Colour mixing for absolute beginners | Doris Charest | Skillshare
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17 Lessons (1h 17m)
    • 1. Introduction to the course

      2:33
    • 2. A brief color history

      4:46
    • 3. Tips for starting a painting

      1:39
    • 4. Primary colours

      8:13
    • 5. Secondary Colours

      8:03
    • 6. Tertiary colours

      7:41
    • 7. Complementary colors Part 1

      3:39
    • 8. Complementary colours Part 2

      5:41
    • 9. High key and low key paintings explained

      4:49
    • 10. Hue and value explained

      3:07
    • 11. Neutrals -what are they?

      0:46
    • 12. What is a monochrome painting

      5:30
    • 13. Tints and shades -first part

      1:03
    • 14. Tints explained

      5:25
    • 15. Shades explained

      4:21
    • 16. Warm and cool colours explained

      7:09
    • 17. Conclusion

      2:44

About This Class

Learn the very basics of colour mixing in a way to create  paintings. Strong basics lead to strong paintings. Learn many  different ways to mix colour and how to identify primary colours, secondary colours and tertiary colours.  You will learn how to create these colours in an easy step by step manner that makes it easy for you to learn about colour.  Learn what a tint or a shade is and also the difference between high key colours and low key colours.  All along the way, you will get easy tips to make a better painting. Colour is essential in painting and if you use colour in the right way, you can create an impact that will attract many viewers.  Learn easy, simple tips that will help you make better colour choices. Most of all you will have fun creating artworks in colour.

