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When I started to think about writing a handbook of miniature painting, I had an idea of where I wanted to start. And it wasn’t here. ;-> One of the challenges I wrestle with in teaching is deciding in what order to address topics. We tend to think of learning and improving a skill as a set of linear steps, but I think it’s often more like a spiral staircase where you repeatedly circle back over the same subjects, but each time increasing the depth of your understanding.
Where I wanted to begin is by discussing the core concepts of what we need to do to make miniatures look visually effective on the game table or in a display case. Recently, while I was working on articles related to that, it occurred to me that I was using a lot of colour terminology. So I think it will be helpful to start instead with an overview of the terms we use to identify, define, and discuss colour.
If you’re not very familiar with colour terminology, please don’t be intimidated or put off by these terms! It may seem like a whole other language at first, but just reread this document or others like it now and then, and before you know it the vocabulary of colour will become much more familiar. These terms are common to discussions of colour throughout all fields of art and design, so they’ll be useful to you in better understanding a lot of other useful resources, too.
This is a (relatively) brief overview. At some point in the future I hope to delve into each of the aspects of colour in a lot more detail, to explore other aspects of colour theory, and of course to discuss how it all relates to miniature painting specifically.
A colour quick reference sheet is available to members of my Patreon.
The Vocabulary of Colour
Every colour can be defined by various properties – whether it’s light or dark, vivid or dull, warm or cool, etc. Think of it as similar to using vital statistics for describing people – height, weight, age, gender, etc. Colours have identifying properties like that too.
Thinking of and describing colours by their properties is often more useful than thinking of them by their names. Colour names are not standardized in any art media. Individual people sometimes have slightly differing definitions for common colour names, as well. So it can be more useful to describe a colour as a dark, warm, somewhat desaturated red than it is to quibble about whether it should be called maroon or wine.
This is similar to people, too. You might know multiple people with the same name. When talking about them you have to distinguish between them via other characteristics – the tall Juan, Lee with the curly hair, Maria from work, etc.
Colour is Relative
The properties that definite colours are inherent, but they aren’t absolute. You may not always be aware of it, but the way you perceive a colour and its properties is affected by the colours around it. A colour that’s fairly dark can seem kind of light if it’s surrounded by much darker colours, for example. It is this relativity that causes a lot of our challenges in working with colour!
The same value of grey appears a little lighter surrounded by black, and a little darker when surrounded by white.
Think of it as similar to vital statistics in people. You probably have a friend who is quite tall. But if you imagine your friend standing next to Kareem Abdul-Jabbar (7’2”/218cm), they might not seem quite as tall. And if your friend stood next to the current tallest person in the world, Sultan Kösen (8’9”/251cm), they wouldn’t seem tall at all. The actual measurable height of your tall friend doesn’t change, but your perception of your friend’s height is affected by the height of those you see around them.
Sultan Kösen standing next to other people of various heights. Photo by Helgi Halldórsson via Creative Commons.
The Major Properties of Colour
Art theory defines colours by three major properties: value, colour/hue, and saturation/chroma.
(Sometimes called Lightness)
Value describes how light or dark a colour appears.
Value is a fundamental element of all visual art/communication. Some art instruction sources treat value as a property of colour when listing the basic elements of art. Others consider it so important that they list it as a separate element of art that is distinct from colour. And that sort of makes sense. After all, you can make art or other visual expression with only two somewhat different values of a single colour. And you can describe the world and explore artistic ideas with a lot of depth and finesse using only multiple values of a single colour.
You can say a lot with just black, white, and grey! (Blues Brothers stencil by Six-Hundred, drawing by Rhonda Bender, Deadlands Noir Detective by Rhonda Bender, movie still from Casablanca.)
I am going to use the term value a lot in discussing the core concepts for painting great miniatures. It is a key element in creating contrast, and an important tool to use to analyze our own paint jobs, assess those of others, replicating real life textures and materials, and more. Try to memorize and become conversant with this term first.
