Confident Color Mixing to Create Successful Watercolors | Leyla Torres | Skillshare

Confident Color Mixing to Create Successful Watercolors

Leyla Torres, Easy art projects to enrich your life

Confident Color Mixing to Create Successful Watercolors

Leyla Torres, Easy art projects to enrich your life

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
38 Lessons (3h 25m)
    • 1. Welcome and brief Introduction

    • 2. Watercolor supplies to maximize your budget

    • 3. Helpful concepts for watercolor mixing

    • 4. How much water to use when mixing colors

    • 5. Method 1 -Tracing to watercolor paper

    • 6. Working with split primaries

    • 7. How to prepare secondary and tertiary colors

    • 8. How to prepare complementary colors

    • 9. How to prepare dozens of colors from a few tubes

    • 10. Easy way to create a swarm of butterfly variations

    • 11. Adding ornamental details

    • 12. Method 2 -Tracing to watercolor paper

    • 13. Yellow Butterfly STEP 1

    • 14. Red Butterfly STEP 1

    • 15. Blue Butterfly STEP 1

    • 16. Yellow Butterfly STEP 2

    • 17. Red Butterfly STEP 2

    • 18. Blue Butterfly STEP 2

    • 19. Yellow Butterfly STEP 3

    • 20. Red Butterfly STEP 3

    • 21. Blue Butterfly STEP 3

    • 22. Orange Butterfly STEP 1

    • 23. Green Butterfly STEP 1

    • 24. Purple Butterfly STEP 1

    • 25. Orange Butterfly STEP 2

    • 26. Green Butterfly STEP 2

    • 27. Purple Butterfly STEP 2

    • 28. Yellow-brown Butterfly STEP 1

    • 29. Red-brown Butterfly STEP 1

    • 30. Blue-brown Butterfly STEP 1

    • 31. Yellow-brown Butterfly STEP 2

    • 32. Red-brown Butterfly STEP 2

    • 33. Blue-brown Butterfly STEP 2

    • 34. Yellow-brown Butterfly STEP 3

    • 35. Red-brown Butterfly STEP 3

    • 36. Blue-brown Butterfly STEP 3

    • 37. Extra Inspiration A -Paint More!

    • 38. Extra Inspiration B -Paint More!

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Welcome to "Confident Color Mixing to Create Successful Watercolors"

This is, in fact, a fun watercolor course where I share with you my "Happy Butterfly Process to Mastering Watercolor" a friendly and easy way to sharpen your watercolor skills.

In this comprehensive class you will::

  • Learn to mix colors confidently and knowledgeably.
  • Find a happy medium between control and surprise.
  • Apply what you learn to your own favorite watercolor subjects.
  • Produce work that you are consistently proud of.

All the videos in this watercolor course are less than ten minutes and conclude at a natural stopping point. This makes it easier to learn new ideas and add them to your ever-expanding set of watercolor and artistic skills.

Who can take this watercolor class?
Whether you are a beginner or have had previous experience with watercolor, this course will provide you with new insights and methods to create luminous watercolor paintings with sensitivity and expertise.

The course is divided into SIX sections:

SECTION 1 (Videos 1 to 4) Materials and helpful concepts for watercolor mixing

Even if you already have watercolor supplies and/or knowledge of color principles, these videos are specific to watercolor. It's always beneficial to review the basics!
Also, they will help you take an inventory of whatever you might already have.

It includes two printable PDF files.
. . . . . . . . . . . . . . . . . . . . .

SECTION 2 :: (Videos 5 to 9) Color Mixing Practice

Here you will develop a strong foundation, understanding, and practice of how to create a broad color palette using six basic colors.

It includes three printable PDF files
. . . . . . . . . . . . . . . . . .
SECTION 3 :: (Videos 10 to 12) A fun method of designing and drawing a multitude of butterfly variations

You will be working on creating and drawing the images of many different butterflies. You will learn an easy drawing technique that will give you great flexibility to create as many butterfly shapes and sizes as you desire, and address some basic methods of layout and composition.

It includes one printable PDF file

. . . . . . . . . . . . . . . . . .
SECTION 4 ::  (Videos 13, to 21) Three Steps to Make Your Colors Rich and Luminous 

In this module, the knowledge and skills you've developed in the use of color and composition will be applied to creating butterflies with enriched and varied primary colors of red, yellow, and blue. As you create your series of butterflies, you will understand how to apply color in layers to create effects that are dynamic, vibrant, and transparent and that have depth and richness. You will also learn how to express the subtleties of this beautiful subject of butterflies through color gradations.
. . . . . . . . . . . . . . . . . .
SECTION 5 (Videos 22 to 27) Creating Fresh Color Combinations that Enhance Each Other

This section continues watercolor practice modeled in the previous one. It will guide you to broaden the spectrum of colors on your palette for painting butterflies to include primary and secondary colors. This painting practice will give you a greater understanding of how primary and secondary colors can be used to complement and enhance each other. You will also work with hard and soft edges and lines.

. . . . . . . . . . . . . . . . . .
SECTION 6 (Videos 28 to 36) Combine Rich Browns with Primaries to Make Your Colors Sing

This module continues watercolor practice modeled in sections 4 and 5. It will guide you to broaden the spectrum of colors on your palette for painting butterflies to include combinations of primary and secondary colors, with luminous browns and grays.
. . . . . . . . . . . . . . . . . .
EXTRA => (Videos 37 and 38) Two short videos for more play and inspiration

I hope this course meets and exceeds your expectations.

Meet Your Teacher

Teacher Profile Image

Leyla Torres

Easy art projects to enrich your life


"Art is when you hear a knocking from your soul — and you answer.” ~Terri Guillemets


In my studio practice, I explore creativity through writing, watercolor painting, and origami, the art of paper folding. These artistic activities are vehicles for cultivating the creative spirit while fostering a sense of inner calm and play in our daily lives.

Paint a Pansy in Watercolor -FREE Class | INSTAGRAM 

See full profile

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.