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Transcripts

1. Introduction to the course: Welcome to my chorus Color Mixing for Beginners by Doris Shelled A. I have a bachelor's degree in finance and a master's degree in visual art education. I have taught classes and mixed media watercolor abstract all over Alberta, and I love teaching our I love contemporary art, and I love to share my love of art with you when I present here is very simplified and covers on Lee the basics off color mixing. Here's a basic guy you're going to learn about primary colors, secondary colors, tertiary colors. You're going to learn about the color will. You're going to learn about mixing colors. You're going to learn about different artists and how they mix colors as well as a little bit of color history. You'll see different examples of paintings. You will see all kinds of ideas that you can take home and try out yourself. Each section has different exercises that you conduce do. We will learn about primary colors, secondary colors, tertiary colors. We will learn about complementary colors and how it's best to use complementary colors to create the best. In fact, in a painting going to mix our own colors to create wonderful paintings like this one or this one or this one, you're going to learn about monochromatic colors. This is an example of monochromatic colors. Each section has a video where you learn how to mix the colors and how that works. You learn about warm and cool colors, how 1/2 of the color will is warm and the other half is cool. You'll learn what a hue is. Shades, tints and neutrals and how to make your own. And you'll learn all about the artists and how they used these different kinds of information to great great paintings. Overall, I give you different technical tips so that you can best express your artistic voice. When you complete all these exercises, you'll find a great way to make your paintings your own. So join me for color. Mixing for beginnings by door chalet will have fun together, will do all kinds of exercises so that you can create the best paintings ever. 2. A brief color history: Welcome back. Here's a bit of color theory history. It's complicated, and artists have been using color theory for years. Hundreds of years. In fact, Leonardo da Vinci observed that the finest harmonies were those between colors that exactly opposed. But it wasn't until 17 04 that Isaac Newton actually devised a treaties that explained how the color spectrum worked. And he named red, blue and yellow as the primary colors. The scientists refine Newton's color circle to 12 colors eventually, and that included secondary colors and tertiary colors. And we talk about those colors later on Charles Blanc in his grandma. There's all aged. Issei explain that a lot of color theory and gradually, over the years, other artists refined and attitude all the information about the color theories. Joe's Behalf Sarath is one of the great color painters, and he's known for devising painting techniques such as pointillism and chrome. Aluminum is, um, he's best known for his color, where the prime importance of color was the visual effects artists before then. What they did is they blended in the mix color, just like we do now. But in this period, this is where they really got interested in the effect of putting one color next to another color. Here's your Surratt in a Sunday afternoon on the Island of La Ground shot and no shot. He so look at these colors. The one on the left uses a lot of primary colors and a few secondary colors. The one on the right uses tints. These are words that you will learn throughout this course. Vincent Van Gogh used wonderful color, and he was really involved in a lot of color theory. He was influenced by color theory, and he created its own mixes off orange red and place them next to another to create different effects. For example, look at this painting. He has neutral colors in the background, but at the same time he puts little bits off orange next to the green and the blue to create the effect of vibrations between the two colors. He is one of the first artist to proposed the idea that our eyes should do the blending instead of the artists doing the blending. Here's some more of his work. Bright colors. You. He uses tents, he uses neutrals, he uses shades, and these are all the things we're going to learn money was another wonderful example of one of the first people that use color theory, he said. That color makes its impact from contrast rather than from its inherent qualities. The primary colors seem more brilliant when they're in contrast with their complementary colors. So, for example, if he used a red, he would put a green next to it in order for it to have more impact. Orange and blue became an important combination for all the Impressionist painters and the old study their books on color theory, and they applied it. Here are some of Manet's artwork He uses oranges and purples, two complementary colors on the right hand side. Same thing at the bottom. He uses greens with orange and red colors on the left. He uses a lot of reds and oranges next to the green, and that's it for the color theory part the Impressionist. They're the ones that really delved into color theory and color mixing, and that's what we're going to learn. We wouldn't be here today without the Impressionists, so thank you to the Impressionists and let's have fun painting so I'll see you in the next section 3. Tips for starting a painting: Here's a Siris of tips for starting a painting. Choose a color pallet. Make sure you have one dominant color. Choose a warm or a cool palette. Here's a technical tip. A common rule of thumb for using basic three color palettes is in a design. Is no nest The 60 30 10 rule? I've talked about this rule all the way through. You simply make your dominant. You account for 60% of the color in a design while you accent two colors to use the remaining 30% and 10%. So on the right, for example, I have a 60% read, 30% yellows. The whole painting isn't showing, so it's hard to tell. But I have about a 10% bluish accent there. Express your artistic voice. These color combinations air good ways for you to learn about color mixing. You can use them as exercises Overall. What you need to do is to use these exercises as a stepping stone to create your own color voice. You will naturally lean towards some colors and different combinations. Use the colors you love. This is how you develop your artistic voice Here. Some examples off paintings where you're using the 60 30 10% rule and you're using shades and tents. Do you remember what those words mean? Think about it as you look at thes painting. 