How To Blend Traditional And Contemporary Color Theories With Acrylics | Robert Joyner | Skillshare

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How To Blend Traditional And Contemporary Color Theories With Acrylics

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

25 Lessons (3h 3m)
    • 1. Overview

    • 2. Introduction To The Basics

    • 3. Basic Color-wheel

    • 4. Split Primary Colorwheel

    • 5. Chroma 101

    • 6. Dominance

    • 7. Tints & Shades

    • 8. Controlling Color

    • 9. What Are Neutrals?

    • 10. How To Neutralize Hues

    • 11. Palette Management 101

    • 12. Mixing Violets

    • 13. Value Versus Color

    • 14. Grayscale Demo - Simple Subject

    • 15. Color Demo - Simple Subject

    • 16. Analogous Demo

    • 17. Complementary Demo

    • 18. Triad Demo

    • 19. Analogous Complementary Demo

    • 20. Intro To Contemporary Color Techniques

    • 21. Define Arbitrary Color

    • 22. Contemporary Demo - Part 1

    • 23. Contemporary Demo - Part 2

    • 24. Contemporary Demo - Part 3

    • 25. Recap

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About This Class

Hi, I'm Robert JoynerAnd I've created How To Blend Traditional And Contemporary Color Theories for people like you that want to loosen up their creativity and make art fun!

If you've always wanted to...

  • Learn a simplified approach to basic color theory.
  • Develop the right tools for creating more dynamic artwork.
  • Eliminate common mistakes like muddy and garish artwork.

Then this course is for you!

  • Develop the necessary techniques for quality color mixing.
  • Discover practical solutions for making subjects more three dimensional.
  • Learn an easy exercise to explore harmonious color combinations.
  • Easy techniques for blending traditional and contemporary color methods.


Very enlightened videos. I have a much better understanding of color now, thank you. - Marinette Wagner

I've learned a lot in this course. I'm going to loosen up, take more risks and have more fun doing it! - J. Daniels

Very helpful! - Susan C.

What You Will Get

  • 23 high-quality video tutorials with detailed instructions and text breakdown for each lesson.
  • Resource images for all demonstrations (see attached file)
  • Ask questions and get answers
  • Five complete step-by-step demonstrations

Material List

Acrylic paint (you may use watercolor but demos are completed with acrylic)
3 warm primaries (cad. red medium, cad. yellow medium, ultramarine blue for example)
3 cool primaries (alizarin crimson, hansa yellow, lemon yellow, phthalo blue for example)
titanium white
2 sheets drawing paper (small)
3 sheets multi-purpose paint paper (140 lb. cold press - student grade)
Selection of small and medium brushes

Click here to learn more about warm & cool hues.

More Acrylic Courses By Robert Joyner

Landscape Painting Fundamentals Part 1

Landscape Painting Part 2; Sunrise, Sunset, Cloudy, Back And Front Lit Scenes + Composition & Color

Acrylic Painting Essentials For Beginners With Easy Step-By-Step Project

Acrylic & Mixed Media Essentials Part Two

How To Blend Traditional And Contemporary Color Theories With Acrylics

Add Value To Your Art - Basic Acrylic Painting Fundamentals

5 Stages Of A Painting

Acrylic Seascape Painting - Basic Fundamental Demonstration

Abstract Acrylic Cow Painting

Paint Roosters With Acrylics - From Charcoal To Finished Painting

Tips For Painting Loose With Acrylics

Paint Loose & Expressive With Acrylics - Brushwork

Paint Loose Techniques Using Acrylics And Mixed Media

Expressive Flowers With Acrylics - Learn An Approach That Gets Results

Advanced Acrylic Landscape Techniques - How To Plan Your Painting

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Have Some Fun Creating With Acrylics, Collage And Graphite - Expressive Painting Techniques

Expressive Flower Painting Techniques With Collaging And Acrylics

Contemporary Owl Painting Techniques Using Pattern & Collage

Expressive Still Life Techniques - Secrets To Painting Abstract Style Art With Acrylic

