Learning the Color Wheel: Color Mixing | Natalie Williams | Skillshare

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Learning the Color Wheel: Color Mixing

teacher avatar Natalie Williams, Professional artist and art teacher

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

13 Lessons (1h 32m)
    • 1. Intro to Class

    • 2. Before We Get Started

    • 3. Materials You’ll Need

    • 4. Swatching Our Primaries

    • 5. Drawing the Color Wheel

    • 6. Painting the Color Wheel

    • 7. Mixing Colors

    • 8. Understanding Your Color Wheel

    • 9. Creating the Color Chart

    • 10. Painting And Understanding the Color Chart

    • 11. Painting Neutrals, Browns, and Blacks

    • 12. Final Project

    • 13. Review

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About This Class

 In this class we will explore color mixing through tools such as a color wheel and a color chart! We will talk about warm vs cool primaries, as well as how to use those colors to create different color mixes. By the end of this class you should feel more comfortable mixing your colors to create your own unique colors, as well as mixing neutral colors using only the primary colors! 

Meet Your Teacher

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Natalie Williams

Professional artist and art teacher


Hello, I'm Natalie! I am a professional artist and art teacher, living in the Phoenix area of Arizona, USA. I work primarily in watercolor, but I also enjoy chalk pastels, oil paints, acrylic paints, and digital illustration. You can find me most active on Instagram, but I also have a YouTube channel and Facebook page. You can shop my designs in my Redbubble store, or directly on my Instagram page by sending a DM. I look forward to teaching you many different things on this platform! Thanks for stopping by! 