4. Primary colours: welcome back the color will. The color wheel consists of three primary colors. Red, yellow and blue, three secondary colors. Green, orange and purple, and six tertiary colors such as blue, green, red, violet, etcetera. We'll cover this in more detail later. Right now we're going to cover primary colors, so that's red, yellow and blue. The user, the sources for all the colors we have. So primary colors were used in paintings, even as early as Vermeer, sometimes even earlier, and see how the bold red and blue really stands out against more neutral colors. Money used primary colors in his work. Lots of blue lots of red, lots of yellow go gay used primary colors in some of his work, the one that the left has lots of red and yellow. But notice In every case, the artist don't use primary colors alone. They use primary colors in the areas they want to stand out. Mary Cassatt at the bottom does just that. The dress on the girl and the red chair are the more primary colors, and that stands out against the rest. The Bly writer with Wassily Kandinsky, this is his work. They used a lot of Primary Colors. He was part of a group called a Blue Writer That, and they were fundamental to Expressionism. And this is a painting from 1912. Imagine how bull that would be in 1912. Here are some more examples off the use of primary colors. The dominant color is red, the secondary color in the bottom right. One is Blue top. Great one is yellow and the left one is yellow. And then there's bits off the third primary color in this one. Can you guess the primary color blue and then little bits of yellow, and there's little bits of rats. Got new. Smith uses primary colors a lot in his landscapes, but not on Lee Primary colors. You uses neutrals that really offset those primary colors make them look even bolder and brighter. Melissa McKinnon was a primary colors a lot in her work here, but again, not only primary colors. She mixes it up with neutral colors and secondary Collins bullets, but Rosie users primary colors here. She's the only one I could find that used Onley primary colors, Peter Mondragon, huge primary colors. A lot. Peter Mondrian's mandate was to find out how colors interact with each other and what it does to our visual field. So he would put a blue here and put a red next to it, or a yellow next to it and see what happened, how that affected us. Visually. Stephen Quill ER uses primary colors in these two paintings, uses neutral who offset those primary colors to make them look even brighter than they are . Here's a fun piece by Tony crowd, primary colors and secondary colors. Really fun Contemporary piece. Now let's watch the video and learn a little bit more about primary colors. Primary Colors by Doris Shohei Here we have primary colors, starting with yellow. I'm just going to fill out the color wheel so that you get a better idea of how they sit on the color wheel. So we're going to have yellow red, and then the next one is blue and they sit opposite each other just like that. What we're going to do now is make some sketches with these primary colors and see what it looks like when you use primary colors in a sketch. So I've speeded up the camera for you to see a little better. How that works, So the dominant color here will be blue. I've talked before in my other videos about how you pick a dominant color than you pick a second color. That's Onley about 30% and then 1/3 color that is going to be about 10%. So we're going to do that here. So we're going to add yellow, my brushes a little dirty toe. Yellow is dark, and now we're going to add the red so you have blue in the bottom, right on the top and then a little bit of yellow. So we're feel in the sketch. Remember that it's important to do a sketch for any painting that you do just to decide where the main color should be. Here. We're going to do two sketches and just for you to see what happens when you use different combinations of colors. And I add a little more yellow there. Yeah, a little more blue so that it covers better and you get the idea. So if I have a dominant blew a secondary read and a little bit of yellow, this is what it looks like. Now we're going to do another piece. Another sketch, the dominant color is going to be read, so we feel in with the red. This is going to create a completely different effect. And that's why we do sketches so that we know when we're painting something, we know exactly what we're going to be looking at. We're going have a dominance of red here, a second color of yellow and then little bits of blue. So it's 60% read, 30% yellow, 10% new on the other one, we have 60% blue, 30% red and 10% yellow. So the 10% is just an accent. We're going to do a little bit of a skyline and blue, just adding that carefully with a different brush, one of skinny line, and then I'll do and make believe tree. See if that's really what I want to do now on my real painting, what I would do is have a tree where blue shadows, blue accents and this is what the effect I would want to create. So this is a sketch just to give you an idea of a painting where the dominant color is red and the second color is yellow and The third color is blue, so we add a little shadow. So this is what they would look like if I have chosen these colors to create a landscape. My other one, Now that the pain is drying, going to add little bits of yellow so that it kind of looks like there's the sun is shining on that blue and having a little bit more yellow in the red have a little bigger look off yellow. So this is the sketch for primary colors. So do this now and we'll see you in the next section. Have fun painting. 5. Secondary Colours : welcome back secondary colors. A secondary color is a color made by mixing two primary colors. For example, you have blue plus yellow makes green yellow, plus red makes orange, red plus blue makes purple just like the slide on the right. Here's an example of a painting done mostly with secondary colors. You have purples, and you have oranges and you have little bits of green. Here's another painting with secondary colors, mostly oranges and golds with purples and then odd little bits of green. Van goal was really good at creating works with secondary colors. The bottom left one. You can see how he used a lot of greens that were mixed and combined, and the yellows are a mixture of bright yellow and as well oranges. Money on the top right has some secondary colors, oranges and greens and purplish blues. Monk at the bottom right has bright orange is next to purples that are muted, and those air great secondary color combinations. Money. Here's another very good one uses mostly blues but mixed blues, and then ah, lot of mixed oranges on the boats and the greens in the lilies on the water. Different kinds of greens, if you noticed they got on the last combines green and orange, a great color combo at the bottom. He does purples and greens with little bits of orange, and on the right, he does a very similar thing. Mostly oranges and greens and little bits of purples with the yellow sky. But the bottom area is all secondary colors. Here we have any O'Brien Gonzalez, and she has mostly secondary colors here, So purples, a little bit, lots of green and little bits off orangish color at the bottoms. John, put a ***. I'm sorry about the pronunciation. Does a wonderful job with the greens and the oranges together? Looks just great. It's a great color combo. Glory McNay here she has bright orange is against brighter greens. Really dark purple. A great color combo again. Steven Quill er does a great job using ah, secondary colors. Here you have greens and you have oranges on the one on the left. To users, mostly orange and the one on the right, he uses mostly green back to money. He was such a good secondary color user. He uses light purples with orange and then greens mixed with oranges here come your priz E would IQ. Sorry about the pronunciation. Again uses great color combos. See that orange next to the purple with the little girl's hat and the same what? The orange pants When the purple shadow. Wonderful combinations. She does the same thing in her landscapes. Here she has purples and oranges and greens. Great secondary colors. Here's another example. Kevin McBride, in this at semi abstract painting uses greens and purples to create this great effect. Castle art on the right uses greens and oranges and purples. Two. Great just make those little