Creative Color Charts in Watercolor | Elizabeth Blue Currier | Skillshare
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4 Lessons (19m)





About This Class

In this Three Part workshop, we will learn three different color chart methods for use with Watercolors. Two of them explore glazing (the layering of translucent layers of watercolor paint, drying in between layers) and color mixing and the third explores how each color's opacity and how it reacts with water. 

This is a very simple class, designed with the beginner in mind- and can be a great addition to your skillset especially with basic color mixing and watercolor technique in mind. Mainly though, it can serve as a lovely addition to your studio or workspace references and help you get to know your colors and how they behave a little better. 


1. INTRO AND SUPPLIES: I'm Elizabeth blew on them. An artist, illustrator and our educator. I work in watercolors a lot, and one of the things that's really helped me in my process is understanding color theory than having easy reference points so that I know I love Palin. Today. For a skill share class, we're going to do three different color charts. All of these will help you learn the basics of glazing and watercolor. It will also help you a little bit with color theory and understanding your palate. Anna will also give you three charts that are pretty to look at and stand this references for your studio or workspace. I hope you enjoy this cost and please feel free to get in touch with any questions or comments that you have. I'm always available. I asked to teach other classes on skill share, so be sure to follow my team. Thank you for these exercises. You will need the jar of water watercolor paper of at least £140 weight jar lid or a circle to trace around watercolor. Brush the set of water colors, paper towels, optional wax crayon and a permanent marker 2. EXERCISE ONE: The first thing you want to do on your watercolor paper is to take your jar lid or stencil whatever you're using, and trace that with your permanent marker. You're going to make a Venn diagram out of them to line that up with a little bit overlapping about a quarter overlap. Maybe 1/3 and lying it again, you're gonna go below to complete the Venn diagram form. Go around with a little bit of overlap about 1/3 or 1/4 and lift up. And that part's done. The next thing you're doing is optional, but it helps to keep the colors away from each other and give it a tidy effect. Um, it also helped to learn about how to use wax crayon with watercolor, which is a fine addition. So I'm using a wax cream, but you can actually break off a little bit of ah t light with a little I'm clear candle and use that tow line. It a swell. Now I'm moistening one circle with just clean water. You see how I am also drying my brush in between because you don't want a puddle e. You wanted to have a little bit of a sack and sheen of water. This is pre treating the paper and helping give on even finish to the water color. I'm starting with red, one of my three primary colors, filling the brush with the red and then coating the circle. This is the only circle that you're going. Teoh. Fill in one go. The other ones were doing step by step. You'll see what I mean when we move on. I'm just working the color through it to get a nice even tone. I'm not very hung up on it being very, very even, Um, but you can make it as tidy as you want. As it dries, the watercolor spreads out and sets. We got something like this. Now we're wedding moistening. I'm just up to that line that I pointed out. We're doing that because if you run the water over the red, it will re wet the red. And be more likely, Teoh lived up with the brush. So water colors a lot of our patients and letting things dry in between, especially with blazing. I'm getting blue next, we can sure of the right opacity. I'm going for a nice, rich middle tone, and I'm going to paint just where I wet so avoiding the red. For now, you'll see how the wax crayon is resisting the paint around the permanent marker lines. That's optional. It's permanent marker, so it won't lead. Now I'm going over the red part. I'm doing it very swiftly, and I'm not gonna go and re touch that. That's so that it doesn't lift up the red that's underneath it and pre wedding the last portion of the circle there again on Lee, the part that hasn't been painted before. You're going for a nice satin sheen, but the yellow I'm getting as much pigment on there is possible Asai can tend to be a light color. No, uh, very opaque your opinion. Just the same way I chose to use a water color in the tray, even though that's not typically what I use. I did that because that's what a lot of beginners start out with. So I wanted to meet you where you're at. It went and gave it another code, since the younger wasn't coming out very rich, and now I'm going to complete it by very quickly and with as light touch as possible going over it. If you go over too much, it'll tend to lift up the color from underneath. 3. EXERCISE TWO: for this exercise were using red, orange, yellow, green, blue, purple and we're adding to the rainbow, brown and black. That's because they're important colors to have in a pallet, and it's good to see how they mix with other colors using glazing. So we're starting with horizontal stripes. Is Israel simple? We're just going across loading your brash killing across one is fine. I'm using a palette that the quality is of a student grades, So I need a couple swipes to get a nice and rich. So depending on your palette and what you're using will depend if you need to go back over the stripes or not orange. Next we're doing yellow. You'll probably need a couple passes of yellow just to get it nice and rich. Then we're going to green. A lot of pallets that you buy at the store have to greens. I just take your favorite. We're going to blue. A rainbow palette can be surprisingly helpful because you can understand color mixing. That's how a rainbow works. Do you have the color mixing rules kind of step by step In this