Have you noticed that, in art, very few things exist or are created in a vacuum? In other words, every choice you make has an effect on all the other choices you have made or will make when designing and creating original works of art. So, if you are coming to my blog for the first time, you may want to read the last three weeks of posts first because each successive article builds off the last.

Last week we talked about color value and this week we’re going to talk about how you can change the value along with something called saturation. This will be a little heavy on terminology but it’s easy stuff and by the time you’re done reading, you will have quite the sophisticated color vocabulary.

I also want to speak for just a moment on the reason you would want to do this deep dive into color and design. Whether you create your own colors or simply choose colors from pre-mixed options, your choices are best ruled by your understanding of the characteristics of color. Of course, understanding color characteristics is essential in color mixing but choosing and identifying color requires the same knowledge especially when creating color palettes, analyzing your work (or the work of others), and correcting or improving your color choices.

Working with color, like anything else in design, is about the relationship between colors and between all the design elements. In design, we work with likeness and disparity. That’s really what all relationships are about, aren’t they? Think about your spouse or your best friend or the coworkers you like to hang around with. You have something in common, some area of your life that overlaps that you can share. But you also have differences. These differences make the relationship interesting, encourages curiosity and conversation, and allows each of you to fulfill different roles in the relationship. That’s how design works as well, including between colors.

So, if you keep in mind that these conversations are about those design relationships, I think you’ll start to see just how useful and essential these immersive color lessons are regardless of whether you makes your own colors, pick available colors, or simply want a better understanding of the art that you enjoy.

Saturation is Not Value

Now, let’s talk about value versus saturation. For some reason, these two concepts get confused a lot even though they are quite different. As you learned last week, value is the lightness or darkness of a color. Saturation, however, is about how intense the color is or how close it is to the unadulterated hue or “key” color, at least in regard to pigment. (This is dealt with a little bit differently when it comes to mixing light in RGB. Just thought you ought to know that in case you come across a definition that talks about saturation, brightness, and luminosity. That’s RGB stuff.)

 

So, let’s take a pure blue as an example of both high saturation and dark value. Take a look at the color wheel. True blue, in its most saturated and vivid form there on the outside ring of the color wheel, is far darker than pure yellow. You could make that blue as light in value as yellow by adding a lot of white to it but that would also change its saturation because the addition of white takes away from the purity of the hue, right? The addition of white in a color is called tint.

Now let’s take that yellow. If you wanted it to be as dark in value as the blue, you could add a lot of black, so much so that it would probably look gray with little yellow to be gleaned. This would both darken the value and desaturate it, a lot. The addition of black to a color is known as shade.

So that’s the thing with adding black or white to a color. It will desaturate a color but it also will make it lighter or darker in value. I bet that doesn’t fully clarify why value and saturation are so different since adding white or black changes the lightness or darkness (value) as well as the intensity of a color (saturation). Well, here’s the thing – you can, on the other hand, change the saturation without changing the value, just not with black or white.

Let’s look at the color red for moment. On the CMY color wheel, you can see that opposite red is cyan. They look to be about the same midrange color value, right? If you add a bit of cyan to the red that will reduce the saturation or purity of the red by altering its hue but it will not make a noticeable change to its value. If you got yourself one of those CMY color wheels, you’ll see on the front side there that each ring getting closer to the center shows what happens when you add 10%, 20%, 30%, or 40% of each hue’s complementary color. That kind of mix tones down the color which is why it is called a tone.

You can also tone down a color without changing its value by adding a gray that is the same value as the color. In fact, a fully desaturated color would be just gray. Or you can mix in a lighter or darker gray to make the color lighter or darker while toning it down but without muddying the key with its complement. A gray mixed with a color is also called tone.

So, you see, changing saturation can, but does not always, change value but changing the value will necessarily change the saturation of a hue, making it less pure. This is true for color mixing or even using digital photo editing (and is why I warned you last week not to use saturation options in photo editing to look at values in grayscale, because value is not taken into account.)

 

Your Bright, New, Shiny Color Vocabulary

Congratulations! You probably didn’t realize it but you just completed a major step in your color education. If you’ve read all the posts, you have learned (or refreshed your understanding of) the three most important aspects of color – Hue, Value, and Saturation.