sheep. I think they are really pot and even logos. So look at how this purple all the way toe orange logo is a great second very color, so it's a good color to use to create eye catching artwork. So now let's watch the video and see how to mix your own second very color Secondary colors by Doris Shy You were going to makes the primary colors. Remember that the primary colors are red, yellow and blue, and we're going to mix those three colors to create secondary colors. The 1st 1 is orange, so you mix yellow and red to create orange, and there it is. And now we're going to wash your brush and then mix yellow and blue to make green. And here we have a nice dark green and we act out there and next we're going to mix red and blue to make purple, and we have a nice deep purple right here. So here's the beautiful deep purple. You can have a lot of variety of purples or greens or oranges, and they are all secondary colors. So we're just going toe. Add the primary colors again so that you can remind you which ones we used and how we mixed . Um, so you see yellow and red made orange and now red and blue make purple, blue and green of blue and yellow made green. So now what we're going to do is make our color sketches. So we're starting with green. We're going to fill the space, the larger space with green. Remember what I said in my earlier video that 60% of a painting is one color or variations on that color. The green and the orange makeup. Beautiful combination, and we have a little bit of the orange reflecting on the landscape right there. The third color that we use in small amounts is purple in this case, and we add a tree in a bit of a skyline. Remember that most paintings have more than three colors, but for these videos, I'm on Lee, using these three couple colors and in every other section, I only use three colors. In most paintings. They're definitely more than three colors. But this isn't interesting color exercise for you to see the impact of color and how important it is to have choices in our color. So now we have purple and orange see with what the difference is quite a contrast. It's a whole different result. Now. We're going to add bits of green for the small percent off the third color, and it will have to be a darker green because that orange is quite right, and so is the purple. So we're adding those now. Here are the three colored, uh, examples so orange and green with bits of purple, purple and orange with bits of green. Ah, whole different look. Now it's your turn. I want you to create your own color samples and your own color sketches. So do that now, and we'll see you in the next section to you soon. 6. Tertiary colours: Welcome back. Tertiary Collins. Tertiary colors are made from mixing secondary colors, so the basic colors include red, orange, yellow, orange, yellow, green, blue, green, blue, violet and red violet. These air the colors you can create from secondary Cohen. One artist that used tertiary colors is Georgia O Keefe. You can see some samples here, but like all the artists you didn't use just tertiary colors. She used her sherry colors, plus some primary colors and some secondary colors. The tertiary colors are used mostly as a neutral area, and they really set off the primary or secondary Collins. And that's what most artists do. Georgia O Keefe was known for her paintings of enlarged flowers. She's considered the mother of American modernism. I love her work. Another artist that works with tertiary colors is Carol Nelson. Her abstract work is done in Krilic and mixed media materials, and it's highly textural. But look how well she uses tertiary colors you get. Callen is a Lebanese painter and sculpture based out of Los Angeles. She uses tertiary colors really well here. The bottom piece is mostly tertiary colors and a few accents of secondary or primary colors . Same with the one above. That is mostly tertiary colors, and she does use these colors well. But like most artists, she doesn't use them all the time, and she mixes tertiary colors with secondary colors or primary colors. Mark Grat him is the only artist I could find that uses mostly tertiary colors, and he does so in his bold brushstrokes here, and you can see it's mostly tertiary colors. Robert Burridge is another one that uses tertiary colors, but not alone again. What he does is he uses tertiary colors as backgrounds and large spaces, and he adds accents in primary colors or secondary cones. So now let's watch the video on making tertiary colors. Tertiary Colors by Doris Shelley. Now we're going to mix tertiary colors to make tertiary colors. You mix the primaries and the secondaries together so you would have ah, yellow orange, for example. Like in this one, you would have a red orange just like that one. You and have a red purple like this one. You will have a blue purple liking this one loom or red. I'll do it like this one, and now you will have. So here's a bigger version now you will have blue and green to make a blue green just like this. And now you will have a green and a yellow to make a yellow green, even lighter, still so weak at this. There we go. So those air the tertiary colors. Let's do our sketch. A west are Call it a tertiary colors. So what we will do is we will feel one space with a certain tertiary colors. This is a yellow green, so nice, like green, bright, colorful, really looks nice. I'm still having trouble with my paper. It doesn't cover very well, but and the enemies will work with it and see how we can create a sample for you to see what tertiary colors look like. So 60% is in this yellow green, and then we add some blue green for accents like this, and we will use another tertiary color, which is a red orange, and at that in and again the painters and covering very well. But we'll work with that and just keep going. So yellow, orange of red orange with a yellow green and look at that. That looks really nice, even though it's a little bit street. We get the idea of what the color combo is like. And then we have a blue purple to create those accents, and I will put in a tree. Now in my real painting, what I would have is a tree with accents of purple in it and, ah, foreground with yellow green. But other kinds of greens as well. This is a sample. This is like a little sketch I'm doing just to figure out the colors. So that's what's happening now. We'll choose a second color now and do a second sketch just so that you get the idea. So we have a red purple as the main color, and I will just keep adding that in there is going to be a bit of variation in the color simply because I have to remix and it never mix is quite the same when you have to remix a color. It's very hard to mix the same thing over again in the real painting and just like in the sketch right now, what happens is you have variations on one color. You don't have one blocky color. You have a variation on that color. So now we have a dominant red purple, and we're going to add Guess what? Color and orange a yellow orange this time. So it's an orange with more yellow in it. So we fill the space. Look at the difference between the two sketches. Already color combination makes such a difference. Now we're going to add a tree. This time we'll do an evergreen. And remember, this is a sketch. This is not a finished painting, so we have a bit of shadow. We spread a little bit of that green just in other areas to make it interesting and create shadows. But look at the effect. The effect is completely a contrast. It's just amazing what choosing colors will do. This is what I want you