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1. Intro to Class: hi, good morning or afternoon or evening whenever you're taking this class. My name is Natalie Williams, and I am the artists behind the brand Natalie Drawn. You can find me at Natalie, drawn on Instagram on Facebook and on YouTube. Although Instagram is my biggest platform, I am here today to teach you a little bit about color wheels and color mixing and some very basic color theory. And you're going to need some watercolors for this class or whatever pains you have laying around. I'm going to using watercolors as I walk you through the different things that we are doing . You will create a color wheel or two and a color chart, and hopefully you come away from this class with a better understanding off color mixing and how your colors interact with each other. We're going to talk about cool primary colors and warm primary colors and kind of the difference between the two of those and how those colors interact with each other. So I'm really excited, and I'm glad you're here. Go ahead and get your materials on, and if you don't know what those are, there's a video to tell you, and we'll go ahead and get started 2. Before We Get Started: so before we actually get started painting, I want to talk about which colors to use and you'll see in this palette. I have quite a broad variety of different colors, but really all that you need to create a color wheel or to talk about color theory in general is a set of primary colors, so you'll notice. In this part of my tin, I have six different colors. I have two reds, two yellows and two blues. One set of the primaries is my cool set, and one set of primary colors is my warm scent. So you may be thinking that your primary colors are just red, yellow and blue. And if you picture in your mind what that looks like when you learned about in elementary school, a lot of what you're probably seeing is a fire engine red, the bright yellow and then a deep blue. And those air not actually true primary colors. Primary colors exists in a couple of different ways. If you think about our eyes, the cones in our eyes see red, green and blue so your eyes don't actually see yellow. They make up that color with the waves of light that bounced off of it in your brain turns it into yellow. The same with purple. Um, your brain doesn't see purple. It sees the red cones, and the blue cones are firing in your eyes, and it makes up purple. So, um, that's what we call, um, additive color because we're dealing with liked. When we're dealing with paints, we're dealing with subtracted color. So that's when we would use a magenta color, not a fire engine red, A yellow color. Um, most commonly I've seen used a lemon yellow, so I have here a bismuth yellow. This is my more of my true yellow, but it's not a perfect yellow and then a scion color. I don't have a scion color in this palate, but I do have cerulean, which is pretty darn clothes for what I want to dio. So if you've ever seen a printer, the CME White K is scion, magenta and yellow, and those are the additive primary colors. So if you want to make that fire engine red, you take the magenta color and you start to add a little bit of yellow. And that's what gives you that fire engine red color that we think of as being a primary red. It's not actually primary red and the K in C N y que is black or the key color. So if you mix all three of your primaries together, theoretically, you would get a black color. But it's more of a lake of muddy brown, so the key color is actually a true black pigment. And that's what we add, um, to get that true black color. When we're printing, we can make a black color with a combination of the primaries in water color. So I'm going to using Quinn acid. 00 I'm sorry, Quinn. NASA drone, magenta business, yellow and cerulean as my cool, um, primaries. And I have carmine Indian yellow and ultra marine blue as my warm primaries. And those are the only six colors that I'm going to use out of this whole palette to create all of the different colors your MNC today. So let's hop into the next video 3. Materials You’ll Need: materials that you're going to need for this course is going to be watercolor paper. Um, I have gone ahead and stamped my watercolor paper with my six colors. If you're only using three colors, that's fine. You don't have to have a cool and a warms that you can just use the colors that you have. Um, but that's so I've gone ahead and stamped mine so that I can do some swatches and we can talk about the difference of colors that I'm using. Your also going to need? Ah, cup of water. I have two cups of water. You'll see that one is dirty water and one is clean water. You do not have to have a dirty and a clean water. You can just use one. I use one water for many, many years, and I've only recently switched to this system. It took me a while to get used to it. I would accidentally put dirty brushes in my clean water all the time. But now that I use this set, I really like it, and I don't think that I'll go back to using just one water cup. So, putting those aside, I have different science brushes. And for this particular project, I will probably just be using my Princeton awkwardly Round three brush. This is one of the most versatile brushes for my practice. I use it a lot. I can get small things and large things done with this brush. But when I need larger areas covered, I use this brush. It's, um, unmarked. I don't know what brand this is, but it is a 10. I think that's around. Um, I'm not sure, but I use this for bigger areas. If I have a really big if I want to put wash all over my paper. I have a Windsor and Newton squirrel brush. I got this in college. This was a very expensive brush. I think it was like $27 for just this brush. Um, but the squirrel hair holds a lot of water, so you can cover a lot of area with this. Brush it. I like it. Um, I've used it for many years, and then I have a prema. Um, I don't think they're called prima anymore. I think it's, um Oh, I can't remember. But what used to be prima? I have a set of their brushes, and I use this one a lot. It's a zero, Um, round. I like the rounds. There's many other options out there. Filbert fan brushes, lots of things like that. But round is what I tend to use. And then my last brush is a quadruple zero Windsor and Newton Cotman round. And this is for a very fine detail work. So I'm not going to be using these brushes today. Um, we're just gonna stick with my go to brush. So you have a brush that's your favorite. Go ahead and use that and then last, um, I have a washcloth, and this is just what I used to dry my brushes on. Um, nothing fancy. It's very dirty. I've used it for many, many, many years. Um, and this is just what I have next to me to put my brush on to dry it off. So, um, if you want, you can use a pencil to sketch out where you're going to swatch, or you can just paint swatches on your paper. I have one paper for right now, but we will need more paper, um, for our color wheel. So I'm going to use this one as my swatch paper. I left the mix. Ings are the blank spot here so that I can mix my colors in the middle and then we'll move on to our color wheel, so I'll see you in the next video. 