How To Paint Loose With Acrylics And Mixed Media

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Overview: in this course, we would dive into the painters. Most important, tool color lessons are divided into four sections. Section one is all about building a solid foundation for understanding basic color theory. In Section two, we will build on the basics, understanding how value has a direct impact on color and your color selection. Section three. We will explore some tried and true color combinations thistles, where you will put your brush work and paint several examples of a simple landscape. Section four is all about pushing the boundaries of color theory. These lessons will oppose some of the sterile, rigid academic traditions. Is a more contemporary approach the color that will help you abandoned formula and preconceived ideas about the way things should look and begin a new journey where you apply color that captures your vision in personality while the class moves rapidly, please remember techniques and methods take years, so keep coming back and practiced everything you're learning in this class. Please refer to the material list If you have questions about what we need in this class, I'm Robert Joyner, and I welcome you to sign up today for how to blend traditional and contemporary color theory 2. Introduction To The Basics: What's up, You guys? Robert Joyner here with good old George. And welcome to the pain Fox studio. I'm excited to share this workshop with you, but before we take the wrapper off, I just wanted to give you some insight in a little bit of advice on how you can get the most out of these lessons there. First off, don't overlook the easy things, especially this first section of tutorials. These are all about basic fundamentals. If you been around painting long enough, you've seen these things. You understand what a color wheel is, you know, value in those sort of ideas and methods for painting. But don't let that stop you from continuing to learn about the fundamentals are something that we start to understand. And then we build on that understanding and we get better at them. So I encourage you to watch these lessons and more importantly, follow through, create these exercises, create a split complimentary color chart, do some value scales, things of that nature that our boys you actually teach you watching me do it and telling you how I'm doing it is only part of the learning that see intellectual part of the other part is physical, and you actually getting the job done on your own. If you're unwilling to do that, that you're not gonna get us much at this workshop. If anything, that's going to impact your art on a long term scale. Even though we don't have an assignment or critique involved in this first section that you do the exercises and coming from experience, I can tell you a neglected fundamentals for about five or six years. Actually, I was lucky to have a little bit of talent, but I started painting, but it only took me so far. My art, Platts hope no matter how much I painted, I always ended up in the same place, and it was because I had fundamentals that were lacking. Making the same mistakes over and over just wasn't getting me anywhere. So I had to give myself an honest assessment and basically I came down to not understanding certain things about the fundamentals of painting art. So that's what led back. I really started to practice drawing, design, composition, value, color. Those things have helped me break through. It got me to a point where I could push through the ball that was holding me back and continue to learn. And from that point on, I continue to immerse ourselves in fundamentals in this workshop. You know, I'm gonna share those ideas about color with you and then again show you some of the things I do in the studio that help me work more freely. But again, don't underestimate these fundamentals. Wash these lessons and create these charts and different things. I'm doing so that again you get better. That that's your ultimate goal. That's why you signed up. And that's why you're here. So get the most out of it. If you have any questions about what you're learning, get in touch with me or George and we'll get back to you as soon as possible. Take care of you guys enjoying lessons. I can't wait to get started. 3. Basic Color-wheel: we are going to do a couple of color wheels here. And to me, that's the best way to really break the ice with color. And they were going to get into some more advanced techniques. Okay, so the one version of the color wheel will be kind of a basic simplified version. And then on the right, I would do what's called split Primary color wheel. So you're basically going to work with some warm and cool primaries? Okay, For my palette of this going to use this piece of cardboard, I don't need much more space than that. So this is ultra marine blue. These air color is probably most of you have. This is cabbie m yellow. Then this is a cad. Red light on the warm side. As you can see, he's got quite a bit of orange in there. Three primaries. So what I will do is draw a circle here, so I will add the yellow here. We'll have our red over here, and there are blue. So go ahead and whack out of here. So I'll take this yellow and it down. And we have a little bit of blue. Lastly, ready. So now we can quickly mix are secondary colors here so I can go on living in blue, pull a little bit of yellow into that. All right. Pretty simple stuff here. It's important to to do these things so that you have that experience of mixing colors. And as you get to more advanced color combinations like we'll do the next one, you're going to start to see how something like this can be cute. You quite a bit about colors. So now I'm gonna do ultra marine blue and again can read like and a growing lettuce. You're probably thinking, Well, we're gonna have a violet. But here's the thing Destroyed. Not that great of a violent. It's OK, but that's our violet for now. And then we have our orange over here. So now this next scene, obviously a little red with a little bit of yellow. And we have this crew cut. Draw stuff there. If you wanted to take that to another level, we could do the intermediate color. So, in between the yellow and the green, obviously you're gonna have a yellow green. All right. So Pale did that here. So unthinkable. Bit of blue maybe a little bit more, and we get this kind of very kind of sheeted of sheeted color hue off the green will push this to a blue violet, a little more blue. I will be red. So we're getting a little bit more of the warmer. You violet there, red orange. They want to add who were yellow into that. And then we have our Killorin Drake. This with those three colors we can makes quite a bit of a range of colors. Okay. So, again, this is just your basic color wheel. 4. Split Primary Colorwheel: All right, now we're going to look at a split primary color Beale. This is more of an advanced way, too. Get to know your colors. And a lot of artists prefer this method because you get a little more accurate color mixtures whenever you work in this method. Okay? The idea behind a split primary palette is your working with warm and cool. Okay, so some Hughes have a warmer tone to it where others are cooler. Sometimes it's very difficult to see these, and like the subtle difference between them unless you put them down side by side. So, for example, these are my warmer hues saying colors I used in the basic color wheel. So we had the can red light, ultra marine blue and the cadmium yellow. Now, if you were to just look at these, I'll take the red and put a swatch here. But we look at them by yours by themselves. You can't really see a big difference. And this is my ultra ream. And then lastly, we had the cat. All right, I'm just going to draw the line here so we get a little church going and now below it. What I will do is go to my cooler. Hughes. Okay, so this is lemon yellow. This is fate Low Blue. And then this is a lizard crimson rate. I'll start right here. So when you compare these two and it may be very difficult to see this on the camera bra bring you in for a close up and include images were you? But this is a lot cooler. This has a touch mawr bread in it. Fei lo very tricky color to work with, but it makes a lovely blues. I mean, fantastic again. Cooler. So the ultra marine blue is warmer because as a touch of readiness, okay, darker and value and warmer. So last but not least, is our lizard crimson. All right, so you can see this much warmer, much cooler. And that is basically the gist of how to start to understand of warm and cool colors. And you may ask, what? What's the big deal? Well, we really start to dive into color and you want to get beyond the basics. You want to really hone in on exactly which colors mix, for example, with the best line, bring which colors mix the best violence. Okay, so basically, if I wanted to mix a violet, I may say, OK, we'll just give me some old shimmering blue and red and I'll get my violin. But the problem is, when you start to mix any blue with any red, you're going to maybe end up with a violet. But it's gonna have a lot of gray in it. And it's not going to be as pure is if you were to mix the proper red and the proper blue. Right. So this is what I split primary palette is useful for, because it's going to show you the difference between warm and cool. And then, more importantly, when you mix the proper Hughes, then you're going to get a much more intense and vibrant fresh color. Right? What we're going to do, IHS put extension there and on the left hand side this will be our warm yellow. This will be our cool yellow for the blue. This will be our cool blue all right, and this will be our warm blue Over here. This will be our cool red and warm breath. We're going to start by mixing the cool yellow in the cool blue for the cool yellows or the cool hues are down here. Now the next step is to put our swatches down for the primary. So I'm gonna start right here with the warm yellow. We have that Coolio, you see there was like that. It's really amazing to see that difference. Cool. Blue reigns, Yeah, warm blue on we go warm, red and last but not least so that takes care of the primaries. So now this do secondary colors And now we'll look at during the green. So I already have some of that mix. So the green we're gonna use the cool blue, which is the Failla blue with the cool yellow, and that's going to give us a nice, intense green. And if you compare this green to that green, look at the difference. Okay, so this is a lot warmer rate, so it's got a little more neutrals in it, and it's a little bit grade in terms of the color, saturation and intensity, and that green right there is nice. It has, ah much more of a pure green hue to it. Okay, so it's good to the violent. Now here's where it's a little tricky because you're using a warm blue with a cool red. So we'll go with our born blue with a cool red, which is realism crimson and we'll get. And that again has a lot less gray in this version. Warm yellow, warm red. So now we'll get right up here and get our orange. So that orange basically the same thing because they're very similar mixtures but nice door orange, which is what you like. Orange is intended to be a very warm, cute so and now, of course, we can take that right into the intermediate colors. So we'll go with the cool blue with our green here, so little more fail. Oh, and that's going to give us that nice pop almost a Turk ways type color. And we can push that obviously too limit or really like a line green here, pushing it towards a cool yellow work right around here. Someone add the warm blue to my biggest violet. Now keep the momentum So again, more blue. Cool, red. So I get my warm blue cool right there's no big Violet and then push that more towards the blue more. That's a look that gives us that. And now I can take cool red, which, if you remember, was the Eliza Rin and we'll get this nice Q there, so warm red with the orange, and that's gonna give us that nice there. And then you can push that with the warm yellow and just drag a little bit of this orange in there and we end up with that. I'm just going to add a little bit of yellow to that, like that orange a little bit. So, um, split primary color wheel these air Fantastic for taking color to the next level. They're really good for mixing mawr intense colors. So looking at that violent, comparing it to this one, that's got a lot more Marie in it. I did hear that for the green, the orange, the origin of the same cause. I used all warm hues, but for the cooler side, it definitely changes a lot. And the results are simply, as I mentioned before, um, or pure and intense colors and basically, you know you want to create these basic color wheels. You start simple and could really use any yellow bluer than you have, and then we get to a split primary. The goal is to Di 11 so that you start to see the difference between warm, cool Hughes. I will include a list of these fuse so that you can start to look at the names of the paints and then gauge and really learn how, which one's of warm and which ones are cool. Of course, you can always rely on your eyes and do some color swatches and things like that, and then you'll start to pick up on those subtle differences. Okay, but I think in order to really embrace color, to start to harness the power of what it can do and then, more importantly, to avoid some of the Economist Stakes, it's important to start with the very basics. And these color bills are absolutely the best start. So if you've never created these, you know, highly recommend that you do so because that's going to give you a really good base for color, and then you're going to have that experience to draw from. So we start to mix. You know, I want a nice line green while you're no, I need a cool blue in a cool yellow and those things will come a little more instinctual for you. And next thing you know their habit and you don't have to think about him anymore. Okay? Anyway, so that concludes this part off color. And we are going Teoh, keep the party going. I'll see you in the next one as we talk a little bit more about value and then how to tent and shave Hughes. 