And, now, with this article, you’ve come to know the three primary ways to change a color. Let’s review because it’s kind of cool to realize how much you’ve soaked up.

The three primary characteristics of color:

Hue – the key and name of a color.

Value – the lightness or darkness of a color.

Saturation – how pure or how adulterated a color is due to the addition of white, black, gray or a complementary color.

The three primary ways of adjusting color in pigments:

Tint – the addition of white to a color.

Shade – the addition of black to a color.

Tone – the addition of gray or a complementary hue to a color.

Look at that! You have six color terms that are going to help you tremendously in color mixing, choosing palettes, and analyzing work. But let’s spend a little more time with those last three just to be sure you got them well seated in your creative little brains.

 

Color Quiz

Okay, let’s put your new knowledge to the test. Take a look at the opening image and the images below and find the pure hue (just visually – you don’t have to name it) and then determine the variation of that hue was accomplished with tints, shades, and/or tone. We’ll chat about them after you have a chance to come up with your own thoughts.

Carved wooden vessel by Louise Hibbert

 

A polymer bracelet by Judy Belcher.

 

Well, what did you come up with? Some of these examples are not so straightforward but I find them very interesting.

First of all, Pikalda’s glass beads that open this post have a saturated blue as its key color while the other color variations, aside from the black and white accents, are the key blue with white added so they are tinted versions of the key color. Pretty easy to see that, right?

With Louise Hibbert’s wooden vessel, the key is a kind of violet and, I’m sure you guessed it, the gradation to the nearly black tips is the result of adding black, in other words, creating shades of the hue. But there are also diluted versions of the hue where she lets the wood show through towards the center. Is that a tint because it makes it lighter or a tone becuase it isn’t quite white that has been added?

Well, think in terms of the color elements here. Since the violet color is translucent, it visually mixes with the color of the wood, a pale cream, which is a tint of yellow. This actually makes that diluted violet a tone because the change in color is not due to the addition of just white or just black and it’s a color that muddies the key color even if just a little. It’s true that yellow is not the direct complement of violet – that would be a yellow-green – but you can actually tone down a color with something close to its complement too. We’ll get more into those complexities when we get deeper into color mixing so you can just stash that info away for later if you like.

Now, in Judy Belcher’s bracelet, it gets even a bit more complicated because, in truth, the fully saturated hue is not present. That would be bright lime green but the key color has been toned down with variations of gray. In fact, the entire bracelet is a series of lime green tones with nothng else but some white. Some tones are due to a very light gray addition, others to a few different middle grays and the darkest green would be a tone with a dark gray. Being able to spot the key in something like this takes practice but not a lot. It might just take the following little exercises.

 

For Further Study

Okay, so there are a couple ways you can further concrete your, hopefully, not too hard-earned knowledge. These are both fun and easy and take 10-15 minutes each to do.

Color Wheel Studies

First of all, if you bought yourself that CMY color wheel I suggested – or even if you didn’t – you can see tones, tints and shades set up on this handy color tool with approximate percentages that one would mix to achieve these colors from a key. Here is a video that the Color Wheel Company put together to explain how to use their color wheel tool while making note of where these items are on it so you can familiarize yourself with them just by looking over your color wheel. Clicking on the image takes you to the purchase page but scroll down to find the videos.

Isn’t crazy just how much information they put on this little paper tool? Keep in mind that those percentages for the tones, tints and shades are approximate because in the real world, our materials have varying amounts of pigment so adding 10% of one complement to a color could make a dramatic change while adding 10% of a complement to another color may make almost no change. You’ll start to get a sense of the stronger and weaker colors (and brands) if you do the exercise below and as we work through color mixing in July.

 

Mix it Up

Studying the color wheel is an easy and quick way to see the difference between tone, tint, and shade but the best way to not only remember the terminology and what it means but to really understand how saturation, tint, shade, and tone work in color is to mix it up.

So, grab some clay in one fully saturated key color. Pick your favorite or grab one of the primaries – cyan, magenta, or yellow. You also need a bit of your chosen color’s complement plus black and white. Roll out each clay on your thickest pasta machine setting and, using a single punch cutter, punch out portions of clay from each sheet. (You can also do this with paint – you won’t be “punching” out your portions but, instead, you’ll be picking up dabs of paint.)

