Mastering Color: How to Use Adjacents and Opposites to Dramatically Improve Your Paintings | Ron Mulvey✏️ | Skillshare

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Mastering Color: How to Use Adjacents and Opposites to Dramatically Improve Your Paintings

teacher avatar Ron Mulvey✏️, Artist / Art Teacher

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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

9 Lessons (1h 12m)
    • 1. Mastering Color Intro

    • 2. How To Make Colors Work For You

    • 3. Understanding Shade Tone Tint

    • 4. West Coast Seascape

    • 5. Seascape/ Final Touches

    • 6. Landscape /Orange and Blue

    • 7. Color/ Wash/ Re-Color

    • 8. Afterimage Experience

    • 9. Mastering Color Last Stroke

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About This Class


Color is a direction we take and it certainly can lead to a feeling of "well done, I love it' or it can give us artistic indigestion. It's time for all of us to know why and how to choose the most harmonious color combinations based on the brilliant and enlightening work of M.E. Chevreul and Faber Birrentwo of the greatest color theorists in the world of color. 

Here is a quick outline of Chevreul's discoveries:

1- The harmony of adjacent colors.
2- The harmony of opposite colors.
3- The harmony of split compliments.
4- The harmony of triads
5- The harmony of a dominant hue

WE will cover: The Harmony of Adjacent Colors and  Opposite Colors in this class.

The next class will cover the other three. These ideas will give you all the confidence you will ever need when handling color.

 The Impressionist used his book as their Color Bible. Neo Impressionists, Post Impressionists The Fauves and subsequent art movements through the 20th century claimed his discoveries and made use of them. A Brief outline of Chevreul's influence with theres artists can be found here.

The light went out with the beginning of Modernism. Feelings and 'artistic angst' replaced intelligence and inspiration.

Faber Birren developed an artistic application of Chevreu'ls discoveries and brought them to the fine artists, designers, advertisers, graphic artists, fashion houses and countless other 'color starved' venues in the workplace and the home. It is his work that we will be discovering in todays class.

Check Out Some Paintings That I have Done Using Their Discoveries:





Close Up Of Some Color Harmonies A Few Non-Objective pieces.






Your Color Choices Will Never Be Boring Or Muddy Ever Again !!! This First Class Is A Must For All Students.  


