Color Wheel Part 2: Painting With Mixed Colors | Natalie Williams | Skillshare

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Color Wheel Part 2: Painting With Mixed Colors

teacher avatar Natalie Williams, Professional artist and art teacher

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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

8 Lessons (1h 28m)
    • 1. Welcome to Color Wheels and Color Mixing Part Two!

    • 2. Materials You'll Need

    • 3. Color Mixing Part 1

    • 4. Color Mixing Part 2

    • 5. Color Scheme Exercise

    • 6. Final Project: Apple Painting with a Limited Palette

    • 7. See you in the next class!

    • 8. BONUS VIDEO: Different Kinds of Watercolor Palettes

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About This Class

In this class we will building on the skills learned in my Intro to the Color Wheel class! We will be talking about color schemes, mixing paints with colors that aren't true primaries, and different ways to use the color wheel when you are planning your artwork. Our big final project is to create a painting with just three colors - magenta (red), yellow, and blue! 

This class should help you feel more confident in understanding what colors work together to create the color that you want. You can reach out to me through SkillShare or any of my social media platforms (@nataliedrawn) to get feedback or have additional questions answered. 

I hope you enjoy this class! 

Meet Your Teacher

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Natalie Williams

Professional artist and art teacher


Hello, I'm Natalie! I am a professional artist and art teacher, living in the Phoenix area of Arizona, USA. I work primarily in watercolor, but I also enjoy chalk pastels, oil paints, acrylic paints, and digital illustration. You can find me most active on Instagram, but I also have a YouTube channel and Facebook page. You can shop my designs in my Redbubble store, or directly on my Instagram page by sending a DM. I look forward to teaching you many different things on this platform! Thanks for stopping by! 