1. At the top of a piece of paper, write Tint, Shade, Complement Tone, and Gray Tone as column headers
2. Put one portion of your key color under each column header. This will be a starting point for each color as we desaturate it.
3. Punch out two portions of your key color and mix it with two portions of white until well mixed. Sheet the clay and punch out one portion of this mix. Put it under the tint column with space enough between it and the key color for another portion.
4. Take one of those mixed portions and one of the key color and mix that. Punch a portion out of this new mix and place it between the previous mix and the key color.
5. Take the last portion of the first mix and mix it with a portion of white. Punch out a portion of this very light mix and line it up in the column under the middle mix, followed by a portion of whites to complete a column of tints from key color to white.

At this point you have three desaturated tint versions of the key color. These are not a lot of steps between the key color and white but it will give you an idea of what white does to a fully saturated color. If you are game before creating a wider range of this tint sampler, you can double the amount for each of the three mixes we just did so you can mix additional portions and create four more steps, one between each of the five portions in the tint column.

6. Now go through the exact same process, creating 3 or 7 mixes, as you prefer, but instead of white …
   1. … make a column using black to build a range under the Shade header. You may want to use 2-3 times as much key color as black for your middle shade to get a better gradation since black is very strong, as you can see in my example. I used twice as much key color and all the mixes are still awfully dark.
   2. … use the complementary color to create a range under the Complementary Tone column.
   3. … mix a gray (I used twice as much white as black to get my middle gray) to add to the key color to create a range under the Gray Tone column.

You will probably notice, as you mix, that sometimes the progression from the key color to the color you mix in is not very even or regular. For instance, if your key color is particularly dark in value such as the Ultramarine blue, the jump between the last mix and white may seem quite a bit different, like it could use another mix in between. You are, of course, welcome to change up the portions of color in your mixes to make a more regularly graduated range. This will, however, demonstrate that the amount of pigment in different colors of clay and between brands can differ and so some colors will dominate in a mix. You’ll need to use more of the weaker color to make the range gradations more even. But making a perfectly graduated range is not the purpose of this exercise. The idea is that you make the mixes, see the changes in color, and associated with the terminology.

Now why am I so adamant about you learning the terminology? Well, in July, as we learn about color mixing and palette choices, being able to verbalize the common and contrasting characteristics in a set of colors will be key to making beautiful, intentional color choices. Plus, you can impress friends, family, and complete strangers with sophisticated color banter!

So, relax and mix up some colors. It’s easy and often surprising how the colors come out. I have found more than one “new favorite color” doing these kinds of exercises. You just might find a inspiring new color or two as well!

 

Wondering about my references to Intention? Or how to support this content?

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Read the set of articles on Intention in the February edition of the Virtual Art Box or catch up on the concept of marks, lines, and shape with a purchase of one or more of the original Virtual Art Box offerings. They are all on SALE, 25% off right now – no promo code needed. I have also put all books on sale at 20% off for the next couple weeks so it’s a great time to fill up your library.

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My Weird Low Pressure Week

Hopefully there aren’t too many mistakes here. I need to beg your forgiveness if there are. My brain has literally been shorted as I gave blood this past week and got tested to see if I am a antibody plasma donor candidate to help out COVID-19 patients but my naturally very low blood pressue has yet to recover so I feel very dingy and am sometimes dizzy still, 5 days later. I never could give blood in Colorado due to the high elevation and even lower blood pressure up there but they thought I’d be fine down here. Well, guess not. We learn something new all the time!

So, I probably can’t give plasma eithere but I am still going to do all I can during this rough time to help others and, as part of that, maybe you will allow me to ask a little favor. I know this has gotten a little political here in the states but thsi is not about politics … I would just like to ask that when you are out, and it has been recommended where you live, you can show your love and concern for your community by the simple act of wearing a mask. I wear one everywhere even though I’ve already had this bug so I am supposedly immune and can’t pass it on. But people are scared and worried and wearing a mask shows you care, even if you question the validity of the science that says it will save others from getting sick. We need all the consideration and caring we can put out there right now, don’t you think?

Ok, that is my public service announcement for the day. I hope you are all staying well and will find joy in a creative and colorful week!

 

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