Meet Your Teacher

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Ron Mulvey✏️

Artist / Art Teacher


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1. Mastering Color Intro: I am Ron movie and I'm an artist. I've spent the last 35 years being an artist. I don't know if I was born an artist, but I certainly became one, and I'm glad I did. Along the way, I've learned a number of things, and I'd like to show you some of those today, one of them being how to use collar and how to use it. Not correctly, but effectively. How to use color and really make it do what you wanted to do. Well, welcome to another class. This one is a watercolor class, and it's going to be bold colors. And the reason why we wanted bold colors is because we want to see how far can we push color? How can we make it sing? How can we make it stand out and be absolutely amazing? There's a few tricks you're gonna learn today that will help you along the way. If you've been painting muddy pictures and your pictures don't seem toe look lively or, as we say in the business, tasty. This is a class for you. It's for beginners, intermediate and advanced, and I'll tell you why we all need to refresh our ideas of how to handle color. I've been using these color ideas in big pictures in abstracts, non objective art landscapes, Portrait's All these ideas can be applied to any of the disciplines, and any of the subject matter in art always been fascinated with color. And I know that I've had times when color was really a challenge. I was stuck in a rut way. All get like that. If you line up all your pictures, you'll probably notice that most of your pictures have the same color choices. So today I'm going to let you explore with me at least two ways of increasing your ability to use color intelligently. The materials for this class are not complicated. Choose three colors a ratty yellow in a blue. Choose a brush. I use £140 watercolor paper simply because it's durable and it has two sides. So if it doesn't work on one side, you can use the other side water, paper, towel, something to mix on. And most important, I want you to realize that there are different kinds of blues and yellows and reds I would suggest for today you use a cadmium, red and cadmium yellow and a fellow blue. Also add a cobalt blue and in a lizard in crimson. You will definitely come out of this class with an enhanced color sense. You'll be able to choose colors intelligently and use them effectively, so join me in the classic when let's get started. 2. How To Make Colors Work For You: we'll be using the tried and true three systems color with these three colors. There are many possibilities. One of the things that you need to know is a thing called after image. Now an after image is when you take color like red. This is a cabbie, um, red, but it's a light cadmium. There are many hues of red, so we'll put another you over here, that is a lizard crimson. Now we can mix the two and we'll get another red. And maybe we'll put this one at the bottom of this. Have to rats an orangey cadmium. We say orangey because it's tending towards yellow and we have the Eliza right now. The interesting thing is that red produces an after image of green. Green is a mixture off two colors. We call it a secondary color. I'm gonna mix it right beside the yellow. I'll keep that side clean. I'm going to put a green beside the red. Now, if I put them together, I'll get Brown by putting them together. I sort of defeat the whole purpose of them being together because once you've combined thumb, you lose the purity. So I'm bringing that purity back by just drifting a little water around them. What happens when my colors get dirty? Can I clean them up? Yes, she can. Usually, watercolors won't sit into the paper until they've sat for a while. Takes a while for them to go in. Okay, there's my red and green, and now I can add a little bit of yellow to clean it up a little. And I'm see that cobalt. It's okay for green. It makes a washed out green, more like Army green. The sale of Seen, on the other hand, makes a very, very dramatic green, the kind of green that gets us excited. So now I've done my little experiment and I said, Well, I don't think I'm going to use cobalt for my greens because it's not the best green in the world. But I do like to cab him, So there's the red and green together. Let's try that again. Now take a little bit of the cadmium, put it on some dry paper, drop a smidge of the Eliza Rin into it and then not touching it. But close to it. We'll add the fei lo green. Well, let that dry and we're gonna take a look at that moment. Next we have the blue and orange. I'm going to do the orange with some fairly strong can be him and then come at it with a little bit of a lizard. Mix it on the paper. So many different kinds of orange What side? A little more Here. A little more yellow. Mix it in just kind of tail it off now. So we've gone from an orange to an aura of red orange to it later, orange and almost to a yellow. Now we're gonna put the blue at the other end. Now, this is the strong blue, so I'm gonna put it here. I'm keeping my eye on my red and green here, but as I just try to do some two shapes and edges Hard edges, soft edges, but not touching, because then you will get intermediate colors. When you get all three colors going, they turn into intermediate colors. And those air Fine. But they're not lively. So notice I'm keeping the edge soft their recall. So I've put the blue next to the orange little strengthen it up a bit. There. That's the Fail Blue the cobalt blue, which I'll use a little thicker, a little water. I think it's colder. We're just kind of making a little shape there. Nothing very fancied. Maybe bring it down here beside the orange, not touching it. So we have a classic color combination of red and green, orange and blue. Then we have a yellow and the blue these air called adjacent colors. It means if you take a blue like here and yellow and they just had a little bit of a blue into the yellow, you get a warm green. See some people might call turquoise, but it's a yellow green. Or, if there's more blue, it's a blue green. So just a little bit more just just balancing the color here using Fail Oh, and cabbie in. Okay, so they're close. Then, as