to think about as you do your own color sketches. Think about how important that color is when you make your choices. So do this part now and we'll see you in the next section. Have fun painting Theo 7. Complementary colors Part 1: Welcome back. Now we're going to talk about complementary colors. Complement. Three colors are the colors on the opposite sign of the color wheel so red and green, for example, Or if you look at the diagram, ah, blue within orange because there's a sharp contrast between two colors. They really make images pop. When they're placed next to each other, they create the strongest contrast between two colors. This is a great way to make a wonderful painting, if ever I had any hints to give you on how to make a great painting. This is one of the tips I would give. You use complementary colors, so complementary colors are pairs of colors, so complementary colors can create some striking optical effects. And that's the key feature of complementary colors. The shadow of an object appears to contain some of the complementary color of the object. For example, the shadow of a red apple will appear to contain a little blue green. Now last for you realist painters. But abstract painters, it's the same concept. You should always have a bit of a complimentary color next to your focal point with your main color. So Vincent van Gogh that this really well he has a bright yellow with orange is in it next to a very bright blue, and it creates a wonderful contrast. Emil Nolde e. Does that in this painting. Orange, right next to a purple blue, creates a great effect. It's wonderful. It's beautiful. Ari Matthews did that locked. Look at some of these paintings. You have a purple blue with a yellow. You have the green and the blue and against it is like an orange color at the bottom here and then on the right. He has blues next to oranges and yellows, great color combinations. Ari Matthews is known for his use of color. He was an expert in creating great effects with color. Here's one of mine. I have purples and oranges next to each other and a bit of yellow, so it creates a great contrast near the focal point. Here's another. I have different use of purple with yellows and oranges, and the Warhol was also a master of complementary colors. His Maryland manure groceries are good example. He places greens next to reddish pinks, more like fuchsia and then oranges next to a blue green. Great color combos and complementary colors to now it's your turn. I don't have a video for this one. What I want you to do is go back to the very beginning and test out at least one set of complementary colors. Remember to do a little sketch like I've done in the other videos. See what it does for you. Remember to have one dominant color where there's more of that color than the other tested out. See what it can do for you. Pick any of the complementary colors and try toe. So do this now and we'll see you in the next section. 8. Complementary colours Part 2: complementary colors by Doris I. Now we're going to do a set of colors that are complementary. I have picked orange and the complementary off those is blue, red, blue and green. So we're going to put those on the other side. So we'll start with the blue and you can have variations on that. Blue doesn't have to be one pure flat color. It could be variations on the blue. We're also going to add some purple, and it could be variations on the purple, too. And we're going to add some green, and we'll have variations on that greed. So these air the compliments, so they're the opposite side of the color wheel. If you are to create a painting, these air great color combos. This is just one sample of many that you can combine, and we're going to start with the blue in the sky. Here, we're going to create a little mini sample landscape to see if I liked those colors together. So the goal off these little sketches is to see if you like that color combination. Sometimes you do, sometimes you don't, and sometimes if you do more than one, you find that some of that color combinations that you had in the beginning aren't as good as some of the ones you have later. So we're going to add a little blue, purple now or red purple with. Anyways, we're going to mix up the purple and have a variety of purples here with the blue, these air, the far away mountains that you can have in a lot of landscapes, and then we have a green foreground. Now green is considered a cool color, so these three colors are actually cool colors, and then we'll add just a warm color on to go with that. So again, what we have is 60% more or less green, because I'm going to extend this green into the purple so that it looks like a different kind of green, just like if you're going to have foothills near some mountains. So we have the hills, and then we have also the purples. Here we have the foreground that is green. Now let's try a different combo. We're going to have orange here, and the orange doesn't look very clean and clear because I put it on top of the blue. So this time I'm going to make the orange first. What I'm going to do is fill in the orange in the spots. I want orange and then work around it. So now I'm adding green just around out, see how different that is for a color combo right there and keep going and adding perfect. That's really good right there. And add those to that spot, and it looks like the green is quite varied and the oranges shining on top of that green space. I do like that effect, and I often create that in my own pink ings. I like the variety. Now we have a little bit of the red purple, and we blend it in with the green and we add that red purple in the sky. Now look how different that is already, if I have a dominance of green at the bottom, as opposed to a dominance of blue purple on the other side, so this creates a whole different effect. You decide which one you like best. So that's why we do these sketches to see what the color combos are like together. And if we really like them, it saves a lot of time and effort. Sometimes I've cheated and I've not done my sketches first. And then I'm very sorry because I'm 3/4 of way through the painting, and I realize I'm not a fan off that that color combo, so I have to complete it. But I'm not a fan, and it would have been better if I'd picked a different combination. So if you do these sketches first, you actually learn that. And we'll add a little bit of that purple in the bottom part because the sky often reflects into the landscape. Now we're getting more complex because in the other videos that I showed you, what happened is I actually just left the color one color. But now we're doing like a real painting where you mix the colors together and you create a more harmonious effect. So this is what I want you to do is pick one color pity, picked the opposite on the color wheel and do these sketches. So do this now and then. We'll see you in our next section and have fun 9. High key and low key paintings explained: Now we're going to talk about high key color. High key is when a color contains a range of light values. So if you have AH, high key or a high value in your painting, that means you have a lot of bright light areas. High key color describes the settle colors that range from MIT tone Used to white. Here are some example. Here is high key colors. You. I have bright your color with a little bit of white added to the color, but the colors are mostly bright and light. Here's another high key color painting where you add just bits of white to your color occasionally, but mostly the color