1. Understanding COLOR Theory III presentation by Pam Coulter

2. What’s next Finish color value scale and discuss
We won't be doing any more with the value scale for color exercise we worked on so hard in lesson two. I want you to know that, after thinking about it, I decided that I couldn't change the number of shades to a total of five and have the lesson be as effective because part of the point was to discover that different colors have different native values. If you want to do more on the exercise, using a valid 9 or 10-block value scale, find out where along the scale each of the hues on our basic color-bias palette lies. Understand that the dark hues are stronger than the light hues, so, when you mix hues, the darker hues will affect the mixture more than the light ones. As you get more familiar with mixing colors, you'll learn intuitively to mix in proper proportion -- well, at least most of the time.

3. Tints and Shades
notice that you’ve now used tints and shades importance of getting away from just the saturated hues in your painting
Cezanne
Three pears

4. Tints and Shades Tints, shades and “breaking the rule”
Manet, Flowers in a vase
Matisse, Window

5. More work on color lightening and darkening.
Local color is the basic color of an area excluding the effects of light and shadow. Light will tend to wash out the color and shadow darkens and dulls it. If you can establish the basic “local” color of an object and then lighten and darken, using analogous or complementary colors rather than white or black, your painting will be richer than if you just “paint what you see” or what your reference photo shows.

6. Modifying “home” value
Using black and white only to model form dulls the result.
Using complements and analogous colors keeps the result bright.

7. Students to finish exercise before Class IV
(Give each student a copy of the outline of the shapes for this exercise. Student to fill in the color as shown in the example shown above.)
Pause for exercise
Students to finish exercise before Class IV