4. Swatching Our Primaries: Okay, so by one of hadn't labeled, I'm gonna put my warm colors up here on my cool colors down here just so that I can keep things straight in my head. And then what I'm gonna do is I'm going to put my Quinn acid around magenta here, or I'm sorry, my Carmine here, Indian yellow here and ultra marine blue here. And then when I moved on to my cool, I'm going to keep them in that same order, you can feel free to do whatever order comes most naturally to you. That's just the way that I like to work. You'll notice I set my palate up that way. Red, yellow, blue. Oh, um, and the last thing, but you're gonna need which I forgot to say in the other video is some sort of palate for mixing. There's lots of different options you can use. I like a ceramic plate. It has a lot of space on there. A lot of room for me to mix colors. It works great. It's easy to clean. And so this will come in Very candy. Okay, in a minute. So I'm going to dip into my clean water and into my car mine. And then I'm just gonna paint the dark swatch here just so you can see so you'll notice that this is not that fire engine Red color. This is that Rose pink, which is what I want in a primary Red. I don't want something that is super fire Engine red. Now, if you are working in a piece and the color scheme that you are using is a fire engine red , a yellow and a blue Go ahead and use that. Um, that's just not what I want for a color wheel, because it's not going to give me the truest mixes when I am starting to mix with colors that are not true primaries, my mixes could have potentially turnout muddy, and I do not want that. So now that I have the color swatch here, we're gonna come back to this little circle later. But we wanted to dry a little bit. First we're going Teoh, create a wash. So what I'm gonna dio isn't gonna put a little bit of water down. And then I'm going to pick up my pigment and I'm gonna drop it here at the top when I want to do is create a greedy int. So I want the darker color to be here, and I wanted to get later and later. So I'm gonna rinse my brush off a little bit, dry it, and then I'm just gonna pull that color down. So goes from dark to light. That's what I want that I'm gonna dio another circle here that will come back to with that carmine color. Now, this last part here that I have has a design inside of it. This is actually a stamp that I got from artistic ill, and she's branded it at the top. But I don't want the branding to be in this from on this swatch page, so I didn't stamp it, but I used archival ink and I just created a stamp here. So the design that you see here, we're going to test the opacity off our color, and that's going to be how much of this design shows through after it drugs. So I'm just gonna paint right on top of this design. Same with the circle down. I apologize for the noise. I live by an air force base and those planes go over all the time. Okay, so now I am done with my rectangles. I'm gonna move to my circles here in the 1st 1 What we're gonna dio is good, Um, a dry brush and we're gonna lift the pigment off. So I'm drying my brush and I'm coming back in, and I'm lifting some about pigment away. You can see it's becoming lighter. Where have lifted that pig went away. I still need this circle to dry a little bit more before I came Glaze it. So I'm gonna move on to my next color here, and I'm just going to do the same thing I did with the Carmine with the other colors. So to show you what my swatches look like, though, I'm gonna pick up this Indian yellow and paint my color here just like us. You can see that's a nice warm yellow, very rich and pigment. And I'm going to pick up my old shimmering blue and paint my ultra marine blue over here A little too much water My ultra marine blue is a little bit granulated Years may not be, but the granule ation just affects how it dries. Um, well And how it works when it's what that you'll see when it dries that it'll be a little bit granule e Okay. And then I'm gonna move down here and I'm gonna paint my cool colors. So I'm gonna pick up my Queen Aqsa Drone Magenta. I'm in pain about here, and you can see by comparison that it is a lot cooler of a red than compared to the Carmine . So this is a nice warm red thistle is a very cool red. It's closer to blue. I don't need to do the circle Just did it out of habit. So we'll leave and then my business yellow Russia a little better. This is that lighter, lemony yellow. It's very, very cool Toned 10 last but not least is my cerulean blue, and you can see that this color it's a little It's a lot closer to green than that ultra marine blue, which is exactly what we want. We want it to be cooler in tone, so those are my six colors. I'm gonna go ahead and finish my swatches, and then I will see you guys in the next video and 5. Drawing the Color Wheel: I've gone ahead and lightly traced one color wheel onto my paper from going to draw the 2nd 1 down here so that you can see how I did this. It's not perfect, and some of you might have a stencil to do your color wheel with. I don't have a stencil. I just draw it out. And since I'm a human and not a robot, things they're not always even, um, but I tried my best, So you can do color wheels, a variety of different ways. You can make it as complicated or a simple as you want. What I've done here as I've left a space for my magenta, a space for my yellow in the space for May Blue. And what I've done is I've left three blank spaces in between where each of my primary is going to go because I'm going to put my secondary colors in the middle and then a variation of that color on each side. So it would be like when you see a color will with red and yellow, and then you have red, orange, orange and yellow orange. That's essentially what we're going to be doing in this class. You might see. Sometimes people have steps to their color wheels, so they would have a circle, um, in the middle, maybe two circles, and it would get progressively lighter as you go towards the center. And that's just practicing deluding your color by adding more water to it. Or if you are using acrylics by adding more white to it in practicing, your tints and shades were not going to get that complicated. I'm just gonna paint the triangle with the color, and then we'll paint each mix where it belongs. So how I did this is I have a circle shape. This is actually the lid to a candle. Use what you have. And I had a small ruler. I'm not sure where this came from, but you can use whatever straight edge you have. We're not actually measuring anything out. Um, if you want to measure and get everything exact, go for it. I'm not gonna slow your rule or tell you that that's wrong. Because art is, however the spirit moves you, is what I fully believe. So I'm just going to go to the second half of my page where it's blank and I'm going to draw my second color. Will the reason that I'm doing too? Yes. So that one can be warm colors and one can be cool colors if you're not doing warm and cool than you would only need to draw one color. Well, okay, you can draw, too, if you want to experiment more with some different styles of the color wheel that's up to you. So after we have our circle, we're going to dio and next. So I draw one line somewhere in the middle. It's not exactly in the middle. Um, that's OK for what we want. And then I'm gonna dio another line in X. Like that, Son, I have four parts. They're not exactly even, and that's okay. What I'm gonna do now is I'm gonna take each of these parts, and I'm going to draw two lines to divide it into thirds. So that's gonna look like this. Mm, Teoh. So now I have this divided into three. I'm going to do that over here. So now this is my very wonky. This one looks much nicer, but, you know, and it kind of is what it is. Very wonky color. Will, um and I'm going to pick an arbitrary spot. It doesn't matter where I'm gonna pick. I'm just gonna pick one slice to be my image into color or my red color. And then I'm gonna count 3/1 23 and then on the fourth is where my other primaries gonna go So that one's gonna be yellow And then I'm gonna count three again 123 And then the 4th 1 is going to be my blue And that means I should have one too for you before I get back to my magenta. So that way, all my primaries are evenly spaced. And once you have this done, we can move on to filling our color wheel in. So we'll see you in the next video. 