is pure. This is when the color is pure or when you add white to it. Loki color. They contain a range of dark value colors. Loki ranges from mid tone to black, so these air Loki colors. I've included darks, and I've added black and graze to my color. So these air low Kik paintings. This is also a low key painting because there's almost no white added to the color. Mostly dark is added to the color, so this is a summary of high Key and Loki. Now it's your turn. Choose one of the tube. Create a high key like this one or a low key painting like this one. Don't forget to do your sketch before you get started. That's it for now. We'll see you in the next section. Hi Key Loki by Doris Szabo You are going to look at a few sketches and or many paintings that talk about high key and low key. So what we're going to start with is tertiary colors. So here are the tertiary color samples, and they're very low key, as compared to primary colors that are very high key, just like this one. So look at the difference here. We have secondary colors that they're sort of in between there. In between Loki and High Key Hi Key is when the colors air closer to primary colors. Loki is when they're low further away from the primary colors. They have been blended more so here. Some more samples, secondary color, see how more low key they are. They're more blended colors, So low key is when you add other colors to your primary colors and you lend, or you add blacks or you add Rev. So here's another example. Primary colors right here. Secondary colors right here. More blended, more low key. And now we have the tertiary colors that are even more low key. There last blended, and that's all there is too high key. And Loki, the closer you are to primary colors. The higher the key, the lower the more mixed. The calorie is usually the more low key it ISS, so it can be mixed with other colors or can be mixed with black and white again. Here's the primary colors and sold these or high key secondary colors a little bit more low key. Because they're mixed and again tertiary colors, they're mixed even more so. They're more low key than secondary colors, so the primary colors are the high key colors. The mix colors are the low key colors, and that's all there is to it. So we'll see you in the next section. 10. Hue and value explained: Welcome back. Now we're going to have a very short presentation because I want to clarify a few words that pop up all the time, and people are never really clear what the me one of those words is Hugh. So the noun Hugh means both the color and the shade of a color, so green, orange, yellow and blue. Each of these is a hue, a color or a shade that's true. A rainbow shows the melting of one hue into another. If you look at the right, these air Hughes and a hue is a pure color. That's the key word. Hugh equals pure color, so it's a color without any white added to it or any black at Intuit. If the color has a mixture of yellow and red, that's still a hue. If the color is a mixture of red and blue, that is still ah, Hugh. But as soon as you add black and white to it, it is no longer a hue, so just keep in mind. Hugh equals pure color color without white and without black. The other word that's really confusing for a lot of people is value. Value is the lightness or darkness of a color value, deals with late. The light pink is a light value. That dark pink is a dark value value helps create spacial illusion. So that's why we have value Craig death. That's what that needs. Contrast of value separates objects in space. So, for example, if I have a light value next to a dark value, it creates a line, whereas a gradation of value, like the one above the grease scale. It's just mast, and it creates contours. It creates shapes on the right. You can see where the light value is, and you can see where the dark value yes, and there's variations in between. So I have life values that they gradually to darker value. So that's it for this section. I just wanted to clear things up. Let me summarize one more time. Value is the lightness of a color or the darkness of a color. Hugh is the purity of the color. It's a color without any white or black added to it, so a pure color can be a primary color, but it can also be a secondary color and the tertiary color. So try to absorb this. What you can do now is create a painting with Hugh or painting with value, and then we'll see you in the next section. That's it for now. 11. Neutrals -what are they?: now for neutrals. Neutrals are colors where you have added black or white to it in creates a shade, so or it in so neutrals air just the colors that you have added black or white to it, creating a color that is not a pure color, and that's all there is to it. That's not any more complicated than that. But I found that I needed to explain this so they would be less confusing when you start reading about color theory and working on your own work as well. Have fun creating neutrals and tints and shades in your work, and we'll see you in the next section. 12. What is a monochrome painting: monochromatic colors are all the colors, tones, stance and shades of a single Hugh. That means you create a painting from one color. Monochromatic color schemes are derived from a single base. You that means one color and extended using it. Shades, tones and tints. Tensor achieved by adding white and shades are achieved by adding blacks and tones. Air achieved by adding a darker color, gray or black, and your wife is a wonderful example of a monochromatic painter. I know he's not an abstracting, too, but if you squint and look at some of this work, it's very abstract in its composition. The effect is wonderful, even though it's just one color that's either paler or lighter or darker. Picasso was also a master of monochromatic work. During his blue period, he created whole paintings with blue as its main color. Here's another one of Guernica, which is all kinds of shades of grey with blacks and white. So another monochromatic painting here's one of mine or two of mine, and these are created using Onley, a dark brown, a C P a color, and then the effect is watered down or added to, and chrome also creates these wonderful wave effects and cloud effects. But she says she doesn't buy black. She creates her own black and then adds white to it in various combinations to create her paintings monochrome by Dora Shoving. Here, we're going to take one color, and we're going to paint an object, which is going to be a pair of this time, and we're going to just use layers and layers of color. Now. This color is called burnt Sienna. It's a traditional color for creating monochrome. So here we have different layers off that color, and you can see what color is gonna end up. So we start with a light coat, so we start with light areas, and then what we will do is slowly build up the areas to create dimension. So we're going to create an object, and, uh, it's going to look like it's got three dimension, and we do this by adding layers and layers of color. So here we have very light lier to start with. I'm still having trouble with my paper, but I'm going to work with it, so we have a darker area. We imagine that the sun is actually shining on the right hand side and we'll go from there . So see how we add light layers instead of really heavy Lears and just keep adding and adding and adding, in fact, that's what monochrome is. This is very traditional in oil painting. Quite often. If you take a traditional painting course, what will happen is they will teach you this technique first, and