Colour Mixing with Purple & Yellow | Holly Tomas | Skillshare

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 23m)
    • 1. Welcome To The Class

    • 2. Materials

    • 3. Colour Swatching - Carbazole Violet and New Gamboge

    • 4. Colour Swatching - Carbazole and Hansa Yellow Light

    • 5. Colour Swatching - Neutral Tint and New Gamboge

    • 6. Colour Swatching - Neutral Tint and Hansa Yellow Light

    • 7. Choosing Your Favourite Hues

    • 8. Practise Run

    • 9. The Glass House - Study No. 1

    • 10. The Glass House - Study No. 2

    • 11. Ta Ta For Now!

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About This Class

A huge welcome to this colour mixing class! We're going to be creating some lovely earthy greens, browns, & greys, as well as discovering new 'cleaner' brighter colours like zingy green/yellow and mauve.

I am still very inspired by nature's early autumn palette surrounding me here in East Lothian, although these colours are present all year round. It's always a total delight to see intensely warm saffron-coloured crop fields against a violet or cerulean sky.

I've created a free public post on my Patreon page to accompany this class, so that you can see the inspiration behind this colour palette.

  • So, together we'll explore subtle neutral hues, although a little lime zingy number appears on one of the swatches!
  • We'll touch on how mixing two warm colours varies from mixing two cooler colours together... and what we can create with warm/cool together too.
  • Creating swatches is super helpful, especially if you are just starting out. It will give you confidence in pre-choosing your colours for any given artwork, and will also be your new pastime! I swear it's an addiction! It's a very calming exercise to do, even as a de-stressor, if you're needing to decompress from daily life.
  • We'll then go on to practise simple brush strokes which will mingle and overlap each other in a jungle of gorgeousness - akin to the 'glass houses' of the Royal Botanical Gardens in Edinburgh, Glasgow, or Kew in London :O)

H x x x

Meet Your Teacher

Teacher Profile Image

Holly Tomas

Design Watercolours Printing Mixed media


Hello there!

I’m Holly Tomás, an artist, photographer and musician based in the Lowlands of Scotland. I’m fortunate to live in a house surrounded by trees. So when I first started painting, I took my inspiration from them.

They felt very familiar to me having looked at them from my window for years, but working with their leaves brought me even closer to understanding them. Having said that, I have an enduring love of flowers and I use florals, for the most part, in my designs.

I really love Scottish wild flowers, especially the humble little ones growing by the coast or in the forests… Sea Spurrey, Thrift, Tufted Vetch or Wood Anemones, Red Campion... Sweet Violets. What i want to bring to my classes is a sense of being wrappe... See full profile