5. Chroma 101: are now. We're going to look at some of the color basics, okay? And this is important, because again, knowledge is power. Okay? You always want to understand as much as you can about every aspect of being an artist. And of course, we're talking about color in this class so that you can harness the power of it and then start taking liberties. All right. So again, to sort of stuff it's not as fun is grabbing an image or grabbing a canvas and starting to swing paint and create finished art, but is very necessary if you want to really get past mediocrity and that's what you want. Todo So that was can red light. So, cad, red light. The hue is read. The tone is a mid tone. Okay, so it's not lightened value. It weren't tone. It's not dark. Okay, So if I were to gray scale that read unifying that on a value scale from light to dark, it's gonna be right in the middle somewhere. So where we call that amid home? I use that straight out of the two, so I didn't mix it with anything. So the chroma is high, so basically when you take a color, doesn't it could be yellow. It could be lemon yellow, ultra marine, blue, cerulean blue, lizard crimson And you use it straight from the tube. As is then the chroma is pure, so that means it's a high chroma. So, for example, if I want to lower the chroma, I can simply take maybe some blue here and this is ultra marine blue and add that to it. So what I've done is I've lowered the intensity off that color and what that does is it lowers the Kremlin. Okay, so this would be a low chroma. These things are important because as we move into a new painting, art and things like that, you have to know that if you're using high chroma reds, for example straight from the tube onto your artwork, you're really using it in its purest form. Okay. And what I mean by that is when I added the ultra marine blue to the red, then I lower the original Kromah and now I have wiggle room. Okay, so now I can come back and add Ah, higher chroma over this red. So that creates opportunity to get layers going okay. And what happens with many artists is they They tend to use very high chroma colors so they don't They don't gray them out. They don't lower the intensity of it. Um, and then there's no wiggle room. Okay, so a really good artist understands this about color and what they're going to do. There's always saved the juicy bits. Yeah, strategic places. But also they tend to use a more towards the end of a painting. So, for example, if I were doing a painting an apple, then maybe my best bet to really showcase a nice red and all that stuff is to put down some low chroma red. Okay, so I'm basically mixing all of that with some yellows. I'm using some different colors here, right? And then I have the opportunity to come over top of that and put these high chroma values and tones over that. So you, if you start with a very intense high chroma, then what happens is your only alternative to add to add a variation of that is to go to is to lower the chroma by mixing some grays. And then the beauty is lost because this nice pop of red is covered up. Okay. And of course, the tendency is to also toe over paint. So as the artist works, um, they pain, pain, pain, pain. And next thing you know, that nice original color has completely is completely covered up. So again, if you think about your colors in this manner than what that's going to do is give you ah lot mawr options and control over the finished quality of your artwork. So if you use these very high chroma values sparingly, okay, so you you're very stingy with using things straight out of the tube and you say, Okay, well, you know what? I'm gonna say that we're last because I know if I saved these nice, intense colors to finish a painting, then chances are that the results are going to be a little more colorful than if I start with putting these high chroma colors down and then try to put money, colors or great colors over top of it. So, in my opinion, you're better off to work in this kind of muted, uh, lo chroma area in the beginning and then come back and pop it in the end with your hi chrome. Okay. And then that way you got ah, much better finish quality to your art. These these nice pops of color are on the surface versus being layer over, and you're going to ultimately end up with more colorful art on. And that's kind of, you know, the basics of understanding color Kromah and so on. And obviously only did this with red can red light, but every color is the same. So I could have started with a yellow swatch. It worked it the same way. So each color has its you family. So this is obviously in the red Family has its own unique tone value. So if I were to for the sake of having a comparison put down this cat yellow, obviously that's going to be a light toe. OK, so we're going a much lighter and value and but the chrome was still high, but this would be yellow, and this would be like toad. Okay, So, basically, you know, these things are important to know because you want to always be in control of your color. And don't let color control you. So that is some some of the color basics and I wanted to share with you. And of course, we're going to look at this a lot Mawr as we move forward. 6. Dominance: so one more color basic here, and I think we will be ready to take it to the next step. And what I will talk about is dominance. Basically, that means whenever you're creating art and I'm assuming that you're working in color, you always want to have one. Hugh. That's dominant. So my palette here have cerulean blue can't orange and cat red light now power just using these three colors, which I probably wouldn't. There will be variations off them tense shades, neutrals, that sort of thing. But just for example, is you can kind of see what's going on. If I were applying this to a painting, then one of these colors means to dominate over the others. So I put a little bit of orange there around it, and now add a little bit of red. Now you see that the blue the cerulean is the dominant Hugh and then the orange, and then a little pop of breath. If I were to take a different approach where I have the blue and then we have read and then we have the orange All right, so we're looking at these than what you're seeing is a balance or equal parts of each color . So what happens is you're you're looking, but you don't really know where to go. So we review this one. Obviously, the blue pulls you in, and then you have the colors that supported, and that is the gist of dominance. But the bottom line issue always want to think about color arrangement. And whenever you approach a painting, I'm trying to visualize which color can be dominant again. You always want to avoid symmetry and and equality in your art, and color is one area where that is certainly the case as well. 7. Tints & Shades: So the next thing you need to understand about color is value. So value is something that will determine the relative lightness and darkness off a particular color. Okay, now I'm using acrylics, and I can easily thin this with water to create different values. But what I'm going to do is work Mawr with was called tenting. So to do that, I am going to put a little bit of what White. This is a titanium white all my palate. Whenever you start thinking and talking about value, the two things you have to know our tent and shape and what I will do. It's just as some kind of swatches here. We're going to use these to make a point. So the base color, I will work with this. Just go with this fellow blue. All right? I will use that for my tent. Now, in his purest form, I can take it with a little damp brush. So often it up a little bit. Get it fluid and put it down. Then that's again. Very, very pure blue. Okay, so now what I can do is put some white in there, so I am pending the base color. I could go with something in the middle. Okay. Now go pure white and just look whatever's on my brush and maybe go in here, because again, Failla blue is extremely intense. And now I can take this base pulled over and try to get the next one in line, which is about right there. Okay, Now, I could get a little more pure and get this one. Can you push that a little bit darker and then punch this one a little bit darker? Okay, so you're starting to see a range of tense that this blue can make. Now, I could just clean my brush really good. And just like dab into that swirling brush around. He's got a little bit of that on there, and we can come up with this. Okay, So what this is showing us is by adding white through the base color. We can't tent the hue and to make lighter values. So if I were to gray scale this this will be a very light, light gray, medium, grey and so on. This will be obviously your darkest great. So even though fame a blues you can see here is a very, very dark, rich color. Once you start adding a tent to it, which is to say, titanium white, you can get a lighter values, right? It's important to know that because once you understand that you can shade intent your Hughes, you have really open up a world of possibilities with just a few colors. You don't need 50 colors to be an artist. I mean, you could have a minimalistic palette and still get a wide range of colors. Okay, so now I'm going to go with my yo and we will put the base about right here. Now I content that with a darker value so I can use Mars black if I wanted to. I can use a violet if I wanted to. I could use any sort of neutral to kind of great out. Well, I want to do is step into a darker and darker hue. So I'm going to go with its complimentary color here, which is a violet, some mixing to cools There. Now, pull a little bit of this over. I'll go right in here. You see, that's gonna change a lot. So I'll give somewhere in the middle. You hear at a little more violet. It starts to get even darker. Now we're really giving away from that color altogether, right? Almost to a point where there's nothing left but great. So really, we can shave that all the way to what can be considered, you know, a deep grave violence. Okay, that's taking that, Hugh and this compliment or your color through it and then working the shades left to right . So, again, look at this in terms of value. So the value structure is like medium light, medium, medium dark and then so So value is something that we need to understand because it creates a sense of shape. Okay, so if you made everything one value, that is going to be fun All right. So if I worked, you come in here, say, all right, paint me paint a cue for me. I can start to paint a square. I can start to paint the sides, but it's not going to have shape, All right? It's gonna look just like one big shape. It's not going to have shape until I add a change or shift in the value so I can add a lighter value to the front and then add a darker value here. And we can do a little cash shadow and all that stuff so you can see this from that very basic shape. You have to understand value and how it reflects and has an effect on your shapes. OK, very important value also was important. Create depth to create focal points. Things like that we can create contrast with value. Okay, So if I were to look at this color as just value obviously is very, very light value. If I were to surround that with a dark value, Obviously that shape becomes a square and it's more prominent. There was a square before, but that light value was all white. Put the dark around it and now it pops. Now that square jumps out at you because it has a complimentary color around it, and it has value a dark value around a light. Okay, so this is something we're going to work with a lot. It's very important that you understand value on a very basic scale in terms. So just what about what is a value? How do you What is Ted? Me? What is shading being and then how does it work? But why was it important? Because it helps us make shapes more dimensional. And then it helps us hop certain areas. Okay, Just like I popped that yellow. So we're going to dive a little bit deeper, quite a bit deeper into this as we move forward, because here's the thing about color, color is important. I mean, you obviously need it for a well balanced painting, but value is more important. Okay, So you can have all these wonderful, bright, intense colors on your surface life or not arrange. Well, if you don't have a good mix or good blend of warm and cool medium light, dark values and they're placed strategically, then the painting is not gonna work. So you can basically squeeze all of these beautiful colors out on your power on your canvas and move them around. But it's not gonna mean anything, okay? Because they're just simply blobs of color. That's when you start to understand how to use them strategically, that they become a force. Okay, But understanding value is critical to color because you have to be able to see your colors in terms of value. How way are they? How dark are they? Is that going to work with what I have? Okay, so that is value 101 8. Controlling Color: So let's look a color mixing for a second. And I think this is a common situation. We get in. So let's say, for example, I wanted to mix and green. If you're curious about my colors, this is hands yellow, ultra marine, blue and then I can't read like so I'm mixing some cream, I would say I put that down and then I realized, Well, that's a little too green to correct that this look at the color wheel. So if we take our green and find the complementary color, which is red, we can reduce the amount of green in there. So I think a little bit of red take in there. We want to see that green is not a saturated. And you may say, Well, maybe that's still little to green, and we can kind of get in here and take it. Please be away from that. So by using the complementary color, you can sure the hue. So I'll give you one more example here, working with a blue while working, right, left. How is she going back? Right, nevertheless, so there it is that I'm saying, Well, I like that, but I wish it was a little less intense, saturated. Right, So we go to the opposite and we get this orange. So I cream. It's an orange here. A little bit of that brush do was watch. You can see there a little water down, but you certainly see the color shifting. Obviously, if we continue have, we'll get further and further away from the color. So simple lesson. But I think again is very useful because you're going to mixed colors. Eventually, find yourself wanting to de saturate it to reduce some of the intensity in that color. So always going to your complimentary color at a little bit, and that's going to shift it away from it and more towards perhaps your desire color. The same can be said if we use different tents to. So, like, for example, that was high criminal. Remember high chroma straight out of the two. Nothing makes very intense. This is These are all high chroma colors, and then I'm taking high chroma color and mixing in with it. So let's say I have a light blue, so mixing some white into that I could do the same thing with, well, justice. I could take a little bit this orange. Mix it up even a little bit of my right to it. Push it to a paint. Obviously you really have the yellow in there. This roll, some of that paint brush what you see, just the same thing happening. And this is just related to dentistry, that it works in any situation, no matter if you're using Hi. Promo low Kruma. You're using certain tents or shades any time you want to shift a color away from itself. Souping yellow away from yellow violet rights. We use that complementary color to get away from. And my advice is to I go small, okay? Don't add too much because it's going to be It's going to ship that quite a bit, So a little bit does a lot. Okay, so that's a really good tip about understanding how to control color and then house you move it in one direction or the other to get a slightly different Hugh. Okay, 9. What Are Neutrals?: another term. You'll hear me use a lot and also colors. I use quite a bit. I would be neutrals. Sometimes I will say I will neutralize a color. Other times I'm saying, Hey, be nice to Assam neutrals to this too kind of balance that saturated colors, things like that. So I just want to go over some of the basics of neutrals, how you can create them and then, more importantly, how we can neutralized colors as well create a desire huge so neutrals can be defined as any color. That's not only color wheel. Gray can brown those sort of