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1. Welcome to Color Wheels and Color Mixing Part Two!: Hi guys and welcome to color wheel class part two. So if you haven't taken my first class on sculpture, that's my introduction to color, the color wheel in color mixing. You're gonna wanna go ahead and take that now because that's gonna give you your base knowledge that you'll need to take this class. If you have taken that class, then thank you for coming back and taking part to. In this class, we're going to talk more about color mixing and we're going to look at what it looks like to mix different colors, different types of reds, different types of blues, and the mixes that those colors give us. And we're going to talk a little bit about color schemes. So we'll talk more about words like analogous and split, complementary and triadic and talk about kind of what those colors mean and some ideas on how to use them. We're also going to complete a painting in this class using only the three primary colors as our final project. So stick around. I hope you come away from this class feeling like you've gained the knowledge and competence to mix your colors and experiment with limited palettes. So with that said, let's get right into it. I'll see you guys in the next video. 2. Materials You'll Need: So again, for materials that you'll need, I have a dirty water and clean water jar, pencil eraser. I finally upgraded and now I have two stencils. And we're going to use both of these in class so that you can see how to use different color wheel stencils. I have watercolor paper. This is Canson XL watercolor paper. You can use whatever you have. This is pretty decent. Run of the mill. Watercolor paper. It's not the best people on the market, but it's not the worst and it's my go-to. I use it all the time. So it's a pretty standard paper to have if you're getting into water color. I have a pencil and eraser. And I have my favorite brush. I talked about this last time, and this is my Princeton aqua elite round three brush. This is a very versatile brush. I use it a lot whenever I am painting. I have my old washcloth to dry my brush off. But you you can use a paper towel or whatever you have at your disposal. And I have my ceramic mixing dish, so you don't necessarily have to have a ceramic mixing dish like this. See you can have a plastic one. Whatever you have to mix your tins makes your tends to mix your colors in. If you use your ten, like Use the lid of your ten, that's fine too. Whatever it is that you have at your disposal. So I want this to be very user-friendly. Don't feel like you have to have expensive things or the very best stuff or everything that I have used, what you do have. So I will see you guys in the next video and we will get started. 3. Color Mixing Part 1: There are a couple of different ways that you can use this tensile. I was going to trace it with my pencil, but that's kind of a lot of shapes. So I decided that what I'm gonna do instead is to tape down this tensile. So I just have some washy tape and I'm going to just take my stencil to the papers so that I can paint right over the top of it. The sides too, just so that it stays secure. So I am using Washi tape. You can use whatever table you have, but you want to be careful if you're using masking tape or something that's really sticky, what you wanna do is rip however much you want off and then stick it to your clothes, like genes or really good or fuzzy tee shirt and then peel it off of your clothes. What that does is it takes away some of the adhesive oddness of the tape and it allows it to become less sticky, so will still hold something down, but it won't tear your paper when you go to remove the tape. So this we'll color wheel is a very common one that you will see very often. It's one that has different levels in it. So the way that we're going to use this with watercolor is to dilute the color as it goes down. So we're gonna add a little bit of water are a little more water and more water at the centre so that our color gets progressively lighter as we move towards the middle. The way you would use this if you were painting not with watercolors, would be to create what we call a tint. So if you're using acrylic paints, oil paints, and maybe even wash paints, what you can do is start adding white to your pains and that's going to make it a lighter shade. So while lighter tint. So a ten does when we add white to our color, a shade as when we add black to our colors. So you could do that as well by adding a little bit of black, more black, even more black. And then it would get a different shade as you go towards the middle. You could also put your pigment, you're hue in one of the middle ones and then do your shade on the outside and your tent in the middle. And then you could do a neutral color in here. So you could take, if this was my magenta may green over here in the middle, I can create my neutral color. So by adding green and red together, I would create a warm Brown and I could paint that here. And that way, you have a lot of information in a small place. If we're doing that with watercolor. We still can use this inner circle to create neutral mixes and do the pigment or the hue in one of these and do lighter as we get toward the center. And if we wanted to leave this blank or if we wanted to put like the complement here, we can do that. So there's a lot of ways for us to use this stencil. So I'm gonna just start painting, I think what the colors that I am going to use in this colour wheel are going to be Alizarin crimson. So you'll notice that this is darker. Then the car mine and the quinacridone magenta that I used last time, and it's also a little bit more warm. So then I want to add some water to that so that it's a little bit later, so little to light. And then a little bit lighter, and then a little bit later. So by doing it this way, I'm not going to necessarily have the clean as lines when I peel the stencil off, I didn't tape it down to do that. And that's okay for this demonstration. I don't necessarily need the