The term value scale refers to a range of lightest to darkest values. The scale is absolute, with the darkest possible value for that colour at one end and the lightest possible value for the colour at the other. When measuring all possible values or viewing value in greyscale, the scale has black at one end and white at the other. A value scale can be as small as two different values. Dividing the value range into ten is the most common, but several variations exist.
Value is easiest to see in grayscale, but it exists for all colours.
Value range refers to the range of values used in a specific work. This might encompass the full range of the absolute value scale and include extremes of white and black, or it might include only a portion of the full value scale. Generally speaking work that includes a full or nearly full range of values is more visually clear and pleasing to look at, particularly in the art of miniature painting.
If you convert this goblin figure to black and white and compare it to an eight point value scale, the darkest colour is between seven and eight, and the lightest colour is around three. So the value scale of the goblin’s paint colour scheme is roughly 3 to 7.5. The goblin is less visually effective than it would be if it were painted with a larger range of values.
Colour or Hue
In art terms colour/hue refers to the broad colour family to which a colour belongs. The colour families are: red, blue, yellow, green, orange, violet/purple.
What about pure neutral colours, like white, black, and grey? Think of those as another colour family, but one that is slightly different than the rest. The pure neutrals work with each of the other colour families in a different way than those colour families work with one other.
The colour/hue families are very broad umbrellas. It’s the whole family tree taken together. You are identifying a colour as a member of the green family, it doesn’t matter whether it’s lime or olive or chartreuse. Other than the broad names of the families, the specific names of colours are usually not useful or important in art colour discussions. It’s better to either refer to specific pigment numbers, or describe a colour by its family name and other properties.
By strictest definition, colour and hue have slightly different meanings. Colour includes the family of black/white/grey. Hue refers only to the main colour families. (So white is a colour, but it’s not a hue. ;->)
Note that hue also has other meanings. When used as part of the name on a paint tube/bottle, like Cadmium Red Hue or Cobalt Hue, it means it is similar in colour to Cadmium Red or Cobalt, but it is mixed with different pigments than those traditionally associated with those names. In general use people sometimes use the word hue to refer to variations of colours rather than the broader concept of a colour family.
Local colour is the inherent colour of something as seen under white light. That same colour may appear different under coloured light, or due to the influence of reflected light from nearby objects, though this may not be obvious to you as a viewer due to the effect of colour constancy. Painters often focus excessively on matching local colour, but matching value is more critical to a realistic and pleasing outcome. Including elements of reflected light can enhance both realism and visual interest.
The local colour of my husband’s face is apparent at the top left, under white room lights. The strong colour of his shirt influences the appearance of the colour of his skin in the area under his chin. It’s particularly obvious in this photo, but this kind of thing affects the colour of many objects we view.
Colour constancy describes our brain’s ability to perceive the colour of an object as constant, even when it is altered due to lighting conditions or other elements. We see an orange as being orange in colour, regardless of time of day or moderate shifts in light colour. To paint an orange to look realistic in a twilight lighting scenario requires the painter to figure out what colour the orange actually appears in that altered lighting.
In the picture below, the skin seen through the dress probably looks pretty similar to the other skin in colour. The colour mixes on the far right show the colours used to paint the skin seen through the dress. Your brain knows it’s looking at skin seen through a green filter, so it largely ignores it. This figure would not look as good if I had painted the bare skin and skin seen through the dress with the same colour mixes. As an artist I had to factor in the green in my painting so your brain could factor it out, as it would expect to have to do in this situation.
Primary, Secondary, Tertiary Colours/Hues
The terms primary, secondary, and tertiary are ways of categorizing colours in terms of how you can mix them. The colours in each category depend on the colour theory/wheel system you use. The one most commonly in use is the classic red-yellow-blue system. The second most common is the CYM (cyan-yellow-magenta) colour system. In either system, the combinations for mixing colours are based on how ideal colours would behave. In reality actual pigments and the paints made from them make slightly different mixes than expected. Delving into the realities of colour mixing is definitely a longer topic for a different day. For now, think of the colour theory/wheel mixing information as guidelines not certainties.