1. Welcome and brief Introduction: if you feel like me, you know that inside yourself there is something that loves having a creative outlet. You love the possibility of making something that has spirit that brings joy to your life on that's beauty to the world. We're looking to live at this time when technology allows us to become the artists we want . Toby from the comfort of our home on without feeling that we are isolated. Hi, I am Layla tourists, and I'm excited to welcome you to my skin chair class. Confident color mixing to create successful watercolors. This is, in fact, a phone course. What I will share with you the Happy Butterfly Process toe massing watercolor designed by myself so that you can mix color confidently, find a happy medium between control and surprise. Apply toe any subject I'm produced work that you're proud off. Even if you haven't worked with watercolor before, you're going to be learning what materials we produce. The best results, other gestural cost. You will be applying a metal of drawing on designing to create multiple variations off a subject. We will explore the A B C's of watercolor in the context, off militated and relaxed projects on you will be able tow chair your work with me for feedback and support. You will be inspired to continue transforming yourself into the best artist. You can be developed from current pillar into butterfly. Spread your watercolor wings and soar. Join me in these cars. It will be an honor to have you. 2. Watercolor supplies to maximize your budget : This is an in dept. Overview. Off weather color materials, world colors coming troops on bunch. It's in liquid form, and even as water soluble pencils or crayons, there are professional grade and stood in great weather girls. Professional grade watercolors have a higher concentration off pigment on are better able to withstand exposure to light without fading. The basic primary colors are yellow, red and blue. I recommend you have a cool version on a warm version off each of these colors. In addition, I suggest for more colors and will enrich your palate. If you're Newt watercolor, go ahead and portions them. If you already have watercolor pains, you can work with whatever you have, where you are buying pains for the first time, or you already have different pain brands. It is helpful to read the labels. Justus. We read food labels in the supermarket. Knowing how to read labels on the watercolor tubes will give you knowledge off equivalent colors among different brands. Very chances to make. Louis notes paintings and save money by no by in repeated colors. The following guy lines are also available as a printable PdF document for easy reference. Here is what to look for on a paint to labor. We look for the color trade name. Usually it is the most prominent. This can be confusing from brand to brand because the exact same red or yellow or blue can have different train names. Depending on each manufacturer, it is best to choose your colors by pigment content. Where do we find it? With fine pigment information on the side or the back off the to, for example, P. Why three p stands for pigment. Why stands for yellow? And three? It's a specific number off this pigment. What color pains can be single pigment pains? Prepare with only one pigment or convenience mixtures. Prepare with two or more pigments for best luminous painting results and to save money, choose single pigment pains. You can prepare a very large number of colors by mixing a handful of single pigment paints . Pay attention to the name of the manufacturer. There are several repute. Herbal watercolor manufacturers read about light pass NIST information shoes, Pains off height life asked rating transparency Information. Pigments can be transparent, semi transparent, semi opaque or opaque shoes. Spain's with a transparent or semi transparent rating for best painting results. I highly recommend you use artists quality or professional great pains. You can download a pdf document with the's skylines or how to read labels. Except for one. All the colors I suggest are single pigment on have hydrates off light, Fastness and transparency. You can prepare a very large number of colors by mixing just a few single pigment pains. Pallets come in different sizes. A pants. It usually includes its own palette. A palette such as this one has a cover, and it's portable. You can begin by using a large white ceramic plate like this. The bigger your project, the larger you plan. It should be individual containers coming. Handley for washes were preparing a large amount of water called Artis Great. What color paper is usually made with 100% drag fibers, such cotton or linen. It is acid free and comes in different sizes, weights and pictures. Whether colored paper comes in grows large sheets measuring 22 by 30 inches in large and small spiral bound books on blocks. The paper I use most open is manufactured by arches, and here you can see oil brands that I have used successfully there are three invaluable textures. Hard pressed paper has a smooth surface. Cold pressed paper has a texture surface suitable for fine detail. Work on smooth washes This is an all purpose paper. Rough paper not shown here has a more pronounced texture. The weight off the paper is the terming by thickness. Light weight paper is bean heavy. Paper is big. A thin paper is £90 heavy paper £300 on a medium weight. All purpose paper is £140. For my classes, I recommend £140 whole press arches. Paper. A good watercolor brush should be able to hold a sufficient quantity of water and be able to distribute color smoothly and evenly. Good quality bristles will spring back to their original shape after issue. Use. Brushes have made from national animal hair or from synthetic fibers. The best watercolor brushes are made from sable hair that are some excellent synthetic brushes. Available to round rushes are the most diversity on widely used brush for watercolor painting. Flat brushes are useful for washes their rushes of different shapes to experiment with. Even a toothbrush can coming. Hundley. If you're buying watercolor brushes for the first time. I recommend three or four round brushes, and these are all the brushes you need for this class wins your rushes with clean water. After each session on a store them in a container with the bristles facing up for traveling , I recommend a bamboo roll up brush holder to pack your brushes. Place swam brush at the end, then roll place another brush role. And so, and he just packed order brushes half at least two containers of worried at hand. One container will hold clean water to use us. Need it watering? The second container is two rings. Your brushes. I usually keep a towel to my right on the table. I use it to dry the brush and to axe Irv water from the brush Farrell and avoid unwanted droops. I also keep a paper towel at the base or edge off the painting. Closest to me, have a range off soft and hard pencils took in up excess pencil lines on watercolor paper. Used a soft eraser. My favorite shot meted rubber eraser. This eraser cleans pencil nicely, keeps the paper intact and leaves no residue. You can also use a white and soft, non staining eraser, A smallest prayer or water dropper can be used to moisten the pains or the paper artist white tape to tape the paper onto aboard. Play with boards to stretch the paper. These and more option of materials. Opaque white pigment for highlights, masking fluid and pick up rubber cement eraser national sponges to dump in the paper or for special effects. Let's recap thes air the basic materials you need to work with watercolor, about 10 colors off paint. Artis Great is preferable. Get into the habit of Green Day two labels the same way you read labels in the supermarket . You will get to know your colors much better. Pilots. Watercolor paper Watch my video. How to efficiently cut a large piece of paper into smaller ones. Two or three brushes. Two containers with water spray bottle pencils. Eraser board Unmasking day. Your homework now is to download the supply checklist. Gather material so you might already have get your materials ready on day. Enjoy the process 3. Helpful concepts for watercolor mixing: we love color. Understanding some fundamental concepts or how to mix colors will be valuable in informing our intuition. I'm getting to that point where we surprised ourselves with the result of our work and say , Wow, I did this in this video, where we go over concepts such as split primary secondary, their sherry colors, analogous colors and complementary colors. First, we will talk about primary colors. They're those which cannot be created by mixing or colors. Yellow, red and blue are primary colors, but we all have notice that there is more than when you more than one grid on more than one blue, such as the ones seeing here. All primary colors have a tendency or a bias toward another primary color. For example, these lemon yellow tends toward blue. It is a yellow with a BJU bias. This or yellow tends toward read. It is a yellow with a red bias according to the tendency or bias off colors. Many artists regard colors as cool or warm, So for painting, it is best to use a split primary system where we have at least two off each primary colors . We should have a warm yellow, which is a yellow with a red bias on a cool yellow, which is a yellow with a blue bias. Ah, warm bread, which is our red with yellow bias on a cool great, which is 100 with a blue bias. A warm view, which is a blue, which read buyers on a cool blue, which is have you with Yale by us. Some artists prefer not to regard colors a school or warm, but to be aware off the bias, I believe that it is best to be aware of boy ways of understanding color so that you can benefit from the teachings off different people. Now I will talk about secondary colors, these air colors that you can prepare by mixing two off the primary colors. The secondary colors are green, which is a mix of blue and yellow orange, which is a mix of red and yellow and purple, which is a mix of red and blue. As we can see, since there are different variations of primaries, they combine in many ways so that we have many variations off secondary colors. These are just a few. The most vibrant secondary colors are those makes from two primaries that tend toward each other. For example, creating a purple will depend on which read and which blew. Your shoes and luminous purple can be created by mixing our bread and blue, both having a hint off each other. Mix in a red and a blue that have a hint off yellow in them will result on a brown color. We will choose the appropriate mixture according to a subject or the feeling we want to convey. For example, this flower was painted using the color Mitchell on the left. They're sherry. Colors are those resulting from combining a primary and a secondary that our next witcher on the color. We're here with the examples off tertiary colors appearing between the corresponding primary and secondary colors. Analogous colors are groups of colors that are next. Richer in the color were they share in common apart in color. Now we will take a look. Two complementary colors. These air pairs of colors are opposite to each other On the color wheel, for example, red is the complimentary off green. On green is the complimentary. Off red or complementary colors are blue and orange on a yellow purple. Each pair of complementary colors always contains some combination off all three primary colors. For example, the complimentary of red is the mix of yellow on blue, which is green. When we place a pair of complementary colors next to each other in a painting, they create a strong contrast. They enhance one another. When we mix a pair of complementary colors with each other, we create a less intense color with neutralize it. Here we see the colors resulting from mixing yellow, important in different proportions on a painting using those colors. These are the results of mixing red and green, some blue and orange. Mixing two complementary is can result in making Dar grease on blacks, and we can have many possible complementary mixes, depending on the bias off the primaries. We shoes to use to recap in this video, we talked about the concept of split primary colors and how they can be mixed to create secondary and tertiary colors. We also went over concepts off analogous and complementary colors. In the next lesson, we will put some of these concepts into practice. True understanding of color comes with actually mixing it, playing with it, paying attention and having some fun 4. How much water to use when mixing colors: the ratio between pigment and water is very important. We can make a color more only saturated, depending on how much water we add to the pigment. This is an example chart where the color has been mixed with different amounts of water. The less where we had, the darker the color will be. The more whether we are the lighter, the color will be known off. This is better or worse to use than any off the orders. It all depends on how light or dark we want the color. There is a dairy analogy that can help us specialize the water pigment. Jesus. We can imagine that the more saturated color it's like cream is thick, saturated with pigment. Then that is half and half. Then there is whole milk. Then it is 2% milk and then non fat make. Here I demonstrate how this chart is made. So I'm taking this cool red and mixing. We would I had some water here in there on the palate, but I'm making it very saturated. I am going to remix in orange color. I'm going to release my brush and take some of this yellow and places right very close, and I'm going to mix them both to make an orange greens my grow sh more yellow so that we have enough. So look at this consistency. The color is very saturated. If I move my brush across the palate, I can barely see underneath, but it does need to have some water to make it fluid. So we're going to apply that to the 1st 2 square here, and then I will be making it lighter by adding water little by little. Now I'm going toe. Add some water on a play. We're going to have a lot more water. Then we can add more water to just one section of it. Notice how I am adding what are only two left side on. Super water is just water with a little bit of color. Sometimes I also refer to the consistency off grape juice, which is represented in these third square on going back to the dairy analogy. Cream half half whole milk, 2% milk known fact make, and we can also create a grated wash, starting with the saturated color and adding water I'm here and making this wit just before in any corner so that you can see how the corner flows much easier when it's wet under net for the charts. We can use a saturation between these and this is on. If you can consistently have that throughout all your color Seuin to have a good way to compare one to another. 