clean lines, but if you wanted them, you could have them. Okay, so and then we're gonna skip three. And this is going to be our yellow color. So I'm gonna stick with the Indian Yellow for this because my Alizarin crimson is just warm enough. And I wanted to pick a warm yellow to go with it. This red is a little bit too dark for me. I'm in a lift some of that color off by drying my brush, a clean brush and not that I don't want to contaminate it and just lifting some of that pigment off with my drag fresh. Okay. So I have my primary red, I have my primary yellow, and I'm gonna skip three more. And I'm gonna come over here and do my blue. And what I think I'm gonna do for this blue here is the Prussian blue so that we can see what a really dark blue is gonna do. When we mix it as a primary. Might need to put a little bit more blue in there. Okay, so now I can take my ceramic mixing pile and we can start creating our mixes. So we have our Alizarin crimson and our Indian yellow here. So I'm going to put those on my palette. Make sure you guys can see what I'm doing. So there's my Alizarin crimson. And then I'm gonna take that Indian Yellow. And I'm going to start mixing. And since we already talked about this in the color wheel class, I'm not gonna go into too much detail here. I am just going to create some mixes so that we can see how those colors interact. And you can see this is a very nice, rich, warm orange color. And I'm just gonna go down my steps to get lighter as I go towards the middle. So now that I have an orange main, if I took some of that Prussian blue and I added it to the orange, we are making in neutral color. And I can paint that neutral color on both sides so that we can see what that looks like mixed with its complement. So if I took Alizarin crimson in Prussian blue, and I mix them together. To make this really pretty, I need a little bit more Alizarin crimson and got a little bit blue on me. So there's weak, that's better. So then we can take this per ball. Tell it in. Okay, so then instead of painting on the bottom that really light color, what I'm gonna do instead is I'm gonna take the Indian yellow and I'm gonna start to mix it in with that purple. And we get this brown color here. And that can go and both sides. So we have more information about our colors are color wheel, it's all located in one place. So now I'm gonna make my last mint green. So the Indian yellow again, what the Prussian blue. Get this really pretty grass green color. Got a little bit too late. I just want to make as much darker K. Okay, so now because I have this lovely green mixture, I can come in with my Alizarin crimson and I can start to make that brown. You can see it's a nice warm brands, almost like a burnt sienna. What you get when you mix red and green together. So it has a little bit more blue in it, so it's a little bit more darker. But essentially that is how we are making mixes. So I could go ahead and fill this in. I don't think you need to watch me do that. And you know how to fill in the color wheel. So I'm just going to take my stencil off so we can use it for a different painting. My lanes aren't too bad showing. And we're going to move on to another type of colour wheel. So I will see you guys in the next video. 4. Color Mixing Part 2: Oh right, so this is our second color wheel design that we're going to talk about in this class. And it's one that I really like the idea of. So it has these three triangle shapes in the middle for the your primary colors. And then outside of that is the three secondary colors. So that would be where our 50-50 mixes are going. And then all around the outside we can create all the different kinds of mixtures. So in our traditional color wheel here, we would have one that's a 50-50 and then one that is more of one primary and one that has more of the other primary. So you're only getting to see three different shades. And with this one, we can share more than that because we have all of those boxes around the outside. So I went ahead and traced this one out with a pencil. And then I'm just gonna try and stay in my lines here. But we're going to use different colors this time. So last time we used Alizarin crimson, Indian yellow, and Prussian blue. This time. Let's do then nap fall Red and the Egypt blue and play around if we want to do the bismuth or the Indian yellow. So let's do a little experiment. Let's take some of the nap fall read this, is that fire engine red color. It's really pretty okay. And then let's put a little bit of business. My brush a little bit better. Bismuth yellow over here, and the Indian yellow over here. And then we can mix them. That's not a bad orange. Knew a little bit more Indian yellow. So we can see those two. I think I like the Indian yellow a little bit better with this. So I think that's what I'm going to go with. But first, I'm going to paint my primary colors in here. So let's do the nap fall ran. And if you want, you campaign this all the same color, or you can do a gradient. I am a big fan of gradients, but you do not have to, if you do not want to go get some stuff it in the way here where my hand wants to be. Okay, then we're gonna do, we're gonna stick with that Indian yellow. It's just my favorite. I'm a little bit biased. You can use whatever. Yuan. Got a little out of the lines on that one. I was not paying attention to what I was doing. Clean that up a little. And I also didn't create a gradient without one. So I can go in and add a little bit of water and lift some of that pigment, lighten it up, create a little bit of a gradient. And then we'll do that Egypt blue, similar to this Cerulean, and that's a low blue. It's a little different of a color, but it's one of my favorite blues to use. Very pretty. Well. Wait, is this early and I didn't pick up the right color. Let's see if we can lift some of that off. I thought it looked like it wasn't the right color. Ok. So now let's try again. There we go. That's the color I want. Alright. So do that gradient N, And there we go. Okay. So now bring this back. And we will pick up