Hi, Folks:
In the last two columns, I have discussed how I collected and arranged my color swatches. In this episode, I’m giving you my general palette to download. You can study what I did, or use it as it, or do whatever you want with it.
Download ACO File (Good for Photoshop)
Download ACO File (Good for other applications)
I mention that I’m putting up my ‘general’ palette, because I break my colors into two separate groups, the ‘general’ and the ‘specific’ ones. The specific swatches are all my characters’ colors, primarily being their costumes and power effects, and as such are little to no use for anyone but me. The general palette, on the other hand, is much more universal.
In the general palette, I include colors that get used again and again. For example, I have eight base skin tones, and numerous colors for specialized use such as bruises, under skin veins, scar tissue, old tattoos, and the like. Painting skin is a specialized skill, and I’ll cover that in detail in a future column. For eyes, I include the actual color of the whites of eyes, the pink on the inner corner of the eyes, and eight eye colors. For the mouth, I include two colors of teeth, gums, and lips. I include seven common hair colors, as well.
Beyond the human hues, I include blood, water, camouflage, cityscape, grass, fire, fog, smoke, bricks, medieval hell and hell clouds, metals, latex, white cloth, bandages, and medieval demons. (If you want, delete the colors for medieval hell and demons; I had a scene I needed those for. I picked those specific colors from medieval religious illustrations.)
The colors in the palette are local colors, and don’t take into account lightning conditions. A storm tossed sea’s water is going to be colored much differently than a calm sea on a bright, blue day. As a loose guideline, remember that light in the morning and at sunset is red; noonday light is bright yellow; nighttime light is purple; fluorescent light is white, etc. Seasons affect the color of light, too, allowing for gray winter days, muted autumnal colors, and other variations in saturation. There many specialized situations with other colored light, and the effects on the colors can be haunting.
There’s a great deal more I could tell you, such as warm light has cool shadows, and cool light has warm shadows. Or, about reflective light. Or about colors that ‘flatten out,’ or about the desaturation of shadows. Coloring is fascinating, and your learning should never stop. I consider myself a journeyman at this, and that’s fine, because I still find great joy in exploring color.
