This can be seen in the Pointillist paintings, where tiny dots of color are used to create the entire painting. Optical mixing refers to a method of creating a secondary color by placing its two primary components close together. The power of these few color choices comes from the phenomenon of optical mixing. You can see that the color selections in Table 5.3 are a limited palette, especially when compared to the look of the final painted skin. This is called neutralizing the color and helps create a muted color (Figure 5.13). You can reduce a color’s saturation by moving the color picker toward gray. Saturation is the relative intensity of a color. This contrast helps to emphasize the form as well as create visual interest. In practical terms, try painting a cool color into recessed areas and a warm color on raised areas. By placing two colors near each other with different temperatures, you create what is known as temperature contrast.
Hues that move toward the red area of the color wheel are said to be “warmer” than those toward the blue, or “cool,” side. A color can be warm or cool depending on what is mixed with it red, for instance, becomes warm when mixed with yellow, or becomes cool when mixed with blue. Temperature refers to the relative warmness or coolness of a color. By understanding a few color concepts, you can make educated decisions about what colors to put down on a character when painting a skin. Tertiary colors are created by mixing a primary and secondary color like blue-green or yellow orange.
The secondary colors are created by mixing two primary colors: red and blue make purple, yellow and blue make green. These colors cannot be created by mixing any other colors. Primary colors consist of red, yellow and blue. The color we see can be organized into a color wheel (Figure 5.12), which consists of the primary, secondary, and tertiary colors. Color theory constitutes a topic unto itself, but some of the most important things to note are in this section.
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