Colour Notes – 10 Minutes To Better Painting – Episode 7

Colour Notes – 10 Minutes To Better Painting – Episode 7

break out your pocket watch and your paintbrushes it’s time for episode 7 of 10 minutes to better painting I am your dubiously credentialed host Marco Buchi let’s dig right in writer Hunter s Thompson said life has become immeasurably better since I have been forced to stop taking it seriously this episode is about color notes which falls under the category of taste it can be difficult to craft a lesson around taste but bear with me here’s some work by Richard Schmid a painter known for expressive color look at any of these paintings up close and you’ll find that the objects are made of not flat colors but a whole array of color color notes can help your paintings gain an extra layer of life as is so often the case with art’s life comes through variety let’s see if you agree here’s the original painting and here’s a version where the color notes have been removed there’s nothing wrong with either of these but if you ask me the color notes help elevate a picture to painterly Heights these colors just have an attraction to each other like positively charged ions negatively charged ions I should have done research on ions forget the ions the idea is you start with a flat color and you introduce variations on it keeping your values close and your edges soft helps the effect stay together if I tried it with hard edges and contrast e-values it doesn’t look so good also by allowing the original color to dominate we can still tell what local color the object is alright let’s investigate some of the actual mechanics behind these color notes here’s a sampling of the original yellowy greenish base color and here’s a note of purple now to get from one color to the other using the hue strip I have to slide from here all the way up to here that makes it appear that there’s this huge chasm between the two colors and you might be timid about making such a big move but actually the distance between these two colors is not that great in Episode five I talked about how color harmony can be based on grays and color notes directly applies this theory our first color was here our second color was here if we completely decide traded both of those the resulting color is identical even though there are two different hues so allow me to offer you a different way of looking at the color space we have our two colors and let’s flip one of these boxes around in this configuration we can join them and now through the gray we can link any two colors we want but before you get all excited there are still some questions that need answers for example how can we keep these color notes organized just how far can you stretch this whole gray thing how can you trust your own taste enough to know what looks right you know like what matters and what doesn’t this is where I need a good analogy yep no not ions oh I know I went wine-tasting in France this year and my wine educator taught me that the drinking was step three of a three-step process the drinking is where you apply your tastes there’s no right or wrong you just go with your fancy and you like what you like that applies to color notes as well but to inform your whims the first two steps were all about gathering context for instance the color and opacity of the wine can give you clues as to its structure like its approximate age the type of grape you know useful information to have if you’re serious about wine in painting its values that give you your structure notice that most of those color changes are just not evident in a value study don’t fall into the trap of thinking that a variety of color means changing your values sporadically no it’s a simple value structure that gives you the leeway to be more playful with color and as you can see Richard Schmid in grayscale agrees ok back to our list here which I have updated for our purposes the next step was smelling the wine this is when you start to gather information about little flavors it might have I feel like this is similar to the overall temperature of a light source here are some common light sources on the degrees Kelvin scale but you know forget about degrees Kelvin what matters is that different light sources give you different starting points from which to explore color for example in the context of sunset light your starting point might be way over here but you aren’t just stuck in that one spot you’re free to do little hue shifts to neighboring colors and when you do these little neighboring moves I find you often keep a similar saturation you could also venture toward the gray pickup a few color notes as you do and pop out into the blues these grays by themselves are a little coolish for sunset but because they’re linked to those initial warms they can really work as accent notes however if you were to forsake that connection and venture too far your painting will look less like color notes and more like a color cacophony a more neutral light source will have a more neutral starting point perhaps allowing this kind of exploration so armed with context we can finally indulge in the wine any volunteers to do the drinking look everyone the interns back hey no