things, of course, weakened by it. So this is raw number, so a nice dark brown and manufacturers love to sell these to you, but you can easily make him as well. One thing I tried to emphasize is keeping your palate simple. No need to by 50 colors, honestly, a nine colors and you can I really do a lot almost everything you need. So in this lesson, what I wanted to do is show you how to mix the basic neutral, and then we're going to kind of cover some of these things to where we can push them 21 que or the other. So let's just look a basic neutral. So I'm using the same colors as I had in the Siri's live here, moving around in the course. The color is a hat here, our hands Cielo, Coach, Marine Blue Cat, Red Lake. And what I'm doing is just simply mixing equal parts. So here I've got a kind of green yellow bias bias. Excuse me like an animal business. Spread to it, and it's going to neutralize. A little bit of that Gets to read. Get in here, look blue do that. Great. So very much Brown. Now over here with my white will bear that into it. I'm over the Red Sea. That's push it a pink. I want to neutralize that. I can mix up a little green that's going to take it away from red. You see that red disappearing? Nice. You could do that on white. In there, you start to really fit whose legs graze in there a lot of times muddy color. And that's a term I really don't like because yeah, art can look money, but it is usually because there is a dominant Hugh in there, and it doesn't really say warm or cool. So it is kind of a color sitting in the middle, and if you find yourself in that position, and you can always add a little more blue to cool it, So let's say I take this one now push it through a blue, so I'm taking that neutral. Cool it off. So it's a little bit is shaded, so it's the value a little bit darker, and it has more of a biased lean to it. So is leaning more towards a cool color. So when you're using neutrals, I'm not saying you simply can't use thes like basic based neutrals that don't lean one way or the other. But it is good to have a balance off them. This is cad yellow, medium, not much left. But it's enough to do what I want to do here so I can take a little bit of that touching with red. I could warm that neutral up, putting in a warmer Hugh. All I did there was taken war. Take these orange horns color that I have at a neutral that pushes that grade to ah, a warm, neutral so basically again neutrals fuse that aren't going to be located here. You're not going to have that. These Hughes on the color wheel fun there really imported colors to have again. Mixing them is fairly easy. They're using the three primaries, so work you have should have these, I'm sure yellow, blue and a red. Mix them together. If you want to add a little bit of light to it, that's fine. Remember, we can use the complementary color to push. Thanks. So that's two red or brown. We can get a little bit screen in there so touching that blue and yellow on that morning to push it away. So that's going to basically take some of the warm Hugh out of it, and mixing them is very, very using. Then once you start adding fight to this, you're gonna start to see you can really create some beautiful mutual colors just by having the three primaries that's too warm. Come back again, show you how you can just take this sort of stuff and experiment with it and learn a lot about mixing color. So there's your nice cool sleep great, and that is the gist of mutual so again mixing them, it is very easy. Three primaries. Adding white will give you some flexibility on you creating lighter values and then, using the opposite be complementary color. You can move the hue or ship the hue toe, one bias or the other warm, cool, or have you wanted to do it? So that's a quick, neutral wonder, one type lesson for you and there again, very powerful. I'm going to just look at one more thing in the next lesson, and then that should give, you know, a good idea off what they are then used. 10. How To Neutralize Hues: So let's talk about neutralizing a color. Okay, Now let's say you're you're working with Red touched a bit of this yellow in there, and and then you say to yourself, 00 that's too intense. So that in a sense, the chroma is too high. A great way to do that to reduce it is, of course, to add the complementary colors. We green and the green will take it away from red, but maybe you want to keep it read, but you just want to neutralize it a little bit. So what you can do? Let's take some of the neutral. So there are some of the neutral I had from a previous lesson and mix into their. So what that does is that put some gray into it, so that's going to s another way to lower the chroma off color. And that's important because using high chroma colors, uh, is kind of amateurish. I mean, I'm not saying there is not a place for them in a painting, but you don't want your colors in your painting as a whole to scream at your viewer. And sometimes if you're used too many high chroma colors, that's what's going to happen. You're art's gonna take on this very new, garish, intense, loud feeling to it, and that's because there's no subtly okay, anyone can open up a tube of pain and put it on the campus. That doesn't really take any skill. Ah, really good painting has balance, so we have some saturated or high chroma colors used sparingly. Balance with neutrals, lower chroma colors. So you want to place them strategically, perhaps to show a focal point, or to show a particular area of painting so good again. This is kind of gets back to what this lessons about. That's about neutralizing colors, and there's more than one way to do that. So again you can use a complementary color or something in the area to reduce it, and then also just using a actual neutral here, color or hue. We'll do it as well, so I could even add more neutral to this. You see, we really started getting away from the red, but that's okay because the air is in place for that in your heart, of course. And wait all of this and start to 10 some of this stuff as well. So again mixing neutrals with a color too tone down right lower. The chroma is fine. There's other ways to do this as well. And to do that I'm going to basically use Maura analogous colors. So if you remember right analogue analogous colors or colors that are beside each other on the color wheel. So say, for example, I'm working with yellow. I put my swats down here a little bit of weight to that, so it's a little more opaque and right. Well, that's that's really, really intense. Maybe I don't want could be that loud so I could take an orange. So what I'm doing here again, using that analogous color so a little bit of orange beside it to neutralize it. And what that does is it keeps it in the yellow family. So if I start taking the complementary color, which is Violet, and what that's going to do is move itm or to a gray, and you may not want great. You may want to keep it yellow, but not let it be so intense. And if I continue, add the orange I'm gonna see. It's going to continue to move in that direction, which is away from the intense yellow. The same can be said for red. Here is my kind Kruma red. So now I can take and you push a little bit of orange into that, and that's calling to take some of that intensity out of the red. So this is really about shifting colors by using, Ah, Hugh, that is in the same family. You could do the same thing with green, so the safe I go back to yellow. But maybe I want that yellow to be a little bit cooler. So what I did here was I kept a warm because I put the orange in there. So the warm hues here keep it in the warm family. So let's say now, take a little bit of green, mix them with that. Let me get more yellow. Palette here makes a little bit of fighting that. So what that's going to do is cool it off colors with a little bit of that green in there, we'll shift to a cooler, so it's good. No. So there's some wiggle room there to how you can shift colors to pay, knowing what you want. So let's say now I'm dealing with a blue. No, I think I'll do the same thing. He just makes a little bit of weight in there. Let's say I want that color a little bit lighter so I can add White. Or I could go with a cerulean blue. So I put a little bit of cerulean blue on my palette, and that is just kind of staying within the family. A blue. But I'm going to push it and make it lighter by using a lighter color selection of itself. Of course, a man move it a white here so you don't you can't really see the difference. And again, sometimes neutralizing a color or reducing the chroma, try create more of a warm bias or sometimes even a cooler bias of it. We can use color besides a little more lost one saturated blue There. This will give you a better visual on what that color is, and you can go either way. So with the yellow, I use the orange to give it more the warmer Q. And then assured you an example where I put a little bit this line Green in there, too, again shipped it away. Take away some of that intensity. So if you're working with blue, you can add a little green, a little bit of a violent right, different things like that. So that's a really good way to manipulate color. The more of these little tricks and tools you have up your sleeve, the better off you are because it's going to give you mawr techniques of work with as you paint and as you're putting paint down canvas and you start to see where things are getting too intense or bright. Some, you know, now some different ideas on how to neutralize them, how to reduce the chroma and things like that. Okay, so that covers this lesson on Let's Keep on trucking. 11. Palette Management 101: All right, let's talk a little bit about your palate. This is a paper palette, and whenever you put your paint down, okay, so from the tube on your palate, I want a system, and I'll be honest with you. I am terrible about this. My palettes are usually just colors squeezed and random areas, and it's probably how I will always paint. That's how I always done it. But one thing I know is I can look at the color. It's a ultra fail. Oh, warm red, cool red, warm yellow, cool yellow. So I'm still using the theories and the ideas off good color mixing and that sort of thing . But I just like to do it in an arbitrary, random way. I don't know why. It's just how my artworks and how my mind works. But again, I don't recommend you do that, especially if you you're struggling with color things like that I feel like you need ah, more consistent routine. And then once you start to really understand your colors, you can look at these and tell the difference between the hand son the can on your palate because you use it so many times you don't really have to guess anymore. You can look at that and tell exactly what it is. Or you can look at the color this mixed up on your palate and say, OK, I'm gonna push that to more of a green. I would neutralize that. You know exactly how how to do that. And you can look at your palate and grab the colors you need quickly. Then you know, I would suggest is having ah mawr systematic routine. OK, so this is probably one area that I say Don't really do as I do and probably, you know, do something a little different. But anyway, what I have here are warm and cool, So my warm fuse will be same color as I've been uses. So the cad, red light, cadmium, yellow light, pure and and some people would consider that more of a cooler yellow. But we compare this to ah Hansa Yellow. You're going to see that just has a less green in it. And that just makes it a lot warmer. God, then the hands on what I have. So anyway, on then the ultra Marine blue, which is the warm blue. This would be a fail Oh, blue Hansa Yellow as I mentioned. And then this is my lizard crimson. So you can do this. You can split your palate half. So let's just pretend there's a line right here. And he could squeeze out red, yellow, blue and probably locate him along here and the same thing for the cool. So you would have a warm side, cool side, and then that is Ah, you know. Ah, very common way. You'll see artists divide their palate. Also, some artists will do this sort of thing where they take their colors and work them warmly. Cool. Okay, so they they start with the warmest red and then a cool red start with a warm yellow and a cool yellow start with a warm blue and a cool blue so all their colors are situated to the side, and then they had this area mixing. So the idea is try to come up with a system for putting down your palate, putting colors down on your palate, and just once you have it, just stick to it. And I think over time that will give you some consistency and then, visually, you'll start to their look at these colors side by side and quickly see the difference. And now that maybe, you know hey Ah, cool. Yellow has green minute where ah, warm yellow has mawr red in it. So you can really look, you see a huge difference between those the reds. I mean, that's a very deep, cool, yellow very, very warm. And you got the yellows here. Subtle. Now it is easy to see, but I can look at this and tell, you know, with my eyes, don't know if the camera's picking it up. This has that more of a green hue. So there's our ultra this that's the warm blue with little more red. And then that's our cooler blue. It's just more towards a blue bias. Okay, so something like that would work fine. I mean, I think I would probably see this more often where artists will set their palates up warm to cool some of worker around this way. But as's faras, your actual Hughes, you're warm and cool. Hughes. That's a good suggestion. And then with your white again. This is all part of finding your own method. But some artists I've seen put white right in here, but I like to completely isolate my weight. That's one thing I do pretty consistently. It doesn't stay separated very long, for the most part, trying to keep my white over here. I feel like it has less. It's less likely to mingle with my pure colors is once that white starts mixing with all of these, that it's going to take that color pretty, pretty severely. And more importantly, we start mixing white with the Hughes. You're gonna lose your transparency. So basically some of these colors are very transparent. For example, sample this. A lizard crimson has a certain transparent quality to it. So I've got no my brush right here. Power is Take this little reject sketch and just kind of go into it. You can see this is thick paint. I didn't use any water or anything on my brush that is straight from the to on here. If I press it into their rubber hard, you'll see that the layers underneath showed through. And that is because it's a transparent Hugh. Now the labels will tell you how transparent they are. Like for view. The Failla blue was semi transparent, so transparent but less. This is a semi transparent. You'll find that certain colors, like the raw number, is transparent. And usually, once you start getting into colors that are like premixed for you, so you start to get away from like, primary colors such as this are brilliant Blue. This this is I could tell you right now is gonna be a Pake. You see it right there on the label because they probably had to mix white with it. So once you start getting into those kind of real fancy kind of premixed colors and all that, chances are they've had to make several