some of that orange that we just made when we were testing out, make sure it's from the right side through a little bit more of a straight pigment in there. And we're just gonna do this whole thing. Orange. So there's that. Then we're in, take the nap. Oh, and Egypt. Mix those together. So this is where you're gonna notice that we're not getting as a vibrant Of a purple. And that is because we're not using a true primary red. So even though the nap fall out really well with the Indian yellow, because it's not that pinky. Red color are purple as a little bit more. So now we'll do our green. So we'll pick up more of the Egypt blue, Indian yellow. Mix them together. So I'm getting sort of that grassy green color and trained to find a balance here. That looks okay. So this color will, there's not really a spot for our neutral colors and that's OK. We don't have to have them in every color will. But we do get the trade off is that we get to have more mixes of our colors. So there's the primaries and the secondary colors. And as that Purple has dried, you've seen that it's just a little bit on the muddy site. It's not a vibrant purple. And that's because of the colors that we have mixed together. So let's play around. Instead of just sticking with these three colors, you can just create all of your mixes here, but I'm gonna show you what it looks like to mix with different colors. So let's pick up some of that cobalt teal. And let's mix it with the Indian yellow. And you'll notice that this is a lot brighter of a green. So that's cobalt teal is very close to the cyan color. And you may wonder why I didn't use that in the last video. And that's just because a lot of people mix with a darker blue. So I figured more people would have had it. Then the cobalt tail. So we can see that we're getting some really pretty aqua colors, sea greens, aquamarine. That cobalt till makes really pretty mixes. So let's try the cobalt teal with some of the red. Let's do quinacridone, magenta. And we get the beautiful purple when we mix those together. Very nice, very vibrant. We add more of the cobalt shield to that. We get a darker blue. So our cobalt till is very close to that cyan color. But using less Cerulean is a nice blue as well. It's a little darker than that cobalt till, but it still makes a very vibrant true mixes, which is what we like. So I'll just put that. Here's the spirulina and quinoa syndrome magenta next to the cobalt teal and quit oscillator on budget into. So you can see they're both very vibrant colors. And then if we add a little bit more of the cobalt Cerulean, excuse me, we get a deeper mixture. So that's why I didn't pick that cobalt teal and want a deeper, richer colors. And then cobalt till makes very, very pretty mixes. Two, This is why I wanted to show you how different colors interact. So we have more about like true blue color that you see on primary colour wheels when you are mixing colors. But we've made that, that is not a true primary blue. We made that color. And that's what I think is so cool about mixing colors and color theory is that you can create way more colors than you realize. I have a lot of fun. I, I just really enjoy mixing colors. So let's pick up more of Alizarin crimson. And let's mix it with the sea low blue, red shade. Hans see what that looks like. More Walker pixel. Now because it's Alizarin, crimson is not a true primary red are purple as a not as vibrant. So next to one that we mixed with the Manasseh drone magenta. It's a little bit muddier. It's a little bit deeper of a purple. So what the heck? Let's put some of that Bismuth, yellow and not thaw orange over here so we can see the difference for that. So I really encourage you to play around with the different colors that you have. Notice what makes is make muddy colors and what makes us make vibrant colors, and how that informs what's your painting. So that you can make decisions on what colors to have in your palate based on the variety of mixes and the vibrancy of colors that you're going to get. If you paint a lot of things, you're going to want more muted colors. If you paint a lot of vibrant things, you're going to want brighter colors and you, it's important to understand that you can take vibrant colors and mix them to be muddier. So let's do that real quick. Let's take, let's add some more over the quinoa syndrome magenta to this purple. So comes back to more about true purple. And then let's add this myth, yellow, which is the complimentary color. And you'll see that we've now made a purple that is more muted. It's more similar to that. It still retains more vibrancy and it's not quite as muddy. We can add more yellow and make it even muddier. So we really don't need a whole bunch of colors by understanding that we can make neutrals with the primary colors. So by understanding how colors interact with each other, you can make muddy colors if you have the vibrant colors in your palette. So it's important to play around with mixing your colors together so that you can make the colors that you need. When I was in college, I did not have a professor who taught me how to mix colors. And I had to do a lot of figuring it out on my own and it was very frustrating. So that's why I want to help you guys create different mixes and understand how colors work together to create new colors and different ways. And give you some of that knowledge that I wish had been given to me. So we will move on to the next project. So I'll see you in the next video. 