5. Method 1 -Tracing to watercolor paper: Now I invite you to make a couple of projects. I will help you enhance your understanding of color and play with it so that you become more intuitive when mixing color. First, we will make a split primary color wheel like this even if you've made color charts in the past, going through the exercise quiet and therapeutic way to warm up and prepare for the projects to come. We are going to make a color were off split primary colors. Then we'll do the secondary colors on tertiary corners so you can download this template and we're going to pay close attention to the order in which these colors are. In the case of the yellows, they alternate Warm, cool, warm, cool. In the case of the blues, this warm, cool cooling in warm I mean the riches cool, cool worm were they do no alternate in the same manner so that we make all possible combinations. I tape a piece off watercolor paper onto aboard. We will draw this chart on the water colored paper fleet. The paper over on the back side, trace over the lines off the wheel. Using a soft pencil. You can do it loosely doesn't have to be perfect. Tony over face up again centuries on the weather color paper. So I uses for them back. But I'm going to use a further pencil, a normal pencil for carefully trace over the lines off the wheel so that the drawing gets transfer. Make sure you hold your paper tight and it doesn't move. We can keep the paper fixed with one hand on tournament. Check with the oil hand. When we are sure that all the chart has been transferred, we can remove it and we have a shirt in a very soft pencil line. 6. Working with split primaries : In this video, we will set the split primary colors first. Also, I suggest you keep some scrap piece off watercolor paper such us the back off, a discarded piece to play with the leftover mixed color. We will prepare the palate with split primary colors. I'm using single pigment colors for this demonstration, and for your reference, the names off the colors appear on your screen. Keep in mind that you can substitute any of these colors for other cool or warm colors to my half. What's most important is that you familiarize yourself with your own colors and pay close attention to what happens when you mix them. Um, using a number two brush here, we will paint on the primary colors onto their proper places, keeping in mind the order here. Worm Cool, warm. Cool. Well, I'm cool. Cool worm Cool, cool, warm work. So I'm going to begin with the yellows warm yellow to paint the chart. Ladies were aiming for the consistency off grape juice. We went the color to be reached, but toe have enough water so that we can see the paper we never use. It is straight from the to watercolor paint always has to be mixed with enough water. We applied yellow to the first packs, making sure to charge the broach if he drones out of color. Don't try toe overextend the color that you have on the paper because it will looked overworked. This is why it's important to mix enough paint in advance and be prepared charge to brush again. Um, we paint the other backs. This, of course, doesn't have to be perfect at all. At this point, we can take our watercolor paper scrap and use this left over paint to play. For example, we can add color to the paper, then add water. I'm faded to create a grated wash. The purpose of this is to play to see how the color looks when it iSuppli. We're not looking for to create anything in particular, but we can make any shape as well. So the shape of a son here and the ones we play, we proceed to prepare toe, apply the next color on the chart. So I really say brush, I'm going Toe also remains here because I don't want to mix them to wear. I am going to take my father yellow the quit yellow on mix with what it again and we applied to the other two backs is when this is finished, we can play with the leftover paint. The purpose off this is to have fun, to relax in tow, watercolor and to observe how different colors interact with water as we lay them or over each other. Then we can bring some Broch, clean the palate and move on to apply the red colors. So cool, red cord, red, warm, red, warm Brits. We make school dress first and remember that we want the color to be reached. But to have enough water so that we can see the paper with their leftover paint. We play for making this chart. We clean the palate every time we change color worm ridden. Now on we go on alternating between doing the chart and playing with the leftover color, - we leave the center of the palate clean on on the left We can see the chart on on the right, we can see a world play peas In the next video, we will finish this chart 7. How to prepare secondary and tertiary colors : we're going to mix secondary and tertiary colors to finish the Schardt. We will be moving sideways on the chart. I'll demonstrate how to mix the warm yellow on blue to mix green a secondary on those colors in between, which are there Cherries in the central area. We mix warm yellow with water. Look at the consistency. Then we brings the brush. Take they worm blue Or that this blue that tends to read. We're mixing colors. It is best toe at the darker color to the lighter. That way we had little by little and we have more control. We make so that we find that color that is tried in the middle. Not quite blue, not quite yellow. This is green. We applied in the middle, halfway between the blue and a yellow. And remember to keep charging the brush every time it starts to get dry. Now we will mix and apply a color that is in between the green and the blue. We are a touch off the blue to the green. Remember, always are in the darker to the lighter. This is pretty watery, so I'm going to add a little bit more off blue color on green color. Such ready that little bit more so still. Wait, so I can as quickly the resulting calories, like a bju green reiss a brush. And here is a Intermedia call notices a tertiary color yellow on. Mix it with the blue that is stare. So we have this first line. No. Before we wipe the pallet, we can play a little bit. Take the color on. Continue distant on our play peas. Notice how we mix three colors before cleaning the palate. One kind of ring, which is a secondary on to her Sherri's. Now we move toe the next ring by mixing a quill yellow with a blue with a yellow bias brings the rush and take out this disease tattle loses her cool blue is very strong, so only a tiny bit notice a vibrancy off the screen. In contrast with the previous one, we will continue mixing colors in the same fashion all around the circle. First we make the secondary and then the two tertiary in between. These search requires a little bit of concentration and always focusing on what color were using. Remember toe. Always take the lighter color first mix it with water and then add the darker color. Bring some brush and we're going to take out all your A B off the Queen yellow. Mix it with water and porchetta with some of this on. Every time we finish painting on a set of three colors, we can take the left over paint and use it on the play peas. I mean, the palate created this too. Now we're going to create this tool. So we have this worm yellow and cool. Great. Take out some more. You know, Cool bridge. A tiny bit is enough. We are going toe atom, you know, here to the side and just touch it with this. So we have here and you don't be more of that cool. Read with the leftover. We play on our play peas. So we're going to continue with these clean pilot cool yellow on a tiny bit off cool dress a little bit off plane clean pallets and then view on cool dreads. We can play with the markings that they brush leaves clean palette between mixing colors. This too. We will repeat the process with the other inner, brings warm yellow and called you on the tooth. Er, Sherry's in between, always alternating with our play peas, cool, yellow and warm blue and those in between warm, you know, and a warm breath. Energy with warm bread on the cool yellow called blue on a warm Brit a blue, the tends to yellow and a red that tends to yellow. So it's quite art warm blue or dispute attends To read on this raid that tends to yellow at the end, you might want to label the chart with the names and numbers off those primary colors that you personally used. These will come in handy as a reference when you prepare color when painting future pieces . 8. How to prepare complementary colors : here you will see how to make some pairs of complementary colors to make browns and grace. Let's speaking with three cool primaries on the palate. First I take some yellow makes you with a little water on place it me way between the blue and the yellow. Keep in mind that it is always more efficient to take out the lighter off two colors first and that the darker one. Little by leader I rinsed separate six A blue and mix it with a yellow toe. Make rain. The consistency should be very creamy so that there is room to add water later on to mix it with the complementary color on the palate. I makes the order to secondary colors orange in purple in the same manner, making sure to release a broach after each application. Of course, I applied the colors to the outer practice of the circle. Remember to reinstate brush before picking up a new cooler to minimize contaminating one caller within. Now that we have the primary and secondary colors, I we mix yellow and purple in different proportions so that we create a great Asian from one to the order in this case, I add a little purple to the yellow. Keep in mind that it is always more efficient to take out the lighter off two colors first and that the darker one, little by leader and then I apply to chart. - Now we need to wipe any leftover color at the center, or we can also use it on a new play piece to play with it. Now we will mix orange and blue. I take out their orange light of the two on a tiny read up you, little by little, - mixing complementary colors is a great way to create many shades of gray on blacks. Here I mix green, which is made with lemon yellow and Tyler blue with carmine red. The pigment is saturated and we can create a deep black mixed with water in defend agrees. We will have different race. Remember that these complementary shades were makes from cold primaries and secondaries. You might want to label your charts for easy reference. In this case, I made two charts of complementary colors. This 2nd 1 is made with warm primary, primary and secondary colors. You can also make spares off warm and cool colors on create many more. Here we can see these two charts how Maney Browns and Grace were created with just six basic colors. 9. How to prepare dozens of colors from a few tubes: in this video, we're going to make an extended color chart. The benefit of making chairs. Ladies include having a reference when you want to mix particular colors for your paintings , easily visualizing what cars to makes to get browns, grays and pastels. Mixing different kinds of greens, which can be tricky and saving money as you have to use only a few tubes to make all these different colors. Here I have this example often extended the weeks in chart Thesis. A small one I use 123456 split primaries on. As you see, they are located at this tabaro in the same way as we have on the Left column. One yellow quill, yellow cool red warm bread, one blue cool bill. So each one of these X represents the same color. Each one of these DATs is the intersection or the mix off to different pigments. For example, I have thes blue Ah, warm blue on this cool, great mix. In those two, we have this. The colors we mix to get these on the upper right are the same us, the ones we mixed on the lower left. The difference is that these are mixed with less water, so they are more saturated and these are mixed with more water. They are more diluted, a lighter who were working with transparent watercolor. As we are doing here, we do not mix the colors with white toe. Make them lighter. We mixed them with water and let the white of the paper shine through. For example, these yellow and blue. Here we have a more saturated green. Here we have the same yellow on the same blue, but with more water. And it is later. Thing is a basic chart with six colors. I have another chart here. This is the same idea, but dismay with 10 colors. The same thing that I have here appear here in exactly the same. Or there I will demonstrate how to do this. There is a shared that you can download and follow along. Mixing your own colors wants to transfer the chart toe a piece of watercolor paper. The first thing to do is to apply a sample off ish color as the head off The columns on at the left off each row also apply each color at the intersection off the column on the row, then label them according to the colors to have used. So I will. We will stray How to do this with a few colors as an example on. Then you can go on until your own chart with your own colors, so I will begin by thes intersection between warm blue on cool blue on the palate. Mix both colors together with water so that they mix has to consistency off grape juice. More or less, I'll applied at this first intersection. Since that mixture of colors will appear twice on this chart, we look for the place where those two colors intersect again. In this case, it is here. We add some water to a mixture we have on the palate to make the color lighter on. We apply. Eat at that intersection we know Reza brush clean the mixture. We just hard in the palate on mixed the next pair of colors. In this case, I have a grin on a blue. I point at this blue with my left hand, and I mix it with some water on my palette, brings a brush, and then I take some green and mix it with a blue this one is the more saturated with color . We add water to the mixture and look for the other place where those two colors intersect. Then we feel the backs. Here. I make my brush thirsty and pick up excess water. Then we will continue in order so that we finish the first row with the more saturated colors on the first column with them more diluted colors. Wipe your palate as to finish with each pair of colors. Resa brush between colors at word to make the color lighter. Remember that you can always keep an extra piece of paper toe play with the leftover color before wiping it off your palate. And here we have the finished chart. 