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\usepackage{seqsplit}           % Splits long words.
%\usepackage{opensans}          % Can't make this work so far. Shame. Would be lovely.
\usepackage[normalem]{ulem}     % For underlining links
% Most of the following are not required for the majority
% of cheat sheets but are needed for some symbol support.
\usepackage{amsmath}            % Symbols
\usepackage{MnSymbol}           % Symbols
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% Document Info
\author{{[}deleted{]}}
\pdfinfo{
  /Title (color.pdf)
  /Creator (Cheatography)
  /Author ({[}deleted{]})
  /Subject (Color Cheat Sheet)
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% Header and Footer
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\fancyhead{} % Set header to blank
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\fancyhead[L]{
\noindent
\begin{multicols}{3}
\begin{tabulary}{5.8cm}{C}
    \SetRowColor{DarkBackground}
    \vspace{-7pt}
    {\parbox{\dimexpr\textwidth-2\fboxsep\relax}{\noindent
        \hspace*{-6pt}\includegraphics[width=5.8cm]{/web/www.cheatography.com/public/images/cheatography_logo.pdf}}
    }
\end{tabulary}
\columnbreak
\begin{tabulary}{11cm}{L}
    \vspace{-2pt}\large{\bf{\textcolor{DarkBackground}{\textrm{Color Cheat Sheet}}}} \\
    \normalsize{by \textcolor{DarkBackground}{{[}deleted{]}} via \textcolor{DarkBackground}{\uline{cheatography.com/78279/cs/19411/}}}
\end{tabulary}
\end{multicols}}

\fancyfoot[L]{ \footnotesize
\noindent
\begin{multicols}{3}
\begin{tabulary}{5.8cm}{LL}
  \SetRowColor{FootBackground}
  \mymulticolumn{2}{p{5.377cm}}{\bf\textcolor{white}{Cheatographer}}  \\
  \vspace{-2pt}{[}deleted{]} \\
  \uline{cheatography.com/deleted-78279} \\
  \end{tabulary}
\vfill
\columnbreak
\begin{tabulary}{5.8cm}{L}
  \SetRowColor{FootBackground}
  \mymulticolumn{1}{p{5.377cm}}{\bf\textcolor{white}{Cheat Sheet}}  \\
   \vspace{-2pt}Not Yet Published.\\
   Updated 21st April, 2019.\\
   Page {\thepage} of \pageref{LastPage}.
\end{tabulary}
\vfill
\columnbreak
\begin{tabulary}{5.8cm}{L}
  \SetRowColor{FootBackground}
  \mymulticolumn{1}{p{5.377cm}}{\bf\textcolor{white}{Sponsor}}  \\
  \SetRowColor{white}
  \vspace{-5pt}
  %\includegraphics[width=48px,height=48px]{dave.jpeg}
  Measure your website readability!\\
  www.readability-score.com
\end{tabulary}
\end{multicols}}




\begin{document}
\raggedright
\raggedcolumns

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% from this page to resize cheat sheet text:
% www.emerson.emory.edu/services/latex/latex_169.html
\footnotesize % Small font.

