Hogwart’s Legacy being on there is putting me in a bad mood
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Lol I will forward these questions and comments along with my note that “the pixelized penmanship is a nice touch” over to her so that she can pass them along to the child. These are valid concerns from game playing adults
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Seeing Silent Hill 2 and Minecraft in the same decade is giving me whiplash.
… I guess technically…
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Just more proof that the education system is in shambles SMH my head.
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I think that gap in the top row is meant to illustrate how video games have come a long way since Pac-Man
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Nahh this is too much. she told me that at the bottom it says the scores are based on IMDb
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In the alignment chart of where to get game reviews, IMDb has to be, like, Neutral Evil.
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Onion info
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My buddy is running the public domain rollout at the internet archive figure some folks would be interested.
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always thought color wheels were fake.
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I will never be wrong about color harmony you son of…
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I actually had no idea that the usual digital colour wheel is incorrect. I need to see if I can fix that. It explains why I haven’t liked a lot of combinations I’ve made using tetradic, triadic, etc.
Colour theory is a huge rabbit hole. He didn’t even touch on colour relativity, or exposure in painting which are also bananas.
I like that he talked about chroma. It’s more important than most people realize. If you desaturate an image in Photoshop, the resulting values don’t match with how they should look because the chroma information is lost. All you have is the brightness. If you want to see something closer to what your values actually look like, fill a layer with all white or all black and set the layer filter to colour. It’s a trick artists use to check their work, but doing it the wrong way might do mote harm than good.
Apologies for the word vomit. I could talk about this stuff all day lol.
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Didn’t watch the video (don’t need to be wrong today) but the word Wrong in the thumbnail looks like I’m supposed to be viewing it with red/cyan 3D glasses.
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I don’t really understand what he’s saying. Just because we are more perceptive of differences in green than orange it doesn’t mean the color balance should be tweaked to be proportional to our perception, as he demonstrates by making a worse colour wheel.
afaik, colour theory doesn’t claim all colour relationships are created equal, it is by definition a handy generalisation, not a rule, and it normally takes into account that differences in proportion, shape, and lightness-darkness radically affect how colour combinations are perceived.
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i actually always thought it was more like astrology for the visual arts.
It’s less changing it and more reverting to something more accurate to the visible spectrum because the wheel we see digitally doesn’t take actual perception into account. It’s a generalization, but colour relationships are just another tool like a scale is in music. At the end of the day, those hues are worthless if your values (brightness) relationships are off.
Clip Studio added a perceptual paint mixing feature a few years ago so, instead of mixing colours with straight colour values, it mixes them more like pigments, which is really nice if you’re trying to adapt from traditional media to digital and wonder why your colours look muddy.
I know it sounds like nonsense and a lot of it really is just vibes based, but it’s important stuff.
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my question is why would you take colour perception into account if the resulting combinations are worse? precisely because it is vibes-based, perhaps the old way, although objectively less accurate, is more pleasant so more desirable. a little bit like how in video we still generally like a filmic/cinematic colour and highlight/shadow even when most things are shot digital.
Maybe I’m not picking up what you’re putting down when you say it looks worse. Do you mean the bit at 7:00ish where the class says they don’t like the colours from the new wheel?
Whether you use that wheel or the more basic wheel, your palette won’t look any good if you just grab your colours at each point. Either way, I’m spending some time tweaking the brightness and saturation to match the “character” as he puts it. IE set your brightness to exactly middle, max saturation, grab a purple and grab a yellow. It’ll look like hot shit because your blue will be okay enough, but darker yellow is going to look muddy and brown. And that might still not be enough, maybe I need a muted colour and a vibrant one to get the right vibe. That’s what he means by bit obsessing over this stuff at the end. You have to think holistically about it.
This is one of the biggest hurdles in transitioning from traditional media to digital. In traditional, you have your paints, inks, whatever that companies have spent decades refining so you can start with a good base palette, and they mix really well. In digital, you have to figure that part yourself.
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this has made my brain feel better than anything that has happened in 2025 so far
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