Color Harmony For Watercolor Painting | Robert Joyner | Skillshare

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Color Harmony For Watercolor Painting

teacher avatar Robert Joyner, Make Art Fun

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (1h 52m)
    • 1. Introduction

    • 2. Course Overview

    • 3. Materials

    • 4. Chroma, Saturation & Intensity

    • 5. Get To Know Your Colors

    • 6. Chromatic Palette 101

    • 7. Tonal Palette 101

    • 8. Tonal Floral Demo

    • 9. Chromatic Floral Demo

    • 10. Cool Dominant Palette 101

    • 11. Warm Dominant Palette 101

    • 12. Warm Dominant Palette Floral Demo

    • 13. Cool Dominant Palette Floral Demo

    • 14. Light and Dark Hues Dominant 101

    • 15. Dominant Light Palette Floral Demo

    • 16. Dominant Dark Palette Floral Demo

    • 17. Your Project

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About This Class


Hi, and welcome to Color Harmony with Watercolors. In this class I will share color harmony tips that will help you create better art! It's a fun class and suited for all levels, so don't be intimidated if you are just starting out, join in and embrace the wonderful world of color.

The focus is color and I will be using florals as my muse. However, these ideas can be used on any subject. Even if you don't like painting flowers I still recommend you check this class out.

The class has four main sections;

Section One: I'll share a short video of the materials I use in the lessons, then I have two more short videos on some of the color mixing techniques used along the way. This should help answer any questions you may have about terminology, colors descriptions and so on.

Section Two; Tonal & Chromatic Color Harmony - This section includes two short videos on how the ideas work and I will paint a simple cube to illustrate the idea. Then I'll paint two quick floral paintings using tonal and chromatic palettes.

Section Three; Dominant Temperatures - As with the previous section I'll paint two simple cubes and then follow up with two floral demonstrations where you will get a great visual for warm and cool dominant palettes.

Section Four; Dominant Values - Again, I'll illustrate the two ideas by painting a few cubes, then I'll paint two florals using a dominant light and a dominant dark palette.

Project Time! Now, it's your turn! There's a recommended project at the end of the demonstrations so you can master these color harmony ideas. Feel free to use the templates furnished in the resources or use your own subjects. You can opt to paint florals or pick any other subject such as a landscape, still life and so on.

>>> Recommended Courses <<<
Here are a few other courses you may want to check out. These are wonderful compliments to color harmony :)

