurd really.
Theory goes out the window when mixing pigments out of the tube. It comes down to what each pigment does to the one it's being mixed with. We start off with a general knowledge of color behavior and adapt that to what we know about our tube colors. In the long run, master artists choose the method that they relate to most closely.
@@IntheStudioArtInstruction We don’t throw “theory” out the window LOL. As you said, we start out with it’s general intuitive knowledge and adapt to practical and sometimes chaotic circumstances. However, Theory isn’t something someone “invented” and told you you MUST follow it. It’s a conglomerate of human knowledge totality and a guide to understanding and prediction within it’s limitations. Everyone has their practical “theory” as well in Subtractive Material Paint Mixing Uncertainties mainly because they are not “anal” about accurate measurements. However, those who are “anal” about it can tell you exactly what will happen given a set of parameters well tested and we should be very thankful for these people because the theory grows more accurate and handed down in teaching AND it is those folks who provide us with lots of easily obtained pigments at reasonable prices. With this data, everyone can know *beforehand* about many things and one does not have to start at ground zero re-discovering the long hard way what is already known and can be taught-the whole purpose of the educational system (exploration in that knowledge and testing the limitations of ones specific set of pigments and medium is different than learning all over again).
For instance, everyone skilled and knowledgeable knows that you can’t make a color model that will explain all the nuances of color, but you can make several models. Take “complementary” theory and apply it. What comes out is the discovery that “complements” both direct and semi direct, don’t line up perfectly in a nice geometric wheel model and not even Visual Complementary in the Traditional Wheel. It’s hugely variable. Yet, these “complements” *are* charted as a useful practical averaged guide. Very useful to *everyone* using color in a subtractive material reflectance mode. However, it also discovered as fact in material mixing practice, that it is to variable to rely upon in a general way, to easily recreating specific targeted colors without maintaining tight variances and mixing formulations. Having said that, we know in our own practice this is true. So we accept this “General Theory” and apply it. For those matching Hue and Color in a general “good enough” way complements are great, but for those who are consistently trying to find a match find it to variable and aggravatingly frustrating and prefer the more logical and intuitive way. For example, value correcting a complement ONLY corrects Value and increases Desaturation before mixing and and when mixed causes further desaturation and only pulls the color closer to neutral and we hope it’s not also involving a lateral Hue shift when we want a linear adjustment. If we are looking for an increase in chroma, you have to throw complement out of the window for real because it does not work to do this.
Because of all this, one should relegate and teach (in mixing) complement’s as useful to make some specific colors within some specific Hue’s and fast track variable neutralizers. Once this has occurred basic intuitive and primitive knowledge of color mixing and light should take over laterally and linearly. General Practical Experience and Teaching matches General Practical Theory-a subset working theory of the whole Conceptual Theory. If we relegate color to only the image of color and light itself-not attached to any other nuance of psychological humanity except for the 4 Unique Hues-is it not true that we actually begin and end with the simple sufficient and averaged explanation of RGB Theory? Of course we do. You actually teach it in the Traditional manner. We look at our paint and see a color (after “mixing” RGB light reflectance so Post RGB). We mix it with another and look again (Post RGB). The color mixing experience tendency is that of RGB light in a “subtractive” manner. Therefore we simply take Secondary Intermediate Primitives and mix-all the while the RGB Light Primitives are working. So, once a specific Spectral/Non Spectral color in a specific Spectral Hue is obtained what is left to adjust Chromaticity? Only light/Dark, dull/bright, saturation. More easily obtained without reaching across the wheel beyond the point of neutrality. But sure, you can do it all with just 4 paints representatives and represent a reasonable facsimile in whatever context chosen. But this is not what this is all about. It’s about the limitations and modal “jobs” in and between the boundaries of Useful Compliments Mixing and Post Mixing Chromatic Fine Tuning Adjustments. Compliments do not and can not produce high “Spectral” colors and chroma’s in general paint mixing. It’s not my law or anyone else’s law…it’s Natures Law.
You're so good.
Thanks...
Thank you for the demonstration! Everybody has their own painting style and philosophy, but for mine, I'm now sure I'll use black and white to neutralize colors. For paintings involving grey, but not the complementary of a particular color, hitting the neutral point exactly is going to be difficult. Also, it is more difficult for me to estimate the value of the complementary color needed to get a certain value for the neutral color, since complementies don't mix linearly, but darken towards the neutral point. For painting involving complementary colors, I mix a convenience grey in between anyway. That way, I get a nice linear transition, and mixing it from two colors (black and white) is easier than from three colors (color a, color b and white). And I can still warm up the neutral or cooling down by adding some of either color. Finally, when I have to neutralize two or three different non-complementary colors, the case is even clearer, as neutralizing gets quite complicated with complementaries, while they remain just as simple with black+white.
Thanks, Fid Rewe. I'd like to add here that value correcting before adding complements solves the darkening problem. Also, while mixing color, when we can train ourselves to watch what happens to all four of its characteristics while mixing towards just one of them, mixing becomes easier. For example, when mixing for a yellow to become more orange in a slightly lower saturation, we're watching for the hue to change while the value, temperature and saturation remain the same. When aiming for only a linear mixture, that becomes more difficult.