way, we're going to the brown next. We're going to do black. I clean my brush thoroughly in between each nothing fancy. Just a simple little exercise getting to know your colors and color mixing. Here we have it. So we've let our horizontal stripes dry very thoroughly and use a hair dryer. Just let it go naturally and then we're going the opposite way. This time you only want to do one pass over it if you do another, just like in the Venn diagram Primary color chart one from part one I'm It'll lift off the pigment from below. So you're just going up in one cleaning your brush thoroughly in between going up in order . You're welcome to do these alongside me. This is all in real time. So the time this workshop video places time it takes to do these exercises. You're super simple with the brown. I went ahead and did Ah, full strength and 1/2 strength, and I did the same for the black. I went and got a lot of pigment for one, were covered up the color beneath it pretty well, and then did 1/2 strength one. It's just because the brown and black have more pigment with my particular set. If yours doesn't, then it doesn't matter and that's it. In lovely rainbow plaid 4. EXERCISE THREE : Now we're doing the watercolor opacity chart. Using a flower design. I'm gonna show you what a bloom is. You put clean water down, you drop it. So we're showing how each pigment reacts with a bloom. Just when you're dropping pigments straight in, we're doing a mid tone wash that's about half water, half pigment, and then we're also cleaning or brush and doing a full strength watercolor. So those are the three different types of opacity that we're using, and this is a good way to chart how each of your colors react with a bloom amid wash and full strength. So first we're just dropping on clean water. Police Relatively clean, you're dropping in pigment in the clean water, one color at a time. You don't have to do it in any particular order. Longs each time the water is clean, so it's not reacting with other colors in your dropping full strength color right in the middle. Then we're dropping on the red. The point of this is that each color reacts differently when dropped in tow. Water. They all have a different way that they spread out. Some barely move it all in the pigment is really rich and Matt and stays right in the middle. Some are very translucent and fluid, and they spread right out. You could hardly see where you dropped it to begin with this. So that's what we're checking. It's a really good thing to know, especially if you're working with very expressive washes. That way you know, which will react with the fluid, more or less so we're just making sure that all of our colors have been tested in clean water with a blue doing the blue here. And I didn't choose to do both greens in this palette. I like one and don't like the other. What you do is up to you. So now you can see how all the colors spread out and settled as they dried, just like all of them. Each exercise needs to be dried in between steps. So this is a very creative color chart activity. We are just adding pedals however we want. The only thing is that we are doing this with the mid tone wash. So you're not going for quite full strength. Um, opacity. You're going for a mid wash, so I always check in on a scratch sheet of paper on the side to make sure I'm not going into dark. So I'm grabbing a little bit of the pigment, mixing with water and then doing leaves around the flowers. I'm just adding more how you do. Each flower is up to you. You can get really creative with this. So now we're doing purple as you can see that one on really too dark. That's full strength. So I'm just cleaning off my brush and grabbing some water and using to spread out. So if you do end up grabbing paint that's full strength. You can really just move it around with a clean brush that's wet with water. And watercolor is a surprisingly flexible medium, even though you do have to adhere to some rules, especially when it comes to drying in between layers. I'm going to just let you go ahead and, uh, fill in your own pedals while I do this. There's really no more instructions for this, except, you know, using your own creativity to come up with different petal shapes. You could do it, however, you want some congee hearts. Some can be stars. Some can be circle some congee pedals. It's really up to you. So that is the part of exercise that's a mid wash pedals. So we've done the blooms for the centers, the mid wash for the pedals. I've been using the same colors out of this set each time, including the black and brown. As you can see here. When I did the black, the green, which was still wet, leaked into it. You can avoid that by waiting until each part is dry before painting near it for me. I don't really mind that that happened. I can't get the general idea of how each reacts in the mid wash. Now we're doing the full strength for the stems and leaves or thorns on this stems. So where does going in the brush doesn't need to be as wet is for a mid wash. You're just going in with a moist brush and pick you up straight from the pigment, and you can be creative with the stems as well. Obviously, you can just do them however you like. You can be straight down, but the point of each exercise is that the end you have for each pigment that you're using an example of how it reacts in clean water for a bloom, an example of the mid wash for the pedals and a good example of the full strength pigment on the stem and leaves. So we're just gonna go around and do each being careful not to smear them. But as I'm sure you can tell, I'm not a very exacting or what you'd call a perfectionist with my watercolors. I like to just let them be. So years will be different depending on your approach. So I'm just gonna finish up these in my own time while you work on yours. You can see that on each summer. Big summer small. You could always add details in the back with full strength, but it's just a nice and pretty, uh, reference chart for your own workspace And just have fun with this step.