6. Painting the Color Wheel: all right. I have my paints. I have my water, my trusty paintbrush. I have my mixing palette over here in the corner, and then I've got my color wheels all drawn out. So what I'm going to start doing is I'm going to start painting in my primary colors just so that I have a visual map of what's going where. So I labeled this one warm. So I'm gonna put my warm of primaries here, someone to dip into my water and get my brush nice and let and into my car mine. And I'm going to start painting my carmine into the triangle that I have labeled with an M for magenta. You can do this however you want. You can fill it in tow. All be the same shade you could make a Grady in so that it gets lighter towards the middle of your circle. You could make it get lighter in the middle of your triangles that it gives it a three d effect. However, you feel like you want to paint that. Okay. Then I'm gonna fill in my Indian yellow, my nice, rich, warm yellow, some stuff around. Make room for my hand, Phil. I move my paper around a lot to get the best angle for my hand. So I apologize If that throws you off, Um, we'll try not to do it too much. Okay, so I have my car, my and I have my Indian yellow on. My last color is going to be that ultra Marine blue. Okay, so now I have all of my primaries, and I am ready to start mixing. 7. Mixing Colors: All right. So this is where I'm going to need my mixing palette. I have, um just a ceramic salad plate. I got it, uh, Kroger and I I use That's my favorite thing. I also have this which has different wells in it. On this, I also got from artistic ill. And this is nice too, if you want to keep your paints contained so you can use whatever you've got laying around to mix your paints come. But we're not mixing directly on the paper. You want something to mix in? Um, if you're using oil paint or acrylic paints, you could mix right on your paper when I paint in oils. I do like to mix right on my canvas. Um however, with water colors, that's not always the best route to take. So that's why I have the ceramic dish. So what I'm going to Dio is gonna start with my oranges. So what I want to dio is put some magenta and some yellow on my dish so that I can mix them in the middle. And what we can do is we can play around with how much of what color. Um, makes the different mixes. So if you remember on this paper we have this nice, big open spot where we can mix different colors. So what we're going to Dio is pull some of this magenta or the carmine my warm red, and I'm gonna put it just right on my plate. I'm gonna get a fair amount, okay? And then Britain, brush brush and pick up some of that yellow and put the yellow on my plate. So now what I can do is I have this space here in the middle. I can start mixing my colors together. And yellow is a pretty weak color. It can be overpowered very easily. So what we want to dio is start with mostly yellow and just pull a little bit of the magenta over so you can see that started to make an orange color. It's not much darker yellow, so I can make a little mark here. Then I can go back, and I can add more magenta and start making different mixes of orange. If I can take my brush and I can even just start mixing right into the magenta and get more of that red orange colors. You can see that I'm starting to create different variants so I can play around on this piece of paper. And when I get a mix that I like, I can start painting it here. When we're painting in our color will you want to be about 50 50? Mix for your orange color here, and then when you get closer to the magenta, you want the mix that has a little bit of yellow and mostly magenta, and closer to your yellow. You want mostly yellow and a little bit of mentioned. So I'm gonna add a little bit of water, and I'm just going to mix these colors together. When I get an orange color that I like that feels pretty middle of the road. I'm going to paint that in the middle here so you can see that this is a nice bright orange color, and it's pretty middle of the road here. It doesn't really lean one way or the other, which is why I'm putting it in the middle. So now what I can do is I can take this mix, and I can add some more red to it, either from my paint or from my palate. If I have enough, I'm gonna pick up a little bit more pain. And I'm just going Teoh, mix that in and you can see how I'm starting to get more of a red color instead of an orange, which is what I want. I wanted to be more mentioned. So now if I put it down next to you can see that that is more of that fire engine red color that we're used to thinking of. It's a traditional primary color. I could make this a little bit more yellow to if I wanted, but I'm pretty happy with how that looks. So now what I'm gonna do is I'm gonna dip back into a yellow. I still have a lot of unused yellow over here, so I'm gonna take some of that and I'm gonna make mostly yellow. I'm going to start painting that. I even got more yellow than that, I think. Ain't that right next to me? A little. So compared to that middle of the road orange, this is much more yellow, which is what we want way so you can see how we're already getting a wide variety of colors with just two different paints. So my oranges air pretty much done. Now I'm going to move over and dio blue to yellow. So I'm gonna start mixing my glands s. I'm just gonna rotate my dish. This yellow has been contaminated by the magenta, so I don't want to use this to mix with my blue for what we're doing right now. Um, we will do that in the future. Mix are blue into our orange, but that gets us a very different result than what we want. So we want to clean yellow. So we're gonna do uncontaminated yellow, and we're gonna pick up our old Chimerine blue. Put that hopes to see that happened because I was in the dirty water, not the clean water. So I'm going to wipe that real quick with a paper towel because they don't want contaminated blue. And then I'm gonna go into clean water and try again. There. That's better. Okay, so, again, yellow is a very weak color. So what I want to do is start with a little bit of glue and mostly yellow, and we're gonna start mixing that together. So then I can play around on this paper with the different mixes and see which colors I want to put in my color wheel. So I have some different ones here. I could even keep mixing and playing around with different ratios of yellow and blue. But I'm just gonna go ahead and get painting so pick up a little bit more blue. This is pretty yellow. I could add a little bit, are believed to it. So that's looking pretty good. So I can paint this. It's still a little bit yet we my dad somewhere blue to that. That's better. OK, over here. So now what I'm gonna do to this color that I have is I'm gonna add a little bit more yellow and I'm going to put that on the side that's closer to the yellow. You'll notice that this Indian yellow and ultra marine blue tends to make kind of a dirty green color. And when you're painting turkey natural things, you may not want this dirty of a green. So you may look at using a different blue, which you'll see when we get to creating our color Turn and leaking mix are warms and our cools together to get even more colors, so that's a pretty good yellow green. Um, I'm gonna go in now and make my blue green color, so I'm just gonna take that blue and mix it in here. So I'm getting a nice dark blue green. It's kind of a gray the way that these are mixing together, which I like. So on a point fat here, very blue green. And you'll notice that these greens are a little bit granulated ing because of the ultra Marine. How the Ultra Marine is granulated, So that looks pretty good for our greens. Now what I'm gonna do is I'm going to do my last two colors magenta and blue. So I'm gonna take more about ultra marine color. Put that down on my palette, a little more water and I'm going Teoh, pick up my carmine color and I'm going to start mixing. Know you'll notice that because yellow is such a weak color from the other to overpower it , these two are pretty close in