Easy Watercolor Paintings
Simple Watercolor Landscapes

Need Materials Used In This Course?
Link to my watercolor supplies

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Meet Your Teacher

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Robert Joyner

Make Art Fun


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1. Introduction: Welcome to color harmony with watercolors. And this course I'll introduce you to three fantastic color ideas that will help you easily find balance without all the complex formulas and mixing theories. This class is designed for all levels from beginner, water colorist to the experience artists that's been around for awhile. There is something in this course, for everyone in the course, we'll kick off with materials and then I'll show you some basic color mixing techniques I'm using along the way. For each color harmony technique, I will paint a simple cube to introduce you to the idea. Then I will follow that up by painting a lovely floral. So you can see that sort of technique in action. Once you have seen the three color harmony ideas, it will be your turn to give it a shot. I have included a recommended project so that you can master these lovely color harmony ideas. If you get stuck along the way, just post a question and I will respond as soon as possible. So if you struggle with color, this is a fantastic course for you, as easy as fun. And I promised when you're finished, you will have three techniques you can always rely on. So let's get started with color harmony. 2. Course Overview: Quick video here. Q dis explain how this course works and what you can expect. I will kick it off with materials, basically explaining the materials I am using in this course so that if you have any questions about my colors, brushes and so on, hopefully it will answer them. If you do not have all the exact same brushes and colors, don't worry, just use the ones you have. If you would like to try out some of the materials I use and recommend there is a link in the description was and we'd get through some of the basic materials. I will go over some color mixing ideas that should help you that way. When you see me mixing colors throughout the demonstrations, hopefully, it will help you understand what sort of color mixing techniques I'm using. Now for each color harmony idea, there are three of them. I will introduce you to the idea by painting a simple cube. And once I'm finished with each of those cubes, I will paint a quick floral to show you the color harmony technique and action. These color harmony ideas can be used on any subject landscape, Still Life, it doesn't matter. I'm only using floor roles as an example. The end of all of the color harmony ideas, I am going to post a recommended project for you to complete that way you can get the most out of this course. I've also included basic drawing templates of all the designs that I use in case you want to paint something similar as I did in this course. Obviously, you can use your own subject, your own fluorophores, whatever subject you see fit. So that is an overview of the course, and I will see you on the n side as we kick it off with materials. 3. Materials: Let's cover some materials that we'll be using in this course. Links to these materials are in the description if you're curious and where I buy them. These are my two brushes. I have a golden natural number ten pointed around. So this is great for putting down washes. And then I have a Princeton Neptune sword brush. You can see the irregular tip, wonderful for adding thin lines and irregular strokes. So again, I'll use the pointed around for most of the painting and then use that sword brush for others. I've got a to be in a 4B pencil. I will use that for laying out my drawings and then also drawing into my watercolors, which is something I'd like to do. I will be using two grades of watercolor paper. The first is the Strathmore, which is a student grade. It is nine by 12. I will use that for my demonstrations where I introduce you to the ideas. So I use cheaper paper for that. And then for the actual demos where I show you how I employ those ideas, my floor roles, I will use Blick premium watercolor paper. And that's a 140 pound cold press. And I do use the front and back. So there it is without any paint on it. And again, the links are all in the description. I will adhere the paper to a foam core backing that is just standard foam core. And I use a little bit of artists grade masking tape to put on the back of the paper. Just so it doesn't move around as I'm painting. So it's good to have a firm backing that way you can tilt it and things like that. So That's that with the palette. I use a John Pike deep well palette. I've got cad Red Light, Alizarin crimson, cadmium yellow, lemon yellow ochre, ultra marine cobalt, turquoise, cobalt blue. And then lastly some neutral tent over in the corner. So those are my colors and also the palette I use, the quality paint I use as the artist grade Holbein. I've used whole buying for over 15 years. Again, as artists, great. I do recommend artists gray paint if you can afford it. I also use a little bit of golden Matt acrylics. The mat will dry very flat, and occasionally I will get a little sloppy. So I use white paint to just clean up some edges. I'll also do a little bit of collaging and this I'll use sum mod podge and just some archival white paper. I recommend having a rag and then some paper towel was handy. I also have a couple of water reservoirs each. These are one pint plastic reservoirs I get from Home Depot. Lastly is a hairdryer. I'll will use that to dry off, washes and between. So that's it for materials. 4. Chroma, Saturation & Intensity: Before we get into some of the demos, I wanted to go over some color mixing ideas. Here I'm taking a swatch of cobalt blue and a little bit of water on my brush, or should I save those bristles are pretty damp. But notice, and I went directly into the paint and then a right to the paper. So that first swatch of blue is highly chromatic or Shah, say, high chroma. So you'll see an HCI there, which stands for high chroma. Now, also notice how dark it is and value as I just take some clean water now and work it to the left. More and more water as I go. What does dawn is that's decreasing the chroma. So now on the right, obviously I have a high chroma which was basically directly out of the tube. So I didn't mix that with anything other than water. And then a low chroma on the left, which has a lot more water into it. Now. So you can reduce chroma saturation and intensity. These are terms thrown around all the time and painting. But you can use water and with watercolor to reduce the chroma. And that's all you need. But notice to how it reduces the value. If you're working with yellow ochre, Alizarin, crimson, cobalt, turquoise, whenever you're, you use paint that is with just a little bit of water and you put that directly on the paper, it's going to be a darker value. And then obviously as you add water to it, it's going to be a lighter value. Now I'm taken that same blue, so cobalt blue. And I'm just adding a similar blue. This blue I'm adding to it is cobalt turquoise. So the cobalt turquoise mixed with the cobalt blue is going to desaturate it, okay, but it's a lighter value plus it's a different color. So you can use any color, but you can mix colors within the same family, whether it's CAD red mixed with Alizarin crimson or whatever. And that's going to desaturated. And now I'll mix a little bit of neutrals. That role might pallet. So I can use reds, greens, neutral ten, it doesn't matter. Any color mixed with another one that's pure is going to reduce the chroma. So when we talk about chroma, that is a color that is high-intensity, typically straight out of the tube and onto your palate or canvas. When you mix it with something else, whether it's white, neutrals, yellow, red, whatever as I've showed you here. It's going to reduce the chroma and also is going to start to neutralize it. So really you can use just about any color you want and reduce chroma. So again, I started with the high chroma blue. On the right hand side. I mixed a little bit of turquoise with it. You can see how it moved. And then I added some grays and some breads and greens to it as I moved to the left. So that is just some techniques you can use when you're thinking about this course and what I'll be doing later on. Now, I put a swatch down. And that's just some grays I found on my palette. But notice how grey that is. So it's not really cool and it's not really warm. It's kind of a muddy color and mud mud to me is just a color. That's it doesn't matter if it's gray or any other color, but it doesn't say it's warm or cool. So here I'm putting a little bit of Alizarin crimson into that gray. And notice right away now that color has a little more significance is not as muddy because it's leaning towards kind of this cooler red color. So when we compare that to the DOE neutral on the right of it, or even on the left of it. It's going to have more hue to it and it's going to look different than just a color of this caught in the middle and not leaning either warm or cool. So now I'll do another swatch. So again, this is kind of a dull grey out, just put down. And now I'll take a little bit of red and yellow ochre into that gray. And what that's going to do is give me a neutral, but it's going to be a warm neutral. So again, these are all techniques. I'm going to be using. Some going to be talking about values and a dominant Light paintings, dominant dark paintings and such. So these are just some of the color mixing techniques we'll use throughout the course. But certainly it's something you want to keep in mind about color in general. So anyway, that's going to cover some basics about color mixing, understanding no saturation, and then how we can move away from it into more of a neutral. And of course, how we can use water to reduce the value and chroma of any color. 5. Get To Know Your Colors: I wanted to give you a quick tip here on just creating swatches. And more importantly, getting familiar with the colors you have on your palette. So the colors I have on my palette starting at the top would be CAD red light Alizarin crimson, cad yellow light yellow ochre, cobalt, turquoise, and then cobalt blue on the very bottom, I've got some neutral tint. So your color as it may be similar and some of them and then others will be, you know, you're like, well, I don't have that red, I'll have that blue. But it doesn't matter. What you wanna do is always get familiar with your colors and how they respond. So on the column on the left I have tonal. And then the column on the right is chromatic. So the tonal would be just taking a color. And I'm reducing it by adding water, by adding another color to it. We're a chromatic version, or the chromatic column are colors almost straight out of the tube with the top red. I use Alizarin crimson, but then I dropped a little bit of cad Red light into it. But again, all of these swatches on the right are basically represent the colors on my palette, but in a very high chroma fashion. So you can think of colors that are like right out of the two. And then the column on the left, the tonal column would be again using similar mixtures, but using a little bit of gray into it. So I may use a little bit of blue into my reds. I may use a little bit of gray into my yellows, but I'm just experimenting with random color mixtures and trying to visually, I see how my colours react when I add Alizarin crimson or when I add blue to it. And this will give you a lot of freedom. Actually. You can use formulas sometimes to get a more tonal color. But just as a kind of a ballpark idea, think of tonal, a tonal palette, which