different hues and pigments and different things with it, and they have a little bit of white or whatever, and you're gonna lose that. So, for example, if I take that a little bit of white here, that's going to really push this to a paint and start mixing. I got over the yellow by accident on that, so you want to see you right away? That color is opaque, so I like this over here. Even though I put this on this, it was darker and value because it was pure s opaque. So this is lighter and value, but it's it's a pain because of the wife. So that's just something I'm very aware of, what I'm painting. There are situations, a lot of them where I want to show that transparent quality of the medium. And then there are other times where maybe I want to be a Pake. So in that case, uh, if we're for that reason, I like to keep my whites isolated for as long as possible. When once I start painting, I mean, I'll have certain color mixes. And next thing I'm bringing white over and it starts to creep in and kind of invade the palate. And once it gets to that point, I'll take this palette. If there's any good paint, I'll scrape it off and put it on. You know, a new palette or something, and then just discard it and start with a new palette, because again, if it starts to mingle, get to Messi and opaque colors or mixing with what I want to be transparent colors that I know I've lost control. And that's when I stopped in this regroup and they get a fresh palette. Any case, if you want a harness color. If you really want to understand the the qualities and mixing them, and then we start getting into the transparent qualities mixing white with colors and how that can really alter the medium itself and the natural value or transparent qualities of it. Then you know we have to manage the palate, uh, more so, you know, come up with a system that works. If you wanna work warm to cool, fine and putting your white over here next to your colors works for you. Fine. But the point is, get something that works for you. Stick with it so that you can start to see the color is better, and then also you can start to mix them. Or so you can say I want a cool green so you know, cool blue or cool yellow cool blue and you mix it and you got that nice pop green. So there's just some kind of basic palette management 101 tight tips for you and then also sprinkled in a few ideas about the unique qualities of watercolor, the transparency of it. Again, you can read the back of your labels to see if they're opaque or transparent, and then also understanding white tryingto. There's even times found painting on a big scale. If I know I'm gonna be painting for a long time, like for 45 hours, I will put all of my colors colors here now, have a separate pallet over here that makes all of my white hues. So I'm not even putting white on that. That's how much that's how kind of particular I am about my white. Because I know once that mingles with the colors of lost control. And I like to kind of stay in control of how transparent, opaque my colors are. Things like that. Okay. All right. I don't want to ramble, so I'll stop right here. That gives you some tips on managing your palate, which in turn will help you manage your colors. 12. Mixing Violets: quick video here on mixing violence. I know this can be a challenging color, so I wanted to bring some clarity to how you can mix them and then more or less what you can do to avoid muddy or gray violence. What I have here is quinacrine are red, a lizard, crimson and cadmium red. Cadmium red is more warm, red Elizabeth Crimson is cool and quinacrine own. Red is cool as well. On the blues, I have fellow Blue, which is a cool blue with a green bias to it, then ultra marine blue, which is a warm blue with the red bias to it. Now, as you learn earlier, mixing complementary colors will neutralize the color, create ah, gray value or tone to it. So because the fellow blue has a green bias to it, when you mix that blue with the reds, it's going to act as a complementary Is that a little touch of green in there is going to dough the color or neutralize it. The ultra marine blue has a red bias to its slightly warmer, so we mix that with the reds. It doesn't neutralize the color, so it's kind of an interesting thing to think about. And, you know, you certainly want to know these things when you're trying to mix your violence. So what I will do to first illustrate the blues. So I will put this blue over here and then mix a little bit of this off titanium white to it. And what you want to see is just a color has a slight green tent to it. You're not gonna see it now, But once I start to mix the ultra Marine beside it, you're gonna start to see how the Ultra Marine is pushed Mawr too a blue. And it's a warm blue now. Very subtle, but is there and now what I would do And let's start with the fame low and this work across the board. So I'll take a little bit of this fellow a little bit of that red, as you can see. Very dark, very muddy. Now here's the thing about violence in general. You don't want to put a little bit of white into that to really bring out the color Now, because this mixture here really isn't an ideal mixture for violence, it's not really gonna work that well at all. So we look at that and she's really a nasty gray neutral. It works in some cases, but if you're trying to mix a Chris Violet, obviously not ideal. So let's move to a cool red and I'll take a little bit of violent or white into that. And now we get something that's a little more violent than the first mix. Touch a little more fellow into that. If I want, I could touch a little more crimson, but again, I ideal if you really want a good violet. But again, that's what you have. We mix fate with the Eliza Erin, and now we'll work with the corn act around. If with Cracker down, you're going to get Ah, really nice punch and really a good color to mix violence. And even with the the green bias blue, it doesn't pretty decent job. I had a little more white that if you touch more so you know, I hope you can see that this cracker don't mix is the best for fellow. Perhaps a distant second. Maybe here we can see that there money. I mean, it is really no way to to get away from that. So now let's go to the Old Marine, which, if you remember correctly, is the red biased blue or a warm blue. And we'll take a little bit of this down here, a little bit of this weight, and we're still left with a pretty, pretty nasty, violent overall, very much a neutral, but that that's a nice color if you were one of the use or looking for a nice, cool gray. But for the most part, it's not really what we're after, and that's really more of a warm gray. So let's just try the Crimson, see if we have any more luck here. Crips is a pretty heavy staining color. Probably put a little too much into that. But think we can get our violate here and you can see it's already a lot better results, definitely getting into something that's a little more acceptable and certainly not a bad choice for Violet. So a lizard, crimson and ultra Marine blue worked well, last but not least, quinacrine own with Oh, it's a marine blue. You can see right now this thing is gonna have some punch to it. Try to get some white over here. that's not contaminated. Go a little more so that, um, Conacher new red is really gonna have a slightly more pink or reddish bias to it where this violate here. Big, decent, the lizard crimson Ultra Marine blue, but doesn't quite pack the same punch as the quinacrine Putting a little more blue one of this and there you have it. So if you're looking to mix good violet failure Blue because of the green biased, you know, just doesn't work that well, even when you mix it with a wonderful red for violence, which is the corn Akron own and the Eliza Erin. It's just something going to gray out. Ultra marine blue mixed with the cat read. You're gonna get a neutral. There's no other way around it. Old troll with deliverance. That's a nice violent. You can get away with that if you want something really vibrant. Colorful Krenek Erdogan Red with the ultra marine blue is clearly the favorite and packing that really nice punch. So one thing to note here, too, is the titanium white, the titanium white when mixed with these mixtures here, as you can see well, really, tent that value and bring out that kind of nice punch of violent that you may be looking for. It's also important to note that when you're using titanium white to achieve this, then you're gonna lose its transparent qualities. So it's kind of a given take their, but again, if you want the color if you want the punch and you got to use the white and with it. But if you're trying to go more transparent than your stocking, you're not gonna get the tents that you can get obviously with shading or adding the white . So just some give and take there some F Y I for you. And hopefully this tutorial brings a little bit of clarity to mixing violence. 13. Value Versus Color: All right, so we are moving right along here. We've talked a lot about some of the color basics and creating the color wheel. They have the advanced color Rio. We've looked at Kromah and some of the other color basics and that sort of terminology. We've also talked about tenting and shaving colors, and we touched on value. And now I want to talk a little bit about understanding, more, less value versus color. If you think about the actual process of creating a painting, the common thing most artists do is they look at their inspiration and then it may be an image. It may be something in real life, something they have set up in front of a vase of flowers or whatever. And the common scenario again is they. Since you get locked and two matching color in nature, color is amazing. Okay, we all have seen the beautiful fall foliage, you know, the beautiful blues and the sea and all that sort of thing. We really can't compete with that. All right? Nature is going to win that battle every single time. As an artist, if you try to duplicate what you see now seen enough seen artist, your paint, an apple or something, and they take the red. They hold it up next to the apple or to the image, and they try to, like, match that color just perfect and all that stuff. And it's just a situation that lends itself to frustration. What you can do is create your own vision off a particular subject or seeing or color. The best way to do that is just to start to understand what makes something work. So this piece of paper is flat there. There's no depth to it. It's just simply, Ah, 14 by 11 piece of paper that has that's two dimensional. I can't really create anything three dimensional on on the paper. The only way I can give the illusion of a three D is to start to understand values and touched on this earlier. But I want to do this one more time. So if I were to put this circle down and say that is a sphere, then you would say, Well, I don't know about that. It looks pretty flat to me. It just looks like a circle that's colored this kind of gray shade, agreed Nazi Well, all right, well, let me work on that a little bit more. Now I start adding a lighter value to it and say, OK, well, now I have a light source. Obviously, that light is coming over here and hitting the sphere, and it's creating a lighter shade for a lighter over 10. Rather. So now I can go over here, add something darker, right, and then add my shadow. And now all of a sudden things, we can begin to look a little more like a sphere, so that in itself is basically applying values to a simple geometric shape to create the illusion of a sphere. And, of course, I could do the same thing using Q and so on. So this is just a much easier approach. Then let's say to try to match the exact colors of a fear that may be in front. What I want to do, basically, is to drive the point home, that value and getting your values correct, ISMM or important than color matching. All right, if you try to color match, you will lose. But the one thing that is extremely important to me is value. Okay, so value I know is extremely important if I don't get that part of it right than the painting or the subject. The focal point, whatever simply doesn't work. So without any further ado, let's go ahead and kick things off with a little demonstration here where we focus moral value. Then we do matching colors, and I think that's going to really start to open up the power of this course. And of course, you will start to really sink your teeth into harnessing color and making it work for you. You're not trying to struggle with it. 14. Grayscale Demo - Simple Subject: and what we're going to do is break it down into a simple value study and then move into a color study. We're going to use the value study as a reference for the color study. OK, eso mixing the three primary. So a little yellow, little blue, red. I've come up with a base neutral here, and as you can see, the subject I'm working with is just in Apple. I can start to get that basic shape so it has is tilted a little bit, and we have that sort of thing going on. Now. The light source is coming in this direction. So now I can add a little bit of blue, a little bit of red to that, and then start to get this feeling of shadow. I'm going to place that in areas that I see that had the similar value. Okay, so something like that, now all the side will be here. I have a little bit of white. I'm going to now mix what is essentially my mid tones. Start putting down that and now I could get my base value here now, mixing this a little bit lighter. So probably not as dark as the darkest darks, obviously, and getting some of these other values trickle it in there. All right, Now, I'll take a little more white add to this, and then start to shape areas that I see have a little bit lighter value to it. Now I'm going to go back. I'm using just a combination of different primaries, so I'm not getting too picky here. And the goal was just really focusing on how light and how dark the value is versus tryingto again match. What's there? I just put this stem in. That storm is probably a little bit shorter than that, but just to exaggerated a little bit. We have a little shadow there and that coming here with a little have a lighter value. Uh, hit stem stem. It has a little cash shadow that's going up and over like that. That's not too bad. Okay, so what we've done there is just create a nice, simple value study that gives us, ah, really good indication of where to place certain values and colors. Once we get come to that point where we want to pay. And now it is working on this second, though a little. The little shadow under it, that's all. Looking pretty good from one to clean up those edges, take a little bit of pure white, and over here is probably more like that. Okay. And then coming here with a little pop of white here. So our highlight way have a little about their and that's pretty good. So all that does is it is. It teaches me how to make basically an oval into on Apple. And I only did that by getting a shape that's close to what I need and then placing the values where they should be. Okay. And that gives me the illusion of an apple. Okay, start small, and they will work our way to more advanced things. Okay. And for the next step, I'm gonna move into color. I'm going to apply the same ideas we talked about with color, and we will do that next 