Hey, @Jerald Dorado! I’m colorblind 😁 Protanopia (reduced sensitivity to reds, and sometimes exchanging shades of reds, greens, browns, purples and pinks). What usually helps me paint is sort of a combination of four things: 1. Color theory - I’ve taken time in the past to learn about the color spectrum, lighting, value, temperature, saturation, mixing, complementarity, harmonies etc. so, when painting, I try to use these things to guide me through my color choices. I know most artists with normal color vision do this too, but, to me, being familiar with the theory is especially helpful since I need to make some color decisions based on what I know will work rather than relying solely on my perception. 2. The “grisaille” method - It’s the process of starting with grayscale and adding the colors on top afterwards. I find it especially help for colorblind people, but many artists with normal color vision use it too. 3. Digital features (such as HSB sliders, adjustment layers and blending modes) - I paint mostly digitally, so these uniquely digital tools come in very handy, since they give me more control over the colors I’m not sure about, as well as flexibility to change things at any stage in case something doesn’t work. I sometimes also use colorblind aiding softwares/apps, such as ColorblindPal, Chroma and What A Color. 4. Feedback - I’ll simply ask people with normal color vision to check out my painting and tell me of anything looks off. These strategies are no guarantee of a mistake-free process, but they sure help! One thing to have in mind is that color is actually made up of three components: hue and saturation (the two components we are mostly affected by as colorblind people) are often a little less dominant compared to value (the third component, which, thankfully, we perceive normally). Often, when the value relationships in a painting are strong and effective, hue and saturation come in almost as icing on the cake: relevant, of course (and delicious), but not structural. Hope this helps. Cheers!