All language subtitles for 16 Materials and Colors.ENGlish

Let's talk about use of mattes and colors in your work.

Now, most of the time I'm using grey colors, the same Josh.

We just like simple coloring, simple toning.

I think also black and white and grayscale is very elegant.

You know, occasionally I do use color, like for example in here, right?

Now, when you use color in your work, you need to use it very, very, very consciously, ok?

Colors are very strong visual pulls, especially warm colors.

So when you're gonna be using them, you need to know how to do it, ok?

So, for example, if you're gonna take, you know, this model we created.

If everything is grey, including the background, but for example we're going to change

the color of this decal to something really warm, like this, right?

And I'm gonna increase the lighting here to something strong.

This is gonna create an incredibly strong visual pull.

Because it's a warm color, the only warm color in the entire scene.

And it's gonna be very, very visible, ok?

So when you use colors, whether on your decals or materials, you need to be very careful.

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Same in here, guys. If I change this, for example, to something crazy, right?

I mean, look how strong this is.

I'm not saying this is wrong and you shouldn't do that.

But when you do that, you need to make sure that the rest of the image fits, right?

So it's balanced, ok?

So, for example, this very strong white would go pretty well with a really dark black, ok?

So, you know, that looks a bit better now.

So, what I'm saying is, you can do that, but when you do that, you make sure

that the distribution of color in your work is following the rules very closely.

So, for example, 70-30.

Another way you can go about it is to create colorful matte on tiny elements, ok?

For example, if I grab these two elements and, you know, change color on these, right?

So, did something like that.

This is gonna be an extremely powerful color pull.

You'll literally look in here, nowhere else, because this is so saturated and so strong

that it will pull the entire attention.

Also, it's on the, you know, on the main feature of the object

and it's really kind of surrounded with contrast.

So, when you look here, you're locked forever, ok?

So, don't do that.

So, if you do something like this, you need to off-balance that color somewhere else.

You're gonna be pulled away from this area, ok?

Let's grab this one, for example, ok?

So, you see that I use lights in here, the warm lights, but look how I place them

and how small they are.

This one is quite strong, agreed, but this one is stronger, right?

Plus, it's surrounded by warm lights.

So, you're gonna be pulled in here for two reasons.

Strength of the light and the text here.

So, there's a group of detail here, clustered, they're gonna pull you, right?

Also, there's a tiny light in here too.

But then you're gonna travel in here because it's a warm light

and you're gonna be pulled to warm elements and then to the top

and to the right and to the human.

So, you're literally forced to circulate in the entire image, right?

And I did that with colors, tiny ones, right, tiny lights.

And the rest is gray and bluish.

So, this bluish color kind of complements the warm color here

and, you know, and so does her costume, her jacket, right?

You know, the use of colors, use of toning, everything is important.

So, when you wanna use colors in your work, it's fine,

but remember that you need to place them in specific locations

so they kind of off-balance one another, right?

So, you know, if you're gonna do something like this, that's a very bad idea.

Let me show you something interesting here, okay?

So, I'm gonna go here to Depth of Field

and I'm going to go out of focus here and watch.

Everything is blurry, right?

Look how strong these colorful points are, okay?

This is clearly the major focus, right?

Then you can see these.

So, you do have communication here, but this is just too strong.

So, what we need to do is gonna tone it down, you know?

See what I mean?

We need to tone it down so it kind of, you know,

sort of blends better with the environment.

So, now I'm gonna turn off this Depth of Field, right?

Now you can see the image is much more balanced

because you are pulled here, alright,

but you are balanced with these two.

So, you have this triangle of attention and that is fine, okay?

So, you have to be very, very careful when you're using mattes

and when you're using colors, you need to use it consciously.

So, my advice to you is very simple.

Study the 70-30 rule and also study the design and detailing, okay?

When you're adding colors to very tiny details,

do it sporadically, okay?

Not all over the place and you really need to pay attention

where you place them, right?

And when you wanna use saturated color,

make sure you know what you're doing.

So, you know, if you wanna use it, for example,

on a very large piece like here, that is fine,

but, you know, make sure that there is enough of this color in the image

to guide the eye through the entire image, okay?

Do you see what I mean?

And also, make sure that colors are complementary.

You can go online and Google complementary color palette.

You can literally grab hex from here, right?

Like this.

Paste it in the complementary color finder

and find complementary hex colors

and then copy-paste them to other elements.

So, you will ensure that your colors in your image are complementary, okay?

Alright guys, well, that's it on the mattes and colors.

Thanks for watching and I'll see you in the next one.