15. Color Demo - Simple Subject: for this demo. I'm just going to use my primary. So this is again Can red light can read media or cad? Yellow medium on. This is ultra marine blue. Now, little mix in a combination here and there of some of these cooler values. Alright, I also have some titanium white now, as I mentioned before, the things that are important to me are getting the value right, So the value is going to make the shape look like an apple. So the darks were there belong the mid toes where they belong and so one I'm not going to become a slave to color. Okay, So in other words, I'm not going to match or try to match the colors. I see I'm more interested in getting things in the ballpark now. I'm not going to go with arbitrary colors to the extent that I am completely way out of line with what is there. So I'm thinking a little more along the lines of, you know, the reds a little bit of orange, that sort of thing, and then mix that with some of the violets and perhaps even darker reds for the shadows. OK, so we are starting to touch on the things I feel reported about color. And that's just really focusing no value versus color matching and then not getting fixated with the color of this there. And then also, I mentioned to you before that when you're dealing with color, you also have to understand chroma. So if you remember, right, high chroma is the color straight from the tube. Okay, so the each manufacturers a little bit difference. It can get cat red, light it from another brand. It is going to look a little bit different than this. Okay, but for the most part, these pigments and hues are mixed with a certain amount of intensity straight from the tube . Again, they are high chroma. So what I want to do is tow that chroma down. So I'm gonna kind of gray it out a little bit and then save some of those juicy, high chroma pops for the later stages. Okay, now, this is really done. Ala prima. So I'm not trying to do it layers, so it'll just be one go. OK, so I would start with a little bit of my bread for the base. I'm gonna put a little bit cool into that. So this is the Eliza and Crimson touch. A little bit of this cooler yellow. And what that does is that gives me a you there. Now, we touched a little bit of blue in that as well as you can see, but it gives me a hue that again. It isn't exactly straight from the tube, but we aren't so far off track there that no longer looks like a red apple. Okay, so now it would take some of these warm yellows off to the side over here and kind of touching. You see, I'm not mixing into the heart of that, um, or coming to the side, and I'm pulling a little bit into it. And what that does That kind of keeps some of those values, keep some of the original mixtures pure, and then I don't completely ruin it about putting this yellow right in the middle. So what that does that Give me a range? As I'm painting, I'm looking at that range I'm seeing. Okay, this is lighter value. This is darker value. And this is Minto. That that kind of sets sets me up for visually seeing how that works now, taking this and mixing right towards the top, and that's going to give me another shade of a midterm. Okay, it's important to work in various shades as you go so you don't get locked down into one particular, uh, color. And, you know, that could be a little bit boring to look at. So that's looking pretty good. Now I could take a little bit of this blue. A little bit of this, a lizard crimson. So again, ultra marine blue, a lizard crimson. That gives me that pure violence. Okay, now what I can do is touch a little bit of this red in there. And what that's going to do if you remember right, is kind of gray, that violent out a little bit. So I get my shadow when there. But it's not a Nintendo violent. Now I'll go a little bit of fail. Oh, mix into those reds, and that's what I give me uneven, sharper and darker value to work with. And that's all looking pretty good. Come here at that dark there. Now, mix this Come up with my little stem there like that. And now coming here with some of these whites. I'm a mix around and you see, I'm not taking that white and gold right into those colors. I kind of touch this in there, and I could take my finger to kind of soften those edges. And that's kind of nice, because you really don't want a lot of hard edges on that apple. So now that this painting this little sketches coming to a close, it doesn't really matter about these mixtures because I'm pretty much done. OK, so add the highlight There. Now, come in here with my violets again, maybe touch a little bit of this red in there that will push that to a blue just to cool it off. And then we can kind of get this little cash shadow happening. And I can touch a little bit of that mayor so you can see I'm not, you know, trying to match color or anything silly like that because I know that is a losing proposition. But what I am doing is focusing on getting the value placement right, because I know that's gonna take me further and do a lot more for this painting than any sort of Ah, value mention. Okay, so now if I really wanted to coming here with these hike Romas and just gonna splash that in there for the rest of it Now I can get a nice contrast color here. Now again, Mixing white with is pure Fei lo, Give me Ah, lighter. It gives me a tent of blue on. Then I could just use this background as a way to basically shape. I could just change that color up a little bit, so it's not all the same. So just a little bit of negative space painting, and that's good. So now we have our apple there and has everything it needs to say what what it really is. And people can you look at that and pretty much tell you it's an apple. So that's what we're after, All right, We're simply trying to make the illusion off our subjects with a three dimensional form. And the only way to get that again is understanding value structure and then trying to use color right to give mawr information about what we are paving. And that's really all art issue. No, if you think about it, you know, it's just basically the artist trying to give the illusion of what something is. And then they're doing in a style. Hopefully, um, that it is interesting to look at okay? And I know that's kind up a different subject altogether. But I do think where we're going with this will make it interesting. OK, so in other words, if you give enough information to say apple, but you take liberties to explore color toe, have loose brushwork to work quickly and fluidly and to not get caught up in all the representational aspects of what Apple really is a reality and what you're doing is essentially making the view are think a little bit. And it gives them something a little more to look at because they really wanted to see an apple. They could probably go home looking their little fruit bowl, and they can see an apple now and then that with an artist, you know, we have that freedom to do things in a compelling way in our own way to add our personality and our voice to our subjects. So when you start to work with color, you start to understand it. Then you can start to do things like make your art different. The reality and a lot of artists kind of get caught and trying to duplicate reality. So what I like to do is borrow, borrow a little bit of the reality, and then I make my own changes. Some of those changes are with color, using arbitrary colors, which we didn't really do a lot here. But this demo, it was really more to focus on understanding value, to give the illusion of a three dimensional object and then to transfer that with two color . And that's difficult because when you're seeing things on a great scale, it's easy to see light and dark. Okay, this is dark. This is medium that's like when you're dealing with color. Sometimes it's not as easy because certain colors will kind of trick you a little bit into thinking that, hey, I'm a dark color. But reality that red is a mid tone all day long. OK, so it's a little more challenging to pull off the color sketched in it is this probably, but it's a necessary part of the process, So your goal is to try to work with something like this, and what I like to do. And when I did here was take my inspiration. And instead of trying to paint from a color image, I did it with the gray scale image. And the gray scale is good because it gives me all the information I need. So give me my value, but it doesn't give me the color. So we get to a color sketch, then you have to use your imagination a little bit and you have to draw from your experience. So then you get ah, little more wiggle room there in terms off having some fun and taking some liberties with your value structure in general. OK, so anyway, this is a really good place to start, I think, for getting getting involved and getting your feet wet. So, um, definitely have at it. And I look forward. Of course, Teoh, seeing what you do always share this stuff with me because it's a teacher. When we hear pour my heart and soul one of these lessons and trying to get you inspired to do these things. So, you know, seeing your results and seeing your energy go into it gives me all fired up. Okay, So anyway, have fun with this. I look forward to seeing what you do 16. Analogous Demo: Let's revisit the color wheel for a second, and we're going to dissect this and they come up with some color combinations that work. These are tried and true and battle tested. If you've only been paying for a little while, or perhaps you've been around for a little bit, you struggle with color. Then this exercise and about to show you is just a great way to start building that foundation and start having some success. And then as you get that experience, then you can start to push the boundaries a little bit. Analogous colors, and this is the 1st 1 We're going to look at our colors beside each other on the wheel. So if we look at, for example, yellow on blue, that would be fine. We could do orange and red, red and violet, blue and green, and that it's a very simple to color combination that you could do a lot with because remember, we can make colors darker, shading them. We can make them lighter by tenting them. And then, of course, we can mix the two colors together, which in this case we will do, uh, who makes the blue and the yellow together together to get the green, and I'm going to explore right here. So this line green right up to you know, this blue area, and to make it happen, the first thing I did was create a little value sketch of a landscape and noticed that the values replaced where they make sense now throughout the series of demonstrations, I may push those values a little bit, but what I'm trying to do is arrange them in a way that the viewer can easily see. That guess that is a background with some distant hills, some trees in the foreground with some shrubs and bushes or whatever I will crack forward. Using that sketch as my base, I will lay in a little bit of a light green. Don't push this to a blue in the background. I will try to avoid water if I were painting under normal circumstances, I may want to wet brush a little bit more, but because I want this to drive pretty quickly, I'm going to go very without it, just so I can layer over this and do this Allah primo without waiting for things to drive to create the distant hills. I use a little bit of this touch of that green, and just to let you know, this is a cool yellow and this is ultra marine blue, so it's not going to give me a very limey green. So if you remember right, a cool yellow cool blue gives you that really line green color. And that's what I demonstrated in the split primary color wheel. But what I want is something a little more earthy and not so intense. And that's why I'm mixing the warm and the cool, because I know that's going to agree it out a little bit. That color should work pretty good for the hill. I'll just pull that down a little bit here. Now we'll take a little more yellow and push into this for my foreground. I love that, and that should be pretty good. Good back. Tweet that sky a little bit just to lighten it up. So that brings me to the trees so the trees will be the darkest value. So I'm going to make something. It just needs to be a little bit darker. Then what's there? Drag this over kind of create this comical. He's tall vertical. Here, Of course, in nature, these verticals tend to be very dark. Maybe we can change that up a little bit. I'll push a little more blue into this. No, really. Get some dark value in the here. Run that up in there. I cannot fall back. Experiment a little bit with throwing shrubbery some different things that could be happening here in the foreground. And that will be fine for a simple value study and really a color study of using the now analogous colors and that will move on to something a little more complex. 17. Complementary Demo: Now we will look at complementary colors, So a complementary is something that is located on the opposite of the color wheel singing thing. Reds, greens, for example. So red three. It can be orange blue by the yellow and so on. For this combination, I will use red and the green. I will work with same composition. I think it's good to do that simply because whenever you're learning like this, we want to simplify in every way possible, so you can really think more about Well, the important lesson is, and what is that you're trying to do? So we're not trying to Valerie Body with composition and design purpose for going. It's more about exploring color. We create an exercise that allows us to do that. Now. What I would do is take a hair dryer to this dried off camera, that second layer over it without it emerging too much, moving right into some greens. Try to come up with something that's a little bit on the gray side, and I know I can mix green and red and get a little great Ted here work. I'm gonna drive this off so I could get a little bit cleaner colors and then I'll be right back. Now move into the foreground. It's taking a little bit of this blue green mixture. I have a little bit of weight in that change. That just suddenly here too. I hope so. Worried? Okay. Later you. I think for the next stage I can just kind of go right into it here. So I want something nice and punchy, but staying within that nice green family there on. Look at that composition here on now, taking that right into this dark color. And I'm not touch a little bit of that red in here as well. I could take this, but read into these greys and its patent up this foreground, then I'll do it. So again, complementary colors, working with simple composition, getting the values right. A great way to explore 18. Triad Demo: Now we're going to look at Triads, so try ads are basically a triangle on the color wheel, equal distance apart. You can think of the primaries. So a very good example. Yellow, red, blue Course you go orange, violet, green. Any of those combinations like that again, Opposite the color wheel in a triangle is a great color. Combination works every time in this example. I'm just going to stick with the primaries. And I have, ah, mostly warm hues. So have some Eliza and Crimson over here on the bottom. But I'll focus here, maybe touch a little bit of that. There is a lizard in there so you can mix and match a little bit and trucking along with the same composition. I