we will get into later on. As a group of colors that aren't highly intense or saturated. So you're not going to use, in a tonal painting. You're not going to use a color that is so saturated is like fresh out of the tube. You're going to be very stingy with color intensity. It doesn't mean the painting has to be gray, doesn't mean it has to be a Grade monochromatic sort of painting. You can do a tonal painting by just with color and it has color to it. But again, all the colors are kind of doled out a little bit. And you're again using, using them more sparingly as with a chromatic palette, you can start to see as we compare these two columns, the chromatic palette is just going to speak of color more to you. So when you look at a chromatic painting, it's like whoa, that artists was excited about color and it's obvious and that's fine. I'll like to paint chromatically. Once in a while. I'll like tonal painting. I tend to lean more towards the tonal side. And I use high chroma very, very sparingly. But whatever works for you is fine. But again, the idea was to encourage you to do a swatch test and just to visually in the end see how these relate to each other. And, and also to see how just mixing random colors into another color will make it more tonal, will, in a sense, it will gray it out a little bit. So you can gray out a color and reduces chroma and many different ways. And really by adding any color to it besides itself. So anyway, now going back end is adding more chroma to certain colors and then adding a touch of grace to others on the tonal Assad. But anyway, I think, again, I encourage you to do this, get familiar with your colors, get familiar with the idea of tonal and chromatic. And I guess the main thing is if you're doing a tonal painting, we don't want to like, totally disrupt the color harmony by filling these high chromatic Hughes in it. And again, we're going to talk about this as we move forward, but the swatches are important. I think it's good to put this on the table now. And then as we move forward, hopefully my start using these ideas of tonal chromatic. You have a better idea of what they are and how I make them. 6. Chromatic Palette 101: Now let's look at a, let's look at a chromatic palette. In a nutshell. This means we're going to opt for colors that are more saturated and intense. So starting with the cad yellow lemon, I'll knock that back just a little bit by adding some Alizarin crimson. Then I can continue to add lemon yellow to Cal yellow lemon as I move through to increase the yellow. So that is my base, Hugh. And I will let that dry. Now that it's 100% dry. I will go ahead and add my swatch here so that at the end of these two ideas, we can compare swatches and see side-by-side how they are different. So again, everything is 100% dry. I can start by adding my light source, which again will be coming from a top left-hand side. To add a shadow, I'm going to mix a violet. So notice that the violet is more true to a particular color, so it doesn't go back or lean towards a neutral or gray. So that first color I used was a little bit to gray. It didn't really say blue, violet or anything. It just really wasn't overall neutral color. So what we're trying to do is avoid that. So when we look at a chromatic painting, we want each color to say green, yellow, blue, and so on. So we want to avoid colors that are two desaturated or perhaps to flat. That's going to hopefully make a little more sense as we move forward. Now, I didn't really like the green hue that was on the front and probably had that side of the cube a little bit too dark. So I just removed a little bit of that while it was wet. But still, when we look at the colors I've chosen so far, you're going to start to see how they actually represent a color. And when we compare that to the tonal version, you're gonna see side-by-side how that works. So now adding more violet and to the side of the cube and then allowing it to dry. So again, at this stage, everything is 100% dry. Notice that casts shadow, that turquoise blue that I used. And now for the background, I'll want that red background. But instead of desaturating that read, I just thin it out with water. But even still, that color is very intense. So a has That kind of loudness to it. So very, very much a, a color selection of colors here. They're getting more and more harmonious and not necessarily through traditional ways. So if you look at traditional color mixing or harmonizing colors, they may say, well maybe you want analogous colors. Maybe you want split complimentary colors. And so Wim, where this color selection I used here, it was fairly random. I didn't really have any preconceived idea or formula other then I'll list selecting colors that were equally chromatic. So they compliment each other, not because they are beside each other on the color wheel or opposed to each other on the color wheel. But more they were selected because of their chroma and intensity. And this is a believer or not, a really good way to think about chromatic pallets. So when you're painting, you can infuse saturated color. But just know that's the theme that you want to go with. And I do believe if you created artwork based around this, yeah, you may have a few neutrals in there were things mix a little bit. Here you can see I'm adding more violet to that shadow side. But again, you can have a few grays to it. But for the most part we look at the painting as a whole. It says, okay, this artist was feeling the color. They, they enjoy putting that color down. And throughout the entire painting is very consistent. And that's what we're looking for when we think about this sort of option. Now that I'm finishing up this one, I'll add a little more ocurred to that foreground. But let's compare them side-by-side. So now you can see that the well on the left has that much softer, less colorful feel to it. I added a really intense red on that tonal palette option to the background just to show you how that would jump out at you. And just not work for that particular painting. And our chromatic friend on the right works because most of those colors, if not all of them, are fairly chromatic and of a similar or equal intensity. 7. Tonal Palette 101: Let's talk about a tunnel palette. This is option one. So a tonal palette you will discover is a series of hues that are basically tone down. So we're going to avoid cuz that are heavily saturated and too intense. So I will begin by drawing a square or a cube there. And that's all we need to introduce the idea to you. Here I'm doing a swatch. So I'm using a little bit of cad yellow, lemon. Now that particular color right there is highly chromatic. And what I mean by that is it's straight out of the tube. I didn't mix any other color with it. So that color will be high chroma, intense, saturated, however, you wish to name it. Now if you want to create a tonal version of that hue, so let's say you want to start with a yellow. I can use a little bit of neutral tent, which is basically a gray that leans towards the cool side, add a little bit of yellow and right away you will see that Whew I'm putting down is in the yellow family, but it's less chromatic. So I've kinda knocked it back a little bit by adding a grey. Now there are other ways to mix a hue using cad yellow, lemon as your base mixture or color. To reduce the chroma, you can use the complimentary color. You can use any sort of gray. Almost any color would do. But the idea is you're choosing a hue that is basically in this family that you want. So in this case a yellow. But again, it doesn't have the high chroma intense color to it. So that is basically a starting point. So I use that color to completely paint the entire swatch. Now I'll take an a dryer to it so that swatch is now a dry, 100% dry. My light source will be coming from the top left hand side. So what I will do now is worked my way through adding a darker value to each part of the cube. So the top of the cube will be a lighter value because that's where the light is hitting it more directly. So now I'm using a little bit of red, a little bit of blue, a little bit neutral tent to come up with a base yellow that is, again, not chromatic. It's something that is darker than what I started with. But it's not going to be, a super dark is going on going or Socrates, super colorful, I'm going to keep it tone down. So that's kind of the theme we're dealing with when you're working with a tonal palette. So that covers, that. Hugh covered the front of the cube and the right-hand side of the cube. And then I took a hair dryer to it, and now it's 100% dry again, I don't show that because me drying my artwork on camera can be a little bit boring. But know that as I add each darker hue, I am using a hair dryer to dry them between, and that's the only way to get the crisp edges. Now to get a darker value, I used a little bit of blue, a little bit of neutral tint, ended that mixture. And now for my shadow, or actually for the background, I should say, I'm going to use a color that's going to be in the red family. Again, everything is dry at this point. And I'm starting with some pie roll read as my base. Now added the CSU BE. Again, that's very saturated. If I use that color as a background, is not going to harmonize with the hues that I already have. The purpose of this demo is to show you a tonal palette that is cohesive. So I'm going to use something in the red family. But I used some of those neutrals that I used on the cube to knock that color back a little bit too desaturated. And which is basically reducing the overall intensity and chroma of the color. So now I have a red background, but it's not screaming at you. So again, all the colors that I pick for this particular demo, we're all mixed in a way that it reduced the color intensity. Which again, is harmonious. So it's easy to look at your subject or an image or whatever it is you're painting. It could be outdoors painting a building with some people. And you'd get enamored or caught up and all of the colors. And it's fine to use colors if you'd like to paint very high chromatic paintings, that's wonderful. But you have to know that as you move through your color selection process, you want to make sure that each color you pick harmonizes with the next. And that's split this tonal palette did. So it gave us a series of hues that are basically desaturated and less chromatic. And therefore, it really doesn't matter a whole lot about the color selection. Because as a whole, the painting works because everything is harmonious and the sense that it's all has that same low chroma feeling. 