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1. Welcome To The Class: Hello there. And today we're going to be doing some color mixing. We're going to explore warm and cool colors. We're going to use two different yellows, a purple and neutral tint. And he can see it if it gets a really vibrant colors on one end of the spectrum through two dusky and neutral colors and the mid spectrum. And we get some lovely knotty browns and gorgeous neutral greens. Choose the favorite colors from swatches and mix them up, and then just play around with them in our sketchbooks. The great thing about having a palette like this is knowing that you can come back to it time and time again. So when you're ready, let's get on with the cost. 2. Materials: Now before we start, I thought I'd just run through the materials that are used to this. Starting with the color. I've used Hansa Yellow Light. Carpets are violent. And then I've used neutral tint, which kinda has a lovely perfectly tone to it. And new gamboge. For the brushes. I've got this little number 5, handover brush synthetic, fairly inexpensive. And my trusty as SCADA size 10, by just use a flat brush, again, inexpensive one that I had. And I use this for swatching. It's just easier to kind of pull the paint through. This, I used Fabriano Classico five and 50 percent cotton watercolor paper pad. I run out of my normal mole skin ones that I thought I'd get hold of something else and try maybe a slightly larger size. And I did like this, and this is another Fabriano watercolor book, a Carrillo. I'm not sure what the differences here doesn't say how much continence in it. But nice soft paper and I enjoyed with humor this too. But only watercolor sketch book that you have is fine to suffice for this, because we're really just trying to explore colors and get used to the botanical shapes and how to use the brush. 3. Colour Swatching - Carbazole Violet and New Gamboge: Let's get started on these two purples and yellows. I've got carbs or violet, which I see perceive as a warmer. Violet and up have a cool alongside our government neutral tint. Because I'm quite interested to see how the warm and cool work together. The cool, cool together on the wall moved together. So on the warm side of the yellows we have new combos. And on the cool side, hence the yellow light. So I'm going to start with Carl puzzle violent. And you can vote wish I happen to have some of those left over from previous painting. So I'm gonna start with is. And I have these inexpensive flat brushes. But in brush will do, it doesn't have to be just easier. With a flat brush. It's doesn't take so long. And anybody who knows me, they know I like green and they also know that I don't like straight lines. So the way that I swatch is, well, it's my co-innovation of straight line. And I just, he's a bitter scrapped scrap paper and draw some squares in it. Once you get into color mixing and watching, you won't be able to stop. And it's so useful just to develop really as an artist and also to figure out what really grabbed shear in terms of hues in do you like the nice, bright, vibrant citrus colors and the warmer ochre brownie colors. I'm talking about yellows. So it's kind of very useful just to gauge what you enjoy, what you like. And then you can bring that into your work. So let's start with the neat campus of Eilat. And this is Daniel Smith. I have it's one that I've been using for maybe six months and I really do love it. Okay. Now we just need to make sure I have enough about violent down because you need to mix quite a few here and going to bring some of that down. So it's just next to the easier for me to work with cleaning the brush. So I don't kinda Muddy up that yellow too much. And the idea is that you just started a tiny bit of the new combos into a corpus on adding a little bit more text squatter pigment. And I don't know if that's different. It doesn't look very different on the palette, but I'm just going to put it down and see if we've exacted a change there. So pretty spit more pigment on that one. So it's kinda difficult to tell quite a bit more and see how we guess on. Because we don't have that many boxes really in, at least is going to be yellow, then we need to think ahead. Too much yellow, a nice, I'm just starting a bit more purple. So this should be lovely. To look at that. That's actually more permanent and I filled out is going to be brown. That's turning on my swatches. If I really love a colour, tend to just put a little star next to it. So it's easier for me to just search through and choose a product. Isn't gorgeous, Cool, just alters the color. Beautiful. Washing my brush in between to so that it keeps it nice and clean. And I have two parts. One, you can use that in two different ways. If you have two pulse, you could use one of your purple and we won't fill your yellow or do the double-dip system, why you wash off your brush in one. So being used in this one to rope to wash off, to clean your brushes that learned numbness, wonderful mixing keeps nice and clear. So adding a bit more Yana. And so this is nice paper that I'm doing is watching on I'm not sure what, what makes his, but such a nicer experience because I tend to use