Painting the red tomato

Color II: fragmenting color theory

In our path to discovery and understanding color, we come across the next step in the grand scale of color
because, after the matte sphere, the red tomato comes next.

The reason why color is so complicated:

As we have previously discussed, color results from many components that move in our physical reality: the
light spectrum, human perception, exposure values, materials, material quality, etc.
But the core understanding of color also comes whit the values and rules set by what we know as color
theory.

Color theory is the art and basis on how humans perceive color and the visual effects of how colors to mix,
match and behave. It also involves the subconscious communication of ideas, feelings, or emotions.
 Understand color is light and is going to behave accordingly:
Before jumping into the whole issue, we have to establish the importance of light once again because the
color will behave according to its relation whit light.
Let's put it this way: in the most basic understanding of color theory, we have the rule of primary colors
composed of red, yellow, and blue, based on regards to human vision and the way our brain reads light.

However, this is not entirely true. Red is not a color that exists because it exists, truth be told: it requires
certain hues of blue and yellow; let's introduce then how color behaves according to different system
setups.

Color systems: RGB, CYMK, AND RYB

Red, Yellow, and Blue are the primary colors to obtain the 24 wheel chromatic scale when painting: this is
an additive system given that name due to adding two primaries to get secondaries and tertiaries.
However, it is not a "loyal" interpretation of how color works:

Additive & subtract systems:

Color concerning light and how it works.
First of all, you can have any set up of primary colors according to your own (or any given) color wheel
system; they all behave the same by having a primary source and the resulting colors of adding them.

RGB System
The RGB (red, green, and blue) is one of the most accurate ways to represent the way our brain reads light:
"color is light, and as such, we react to it when you add certain values of the light spectrum together
you obtain a variant."

-adding red and green, you get yellow

-adding red and blue, you get magenta
-adding blue and green, you get cyan
-if you add three together, you obtain pure light

However, by adding the secondary colors (Yellow, magenta, and cyan), we obtain what we
know as a Subtractive system.

-adding yellow and magenta, you get red

-Adding magenta and cyan, you get blue
-adding yellow and cyan, you get green
-if you subtract the three, you obtain pure darkness
How does this work?
color is not an element that works on its own; our physical reality rules it: is not a simple manner of "mixing
what feels good" or "adding black or white":

"Color theory is about SUBSTRACTING OR ADDING LIGHT TO YOUR PAINTING,

so it is complicated; because there is a series of physical elements affecting the spectrum
(value, exposure, materials, etc.) plus the added value of symbolism and aesthetics"

Painting the red tomato:

After reading into this, let's proceed to our color lesson: Painting the red tomato and understanding how to
add and subtract light by following the rules of color theory (whit the RYB arrangement)

Analyze: Value, exposure, material

Let's start by fragmenting our current subject for the lesson:
Tomatoes are a rigid material (non-translucent or transparent); however, it's biological components make
them react in a certain way to the light:
it disperses on the glossy surface and reflects as such the materials surrounding them. Notice how it has hard
edges on the highlights and core shadows, but they circulate smoothly through its body.

When painting, keep in mind these details; it's essential to maintain a certain edge to said
elements as materials retain sharpness.
 Light source and value:
Let's identify the light source: a simple yellow light hitting the tomato's right side, no over or underexposed.
Keep in mind that the way we work our colors will depend on the light system, exposure, value, and
materials. It will automatically change the way we tackle the subject.
This example is a beginner's exercise.
By applying our past lessons, we can create the three-tone system and obtain the core values of our subject;
we'll get something like this:
This method is a quick way to check up or exposition values and decide how we will work our color. The
more we practice whit the exposition and the three-tone rule, the understanding of color becomes simpler.
However, if we were to paint our tomato just by using these three tones:
Now, let me be clear the example above does hold a particular technical achievement; it has a harmonious
color combination of warm reds and rhythmic core values. This painting is a great example! But what if we
push it further?

Color theory: From red tomato to Red tomato on the warm sun
My favorite part of art is taking subject humans to consider normal and adding a life quality to it, so I enjoy
still life so much personally. Let's push our little tomato friend to this lever whit color theory:

-Primary colors: Selecting the base of our painting whit an RYB system
Before starting: we established the previous color systems are a bit more accurate, but for practical reasons,
we will use the classical RYB system.
Let's start by defining our base color: This is pretty much what we know as core material, the primary red.
-Keep in mind that we're using the primary color as affected by light exposition (too white or too dark)
the mid-tone we obtained by doing our exposition study earlier, here comes the tricky part.

-The base color here is red

-Our primary light source is yellow
-So, red + yellow = Orange

Our Base color is what we pretentiously know as blood Orange but is pretty much the result of our material
(red) being affected by the light source. If the light source were any other color, we would mix those tones.
Now, let's continue and add the Light source directly on the tomato:
Notice we're still not blending colors: this is a setup known as "Blocking." an essential technique to set up
where the light, dark and medium areas are.
Let's set up the core shadow by adding the blue primary color:
 Secondary Colors
Once done, we can jump into secondary colors and blending tones.
For this, we're going over the rules of additive systems were: by mixing two colors, we'll obtain a different
value on the light spectrum.

Blending is the result of overlapping two colors together. You can get this whit a blending tool in digital
painting and get a secondary color as a result. However, I like to blend my colors manually:
Here is where it gets interesting: By adding the secondary color (Orange), we can add a particular value to
our subject. Art is not limited to copying what we see in real life but how we use this reality to our
advantage:
Let's do the same whit the red and blue.
The only value missing here is green. However, this is a primary source of the tomato already, so let's add it
as it is:
 Tertiary colors
At this stage, we pretty much have the core elements of color in our tomato, but we can push the study a but
further whit tertiary colors:
First, let's push the warm colors on the tomato a bit further by blocking the combination of orange and deep
yellow hues: We entice the light source and the deepness of color in the tomato by contrast.
Now, whit our core shadows and mid-tones: as a general rule, yellows/oranges will always create deep rich
lights, and violets and deep blues will create beautiful rich shades:

at this point, we'll keep adding and blending:

-observe the subject.
-wich color will fit better?
-experiment, don't be afraid to make mistakes.
-Art is a way of expression; it doesn't have to be hyper-realistic if you don't want to!
After some work, let's watch the result, whit complementary colors, and following up the value scale, the
final result portraits life and a blend of deep rich shades and lights!
Comparing whit the previous value study:
The results are entirely different, but this does not mean one is correct and the other isn't, for this is the
meaning of art: finding your techniques and styles to portrait the real world.
 What should I do next?
-Once you understood value studies jump into three colors paintings, don't add color theory yet! it is a
process.
-Experiment whit color theory, try different systems! RGB, CYMK notice how different combinations affect
the paintings.
-Start whit simple things, fruit, colored shapes
-Practice! Don't be afraid of using digital tools in your favor: color picker, saturation, etc.; remember art is
how you use your tools!
-Don't give up and keep painting!!