8. Tonal Floral Demo: Now for the tonal floral demo, we're going to approach it the same way. So very similar flower structure and design. But instead of using those highly chromatic Hughes, We're going to knock on back. So instead of, again, you can even see the red flower below there. I use a little bit of the neutrals to mix in with that. A little bit more of like an Alizarin crimson. You'll see here I'm putting that read back into it. But notice the balance. It's only a part of that flower has that chroma in it. But it's a little bit, it's enough to say it's a red flower. Now it may not be the same read as what we see in life and in nature. But if you're someone that doesn't like to do those highly chromatic paintings. And you want to create more of a quiet statement and your art, and this is a good way to do it. But there's nothing wrong with putting a touch, a little flip here and there of crow chroma or, you know, saturated colors. But again, it's just so that we step back and look at the piece. It reads more tonal. At the end of the demo, we'll look at the to floral Sabah side. But notice how I started with this sort of kind of greyish yellow, almost a yellow ochre with little bit of gray maybe. And now coming back into it with those greens and then drop and that intuit or you can, I guess technically you would consider that charging the color C. You put down a hue like I'm Dawn, and you take another color, he kind of drop it into it and just let it do its thing. So basically charging it with green. But for the win, again, we look at all the leaves collectively. Collectively. That kinda was cute the way that came out. We looked at all the leaves collectively, right? That is going to read, you know, more of a grayish yellow. I know I'm kind of a broken record here, but I gotta make sure I stress these points because I don't want some of you to get to the end of the video go. I had no idea what he's talking about. So I just make sure I stress the points. So here I'm going to start with more of a grayish blue. Know that when you're dealing with wet watercolor, I can use that technique I used before where I just put some sort of neutral down and then just drop a color into it, something more saturated, so like that purple or violet. And then let that violet kinda mingle with the great. And you can see the purple down below how that purple is much more intense. Now begins to intense or begins to chromatic. What's maybe those reds are? And even the violet, I can always take a damn brush clean, OK. Be sure to clean it. You don't want to contaminate your colors. Well, maybe you do, but I don't. And I can remove it. Some of that paint just by using a damped brush. And sponging some of that pigment out of the paper. Alright, now coming back in with some of the blues, but these blues are getting will be knocked back a little bit on my palate. It's really a soupy mess. That's terrible, terrible technique and pallet management. But I know I'm dealing with mainly neutrals here and I've got enough wiggle room I can, I can get through this last painting, but it's probably wouldn't be a good time to a mop, mop it up and start over again. But anyway, I've got plenty of different colors there to mix into my colors that I'm putting on the, on the painting. So whenever I'm creating this sort of tonal sort of piece, I use any color at all. Use formulas. So I'm not like, oh, well, I'm painting greens. Let me mix read into it to knock it back. I'll like to use grades. I like to use any color that I know is going to do the job. So if I want to make a darker, OK, I'll just look on my palette and see what I have. That's darker and I'll add to it. And if it starts to lean to gray, I'll add a little blue. If I wanted a cooler, star saline to grade, I went to a warmer. I can add red or yellow or something like that. So I do paint a lot using tonal and chromatic pallets in mind. That is something that's very important to me. And I prefer painting this way because it gives me a lot more freedom. And typically I would say on a scale, I lean more towards a tonal painter. Then I do a high chromatic sort of palate guy. I just liked the beans stingy with color. I think. Colors good. And I do use a touch, a chroma, highly chromatic, chromatic Hughes and my work by tend to use him wars an accent versus a base, if you will. So like from my paintings to read more tonally versus an achromatic, colorful way. But you know, we all go through moods like everybody, sometimes I get tired of muted colors and I just want to throw some bright colors to come. But I like this over, let's say, split chromatic palettes and that analogous palates. I know those things work. And they're great. But I just for some reason there's there's not it's not in me to do it. I don't have the urge to say, okay, let me, let me do a split complementary palette. I like that. I dislike using any color, like exploring color. And I don't like things that inhibit me. So I tend to kind of gravitate towards the style I'm painting right now. So I've let this dry, or shall say up taking the hair dryer to it. So at this stage, everything is 100% dry. So I've got complete control over the painting again. So no longer will my details and mark some adding now run, unless it's running or mingling with what I'm actually putting down right now. So adding those details, a few little dots and lines hearing there. Just to give it a little more entrust, everything's pretty flat and non-descript right now. So adding a little bit of there, just to say as a leaf and that's a, you know, inside of a flower. Wherever they are. And a few sprinkles. So yeah, I think for the most part, hope this kinda stresses the point of using a tonal palette. That picture was taken a natural light even still, that probably looks very chromatic to you. But when we see this compared to its partner, youre going to notices. So let's go ahead and have a look at these two side-by-side and you'll see the difference. So there you go and just move on to bigger and better things. 9. Chromatic Floral Demo: Let's begin the demos with the chromatic version. So as you remember, chromatic pallets are all about using colors that are saturated. Now this doesn't mean that you have to use full intensity, okay? Doesn't mean that every single color you pick has to be blown up into a, you know, this bright intense colour. But the key is you want, when you look at the painting, he kinda one of the main elements and the bulk of the painting to read this way. So yeah, I'm not going to no, take my brush and just dip it into the paint and put it on the page. I'm going to thin it out with water. Anytime you thin watercolor out with water is going to desaturated a little bit. You're going to less than the intensity of it added a tube. And the tube is going to be somewhat opaque. But at the same time, I may mix it with a little bit of the red with yellow. I may mix the violet with little blue or a little bit of yellow to knock it back a little bit. But for them, and that way, when you get to those really chromatic colors, they jump out at you. But here you can see I'm working that I'll water into the violets. But still the violet reads as a violet. It doesn't read as the bulk of it is neutral with a touch of violet or gray with a touch of Violet. My greens are very green. They're very much a kind of vivid sort of line green. You can see some of you as I paint the greens, I will mix a little more yellow and to some of them. And then as they colours mingle. So as that green touches the wet read as his d1, now they're going to bleed into each other. So red into green, they're complimentary colors. So it's going to neutralize it. So there, there'll be a touch of that neutral happening. Were those colors mingle? But the key is I'm not pushing the neutrals. I'm not intentionally mixing colors or Dawn and anything in a way that is consistently reduce in the chroma of the colors other than perhaps adding a little bit of water. And then maybe here and there, I'll put a little bit of a compliment or some sort of other color into it that's going to neutralize it. So here, mixing up the green SOM. So you'll notice that some of those greens are more yellow, as I mentioned before, and certain areas and may have more pigment. So it'll look a little more intense. But again, for the most part, everything is. Chromatic, right? On this particular piece, I'm Dawn, This is very much just kind of generic floral things. You now probably you've seen looking on social media that stuck with me. But I am, I'm basically making these things up. I've got a template for these. And I'll give you the basic outline template. So if you want to create something similar, you can use the templates I furnish and this course as a guideline if or you can wing it. Just by looking at my finished piece and saying, alright, I'm gonna do something similar but I'm not going to copy everything Robert did. So, you know, take your pick of whatever you're comfortable with. And then you can kind of always branch out from there. So look at that blue, that blue is that little bit of turquoise, a little bit of ultramarine blue. A notice I'm not like getting too particular about colors on that, like mix your red user in this mixture violence using that. I want to lead you in the direction that I want you to go. But, you know, I'm not going to give you every every single color mixture per se. But, you know, I can easily tell you what's on my palette. Here. The key is to take the idea that I'm sharing with you. And then, you know, if you don't have these exact colors, you don't need them, just improvise and use what you have. But looking at my palette, I'm using the same hues all the way through. So ultramarine blue at the bottom, cobalt, turquoise, yellow ochre cad yellow, lemon, Alizarin crimson. And then I have pyrrole read. So with that blues, I did add a little bit of that turquoise into it. You see, i'm going around now and some of those, and making them more intense. So I'll want all those blues to read the same. Maybe some will be a little bit lighter because I use a little more water. Some will be darker because I use less water, and so on. Occasionally my hand is going to get in the way of with what I'm doing. But I'll talk you through it. That is a sword brush. So your brush is great because it can give you some really fine points. Some kinda nice, irregular, unpredictable, almost sort of strokes. And here I'm just going in with that needle brush and adding some details. A little bit of line work. So that little thin sort of lines or details, but they also balance the big bulky shapes. You don't want everything big and bulky. It's nice to have variety in a painting. So adding that some detail as well as some thin line work as a good way to balance out some of those big bulky shapes. So again, continuing that theme, adding some detail and texture to the leaves. But the color I'm using is a dark blue, a dark violet. Ok, so I'm not using BLAT. Nice saturated thick yellow there for the center of the flower. And that was pretty much highly chromatic because it was like right out of the tube. Remember thing there, there's levels of beat chromatic. There's things that are extremely chromatic and then things that are less chromatic. So have a range of chroma, don't know, like I mentioned before, you don't have to blast everything. But, you know, it's good to have the bulk of it one way and then you can kinda see how things balance out as you go and kind of make, make calls on where you need to tone things down and where you need to kinda up the intensity. So they are just a little bit of splattering Just to add to the looseness of it. Again, this, the paintings I'm doing in this series are all four rolls. You can apply these ideas to any subject, cityscapes, landscapes. It doesn't matter. And we start to really feel out these techniques. It's a lot of fun because you can take any image and infuse whatever sort of color palette you wish. And there's a lot of options, lots and lots of options on the ones I'm sharing with you in this course are just some giving you three ideas to run with. And it's not that these are the holy grail, color, harmony ideas. I mean, that would be silly as a teacher to ever say that. And of course, there'll be silly for you to believe it, no matter for us coming from me or anybody else. So my eye, the things I'm sharing with you or just ideas, things that work for me. Things I see with my own eyes. Other artists do. I'm like, wow, that's pretty cool and I study it a little bit and I'm like, Okay, maybe the artists intentionally did this with color. Maybe they did it. But this is what I see and this is why I feel at work. So there's a lot of interpretation and with art as you know. So anyway, this was wrapping up. So hopefully you can see on this piece how it took place. And there you can see the final image there, that picture taken a natural light. And there you go. So a good way to explore a chromatic palette. 