cheaper papers. But it just shows you how Paint and pay per worked together. So it's actually a really nice experience because it's really sinking into the paper. So if you have any offshoots of paper, cuts of designs, don't throw anything out because you can always turn it over and you see on the side. And I think this is just from Christmas tsunamis doing some present. So my nephews. Nieces. Okay. So we nearly to the yellow here. I've not done as many boxes as I would likes. I might do some more from an XOR. This is absolutely gorgeous. I love this color is what I would call occur. And you'll find with colors which are opposite on the colour wheel. Complimentary colors really worked very well together because you can add a tiny touch of purple to yellow and warm yellow and you will get this color. And a tiny tube chop off the other side, the yellow to the purple, and you'll get in-between the shades. And that goes for any complementaries. It's a really great way of muting colors and guessing some neat tools out if he should wish. And then here I'm just going in with so a very simple one there. But you can see how I mean, we could go on and we could do a longer Warner knew could spend was because you've probably got loads more different gradient. Santa, this. Let's move on to the next one. 4. Colour Swatching - Carbazole and Hansa Yellow Light: This time I felt we try the car puzzle violent with ham CNN light. So I'm just going to put boxes. Can do color mixing with any colors that you have. Doesn't have to be the opposite on the color wheel. Secondary or tertiary colors. Just anything that rupture. And they've been just mixing two different pinks together and seeing how they harmonize and what the shade. I keep saying shade. And because absolute blacken it. And the different hues that you would get the between those two pinks. And that's interesting. It's certainly get the most fantastic bonds when you work with complementaries I found. So we'll start with the song here. And just going to take some of that. That actually submits co-inheritance compared some double-dipping and going in with my 13-year-old membership to the clear water color mixing. So let's see what happens when we add a little bit of light pigment there. So I don't go in with that because this is how a lot lighter. So I'm just going to add inclusive water to that. There is a slight difference there. It may be to cope with the camera to pick up. And maybe we'll add quite a lot more now too, so that we can see the greens that will classify phase. So I'm going to add more flat, Beautiful shade or CSR, like a plumbing. Papel. Coaches. That's definitely going in my favorite spot. Well, isn't that beautiful? And splitting because they don't really look much on the palate for once you get them on paper and really come to lie to the men, keep rounds. Let's go just to just washing my brush. Like getting a green. It's like a Cauchy green parabola. And this is definitely going in my favorite book as well. It's beautiful. And then at the end we have just the neat saying it goes, the water gets very murky quickly. So although hence yellow light isn't particularly my yellow, I bought because an I use a tolerable level because a little bit for colour mixing does create the most incredible Hughes presi and shall write on this because I forgot to do it afterwards. So goat, Kosovo violent. And I usually put here whether some what make tears and Estonian and have CML might as well. Move on to the next one. 5. Colour Swatching - Neutral Tint and New Gamboge: So this time I'm trying neutral tint with Nuke ambush and happen mixed with neutral tint before. So I suspect this a lot more I could do is as thick as I really did. Like it when I've used in design. And you can put new conversion. Okay. Little quirky boxes will part of the Farm, I think. And you can use any purpley shade you have. And yellow doesn't have to be the same. Minizinc. Just experiment and discover the relaxing properties. Switching has quite a few are quite pleased to that because I'm interested in doing quite a lot of gradients. Okay? Making sure that my patients nice and clean. Before going into this. And we'll start with neutral tint, which I find it's kind of a gray purple. It does have a purpley color feel to it. I should look into what makes up a true tend to be quite interesting. So really beautiful one. And it's really good for if you're wanting to mute down colors. If you add a little bit of neutral tint to it, I think that's why it was developed. It create some beautiful muted colors. So I might just want to sleep on that where it is and I'll bring up her. Can you and that's wound that up quite a lot. So it's, it's now looking like a womb. Grey. It's almost like that. Yellow has knocked out the purple in next. So if you ever wanted to warn gray, something to remember. Really excited about this one actually say, I'm not very familiar with in true tent. Certainly not explored is as much as I would provide. So this is a star for me. Slightly different again, and getting almost has a slight green tinge to that, which you would obviously with the purple and the yellow. But it's very subtle because this is very, very tiny hint of purple in a