value so we can just start mixing. Um, but you'll want to think about it kind of the same way. I want to start with about a 50 50 mix and then you'll want to add more blue toe one and more magenta to the other. So again we can play around with the different mixes and see what different colors we can get. So there's a lot of variety here. You can play with all the different ratios, so I'm gonna start mixing on my color wheel. There's a pretty good purple, pretty good middle of the road purple there. And now I can take this color and I can add more blue to it and get a nice into go color, okay? And then I can take it and put a little bit more of the Carmine and get a red violet color purview of your side. And that is basically how we fill in the color wheel. So when I'm going to do now is I'm going to clean my palette off. If you have a spray bottle, you can spray it with water. I just go in and get everything wet again with my dirty water, and then I wipe it up with a paper towel, and then I'm gonna move on to Michael Color, so I'll see you in the next video 8. Understanding Your Color Wheel: So now we have both of our color wills finished. We have our warm color wheels and are cool color will, uh, and the way that we can use these is, um, a couple of different ways. Oh, there's a lot of different ways to use your color wheel. So when you are creating a painting and having a warm percent of primaries and a cool set of primaries is going to give you the broadest range of colors because what we're going to dio, um, in a future video is create a color chart where we are mixing multiple colors together. So in order to utilize this to create color schemes for paintings to understand how to mix neutrals to create tints and shades, how come we have to have a basic understanding of the color wheel? So when we're talking about warm colors, even though this is our warm set of primaries, warm colors are going to be the reds and yellows. So it's going to be this half of the color wheel that is your warm colors, and the other half of your color wheel is going to be your cool colors, thoughts, your greens, your blues and your purples. And when we are talking about complementary colors those air colors that are opposite each other on the color wheel So if we look at our Carmine here, the opposite color of our Carmine is going to be our green are 50 50 mix. If we're looking at yellow, the complimentary to our yellow is going to be our 50 50 mix of purple. And that's true. No matter what color will your on if in if you look at the cool color will, the opposite of yellow is going to be purple. The opposite of magenta is going to be green Now what happens when you mix complementary colors together is that you get neutral colors. So we're going to do our neutral color mixes. Um, when we dio our color chart mixing so you're going to need one more piece of paper and a ruler. This time we are gonna major stuff out so that we can do our color chart. I will show you really quickly what a finished one is going toe look like here is my finished color chart, and I'm going to talk a little bit more in depth about this in the next video so that you can understand how I made this. But I used all of the colors that we just used to create our color wills here as well as some neutrals. So I've got some brown's. I've got some dark grays and black sort of colors. Deep purple brown's in some green brown. So we're going to go over all of this. In the next videos, you need one more piece of paper. 9. Creating the Color Chart: all right. I have my ruler, my pencil and a racer and my final sheet of paper to create my color chart on. So how I'm going to do this is, um I'm not going to do too much measuring. I'm just going to dio a little bit. It doesn't matter where you put it on your paper. You could center it. You could just do wherever, however you want to. Um, that's really up to you as long as you have space for all six of your colors. So when I'm going to start by doing is I'm just going to put my ruler on my paper somewhere . You like to start at the top and I'm going to draw a line that is 6.5 inches long. I'm gonna put a little notch at the end in a little notch at the start. Then what I'm going to do is I'm going to go every inch. So because I did 1/2 inch here, I'm going to go 5.5 inches. So a whole inch away and then on either side of that inch mark is where I'm going to make my marks on those 16th. So it ends up being an eighth of an inch in between seven. Put a little notch here in a little notch here. And then I'm going to do that for every inch mark. So I'm gonna go from 5.5 down to 4.5 and make a notch on either side. The same thing at 3.5 the same thing at 2.5. And the same thing at 1.5 and then 1/2 of an inch. Okay, um so now I'm going to take this, and I'm going to note that this mark here is 1/3 0.12 3/16 in from the wing of my page. So now when I move my ruler down here, I can make that same note at the bottom because I'll know to start my line from the 3/16. Okay. However, to know where the bottom of my squares that I'm going to turn my paper landscape and I'm going to do the exact same measurements on the side here. So I'm gonna put the start of my line at the top where he just drew that and I'm going to go down 6.5 inches, make a little notch there much there, and then I'm going to mark out those half change space. So what I'm gonna do now as I'm going to finish up the other parts, So that way, then I can begin to draw the middle boxes. Last spy. I am doing this backwards because my smaller marks are over here and up at the top. So what I want to dio is dio the, uh here, and then I'll just go down every inch. Sorry for the confusion. That one is a little bit backwards. Not a big deal. Okay, so now what I'm gonna do is I'm gonna go through and connect all of my lines so that I create a grid again. You can make this as precise as you want. I'm not too worried about precision. I just needed to be six different spaces. I'm gonna go ahead and finish this off camera and I will right back 10. Painting And Understanding the Color Chart: all right, I've finished gritting out my color chart, and now it's time to start painting. So what you're going to need again is your ceramic mixing dish or whatever mixing dish you have and your paints come. If you've never made a color chart before, the basic concept is to see all of the mix is that you can create with those colors that you're using because we're using six colors, I have gritted out six spaces. If you're only using three colors, then you had grit out three spaces. So this is a different way to see your colors mixed together, then with the color will with our color wheels because of how the color wheel is structured . We just used three colors in each color wheel, but we are painting with six. So what if I want to see how my cool red interacts with my warm yellow instead of doing eight different color wheels or whatever arbitrary number to see all of the different mixes ? What I can do is I can create a color chart. So now if I want to see what my cool yellow or my cool red excuse me looks like with my warm yellow. All I have to do is find where they interact on the color chart, and I can see the mix. So this mix is more of the yellow than it is of the red. If I do it the other way, I can see more of the red than of the yellow. How I like to create my color charts is that the rows are mostly, um, the primary color, or whatever color it is that you're creating your color mixing chart with would be the majority color in the row. So all of these mixes are what it looks like when I use the majority of the queen as a drone magenta. Okay, whereas if I do the column, it was still mixing with the queen acid or on magenta. But it's the majority of whatever color belongs in that row. Okay, so I go down with diagonally with my colors that I'm using out of the pan and then in the other