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Weaving textural color

From: Foundations of Color

Video: Weaving textural color

It's one thing to talk about something, another to actually do it. Making textural colors and balancing textures against areas of quiet, is worth reviewing and seeing for yourself. I'll demonstrate with materials I have here in the studio, a variety of ways to make textures that can be replicated in Photoshop, and can be scanned and saved as your own textural colors. We'll start with water color, and contrast a smooth gradient against the surface using kosher salt and sponges. It can easily be moved and removed giving it's flexible nature.

Weaving textural color

It's one thing to talk about something, another to actually do it. Making textural colors and balancing textures against areas of quiet, is worth reviewing and seeing for yourself. I'll demonstrate with materials I have here in the studio, a variety of ways to make textures that can be replicated in Photoshop, and can be scanned and saved as your own textural colors. We'll start with water color, and contrast a smooth gradient against the surface using kosher salt and sponges. It can easily be moved and removed giving it's flexible nature.

(UNKNOWN) is another water based medium, that in this case we'll play with on a tone paper ground. It has the properties of being laid down in a very flat method, or as a thin clear string of color. The mark is very consistent and clean. Acrylic paint is also water-based and a very flexible medium, as it was invented to mimic many of the properties of oils. It can be laid down in a smooth tone much like water color and (UNKNOWN).

And can be used as a glaze with medium, just like oils. Oils are not only able to achieve results like all of the previously mentioned media, it has the added advantage of physical weight and heft. A palette knife can be used to create texture with actual depth. The variety of tools used for oils gives way to many textural effects that makes colors with less homogenous results. In the dry media, pastel sticks and pencils are highly reactive to the surface that you put them on.

Playing with a variety of paper textures will have an effect on the marks made on paper. The medium also allows for smooth translation, or as a rougher texture depending on whether the color sits on top of the paper or is pressed into it. Colored pencils are similar to pastels, and can be used to graze the surface or be pressed into it. Colored pencils tend to make much smaller, more rigid and really less movable marks than pastel.

And finally, ink pens make the most rigid mark of all. They provide a way to keep the color clean while making the texture, either controlled or loose and gestural. Textural ink marks can be made with pens with thin or fat tips, or with an actual pen dipped in ink known as a croco pen. Similar techniques can be replicated in applications like Photoshop or Painter. Or textures made from traditional media can be scanned and saved to be used in those applications.

Using texture is another way to create variation and contrast in a piece. And we know that having contrast is a good thing.

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This video is part of

Image for Foundations of Color
Foundations of Color

42 video lessons · 15102 viewers

Mary Jane Begin
Author

 
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  1. 5m 20s
    1. Welcome
      1m 10s
    2. Traditional media to digital: The long and winding road of color
      3m 48s
    3. Exercise files
      22s
  2. 14m 40s
    1. Introduction: How color shapes meaning
      2m 23s
    2. Universal, cultural, and personal symbols of color
      2m 52s
    3. Concepts made clear
      4m 1s
    4. Brand identity and language
      2m 53s
    5. Sequence and pattern
      2m 31s
  3. 14m 18s
    1. What is the color wheel?
      2m 20s
    2. Primary colors, primary concerns
      3m 59s
    3. Playing with complementary colors
      3m 40s
    4. Tertiary colors: The basics of brown and gray
      4m 19s
  4. 17m 20s
    1. An overview of elements
      2m 48s
    2. Value is not a moral judgment
      2m 26s
    3. Saturation to neutralization
      3m 22s
    4. Temperature: How hot is hot?
      3m 12s
    5. Textures, marks, dashes, and dots
      2m 59s
    6. Seeing through color: Opaque, translucent, and transparent
      2m 33s
  5. 12m 25s
    1. What is contrast?
      3m 10s
    2. Creating focus: Living on the edge
      1m 15s
    3. Creating the readable image
      4m 6s
    4. Connecting contrast with content
      3m 54s
  6. 17m 29s
    1. Illuminating light
      1m 54s
    2. The effect of contrast in light
      1m 53s
    3. Value and saturation
      2m 27s
    4. On temperature
      2m 58s
    5. On complements
      2m 10s
    6. Secondary and reflected light
      3m 5s
    7. RGB vs. CMYK
      3m 2s
  7. 14m 24s
    1. An introduction to palettes
      2m 15s
    2. Limited palettes: A harmonious color palette
      2m 35s
    3. Harmony and discord
      2m 33s
    4. Unifying color grounds
      2m 40s
    5. Unifying glazes and layers
      2m 13s
    6. Charting a color family
      2m 8s
  8. 20m 25s
    1. Balance of shapes: How much is too much?
      3m 36s
    2. Weaving textural color
      2m 50s
    3. Color in context
      2m 31s
    4. Color blindness
      3m 15s
    5. Challenge: Deconstructing color
      1m 28s
    6. Solution: Demo of deconstructing color
      6m 45s
  9. 1m 3s
    1. Conclusion
      1m 3s

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