you move out of the blew into the yellow, Now we're really getting a yellow green kind of a summer green on a plant. Keep the edge of soft and I don't go over and over, and eventually you'll have pure yellow. If we can managed to lose some of the blue, we'll end up with the pure. They're here and once again soften the edge. The idea of this experiment is to find out what all the colors do. Okay, so this would be called a Jason. Colors are analogous colors. They're in the same family like red isas, far from from green as hot is from cold of bread has to go a long way before it melts into green. So red would have to go to the next Is violet on. Then from violated would have to go to blue and then from blue to blue green and then from blue green to yellow green and then from yellow green. Well, let's just think it will to yellow. And then what we made green There were there was that's how far we had to go. I see so you can make them all come together. And we call that the color wheel. Frankly, I think you're better learning it this way just in the beginning, because you get to experiment with colors. - Yeah , 3. Understanding Shade Tone Tint: two of the white wash and black, and you can use your watercolors just by adding a little white to them. You don't have to buy a whole set of wash. Okay, if squeeze a little ivory black hair and I want to show you how black is used to offset colors and maketh. Um, even better, because there's a contrast. So we have to brush is Robert Simon's and I'm going to take a little bit off blue and I'll take a little bit off yellow. And we have a little red terror that will work so black, plus a little blue. We'll make a darker blue. Very simply, it'll make a different shade of blue. Let's just put a little bit here. That's the same blue that was here. A cobalt take a little cadmium red and we add the cadmium red. I still have a shade. It's just this time it's a shade. We might call it violet, have a little more, and we're getting into the Browns. The trick is to add enough black to your color so that the color doesn't look dirty, but it actually looks like a shade that there's a balance between when the collar looks dirty and when it looks rich, so too little color is not good. Okay, so now we have a red and blue in the black. The next thing to do is if you add white and I have some opaque white here or we called wash, and I'm going to put a little white right here. Most people used wash too thickly. It's not supposed to be like cream paste. It has to be thinned. You only use enough so that it makes it opaque. So I take a drop of white. Once I've added white to the black with color, any of the colors you now have. What's called a little water, a tone and a tone is different. Then a tent, a tent is white and a collar. Let me demonstrate there's a tone. It has the two colors, blue and red, plus black and white. I'll clean my brush off very clean. It's a matter of fact. I'll use another brush that hasn't been used, and I will take I'll take a blue blues, make very good tents. See how thick that Issa's too thick. I have to add a drop of water too. Just enough paint to cover, not pasty. Okay, so here is a tent. I'm gonna put the tent right beside the tone. So the tone, remember, there's there's the tint, white plus color. This is the tone color, plus black and white. So if I added black to this, I will then get what can you tell me? A tent is white, plus colored shade is black plus color. Tone is black and white plus color. So I had a tent and I added black to it. That will make it a tone. See what? Our talks. You look at that. Now, when you put tones with 10th they harmonize. So let's go over that again. This is now a tone. I'm going to darken it with just a little more black. But here's the secret. As you add the black and white, it will lose its balance unless you add a little more of the blue or the original color to it. So now I'm starting to get into my little picture here. You see, by using my color theory, I'm actually starting to make a little picture. Maybe there we go. See Tent tone, white, black plus color tint, color plus white tone white, black plus color. Darker tone. If I want to go even darker, I have to always add a little bit of the original color with the black. It's still called the tone simply because I have white and black in it, so I'm just making little shapes here. So playing with tint white two plus color shade block, plus color tone, black plus white, plus color and pure color green, let's make a green read tone green and red tone, which will be a little yellow and a little blue and a little red. It looks like real muck, doesn't it? And black. There we go, green read Blue, black and a little weight. Okay, now that's not a gray. That's a tone. Grey is just black and white, so you'll see it's fairly dark, and what I'm going to do is I'm going to outline, gonna leave a little white. Well, I think I'll come right up to the green and I'm gonna go all the way around it and you'll see how when we're done this, the red and green will actually look more red and more green. Let's put a little bit now that in between here, here's a little trick tones and that is black, white, plus color or colors. Tones make the best backgrounds. So you see each one of these, even though that's great and this is great. No, I shouldn't say great. It kind of looks like great, but it's a tone. Let me do a really true gray and let's see what happens. So here's two colors and we're going around them. You'll see that the darker the color is, the tone looks different. The same pain starts to look darker because it's going around something darker. The tone looks darker, and as it gets lighter, darker here and this is lighter, it changes. Okay, here comes a great A pure gray is white and black, that's all black and white and graze air. Really not as neutral as you think. The best neutral colors or the best neutral color is a tone that uses black, white and violet. Okay, here's a great Now we're going to put the gray next toe. The tone. You'll see. It's different. I just lifted off a bet. So lightens up a little there. See that? See how it's a little lighter. So you were doing a piece of fruit or a rock. Cadmium yellow. It's Tibet. Work it right in there and you'll