neutral tint of investment to be very neutral gray. And I use it as a purple sometimes. So you can see how subtle changes are. I am really enjoying this one comes. And you imagine doing painting with these lonely subtle cues. That'll be fantastic. And that's getting to slightly green Cauchy collar. Now, X1 test signal. I am interested to pull out some more greenie terms. It's not a huge difference between this one, the previous one. But it is definitely getting warmer. And I would code on a green washing or brush and put quite sonata now just see what happens with the penultimate. Now that's a surprise in such a way because that's another charisma I could definitely use. It's an OK with slight green tuned to themselves. I brownie agree. Isn't this just stunning? I mean, if you, if you like, the more muted colors, then you're going to love the truth. Because you could kinda mix it with, with any of your colors and look at some really interesting results. So you see we're selling and this is just a few boxes really. If you wanted to extend that, you could just really gets into all the different slight changes in Q. Well, I haven't enjoyed that long in the Milky Way visiting that. So this is then BU and neutral tint. And both of those to smudge that they're absolutely stunning, really, really happy with that one. So let's, let's do one final one. 6. Colour Swatching - Neutral Tint and Hansa Yellow Light: So our final one out of 34 is neutral tint, enhancing and alight. So I've got two neutral tint man to start a tiny bit more. I'll put my money to bring this down. Let's do our quirky boxes. And you might have a different way of doing this. Whatever works for you. Very peaceful hearing evenings. I tend to work night, which is not ideal because with the light and what do I do live in Scotland. So it's not like we're bloats applied. And I have to write lump things. So I'm meant to be used up by YouTubers. And it's good manually sunlight because I can fill in the things now as well. Right. Time ago, S1 is cleaning my brush, making sure all the paint from the previous work chances are, such as silky comma goes on the paper, Soviet puree ten. And if I bring this down now, it's going to be easy to sticker with a CDMA. Just thinking this isn't so different from the second one along from mommy used the unique ambush. Interesting. It slightly warmer. And we'll be able to tell battle ANSYS is settled into the paper. Nice. Gray. To me, that looks move method I was expecting, which is interesting. And I guess it's still in the Netherlands. And then at the end of the day we're not in Yemen to empirically gray. So we're going to now get into, hopefully figuring chains. This is like a grey. Again, it is a gray, but it's getting warmer. And I am interested to see how close that is. 10k ambush. Let's see where it goes next. Minds actually need to drag a little bit more pigment down because I don't think I just need to recreate where I was was about. And hopefully neutral. Getting greener space like that. And it is now departing from everyone. You can see here this is getting much more remind me quality to it. Whereas I would say these out so different. So that's quite interesting to me. And yes, i was expecting that to be a grey because we were working with a neutral tint with a bright yellow or Cooley. And now we have these lovely bright, vibrant colors out pebble. And you can see how different necessities and a warming Hannah. Yet very different results. And then let's finish discussing quite dirty now, let's try and get nice. Square root of fresh. Hence, the analyte has been a voyage of discovery. And I actually really like this. It's slightly too bright for me as a green, but the greens that we have here, I'm actually quite liking that one. I perhaps would use this quite a lot. So let's write down before we forget. Since cancer. And mine happens to be a light Daniel Smith and neutral tint. Let's align them all up now. Look like this yet is that I can decide also my favorites. So let's put the Gulf canvas on top. And again, quite a few different hues that we've have gotten brighter won't wear me using the hands yellow, slightly brighter than nice and much more muted using the new gumbo age. But I love this bit because I'd like to go through, and I think I've mentioned in in just kind of star lumps I really like. So I might do that. And I love this one. I love practically all of these to be honest. And block one, block one. And on this one. And surprisingly, I do actually like this very vibrant green things, not so much, but that might be because I needed a bit more pigment as well and maybe put to much more trainers. But it's not funding and just go through, didn't like that one as well. So that's what I do. And then when I go through to choose colors for a piece, I can just quickly go to my start colors. And they usually do blend very well. Because unlike the kind of muddy colors, actually, I don't like to, to bright color, although bright colors have hair place. So there we go. Enjoy your process. It is very relaxing. And I think bringing this in as a daily practice or whenever you are all going to paint, you could even do it as a warm-up exercise. And it just come to stop to for