@@IntheStudioArtInstruction Thank you for the additional input. These seem to be major points for learning to match colors and paint realistically. My personal vision is to aim for as much realism as possible, while using the language of colors emancipated from physical constraints and imperfections. I'll experiment and see, which approach fits best.
@@IntheStudioArtInstruction ???
In all honest discussion and friendly sincerity….If we are seeking a slight collinear Hue shift next to the original while maintaining the chromatic relationship (leaving temperature/bias out of the equation since that changes with every change) then is it not best to mix with the nearest Hue in that direction altered correctly for slightly higher chromatic relationship since the subtractive process in material mixing always occurs? I mean in simplicity we are all taught primitives beget secondary primitives and all other intermediate primitives in between them with slight subtractive processes UNTIL we introduce a third primitive from outside the two initial primitives containing a primitive outside of them and starts to make drastic shifts in Hue and Chroma. And that is great IF we know exactly where it will take us and we don’t without a lot of experience and not introducing anything new. People really want single pigments paints and where they actually live in color space for a reason. Compliments can and do live where they shouldn’t. In real practice We are also taught basically that a complement-makes some nice colors while making a lot of Hue shifts-reduces Hue and Chroma only to neutral and beyond that a “grotesque” Hue shift occurs and in material mixing uncertainties on top of everything else they greatly complicate the mixes. If we are not looking for “brown” but a chromatic nice orange that is not a neutralized “brown” (which lives in the “orange” Hue family but is not an intense Chromatic “orange” of some chroma desired) then surely it makes more sense to follow basic teachings of bracket mixing between 2 adjacent closest Hue’s and of Neutralized Tint, Tone, and Shades to adjust linearly. This is actually the intuitive properties of light and color mixing. Irregardless of “how” we obtained the Hue we were looking for or the “neutral gray” we are looking for, the question is…do we further complicate things and cause frustration with myriads of “complements” when we know we ONLY need to adjust Chroma and Value linearly by Nuetralized Grey/Gray, black, and white? Does the Student or the Professional need the frustration of “complements” IF it’s not important to hyper realistic color matching after the Hue is obtained (in the whole case it would just be simpler to stick with “is it to Y and R-add B” or the same for “CYM” lovers) if we don’t want to spend time “wandering around the wheel” even more? It is better to over shoot Chromaticity between adjacent Hues (bracket mixing) because it’s easy to control and lower it or adjust it intuitively and “complements” do not raise chroma only decreases chroma within a Hue much more dramatically thus you can not obtain higher chromaticity in the Hue you seek it in. Thats not just “theory” it’s practical fact. Value, and Saturation (the whole Chromatic relationship) alway’s changes when you mix and that is why you need to “over shoot” the Chromaticity in the mix and make final adjustments which is hard enough without the complex changes from compliments involved and just lowering chromaticity.
Sure, real masters of mixing can mix all the colors usually needed for Nature and Portraits with 5 paints (includes white) long before another tube of higher chroma paint is even needed in any realism and there are only about 3-5 tubes of power colors (actually more than that) that they would need and would last a lifetime/tube for these people. One Artist I know has painted hundreds of paintings you can’t tell the difference from life to painting and needed only 2 power colors his whole life. Maybe we should just stick to real simplicity…to R, Y, or B (or CYM or RGB)?…to light or to dark?… if neutralizing via the 3rd primitive in a triad is desired since we all usually agree that only 4 primitives (includes white) are totally sufficient to represent the spectrum (as you actually pointed out Diane in your “Bare Bones Paint” Quick Tip-which I would not have chosen PB15:3-a rarely used power color where “natural” is concerned). So in that case “complements” are justified to obtain a color within some Hue of primitive mixes to accommodate non spectral colors (of which there are many) and Hue’s and make “blacks” yet at that point it becomes optimal to use neutral black/gray/white to fine tune the Chroma relationship. Yes most of us find it more optimal with an initial investment to save time and money in the long run and minimal Spectrum Gamut Limitations since it is frustrating enough not to be able to make all colors seen by Humanity. Where direct linear chroma changes to neutral in a specified value and Hue is concerned we only use adjusted compliments to obtain Neutral Black/grey in the first place-which is exactly the same as neutralizing tubed “blacks” from the get go. Adjusting Hue “bias” out of neutral when desired for “temperature” sake is a piece of cake as well as already having a neutral grey that will fit and work for all hues and colors within those hues. For me, a simple change in value alone makes a good color “temperature” adjustment from light to shadow when it is not necessary to jump “temperatures” and Hue drastically. As for major Hue and color shifts, those have already been determined via isolated color matching to my own mixing charts both lateral and linear, spectral and non spectral. Fine tuning is done in the simplistic intuitive manner. In my honest experience and opinion there is a proper time and place for complimentary mixing as well as a proper time and place to let it go. I think we can all agree on that.
This is great Dianne, thank you. Will this concept work with watercolor as well?
Oh yes. Color mixing behaves the same in all media. The difference in watercolor is that water acts as white when raising the value.
thanks!
You bet!
Thanks a lot for this precious tutorial, kindly let me know how to light or decrease intensity of any color.