10. Easy way to create a swarm of butterfly variations: we're going to draw butterflies on three different pieces of paper at end off this figure, you will have cut their stencil toe, draw the wing, and you will have created nine different butterfly variations from one single template. I suggest you download and print this template for these exercise. We're going to use only one butterfly wing. You can use that oil wings to create your own variations later on, first we can cut around the wing roughly on, then alternate between uses scissors and tearing my hand for the jacked H. This will be the top edge off the wing. Let's trace it, flip the wing and position it symmetrically these points touching each other, and we trace it as well. This is butterfly number one. So for these, we used these edge ascent top age. Now we're going to flip it to the other side, top to bottom, tell you that little bit. This will be the top edge off the next wing, so we trace it on the paper, then we flip it to the right. We're going toe overlap in a little bit so that we have something interesting. You can see a little bit underneath here overlaps. Then we traced the right side. Then we're going to creatively a line that is a vertical access. Let's have a wavy line here at the bottom to suggest wings and their needs. And here at the top, we make a tiny circle to suggest the head. This is butterfly number two. Now we will change the position of the wing to create butterfly number three Group date. This will be the central axis. This will be this side of the wing and desisted bottom off the wing. This will be the right side of the butterfly with race. So we're going to define this Puritan point here freely. Made this two points coincide We can choose any angle. Of course, on I am going to live it pretty close. The wavy lines at the centre overlapping a little bit. It's gonna be the top. These overlapping here can be part of the sign later. So this is number three. We use one template to draw three different butterflies. We will use the same template to throw three more butterflies. We position the wing in the same fashion, but this time we're going to rotate it a little bit. We traced the left wing fault along this corner just a tiny bit. And then we trace that fault. I'm appalled, Flip so that the fault matches with the line underneath the straight line underneath it. Then we traced the right wing. Then we can't. I'm formed from underneath on. Draw the overlap. No, we we make annoyed one. This is the top of it. Wing. Now we're going to rotate so that this is the top off the wing. But in this case, this will come to the right side. We trace flip it. We just so that this to coincide maybe were hungrily that little bit so they overlap right here we have a totally different butterfly with the same stencil. We go to our number six literally in the wing template as we had hidden a water butterfly. Number one, we're going to fold it in half by bringing the lower tip to the upper edge and then we're with rotate on. This will be the central axis. If we draw a line and there's a center, we're goingto Angra the wing out a little bit Funding Trace it. Then again, we're going to pick it up. Slip it on and we place it. So that is equidistant to the center. And we trace, um, faultlessly before the next butterfly. We're going to just on a little bit to enhance it. Whatever we add on this side, we're going to repeal as a mirror on the set. I'm here. We go to extend that center on bond extent, the life. So we have number 45 and six. I keep the 1st 1 aside reference on I will bring a new piece of paper. No, we draw three more butterflies. So we have our template here. Notice it is the same by we're going to create a very deep angle here. Like So we're going to trace Tony over Yes, a trade at that point. And we make the or side we will throw a couple of lines to suggest wings underneath. Lightly throw the vertical center. I'm from there. We went to being equated this H whatever we draw on one side, we repeat on the other Asare mirror image, and we can see just body on hit number seven creating in a vertical access. I'm from the access We're going to rotate a little bit so that the top edge is looking down . Countries it. We flip. We will place it symmetrically on the other side, off the vertical axis. Trace again. And we had a wavy line to connect the wings and suggest the head butterfly number eight. We throw the last one. We fault the template in half on an existing fault as we had done before. Brought eight. And this will be the central axis tornado over aligning at the center again on trace. We can add a line at the top on. We suggest the lower body, so we have one template and nine defense butterflied variations. We made them with justice template. Now you can imagine the infinite number of possible variations. If we use different wing temples to draw in the next video, we make three different compositions and at some ornamental details. 11. Adding ornamental details: So we have one template and nine defense. Butterflied variations. Now we make three different compositions and add some ornamental details. We cut them roughly outside the line. We have three groups of three. We will lay them on a page, draw some decorative details on transfer them toe watercolor paper. Let's begin by place in number 12 and three butterflies on this paper. We can play and move them around until we position them so that they feed on. We like the way they look. Then we can take them lightly. So we end up with three different compositions. Here we will draw some decorative patterns. Insight, in this case, a central band that echoes the shape of the bottom edge. Why we do On one side, we repeat as a mirror image on the other side. The bond is why they're here, then here that can create a couple of leader sickles. Come, perhaps, were matter. Same here. In this case, I am going to leave just one wavy light line at the center. It will look like the wings overlap, and then we can add a couple of wavy lines at the top. In this case, I erased the overlapping lines and leave only the vertical center line. These are all decorative elements that we can add by plane and visualizing how we want our butterflies to look. I had a band that mimics the shape of the bottom edge and some lateral pointy bands the's hard markets that will set of us as general guidelines. When we are painting on, we might not follow them. Exactly US drone here, now the next set off. Three. We will double the line here to make a thin band, then erase a descended and make sure that the thin band connects cleanly with a vertical one. Withdraw tiny, cynical furnished side on wavy lines radiating from the center to the sites. For this one, we draw on Elon gated tear shape, Ornish side at the center and wavy lines on the side to create a band at the H. Now we had decorative elements to the last set off three small circles at the bottom on wavy lines on the side to create bands at the edge. Here we will make a soft triangular inner shape at the bottom in echoes the round this off the lower edge on other center, we will draw a small little diamond, um, tear shaped spots on the sites here. Replace the pencil at the center on. Connect that point with the lower body Sable do other side, and we draw three lines parallel to a center honest side. We have our three sets off butterflies, nine in total. 12. Method 2 -Tracing to watercolor paper: So now we're going to transfer the drawings onto the watercolor paper I used to square so far Where colored paper that I cut toe certain. How? By turning 3/8 on I get about 12 from the larger sheet of paper I use, Artists were colored paper and he has one sided smoother than the order. When I cut out the larger pieces of paper, there is a watermark artist friends on that stage right side of the paper. The other side is rougher is also were for painting But I prefer the this side of the paper . So this is different. We flip it This is the back. If we told this, this will be over here is over here at this over here In this case, I decided to remove each butterfly and position it directly on the watercolor paper. They use some removable tape. Once they are attached on the paper, we can turn it over on use a window to trace them. I used a regular pencil but a very light touch. So we have them here very lightly dressed way can use masking tape to attach the paper to a board. So I have to anyone to a country. Now we can go ahead and start painting 13. Yellow Butterfly STEP 1: So the Ingersoll for these exercise is going to be something like this. You know, bread, blue butterflies. But they have, Ah, very rich color. So it's not just one. Blue is not just one yellow, it's not just one great. So we're going to begin by painting a yellow butterfly similar to this. The dominant yellow here is that it's a warm yellow that blends into a cool yellow. And also there are some touches off red or orange on a little bit off purple for the body, which is the opposite color to yellow on the color wheel. This is a step one, and it will look like this. So on my palette here I have to warm yellows and two who yellows on. What I'm going to be doing is mixing this warm yellow with water. So I take a little bit off the color and make sure always that it's mixed with water and it can be mixed in different proportions. I'm going to mix here so that it has, like, a 1,000,000 consistency, and then I'm going to take out so here on add more water for a thinner consistency. Then I greens. I'm going to take a little bit of this year low. Also mix with worry. This is a query alloy can take what ever cool yellow you might have on mixes with worried as well, and where were making sure be paying enough color to feel the body were both there. Butterfly. I'm going to take a little real read cold or diseases warm dread. And I let it be a little bit seeker. I had a little bit more water. The greens airbrush, and then I can also makes a little bit off the off to yellow scare. So this is mostly word, but has a touch off. Cool is here. The aim is to make the color reacher. No, just to use one yellow. Because when we hear they were yellow, we're talking about hold rage of color, not just one. So that's where we went to focus on. And there is always something that is dominant. So we're going to begin with this. I'm taking a thicker brush on, then going to charge me with water and I discharge a little bit at the edge. Clean water. Um, we will feel the shape of the butterfly. I tell the paper so that I make sure I am filling out the whole shape by tilting the paper . I can see better where the paper is shiny or not Chinese. Also, by tilting the paper, the water spreads evenly through the shape. We will begin each butterfly by applying a layer of clean water just like this. So you will be doing these quite a few times. And then I tilted in one direction only, so that whatever it is excess poor sound Here at this itch on I dry the brush, make you thirsty and then he will absorb water. At this point, a brush is not as well as the paper we can see here. Ah, Chinese service would release evenly. Wit, I think the thinner brush. No, I play a little bit. Update pain that was Make your on the ages. I charged the brush with this thinner paint. Here on this area, I live a little bit untouched so that the color blends with the water on the paper. On what I do on one side, I mimic on the other side since the painted thinner here, the colorist lighter. And here I am going to at some cooler yellow to mix with the war Mary Yellow. So I'm applying wet paint on a wet surface. The colors blend on the paper. Here. Notice how I just touched the paper with the color. I don't go back and forth, back and forth. Just touch the paper and let it let the color blend. We must refrain from retouching this over an hour because that when we get this money over work to look, I killed the paper again and make the brush right. Thirsty. I'm pickup Any excess water. So we're going to let that layer dry this yellow. It's a lighter color we we have on this page. That's why I work with it first. Now we will proceed to prepare Red on. The last one will be debut. 14. Red Butterfly STEP 1: while the yellow butterflied rise we're going to begin working on the Red Butterfly. One of the secrets of being patient with watercolor is working on more than one in much of the time. That way we don't rush the process on. Don't take the risk of ruining it by torching it too much. This step one for the red Butterfly and it will look like this. I am mix in some warm dread with water the same way mixing here just on this side of my palette. I'm going to take up a core great, like listing Miss Pink. Here, I can mix one with the border. The mixing of these two colors can be right here on the palate or can get on on the paper as well. Let the colors Blaine or a combination off the two ways. This is not too much color prepare, but enough plenty more than enough to to cover the surface that we went to court. I have this here I'm going to so remember always more than 100. Just make sure that U. N reached your colors by using different tones. Our yellow butterflies trying, we're going toe work went on wets on the real butterfly, so the same process goes on. We add water to the shape a nice generals layer of water and then we have to pick up any excess. If you tilt the paper, you will see areas and are still dry and see one area. So I hear. So make sure to cover everything on the tilting of the papers so that the water spreads evenly. Then a Celtic play. So let's any cool form here. Pick it up on the later where is us internists, Put depending on how what the paper is, the water will spread more or less so smarted of experimenting. I'm going to had some cool right here on this very watering. So is going to be light. Would like I think so. We add this red toe about half of the shape, then dry the brush. Pick up the warmer red on Addie to adjust of the shape. These h is that are very nice. And this way we can take advantage and just leave them like that without touch without going over to fix any off that we can let the water meet that this lower color meat that edge Want it sold. So I am adding some cooler breath tothis lower edge on let it blend with the warmer each. That is, uh, applied a book again. We can tell to the paper on. Then the colors will blend Tilted back here on Bring this a brush, right, b company excess. Only later in the next video, we will begin the Blue Butterfly. 