The primary colours are a set of colours which cannot be mixed from other colours. These are mixed together to create other colours.
In classic colour theory the primary colours are: red, blue, and yellow.
In the CYM colour system they are: magenta, cyan, yellow.
Secondary colours are obtained by mixing two primary colours together in roughly equal proportions. (It may require different volumes of paint to achieve equal proportions due to tinting strength, which is discussed later in this document.)
In classic colour theory, the secondaries are: orange (red + yellow), purple ( red + blue), and green (blue + yellow).
In the CYM system the secondary colours are: red (yellow + magenta), blue (cyan + magenta), and green (cyan + yellow).
The colours obtained by combining a primary and a secondary colour are called tertiary colours. In classic colour theory they are yellow-orange, yellow-green, blue-green, blue-violet, red-violet, red-orange. Note that the naming convention is to use place the name of the primary colour first, secondary colour second: primary-secondary, or red-orange.
The pairs of colours that sit opposite one another on the colour wheel are considered to be complementary colours. Complementary pairs provide strong colour contrast when used adjacent or in close proximity to one another. Mix a bit of its complement into a colour to reduce saturation. Mix the two in roughly equal proportions to create a brown or chromatic grey.
In classic colour theory the pairs are: blue/orange, yellow/purple, and red/green.
In the CYM system the pairs are: cyan/red, yellow/blue, and magenta/green.
(Also called: Chroma, Intensity, Purity)
Saturation describes how intense or vivid a colour is. A highly saturated colour is very vivid. A less saturated or muted colour is duller. Black, white, and grey are completely desaturated colours. As with value, you can think of saturation as existing on a spectrum from black/white/grey to vivid colour.
A bright cherry red is a highly saturated red. A dull brick red is a less saturated red. A completely desaturated red is grey.
Above is a diagram showing the classic complementary colour pairs with highly saturated versions (top) and less saturated versions (bottom).
There are a number of ways to desaturate a paint colour. Although they are not used as commonly as others of the terms listed here, there are specific terms used to describe some of the desaturation mixes.
Tint: a pure colour mixed with white is a tint. A tint is always lighter in value and less saturated than the pure colour it was mixed from. Sometimes called a pastel colour.
Tone: a pure colour mixed with grey is a tone. A tone is always less saturated, and might be lighter, darker, or equal in value to the colour it was mixed from, depending on the value of the grey used to to mix it.
Shade: a pure colour mixed with black is a shade. A shade is always darker in value and less saturated than the pure colour it was mixed from.
Colours that are fairly to mostly desaturated are generally considered neutral colours – brown, tan, ivory, and similar. A pure or true neutral colour has no trace of another hue in it – true black, white, and grey. Chromatic neutrals function like neutrals in a colour scheme, but have touches of another colour in them. The grey or brown colour obtained by mixing two complementary colours together is a chromatic neutral. Neutral colours allow you to add additional colours to a design without having to use a rainbow kaleidoscope of colour. True neutrals never clash with other colours, but are more lifeless than chromatic neutrals.
Additional Colour and Paint Properties
Colour, value, and saturation are the three major properties that define colour in the abstract. In practice, and in working with actual paint instead of abstract colours, there are additional properties that it is useful to be aware of.
Colour temperature assesses a colour as either warm or cool. Warmer colours are those with more yellow (sometimes orange) in them, and cooler colours are those with more blue (sometimes cyan or blue-green) in them. Understanding colour temperature is helpful to paint mixing, and can be a useful tool for creating contrast and mood.
Note that even within a warm colour family you have variations of a colour that are warmer or cooler, and the converse for a cool colour family. So you can have blue colours that are warmer and yellow colours that are cooler.
These are warmer (left) and cooler (right) versions for each of the classic primary colours in more saturated (top) and less saturated (bottom) examples.
