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Hey guys,

Some people have been asking for class notes from some of my Adepticon Seminars, so I figured I would share for those who may find it useful. Reformatting all this would be a nightmare, so forgive the image based presentation but it's the best I can offer for web distribution!

Thanks for posting this as its very informative.

I consider myself a person who enjoys learning. I read books and watch documentarys on things and yet for the hobby i love and put a lot of time into getting good at, i read about color theory and just refuse to sit down and understand it. I really need to though as surely this could take my stuff to the next level.

I wish I knew someone In real life who was that good. That farseer is something I "looked up to" too, god that stuffs so damn good

Thanks for reading! It is worth absorbing, it can help with literally any artistic endeavor, photography, painting canvas, drawing, digital work... it all applies. Hope there was something new in there for ya -

Really interesting read and some great pointers, thanks!

This was a fantastic article. I felt like I learned more about color theory from reading it than I have from years of science classes.

I'm interested to see how I can apply this without necessarily learning new technique. I think it would help with creating color schemes that pop.

Thanks P -

The biggest thing I would want anyone to take away from this is understanding the difference between additive (color created by light) and subtractive (color created with physical pigments/objects). Everything else is important too, but this is the least known factor I feel and the one that leads to the most mistakes by painters of all stripes.

I used to work in a print shop, so I have a bit of a layman's understanding of subtractive color, at least from the CYMB perspective.

I'm going to reread the stuff on Saturation vs. Brightness, and the temperature stuff.

The additive vs subtractive thing is something that I (I think most people) was aware of I just didn't quite know what or why it was. Finally understanding is eye opening, thank you.

Happy it helped bud , it is the key take away for me from the whole thing, so glad it resonated.

thanks for posting this. it's dead interesting and i think i learnt something!

Great article Major Tom, very well written. Thanks for taking the time to create and share it.

Careful with colour theory though - it is a gateway drug to appreciating modern art like Piet Mondrian!

Piet Mondrian... Overrated frippery I say! lol

How about Josef Albers? Although he was more an educator than an actual *artiste*

Josef Albers is legit, he gets a pass -

This helps a lot, thanks for posting it.

This got a lot of gears turning for me. Thanks!

Great article, and excellently written and illustrated.

 MajorTom11 wrote:
Hey guys,

Some people have been asking for class notes from some of my Adepticon Seminars, so I figured I would share for those who may find it useful.

I think that I can safely speak for everyone here, when I say we find this very useful. Do you have any more like this you wouldn't mind sharing? If so I think we'd all love to see them.

Thanks guys!

Webofiles, you can see a variety of my tutorials in my signature, covering a wide range of topics -

Cheers!

My brain hurts. That was awesome though.


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Forgive me if I missed it, but how do you work in metallics with this such as going from nearly black to like a platinum silver

Treat them exactly the same... People often make the mistake of thinking of metallics as: gunmetal > silver, Gold > Silver being the scope of the 'metallic spectrum'. But you can go from black to brightest silver, black to gold... and you can glaze temperature into the metals just as you would glaze a flat color too, there is no difference practically speaking, other than to say be careful to leave enough metallic showing to 'convince' the viewer that the object is indeed metal.

As an example I just did this dude,



If you look at the pick, it is dominantly black, by a large margin, and there is actually less brass/tin than silver, but the small amount of brass is enough to establish the color of the metal is brass or at least 'off-white'.

So, in short, you can treat metals just as you would regular colors for the most part. You can mix in colors by glazing anywhere on the gradient, though you probably want to leave a bit of the extreme dark and light parts un-tinted.

Thanks heaps for posting! A whole side of painting that I need to learn and it's so good to have the examples with the descriptions all in one place!

That genestealer cultist is phenomenal. The veins painted into the shoulder and gratuation of skin tones are beautiful!

 MajorTom11 wrote:
Treat them exactly the same... People often make the mistake of thinking of metallics as: gunmetal > silver, Gold > Silver being the scope of the 'metallic spectrum'. But you can go from black to brightest silver, black to gold... and you can glaze temperature into the metals just as you would glaze a flat color too, there is no difference practically speaking, other than to say be careful to leave enough metallic showing to 'convince' the viewer that the object is indeed metal.

As an example I just did this dude,



If you look at the pick, it is dominantly black, by a large margin, and there is actually less brass/tin than silver, but the small amount of brass is enough to establish the color of the metal is brass or at least 'off-white'.

So, in short, you can treat metals just as you would regular colors for the most part. You can mix in colors by glazing anywhere on the gradient, though you probably want to leave a bit of the extreme dark and light parts un-tinted.

That's actually really good idea for painting metallics. Thanks

Great article man. Thank you for posting it. I have been reading some books on color theory here and there, but haven't had time to really apply them lately. I think that when I do have time, this article will be the reference open while I paint!