\begin{multicols*}{3}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Planning}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Before painting, choose your color groups.} \tn 
% Row Count 1 (+ 1)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Do most painting zoomed out.} \tn 
% Row Count 2 (+ 1)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Desaturate a color by adding tint, shade, tone, sienna/umber, or its complement.} \tn 
% Row Count 4 (+ 2)
% Row 3
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Mud is useful when used correctly, such as in shadow areas.} \tn 
% Row Count 6 (+ 2)
% Row 4
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Where a plane turns, the value changes, and where the value changes, the color changes.} \tn 
% Row Count 8 (+ 2)
% Row 5
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Create a value-check layer with a Saturation blend mode.} \tn 
% Row Count 10 (+ 2)
% Row 6
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Start with midtone flats so that you have headroom for shadows and highlights.} \tn 
% Row Count 12 (+ 2)
% Row 7
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Everything in a piece, including colors, has to serve a purpose and work together, like   different actors in a story.} \tn 
% Row Count 15 (+ 3)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Ambient Occlusion}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The AO will carry neither direct nor indirect light because light cannot reach that area.} \tn 
% Row Count 2 (+ 2)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Where objects sit flat on the surface, there is no AO.} \tn 
% Row Count 4 (+ 2)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{If the entire object is in shadow, there will be little AO.} \tn 
% Row Count 6 (+ 2)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Bounce Lighting}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The bounce lighting of the object is influenced by the ground and   the direct light, but darker and less saturated than the parts of the object hit by direct lighting.} \tn 
% Row Count 4 (+ 4)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Bounce lighting is apparent close to the surface where there is a   lack of cast shadow. It'll appear over cast shadow on a higher point   where bounce lighting can reach (if there is global illumination). Without GI, there is no bounce lighting above the cast shadow.} \tn 
% Row Count 10 (+ 6)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Most bounce lighting has soft edges.} \tn 
% Row Count 11 (+ 1)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Highlights}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{If the light source is colored, the highlight and full light zones of the object have higher saturation.} \tn 
% Row Count 3 (+ 3)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The bigger the light source, the bigger the highlight.} \tn 
% Row Count 5 (+ 2)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{On cylindrical objects, the highlight runs vertically, but only if   the light source points perpendicular to the object. The more the light source is angled, the shorter the vertical highlight on the object.} \tn 
% Row Count 10 (+ 5)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Misc.}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Put cooler colors in the background and warmer colors in the foreground.} \tn 
% Row Count 2 (+ 2)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Colored lights are not solid color; they grade outward and lose saturation.} \tn 
% Row Count 4 (+ 2)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Aqua-green is a foreboding color.} \tn 
% Row Count 5 (+ 1)
% Row 3
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{In forest scenes, colors vary between green-blue in the shadows and   green-yellow in the light. Any natural environment needs to be partially monochromatic.} \tn 
% Row Count 9 (+ 4)
% Row 4
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Background objects reflect the color of the sky.} \tn 
% Row Count 10 (+ 1)
% Row 5
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The more humidity, the more the clouds carry the color of the sky.} \tn 
% Row Count 12 (+ 2)
% Row 6
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Black and white alone can make gray look blue, so mix burnt sienna with the middle gray to overcome this.} \tn 
% Row Count 15 (+ 3)
% Row 7
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Bodies of water reflect the color of the sky.} \tn 
% Row Count 16 (+ 1)
% Row 8
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The glossier the material, the harder the highlight, the more   pronounced the bounce lighting, the better the cast shadow reflects   on the object casting it, and the more all surrounding objects are   reflected. If the object has a round cross section, such as spheres,   toruses, or cylinders, the reflections are warped on the object. The reflections on flat surfaces are flat like a mirror.} \tn 
% Row Count 24 (+ 8)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Creating Harmony}}  \tn
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{1. Choose three master colors of the same hue, but one is lighter and another  one is darker and less-saturated. When you want to lighten a color on the canvas, such as areas hit by sunlight, pick from the lighter master color. Areas in shadow should be mixed with the darker master color, and the local colors are mixed with the original master color. \newline % Row Count 8 (+ 8)
2. You can also create harmony with a flat color layer set to Overlay. \newline % Row Count 10 (+ 2)
3. Use a color filter. \newline % Row Count 11 (+ 1)
4. Manually add the master color to every other color on your palette. \newline % Row Count 13 (+ 2)
5. Use neighboring colors on the color wheel. \newline % Row Count 14 (+ 1)
6. Use an underpainting, such as burnt umber, to help unite the piece. \newline % Row Count 16 (+ 2)
7. Keep the values and saturations of different colors similar. \newline % Row Count 18 (+ 2)
8. Use the Rule of Three. \newline % Row Count 19 (+ 1)
9. Use the local color of one plane on another plane, and do the same for objects and characters, but do not over-emphasize this. \newline % Row Count 22 (+ 3)
Whatever method you use, this master color is in every color on the canvas {\emph{except}} on the subject. \newline % Row Count 24 (+ 2)
Do not use too many colors in the piece. \newline % Row Count 25 (+ 1)
Add color notes of simplified, abstract shapes to the flats for variation. Use warm color notes in the shadows and cool ones in the light. You could also use similar, analogous hues in each zone instead.% Row Count 30 (+ 5)
} \tn 
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Direct Light}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The local color of the object changes where it is hit by the direct light and surrounding colors.} \tn 
% Row Count 2 (+ 2)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The closer the local color to the light color, or if they're far apart but the local color has low saturation, the more the light color influences the local color, including bounce lighting.} \tn 
% Row Count 6 (+ 4)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Increase the value of the local color where light hits it and shift the hue in the direction of the light color.} \tn 
% Row Count 9 (+ 3)
% Row 3
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Light influences the edge of an object in increments.} \tn 
% Row Count 11 (+ 2)
% Row 4
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{On a bright, sunny day, colors are brighter and more saturated.} \tn 
% Row Count 13 (+ 2)
% Row 5
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{A brighter object has less saturation if it's hit by white light, but if it is hit by colored light ({\emph{any}} color), it has {\emph{more}} saturation.} \tn 
% Row Count 16 (+ 3)
% Row 6
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{There should be more detail in areas hit by light.} \tn 
% Row Count 17 (+ 1)
% Row 7
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{When warm light hits a warm object, the highlight is strong, almost to the point of glowing. Use color dodge.} \tn 
% Row Count 20 (+ 3)
% Row 8
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{In a simple test scene, if the light source is white, the highlight and full light zones of the object have lower saturation.} \tn 
% Row Count 23 (+ 3)
% Row 9
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{When you add color, you are adding light.} \tn 
% Row Count 24 (+ 1)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Torus Objects}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Highlights occur at the turning planes that face the light source and are shaped longitudinally along the turning plane.} \tn 
% Row Count 3 (+ 3)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Bounce lighting starts where the cast shadow starts and runs   diagonally until it is between the top and bottom turning planes.   From there, it runs longitudinally between the top and bottom   turning planes all the way around the torus, both on the interior and exterior.} \tn 
% Row Count 9 (+ 6)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Form shadows run longitudinally above and below the bounce lighting.} \tn 
% Row Count 11 (+ 2)
% Row 3
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{AO is apparent between the ground plane and the bounce lighting.} \tn 
% Row Count 13 (+ 2)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Metal Objects}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The highlight core has a color mix ratio that is mostly the local   color (even if the light is white). The highlight rim's mix ratio is mostly local color.} \tn 
% Row Count 4 (+ 4)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The light color has less of an effect on the entire object.} \tn 
% Row Count 6 (+ 2)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Shadows}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{If the entire object is {\emph{entirely}} in shadow, only ambient lighting will affect it, and it will also affect it where the direct lighting {\emph{would}} have if the object wasn't in shadow.} \tn 
% Row Count 4 (+ 4)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The form and cast shadows carry the light from the sky and surrounding objects.} \tn 
% Row Count 6 (+ 2)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{If the object is /partially/ behind a bigger object, then some of it will still receive direct lighting, so the highlight is still apparent.} \tn 
% Row Count 9 (+ 3)
% Row 3
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The higher the light source, the more horizontal the form shadow on a sphere. This doesn't affect cubes and cylinders.} \tn 
% Row Count 12 (+ 3)
% Row 4
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Outdoor cast shadows should be cool, but you should also mix in a complement of the cool color for depth.} \tn 
% Row Count 15 (+ 3)
% Row 5
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{In a globally lit scene, if the surrounding objects are colored, but   the ground is white, then saturation in the shadows is either   constant or lower. If the surrounding objects have no color, shadows have less saturation.} \tn 
% Row Count 20 (+ 5)
% Row 6
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{If the receiving object is warm, then the shadows are warm; if the receiving object is cool, then the shadows are cool.} \tn 
% Row Count 23 (+ 3)
% Row 7
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The shadow color is the complement of the local color.} \tn 
% Row Count 25 (+ 2)
% Row 8
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The darker the local color, the darker the shadow.} \tn 
% Row Count 26 (+ 1)
% Row 9
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{In shadow, only the planes that are facing toward the sky receive   the ambient color of the sky. In both shadow and light, vertical planes that are not facing the sky receive bounce lighting from the ground.} \tn 
% Row Count 31 (+ 5)
\end{tabularx}
\par\addvspace{1.3em}