5. Color Scheme Exercise: This next exercise is going to be talking about more color theory and color interaction. And for that we need to look at are finished color wheel. So what we're going to talk about is different color schemes. So when we talk about analogous color schemes, what we're talking about as colors that are next to each other on the color wheel. So if I am creating an analogous color scheme, I could take blue, green, blue, and blue violet. They're all next to each other on the color wheel. So that as an analogous color scheme, if I took red, red orange or red orange and yellow, orange, these would be an analogous color scheme as well because they are right next to each other on the color wheel. So let's say maybe I'm painting a fall scene, a pumpkin, or some gourds. My color scheme could be green, yellow, yellow, green, yellow in yellow, orange. And what i, and this would be an analogous color scheme for me to create an entire painting around these three colours. So when we're talking about analogous, all that means is colors that are next to each other on the color wheel. When we're talking about complimentary colors. And this is again, how we mix our neutrals is with complimentary colors. Those are the colors that are across from each other on the color wheel. So if we took orange and mix it with blue, that gives us our neutral mix. The same with red and green, we get a new trial mix. We get a brown color and purple and yellow we get a brown color. So that's how complimentary colors interact. You can have complementary color schemes. So you could do a painting in blue and orange. Like sports teams are often complementary colors. If we look at the Minnesota Vikings, they are purple and yellow. Denver Broncos, blue and orange. So those are popular color schemes for two colors. If you are taking a split complementary color scheme, you can only do that if you understand what a complimentary color is. So when we are taking orange and the complement of that as blue, if we're looking at the split complement or taking the colors on either side of the compliment, we're splitting it. So it would be orange, blue, violet, and blue green is a triadic split, complementary color scheme. It's not triadic, good split complement. I said the wrong word and I apologize, split complement. Triadic color schemes. Our colors that are equal distances apart on the color wheel. So that would be magenta, yellow and blue are going to be a triadic color scheme. And you hin, tilt that to take red, orange, yellow, green, and blue violet. That's a triadic color scheme because they're all equal distance apart from each other on the color wheel. If you did quadratic color schemes, quad means four. So that would be for colors that are equal distance from each other on the color wheel. So I believe that would be purple, red, orange, yellow, and blue green. This is a quadratic color scheme or colors that are equal distance apart on the color wheel. So these are helpful when we're looking at design. If we're designing a room, we want colors that go together. We want to understand how colors interact. We're creating a pattern. We don't want to create too many colors or colors that won't go together. Or we wanna talk about the mood that we're trying to evoke. So maybe we want it to be calming. We wanna pick analogous color schemes in the cool colors so that things come off as serene and calming. Maybe we want it to be very bright and vibrant. And we want people to be like hungrier, energetic. And so we're picking a red color scheme. So we pick reds and oranges that way. And then maybe when we have our reds and oranges and we want AIG compliment to that. We want to balance it out. Maybe we pick some thing over here that has a cool color. So if we take our magenta and our orange, we can balance that out with our blue-green to add some arresting spots to our eyes. So there's variety in that as our split complementary color scheme. So there's a lot of different ways to use colour in your life. And understanding how colors work together is going to help you make better choices when you're painting, when you're decorating, when you are designing something. So that's why understanding the car wheel is super, super important in looking at how colors interact when they are next to each other is also very important because some colors don't look good next to each other. And how do we figure that out? We put them next to each other to see what the interaction is going to be like. So we're gonna do that on a blank sheet of paper. You're going to need to create a square. I am just going to divide my paper in half. And then I'm going to put a square in the middle and just going to use some tape to mark off a square. I'm going to use a split complementary color scheme for this. So I can pick any colors that I want. So let's say I want to pick yellow, orange. I'm going to put my split compliments is blue and purple. So on my paper, I'm gonna paint blue over here in purple over here. So let's get our blue color. Let's I don't think I'm going to use sorry Julian. And I am just going to paint around my square. Just like this. I might get a bigger brush. And I'm just going to paint. The whole thing blew. Then I'm going to create a purple mix. So I'm gonna take that same blue. And I'm going to mix it with the nasa drone magenta. Okay. So now that that is all done, we can peel our tape off after it dries. And then we're going to paint that yellow, orange color in the middle. So I'm gonna dry these real quick. And then I can feel my tape off. My yellow, orange and yellow. There we go. Okay. So now I can paint this color in the middle here. And we can see already that it looks like it's a different color. So based on what's around it, it's going to affect what the color looks like. So if you have different lighting, if you're lighting is very yellow, your colors are going to look different when you take it into blue lighting or if you take it outside. If you depending on what you paint around your color, it's going to affect the way it looks of your painting skin tones. And you think that your skin tones getting really dark and you're worried You've overdone it. But then as soon as you put brown hair next to it, it lightens up the skin tone because it affects the way that our eyes see what color it is. So this is a fun experiment. Pick your own split complementary color scheme, and experiment with how different colors look next to each other. And then I will see you guys in the next video. 