Basically, in colour theory a tint is a mixture of colour with white in it, it helps to reduce the darkness of it while a shader is a mixture of black colour, which helps to increase the darkness. Both of the processes help to affect the resulting mixture of colour in throughout relative lightness associated with it. However, tone is produced in different ways, either by mixing a colour with grey or by both tinting and shading too. Mixing colour with any of the neutral colour helps to reduce the colourfulness, while the hue remains the same in it.
In common language, the term shade can be generalized to furthermore encompass any varieties of a particular colour, whether technically they are shades, tints, tones, or slightly different hues. Meanwhile, the term tint can be generalized to refer to any lighter or darker variation of a colour (e.g. tinted windows).
When mixing coloured light (additive colour models), the achromatic mixture of spectrally balanced red, green, and blue (RGB) is always white, not grey or black. When we mix colorants, such as the pigments in paint mixtures, a colour is produced which is always darker and lower in chroma, or saturation, than the parent colours. This moves the mixed colour toward a neutral colour—a grey or near-black. Lights are made brighter or dimmer by adjusting their brightness, or energy level; in painting, lightness is adjusted through mixture with white, black or a colour's complement.
It is common among some artistic painters to darken a paint colour by adding black paint—producing colours called shades—or to lighten a colour by adding white—producing colours called tints. However, this is not always the best way for representational painting, since one result is for colours to also shift in their hues. For instance, darkening a colour by adding black can cause colours such as yellows, reds and oranges, to shift toward the greenish or bluish part of the spectrum. Lightening a colour by adding white can cause a shift towards but when mixed with reds and oranges.
Another practice when darkening a colour is to use its opposite, or complementary, colour (e.g. violet-purple added to yellowish-green) in order to neutralize it without a shift in hue, and darken it if the additive colour is darker than the parent colour. When lightening a colour this hue shift can be corrected with the addition of a small amount of an adjacent colour to bring the hue of the mixture back in line with the parent colour (e.g. adding a small amount of orange to a mixture of red and white will correct the tendency of this mixture to shift slightly towards the blue end of the spectrum).
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The three primary colours are red, blue and yellow. Chances are, you know that combining any two of those colours will give you one of the secondary colours: Red and blue make violet, yellow and blue make green, and red and yellow make orange. A third set of colours, the tertiary colours, fill in the six gaps between the primary and secondary colours: red-orange, blue-green, red-violet and so on. Tertiary colours are pretty simple to figure out based on their names, so we won’t cover them here.
Colours on exact opposites of the colour wheel are known complementary colours. Mixing a colour with its complement will give you a muddy brown.
You may have noticed that black and white are not colours on the colour wheel. That means they're not hues. So, where do they fit in when it comes to mixing colours, black and white have an important role to play. When you mix white, black or both into one of the hues on the basic colour wheel, you get variations. Those are what we call tints, tones, and shades. To illustrate this, see the Tint, Tone and Shade colour wheel below. It uses Liquitex Basics acrylic paint for each of the primary and secondary colours.
Whenever anyone add both black and white to a hue, you get tones. Another way of looking at it is that you're adding grey to the hue. Depending on the proportions of black, white and the hue you've chosen, tones can be darker or lighter than the original hue. They can also appear less saturated or intense than the original. Tones can reveal subtle and complex qualities in a hue or a combination of hues, and are more truth to the way we see colours in the real world. Every colour can produce a variety of tones; how light or dark these depends on the colour. It's important to realize that tones are relative, that's why how dark or light they seem depends on what's going on around them. A tone that's obviously light in one context may seem darker in another if it's surrounded by even lighter tones.
The number or range of tones that can be produced also varies in different numbers. Lighter hues (such as yellows) produces smaller range of tones than darker ones (such as blacks). In other words, if a painting is going to be successful, you must get your tones right, otherwise, it's just going to be visual noise. The first step to doing this is to remove colour from the equation, to create a range of tone using only black, a painting with only mid-tones risks being flat and dull. Value or tonal contrast creates visual interest or excitement in a painting. A high-key painting is one in which the contrasts in value or tone are extreme, from black right through the range of mid-tones down to white. A low-key painting is one in which the tonal range is narrower.
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