\vfill
\columnbreak
\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Shadows (cont)}}  \tn
% Row 10
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{In a globally lit scene, the shadows have increased saturation if   surrounding objects, including the ground, are colored (even if the light source is white).} \tn 
% Row Count 4 (+ 4)
% Row 11
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{If you mix complementary colors, you get mud (unless they are primary colors).} \tn 
% Row Count 6 (+ 2)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Saturation}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{When adding tone to a color, move diagonally from the local color toward the middle of the value scale.} \tn 
% Row Count 3 (+ 3)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Use the most saturated colors on the subject.} \tn 
% Row Count 4 (+ 1)
% Row 2
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{On an overcast day, colors have low saturation and contrast.} \tn 
% Row Count 6 (+ 2)
% Row 3
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{When you desaturate color, you are removing light.} \tn 
% Row Count 7 (+ 1)
% Row 4
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Objects at different depths cannot have the same saturation.} \tn 
% Row Count 9 (+ 2)
% Row 5
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{When light sources are of two complementary sources, the colors  should not overlap. Put a desaturated area between them. Complementary colors neutralize each other.} \tn 
% Row Count 13 (+ 4)
% Row 6
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Use atmospheric distortion on the backsides of objects to emphasize depth.} \tn 
% Row Count 15 (+ 2)
% Row 7
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{To keep grays from looking dull, vary them with warm and cool color notes to keep them interesting, though still gray.} \tn 
% Row Count 18 (+ 3)
% Row 8
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{SSS is created with a bright, saturated color and a Soft Light blend   mode. SSS is on the nose, ears, cheeks, and hands. Normal redness can be found at the joints.} \tn 
% Row Count 22 (+ 4)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Post-Production}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{Use a large, soft brush to darken everything outside the focal point.} \tn 
% Row Count 2 (+ 2)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{Create chromatic abberation by nudging the color channels one pixel.} \tn 
% Row Count 4 (+ 2)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}

\begin{tabularx}{5.377cm}{X}
\SetRowColor{DarkBackground}
\mymulticolumn{1}{x{5.377cm}}{\bf\textcolor{white}{Dielectric Objects}}  \tn
% Row 0
\SetRowColor{LightBackground}
\mymulticolumn{1}{x{5.377cm}}{The highlight core has a color mix ratio that is mostly the light   color (even if the light is white). The highlight rim's mix ratio is   mostly light source color.} \tn 
% Row Count 4 (+ 4)
% Row 1
\SetRowColor{white}
\mymulticolumn{1}{x{5.377cm}}{The light color has more of an effect on the entire object.} \tn 
% Row Count 6 (+ 2)
\hhline{>{\arrayrulecolor{DarkBackground}}-}
\end{tabularx}
\par\addvspace{1.3em}


% That's all folks
\end{multicols*}

\end{document}