Hue Shifting in Pixel Art (Color Tutorial) 

totally agree!

I also now use this for my coloring on anything 😂

I’ve studied graphic design for three years and worked as an illustrator for almost 7 years and I still learned a ton from this video! Really really great info in this. 👌

Hey, your English isn’t that bad! You only really messed up two words, and even when someone is reading it, they probably won’t be able to tell. Keep practicing! Your doing great!

Anilmky Kittao I read this as soon as he said it lol

@@big_c3426 perfect timing.

@@big_c3426 wtf same

@@iii-tf6rc yall need to learn how to actually watch the video without looking at the comments lol

I also have problems with that

Up

Yes

It'd be nice one teaching how to make your own pixel font.

up

or simpler: If you get hit by yellow (sun-) light, would you get brighter with a white color? Obviously not...

That's why your pallete is so warm.

Happy to hear that, thank you! Best of luck with your pixel art! :D

Hey thanks for watching, glad you like 'em! :D

Not quite the opposite, but yes, if the lighting is very cold and clinical, like a blue-white fluorescent light, hue shifting to blue or violet as you go up works well. Works best if you still shift to purple or sometimes green going down into shadow (shade hue shift is less the light source color and more to do with how red light is absorbed faster, and reflects for less "bounces" - same effect with water depth) For a red light source, shift highlights to red, green source to green, and so on. I cannot recommend enough taking a simple multicolored shaded sprite and trying a whole bunch of variations of degree and direction of shift in Hue and saturation to see what each looks like as a lighting condition - you will find out how to make it inform differences in time of day, indoor vs outdoor, direct light vs in shaded areas, and so on.

And brown is just dark orange!

@@HammerDax I was really surprised finding out brown is just dark orange despite literally making brown by darkening orange for years. No idea how I didn't realize that.

I found it a lot easier when I started using HSV rather than RGB. I remember really struggling as a kid using MsPaint.

@@bloodypommelstudios7144 Yeah it makes a lot more sense HSB(HSV, HSB etc..) to mee too, way better than using RGB to understand colors. RGB is useful if you're planning to mess with colors using shaders.

@@magnomaol Yeah I've used RGB for things like chromatic aberration and posterisation effects but I can't imagine going back to using it to draw with.

Thank you, glad it was helpful! Yeah it can be tricky without any other context, especially because colour preference can be very subjective also!

170th like!

lmao I was told to just NEVER use black, ever

@@malinaandryan yeah I think it’s a problem with how people try to explain it. I think what they mean to say is “Don’t use black until you know how to properly utilize it. Because just desaturating a color or making the shading black and lowering the opacity can hurt the colors in your image. It needs to be done intentionally when you understand why and when it’ll look good or bad.” But that requires a lot of further explanations about when it looks bad and why it looks bad and when it looks good and why it looks good, so people just boil it down to “don’t use black” instead.

Thank you I'm happy to hear that! It's funny, I always present from the perspective of pixel art but there's no reason it can't apply to any digital art! I guess pixel art tends to focus on deliberate colour restriction more often, where this kind of thing becomes important. Thanks for watching, and best of luck with your art! :D

It's because in pixelart it is more noticeable though any art can be ruined by using white to brighten up any color. This is why most newby art looks flat

Absolutely! Pixels exist in the digital space and are therefore "additive" from a technical standpoint. This tutorial however is about the artistic application of colour harmony within pixel art (or in theory any artistic medium), where I find the subtractive model to be more intuitive and appealing.

@@BJGpixel while I do agree purple looks better, it's not a question of pixels being digital or not. Your example of the sun is trying to mimic real life, where sunlight is additive. So digital or not, it would have to be additive to be realistic.

@@obiwac I get what you mean, however the sunlight example is only an abstraction to illustrate the use of complementary colours. When I say I prefer the Subtractive model, what I really mean is I'm using the RYB colour wheel as a reference point for this example, to identify opposing warm and cool colours that I believe are appealing in an artistic context

@@BJGpixel yup, I understand, and again, I agree with you that using the RYB wheel for opposing colours looks better in this case. Love your videos btw!

@San Jacobs - Blue is the opposite of yellow in both additive (RGB) and subtractive (CMY) color space. (R+G vs. B and C+M vs. Y) Only in pre-scientific classical color theory (with RYB as the primary colors) is purple yellow's opposite. (R+B vs. Y) 　Classical color theory "stretches" the part of the color wheel between red and green and "squishes" the blue-purple-magenta range, because the red and green color receptors in our eyes are very close in the kinds of wavelengths of light they can detect, so we basically have more resolution on that part of the spectrum. The spectrum between red and green (with its yellows and oranges) seems like a much larger distance to our color vision than the spectrum from green to blue (with its... well... greens and blues) That difference in _perceived_ colors is why we classically have purple as the opposite of yellow, red as the opposite of green, and orange as the opposite of blue. It's closer to how our brains _experience_ colors, even though a RYB color system is very inaccurate in terms of how our eyes technically _register_ color, and how we mix light and pigments.

Haha glad you enjoy, thanks so much!! :D

man im sorry to hear that