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Saturated & Neutral Scheme:

A scheme of this nature pairs highly saturated colors with various shades of gray.
Because much of what we see in life is actually some form of gray, this scheme is often the most accurate way to depict color.

Neutral Scheme:

As the opposite of the saturated scheme, the neutral scheme uses colors that have been grayed down. This diffused palette is perfect for foggy landscapes, white-on-white subjects, and scenes with a soft, mellow mood.

Saturated Scheme:

The saturated scheme uses the brightest colors possible, with very few neutrals or grays. While yielding a very lively painting, the scheme makes creating a focal point (or area of interest) a challenge, as all the colors compete for attention.

Tetrad Scheme:

The tetrad color scheme uses two hues that are separated by one color on the wheel, plus the complement of each hue (for example, red, green, orange, and blue). Because this scheme can overwhelm with visual tension, it's a good idea to choose one dominant color and accent with the rest.

Analogous Complementary Scheme:

This scheme combines the analogous and complementary schemes, incorporating three side-by-side hues plus the complement of the center color (for example, red, blue-green, green, and yellow-green).

Split Complementary Scheme:
The split complementary scheme uses a color and the two colors adjacent to its complement (for example, red, yellow-green, and blue-green). This scheme still features good color contrast, but it conveys less tension than the complementary scheme.

Complementary Scheme:
offers the most visual contrast because it is made up of two colors that sit opposite each other on the color wheel. It is most successfully used when one color acts as the dominant color with the other in a supporting role. The two colors should not be of the same saturation intensity and must be visually balanced.
Ex: subdued hue dominates but vibrant hue balances/makes the painting

Triadic Scheme:

The triadic color scheme uses three colors equally spaced around the color wheel (for example, red-orange, blue-violet, and yellow-green). Many artists enjoy using this scheme because there is ample color contrast and a natural color balance. One color serves as the dominant color, while the other two act as subordinate hues.

Analogous Scheme:

Made up of colors that sit adjacent to one another on the color wheel. Most often, one color serves as the dominant color, with others used to accent and enhance the overall scheme. Although the lack of contrasting colors yields a simplistic look, this scheme has a simple elegance that is pleasing to the eye.

Monochromatic Scheme:

The monochromatic color scheme uses a single color throughout, along with variations of the color's shades, tints, and tones.
While it's not known to be the most exciting color scheme, a monochromatic palette is elegant, easy on the eyes, and soothing. This is the easiest color scheme to create; all you need is your color of choice, black, and white paints.

• How do you make a color appear warmer? Place a cooler color adjacent to it.

• How do you make a color lighter? Place a darker color adjacent to it.

• How do you make a color appear brighter? Place a duller color adjacent to it.

Color temperature and depth - using cool tones to create depth (think mountains appearing purple or blue as they grow further away: atmospheric distance) and warm tones to show things that are closer.

I.e. if you’re painting a field, using cooler tones of green in the distance and warmer in the foreground

Accurate values cont.

3) Then paint the midtone sky with a purple mix, allowing some of the pink from step 1 to show through for interest.

4) Now add the lightest areas using cool yellow tints.
Finish by defining a few details, such as the window sills.

Accurate values with color variations:

1) Use a large brush to cover your canvas with strokes of a bright, warm pink. Once dry, sketch the scene on top and block in the darkest values with variations of blue.

2) Add greens and browns to block in the midtone field and hills. Keep your brushwork loose as you stroke in the direction of grass growth.

3 components to value: black, white, and grey. So the darkest parts, lightest, and the middle grade value. You should be able to separate every painting into these 3 values and find colors that fall correctly within the value system

When working with value, you can replace any color in an actual scene or photo with a color of the same value and maintain the integrity of the object or scene/make it easy for the viewer to discern and appreciate what they’re looking at, while still being creative

Value provides the foundation for how our eye "reads" a painting. The darks, lights, and midtones work together to create a map that allows us to quickly and easily discern the major shapes and patterns of a scene. Variations in value tell us what is in shadow and what is in light, giving form to objects as well as depth to scenes. Without a range of values, a painting can appear flat, lifeless, and uninteresting.

A tone is a color that been mixed with black and white (or gray). Most colors we see in nature are tones; very few a full-intensity hues.


Tone results in a gradation. Experienced painters typically incorporate tones in a way that only enhances the most important color in a piece.

A shade is a color that has been darkened with black paint.

Examples: olive green, maroon, brown, forest green, and navy blue.

Any color can be made into a shade while maintaining its hue, except for yellow. Yellow turns green when mixed with black.

A tint is a color plus white; when painting with opaque pigments such as oils or acrylics, simply add white paint to any color to create a fint.

Examples: sky blue, ivory, peach, pink, and lavender.

We need to know how to make a color lighter or darker without changing its hue, as well as how to desaturate a color while maintaining its value. This leads us to tint, shades, and tones.

Value refers to a color's lightness or darkness. A yellow hue is a light value, sometimes called
"high key" value, whereas purple is a dark or "low key" value. Every color has a corresponding value, which can be altered by mixing in a darker or lighter color. As you paint, be aware of the values of your colors in order to create dynamic contrasts of light and dark within your artwork.

Be aware that if you place a saturated color next to a duller color, the saturated color will appear even more brilliant. This is a very easy way to intensify your colors—simply surround them with neutral, grayer hues.

The term "hue, which is often used interchangeably with the word "color," refers to the family to which a particular color belongs. Rose, burgundy, magenta, and candy apple red are all in the red hue family. Chartreuse, leaf green, and seafoam are all in the green hue family, and so on. In essence, when one uses the word "color," one is referring to its hue.

• To lower the brightness or intensity of a color, add a little of its complementary color.

•When next to each other, complementary colors appear brighter and more intense.

• The shadow color of an object often contains the object's complementary color; for example, the shadow of a green apple contains some red

Light is made of electromagnetic waves produced by a light source. These waves exist in varying lengths, which correspond to the different colors we see. red is the longest wavelength, violet is the shortest. The colors that we see when light strikes an object are the result of certain wavelengths (individual colors) being absorbed by the object while other wavelengths are being reflected back to us. (Colors we see)