6. Final Project: Apple Painting with a Limited Palette: All right, so for your final project, I want you to take your limited color palette, whatever red, yellow, and blue you have decided to use. I'm going to use the quinacridone, magenta, Indian yellow, and throughly in maybe the Carmine instead. But I'm only going to use those three colors. And what I've done on my paper is a, drawn out an apple. And I'm going to paint, and I'm only going to use those three colors. Forgot a little highlight. Make sure you leave bad. Okay? So I'm only going to use those three colors. I have to mix any other colors if I want a different color. And that way I get practice and mixing my colors. And I get practice painting something other than a colour wheel. So it's still mostly we're gonna do a blue background, red apple, yellow counter. But I'm not going to use straight out of the pan. I'm going to try to mix every color. So that way you get one or more natural looking picture. And two, I get as much practice as possible mixing my colors. So I'm going to go ahead and get started. I'm going to start with, I think I'm going to start with the apple. So let's pull us use the Carmine cuz it's more of a warm red. Let's sat on my palette. Carmine is not the color of an apple. So what I wanna do is add a little bit of that yellow to make it more of that red color. So I'm gonna start with a really light wash of this colour. With watercolor. If you paint dark, it's hard to lift the paint off. Not impossible, but it doesn't always work. And so if you start later and work your way darker, it's easier to get the result that you want. And so now I can go in and start adding some darker values. I wanna make sure that I am using my reference picture. I'm not just painting lists from memory. So that way I can get it to look how I want. Not just try and paint something. And if you Triangle off memory and you haven't painted it a ton before, it never looks like how you wanted to and then you get frustrated. So make sure you have a reference image. You just laying in darker, I just keep getting progressively darker. I don't wanna go too dark to sin. Again because I might end up putting it in the wrong spot and being very frustrated. So my light source is coming from here, which is what I am trying to leave this lighter. It can then put the darker where the shadow would be. A little bit more yellow so that I get some variety in my apple. Yeah. So I need a darker color than what I am getting. So I'm going to take this and I'm going to add a little bit of blue. Maybe a little too much blue, but that's fine because we can go in and add more Carmine back. To make it a little bit more. I can add a little below some of that darker color. As around as I would like it to be. Smoke will try and mix up a little bit. It's just so, so far I've only used primary colors. And I have a whole bunch of variety in what I have achieved here. So that's looking pretty good. I'm gonna take my Carmine, I'm gonna start to create a brown. So what I wanna do to create slab Brown is make a green and then mix that red and green. Gather who wanted to be a nice grass, sort of green. And then I'm going to mix that to be this brown color here. That looks pretty good. Okay, I need a little bit of a smaller brush here. So take slum. Wanted to be a little bit darker, so I might just image of blue. Wait for that to dry and I'll come in and add some yellow for away that. So now I have my apple done. I'm gonna do the ground below it. So for that we're going to use the yellow, but we don't want it to be the straight yellow color. And so we'll take some curve balls that we already have on our palette from our apple color and we'll add that to our yellow. We'll go in and add shadow and a little bit, but I just want to lay this color down. I may need to mix some more, which is. So our light source again is over here. So this part is going to be lighter. Mala Other Side of the apple. Thanking me as a little bit more of the yellow. Just take some LL, either differentiators take some of that shadow that we put in the apple. And I'm just going to start to mix it. So it started to get a deeper color on the side where the shadow is. Awesome. We can start to make a black color, dark gray, by taking them blue and adding a little bit of red to it to make it a darker purple. And then we add a little bit of the orange color to that because it's so blue, we want it to be more orange and less yellow. If we added yellow, turn it more brown. So they wanted it to be at orangey colored to give us that gray color. I'll put that shadow in here. Okay. I'm also gonna go back in with that tiny brush and put some of this up here, as well as going with yellow. So now what we're gonna do is we're gonna paint the background. And that's going to be a blue color, but it's going to be a really dark blue. So we're going to take this Cerulean and add just a little bit of the Carmine to it. A little more. We don't want to quite purple. We do want to blue. And then we can paint her background. I even while my background a little darker than that. So I'm going to paint with this color, but then I might go back in and paint on top of it after it's dried to get more of the color that I want. I really wanted to be dark for them that can switch back to my smaller brush. So just play page engine to how you work and what feels right to you. And I can come in with a bigger brush and blend that out a little bit, but I wanted to get that color correct. In even still isn't as dark as I would like it to be. Turn this a little bit and I'm sorry, it just Because of where my hands are, a brush and all that stuff. Sometimes it's just easier to move your paper. That's much better. So now, what I may do is mix this color, which my smaller brush, because it carries less water in, it may crash and then use a bigger brush to pick that up. So now you have a beautiful painting with lots of different varieties and the color that you've created with only three colors. Carmine, Indian yellow, serially and it looks pretty great. So good job, patch savant. Fantastic work. And I hope you continue to use three primary colors to letter your ability to mix paints. And I'll see you in the next video. 