10. Cool Dominant Palette 101: Welcome to the cool dominant demo. So you've seen the warm and action with that touch of cool. Obviously, this one's going to be dominant. Cool. So we can think of some greens, blues violence, which I really then put, I should have put a violet swatch down because that's really a great cool color to work with. But any case, I'll just put some blues down. Notice I'm using thin mixture, so very key like and now everything is dry. I didn't show my dryer there, but I let that first layer completely dry up and now I'll go a little bit thicker here, just adding more pigment to the mixture. And then I'll add that value to the face, to the cubed just so the colors aren't boring. I'll tell a little bit of green in there as well. And hopefully that'll break up some of the blue now that dry again. So I've taken a hairdryer, threw it off camera. Everything is dry. So I can start to move into it with some darker hues. I've got a cast shadow coming off to the right. So very similar to the 100 on the left. But I'm going to put the focal point this time on the side of the cube. So instead of making the shadow, the star on one and make the right-hand side of that Q star on this one. Just to show you how it works, you cannot compare the two side-by-side when I'm done. So read out, obviously read as a very dominant, warm color. And I can put that on the right-hand side of the Q and a sled that bleed into the blue shadow. Here I'm once you take a little bit darker hue. So I've got some cobalt, turquoise there, mixed probably with a little bit of blue, ultramarine blue. And then I'll go around the cube, sorry for the bump there, and get a little bit darker background. And if it bleeds a little bit into each other, it's not going to hurt it a whole lot. And I think notice adding one more layer to that background will kind of give it, make that cube pop out a little bit. All right, so, and we're getting a feel for how this one works. Again, I'll let it dry mostly probably about 90% here enough to kinda as some finishing touches. So getting some greens in the foreground and just kinda breaking up that rural flatness of that color and that's about it. I can come in and sprinkle some more heavy blues in there and the background and should do pretty good. So, but notice how that red is really speaking to you here, right? So this works great for pretty much any subject. It doesn't really matter. This case again, we use mostly cool hues. And when you lift a little bit of that red, so it doesn't like smack you in the face. And it's more subtle, but nevertheless, cool colors. With that pop of warm, isolated perhaps more greatly in one area, is a wonderful, wonderful way to use color and to create color harmony. So there it is, the final piece. And now let's take a look at both of them side by side so you can kinda see how this works. And then what we're gonna move on to some floral demos where we use these ideas in a different subject. 11. Warm Dominant Palette 101: All right, welcome to the demo dominant warm hue. So dealing with a situation where we're choosing only warm colors, the version on the right will be dominant Qu hues, which I will not do. And this one, we will start with the warm. So when you think of warm hues, hopefully you imagine some yellows, orange, reds, things of that nature. You can think of a gray that leans towards a red or yellow as well. So I'll put a few swatches down just in case he may be a little confused. Maybe you're brand new to painting. And I don't want to leave you with more questions than answers. So that is some examples of warm hues there on the bottom of Coulomb swapping here, I'll go ahead and add some cool hues on the right so we can think of blues, greens, things of that nature for cool. So green is cool because it has blue in it. Orange, just like oranges warm because a has red and yellow on it. And now I've got a swatch of yellow there or some yellow mixed on my palette. And I've got a little bit of turquoise blue there as well. So I'll mix those two together. And we'll get a yellow that favors a cool yellow. And the reason why is that yellow has a little touch of blue in it to make it like a greenish yellow. Just like we can take a blue and add a little bit of orange to it. And that'll make it more of a warm sort of color even though it's gray or whatever the case may be. Because I added a little bit of that blue to it. It's going to cool it off a little bit, especially we compare it to the swatch below it, the red or the orange rather, that doesn't have it. So anyway, it's all relative. But in any case, hopefully as we move through this demo, both of them, you'll have a good idea how this works. So on the warm side, obviously, we want to start with a nice warm tone. I use a little bit of yellow ochre and a little bit of cad, yellow lemon. So I'll kinda get that evenly spread and then I'll infuse a little more yellow into it. Now that cad yellow lemon is kinda of a cooler yellow vest because it does have a little more green into it as compared to the, say, a yellow ochre, which is just below it on the palette. That is, has a little bit of red in it. But in any case it's still warm. And now I'm going to work some reds end to that. As I go now have a hairdryer and I'm drying this off as I work into the wet paint. So I'll want my layers to stack on top of each other. But, you know, I'm working under film lights so things dry pretty quick. So I can kinda get through this pretty quick on my own time here. But or shall I say on the camera. So know that whenever you do these sort of demos and studies, no, it's probably best to put something down with watercolor, let it dry. And then as it's mostly dry or a 100% dry can come back over it and add some, add a layer to it. Now I'm putting a green down. He may say, well, hold on a second, robert. This was supposed to be warm. And it is I used a Bayes green, turquoise, and lemon yellow. I mix those two together and then I added a little bit of yellow ochre to it. Adding that yellow ochre to the green gives it that olive green look to it. So it's a very warm yellow. So it's not a cool yellow that leans towards a blue. It's more of a warm greeting that leans towards that kind of reddish tone. Now the shadow is blue. So there is my cool note. And again, this is a dominant warm demonstration where most of the colors I pick our warm. And then the idea is you come in with a hit of blue or cool. It could be green or whatever. It could be violet. Violet is more of a blue? Yes, or can be more of a red violet. But in general, Violet is a cooler color, especially when you're surrounding it with orange, red, and yellows. So look how that shadow jumps out at you. Now again, you may not want your shadow to be the focal point and I get it. But the idea is when you use a warm palette like this, you're going to hit it with some cool, somewhere. In that cool color is what's going to kinda jump out at you. And that's because it's surrounded other colors that are warmer. So naturally the odd man out is the one that's probably going to become more obvious. So again, this is a warm dominant demo with a touch of cool. If this were a landscape, maybe you would want to put the cool on a tree or something like that. But in this case again, I just use the shadow just to show you how it works. And in the floral demonstration I do next will put it to more of a subject that perhaps she can relate to. 12. Warm Dominant Palette Floral Demo: Alright, let's do a dominant warm floral demo. We understand how this idea works. Starting with some 140 pound cold press paper. This is just my round pointed round brush and just sprinkled some watering their very randomly. So some of the paper is dry, some of the papers wet. So I didn't pre wet the entire paper, only part of it. So some Alizarin crimson and they're also using some cad Red Light. There's the two reds on my palate. Now mixing in some ochres and just kind of letting those hues bleed into each other a little bit, are now getting into a kind of a very warm green. So you can say, well, well, Robert said Green was cool and it is, but if you take green and he push yellow ochre or more yellow into it, then that green is going to start taking on a warmer hue. If I take a base green and add more blue to it, then it's going to be an even cooler green. So you can take Hughes and infused either a warm or cool color into it and change the overall biased other color. So now just some neutral tenths. And I'm mixing some greens and reds together to get some sort of brownish sort of colors. Again, trying to keep everything fairly warm as the paint is wet here, just dripping some colors into it. I've got the board at a slight angle. So the water's going to drip down and I'm just kind of letting tipped it upside down so that the water doesn't run in one direction. And now while the colour is still wet, I'm going to drop a little bit of blue into it and you have to know that things are going to draw a lighter. So with watercolor, you're always going to get a drop-off. So I'm just adding that blew into it looks pretty dark right now, but actually when it dries, it'll be a little bit lighter. And now I'll flip it back right side up here. Use a hairdryer to dry it off that I would just speed up the process a little bit. Gotta be careful with a hairdryer. It's going to push the pigment around. The may or may not like the way is pushing it. So you can either know back the hairdryer up, you can reduce the speed if it has that option. Or you could just not use a hairdryer at all if you don't wanna do that, dropping a little bit of paint into that as I use the hairdryer. So if I see an area that I could, you know, drop some pigment into it, I do while it's still wet. And then I also took a paper towel there, a clean paper towel and I lifted a little bit of red as well. So typically when I'm drawing my work, I'll always kinda work the layer a little bit depending on what I, what I see. Alright, here still, uhm, with warmer Hughes. Obviously the blog got my blue in there. I got my cooler hue. And now I'm working with a darker hues, but no careful to keep them warm. So that's, that's the idea, right? We want to do a painting that has dominant warm hues. So as I mix each one, I'm very careful to make sure that a stick to the program there. So very loose brush work if you've been around my work for awhile, you know, I like to kind of have a little bit of fun with it. I'd rather fail at painting loose then too. Successful painting tight, rigid art. I like things that are a bit loose term, little more abstract. I've got a drawer full of reject paintings, things that don't work or didn't work. And that doesn't bother me at all. Used to this stage in the game. I'm just, I know it's par for the course. When you paint loose your, you're going to have rejects. Your going to not always make the best decisions. But again, to me, that's a better, I'd rather have that than a drawer full of predictable, tight artwork, which that doesn't do anything for me, doesn't mean I don't like to look at tight artwork. But in terms of the painting, it, the physical aspect of being an artist. I like the freedom of going loose and coming out with surprises. But all those reject paintings. I do always keep on for a good while. And I'll come back and do collage over top of them or, or something. So they, they never really go to waste. They always somehow some way managed to become a finished work of art at some point. Alright, so now just having fun with my sword brush. The sword brush is a great way to add loose calligraphic strokes. I did some line work and the flowers you so give them some sort of detail. Again, this is