hard feelings from that last episode we’re cool right okay well drink up buddy while the intern is drinking delicious wine let’s look at the delicious notes in this Zhou Ming Wu sunset painting the sunset colors are rooted in saturated reds and equally saturated neighboring colors a little further back he moves toward the gray exploring notes in this range and in the very back he continues that trajectory finding gray notes that work in context with the warms up front the shadows received their illumination from the environments ambient light and the color notes here follow a similar path only in a totally different area of the color wheel color notes can come in endless combinations so it’s up to you to explore and find what suits your taste and just remember if you ever get stuck you can always go back to steps 1 & 2 check your context make sure you haven’t gone overboard oh my god the interns wasted this is not good just get off the screen wait a second hang on there intern okay stumble around again stumbling is another way to find color notes so long as your context is well understood you’re stumbling will be contained and all kinds of color relationships can happen this way who would have known that being impaired could possibly help art I should have seen that coming well switch to water everyone because we’re headed to part two let’s do a little color study of part of that richard Schmid painting my intention here is not to do an exact copy rather put my focus on building similar color notes I’m starting of course with a basic value pattern not thinking about color just yet the structure needs to be there before I can build on it so here I’m just tinting the canvas to give me something to work out of the main light source in this painting is a cool overcast so tinting the canvas slightly warm will help some of those neutral cools punch out just a bit more but it’s not just cool colors I’m playing with you can see some neutral oranges neutral pinks even some neutral Reds there now this is kind of a rapid-fire stage I’m just throwing colors on there and exploring not taking any choice too seriously yet I need to audition the colors before I can make any decisions the value is what ensures that the form stays solid then when it comes to the color notes I have to just use my taste do I like a certain passage or do I not now contextually because the light is coolish i and richard Schmid are favoring cooler notes in the light you can see as I get into some shadow areas now I’ll switch to favoring warmer notes in fact one of the things I love about the Schmid painting is that some of the neutral warm color notes in the light for instance some of those neutral oranges those same hues are brought into the shadow only they get a little warmer more saturation it’s an interesting way of carrying a color note from light to shadow in this case and as a results you gain an extra layer of structure a subliminal sense that there’s a method to the madness which in my opinion is always nice there’s also these tasty saturated notes of blue in the light and equally saturated notes of red in the shadow they’re used sparingly enough that it doesn’t look like the wall is blue or red to me they read as accent notes and really are abstract color choices meaning they’re not related to the fact that is a house the physical subject ceases to matter past a certain point those saturated blue and red color notes are related more to the overall color design of this painting there’s just something pleasing about how they magnify the more neutral versions of themselves now I just like to say that there are other factors that can contribute to color notes things I didn’t cover in this video like the physical texture of something atmospheric perspective color is such a deep subject and this lesson is certainly not meant to be the end of it but I have found that for me it’s the quality of the light more than any other physical phenomena that drives most of your color decisions so anyway I’m at a stage now where everything is in and I’m consolidating my color choices colors I don’t think fit I will just paint right over them or maybe an area has too many color notes so I’ll smooth it out a bit this process can take hours as every little area is connected to every other area so I’ll stop right here you know I used to look at good painters palettes and think man what a mess but now I know what we’re really looking at here is a map a map that charts the color notes in the painting but these maps don’t look technical or intimidating to me they look fun I often look to the painter’s palette as evidence of the sheer joy that can come with mixing color you know you can explore all these different color notes before committing to them now digital painting removes the necessity for having a physical palette like this so if you’re a digital painter who’s never tried mixing traditional pigment I say give it a shot you might be pleasantly surprised at how it can nurture a love for color well that’s it for today and I’m she’s how much wine did you drink I’ll call you a cab just give me your address okay is there someone who can come and pick you up this is not where I saw this lesson going [Music]