places, is where my mixes air going to go. So cool read toe warm. Yellow has two spaces, just like what we talked about, and it's going to work that way for any of the colors that I want to see how they interact . So let's say I want to see how my cool red interacts with my warm blue. All I have to do is look for where those intersect on the chart, and I can see that there are two different color mixes on my chart for those colors. No, there are way more than two color mixes for each color, which is why we want to play around with this and see what varieties of colors we can get. I just did this from mixing my color wheels, but what I can dio is come back to this while I'm doing my color chart, and I can add more of my mixes to this paper so I can see what they look like and more of a variety. Then if I just played with them here. This column, which I did not draw into this square, is for my neutral mixes. So what you can do on your paper is you can paint those neutrals anywhere you want on your paper, or you could have a separate paper for your neutral mixes, but you can create a variety of colors almost any color you can think of with just a set of primary colors. That's the beauty of color mixing. So what we have in this 10 is a lot of convenience colors. Some of them I couldn't mix with my primaries just because of the colors that I'm using in the way that pig men's work. But I can get pretty close using a mixture of these colors toe anything that you see in my palace came. So that's the beauty of Onley having primary colors. If you want to invest in expensive watercolors and you don't know what colors to start with , always start with the primary colors because then you can mix almost any color you want with just those three colors. And that way you're not spending ah fortune collecting many, many different shades of watercolors. You'll be able to start with some good color mixes. So what? I'm going to Dio because I'm going to start in this corner here, and I'm gonna paint the colors out of the pan diagonally and in these boxes here, these smaller half inch boxes. That's where I'm going to denote which color I'm using. So here I painted hearts. You could write the color name. You could paint circles. You could fill in that square with the color. However you want to do it, it's up to you as long as you know which color goes where in your color chart. So what that looks like get situated here for painting is dipping into my clean water. And I'm just going to start with my, uh, Quinn Asa drone Magenta and I'm going Teoh paint in this square. Now the way I did that other color chart that I showed you is I created ingredient. So I put the pigment on half of my square And then I added water to create a greedy int so that it gets gradually later as you go towards the other corner, you do not have to do it that way. You could just paint. You're square, all one color. It's up to you. Some people like to do it this way so that they can see the variation in that one color cream. So and it looks something like that. And then before I switch colors, I'm going to denote that this column is this color in this row. Is this color excited has painted a little heart. But you can denote that however you want, Then you're just gonna move on and paint the rest of your colors. So I'm gonna go into my cool yellow, my business yellow and do the exact same thing and then create my greediness. Think? Uh huh. Don't forget to find my hurts so that I know that this is my business. Yellow and finally, certainly and blue. No. I am keeping my colors in their little primary color families because I want Teoh. Make sure that I can keep all of those in a nice little square and see. That's kind of like my color wheel with those three colors. So then, if I moved down here, this would be my warm color wheel down here. So that way you can see right next to it what all of those colors air going to mix. And then you also have the other squares where you can see what it would look like if we took those cool and warm colors and mixed them together. So the color chart is really a neat tool to use. I resisted using color charts for a long time because I was stubborn and I didn't understand the value of them. And I wish that I wouldn't have been so stubborn and that I would have hopped on board sooner because it really does help you understand color mixing, I think better than the color wheel does. Although they both have a place at your mixing table. I think both are valuable, and that's why we're doing both. So I have a little hair there. I will wait, told us that dries on, that I can come back in and scrape it off. It's It's not a big girl lifting a little bit Come back in and thank you. Great. So now what's next is my Indian yellow. So I encourage you after we're done with this lesson well, with this class to go and play around with the different colors that you have or play around with different media. So don't just do this with watercolor. You can do this with acrylic paint. You can do this with oil paint. You could even do this with blend herbal markers. Um, but just practice because that's what's going to help you understand Color theory. The best is by using it and trying new things and doing stuff with different colors. Um, if you're just color mixing with the primary colors, yes, you're going to be able to create a variety of colors. But are you on Lee going to be using those three or six colors all the time? Let you paint? I think. As artists, we tend to use a lot of different colors, and so it's very helpful to see how those different colors interact with each other. And this is a great way to do that, especially when you get a new palette. You can do this to create a color chart to see how all of those colors in that curated palette interact with each other. And it will give you a better understanding of how to utilize lie in your paintings so I have all of my primary colors mixed are not mixed. Excuse me painted and my color chart, and I've denoted which color is which row in which color is which call. So now what I can start doing is I can start mixing, and the way that I feel in my color chart is I start with the color in the top left corner , and this is my Quinn as a drone magenta. It's my cool red. So I'm going to take my ceramic mixing plate, and I am going to put some of my Quinn acid row magenta on my mixing pleat. And then what I'm going to do is I'm going to take the next color, which is my business yellow, and I'm going to put that on my plate, too, just like when we were mixing for our color will. So I have those two colors now because of the way I set this up. I'm not going to get that 50 50 mix. I'm going to have one that is more magenta, and I'm going top one that is more yellow. Which is why I think having a color wheel is important. In addition to a color chart, some people we'll take one side of their color chart and fill it in with a full pigment color, and the other side of their color chart will be a diluted mix, so they'll take that same color that's here and just add more water to it and put it here personally. I don't understand the benefit of that Because you're not seeing a variety of mixtures, you're just seeing what it looks like more diluted. So to combat that, that's why I did the greedy int. You don't have to do ingredient. It's not super important to do ingredient. But if you are one of those people that likes to see full pigment versus dilated pigment, this is a great way to do it while still having tons of space for other color mixes. So what I'm gonna do is I'm gonna take the queen acid Rome agenda and the business yellow, and I'm going to mix them together. And I'm going to start with one that is mostly Quinn acid drone magenta. So now what? I'm gonna dio because this row is the Queen Asa Drone magenta and I want the mixes that are mostly Quinn acid on magenta to be on the road. I'm gonna