7. See you in the next class!: All right guys, that completes our class. Where today or whenever you wrapped this class, I hope you come away feeling more confident in your ability to mix colors and your knowledge of the color wheel and some different color schemes. So stay tuned. I have more classes in the works they're coming, so be on the lookout for that. And yeah, I'll see you guys in the next class. Have a great day. 8. BONUS VIDEO: Different Kinds of Watercolor Palettes: Hi guys. So in this video, what we're going to talk about is the different kinds of color palettes. So in the last class I taught about color wheels. We talked about using only six colors and three primaries technically. But if you wanted to have a cool set in a warm set, then that would have been six colors. I did mention in the video that there are all different kinds of water color palettes and lots of different kinds of colors. So I wanted to build on that in this class. So we're taking essentially a deeper dive into the color wheel. And part of understanding color theory is talking about different colors. So I've collected here some of the water color palettes that I own. And I just wanted to share them with you so that you could see the different kinds of colors that are out there. This is the color palette that I bought when I took my word or color class in college. So this is essentially the first palette of watercolors that I owned. I had, had really cheap ones when I was a kid that kind that come in that set that your grandparents get you for Christmas. So this is my first experience with a real watercolors. They were the ones that were recommended by my watercolor teacher. And they come with a little tube of white wash. But this is a very well loved palette. And I have a color here and took it out to use it with another set of watercolors. And it's floating around my art room somewhere. But essentially, these are Grumbacher brand pan pallets. So these are pan colors there. Watercolor cakes. I loved this palette. It's one of my favorites to use. I love all the colors that it comes with. There's a primary red here, a lemon yellow here. And then I would probably put this blue. This I think is the Prussian blue. There's also an ultramarine blue. But that Prussian blue, I probably would pick that to mix with if I was only using three colors. For my primary palette, there's this other red would be another good one and there's a lemon era buttery yellow. And then that ultramarine. So there's your six primary colors there. Just in this little college palette. There's also a lot of greens and other colors of blue. This is one of my favorite colors. It's very pretty to work with on paper. So this is definitely a good option for you too. And if you are looking at one or more palettes to buy, the next palette I'm going to talk about is this palette. So this is actually a custom palette that I curated for myself. I have a bunch of tubes of Grumbacher watercolors. And I decided to put 18 of them in here to create a palette of colors that I use the most out of all the tubes that I had. I inherited these tubes, I did not buy them. So I picked for different reds. There's that payload crimson, which would be a very good magenta color, and the Alizarin crimson. So I would probably mixed with B is two, but the scarlet lake is really pretty and CAD read as more of that fire engine red. So you can again, you can mix that color with some of these. I picked some yellows of cool yellow, a warm yellow, and then a yellow ochre. So more of a brown, yellow, which again is a convenience color because you can mix if you have these ones. I picked some greens, this Thaler green, I use a lot painting galaxies. And then some blues. This indigo is my favorite color. I love this color. I have it in almost every path. It's one of my fear and pains grade two bills or there's very similar. So I probably didn't need both, but, you know, say low violet and MOV. And it's not really what I would consider a mauve color, but that's what they labeled it as. And I have a Davies gray, which is the neutral gray, and then some browns in this palette. So we can talk in another video about curating your own palette. But this one has lots of space for mixing colors in it. And it has different wells. I could've filled these up more input, more paint in these pans that I chose not to you so that I could make it in the pan if i wanted. So that's an option for you as well. If you're looking at doing your own watercolor palette, if you have tubes of paint, I just got this palette at Michaels and you can order them online. I see a lot of artists using these. This is great for travel because everything's contained inside of it. So then I also have a racer fuzz. This our Tesla Artesia palette. I worked with them on Instagram and so they sent me this palates to use in its metal tin palette, which is very popular style, so it folds out. So you can mix on it as well. And I am not a fan of these style of pallets. In fact, I usually take this part off just because I find it to really annoying. Some people really like that. And again, if you're traveling, this is great for extra mixing space. This palette has a ton of colors that has way more colors than you probably need. But again, I mean a good variety of colors. And you really only need three of them because you can mix a lot of these colors. There's your pinky reds up here. You're cool and you're warm yellow here. And then I would have to look at swatches. And it's hard to tell sometimes when they're in the PAM, things look a lot darker. But there's a lot of good blues that you could choose from for your primary blue as well. So this is another good option if you're looking for a watercolor palette. Then before I get to this one, I'm going to talk a little bit about the cheaper pallets. So this is a praying palettes and my students use this in elementary school. You can see this is a very, very well-loved palette. I don't even know where I got this or how long I've had it. I found it when we moved. So it's obviously been with me a