a short time just to take some breaths in and choose the colors from a kind of an intuitive point of view. And so we've done the work here. You are going to be using your intuition to go in and just be drawn to the colors that you want to work with. 7. Choosing Your Favourite Hues: Before I start painting, or just want to mix up some of these colors that I really liked. So I know this is neutral tint and hence E and F. And this is my neutral tint here. And I'm just going to add that until I get to the color that I like to practice this. And I think that's pretty much it. And scope. This has more water in it, but I think that's it. So I like that color. And also like these warmer shades. And I am going to bring some of that neutral tint over here and mix it with like these colors here that I can see slightly brighter and last properly dark color, black color. So I'm going to add a tiny bit more. Need to attend. Yeah, I think that's it. So I have some of that Sowell. And look this plump plumbing brown color. And I know that that's UK ambush and Carl puzzle finite. So as my car puzzle violent. And that's when you gumbo. So I can take some of this over here. And this has quite a lot of the purple, the violet. We know that because it's closer to this end. So put quite a lot violent. Swallowed, swallow all together. So I need to have a bit more yellow value the way and it is a fine balance like alchemy. We don't know that's quite close to that one, isn't it? Spot on only this 192, which is so violent and hence the yellow. So again, it is, it's the site of the swatch. I know that there's more purple and yellow. So I've gotten a console here. And it's going to add a bit. And it took more. And most don't I don't want to go over to follow his way. Yes, I think that's I mean, it's a richer one. I've got more pigment in it, but that's pretty much where I wanted to be. So now I have these mixed and there's a beautiful mix of all sorts of beautiful shoes. Colon, some are palette. I can just keep dipping into those when I'm doing the piece together. So let's move on to our little practice run for our botanical design. 8. Practise Run : Let's have a little practice making some shapes. And right, to use the shape of the brush as much as I can. Rather than kind of painting things inside of lines. Using the shapes of brushes, gets a much more slowly organic feeling. When to start with one of those greens mixed up. And if you hold to push straight up on the page and try and shape your brush as much as possible so you have a point on it. And then just drag along. If you don't make contact with the payer Joel along, it doesn't work. And then you can use your other hand to guide you if you like, and stabilize your hand. Put the point down and draw around through the belly of the brush and up again. Let's do that again. And these are really satisfied to do. And I don't mind paint collected at the top of my leaves, but if you don't like it, you can just push it down again. Track some of these out. When he can vary. Because you've got so many different colors, mix dope, it's just utilize them all. That's akin to this color here. Lacking that lot. Lift optional tip. And then if you wanted to do one that looks like it's flipped her for a little bit. If you start with a toothbrush, push-down body of the Prussian and lift up again. So it's like a plus 2B. Now rather than going in on the point with the point, what we want is to go in here because sleeves don't really Ben Club way. They bend with a little bit of an X in the middle. So if we go in here by here, and then track out the rest, that looks a lot better. So what do I mean by that is, if you've got a nice point here, rather than going in with another point right at that point. What we're doing is lifting up a little bit. And then if you study leaves, I kinda bend like this. So vigor of a Tomas, if you think about it that way, rather than two points. Well, it looks quite nice as well, but this is more the way that leads up to append. To say who's right, who's wrong. There is no right or wrong in art. So you just go with what feels good for you. Ultimately, that's what this experience is all about. And I also like to go over again, so it's looking more flowy and not Mike Acton leaps to us from a stem. Same and symmetrical. So I'm going to mix up another color now. I love this color. So this is new combos. And Congress on I really, I really like the shape. And we did this guarantee. And the palm House, which is the system, the DOT S. And just fill up your page. Anyway, you like, don't think about it and you just put some shapes down. Because this is the practice run. And you can always choose shapes. And he used that you like and you feel like work together well and take that 32 or two peaks, flipping those. Now. And she might go for something a bit more neutral. So I push down, helps them back down a little bit to the right, a little bit. To be perfect. But if you don't like the shape, you can go in and just make this a bit more point t. Some of this going into this color would be really nice. And also I think I might do is start out with a stem and then show you how to just go straight into early. So again, holding the paintbrush not