will start with the blue sky. We get right down here. I'll do is I'll put this you over the entire surface again. Ultra Marine blue Now working directly on the palate, it's gonna put a little bit of white on there. That's point mix go, and now I'm just going to smooth that out at the same time. It will dry it off a little bit and let that drive and come back and the next layer to it. Same deal going with Take a little bit. This blue into here on actual thinking makes a little bit of this crimson. And with this ultra marine, if you remember, right. Thank you. This is a really good violet. Okay? Just bring a light you down into this poor ground again, working with primaries so I can mix all these together, come up with things that are pretty safe. Can you make mud and still ruin it? Absolutely. I know that mixing the ultra with this yellow is gonna give me a earthy green versus a vibrant cream. So if you remember right, if you want that vibrant green, that would mean a cool yellow, a cool bluff. I could also opt for a cool yellow on this pallet. To me, that's fine. But basically, what you're doing is just working with primaries for the little bit of white. You can fix him up, back and forth, But just know that based on the color wheel you did the results are always going to stay within that. So like I mentioned with the yellow's where the greens that like green, there was ultra a warm blue with a warm yellow. So I know that's going to give me the earthy light green. I would like a really cool sky. I could go with a cool yellow mixed with white. In this case, I use the warm yellow with mixed with flight. But just know you know those colors, right? I mean, there's the different ways you can do this and still get good results. I'm just showing you one. Now I'm going to draw this again. So primaries. And why not? This makes a lot of red in with this next mixture here, so really strong in that area on mix that, with a little bit of the violet, have some variation color, value, structure. All that stuff kind of coming full circle here in action. Nice gray. Here. Maybe some shadows things happen in, and that is a good example of working with Try it 19. Analogous Complementary Demo: Now we're going to take a look again at the split primary color wheel and for the last example here for exploring color combinations. Well, do something of little more advance. It's called analogous complimentary. So if you remember from the blue green combination that we started with and that analogous color combination or colors beside each other on the color wheel yellow, green, blue, green, violet, red and so on complementary colors if you remember from the second demo, we're colors across from each other on the color wheel. So blue orange, you violet So want. For this example, I will do blue violet analogous colors with yellow orange, obviously mixing some grays in there as well. The balance things out and I will start with probably would not use this red, but we'll start with a nice punch of yellow. This sustained the paper take a little bit of white, and with this I didn't touch a little bit of that red in there just to get shade of orange . Probably true, drying the edges off a little bit, smeared him, let it drop. Go with a cool red mixed with these oranges here, maybe a touch of these blues. In case you're curious that this is my hansa Yellow cat orange, lizard, crimson This is famous blue have been used yet Cerulean blue and of course, white touch a little bit. This Saru Leontyne there? Yeah, I use this for the mountain, the hill or whatever. I'm just taking a little bit of this white and lighter values to mix in a little bit. Isom Punchy, though. And for the foreground, I will use Have a pale yellow here. I work for now for my sky. I'm gonna go with some neutral someone get a little bit of everything here of the primary. So blue, red, orange maybe a little green for my liking so I could touch a little bit of that red in it to neutralize it a little more blue now and last, but not least for usual bit. This fellow with the Elizabeth Crimson it's going drag a little bit of this orange in there . Just neutralize that too. So, neutralising I'm talking more about a neutral color. We'll get, uh, tree in there, wear a dark trees. Aaron Here on, I can throw a little lighter shrubbery in here too. Shadows different things happening come back in here. But one touch these orange hues. Maybe I'll mix a little bit of this former in there as well. That's good. That gives us that nice, interesting color combination There on blue, the sky a little bit more. Here, touch a little bit of that in here. Just blend it. All right, In a little fidgety with it now. But that gives you an idea again, taking your color wheel on the very first lessons we talked about and learned, they kind of coming full circle here and learning how to actually put that stuff to good use. All right, so the's color combinations and these demos are really intended to aspire you to do them on your own, obviously. But also to get you to explore and work with these ideas a little bit and take these, cut the color wheel and try some stuff. Okay? There's a lot of combinations, obviously, that I didn't even use and show you a demo in here. But you can certainly use the list of other suggestions and ways to explore that I share with you and take this to the next level and continue to build your knowledge and your expertise for color so that you I would never struggle with color again. 20. Intro To Contemporary Color Techniques: in this section, we will work with a more contemporary approach to color, and to do that we will blend good old fundamentals with some more trendy ideas that I use in the studio. And the ultimate goal is just to take some risks, have a little bit of fun. And don't be so rigid about color mixing now. It doesn't mean we slap any old color down because we're going to use allow this fundamentals. But we want to blend them, and what we will blend them with is two ideas. Number one is going to use a grayscale image by de saturating. The image were left with questions about what the true colors really are, and that's great. Now we're not trying to focus on painting colors as we see it. We're going to have to work mawr with value and value. As I mentioned in the Apple demonstration is the key. If you get the values right, then you're good. The painting will work is a hole by using a grayscale image. Also, we're going to have to use arbitrary colors. So arbitrary colors, in this sense is will be substituting butts and reality with what we think could work well or be placed in a particular area based on what we see is a fun blending of techniques to use, and I think you will find that over time. If you practice these ideas, you're going to take more risks and have more fun with color doesn't mean we disrespect fundamentals, because along the way we're still going to use analogous combinations. We're still going to use complementary colors. We're still going to use neutrals. The goal is to not again pain, exactly what we see in nature and in our subjects. It's okay because you have eyeballs and you can see a black and white image. You can see lighter values. Now you understand the difference between a dark mid tone and light value so you can apply a color according to what you feel should be there. And this is again a fun way to explore color painting in general, and I think by the end of this lesson you're going to have a better idea of how I like to explore color and then for you. It will give you a method to use in the studio as well. So, without any further, do this get started with blending contemporary and quality fundamental color techniques 21. Define Arbitrary Color: So now we're going to explore arbitrary colors and before we really dive into it, I want to define what it is and then give you an example of how that would work. So basically arbitrary colors are taking liberty. So the in other words the our painting a flower. And in reality, let's say that flower is yellow. I say, Well, I like yellow, But you know what? Today I think I want to make it mawr oven orange. So in a sense, what I've done is taken a subject, or we can just say in this case, a shape. And I've used a color of my choice. So I'm basically getting away from reality and substituting with my flavor, all right. And that itself is fun. And I know we're just talking about one basic shape here, but the key to really making this work is understanding value from C. I could do the same thing with the SARU Lian here, so I'll make I'll mix that with a little bit of white because out of the tube that saru lian maybe a little dark. Okay, so there is one flower again that works and the reason why is because it's relatively the same value. It may be a touch darker, but for the most part I'm in the ballpark and we're going to explore that idea. So if I were to take that further this say in reality, the center of that flower is of brownish blue, so I can kind of do this sort of thing. So say That's okay, Well, that values pretty dark, obviously. So what I can do is take a base red touch a little bit, this saru lian in there and then create my own version of what I feel that center should be . And again, it's not blue, maybe like reality. But it works because the value is relatively correct and, of course, do the same with this version. The key again is getting that value correct. So now what we'll do is take this idea and create a quick sketch using arbitrary colors 22. Contemporary Demo - Part 1: already ready for my quick sketch here using arbitrary colors, large teams, medium fan, medium flat, and I have a number 10 point around my palate. This is ultra marine bloom, fellow blue cad, yellow, medium cat orange, cerulean blue can red light, lizard crimson and this is a Hansa yellow and then titanium white. This is £140 cold press paper. This is coming a student grave so inexpensive. I do not use any medium. But you can certainly use Jess. Oh, or whatever you like. But for me, I just like to paint directly on it. It's fine. So what I will do first is just kind of lay out what I'm after in terms of my composition. And to do that, I'll just get kind of a light brown here. So a little bear, this yellow red touch of blue, and there may be and then I'll thin that out quite a bit because I don't really want to leave heavy marks. Yes, I just marked the bottom, the top, and that kind of find my midpoint so that will help me with my babies. He's got a little bit larger base to it and now just kind of getting getting here and locate my flowers. I'm not a problem. Probably not gonna do every single one of them. The idea is just really gets you thinking a little bit about arbitrary colors and to show you how much fun it can be. Teoh, really? Push it, push those colors and have some fun. I think that'll work. So basically, with something like this, I didn't go over the size. This is 15 by 11. By the time I'm done with it off crop a little bit of this off and leave a little edge there. But now I'll be fine. I wanted to I could get in here and add a little backdrop there or the tabletop, and that's good. Now, in terms of a dominant color and things like that, what would I like to do is just let the painting breathe a little bit. So I'm not gonna get too fussy in pre planned things. Can I do that? Yes. So if you were, uh, more particular about it and you were taken a more specific approach, I mean, obviously can come in here and say, Ok, well, I want my dark Brown to be dominant. I want to have pops of orange and yellow and bread with some khaki brown's or cans or something like that. And you can say maybe I want that dark brown to be my dominant color and fine, but for this approach, I'm gonna take it a little more relaxed. So I know the flowers are relatively small. Another vases kind of big tabletop is kind of big. And then I've got the background, which is a large area as well. So what I'm gonna do is just kind of start with laying, blocking things in with again arbitrary colors. And then as it develops, I'm going to let let the painting determine where which way it wants to go. In other words, if I take my large fan, I said, Okay, I want to start with the background. Another backgrounds gonna be relatively dark. So maybe it's a good idea to get in here and work with some of these really nice punches of orange. And what that's going to do is set the table for that backdrop because it is going to be dark. Then why not give that background Ah, punch of vibrant color like that. And in that way, when I come back and lay those darks over it, eyes going to look really nice and now what I'm doing just dropping some yellows and just different hues in there just to spice it up a little bit. And that's good. And now for the foreground, I will have war less a light foreground. Have a shadow moving off in this direction. But for the most part, that's a very light value. So why not? Let's take some of these cerulean blues Crimson's so a nice cool red mixing with that saru lian and would do something like that. So, so far, so good. Now I have a vase, so the base will be very light value. We have some shade coming on the right hand side over here. All right, so well, do is I don't want to punch that or add a color, that nose gonna be there in the end. So if I know this vase is going to be off white or maybe light blue, then obviously I don't want to go there right now. I want to just block it in with some sort of medium value color that's gonna do, Just like the background in this red did. It's going to set the tone and give me something solid to paint over. So what I'll do is just kind of mix up some of these this white with some of these colors have used already. I will push that more here, and then I can get in here and put down a shape that works. Now I have, let's say, the flowers. But before I do the flowers, maybe I want to do some of those greens and some of those greens. Maybe we can take Let's start with some violets, maybe punched that to a red and that that can read. But those violence is just going to gray and out a little bit, and now, just basically adding a little splashes here in there of where that dominant foliage is going to be. And we don't have to hit everything. The main thing is, just try. Look at the shape you're making and make that shape interesting. That's good. So that sets the tone for what will be the foliage. And now I've got the flowers so the flour is gonna be very light value. So maybe I will use some of this blue with some of these reds and not really trying to create anything to spicy or vibrant at this stage. So I could just do this sort of thing. We've got a flower over here, mix it up and throw some of these yellows in there. No, that is really is just neutrals. I mean, this is just a color that you probably will not find on the average color wheel, and it's just serving as again a base. So this juncture, what I will do is let this dry once his dry, you know, the colors are going to shift a little bit. So if you've worked with acrylics thing, you know, as it dries, attends to darken, and sometimes it will even gray out. If your colors are tainted with particles of other colors and Scott, you know, shoes muddy or contaminated for now, let this dry is the key, because that's going to allow me to come over and paint