15. Blue Butterfly STEP 1: So here we have a layers for two of the butterflies were going to do this one and this is good because we're letting these to dry. So the first step for the blue butterfly will look like this. So going to mix in some of these blues with water? Ultra marine view, consider one blue on. Then I have this club you a thicker blue here, saturated here more Mickey. And then I am also going to bring out some of this pink cholera or cool red to mix with the with the blue to make a nice poor people purple that tends to blue so that it enriches that whole feeling off blueness. And I also makes this to bear toe. They can teach each other if we look at the drawing here. We had made a couple of circles and a couple of tiered shapes. I am going to do exactly as I did before. Fill the shape with water. But this time I will make sure to go around this and lead those points dry. So to do that, I first start with a thinner brush. Um, I applying what it around those points This is very charge. Look how much water that is there. It's a love water and a round here. Okay, Then I changed brush on. Apply water freely to the wrist, making sure not to go over those dry spots. I'm joined now. The shape is very wet. Tilt the paper so that they where distributes evenly make sure that all areas are feel except for those that we went toe tohave dry. So this is try. This is trying right? Dry conceded July areas there and I field They wanted it dry the brush The word is pulling down here Pick up the water Keep picking up cause it's very went We went nice even layer off humility This is getting more even. That's you until miss Very nice. And even now I will keep it tilted toe Start applying color on my help myself with some is a word there on I tilted so that it comes from here though, so we're going to I had some of that rounds so I maybe what it's doing there? I tried to be make here. I'm going toe leave. Yes, just echo that shape of that HTA is forming there This blue has a little bit off ready made . So you Teoh creates a nice work. You remember, not toe over. Touch the color. And they know we're going to add some of that. - I'm taking up. You get a thinner brush. Well, it, um they saw the spots. I think this because it is not picking too much Worry. It's just a little bit off color, cause if I add too much water to these, it might just make up blossom on us. We don't want and I keep it tilted. Um, if there is any, if I notice anything morning here, e, pick up. This is very wet here. And then we see that there is a little formation there, so we want to try to mimic it and see what happens, but with the same brush so that we'll pick much work because it doesn't have to be perfect , It perfectly symmetrical. So we leave it to dry. We can use a hair dryer also to speed up the process 16. Yellow Butterfly STEP 2: So we're going toe are another layer to each one of these butterflies. So we enrich the color and we add details. This is how it looks now on. This is how we will look after this step. Remember, the ornamental plants have withdrew. Now we will define one of responds by painting around it. We will also add some touches off color at the end. Off the tips, we will prepare a little bit of a darker yellow here to make this section looks as if he's underneath the yellow colors on my palette. Paralegal dry. So I wake them up by Allen. A bit of water. I add a touch of warmth red to the yellow so that it tends to orange. Then a breeze, the brush sagebrush on. I had word but section by section. This time I'm not going toe a full layer of water. In this case, we add water only to a small section at the tape. Then write a brush on lived excess. At this moment, my brushes absorbing water from the paper, and then we can add some color and just the deep. I put a tiny being more grid here on the tip of the brush is the tip of the brush. Look at how Take a little piece on on very lightly touch the paper and let the color spread , and I am going to the same here on this side. Resa brush and add a very clean layer of water, right the brush. Pick up any extra water and add a touch off color, letting it blend with the water. So now I'm going to take this thicker brush, and I'm going toe a play water to this side of the wing, right outside that band that we want to leave lighter. So I I put water to the edge off this band on the right side. By tilting it, we can see where we might have missed. The paper will be shiny there. Once the surface is nice and evenly wit, we can add color notice a hard edge at they lived, and they call it a blend the nice into the paper on the right, off the brush stroke, and we repeat on the right side notice that this is a hard age because this area is dry, same here, and that is keeping us that bands that we want to enhance that central areas still wait. So we want to put more color. I take a little bit of that queen yellow, maybe a tiny bit of orange. We can touch with the tip of the brush down to make. That's this fund than we have here is going to have lighter color. So we're going to paint thes bands here at the right, and he's here. Defend tone of yellow. So what I am going to do is at a laid off clear water. Then they yet orange color to the top of the band, let it blend, and then to a bottom off the band I a little bit of yellow. The two colors blend together. Then would you put the same on the lead site. We are a layer off water and then let two colors blend to wear on the paper. Notice how we painted around the lighter yellow bands to define them. We can dream force this Parton off lines by painting a thinner lying inside this band, buying it actually into nice, and even saw you by painting this central plant. You are enhancing this on this, and I add a touch off color at the top part of the band on which appeared on the left side . We let it dry. Just assist any temptation of retouching it when it is wet. That way it will not look overworked and we will not get any unwanted marks while he drives . We can work on this red one. 17. Red Butterfly STEP 2: This is how the red looks Now on. This is how we will look at the end off this step, we make sure to mix enough color in advance a mixing with water, some warm bread and here some cold it on my sketch. I drew this one wide, but I chose to draw the a bit thinner on the watercolor paper. Now that band will be come visible by our painting around it in the same way as we did with the yellow butterfly, leaving the lighter bands unpainted. It will have the color we already have on the paper. I will lived this area at the top dry for the moment, I will apply a layer off clean water to this apple area, leaving a dry spot so the color will spread as you see in the backs at the upper dry corner . I used to fat brush for these sentence area, but when I got today each year, my little but I want to be more careful. So I use a sinner brush that same here I am leaving piece here. He had the right notice how the water will scare united's. That either brush making thirsty on, Pick up any extra water when the services with nice and even then we apply some color. Do not track your brush on the paper over the normal. Keep charging it with color. Notice how many times I'm charging it. Whatever happens here, I make it happen on your site. I'm applying a cool dread here and here. We can charge a brush again with more saturated color. And Harry took this corner only and very blend with the water and with the color that we already put there. Now I freeze my brush. And Chachi, with the war in Madrid, toe touch the lower part off this area. The area doesn't completely get covert. We let the colors blend. We're working wet on wet. I charge my brush with warm rib un applied at the center here. Dallas police try. So I'm applying wet on dry notice How I leave a little bit, um, painted on the sides here. I had a bit of very saturated color toe steely with surface, and I wanted here here by adding color to the lower edge. We defined that shape off the lighter color band. So we make sure to keep our eye on board areas so that the two bands are nice. And even I take a thinner a brochure that I cannot start having some of the details because this is tried. This band is dry, so I make one to three little debts. 11 of the center here of one of the H and now to little that's in between each set of two. After each application of cola ridges leans the brush. Why legit butterflied rise? We will work on the Blue Butterfly. 18. Blue Butterfly STEP 2: This is what we have now on. This is where we will have at the end of this step. The first layer covered the pencil line, so I will breathe through it lightly. This plant is going to be left unpainted, so I make sure that my blue sorrel wets first day water marina. My add a little bit more and I also make some cool jail into it to bring up arm purple color. Make that four from a leader you saturated. So with more Mickey and I mix with water, some Tyler blue, we can make some color here on the palate, but also we can let the colors mix on the paper. Notice how this is a lot more pain that is going to be near to court this smaller shape here, but that's where we need. We need to have plenty of color or the palate. I turn around my palette here so that they color that I am going to apply is very close to my paper. So first of all, I'm going toe wet this brush and I am going to apply they they wanted only today upper part of the butterfly from the band up. This is a layer off. Clean water will apply in here just the same as we did with the oil to butterflies. I changed to a bigger brush to apply the water more efficiently. Then that what it is going to pull here, try the brush, making thirsty and take it away so that our surface is nice and even the purpose off wearing the surface so that they pain as he resupplied spreads on blends with the water, but it's not necessary to cover with color. All the surface now because we have color underneath noticeably changed the tone off blue. Here, at this in there, leave those markets of the water just alone. The beauty. If the watercolor is to let the color plant with the water and leave those marks alone, don't touch them over and over. I'm a playing a more water cooler here. Notice how the band is getting defined by a hard edge. Here at the center, we extend that color all the way to the bottom. So we start suggesting the body. So where that dries, I'm going to add water just to his sexual here so that we dark in these stoops notice that I am applying water around that tiny circle, so I am living it dry on. We touch the tip off their wings with very saturated color, so I'm going to repeat on the other side. First, I applied clean water, leaving that little circle untouched. Then we touch with the color and lady the spread by now the body strike so I can go the same process down here. Hey, apply water at the bottom and around a T. I shape not on the body. I'm going to promote off up for the quarter. You need the colliery Strier here on the palate, so that makes him more such rated. So that's cool, because we can add annual such rating core and let it planned on the paper. You could see the line, even though within a play much color on this area. Here, too. We're going to the same. Apply a clean layer off water here a day lowered corner, making sure to leave that tear shape dry, touching with color and letting it blend. So at this point, it's still very wit. The tendency maybe toe go ahead and start doing the body and the final touches, but but touchingly that this point my joining at this point, it's best to take a coffee break and let it dry or we can use the dryer. 19. Yellow Butterfly STEP 3: Now we will add a final few enhancing details on darker torches toe each butterfly. We begin with a yellow butterfly and this is the result we are aiming for. There is this area underneath here central area that is slick under the wings. We will prepare a little dark yellow for that area. We had water tow. Wake up the yellow we still have on the palate. Here I am originally will be the colored as well. And then I will add a little purple, which is the opposite on the color were and that's to make it darker. We mix a little purple with the yellow Reza brush on, mixing both together so it's going to be a little bit only because we have found a very small area. The corps 40 buddy. We're going to mix colors to prepare a very dark tone. Actually, we will prepare to darker colors. This one is a purple from ultramarine blue on a cool great notice How I add I love color and know this much water to make it saturate it. Then I release a brush and this one is prepared with tallow blue on a warm great also very saturated, meaning that we add more color than water for both our colors. We mix our red with a blue, notice how different they are from each other, and we're going to leave a band that is yellow, lighter, yellow. We just have to paint around it. If the pencil line is not visible, we can redraw it very lightly with a clean brush. I take darker yellow and apply it on the dry surface. We make sure to leave the thin band and painted so it will appear to be off lighter color. Also, we pay attention to the shape off the wing by painting this triangular section. We are also defining the edge off the wing, and now I charge my brush with saturated purple and paint the hit on a line for the body. Notice that this line also the finds that shape at the edge of the wings so as to make you line. Keep your eyes on the shape of the body on also on the shape of the wings. Here, the dark purple touches the dark yellow, which is still a little wet so it spreads on blends. I take a touch of the darkest color and placed a couple of touches on the head to suggest eyes. Then, when short, contain it on the order, the line off the body still a little wet, so I add a touch of darker, I reasoned, dry the brush to add one final detail. I add a circle of water here on another sequel off water here, very small circles. From this corner, I draw a line that is sharp but becomes soft as it touches the circle of water. This is a way to add an element off texture when we can, at tiny meals dark. Not if how this is no black paint, but in contrast with the yellow being very saturated, it looks like black. Now we we work on the Red butterfly. 