100 thoughts on “Colour Notes – 10 Minutes To Better Painting – Episode 7

  1. Really liked, how you did not take ions for an analogy. Great videos, I really appreciate them being free on youtube!

    Sidenote: The temperature tendency works great for an analogy, but generally, warmer objects would emmit more light from the high-energy (blueish) part of the spectrum. Therefore, the temperature scale should be inverted. Also, it is just "Kelvin", not "degrees Kelvin", as you correctly typed, there is no circle Β° there. You allmost did everything correctly πŸ˜‰

  2. I'm new to learning color, and I've only seen 2 or 3 videos of yours so far (I only needed to see one to know I had to subscribe). But at 1:18 ish, I became wildly grateful to you explaining this effect that I've seen in other paintings, but haven't been able to understand on a technical level. Goddamn, thanks for explaining this in one line and a simple visual. Now I think I get why so many seemingly disparate colors can work so well together in certain contexts. "What the hell with that… Oh! VALUES close, and edges SOFT! GOT IT!" πŸ™‚ πŸ™‚ πŸ™‚ :): ): ) : ) πŸ™‚

  3. THIS!

    THIS is what i've been looking for!

    Hello @Marco Bucci, i know this a bit out of the blue but i believe i've seen this Colour Notes in a game called Dragon's Crown.
    This is a selfish (and very niche) request but i'd love to see an artistic analysis of Dragon's Crown breaking down and explaining it's painterly look.

  4. Hey great video super helpful as always! I have a question and I hope u reply what about the color schemes like the complementary and tetradiac and the rest should I stick to these or is it possible to pick random colors that match? I hope my question doesn't sound stupid cause am still exploring and expanding my talent πŸ˜‚

  5. Hi Marco! Great approach in the color notes, gonna try the kelvin mindset (but in celsius!). Thanks for this videos!

  6. Ok this video is an absolute GODSEND and I feel that it's one of the things that I have been missing when trying to learn color theory! I'm currently trying to learn how to create quick paintings that feel detailed because of color harmony (without taking hours), and I think this video greatly helps with that. Do you have any other tips on creating quick, rough paintings that feel detailed, like for color keys? Thank you! πŸ˜€

  7. Man your videos are changing my painting life. Thank you so much for these! On your store you sell some longer courses, do any of them get into color in a similar / more in-depth way that might be helpful?

  8. This is exactly what i need for my color painting!
    Thanks a lot for your great videos as usual. They are always my top favorite!

  9. This "intern" bit reminds me of the sort of thing you'd see on those VHS tapes substitute teachers would put on.

  10. Yours is one of those few channels where I can hit the Like button already before I started watching the video and know that I won't regret it. πŸ™‚

    Color is still my main weakness and I was especially trying to learn how does it work to use vibrant colors like Schmid to create something that doesn't feel like a mess. This and your color harmony videos started me on that path.

  11. Love your videos Marco! So packed with information. You have a great entertaining way of succinctly presenting complex information, which could be otherwise laboured over and be rather dull and opaque.

  12. You are a amazing teacher my friend. Just found your channel today, and binged your 10 min vids. Amazing content, informative, fun, interesting. You sir are doing exactly what you were put here to do. Thanks for the help. +1sub

  13. You do have the best videos I have ever seen in the context of art lessons. Saying that, if you've ever want to teach another course on Patreon but don't know exactly what to teach, please consider doing a whole course on color? I'm still having some difficulty in my paintings with the subject color and value. Separately, I can see a lot of improvement in general, but since I'm not a digital artist, I do have some trouble identifying value on colors (I do wish my palette came with some digital gadget that showed me exactly how light or dark, saturated or muted my colors are, but since it's not possible right now, I think I should learn this. Sometimes I've even have to take a picture of the thing I want to paint and digitally remove the color, but I really (really) wanted to get better in seeing value in multi-colored scenarios (like anything in real life). Do you have (or are planning to have) something like this? I've been practicing with value studies, but it seems almost impossible to put those two together in my head (or in my paintings), at least consciously. I do seem to have a general feeling to what looks best, but I also make a lot of mistakes, and without the proper knowledge, is very hard to understand what went wrong.

  14. Amazing video as always. I wish my art school taught me this well. I have read Richard Schmid's Alla Prima. Seeing you reference and put into practice Schmid's principles really made my day. It felt like being in an artist's guild with a mentor.

  15. Hi Marco, I think your videos are great! I've learned a lot of fundamentals that I struggled to find content on elsewhere. Do you think you could do a video on perspective?

  16. Thanks for shining a light on a very murky subject πŸ˜‹. Can you do one on motifs next, pretty please. Also have you ever heard of Trevor Chamberlain, oil painter?

  17. Just finished watching all the series, awesome videos man, thank you for taking the time ( and I know those are long to do) to make these videos! πŸ™‚

  18. There's so many little things that make this video as high quality as it is, thank you for taking the time to do this πŸ™‚ have a great day

  19. I love your videos!! Thanks so much, they literally make my love for painting and colors themself grow. It's so interesting to see how you and other painters apply colors and values to their paintings. Thanks for all your hard work!