then you will start to add color after you've mastered the art of layering color like this. So when you layer color with just one color like this, it's really easy to create dimension. And it's really easy for you to master your whole process. So I'm creating a darker area on the left simply because the sun isn't shining on that side . Create a little shadow for the stem. Keep in mind. This is a very simplified version of what will happen with monochrome painting, so I'm adding white to get rid of the part where my paint went over the edge and see how much did I mention I've created. So I have light areas where the sun is shining and I have darker areas where the sun is not shining, so I'm adding white to bring back the weight so that I have a highlight for my pair. And often there's a semi reflected highlight on the left there, so I don't want it as dark. So I'm going to just brush it up and add a bit of color. So the video is now slowing down. That's telling me we're almost done. And here we are. We have a pair, we have dark areas, We have light areas, we have highlights and we have very, very intense dark areas where there's really no light coming. So this is it. This is monochrome painting. So give it a try. It's your turn now. Do this now and then we'll see you in the next section. Have fun painting. 13. Tints and shades -first part: welcome back shades, tents and neutral. We're going to cover these three elements. Often, people finally is very confusing, so they can't tell the difference between shades tense and neutral. So here this shades, you're adding gray or black. Sometimes in some books, when you add gray, it's called a tone. But generally, most books call it a shade tints. You are adding white and creating a lighter version of that color. Neutrals is when you add black or white to a color, and then you create a more neutral color. You're changing the color itself, Shane's. As I said before. A shade is a mixture with black. The term shade can be generalized to include any particular color. It doesn't matter which color. It's still a shade of blue or a shade of green or a shade of yellow. So let's watch video and see how to create a shade 14. Tints explained: 10th by Doris Shy Here, we're going to take the primary colors and we're going to 10th. Um, that means adding white to them. So what we're going to do is take each color and tint each color and then create a sketch or a mini painting just to give you an idea of what it looks like when you create a painting with only tents. Now, in real life, that doesn't really happen. You tent certain areas and not others, but it's just give you an impression of what it would look like. So here's the yellow with the tint. So you have white added to the yellow, and it gives you that light, yellow, bright, sunny day kind of effect. Now we have white, and we're going to add blue to it. We're going to tent the blue, so we're adding blue to the white or white to the blue, and we're adding it to the primary color. You content any color you like. You don't have to just read. Um, you don't have to just do the primaries, but keep in mind that when you tend to, this is the look you get, You get that pastel kind of color, and that's the way it is. So you wash your brush in between each color, and then we will do read, So we will tend the red with white, and that gives you a pinkish color. So you have a pinkish color, and that's tinted red. So pink is actually a red tint. And here we go, so you can see the difference you we have instead of bright, bright color. Uh, pure, intense color. You have subdued color. Now we're going to create ah, small landscape using only tents. This is not a normal kind of painting. This is just a sketch to give you an idea off what it would look like if you used on Lee tense. So as you notice, I'm not that good at staying inside the lines. But like all the other paintings or sketches, many paintings that we did in this course we are using the 60 30 general. So 60% of your painting is one basic color are variations on that color, and then 30% is another color, and 10 is the accent. So here work, having a dominant blue color with a pink second color and a yellow accent, so the yellow in the landscape, he kind of idea, is more or less a sunset. Now what I should have done is actually left that space, because I can see that blew through the yellow so I should have left the yellow space or done the yellow first. And then we add the yellow raise on the land. Not my best moment, but it gives you an idea of what it would look like if you used on lee tinted paint. So now we'll do a second color. After this will do a yellow dominant. So we're going to feel the space with yellow, keep going and doing that and use tinted yellow. It's not as tainted as the other, so we have a little less weight in this one. But we it is still tinted, so there are variations on the tent. You can use a small amount of white have, ah, small tent, or you can use a large amount of white to have a very pale tent. Now we'll add pink at the bottom and create that 30% of a second color. No unordinary landscape. It's pretty rare. You would have a red tint like that may be on the winter's day, with the sun shining that red sun that you get shining on the snow. You might get that kind of look, but not very often. So now we're going to add a blue accent. So we have the horizon mine, which little bits of blue in the 30% part kind of show raise or just blend a bit of the bloom. Keep in mind that in an ordinary painting your regular painting, you would not have all these 10th. So that's yet. What I'd like you to do now is create your own many paintings or sketches. Have fun creating paintings with tents, so you'll index section. 15. Shades explained: Shane's by Doris Shoving You were going to look at what happens when you add a darker color to a primary color, thus creating a shade of a color. You can add a dark color to any other color. Here I'm adding a blackish, more like a very transparent black, so I'm going to add it to each of the primary color. You can add a dark to any color at all. But here, for this example I'm using on Lee the primary. So here I've created a red shape numb, creating a blue shade. So it is a darker version off that color because you have added a black or a gray to it. In some books, when you add, gray gives you a different definition, but for this case, I will just say black or gray. So when you add a black were gray to a yellow, you often get a green color like an all of green. That's another thing that most people are surprised about, but here you have a shade of yellow so yellow and a dark making all of green read any dark , give you like a rusty color and blue and the dark give you a ultra marine kind of color. So now we're going to create a sketch in this catch. I'm going to use a yellow and black shade, a yellow shade. I add shade. Did color in there. It doesn't have to be a flat color. It can be variations on that color. I'm still having trouble with my paper, but we will work with it. So now I'm adding a red shade at the top and creating a different look. So I have a red shade at the top, a yellow shade at the bottom. I just try to get the paint as even as possible. Remember, this is a sample piece, and now I'm adding a blue shade and adding, ah horizon line in a tree kind of color and a shadow. Here is what a red shade and green shade, dominant sketch or painting would look like. Now let's try a different look. So now I'm going to have in blue dominant shade, and we'll fill the bottom with blue