long time. But it has a whole bunch of different clothes that doesn't really have a good pinky red though. It has more of that fire engine red. So just be aware. If you are looking at purchasing something like this, that you wouldn't have that magenta color, but you do have a red violet. And so if you wanted to mix your retinue, your red violet, you could probably create some pinky color there. So this is a very inexpensive paint palette, and I like the paints in this palette for the price that you paid. They're not bad paint. This paint palette. A wonky little brush that it comes with, is an artist loft palette that you can buy. I think I got it at Michael's for $5. And there's tons of colors in here and lots of good mixing colors. The issue with these is because they're so cheap, they tend to look really chalky. So when you are looking at learning watercolors, this is not a bad palettes to start with because they are so inexpensive and you can see if watercolors something that you like. But the drawback to using a cheap paint is that you just, the quality is not there. So I wouldn't recommend these for long-term if you really wanted to get into watercolor, This might be a good option for a kid who wants to try watercolors. Or if you just really don't have the money. But like I said, if you want to try watercolors, you can get an expensive set and just to get the three primary colors. And then you can mix a lot of those with the primary. So this is an OK option. I wouldn't recommend it, but if there's Nothing else in your budget. This will allow you to paint, so okay. And now this one, this is not in fact car and markers. I took the markers out so that I could convert this to a watercolor palette. And this isn't even all of the paints that I have for this brand. These are all artistic ILL watercolor panes. Inside. Have them here. And I have them here and here, and here. So you can tell that I'm just a little bit addicted to these pains. I e, these are the ones I use the most. I do have other handmade watercolors. I have some stonework smell, which are really great too, but I don't really have a mixing palette with those. I have convenience colors. I do how they're wallflower colors and they have Alizarin crimson, which is a pretty decent red for mixing. So sometimes I use this, I really like their colors. They think they have some really pretty colors and they're watercolors are great quality to, so that is a good option for you as well. So this is, you may recognize this from the last class with my sixth primaries over here, my cool and may warm. I'm going to use some of these in this class as well when we make another color wheel in a different way. And we're gonna use some different colors just so that you can see what mixing without true primary red is going to look like if we use something that's more alike, the nap fall read or French vermilion or helios red. You're going to get colors that mixes that maybe are not as vibrant. And That's not necessarily a bad thing depending on what you're painting. We just want to be aware of the colors that we're using. So I wanted to talk a little bit about setting up your palate. And the way that I set this pilot is in color families. So what I did here is I tried to keep colors that were color families. And I'm using that term very loosely together. So the, I used to have this pilot with like all the reds in a row and all the oranges in a row, and all the greens and yellows and blues and everything like that. But what I found is that organizing my colors that way was not useful for me. So I switched it so that I have color, like the reds go down in a column, but the rows are families. What I did was I took colors that go to, these are more like my pastel colors, right? So that's why these are all in a row here. These are more of the traditional rainbow, so this is like a Sap Green, which is a very common green light. You're going to see Egypt Blue is a blue, that is a very traditional rainbow. Blue. Then I started taking colors that were just like muted colors. So this is a very muted row here. I have an olive green, I have a Venetian red, and orange. Aaker lake. These are more muted and darker colors. These ones, both sides of the Naples Yellow are a little bit more I don't know what the word would be there like. They're more similar until a good traditional rainbow. The green is a little bit to blue for that, but it keeps, they're mostly the same color family. The Naples yellow is a little light for that row, but I had to put it somewhere and that was the place that made sense for it. So as we work down, we get more muted and more muted away from those bright colors. And then as we go from the right to the left, we get a little bit out of those random. I kind of tried to go and reverse rainbow order, but then I ended up putting a lot of my neutrals over here on this side of the palate. So this I have found has worked out really well for me when I'm painting because I can keep colors. Like if I wanted to work just in this row here, I have a bunch of colors that work together very well in this row. So that's how I decided to organize this tin. And I took that idea with me when I organize my smaller tin. Here. This side is a little bit less organized just because I feel I started throwing in colors that I wanted to add to the colors that I use the most in this palette. And you guys can see my primary colors. I use them a lot and these are less used. And that's just because these are my favorite colors. So you're just going to experience what you like and you'll figure out what colors work for you and where you want to keep them in your palate and how you work as an artist. So you may rearrange your palettes several times throughout the course of your artist. Good. So that's just a little bit about how I organized my paints. But there really is no right or wrong way. You just have to look at what works for you and how your workflow is as an artist and you'll figure out what colors you want and where you want them in your palate. So I'll see you guys in the next video.