20. Red Butterfly STEP 3: So we begin with the Red Butterfly on. This is the result we're aiming for. Now we make sure that the reds are wet again. This is a warm red, a cool Drehle. We actually prepare a lot more color than we're going to need. I prepare a little bit more purple. That tends to rave. We can recycle this person that we have here for the Barry in your details. Same here. So I'm going toe olive band off water here next to the lighter color turban that we already have their making sure that they layer is nice and even we want to take a lower brush, a thinner brush and make lines that radiate from the top corner down. We're going toe. Aim for each one of these red. That's but we're not going to touch them. We only touched the wet band on live the color blend. We make sure to charge the brush with color every time we begin a new line from the top to bottom. We don't touch it anymore. Just let the paint blend. We are all in decorative details on. We can be creative with them. It is important to let the layer underneath BBC will in some places so that there is contrast here. We had some short bands making sure that the spaces in between her pretty much to say we look at the space in between. On the space that we paint, we cannot tell more pattern like touch the brush to the paper makes you the has enough water So that you some mark. Basically we are printing a little mark with the brush then which I should brush with us, saturated their color. I'm paint online to suggest the body. I vary the thickness of this line, keeping in mind that this line is also the finding the edge of the wing a darker torch on one side of the head, one short contain it and then the office these brush marks are still with. So I add a touch of darker honey will blame to finish it. We paint a lower part of the Barry very dark, which also defines the edge of the wings. So one more 21. Blue Butterfly STEP 3: final few details and darker torches to the Blue Butterfly. We're here now, and this is the result we are aiming for. Make sure that we put water. We have enough prepared. The secret is to we prepare in advance. I mix this Ah, ultra marine blue with the water and a little bit there for red. Also to make part and for a darker blue, I mixed tallow blue here, with a little bit off warm writ, I prepared some orange for the spotter. We left white. We can begin by applying some touches of orange on the white spots. We left notice that I don't cover the white completely, but leave a white ring around the orange. If it is too late, we can add a little payment. Then we can take clean water. Un applied softly around that spot on the corner of the wing with a thinner rush. I pick up some of the targets color, and then we applied around a light spot and let it plant were using again. They wet on wet technique and ask before whatever we do on one side, we repeat on the other side, add some water, pick up any excess. Still, we went, but not excessively wet and paint around, letting the color blend. Now here I apply a spot off Clearwater in the shape for tear. But despite this bigger, it overlapped with the blue area. Take a little bit of that, and I let it plant on that area that is wet. Then I had a little bit saturated color toe touch the upper corner. Then I take clean water and repeat exactly the same on the other side. No, some off the color. We had more saturated blue color for the hair and the body. I have too much liquid here on my brush, so I discharged a little bit by touching it. Today, tower the paper is with the brush is dry, so this is wet on dry. Remember that as we paint this line that represents the body were also defining the shape of the wings. The body's weight. I placed touches off very dark blue at intervals on let it blend. As we applied the color on the paper, the brush gets discharged, shash it with color again as soon as do you notice that the brush is getting dry on. I am using the wet on dry technique to apply some decorative line on the wings. Right Here we go in touch with neither of you Brit on with the same diluted kuljit. Are you also Adam nine here? I I'm going to add a couple of spots here to connect this upper part with lower path little pink here and just a couple of markets. And here we have our rainbow off butterflies. This is part A off our main project. Be sure to upload and share your project to Skill Chair. I'd be happy to comment on it. 22. Orange Butterfly STEP 1: In previous videos, we learned how Toe end reach primary colors yellow, red and blue by working with more than one pigment off each color by mixing them with the child on applying them in layers. In the next videos, we will be working with primary and secondary colors to explore how they can enhance each other by placing them next to each other. Now we will start working on this three new butterflies, and at the end of this video, we will have made the first layer of this butterfly. We're going to be making better flies with secondary colors orange, purple, green. But this time we're going to experiment with adding a little bit or combining each one off the butterflies with the opposite color with the complementary color. So, for example, the orange butterfly will have some touches off blue for their organs were going toe, prepare to different types off color. Wonder is more diluted on when there is more saturated, a warm yellow, it will be a cool. So we have orange and this is really saturated on. We want to set aside a little bit here that is less saturated, so we are adding water. Look at the difference. This is going toe. Give us a very light orange. The one that has a lot of border under order is going to give us a lot more such saturation . So this is what we're going to toe on the wings off the butterfly. I will leave this area for ah, a touch of blue and the rest were going to do oranges. In addition, I am going to take some off these cool If you this is Taleb, you take it out in off call artists in case. Better to be a little bit extra dreams. My broach and I'm going toe add to the color a little bit off the orange, but just a touch so that it participates off the color and harmonizes. So we were going toe apply diluted color towards the edge off the wing as saturated color towards the centre off the butterfly. And this time we're going to work wet on dry. That means sorry, I'm not wearing they butterfly. Behold before hunt the little cooler. It's a number to brush, and I'm going to leave this area for a little touch of view. The looted cooler keep charging the brunch every time it runs out of color. What? What I do on one side? I do on the other side as well. I remember that we're playing here, so it's okay if it is not perfect. We just want to see the interaction of different colors and different ways in which they color is deluded. Okay, we have our diluted area. And then notice how I press my brush Always taken color. Quinn. I had run out. So we're doing a graded wash here. Same here on the lower area. So this is a diluted wash or with we can pick up excess most your excess water from the bottom. And I am tilting my board. Asai work on before the strike. Then we're going toe at the more saturated color. When we work within with, there is more elasticity on the surface and the colors spread more as they blend. Here. We're working wet on dry. The colors blend together, but there is a bit more definition off the boundary off the colors because they don't spread us much. Remember, it's the same mixture of yellow in jail, but with different amounts of what Now I am going to take a very diluted blue here and I am going to us. We can leave a little bit off white in between the two colors. If it touches a little bit, that's okay. That's part of the beauty of what 1/4 and I can't touch. We can touch the ends with a more saturated color. This little spots happened because I touch with blue, the orange when it was still weight. This can add a nice little spontaneous effect, but if we don't want it, we have to wait for the oil color toe dry before applying it. We will come back to it later and see how we can balance both sides so that they look similar. We let this try and work on the next butterfly. 23. Green Butterfly STEP 1: at the end of this video, we will have the first step for this green butterfly. So I will prepare time, couple of greens, and we're going to combined it with a little bit of her for it. So I will be taking this yellow. This is a cool yellow lemon yellow and I will take a little bit of this yellow as well. And to here and to both of them. I'm going to add this cool view. Just a little Brings a brush. So we have to the friend greens and I'm going toe a little water to a section of this so we dilute it. This is diluted and this is more saturated and same here. Good. I take some of these on at water to dilute it. Surely prepare liver, be more such rated deluded, and I'm going to use a little bit off warm dreads here. I had more water so more saturated and diluted, I turned the pilot at your house, so that is closer to my paper. So we're going to make the centre really on these lines on a little bit off the stats, underdressed we're going to use creates. So we begin with the greens. I'm going to begin on this side. I'm going to paint around. The spatter will be breath. I'm taking the more diluted color and I'm going to paint it closer to the center. Same here And we see how it behaves with were quote, we have to work a little fast. This is more saturated color you made a preparation is stick the key. We have all these colors prepare on the palate and more of this saturated color around the round spat. Keep charging your brush so that there is always fresh paint and you don't have to drag the Brochin. Then the result. It's nice and fresh greens. If we I went beyond here. So I little be young here. We're going to live an unpainted line in between greens. I'm being with the order again. The lighter, the more duty color toward the center. Okay, we doing one side with you on the other side and this is more such rate color the colors plain but they don't spread this match as when we're working with the uit on with. This is wet on dry. He's touched a little bit here. I want to leave. Why their buns for the red? Here they have the darker green and delighted we would. That's mixed him not to saturate it. This is diluted color. Um, brighter green. This is something that you can apply when painting leaves or vegetation making different kinds of greens. Since we have enough color on the palate, we can keep charging the brush. Don't drag it. Just charge it at color and keep it clean. Kerry notice I left his from painted. At this point, this is getting toe be dry, but still wet. If I put any color there, it will may come one of those blocks. So we don't want to do that. We're going to leave it, lay that on and let it be part of the site. These butterflies mostly green, but we're going toe a little red to for contrast. This is just try. So I am put in one corner next to the order and I'm going toe paint upon here without touching the grains. Just leaving. Leave a review of a white line in between on a more saturated color. Here, let it blend. Um, this is still a little wet toe in desperate and touch color to live in. Um, so we let it dry 24. Purple Butterfly STEP 1: at the end of this video, we we have made the first layer off this butterfly. This one is going to him mostly purple with a little bit off yellow. A beautiful purple is prepared with ultramarine blue as we saw before and a cool rid I think this rose color each one of these colors tends to each other. They will make a very nice purple. We make it also deluded color deluded on more saturated And I'm going to take a little bit of one year Don't be, of course and I'm going to touch it with a tiny bit off the purple. Just a touch. This is to harmonize so that the yellow participates off the purple Two tone accounts for these were going toe Get the shape with with water just clear water. So we again work wit on wit justice central area where the yellow Wiegele. Now I'm going to take a thinner brush. This is kind of a saturated yellow, so I'm going toe center brush because it picks up less amount of paint. I don't want a love pain to be spreading here and so that you see how different broaches have different effects we're going toe. Just let it blend There on where we want to do is be very patient on Wait for this to driving for applying the perp we let dry these central area. Or we can use her dryer to speed the process. I said it toe slow speed on low hit notice that all my palate I have all the colors I have prepared for these serious. So we're going to continue with purpose. So here we have more saturated color, meaning that is equal amount of water cooler. And here is the same color, but with a little bit more water. I'm going to play up here, going to live a little line in at the center, one white line. How well is still with I want to drive, pick up more such heretical. We create a hard edge next to the yellow, but above we let it blend. Unleaded blends drinks a brush for the section. I start with the more saturated purple. Notice how the yellow begins to pop just because these two colors are complementary. And remember, as I have mentioned before, do not drag the color, just charged your brush every time you need color. This will make your watercolor look fresh and clean. And that's why we prepare coloring and violence. Notice that it is only when I have a pool of color that I bring it down. If the brush runs out of color, I charge it again, so we let me dry. 25. Orange Butterfly STEP 2: using watercolor, we can create a nice violence between soft ages like these hard edges, which is what we did at their It's here. And at the end of this video, the butterfly will look like this. We're going to be a couple of details and dark spots for contrast. I'm going to wake up. They orange here by Alan Worried. I am also in a little bit more color. They said this query it. Make that orange meter the more toward their rid so that we can create some contrast there . I killing water to my containers. I also wake up the view maybe a little bit more. We apply a layer of clean water to the upper part of the wings, as we did in the past with or butterflies so we can work with a wet notice that I use a fat brush. Make sure that there is no excessive amount is evenly distributed, and I'm going to take a smaller brushed. We apply a fat band near the edge of the wing on let it blend. Since the paper is with, we're making soft ages, we let it dry, and in the meantime we can apply a layer of clean water