and see what happens and just fill it. Remember, you don't have toe have the same shade. You'd doesn't have to be flat, and in this case, It's only a sketch, anyway. It's to give you an idea of what it looks like. If you put all these colors together, this is something you should always do. Before you create a larger painting, get your colors downright first. So now I'm going to add a red kind of sky color shade. I shouldn't say color. I should say shade and just feel that in the paint because it's on a paper that isn't that absorbent. It's leaving streaks. But remember, this is on Lee a sketch. This is only a prediction that will will happen when you use those color combinations. No, I'm adding a green accent, so look at the difference. Look at the mood you create that is very, very different using this kind of color. So I'm now using a little darker shade to create the trunk and a few little leaves and spreading that around different colors. Different looks, and this is what it looks like when you create a shade. So this is what I want you to do now. Create your own sketches using shades and have fun using them. So planet off 16. Warm and cool colours explained: warm and cool colors, warm colors or colors such as red, yellow and orange, and the remind us of warm, sunny days or fire. Cool colors are blue, green or violet or purple, and they remind us of things that are cool like water grass. And that's the basic difference between warm and cool colors. There's warm colors on 1/2 of the color wheel and cool colors on the other half of the color will. Here you have an example of warm colors on the right and cool colors in the middle. Here's an example of artwork with mostly warm colors, and those are oranges and yellows and a bit of rant. Here's another example of a warm color painting with small elements of blue and a little bit of purple but mostly warm golden reds and oranges. Here's another warm color painting with yellows with little bits of purple to set off the warm colors. So, just like in any other painting, you want a dominant color, which in this case is a warm color. And then to set it off, you add some cool colors. Here's another example off color differences, so this is predominantly a cool painting, so I have bits of yellow and orange. But the dominant colors are blues and purples. Here's another cool painting, a cool color painting that's mostly blues and variations of blues, with little bits off orange here and there as an accent. But the dominant color is blue. Georgia O Keefe was wonderful at creating paintings with warm colors and cool corns. At the bottom, you see the warm color paintings and that taught the cool color paintings. I noticed that the painting on the left has cool colors but has one accent of a yellow color. So now let's watch the video on warm and cool colors. Warm and cool colors by Dora shy. Here, we're going to look at the color wheel and check out which are the cool colors and which are the warm colors. So here's the color wheel. Half the color wheel is warm yellow, orange and red, and half the color wheel is cool. So purple, blue and green. Ah, lot of people seem to think that green is a warm color, but it is not. It is a cool color, so what we'll do now is to start creating our sketches. The's catches are done just to show you what a cool color would look like. A painting done with Onley Cool colors. I'm still having trouble with my paper, but we will still work with it. So here we go. We're going to fill that space with purple. So purple is a mixture of blue and red. It doesn't have to be the same flat color of purple. It can be a variation of different kinds of purples, so we're going to just feel in the space as much as possible. And we're going to add blue as the second color here and just feel that in. So we're going to mix a bit of the blue into the purple and have those two colors blended and work with that and just add little bits of more purple so that it goes and transitions from light purple to darker purple to blue. We're trying to create in me any landscape here. We're just going to fill it in like that, and we're going to create some mountains. Remember, this is a sketch. This is not a finished painting. This is to decide if I would really like to have those colors together. So I put the green at the bottom. So this is like a mountain scene. So there's Ah, foreground, that is green mountains that are blue, far away, mountains that are lighter blue and then a purplish sky. But we're going to get more advanced this time. We're going to add a bit of that purple into Theo, the bottom green part. So here we have yellow. So we're working on Lee with warm colors now, so we're going to have a dominance of yellow here and feel in the space with that yellow. So yellow is one of the warm color. So is orange and also ran. So those are the three colors we will use for this sketch. So we feel in the sky part when now we add a bit of the bottom part, we're going to create a similar effect. We're going to have mountainous areas in the middle ground, and then we will add some of the red at the bottom. Fill in with that color. Let's look at this effect. She would a different mood that creates when you have a dominance of warm colors. In real life, you wouldn't have Onley warm colors, you would have some of cool colors mixed in with the red. If you have a dominance of warm colors like thes three colors, it creates a whole different effect. And that's what painting is all about, creating an effect mood. And that's what you want to work with. So I'm just going to add a little red can create a little bit of a light on on that ground , and it looks lovely. Here you go. You have cool colors, you have warm colors and look at the effect between the two. So when you're choosing your own colors to paint on your painting, what you want to do is decide which one is going to be dominant. That's it for now. What I want you to do is to create your own warm and cool color sketches now, so have fun doing that and enjoy the process of seeing what the effect is of putting those colors together. We'll see you in the next section 17. Conclusion: conclusion. I hope you enjoy this class. Remember these basics. Practice your painting with us. Thumbnail the's color combinations, air exercises that will help your artistic voice grow and blossom. Just how fun. That's the most important part of this course and the most important part of painting. Here are some references two whole pages of them. I hope you enjoy the information. This is sites where you can get more information about color mixing. But what I have given you is the basic information. So remember, have fun and enjoy just the process of painting and combining colors and find your special colors that work just for you. Thanks for joining my course, and we'll see you in the next course. - Conclusion . I hope you enjoy this class. Remember these basics. Practice your painting with us. Thumbnail the's color combinations, air exercises that will help your artistic voice grow and blossom. Just how fun. That's the most important part of this course and the most important part of painting. Here are some references two whole pages of them, and I hope you enjoy the information. This is, um, sites where you can get more information about color mixing, but What I have given you is the basic information. So remember, have fun and enjoy just the process of painting and combining colors and find your special colors that work just for you. Thanks for joining my course and we'll see you in the next course.