take this color that I just mixed, and I'm going to paint it where those colors intersect on my color truck and because I have doing a Grady int and going to paint half of my square with the full pigment, rents my brush and come back and create bag radiance with the water. So all we're doing is we're deluding that pigment that we just put on our paper. Okay, so now I'm going to come back to that same mixture, maybe pick up a little bit more business yellow and create a mix that's mostly yellow. Because now, even though we're going down the column, I want the row of business yellow to be mostly bismuth yellow. So I'm gonna take that mix. That's mostly business yellow. And I'm going to paint that where they intersect on the other side. And then I'm going to Prince may brush and create that radio. All right, so now I'm still sticking with my Queen Asa Drone magenta. So I have that pigment here on my palette, and the next color that comes in line with it is going to be that cerulean blues. I'm gonna put that surly and blue on my palette, and I'm going to start mixing those colors together. So I want majority of the queen acid drone magenta in the row. That is canasta imagined. So I'm gonna paint this mix over here, come back in with my water and create that radiant. Okay? No, I'm going to use that so ruli in blue and create the other mixture. That's mostly throughly and blue, because while it's still in that column, it's in this really and blue row. And I know that I said that eight billion times, but I really I was confused at how color charts worked. And so I want to make sure that I am not being confusing so that you feel comfortable using this tool. So there's a nice blue and then I'm gonna make you angry. Okay, so now I have my two reds. I'm in a mix me cool red and may warm red together. There's not gonna be a whole lot of difference in these two colors because they're both pretty pink. So we're gonna start with one that's mostly Quinn as a drone magenta. And paint that up here. It's a little bit more warmer of a red. It looks more like an Eliza and Crimson. We're not creating it, and I'm gonna come back and make it a little bit more Carmine and put that over here. Now, this is where we're gonna see some new oranges and purples that we haven't seen before because I'm taking that cool color, and I'm starting to mix it with the other worm primaries. So I'm gonna take up more of the Queen Asa Drew in Magenta put it on me. But now, instead of the business yellow, I'm going to pick up that Indian yellow. And because I haven't created that orange yet, what I can do is I can take my father paper. And after I mix these together in a 50 50 mixture, if I can put that here and I can label it to if I want to make sure that I know that it's the queen as a drama Magenta in the Indian yellow and how I can do that and I can just pick up a little bit of that in a little bit of Indian yellow. And so now I can know that this is a mix of the Queen passenger magenta in the Indian You, um but from a color chart, I want one side to be a little bit more magenta and one side to be a little bit more. Yeah, I do want this to be pretty orangey, though, So tell him coming here. I'm staying in the row because this is the more read of the orange. So I want to make sure that that season make when acid rain, magenta row No, no, come back to that mix and add more yellow. And that's going to go down the column cause I'm still using the queen acid Ron Magenta. But because it's the more yellow it has to be in the yellow row, so that will go here. Now, I have one last mix to do with my canasta drone magenta. So I'm gonna pick more of that color up and put it on my palette, and I have to mix it with my ultra marine blue, my warm blue. So pick that up, put that on my palette, and then I'll mix those two together. So we're gonna start with the queen as a drone magenta. Make sure, So it's gonna be pretty red. I think these two colors make some really pretty purples. So there's, uh okay. And then we're going to take that and mix in the blue so we get more of that blue purple, and that's going to come down here. - Okay , so that's one row and one column finished. So now what you're gonna dio is you can leave this if you want and use it to make some neutral colors or I'm going to clean it. And I'm gonna finish filling in my color chart off camera. And when we come back, we'll talk about mixing neutrals, so I'll see you in the next video. 11. Painting Neutrals, Browns, and Blacks: So here I have my completed color chart and I have filled in all the square. So now if you look, I have this quadrant here, which is my warm colors, this quadrant here, which is my cool colors or cool primaries and warm primaries. And then I have these other boxes where you can see the mixes between the worms and the cools. So, um, the warm read and the cool blue make different colored purple mixes than the cool red in the warm blue. So you can see that with these six colors, we can create a variety of different mixes, and that is part of what I find so fun about Mixing colors is the endless amount of colors you can create from just three pigments adding in the other free and we can create even more colors. Um, so I'm gonna take this sheet of paper, and I was gonna come down here, and I'm going to start painting my neutral colors, my browns and grays and blacks. And the way that we do that is by combining the three primary colors in different ratios. So to create Brown's. What we want to do is we want to take colors that are opposite of each other on the color wheel. So this is why it's important to do both the color chart and the color wheel. Because when we're talking about what colors are opposite of each other, if you just have the color chart, it's not going to tell you the opposite colors from each other. So when we have a color wheel, we can look and see what's a crossed from that color. So across from blue is our orange color. Across from blue green is our red orange, so these are going to be our complementary colors. And this is important to know, because that's how we're going to get our browns. And when you're painting a picture, what kind of brown you need is going to depend on what colors you mix together. If you want more of a cool brown, you're going to want to mix together your yellow and your purple. If you want more of a warm brown, you're gonna want to mix together your red in your green so I'm going to take my ceramic mixing plate. Believe my color chart over here on the side, and I'm going to use this to start creating some of my neutral colors. So I'm gonna dip into water here. Sorry. And I'm gonna put some read. I picked up my car Mine. So this is my warm red. And it doesn't matter what color you start with. I want you to just play around with your colors. So where my read is, I'm also gonna put my Indian yellow inmate will try Marine Blue. So what I'm gonna do is I'm gonna mix these colors together first to create a green. And I didn't put enough yellow on my plate, so you'll see. It's not very green, it's more of a blue. So I wanted to be more greens. I added more yellow. So now with this color here, I am going to mix it with my red and you'll see right now it's more red. So I'm just going to put a mark here, okay? And actually, what I should have done first is I should take in that carmine just regular, pure carmine and put that down, and then I'm going to take some of that green that I mixed, and I'm gonna put that on the other side. So now, in between these two colors, I'm just gonna put all sorts of mix. It's some Advil or green, and that's gonna give me a different color brown. And I'm just gonna keep mixing these colors together to get all different shades. And I can pull more of this blue in here and get even different colors of brown. And if I add somewhere water that's going to give me more diluted colors. I come in and I add more of