over. In other words of us start to use colors that I really want in the painting now because this is all right, this is wet. Then what's gonna happen is they're gonna blend, and then you're gonna get variations of what you really want. So what I want to do is just focus more on letting a dry so that we're not come back over top of it. This under layer isn't going to mix with the paint, the colors that I choose to put over top of it, and that's going to give me a lot more control over my color. I found what a lot of artists will do at this stage is pushing. They continue to paint over and they start dialing in the colors they want to use. But because the pain is already wet, then what's gonna happen is they're going to start to merge a little bit, and then you're gonna end up with colors that you may not want. So you're gonna lose control over your the intended colors that your you desire. OK, so for now again, let it dry. I'll probably take a hair dryer, too. It off camera and when is 100% dry will come back and add the next layer 23. Contemporary Demo - Part 2: Okay, nice and dry. And I'm ready to take it to the next level And what that means that it's just really starting to put in a little more accurate colors, things that will probably start to live and remain in the final painting. I'm gonna work for my background forward, and obviously this orange is very intense, and I need to push that back a little bit. So there's warm colors tend to come forward. We're cooler. Dark colors tend to recede a little bit. To do that, I think I will just use my small fan. You know what? I think I'm gonna switch to my flat. This is a really stiff bristle synthetic. I think it will give me a nice firm brushstrokes for the fan, I think was just a little bit too soft and maybe a little bit too small for what I do. I know my darkest values. We're gonna live back in here, so I don't want to use them yet, so I kind of want to be stingy with those right now. So what I would do is pick of value. That's dark. But not to the point where I know that's his dark is, I wouldn't go, so I always want to leave a little bit of wiggle room there so that could go darker. Always good to leave yourself from space. As you can see, a lot of that under painting and some of those dark purples and things like that uses a base for the foliage are getting covered up. That's okay. And now what I'm doing, I moved to the right. I'm going to add a little bit of orange to this kind of greenish brown mixture, and what that's going to do is give me a variation. So not everything is the same Hugh that I started with. If you do that there a lot of times you end up with, we'll call a flat painting. And that's just maybe because of what I just mentioned. And that's using too much of the same cube. So always kind of mix it up a little bit. Think in terms off? No, If you want this quadrant to be dark, you can kind of start to add lighter tones on the left, over here and so on. All right, that's looking pretty good. Now do the same thing with the foreground and again the foreground going to be very light. Eso I can start to shape the vase a little bit. And this at a base of this color? No, I have a shadow that I'll be moving over to the right. I'm going to mix a little bit of these this blue and with these background color and putting, that's truly and blue in there will neutralize it. So when I see neutralize, it is doing just that. It is adding a neutral. I feel too that color gray in and out a little bit. All right now, using my whites, we'll go with my Eliza in crimson, a touch of my fellow, and that's going to give me my shave or my shaded side of my vase. So something like that I'm using my iPad, um, for my image. So you will see me and reach of town the time enlightened that or bring it back. Gonna fall asleep only basically that's pretty good. Now I'm gonna use that fail Oh, in a touch of that crimson, a little more crimson then for my shadow Violent basically, um, moving off in that direction. That's fine. I brought that up a little bit too high so that it works. And I kind of just connect that to the the bottom as well. Okay, now I've got these violence already. Mitt. So very grave violets type action there. I'm going to touch that into some of these flower areas. That just creates a little bit of harmony. I think the next step will go ahead, move to my fan and the mixed my greens. I'm gonna go with the fail. Oh, am I like lemon yellow color? Pull in. Some of these catties is fine. And that's gonna give me a nice cool, uh, green and just kind of touching. Touching that here and there. Now want to mix it up? As I said before, you don't want all the same green or your your become flat. So just kind of tightens, you know, always being aware of that. It's almost a rhythm. Let me get on where you know when you've used a color a little bit too long and you just move away from it. Now the dark in that up, I'm gonna go right to my read touch. A little bit of that violent in there just to neutralize it. I didn't quite give me what I wanted. Someone get with this ultra in the ultra Marine and these greens create more of an earthy value. Or Hugh, I should say you even say tone, I guess, Um so you see that as a nice little touch of dark there, and that's fine now moving into my flowers and if I haven't said it yet, apologized. But my me I'm using a black and white image. I chose the black of my image because I feel like that's going to separate me from reality . OK, if I use an image that has all of the truth values, they're all the true colors, they're they're more apt to pick when I see. So by choosing to work with an arbitrary limit or a black and white image, I could only see values. I'm only seeing it on a gray scale. So now I can take liberty and move these colors around a little bit, which is what I will do. So I'm gonna go with a little bit of this warm yellow and touch of this orange, and now I'm going to go a little bit of that red. So, yeah, I don't want to go to too dark. In the beginning, I don't want to go to light. So the key is always finding that balance between, ah, color or settling for a color that's about in the middle. And then that way. Now I'm pulling these greys in there, so excuse me for changing thought, but I want to point that out to you, but that's just giving me a more neutral color. But anyway, so basically, you're always trying to save those lightest lights in the darkest darks and things like that for last, and you want to be stingy with it because that's going to allow you to sometimes not even use them. So if you don't have to use those darkest darks and all that stuff, then that's OK, cause But just know that you always have something in your back pocket that you can go to. So for now, what I'll do is add some centres to these flowers, and again, I'm just going to focus on value. I know I need something dark, so I'm just going around these colors that are dark and medium value, and I could care less what it is right now, because all I'm doing is just indicating, and I'll come back and make sense of it later on. So for now, that's good. That that's a nice addition to what I had is building the painting up, and now I'll let this rest and then when it dries, I'll come back and add probably the finishing layer. 24. Contemporary Demo - Part 3: Okay. Nice and dry living along here. I kind of like what's happening on the dark in the background. These get a little bit more of a punch there, and the issue really is The color for the foreground is the same as the flowers, so it's kind of drowning it out a little bit. I'm gonna make this foreground a little bit cooler, so that would be my first step. Also, have fresh water there, So you definitely want to keep an eye on that. So just a touch of this old truck and with the color already have a C that makes my subject , which is the flowers pop a little bit. And then again, it's all about changing. I'm gonna go with a little bit of that cerulean over. And here is to give it a little more of a brain. 10. Their fingers will do a good job of just kind of softening some of those edges work. So I think that fix the problem. And now a little good of kind of detail to the base. And I think to do that I work with these blues a little bit. Someone lightened that just or tenant, you know? So remember, when we lighten the value of a color where we add white to it, we are essentially tenting it. And so just adding I will put a little bit of fail over that now, as I moved to the shadow beside and really I could care less. What is there? I just kind of want to make something kind of interesting there. Add a touch of, ah, yellow to this blue again. Just making things interesting. Move into some whites. I want a really late light blue, not quite getting the color. Um, after someone punch it with some fail Oh, that'll work. And now just getting this little bit of a detail around the base like that. And now, when mixed with some of these reds and Crimson's, just to get something kind of money and add that third color there and then we can even take that a little bit bold there. It's a little risky at this point, but I think we're gonna be OK. So I want to get come on Oakar or tan khaki type color and just make this vase a little more shapely in here and now, just adding some I think that'll work. And now just touch it in a few places just to kind of smear it out. Nice greens. So I'm gonna go with the fellow. So now, just thinking more about highlights bringing out a few a little bit of this fully just basically trying to bring it forward. A hair, Uh, and then we have these little, But I think that's pretty good. As always, We take that a little bit of red to it, get a nice neutral and kind of carve out a few hard edges. I think that our work. So I'm gonna go with a thinking for Brown, nice and deep, though. I'll see what I can get with this crimson and the colors I have. That's not bad. So carving out again a little bit of detail in these flowers while using my my image for inspiration. But I'm not really getting stuck on that. It was more about making sense of what's there because it has to look good on my paper. At this point, the image isn't going to help me a whole lot, because what I have is going to determine if that is going Teoh be the case or not. So now, just a little bit lighter as I move to the right. You know, these air? Very, um, very abstract brushstrokes, as you see, a little bit of dark in here Really wanted to pop on one more little shape in there for that flower mix that with some blue as I moved to the right. And now a little bit of white in there. And this is kind of a nice color over here, the corner. And, you know, these flowers over in here? They don't really matter a whole lot. And they're just They're just to support my focal point, which is really right in here. Good. Picks up some of these yellows. These fellows can we see if this works? Sometimes it does. Sometimes it doesn't. Trying to just get a few feeling of some of those stems and probably not gonna give me what I want. So I'm gonna go Teoh little signature brush here. I have some yellows leftover mix that with some of the saru lian. I know that's gonna give me Ah, nice little green there. And now I just want to pull these stems out a little bit in here. Maybe run a little something there. That's good. Yeah. I think that some of these brings maybe pulled off in the air. Andi, I'm gonna go with I've got that color. I used the flowers over and here is a little bit left. Hasn't dried up yet. Unfortunately, that's going a little bit too blue for me. So, um, I have, uh, yellow. And this is my warm yellow. So can read. We're Candela. Rather touch a little bit of these neutrals in there. Just so it again trying to be stingy with with it versus trying to go too strong. Maybe we got a nice little punch of it. There something here. This may be nice reflection there. One, uh, base. And I think for the centers Can I get this kind of a cream? A very light burgundy. Make a little more on the red sign here. Yeah, this looks a little bit better. I want to be to money, and that's just touching a little bit darker value in there. Now I can just punch, uh, it's looking good. Easy to go too far. And now this hitting those darks where they need to be hit there, and then I can kind of who'll out? He's little Oh, not bad. I think I have to do anything. I think I'm just gonna have to lighten this base up a little bit so it doesn't clash with tabletop. That's pretty much all I need there. Maybe no. Gray, this table just to get this shake a little bit better right here. All right. I think that works. And here is the final painting, and the image was taken a natural light. So you get a better sense for the colors and that will complete this part of the course. 25. Recap: that brings us to the end of this color class. And the interesting thing is, I think they might have you been painting for two months or 20 years. Understanding and mastering color is a journey, and just because you've been painting for 10 years doesn't mean you understand the basic fundamentals. These things, often times we see other people do. Yeah, we see a color wheel, but we don't really understand it ourselves. And so we go through the motions, we create the color wheels. We understand value studies and things of that nature. So it's important to build those fundamentals and have that base because that's what's going to give you freedom. Knowledge is power, and now to take it to the next level, we could start doing more arbitrary color substitution ins. We can use black on my images like I did in this class, and many other ideas of the techniques I've shared with you are just a small snippet of the things I do to explore color. This class will grow over time. I can only share so much information in a two week span so he can count on how many more tutorials for the future as new content and ideas are shared will email you. So be sure you always stay. Subscribe to receive email marketing because of your uncheck that box. Then you're not gonna get these updates. And with this fresh contents available, you're left out in the dark. Okay, so get thank you guys for sighing up practice diligently. Practice often and keep it simple. Keep it simple. Simple, simple because the more complex your subjects are the mortuary Allinger going to have and learning. If you are trying to master basic color fundamentals, working with analogous colors split Koppel injuries, whatever. Then you just need on object one single object to paint so you can explore color. If you complicated with the, you know, subject that's to elaborate. Has too many details, you know, lose sight on what's important. So always simplify your approach, people. Vastic Ito, learning That's what's going to give you success. That success will reward you. It will build the positive momentum that you need your confidence, but conversely, if you over complicate things, you will get frustrated. You will put the paint brushes down, you will give up, and you don't want that to happen. And I certainly don't want that to happen to you. So again. Thank you guys for your time and energy. If you have any questions about what you're learning, what I'm sharing with you, I'm here. I'll be glad to reach out to you, and I'll see you guys on the next one take their but