on the lower part of the wings. That is how we get the whole surface way. But I apply color toe only a smaller area again. We make soft each bands we have here. A spot of pluta was created earlier, the upper wing still wet, So I lead a little bit off blue blend on the right side and make the design. Even. This is almost trying. I am picking up very little amount of pain and is saturated so we can make a thin line that is fast. It is no that sharp line to do that. We're taking advantage that the paper is still wet. While these two sections dry, I will add some blue details. I'm using more saturated corner applying markings went on right and letting the layer under . Maybe visible. This way we're creating contrast. Contrast always makes your piece more attractive. In this particular case, we a shape contrast in different ways by placing to wear two colors that are complementary but notice that they are not in the same proportion. There is more orange than blue by making soft and heart ages on by working with different saturation, some colors more diluted than others. We have this part here and we don't have it here. But we can create a nice balance by just I mean a little detail. As we have been working with the blue, the upper part off the butterfly is try. So I'm going to go ahead on at some lines in orange, wet on dry again, creating some contrasts on adding some ornamental detail. Yes, you see, in this is step with no calling. What we have underneath were a enhancing it and now we need a little bit more contrasts. So we're going to make the body darker. So we have his orange and blue for the body were going toe mix both colors together to create a darker brown. So I have this orange here and I'm going to add a little bit of you notice that is only three colors we mix to create this dark. In the next natural, we will be preparing and mixing more dark colors. Remember that by doing the body were also giving shape to the wings. The body is the negative shape off the wings as we apply the color. Then we focus on both things. The shape of the wings on the shape of the body. Just switch our attention toe one in the world so that both end up having a beautiful shape . Was were playing some color. We can just touch with more saturated color too. Create a nice contrast. And we can add some tiny marks here on the pew so that they participate of the color of the body. And now, over that foresee line that we created earlier the orange line we can make ah, thinner line and then one container on the order. 26. Green Butterfly STEP 2: we're goingto be working on the green butterfly on at the end of the video, it will look like this. I'm waking up the greens on my palette, mixing it with a little bit more cool yellow. Nearly more view. This is Tyler Pew. You said it darker, and I also prepare a little bit off the other green that we have there with warm yellow on a cool green. For this, I'm going to apply a layer off clean border. The ledger will be over the ball wings, but no at the center on all sort, not at thes round spots. Notice that I cover the lateral great bands, not the center. We can make sure that it layers even by tilting the paper on by picking up any excess water from the bottom. And I'm going to apply a little bit off those screens that I prepare. Here. I applied the darker one, touching the central Jared Diamond notice that I apply it over their bread band and then let the colors blend. And now I'm taking a little bit of the lighter cream I'm making, ah, soft band around the bread spat. I'm going toe had a little bit more saturated green here before it dries. Taking a tele people actually just to create contrast before that center dries. I am preparing a little bit more saturated mixture off Tala blue on a warm red. Put a very dark and saturated color and then we can proceed toe work on the body area first ahead and then we moved down the body on add this little dots here at the center off the red spot. Since we let this little white here and not here, we can at dark spots to make it even on both sides. One and thin it and then the next. And we have a word green butterfly. 27. Purple Butterfly STEP 2: we will work on the Purple Butterfly and at the end of the video. If we look like this, I'm waking up my purple here and then I will make a little bit more saturated by Allen. Paint blue on a little breath. We use exactly the same pigments as we use before onto this area on my left eye at a little bit more bju I wake up the yellow too. Here I will prepared a more saturated color very dark by mixing yellow and purple Cool dread You don't work for you on a little bit off yellow. So to the secondary color made out off two primaries We had the opposite primary, which is yellow on Get this very dark rich color So with the pencil, I'm going toe make a line here Actually a very thin band we share I'm going to leave the color off underneath And here too So here too notice that the central edge where the purple later overlapped with the yellow layer We can see a different color It's more brown. This is another feature of watercolor browns and grays can be obtained by overlapping layers. We will have more practice with that. On the next match, we apply a layer off clean water except for those thin bands. And we just drew with the fat bro. She applied roughly with a thin brush. I reach on, defined the corners. I leave the yellow area dry. Also, we applied to tones here, and we are going to let them blend with each other. So this becomes like a highlight. She beat here of water. You're too ageist word and then let the color plant those thin bands and we don't color. Show up now a skylights, and we take very saturated color to make the head on. Then suggest the body. I'm here. I'm taking a darker yellow on, creating a little bit of a part earn at the bottom of the body on here. I add a very thin, dark yellow line at the center of that yellow band, and I'm going to use the dryer to make sure that is dry. For the next details, we can play with effects off, wet on dry at the same time, I will with these wideband with water. Clean water can make some lines, and this will be at a dry line but when it hits the wet, it had some nice interesting blend of color with water. The end of the line then spreads, so we have wet on dry on Whit wit. Our purple butterfly is finished. Andi, I wish on extra touch for the orange butterfly here. I would like to minimize his heart age and integrate these two areas better, so I am adding a layer off clean water and then I will add some color. And I'm going to take a a thinner brush and at some a little bit of that deal. The blue plans with the water and since it is supplied on top of the orange, then it creates a new color. Our second set of butterflies is finished. In this match, we learn about mixing secondary colors on how primaries and secondaries can be combined to enhance each other. We also practice creating contrast by making soft and hard ages on working with mixtures that were more diluted and more saturated. This part B off our main project. Be sure to upload and share your project to skill chair. I'd be happy to comment on it 28. Yellow-brown Butterfly STEP 1: in the previous marshals. We learn ways to enrich primary colors yellow, red and blue by working with more than one pigment off each color by mixing them with each other and a planning them in layers. We practiced mix in secondary and tertiary colors, and so how primaries and secondaries can be combined to enhance each order. Also practice contrasts by painting soft and hard ages on working with mixtures that were more diluted on more saturated. Now we will be mixing complementary colors to create grace and browns. We will also observe and explore how this browns and grays can be an drenched on, modified by overlapping layers. With this last set of butterflies were going toe. Apply some vibrant colors first on, then we're going to let them dry. Onda apply some more muted colors on. We are going to see what is the result off combining the vibrant colors with the greys and browns. In this particular video, we're taking the first step with the first butterflies, so we will end up with something like this. Mix a couple off yellows with a leader, warmer it on, make on orange and have it ready on. I will apply to this butterfly. First, we're going to go ahead and fill this shape with water it again. I'm using a fat brush, right and pick up excess water. Then I think some, you know, a play here at the center and then we can apply a little orange on the sites. On this later, we will no be calling the whole shape. Just some spots on my palette. I add water to the color to make it later. And then we applied at the bottom of the wings. The color of the upper age is more saturated than at the lower edge. On this central area we leave uncover notice that I haven't touching anymore. We're going toe, let it dry. 29. Red-brown Butterfly STEP 1: we will begin our second butterfly on at the end of this video. We will have something like this for the 2nd 1 I'm going to prepare a little bit off red on a little bit of purple. Just primary sense secondaries. So I think these well, bread, she's Rose. Actually, the caller your colors don't have to be exactly. It's mine. As long as you know what color to using. Just stay present with the cholera and make sure that you always know what you're using. Take notes. So we have a purple there on. I'll take a little Be more of this. Oh, here. Thank you. Why? They're brush. We're going to feel the shape with water. When I tilt the paper, I can see that a missing here. Oh, here on the surface is cover evenly. So take this one. A thin approach to apply the color center here on. Then you revealed poor port year. I'm adding water to the quarter and then we can apply it here at the lower area. Maybe a touch these here. I'm here Since the papers still with a couple of lines, I quickly take more saturated color and added to the center. This is because the paper is still wet enough, and since it is more saturated, it will blend nicely with what we either before, so we let it dry. 30. Blue-brown Butterfly STEP 1: we will work on our third butterfly on at the end. Off the video, we will have something like this. So we will be preparing some blue colors. For this. I take some of this ultra marine blue and mix it with water. I'm going to mix it with a little year. Stay, Taleb. You hear more watery and we're going toe make a little bit more of purple here. So we have this too. We apply a layer of water to his shape. So we have it there on I'm going to take two different brushes. One very think and went on a little secret. This is number two on this is the zero w apply. We apply at the same there and see how they paint blends with the water. I add some more water to the BUE. Little be more diluted on this sides. I pick up a thinner brush. I checked it with the purple. Keep in mind that you can always control the amount of color you apply on how much the color spreads on the wet paper. Depending on how thick your brush is, we have this first letter of brighter color. We will prepare some neutral colors and applied them in subsequent layers to see how they interact. 31. Yellow-brown Butterfly STEP 2: in this video, we are going to be working with the Apple Butterfly. We begin with this on end up with something like this. If you have taken a break, durum colors might be dry on the palate. So at this point we can wake them up, spraying them. If you don't have this, that take a brush very with it and quickly touch the colors having a drop of water. I am using a thinner brush for those colors on the center of the palate. Green Sabres between colors. So here they have, uh, a chart showing me some complementary colors. We're going to be mixing some so that we may a work and make some browns here. I have a warm yellow I can to make a brown. I can't either. I had, uh, purple, um one purple or I could a cool purpose so we can take some off the purple that we had prepared before and added to that yellow little leader. The mix on the left is a little bit more neutral, more brown than they mixed on there. Right, which I am leaving more toward the yellow. And this make sure down here we can use us away. What is important here to keep in mind is that we want to make these neutral colors with us few pigments as possible so that we may be my still becoming money to this one that we have here. We are a little bit more blue. This is the same view I originally used to prepare the bourbon. So when we make a beauty, the yellows that we have here, in contrast, we pop up here. I highlight those experts that will no be covered with color When applying the next layer, we will paint around them so they would show the color we originally apply here, too. Way we're going toe add water to this butterfly. Just clean water except for those areas that we want to leave with. The color that is underneath is if we have lost a little bit the drawing we can take a pencil on go over it. Very lately, this plant as such is not in the original drawing, but we can defining dry here. If the pencil is too dark, we can lighten it with kneaded eraser. I have clear water here, so I'm going to start taking it with the's brush. First of all, I make sure that I fly around that central shape. I apply water around it so that we short through and it is going to be yellow. There are these two shoulders also that I don't want wet. So I'm going to make sure that a play water just around it and then I can keep applying all the way until I torch the h off that band. Notice the area that he's with Now I drive my rush on with the thirsty brush. I picked up some excess water. So one thing that we did is to prepare the browns just by mixing name. Now we also will see how ah color like this interacts as it is layer over where we have underneath color on white paper If we produce different tones that and you know what is underneath I change my broach with the neutralize blue purple that I have on the lower part of my palette. Whatever I apply on one side I apply on the other side from making this symmetrical As we lay this color over the yellow notice how the perception changes, it looks different. I drink the brush. I take some of these or ground applied in here, see what happens. And then this is a blend in beautifully here. So I am going to just apply a little bit here at the edge off that shape, notice how we're applying the same neutral color. But it looks different depending on what is underneath. We don't