Saturation of color really means how intense the color is. Is it sort of the most red it can be. And often, the way to change the intensity, because you don't always want the red to be the most red it can be, the best way kind of to change that is actually to put in some of the complementary color, which is why we did the color wheel. I did one for you, and then we're going to work a little bit with yellow and purple. But what I have here is my red out of a tube, and my green out of a tube. That's the most intense color I can get. And then, what I've done is try to come to a neutral point where it's neither red nor green, but an even mixture of the two, and then I go back in each direction, and you can see that that really does modulate the color. So we're going to try this with yellow and purple, or violet, which are opposite each other on the color wheel. But the kicker about this is that violet is so dark. You can see it's much darker than the green, and yellow is so much lighter. Here's our yellow up here. It's a lovely, lovely, bright yellow, and it's just as light as it can be. So obviously, if you put these half and half, if you do half yellow, and half purple on your pallet, you're not going to have anything that looks like, you know, that looks like yellow, so I'm going to show you something else. You can get in the tube, or in the bottle, other colors, and one of the most common ones is yellow ocher, sometimes it's called yellow oxide, and that is a yellow. And I'll put some here; I'll mix it with the yellow I have, and you can see it's a duller yellow. It's more like a mustard yellow perhaps, but it's a duller yellow; it's not as bright. So it's still yellow, we still know it's yellow, but it's just not as bright as that yellow is, so it's less intense, it's more neutral. And we can go one further, because they've even got this one that's sort of further than that. It might be called sometimes raw sienna. And it can go further yet.