a flower arrangement that is just add in my head. I'm not following any sort of photographic reference. I will furnish templates of the so if you want a similar idea, I can easily provide that for you and you'll find that in the downloads. So just download those files and you can even get a template and that'll give you a, a base drawing to work with a similar too. When I'm using here, of course you can his goal and Pinterest and look for flower images and do your own rendition of this idea. Sorry, so look at what's happening here. People, things are staying warm. I did go back with some of the blue and I've worked some of that, blew into it just to give it more of a punch. And now just using that sword brushed to, you know, add some loose color, loose strokes to it. And all the while, looking at edge quality. Is there enough? Detail to make this piece believable? Or do I need to carve out some good edges? But you know, with our you only need one area that's fairly focused and detailed. As long as you have that, then it'll kinda hold together, even though there's a lot of abstract qualities to it. Alright, so hairdryer in full effect here, as it's drying, I've got that paper towel handy. I've gotta brush around if I need to lift areas where I want it to be a little more transparent, I can do that if I want to splash little color into it. I can do it as well. But anyway, I think that is pretty much dry at this point. And now we can start to look at it in greater detail to see what this painting needs. I'm going to go with some more saturated reds. I'll really want those flowers to be a little bit stronger, to have a little more meaning and role in the piece. And instead of everything being cad yellow or cad Red medium, I'm going to use some Alizarin crimson here. And that Alizarin crimson is just going to be used with the lines this creating a center for the flower and maybe an edge or some sort of, you know, abstract line work. So now going back into the blues, getting, making sure that cool color is situated somewhere near the focal point where I want you to look. And again, this, this could work with oranges, yellows, and it doesn't matter. You can take a grey hues and just push them towards a warm by adding reds and yellows to it as I've showed you before. And you know, just kind of do that sort of greyish painting and then hit it with a cool gray where you want to and you're good to go. So here is my matt acrylics. So Matt acrylics will dry very flat, which I think works better with watercolor. Watercolor has that flat look as well when it's dry. And I'll just kinda load up the brush here, use them appointed round and just get a few edge, edges work in here into it. I loved the on this. I know some people think, oh, that's cheating. That's not a real watercolor, but you know, I don't really care honestly. I like mixed media, like coming back in here and doing this sort of stuff. I think it adds a little more energy and character and expressiveness to the piece. And it's easy to go too far. But I'm just trying to carve out a few negative spaces and a few edges. Lost along the way. So painting lose has its advantages and disadvantages. For me, it's tend to kinda do it. Probably a lot of people do is I go too far or maybe I just and I guess in gone too far, I should say I just kind of let things get yeah, maybe lose its shape a little bit. So I guess that's what I'm trying to say. But anyway, I'll I like this and tie it into you'll see me grab a, a pencil here in just a second. And I'll come back in with my graphite and smack it with some good line work. And that thou didst really add to that expressive quality, that data like anyway, it's not for everybody, but it works for me. Alright, so hopefully that did more harm than good. Now I've got my I think that's actually a 4B, but yeah, just kinda gone gone over it a little bit scrubbing into that wet paint, getting a few leaves drawn in there. And that's good. So here is the finished piece. Obviously, that photo was taken a natural light. You're getting more than true color versus the film lights and hopefully you enjoyed it. So there you go. So all warm. What that touch a blue. And that's a great palette to use and it gives you a lot of flexibility. And hopefully this demo will help you understand that a little bit more. 13. Cool Dominant Palette Floral Demo: All right, welcome to the dominant cool floral demo. So you understand how the cool hues work. So we're dealing with a situation where we're going to use mostly cool hues and then we're going to pop it with some warm and an area where, you know, we want you to look or where I want you to look. So I use Alizarin crimson and you're probably saying, well, hold on a second robber, Alizarin crimson as a read. So I thin that out. So we fan out Alizarin crimson, wallah. You get pink. I use a touch a blue into that to just to get a little smidge of violet happening there. And now just going in with these really vivid, maybe not vivid is the right way to describe, but just more of a lime green. Cobalt turquoise is an awesome color to use. For greens. It's got a green bias to it, but we mix it with that lemon, yellow cad, yellow, lemon mean that green is really pops out at us. So there's that warm, remember that? So we've got all that warm hues now, you know, looking at that and then looking at this, you can see how much cooler this one's coming across. So even though I'm kinda using a red family for the flowers, pushing it more to the crimson and the violet. Now working into that wet paint with some slightly thicker paint and getting the flowers. And their notice with this one too, I didn't start with a drawing. I was pretty comfortable with where I was going with it and I decided not to use a drawing for this one. So sometimes I do that, especially if I'm comfortable with what I'm doing. So I'd like for those washes to run back and forth. So as I dry it here, I'm going to encourage it to run the opposite way as it dries. I liked to work into that a little bit when necessary, if necessary. So in this case I'm doing one, some nice warm colors near the focal point. So I'll pop that yellow next to that cool red. And now just putting a little more in there, just to enhance the yellow. I don't want the yellow just in one spot. So it's nice to have like maybe one Papa yellow and then maybe one smaller pop. And now as it's starting to dry, I can add thin layers here in there of other color. Just to get it to loosen up a little bit. I like that idea of layers with watercolor. Kinda putting a layer down and then putting another layer over top of it. And you can see through it to the bottom layer because of the transparency. So I kind of like that about it. Too much of it will sometimes become a little distracting, but just the right amount, I think, will give the painting a nice quality. Alright, so here we are moving into the vase, moving in with all this also another cool color. There's blues work nicely. There's blues over the magenta is and the violence like that. We'll give it a violet color. And really going for it. You know, I did a few demos, honestly. I think I did two other versions of this. Cool floral. I just didn't like them. So, you know, if you fail once or twice or whatever, 5-6 times, you know, it doesn't matter. I mean, don't get frustrated. And, you know, just kinda go for it and let, let the brush that the peace, let the medium mingle, do its thing. You'll have some success with it. And when you're done, you'll, you'll have a piece that you really, really love. And it doesn't look too predictable and trite, boring and all that stuff. But yeah, I mean, I had to do several to get the one that I wanted to share with you. So that makes you feel any better than yea. So now moving in again with some very transparent layers, I'm still working thin with the greens. I went a little bit thicker near that focal point and just bouncing around a little bit trying to find that balance between edges and lost edges. Detail and no detail. That's not an easy thing to do. You can plan that sort of thing. Which in some cases, I guess I did here because I've got the focal point of that flower and I've got some good edge quality going there. But then the rest of the painting has to be addressed too. So it's always a balance with art. I mean, if you're painting tight depictions of things and trying to get realistic paintings, you know, you're trying to capture every single nuance. But with painting loose like this, it's about, That's about the balance of everything and trying to let abstract live and your work. And at the same time, you have to have enough representational qualities there to make the piece hold together. And that's always the juggle. You know, that's always the things you're trying to, to pull off. So here just working with some more intense blues, trying to get a popup color in there. I've gotten my lovely sword brush and action here. Absolutely loved that thing. The more I use it, the more I like it. I haven't really used. The sort as long as you may think about it. And maybe year and a half or so ago, sat around for a little while because I do other mediums. I do mixed media, do acrylics. So water color comes and goes, you know, it just moves, do certain things and I'd get away from it. But anyway, I wanted to use it more often because I liked to draw and to my paintings. I love line work. So at first it took some getting used to. But now I just love that familiar area you get with art materials and brushes and paper. And with this one it's the same thing, but there's also a level of unpredictable strokes that you get that you just never get used to because it's just going to continue to say, nope, I'm gonna go here, even though you want me to do this, I'm gonna do that. So I like that. I like that about any sort of thing that I can use that will give me a result, but it's not going to make it too predictable. So I'll let this dry at a 100%. You can see that drop-off and intensity. How we went from, you know, saturated and kind of meaty to like, Oh, what happened to all the color? But as fine, that's, that's kinda the nature of the medium. I'm using my Mac acrylics now to drop in a few expressive strokes to get, regain an edge here and there. And Adorno and more to compliment what I've already done with the first version. So I did the warm version first and I came back into this 1 second. So I'm going to keep them similar and their style and medium. So I think a 4B they're just describing into that wet paint into the painting. Don't want some more line work. And now I'll kinda box at all here. So we have a look at the, near the main focus. You can kind of see it in the source square or rectangle. Alright, now I've got both of them here. Let's have a look at them side-by-side. Notice how the blue near the red kinda draw is your IN that warm yellow near the cool magenta is the cool reds. Kinda pull you Anakin can take that a little bit to another level by just adding a little bit stronger yellow. So again, so dominant, warm with a touch, a cool, dominant cool with a touch, a warm. Feel free to mix colors, try different combinations. Thank you'll find they really work. So here is the cool version, and now let's compare the two of them side-by-side. So again, a great color harmony idea to think about for your next masterpiece. 