  20. I wish I could support you on patreon. Your information just helped me to jump like 757347 miles into my painting

  21. This series is probably the most information dense on youtube right now, this takes others hours to explain if they do at all, great job man!

  22. Oil painting classes were definitely a turning point for me, where all relationships clicked in place while mixing only 5 colors to achieve the full range; prior to that, my colors were symbolic, pragmatic and boring.

  23. Just wanted to say that I discovered this channel very recently and I love your videos. The way you explain things are so easily understandable and they really help me as an artist apply changes to my works and improve! You are a good teacher and an outstanding artist, keep up the great work!

  24. Real video starts at 6:34 lol. Sorry Marco but it's true. Seeing you use the tools is the best way to just get us to our tablets and start using reference art to make our own version of it. For me at least. Merry Christmas!

  25. Oh my jesus, Marco! I just found your channel and your videos are SO well produced and informative! You really raise the bar for youtube educators!

  26. I love you and this series, I just binged all the episodes, it's a great help to understanding and entertaining to watch <3

  27. It's again one of those moments where it just clicks in your head and you have the wow effect…I do understand the use of colours so much better know…thank you so much for all the effort you put in those videos

  28. Anyone know what brushes he uses? I know he said in the edges video that brushes ultimately don't matter, but his look sooooo nice.

  29. Favorite episode so far! Explains why I like certain paintings, but not others. I love (and am studying/practicing) botanical art, and while I tend to prefer large scale contemporary botanical art… I am ultimately most drawn to artists that use color notes expertly (i.e. Inky Leaves, Rosie Sanders, Coral Guest, Victoria Braithwaite, Fiona Strickland, Elaine Searle, Dianne Sutherland, to name a few off the top of my head). Many botanical works tend to be perfectly executed from a technical perspective, but the ones that really catch my eye seem to "sing" in a painterly way. So thank you for helping me figure out what exactly they're doing different (and what I personally would love to emulate).

  30. But artist in blizzard or riot have paintings with explosion of contrasted colors… why? Is this a rule only for old clasic art ?

  31. Hey Marco!
    I work professionally as an illustrator and animator for more than 8 years, with Art Academy and Art high school behind me and I must give it to you – these were the most valuable 70 minute lesson I've heard in my life as an artist and I greatly appreciate the effort you put into these videos. Have a lovely YEAR, not a day! πŸ˜€

  32. I've been in a massive art rut for the last year or so, I was convinced I just didn't like it anymore– the few times I've been home and able to paint again, it was fun– so why wasn't painting digitally anymore? After watching this and your video on greyscale to color video,, I've found it had a lot to do with color. I was limiting myself to only painting in greyscale it was kind of miserable, much more fun being able to explore color. so uh thanks for helping me realize part of what I was missing… I only do art for fun- so why take the fun out of my art process?

  33. Thank you so much for your videos. They are crisp, funny and highly educative. I understand how much effort you should have put to obtain that fluent efficiency. One small suggestion. I had to search for every one of your videos in the series 'Ten minutes'.please arrange them in order that we can watch them one by one. Thank you once again for your videos. I learnt a lot from them.

  34. You make the best, most intuitive, and most direct to the point painting tutorial in youtube! It's super simple and yet it makes sense because it is backed up with enough amount of science. I like it! πŸ˜€

  35. I traveled with 10 painters for 10 days. Drew a lot of landscape paintings. Very helpful. Your painting skills are very helpful to me, thank you! After returning, I released four travel painting videos.

  36. You r the reason why I actually start to understand colors better in its own way. Greets from Berlin πŸ™‚

  37. OMG!!! This is the magic that I could never understand!!! And now you showed me the way! Thank you very much! I enjoy your 10 minute tips!

  38. I don't like your sense of humor, I don't like your voice color, but I like the content very much. Very informative.

  39. 😳😳😳what a beautiful teaching!!!!!πŸ‘πŸ‘πŸ‘πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸ™πŸ»πŸŒΉ

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