Colour Theory in Digital Painting

[cas]

I'm new to digital painting so pardon my naivety.

I’ve just finished reading a book, titled ‘Color Choice: Making Color Sense out of Color Theory’ by Stephen Quiller. Although I haven’t had a chance to put any of the theories into practice, I was wondering whether complimentary colours hold such importance in digital painting as they do with traditional media?

Generally speaking, if you mix colours, such as with oil paints, with anything but their compliments you get a dull colour. Is the same true with digital painting? Mixing colours in Photoshop wouldn’t have such results, would it? Or is it that colour theory – using complimentary, analogous, triadic…colour palettes – strengthens the image whichever media you’re using?

Thanks
Chris

[Signature]

Well that might become an interesting discussion, but this is probably not the best forum to post this in.
Especially because you mention Photoshop!?

Most traditionally trained artists that "go digital" are able to transfer what they learned.
The theory behind digital and traditional art is pretty much the same.
Just the tools and approaches are different.
At least that is how it should be. Many artists that start with digital art let the tools dictate the process.

When you pick a color in Photoshop you simply "mix in your mind" so to speak!
If you don't then the color palette will not be consistent.
Some programs can simulate traditional mixing of colors.
Using contrasts like complementary colors will have the same impact that it has in traditional paintings.
At least that is how I see it.

Should I move the thread btw?
You might get more replies in the LIFE DRAWING, LEARNING, TECHNIQUES, & TUTORIALS forum.

[cas]

Thanks, Signature.

What prompted me to to post the question, apart from having finished reading the book on colour theory, was that I found a colour wheel for digital artists on the net.

Color Wheel Expert
http://www.abitom.com

It makes more sense to use it with programs like Painter. However, with programs like Photoshop, making sure to pick complimentary colours doesn't seem as important.

Having said that, I agree that having a sound knowledge of traditional colour theory will help artists with any media. It was just the mixing of complimentary colours that I was interested in with regards to programs like Photoshop.

Should I move the thread btw?

Yes, please.

[Signature]

What I don't get is:
what's the difference between an image created in Painter and one created in Photoshop?

Why should complementary colors be more important in one of them?
It should make a difference how you pick the colors before you paint with them.

Probably I just didn't understand what you are saying though. Language issues?

[cas]

From my understanding, Painter allows artists to simulate the effects of mixing colour as they would with traditional paints - oils, watercolours... A program like Photoshop doesn't.

So, complimentary colours (colours which won’t turn dull or lifeless when mixed) don't have as much relevance with Photoshop. Or do they?

[Signature]

I guess I just don't understand that question.

Again ... is it ok if I move the thread?
35 pageviews are not much.

[cas]

Sure, you can move the thread.

I replied to that question in my first responce, above. :wink:

[Mike Frank]

I think what Signature is trying to say is that In painter yea, you can mix the colors together and mixing the complements together is much easier. In photoshop you don't have that ability BUT you still want to pick the right color out, you just have to know what that color would end up looking like if you mixed it with its complement. Getting the palette right seems like it would have the same amount of importance no matter what program you are using. You gotta remember that no one is going to look at your digipainting and so "oh that was done in Photoshop so thats why it has that style of color", they're just going to see what you're final image looks like and either like it or not. Method and technique is important but ultimately its whats in the image that the viewer sees.