14. Light and Dark Hues Dominant 101: I'm going to squeeze a couple of demos here at one time. So we'll do dominant light and dominant dark hues. So what this will do, and I'll do this simultaneously here, paying them side-by-side. So another, really a very effective way to use color and to manipulate color. And to do it, I will get my cubes are drawn in. On the left-hand side is going to be mostly a light value. So everything I do will every hue up, put down at this point will be very thinned out with water. So I showed you how to do that. And when we worked with color, and doesn't matter whether it's fallow green fellow Blue or limit cad, yellow, lemon laws. We've thinned them out really good with water. All of those hues can reach a certain value that is very, very light on the value scale. So here I'll just make a swatch there and show you basically, well, now I'm going to lift it, but that is kinda the, the base value that I'm thinking about here. So again, very watered-down, but it can make you still have some color there. So we've got the yellow, we got a little Alizarin, crimson, B got a little bit of green. And now everything's working about the same. So if we were to gray this out, it's all about the same value. So all those colors would roughly merge into one value. And you can explore, it, doesn't matter. You can use turquoise, You can use yellow, ochre, Alizarin, crimson. He can mix premix, your violet, whatever, just keep your values light. Again, that this color harmony class isn't about using things that you may know about already, like color combinations on the color wheel. It's about trying new ideas are so here on the right and we'll be mostly dark values. So I had my light source coming from the top right hand side on both examples. So again, using my cube, so my, my drawing here will have a little bit of a cast shadow coming off to the left. And so I'll just kind of make sure you understand that light source because it will be important to, to understand that as we move forward on this demo. So here starting with some light values on the right-hand side of that cube. And now I can go right in and start punching it with some medium values. So I've got some green on my palette, probably a little bit of turquoise, little bit of red in that, maybe even in some, maybe some ochre. And I'm just pulling out random colors here. There's nothing premeditated about the color selection on just simply looking on my palate and insane. Okay, that looks like a good dark value. Let's go for it. So under same the value hierarchy where I want my lighter value to be and where I want my darker value to be. So the lighter value will be on the right-hand side of the cube. So the top of the cube, there'll be a little bit darker. So you can think about a light that's hitting the cube. But as, as, as hitting more of the side of the Q versus the top of the cube. So instead of maybe the light source coming from the top right will say Kinda like the lower-right area. So that hopefully will clarify the values that I'm picking out for this. So here I'm just using some red. So again, very kinda strange AMI, color combination that you may not have thought about. You know, this kind of murky red, turquoise, greenish look in background is dark and value a purple, violet, magenta almost for the face of the cube. And now I've got this kind of brownish cash shadow. So I'll lift a little bit of the bleeding this going on. So obviously I did that alla prima. So just kinda one go. I didn't let anything dry. Where on the left-hand side I'm letting those light values dry. So I'm gonna go over it with some darker values. But with this one, I just kinda went ahead and went for. So dominant value is here. So look at that swatch I just put down. You can see that average value is right in there. And that's going to give you a good idea of kinda how that works. And then the only literally light value, there's a few specks of the white of the paper shining through in certain areas, but that kinda washed out yellow on the right is that light value that's popping out against all the darker values. And again, now mixed colors. You guys, I mean, this is what it's all about. You know, we try to give you tools that will open you up and think more creatively to take risks, to have more freedom. And he noticed to not think so rigid about everything and hopefully and the end. And Yeah, once you understand the concept, then you practice it enough. You'll, you'll, you'll embrace the idea. At first is a learning curve. You have to get used to it. But I think over time, if you, if you really want to incorporate it and infuse these ideas in your work and find freedom. You'll find the time to practice it. And I think you'll, eventually, you'll find that no painting will become little more enjoyable because the rules are there, but you kinda have reached a point where, you know, you can take some liberty. And and hopefully that, you know, that's what this sort of thing is doing where you're like, okay, well, mostly dark values with a pop of light and the papa light is going to kinda jump out at you. And then to say, it's just, hey, I can see the color is blue but you know, I'm gonna change it to Violet and I see the color is green. We, I, you know what, I'm going to change it to magenta and just see what happens. Alright, so now working with the mostly light and new with this one, I'm keeping things very pale obviously. And then we're going to have the one dark value. So in this case, I'm going to put the dark value on the face of the cube. So unlike the one on the right where the cube, the light is hitting the cube a little bit lower on the version on the left and I'm painting now, I'm going to pretend or imagine that the light is coming from the top right. So it's putting the dark value on the face of that cube. And so that will be the dominant dark. Now, I can still take another layer here, take another go at some of these Hughes. So not even though that we want, we want it to be dominant light, I can still water down some of these mixtures and add a little bit of body to some of those shoes. So it doesn't have to be just one layer. You can do several layers. It just depends on how, how you manage your water. But for the most part, and you're pigment. But for the most part hopefully you can see how that dark of the face of the cube jumps out at you. Everything else is a fairly light value or even lift a little bit of that shadow. And again, a very effective way to do it. It doesn't, a cubed doesn't really show the strength of this as well as maybe other subjects. But this is an excellent way to, to color harmonize. And I'm gonna get into that in the next set of demos and show you some fluorophores. But here they are. Sabah side dry, obviously taken and natural light like I tried to do with all of my demos. So you see a more of a true depiction of the hues. So there you go. And I'll see you in the demos. 15. Dominant Light Palette Floral Demo: Time for the dominant light floral demo. We will follow the same ideas as I showed you in the cube. So we're looking for mostly light values with watercolor, as I mentioned, and some of the color ideas I shared with you, like values can be done by simply thinning Hughes out with water. They can be used simply by choosing colors that are of a light value. Obviously, when you look at some of the colors on the palette that are on my right, the dark blues, Alizarin crimson sends. Those shoes are naturally darker. But those Hughes to if we take a little bit of Waters, who on they can still lighten. Alizarin crimson, for example, makes a lovely light pink. Now for my drawing, I'm just making a lot of this up, just some simple fluorophores. As I mentioned, I'm going to furnish all of these templates for you. I'm not really following a photograph or anything, just kinda getting some generic ideas down and hopefully let the medium and the brushwork and all do the heavy lifting for me. So I'm not trying to copy or reproduce anything that I see on an image or a nature. So all right, so yellow ochre, a little touch of Alizarin, crimson and reds and that's going to give me a kind of a warmer yellow. Think of a brick or something like that. And now mostly Alizarin crimson on the second flour. And that's going to create a little diversity. And, you know, I don't want the two flowers because they're of equal size to be the same hue or the same year, the same color. And now just going back and forth between those two, Hughes and mixtures and adding water, you'll be surprised at just adding water to a color and things like that will small changes will create a range of hughes. So a lot of times I think it's easy to, for artists including myself to think, Oh well, let me give these highly saturated colors, thick and all that stuff. And that's the only way to create a colorful painting. But I'm, you can do a kind of a low key or Heikki, I should say painting. And this case, watercolor by just using, you know, thinned out. Hughes has, I'm Dawn, just by using a lot of water and with these mixtures and just creating subtle changes. And that alone you can create a colorful painting without ever going to a really thick milk or honey-like mixture. Talked about that in my watercolor painting or easy watercolor paintings course. Where there's those three mixtures, tea milk and honey TB and super thin milk bean in the middle and then honey bean, that thick mixture where you're having more pigment than water. But now, as I'm taking a hairdryer to it, I'm adding queue, so I'm adding a little bit of yellow adding and lifting. So there I just used a wet brush to lift Hughes. So as it's drying, I'm taking the opportunity to slowly either remove paint or add hue to it. So as the pigment comes, becomes completely dry, then you're stuck with what you have. So as I dry it, a lot of times I will look at it. And if it starts to dry a little flat or if it starts to look a little bit dull, I can always charge it now by dropping paint into it. Or I can just simply use a wet, clean brush and rub it and then take a paper towel and lift. So when I'm driving and I'm always kinda looking at how things are reacting as they become dry. So anyway, taking no, so using my appointed round here to adding some smaller shapes and just kinda trying to find that balance between large, medium and small shapes. And I mean, you definitely want a range. If you can't all possible, with the painting, a painting with too many large shapes becomes dull. A painting with too many small shapes becomes too busy. And in both of those cases, it's not really ideal. If you can get that one big shape and then another kind of big medium, medium in there and then add some smaller ones. And I think that tends to work better. If, if a hue becomes a little bit too saturated or too dark. I use a paper towel or napkin. Whenever I have handy there a rag and i will lift it. So you can see I use that technique quite a bit. And now really just taking those T mixtures, everything I'm doing now is still very thin. And that's because I want it to, I want to add layers. So when we paint over top of a dry layer, we start to get that texture. Conda adds depth, I guess, to the piece. But she had to be careful whenever obviously you add even a thin layer of paint over a thin layer of paint. It's going to get darker as you go. You just can't get away from it. So. I have to use really weak mixtures because again, I'm going for that look of where I'm getting mostly high key hues or colors. So they're very light and value. And I want to end with a focal point that's darker. So with watercolor painting is kinda common to work. Light to dark. So we start with these very thin key like mixtures. And then as we work through the painting and towards the end, you know, it's common to get or to make sure that the mixtures have more and more pigment in them. So naturally as I showed you in the color mixing idea, and the swatches that paint straight out of the tube is going to be darker. And then as we add water to it, it becomes lighter and value. And so as we work, as I work through this painting, I'll use thicker colors, but they're not overly thick. So careful