want to touch it too much, since it is still very well. I can't define that upper age a little bit better, but I won't touch this blended area so that I don't disturb it. While the central area dries, I apply water. Clean water to the outer sides off the wings, making sure toe keep those areas that are highlighted here dry by tilting, we can tell where we might have missed, and also we can dry the brush, make it thirsty and pick up some excess water. I'm taking the lighter brown, more yellow room from the upper part of my palette. I don't need to tips. And now the darker brown, which is also a little bit more saturated. Notice how I am applying color around those bands that we lift dry. We are painting around the bunts. So this is a negative shape off the bands. Makes a little bit off more saturated corner here since that there was yellow there than it neutralizes that blue. And because darker When I apply here on the wet area, it ah blends just touches to deepen the color and to create contrast. And I am are in this touch of color on Lee because these areas are still quite Wait, if he has started to dry, is better to live in alone so that we don't end up with a blood one of those plots that looks like a cauliflower. Keep in mind that two possibilities toe end reach our color. So we explore here one on the palate. We prepared three different neutral tones from the same combination of complementary colors to once those kosher applied over the first layer, they are affected by the colors underneath. The result is a much richer change off neutral colors. So we don't touch it anymore. At the moment we're going toe come back toe final touches while it dries will be happy to work on this on exercise. A little bit of patience 32. Red-brown Butterfly STEP 2: in this video we work with the second butterfly. It starts like this and we will end up with something like this. We want to clean the parrot at this time, this butterfly with painted grid underneath. So we're goingto be preparing neutral colors by mixing red and green. First, I will prepare a little bit of green mixing these two coolly element with you. And this is a green that tends more to blue, Green said. Brush between colors and then I'm going to take out these. It's a cool bread, you know, a little water. Prepare more, separate them into two pools, went to their left, want to write? And then I'm going to add a little green to this. Notice the consistency off the mix. Fairly saturated, miss at thes. So we mix Raylan Green on prepared three different tones. A. Well, I see that Lisa Band suggested here. So in addition to justice line, I am goingto make sure that I leave up band there and core of the band will be wider here. Thank here. Whatever. I am highlighting here injury. It is where we are. No going to cover with watercolor when we apply the next layer, I'm in a couple off extra playful little triangles at dissent. There we can add the pencil lines to the watercolor paper so we can. I wonder if the central area, minus the bands and the triangles and I'm leaving this part drive for the moment, was so I'm going to just take some of the dark, do the ground colonizing. The color starts blending. I'm taking a lighter brown here. Let's a little bit off green here. Since we have red underneath, it will come through. The green on the green will appear more neutral, less pure. Also, the green is blending with a wet brown, so it will add to the effect when that area joys were going toe. Add water to these sites. Remember that you can tilt the paper to distribute the water evenly, and now I am applying the darkest tone that I prepared on my pilot. I just have to keep their creating contrast. Also, the more saturated that the darker will be and we're going to take the lighter brown. So we have prepared the public. Let them blame can actually get this moment, take a little bit more off the trail to this to such radio on at that saturation right here . Sometimes as we work and respond to what is going on on the paper, we want to make quick decisions and add or remove something when when this race is going to be lighter. So if we went more contrast, we we can come to it later and we will actually we let this upper part dry on. Then we can work on this lower area. I will apply clean water, but I will leave a thin line dry at the edge of the upper wings so that no new color or humidity will touch it at the moment. Apply around that circle. Take one of the tones you have preparing your pilot and let it blend. We applied some green up here. Then we can add a touch of queen at the lower tips. This is so that the two areas we relate with each other, so we're going to living alone for the moment. Let it dry, and we will come toe at some final touches later 33. Blue-brown Butterfly STEP 2: we We work on the third butterfly and at the end of this video, we we have something like this I became by wiping off my palate Totally clean on this butterfly we have applied. Blew a perp. If we look at the color, were they opposite? Toe blue is orange. So we're going to mix some off these to create a more neutral color to do them the grace and browse here. So I'm going to take just a little bit of this yellow. This is a quiero and I'm going toe Add this worm Read. I also makes this tala blue with water. Let's mix them. Okay. There Notice the consistency off the mix fairly saturated here I makes a pool, there is a little bit more orange So this is more pretending to orange to sell. It will be more blue. This is a pure I'm going toe a little bit of this warm bread to that blue toe. Neutralize it a little bit. This red has a yellow bias. So it's somewhat orange and I also make a little pool that is more diluted again. Notice that we are only mixing three colors to get these strange off neutral colors, browns and grace. Whatever I am highlighting here in blue color is where we are. No going to cover with watercolor when we apply the next layer. So I we went there just off the wings. First, we can make sure that on the watercolor paper on the shape, we draw the lines so that we can follow easily. Then we can apply water. This is going to be left uncover, so I apply water around it. So we continue applying the layer around those areas that we want to leaf dry. What happened then? We have this dry dry on this area dry, and this area is dry. Let's begin by are in this. Make sure there is the closest to the pure blue, but it has been neutralized. Then we can apply a different tone, but they're very related because they have been prepared with the same set of colors. I drive my brush making thirsty, pick up a little bit of that color and make Toronto apply that which is closer toe orange. On Dhere, I pick up some extra motion and a little real set saturation. The mix is saturated. The brush is small, picking up a small amount. The wellness off a barrage is equal to that off the paper without touching any more. For the moment, we just very try. 34. Yellow-brown Butterfly STEP 3: we're going to finish in this first butterfly, and at the end of this video, it will look like this. I am wiping my politicking here. First, I will mix and apply some yellow toe adept to the color underneath. And then we will apply some darks for contrast. So I'm going to take her warm yellow here like thes on one side. I am going to mix a little bit with breath warmer, it make orange. So here I'll prepare a little bit more of that orange and this time is going to be saturated. Going to take this blue. This is ultra Marine. Take it out here. And if I had a little orange to the blue, we can get up Very dark gray, almost black. So here I'm going to be highlighting some of the primary secondary colors just by adding a new layer. Yes, I'm going to add somewhere on let's some color blend the same here on them. Tear chip shapes, parts. I'm going. I am I in a little bit off clean worded, and then I let some of these more saturated color Theron and then we repeat the process on your site. A little water and then some cold. And I'm Alina a couple of extra atrocious here. I'm here. I'm wearing an inner diamond with water, but leaving it an itch And then I had some went on dry so and add an extra band here on the wings Notice that the color here is quite deluded. I'm Alina thing lying here so we can see how what we have underneath comes through it now I want you to notice that way. Had originally we had some shaped like thes. So that area I'm going to feel with waters. We can draw a line again If you discovered so I covered with water thes site. Then I will apply a little some touches off darker. But I will completely cover the whole area. I am having worked with whole area so that we can have continue having if it's like these. So now we can add some off this saturated color that we have on the palate and let it blend with the water. This saturated color will blend with the water. When it dries, it will look lighter here I have a dry spot. I miss it. So I am having clean water and letting the color blend. We're going toe heart some. Why did I around here also very close to this band applying water around the deer shape, picking up any excess, and we add the finishing touches for the head on the body on the sides here I had a couple of touches off color. There is more deluded. This is a much richer dark than if we were to use just a black that comes in a to No. One and thin and then the order. So the first butterfly, who police said is finished. 35. Red-brown Butterfly STEP 3: we will be working with the second body flight in this set. We became here and we end up with something like this. Clean the pilot. I were prepared up green by mixing the school yellow on cool view. Tile of you brings my brush between colors and then I take some off. This red is a cool red and this is very is going to be very saturated. So it's well, it's odd. A little bit off red to this cream and we have very, very dark. This is quite saturated now, your other little pool here, which is more diluted. He had a little green. I am also taking out some red so that we can enhance some off the red spots. I start by enhancing the primary here undescended. I touch with some water and then I am going to let some color run there, Some off the street dressed. I apply with the tip of the brush just at the corner on lead. The color grown, not the whole shape is covered. Now I am going to be adding a little bit of this trip. Very saturated. This is a still wet. So I'm going to just touch right there and let it blend. Same. Here I am going to just Atwater to the center of this band. So this is in fact, going to be a thinner band. Try that this thing. No, I am drying the brush of picking excess. I'm taking the saturated rid and touching the wet band and letting it plain, and we repeat the process on the other side Clearwater, a thin band and then add color. Each one of these Sener ribbons at the center is in consecrated red. Colder. We just apply. And then on the sites we have the previous layer, which is a lighter tone and acts as a contrast him area we can adhere to. So we get this. It's central area wet, and then we'll be are in the darker color. Just remember that they whether the paper is the father, the blend will go. So here I am using a medium size brush, and I am are in the darkest tone on my palette. This is wet, and then, for the sake of the exercise, I'm Alina Soft line. Now I am adding water here at the edge on letting some of that dark saturated color blend for a little bit of dark for the heaven definition for thes wings under needs. Remember that us We paint the dark off the body were literally finding the shape the wings . So their body is the negative shape off the wings. I'm mixing a little bit more off this blue with red to have a very Derek. All right here. And we can add a tiny spots at the center. One antenna, um, the order. Notice how, by making this area dark, all the neutral color supply before appear lighter in comparison. Keep in mind that the effect of color has a lot to do with how they're seen in relationship with each other. Also compare the difference in neutral color between the first and the second butterflies. 36. Blue-brown Butterfly STEP 3: in this video, we will finish the last butterfly. We begin here on day, we will end up with something like this. We're going to clean the palate. So again I'm going to take him. He's cool. Drink it here and at this reset brush, take out some more bread hype. You prepare a little bit of a purple. We're not going to be adding too much to this sense that a couple of touches off darkness and that will be it. I'm going to get their wing, which but only on this side. Same here, just around that central area. We have defined their just about this area. I am taking a very thin brush picking this saturated color. We're going to make a nine there. A soft lane, no line, Um, are a bigger spot off saturated color down here? Just a little bit of contrast. Then we could do to take that same dark order and suggest school part of the body dried on their need there to prepare a little bit more. This is still wet. So I talked with very saturated color, and here we have a serious off lines that we had done. That's drawing so we can apply them. Wet Andre, meaning that the brush is wet on the paper here is dry. So we draw these bands and we can add some horizontal lines at the top. Since this is white, we can have a little bit off there complimentary color orange. Just a touch. And we don't have to cover the white completely when still way we can are more saturated color just at the top so that it blends. Then we can draw too little lines. I a little bill darker here next to the brightest caller to draw attention to that highlight. This is part C off our main project, and we can add the set toe our collection. In this section, we makes complementary colors to create grace and browns. We also explored how this grace and browns can be enriched by overlapping layers. For your inspiration. In the next two videos, you can see how I painted another group off butterflies. Thank you for taking this class. I hope you have fun on feel inspired on confident. Continue developing your artistic voice. If you enjoy the class, please leave a review and remember toe upload and share the projects that you develop based on this class, I will be very happy to take a look and comment subscribed to my website. Leyla Torres. Welcome to receive advance notifications or new classes. 37. Extra Inspiration A -Paint More!: no. 38. Extra Inspiration B -Paint More!: here way.