Opaque colours cover over everything or almost everything beneath them. Semi-opaque or semi-transparent colours only partially cover, allowing some of what is beneath to peek through. Transparent colours reveal much of what lies beneath. The level of opacity that a paint possesses is largely determined by the pigments used to mix that paint colour. Many pigments that are rich in colour are innately transparent, including most of those used to mix yellows and reds, and some used in greens and blues.
You can make a paint more transparent by adding water or medium to it. You can only make it more opaque by adding more opaque colours to it, such as white and/or black. This will also alter the saturation of the colour, and depending on what you mix in, its value. Paint companies can also make paint more opaque by adding opacifiers like chalk dust or talc, which is probably functionally pretty similar to adding white. Mixing a large proportion of pigment into the mix can help make a paint more opaque, but since many pigments are transparent by nature, there are limits to what can be achieved with more pigment.
We tend to think of opacity/transparency primarily as tools related to techniques – we need more opaque paint to successfully wet-blend and more transparent paint for glazes, for example. However, opacity contrasted with transparency can also be usedl to create contrast, depth, and/or colour complexity.
The way the human eye perceives the value of a colour is influenced by our perception of the hue and saturation of that colour. Colours that might appear as the same value to a camera will appear lighter or darker to our eyes based on their hue. This effect increases with saturation. This effect is particularly noticeable with red. You likely perceive saturated shades of red to be much lighter than they appear when converted to greyscale. The term brightness is sometimes used with similar meaning to luminance.
The desaturated greyscale versions for some of those colours are probably darker than you expected.
Finish describes how the dried surface of the paint (or sealer, if used) reacts to light. A glossy finish reflects a lot of light, and appears quite shiny. A satin finish is slightly reflective and appears to have a sheen. A matte finish reflects very little light and appears uniformly flat. Acrylic paints are inherently glossy. Some paint companies mix in matting agents to alter the finish of the paint. Effect paints like metallics and pearls have mica or similarly reflective materials added to create sparkle or shine.
Some painters prefer a uniform sheen to their paint or finished product. Others prefer to use paints with different finishes to help simulate different materials. The most common example is use of paints mixed with metallic flake to paint areas intended to appear as if made of metal, while using matte paints for other materials, but there are artists who use a wider array of paint finishes for more subtle effects.
Sealers also affect finish, and can be used to simulate materials, such as painting gloss sealer on eyeballs to make them look more natural, or over black to create the appearance of shiny vinyl or patent leather.
The visual differences between finishes are always more striking to view in person than in photographs.
Strength, or Tinting Strength
Saturation level describes how visually powerful a colour appears. Tinting strength refers to how an actual paint colour behaves in mixes. If you want to mix green by combining yellow and blue, you will find that you need much more yellow paint than you need blue paint. Yellow can be a highly saturated colour with a lot of visual impact, but most yellow paints have weak tinting strength. Different pigments create paints with different tinting strengths, so you might have some blues that are stronger and some that are weaker.
My content is provided with the generous support of the members of my Patreon. To thank them, I will be featuring a Patron in each post I make!
Anne Foerster started at Reaper Miniatures as the staff painter. She then took on the project of mixing and designing all of the Reaper paint lines, which quickly became a full time job. For more than 15 years she designed, mixed, and named literally hundreds of paint colours. Recently she left Reaper to strike out on her own as a commission painter, and contribute to the community in a different way. She has a daily weekday show on the Reaper Twitch channel, additional streams on her Painting Big Twitch channel, a Patreon where you can learn a lot about colour and painting, and a website where you can find pictures of her great pieces and more information on commissions.
Thank you Anne for helping my Patreon get off to a great start. And for all the answers to paint questions I’ve had over the years!
Figures Featured in this Post
The Deadlands Noir Occult Detective is available in plastic or in metal.
The goblin archer is from a pack of Goblin Skirmishers available in plastic.
Cersei Lannister is available in metal.
Sprout von Harvest II is a special edition metal figure. Purchase one and proceeds go to Second Harvest Foodbank of East Tennesee.
1 thought on “The Anatomy of Colour”
Added entries for Local Colour and Colour Constancy.