The darkest part of the form shadow, usually just past the "terminator" (where light meets dark).

Usually, the most saturated (purest) color is found in the "halftone"—the transition area between the light and the shadow. Highlights are often washed out by the intensity of the light, and shadows lose color due to the lack of it. Practical Exercise: The "Muddiness" Test

Before you pick a color, you must establish the "Value Scale"—the lightness or darkness of a shape. A common mistake is using color to show form; in reality, Highlight: Where the light source hits the object directly.

Under direct sunlight or a warm incandescent bulb, your shadows will lean toward cool violets and blues. 3. Local Color vs. Perceived Color

As objects get further away, they lose their local color and shift toward the color of the atmosphere (usually becoming cooler and lighter). 4. The Power of "Broken Color"

If your colors look "muddy," it’s rarely a color problem—it’s a value problem. Check if your shadows are too light or your highlights are too dark. Once the values are correct, even the "ugliest" grey will look like a shimmering light.

Instead of over-blending a shadow, try placing a stroke of dull green next to a stroke of dull red. From a distance, the eye "optically mixes" these, creating a much more lifelike and luminous effect than a single flat grey. 5. Managing Saturation (Chroma)