perpendicular to a page, start dragging out. And then put a push down and up again. It's very flowy movement. Or you're not thinking I need just laying down shapes. Not even thinking about design, but just enjoying the process. Isn't this coaches class now? And these palm shapes looks so nice and that kinda interweaving with each other. I got closer much too, and I pay as well. The great thing about mixing premix him if we start, is it makes your peaks look. Jaime, cohesiveness are quite sophisticated. This is no dab sometimes just straight from our tube. Looks stunning, especially for me. Have I clicked ion Smith, Clive's, and especially the granule 19 ones. But when you've mixed like this, there's a great pleasure. And the discovery itself. And then seeing it down on paper is even more enjoyable. And the good thing is now that you've got these pellets, they send swatches, you won't forget how to mix those colors, because even if you're not quite sure how you got there, you know, it leads down to two colors. And then you can just mess around and keep trying too much it until you get there and you will. I think some ochre colon snap. And what was my favorite color, this one? Gop, campus on and me. More, slip coming up guerrilla, not striping. These neutral terms look gorgeous together that way. It's going to go and I type in my console or not. Please weigh in tone, goal, not God and negative retain x. And you see what's he mean about the way that the causal worked together? Really harmonious and really cohesive. You don't need to fill in. Everyone is, is something I do in designs. If if it's looking a bit fussy, I just leave them out. So I might do one here because this is the lighter color, is still looks like it's on top. So it just shows you cannot honestly, someone beneath colors, depending on the transparency of recording using mixing. This is still stayed on top. I'll do a little one here and maybe start with a tip here. And then just dragging my brush down and using the shape of the brush tip body and indicate the stamp. And because you are varying shapes, that also adds to the experience of the pace of fossa painter doing it most of what other people say. So please do these colors. And it's definitely a power term will be going back to. I won't do too much more because this is just the practice room, but it just shows you how effective tears without doing too much and without placing everything into starting and just slowly building up shapes. So that's the two swipe leave 12. And this Before we stop, if I switch over to my little brush, size 500 and you can do some little shapes as well. And because I've got the console then it's quite a public, are going to add some. Fairly light ice or founded out of water to that. This is this column mixed up. Just a little bit of balance to add some little leaves as well. And you can just place those kind of starting behind and leaf so it doesn't look like Stoke out in the middle of nowhere. And you can also look where the leaves are bending. So I've got one coming in to going out this way. So if I do one coming in this way, that will balance that out quite nicely. Picked up there. That's okay. And then even simpler. And I've done these in some of my sketchbook practices. Let's just use the shape of a smaller brush as well. So if we do little stem coming this way, what we're doing here is pressing the bush down so that the tip, press it down, almost to the end. Lift up, press down, say are actually not painting at all here pressing. And it's really effective. It's not pretty. And you can try this out with all sorts of shapes of brushes as well. Just like the fact that the different shaped leaves, different size leaves, I think always look so per se. So let's see if we don't go the full way down and just put the push down and then left up. It's not that much different actually. But still be. And that's lovely as well. And these are like care fill and leaves as well. I'll stop there. But you can see how quickly you can build up a piece. And remembering we've got all those beautiful colors that work together because we've done the mixing beforehand. Not having to think on the hoof as admiring it gotten them all there only palette can quickly go to them. That's good if you wanted to work wet in wet unhappiness or much more swimming, swimming, swimming together than having your colors pre-mixed helps a lot. And there's always some leaves that you don't like put in as a whole. It works. So I'm not king on the sleeves but I, you know, kind of goes in with a hole. So I believing that. And let's try and work now with a large scale, larger scale design piece. So there'll be cirques pattern design. But you could also make this into a cute little cards. Or you could frame them and put them in. Trip teach or dip teach. Very, very. You can do a lot with is also flexibility with designs like this. And everybody loves tropical designs. I don't really think I've met anybody who doesn't like this kind of beautiful and almost jangly kind of feel. 9. The Glass House - Study No. 1: Okay. Okay. Right? So okay. Okay. 10. The Glass House - Study No. 2: Okay. Right. And Okay. Yes. Ok. Okay. Yeah. Hi. Right? Yeah. 11. Ta Ta For Now!: Hello.