It's very simple. Just add the color's complement to it. You might benefit from watching at least the first part one of my chats. Starting at about 3:47 minutes, I show a video where I explain the whole process. The words saturation and intensity are used interchangeably when referring to the purity of hue. The chat video is ruclips.net/user/liveeXWPVjz-5hg?si=NyyiO83j6WcsDu-q
Wonderful explaination! Using gray is very limiting, using the compliment gives you endless possibilities yes?
Yes, Debi. You got it!
It’s no more “limiting” than any other “neutral”. It’s only “limiting” if you choose to paint Achromatic.
You could use both methods more or less at the same time
Yep. It's the awareness of the best choice that's important.
Excellent Dianne.....however I have a question irrelevant to this episode. How do you keep your palette wet always...I had seen most of the videos that you keep all Colours squeezed onto the palette and do videos. So how do you keep them from drying?? I'm recently using porcelain palette for oils...add 1:1mix of Poppy oil and clove oil few drops into each pile of colours...and after finishing painting...I keep this palette in refrigerator and use everyday ...it stayed wet last 10 days. What is your opinion on this? Also how you avoid drying up?
Sujanith, I answer your question about the paint on my palette in Quick Tip 115.
When I have a painting on the easel that I want to continue working on the next day, I will often have mixtures of colors that I want to continue to use. I scrape away mixtures on the palette that will be dead by the next day, then give a very light spritz of my 50/50 poppy oil/gamsol mix over all the wet paint on the palette, then cover the entire palette with plastic wrap. I then go over each pile of wet paint and seal out all the air bubbles to prevent oxygen from getting into those mixtures. This serves me well as my palette is too large to put in the fridge or freezer.
Each of us finds the method that works. so with your methold working for you, I see no reason to change it.
So cuteeee
Thanks for watching.
Hello 🤗 et merci 👌
A pleasure.
Hi Dianne. I don't know much about colors , about chemicals within a color, so is there any video where you explain some of the secrets of the colours ? Some other questions I have are:
1) What is hue ?
2) What is the difference between cadmium red light and cadmium red dark or any other color which is in "light" version and "dark" version ? Which one of the versions do we need ? Is it possible to create the "light" version ( of any given colour ) by using the "dark" version of it plus white and yellow ? I'd be very thankful if you make a video explaining these things. 😊
Arnold, color has three components--hue (which is the name of the color), value (which is the lightness to darkness of the color) and intensity (which is the degree of the hue's saturation.) Among the more than 300 Quick Tips I have done, a number of them address color. All the Quick Tips are listed on our channel page at ruclips.net/user/inthestudioartinstruction . Go there and click on Videos in the menu, then watch all those dealing with color.
@@IntheStudioArtInstruction Thanks a lot. I've seen most of them and love them so far... you are the best at explaining art tips Dianne. Wish you all the best 😊
Hello Dianne - thankyou for your wonderful tips - I have a somewhat unusual question..... recently, at our local life drawing group, the model presented wearing black fishnet stockings.... can you please demonstrate how to paint fishnet stockings !
It's all texture and how the light is hitting it, Ray. Did you get a photo? If so, begin by squinting and look for changes in value. Put those down first, then work within those to make little value changes that create texture.
@@IntheStudioArtInstruction Thanks Dianne - yes I got a photograph, I'll try as you suggest.
Hi Dianne!
Hi Penny...
You are the best! No one can hold a candle to your way of instruction. Such a pleasure to see someone share their all, that comes with the gift of a born teacher. You are the last of a dying bread. Hope everyone takes advantage of what they are being given. God Bless!
Re
I would like to see a quick tip on creating movement in paintings.
Ah! Good idea. I'll put your request on our filming schedule. We film these several weeks in advance, so look for it sometime in July.
Your teacher is 100% correct. The Reilly Method is more reliable, based on Munsell's scientific system of color (ie using grays to gray a color.) This allows you to control your Value, Hue, Saturation separately, and quicker; often it's easier to repeat. Using compliments is wildly less controllable, since you're often juggling all three color attributes at the same time.
My main objection to the Munsell system is that it deletes orange. One think his system does is to create awareness of the three characteristics of color moving together.
@@IntheStudioArtInstruction you mean like when Indigo got changed to BV, BG to Cyan, and RV to Magenta or Purple?
Can't you get the blue-gray by mixing black, white and ultramarine?
There are several ways to get the blue-gray sky. I try to avoid black unless I need it to change a hue.
Can you please tell how to desaturate a colour with multiple hues in it?
We have a tip coming up on November 3 that shows how to do that. Meanwhile, all you do is locate the hue on your color wheel, then use its complement to desaturate it. Every color with multiple hues in it is located on the wheel because hues change to a different color when mixed together.
Perhaps the best result could be obtained by having a tonal scale per each of the colors you are using. In fact, there is an excercise for that with so many squares and mixing with other colors, and of course the complementarias, but becomes a bit of a giant efforts although I often see that as a recommended excercise to learn in depth all colors you are using. Thanks Dianne. Always brilliant ideas and explanations!
Thanks, Giovanni. The whole thing kinda reminds me of how math works.