that carmine color. I can get more red brown coming with a little bit more. You make some of that green back and pull some red in there. We kick all kinds of different colors, breads from Brown's. Okay, so now what we can do is we can take some yellow. Let's take that bismuth yellow and will work with our cool colors a little bit. So it puts on that cool yellow on our page, her on our palette. And then what I'm gonna do is I'm going to use the queen acid Rome magenta and the Saru Lian to make purple. And I want a little bit more much in that purple. It's a little too blue. Okay, so there's that. Come back over here and I'm gonna put that purple color that we're starting with and the business yellow, And then I'm going to start mixing these together. Now you can see already that these air different Brown's. Then what's over here with our red and green? And I'm just gonna continue playing around with these different ratios to create different colors. I can come in, listen water and make more deleted ones. I can come back in with some business yellow, and I can lighten it back up again. And there we created a lot. I haven't even created all of the different varieties that you can get with these. I just have a little bit to show you the versatility. Now, the last two complementary colors that we're gonna mix together are blue and orange. And so I'm gonna use the Indian yellow and Quinn acid Rome Magenta. And I'm gonna make an orange color. Uh, that's way to read. Remember Yellows a week color. So you want more of the yellow? Okay, okay. It's looking pretty good. And then we'll get Let's do Saru Lian because we have six colors. There are so many options you can use to mix your neutrals. So I've got I like that. Okay, so now we'll just start mixing these colors together and your hopes. I forgot to do one thing. Sorry. Makes that orange. Okay. And our blue. Okay, so now we're gonna pick up some of these and start making some of these different mixes can come back in with more yellow. And I could just play around with all the different ratios. And how many different neutral colors can I mix? Oh, keep. I just want to show a little bit more variety. I kind of lost me brown. And so it does show a little bit more. Okay, so these are our Brown's. Now I can take these browns, and I can add more of the primaries to get them closer to black and the way that I want to do that as I want to add more of the blue. So by adding more blue to my brown, I can take that and I can make those darker grey colors and get some different shades of gray and black. So I'm created all of these colors and I've on Lee used the primaries. So even though I have six primaries here, you can still create a wide variety of colors with just those three different choices from this one turned a little bit more blue. This adds red back you there we go. So I've got are neutral browns and we've got more of our blacks and greys. This one got a little bit blew on me, but you know it is what it iss So now we have our neutrals mixed and you could keep mixing different ratios if you want. There's tons of options here and then we have them as part of our color charts so we can see all of the different mixes that we can get from. Just power. Six pain. Okay, um, that's all for this video. I'll see you in the next one. 12. Final Project: All right, guys, for your final project. What I want you to do is I want you to create your own color wheel. I want you to take an idea that interests you. And I want you to figure out how to turn it into a color wheel so you could do here like I have the sea creatures. You could do her maids, feathers, mystical creatures, flowers. The world is your oyster, so you can only use three colors a red, a yellow and a blue. And you'll notice here that I have used different colors. Then the color will that we created earlier here. I've used the true primaries, which are the pinks and the yellow ends, the blue. But here I've used that red color, and they used a darker blue. So don't be afraid to try different colors. Um, instead of the pinks, please use the pinks to because you'll see that you can make a lot of the colors that you thought were primary colors with that magenta and the yellow and scion color. However, for this final project, pick three colors, a shade of Radha shade of blue and a shade of yellow and make your own color will. So put your knowledge of how color works together to create something that is brand new and unique to you. So that is your final project. I hope you can find lots of inspiration. Please don't copy something from Pinterest. Please try to make it your own design because then it will feel more authentic to who you are as an artist. And that's really what I want you to explore. Use your color mixing powers to create unique paintings for you. All right, so thanks for coming. And I'll see you in the next video. 13. Review: All right. So now what we've done is we have a page of our swatches in a spot to see our different mixes. We have our warm and are cool color wheels. So now we can see, um, where the complementary colors are. We could even use this to come up with different color schemes. We could dio, um you know, try attic color schemes, weaken, talk about secondary colors and tertiary colors and primary colors all by looking at our color wheels. And we can see how different colors interact when we mixed, um, different ratios. And our final piece of paper that we have is our color charts. So now we can see how all of our colors interact in different ways. Oh, I created a different color chart when I was working on figuring out which colors I wanted to use in this video. So you can see Excuse me So you can see here all the different mixes that I used, I narrowed it down to three. I had Quinn acid or magenta Carmine and the lizard in crimson. These are my two yellows that I went with and then I had Saru Lian and I chose a fellow blue, which is pretty similar to the SARU Leon's. I want this ruling and then the ultra Marine and using these colors, I made a neutral color chart down here. I did not structure it the same way. I just did, um, the three colors I use in the different mixes in those color charts. But this is a way to use the color chart when you're planning out a new palette or for a new forward. This also is another way to use the color wheel. So I e did my cool colors here, my warm colors here, and then I instead draining color chart. I just mixed the warms and cools here into little slices, and then you can see that I did my neutrals around so you can see this is a blue and orange mixture, and those are the colors I got from it. Purple and yellow. Those are the color screen and read those colors I got from it, and the same don't here. So it's just a way of playing around with your ratios and understanding how your colors affect one another, and you can use it for all different colors. so you can see here I have different color wheels with different primaries on them. And this page here, one of the color wheels I did with secondary colors so you'll see an orange, purple and green and how those colors interact with each other. And then I have different metallic colors. I don't know how well you can see the glitter on, um, the screen, but I just took red shades, yellow shades and blue shades in different colors that I had and practice how those were interacting with each other in the nine created. That's final color chart, very similar to this one that we made in class. So I hope that you now feel like you have a better understanding of color mixing and how to make the colors work for you to get the shades that you want. I hope this inspires you toe play around what the colors, that you have to see what kind of interactions you can get from them, and that you are excited about exploring the wide world of color mixing. Thank you for um, coming to my class and I will see you guys in the next class