not to use that really dark value. And because I know I want to end with that. So now I'm moving into my darks also switch to my sword brush. So the sword brush has an irregular tip to it. Almost like a triangle sort of shape. Whereas kinda long on one end and it kinda tapers back. You can get some really organic shapes like that. Unpredictable maybe on they're also good for Lane and leaf shapes. They're great for Dawn thin line work as well. But they're kinda give you a calligraphic sort of quality. Even as I tried to do a thin line. And I start to move the brush across the paper that, that thin lines going to have a variety, a thickness to it because of the way that the bristles are shapes. So really a gray brush to have always a kind of recommend and it suggests you have a good sword brush handy. Because if he like, you know, doing these really organic lines and you'd like to paint even these floor walls and botanical and stuff. They really, I think it really does a great job of putting that down effectively. And, but yet it doesn't leave you, leave it to stuff and rigid. Alright, so now more and more pigment added to this. So using some blues, some neutral tense, a little bit of that green in there. And you can see how that, even though we have flowers and things like that that are kind of maybe the star you think would be the star of the painting because the leaf itself is dark, it tends to jump out at you more. And that's because as a whole, the painting itself is a dominant light value. So if I had more dark values spread everywhere and it will be, it would change. I mean, it wouldn't, the dark wouldn't be as eye-catching. So it's important when you do this sort of color harmony idea that you're super stingy with that dark. And you really want it concentrated on near focal point or you want it to be the focal point. So I could have easily made the red flower dark eyes and let the leaves light value. I could have made the flower up top that kinda pinkish brown top right-hand corner. I could have made that the star. And that case I would have made the leaves a very light value. I wouldn't just added more layers onto that flower. So there, there's a lot of range and opportunity with techniques like this. And a landscape. You could imagine. You could show that dark anywhere. It can be a tree, it could be a car, could be a figure walking near a car and a cast shadow. So it's really a useful idea and I think to just gives you more range and no, it doesn't inhibit you as much as this say, we're only going to work with these colors and we're going to have to only use and mixed with these in order to create color where this sort of technique, you can actually do a lot of different colors. But because you're, you're thinking more about value, you're thinking more about keeping things a light value and enlightened medium value. And then you come back in the smack that dark. And those colors could almost be any color. And it would probably work pretty well. So, interesting way to think about color. And I think oftentimes we, we get a little bit rigid and traditional and only use, you know, split complementary and analyse Analogous Colors and or worse, we just copy what we see. We're authoring this. Again, this sort of idea can really open you up. Alright, so now I'm doing a little bit of collaging. So I used a little bit of white acrylic, acrylic earlier into my water color to bring back some of the white of the paper. And in this case, I use sum mod podge and as my adhesive and the glue. And then I use just some blank white paper now dispensable that in there to bring back some of the the white because I felt like it was just a little bit too clunky. And they're so just because you don't get it right. And I didn't get it right the first time. I wish I would have left to little more than white of the paper for some of those shapes just got a little bit too distracting because there was kinda one blob. You know, you can use a little painting, you use a little white paper for collaging. You know, don't, don't limit yourself. Two options, and don't try to think openly. I'll always be open-minded about what you do. So anyway, this adding some pencil marks here, I like scrubbing into the paint with my pencil and drawing into it. I kept the lines fairly lightened value that was a 2B. And there it is. So hopefully you can see how the green leaves kinda jump out at you and everything else kind of phase back a little bit, but it's just enough there, I think, to make it a decent paintings. So I hope you enjoyed the demo. 16. Dominant Dark Palette Floral Demo: And this one, I'm going to do a dominant dark floral demo. And I will start with a pencil drawing. These fluorophores I'll probably have mentioned before are really made up. So I am just kinda working from imagination, but I will furnish a template for those of you that wanna do something similar. Of course, you can do botanical rules for holes. You can use these ideas in landscapes or whatever subject you see fit. But again, I will furnish templates of all these. Now I'm going to take clean water and drop it at random faces on the paper and then start moving in with some lighter values. You have to keep in mind that whatever color will dry, much lighter whenever you apply it. So even though I'm putting these Hughes down because it's on fresh white paper is the first layer of that intensity and color is going to fade. So you have to kinda have a little bit of experience and know that. That's how watercolor work. The characteristics of the medium. As far as the colors go. Again, I'm just keeping them light, but I do have a little Alizarin crimson there for the red and pinkish hues. As I mentioned and demonstrated earlier on, depending on how much water you use in a color is going to depend on the value sometimes. So obviously you can put a lot of water into any hue and you will make it very pale. And of course, you can use less water and make that color a little more intense. And typically when a color is more intense and it's going to have a little bit darker value to also using some cad yellow, lemon light, yellow ochres and some for the greens. I'm using turquoise with a little bit of my yellows. Alright, so I'll kinda showed you there where I wanted my focal point to B, which is that top right hand flour. And I'm just adding a little bit of water, a little bit of color to that just to get that layered look and to get a little bit of movement in that shape on, I don't want the color and I don't want the shape to be too boring or flat. So while working some wet into wet there and they use them my napkin to remove some of it will often do the job. Now I'm taking a hairdryer to the piece. And it's pretty common whenever I'm drawing like this, you'll see me grabbed my brush and I'll work the paint. And that's because again, whatever color has characteristics and when it's semi dry, it's Amika still work into it. So this is still working wet into wet. But as it gets to a certain dryness, I'll add a little bit of pigment here in there just to get. Some, some shapes and some colors going on that I needed. So anyway, I do like to work into my paint as I'm drawing it like that. Alright, so now is 100% dry. I have a pretty clean area on my palette. And I want the color to be sort of a navy blue. I think that would sit really well and compliment what I have. My focal point again is going to be kind of the top right, the flower in the top right-hand corner, I should say. And, and that general area. But I do want the painting to have some color to it. I don't want it to be dull. If I were to use just a neutral here, which would work fine OK. OK. To go with a brown or warm gray or cool gray or something that will work. Okay. But I guess I was just feeling the color and I wanted to, to go with these blues. You'll see using the tip of my brush there to bring out some details and some smaller shapes using that yellow on the original layer and just kind of draw some negative space painting. So it's important when you're painting to always think about shapes. You want some large shapes. Ami, you want a couple of large shapes, you know, maybe one or shall say one probably larger than the other, you know, large, medium shape. And then of course you need some small and an even smaller shapes. So always try to balance out your shapes. When you're painting. You don't want, again, everything to be too, too much the same. And of course, if you're doing something very contemporary and modern or geometric, even you can. I've seen paintings were they use the similar size shape all the way through, but that's more design. I think with a botanical or a floral like I'm doing here. You know, you were going to need that range of shapes to keep things interesting. Alright, so you'll notice that color, the background color, I'm using authentic out in a few places, but as I whenever that green notice because that green is so much darker than the flower on the top right, and even the red flower. How it doesn't draw your attention as much. And that's because of the contrast. That's the beauty of painting. A dominant dark like this. If you, if you understand the layering aspect and of course, whenever I put those greens in, a new OUT1 is something of a medium or even slightly darker value. And of course I wanted that really light flower and the top right hand corner. So if I were to leave those greens too pale green of a green rather, then it would take your attention away from the flower. So when I'm doing this dominant, dark, uh, one of those leaves to be a medium value. So that way they didn't distract too much from where out1 and your eye to go, which is going to be the floral. And of course, these demonstrations are done not necessarily to create the next Mona Lisa or some sort of stunning painting there, there really just to illustrate ideas and techniques. So I'm just almost exaggerating things at sometime, some points and then other times, you know, maybe playing it down. But, you know, the goal is to show you how dominant dark like this works really well. And of course, when you use an it, always think about kinda, you know, the design where you want your lightest light to be. And that way when you're putting your initial washed down. And you can kind of do something similar as I did with the leaves. And just make sure those are that it can be colorful, but you want them to be a darker value. So that way again, you know, it's not competing with the leaves. So anyway, that is going to take care of this demo. We'll take a picture or take a look at it. And this is the image here that was taken in natural light. So I'll see you in the next one. 17. Your Project: Congratulations on making it this far. By now, I would have to assume you have watched all of the wonderful demonstrations and have some great energy and excitement who start these on your own? So for the projects you can again use the templates of included. So feel free to download those and paint your own lovely floor rolls. Or you can use any subject, landscape, seascape, portrait. It doesn't matter if you find yourself struggling with a technique. Go back to the good ol simple cube, put that idea to use in a simple subject and then graduate to something a little more challenging as you fill confident, the main thing I want you to do here is roll up your sleeves and get to painting. So complete your project as the only way you're going to learn. You're going to get a little bit of information by watching me. But it's not really going to help you employ these ideas. If you get stuck and you need help, feel free to reach out. That's why I'm here. So good luck with color harmony and your project. I want to thank you for taking this course and I will see you in the next one.