have a nice green highlight softened edge. So if you're not using opaque paints, a good way for a highlight is lifting, says now. I'm gonna just lift that up a bit after it sat there for a while and there's my little orange highlight. See, I could do that on all the colors. I could get this looking really bright. I lift off a little bit, etc. And stick in a little orangey red. Work it in. Moving across gently. I say about a pig colors is that you can light in them. This is a look. Experimental page. You want to experiment. It's pretty little highlight on here. Soften it. Remember, this has the opaque paint in it. You know, removing paint is part of the watercolor secret. Not pasty, pasty, pasty thin paint has an appeal, so now I can take a little weight and some blue blue makes a beautiful tent. Now, if I want that to be a little more blue, remember these air watercolor paints mixed with opaque paints So if you want to experiment with opaque paints, you don't have to buy a whole set. Just get some watercolors and some white. But remember, don't make the paint to thick. Okay, I'm going a little thicker here now. Hello. I just tried going right over this one. There we go. Drop it in their blue and green. Notice how the blue stands out blue and red. Now it's an interesting thing, but this looks more blue then this one. But there's an interesting thing going on. Also, the green has a red after image, which is making this different than this blue look at this blue same blue, same thickness. But because this is neutral, you'll see blue very little after image. This creates a red after image, which turns out more violent, and this creates a green. The red creates a green after image, which makes that look a little browner blue and orange. Great combination. So I would take a little more of this white and blue, but little more off the actual blue. And let's put that up here right up to the orange. Now watch what happens when it goes into the orange. What color does it turn? That was a little tricky. Question. What has the pure blue done to the orange? Well, that's right. A blue and the orange turn into an intermediate color kind of, ah, greeny gray. So here's the pure blue again. I'm going to bring the pure blue right up besides the orange, but I'm not going to mix it into the orange soft edges. Create lighting effects. 4. West Coast Seascape: a little blue, even wet the bottom of the paper here and here. If you went both sides of your paper well, even if you just went one side like here it was lay flat because the water underneath will kind of glue it down. And as you work on your picture, it'll flatten out. So first thing I'm going to do is take a little fellow on my brush, not too thick, not too thin. And I when I'm going to do a little ocean scene with analogous color so I want the ocean to be low. So we're gonna put it here just one stroke and then a little more water, and then a little bit of green added to it Just a debt. And look at that Right in there. We go right to the bottom. Now it's curling up, but it will flatten out. Has repeat. Don't worry about the paper coming up a little, and the crimson will create a violent just barely touching here. No, don't worry about that. That always happens because all you have to do is what drift down again. Just a little touch of water to pull it over to the side. Not that we have to be all the way over there, but it doesn't hurt. Maybe a little more dark blue here. Now it's drying. It's starting to dry. So I might take a smaller brush now, which has a little red. Look at this. Look at this here. We're gonna be careful here to get a really dry brush time. Just it's timeto watch the picture. You see, it's trying to get out of its boundary here, so I'm gonna drug just suck up the paint here. Lifted a bit. Just a little bit by drying up the paper, taking the water off it. It will stop it from bleeding. Just rubbing down. It's drying. And this is perfect here. I can still drop in a few secondary colors. Blue plus the crimson. A dark shot. Oh, yeah. Look at that. See? It's like feeling mountains, ocean drifting in. It's looking pretty nice, though, but I do like that violent, the dark violet. So I am going to come right across here. What? That? Okay, there we go. Couple breakers. And there we go. Yeah, turned out pretty good. Hey, look at the green to the green. to the yellow green to the green, to the blue, to the violet, To the crimson to the yellow And now, Agus color scheme blending through. Okay, Ron, just one more little touch. Just just one more little touch right there, There 5. Seascape/ Final Touches: Okay, let's take a look at our picture here. We have some long horizontal lines I've added with just a little bit of fellow blue and green or just straight fellow blue. I gave a little wash here to give a little mount shape. Left a cloud. Now, as we analyze the picture, we can see that we're going from yellow to the red to the violet, almost a violet going into a gray into the blue green and some pure blue here. So we call this an analogous color scheme. Because the colors are related to each other. There's no shock value now. One of the things I like to do is take a really good look at the picture and find a few areas that I she could kind of make a little bit of a difference. So I wet this and roll the brush gently and let's see if we're getting anything off here. Not yet getting a little shape. I'm trying to imitate that shape down here. Not exactly, but that put in the water, clean it off. I'm lifting some color Fellow seems great toe left because it's a Stainer color Stainer colors as opposed to the colors, like cadmium or Oakar. They go right into the paper deep, and, uh, they don't come off easily. But when you give them a little rub like this, you can lighten just enough to give that cloud sensation missed. Can even Robert a little bit because it's good paper. Good paper. Here we go. Started toe open up here. There's the white of the paper here. I don't want to touch. That is perfect. And it's a good idea once you've done it to pat it with a clean towel so you don't have any bleed marks. Okay, let's look over this section here. Over here, we have another area that we could do, and I'm gonna clean this whole section up right here. Have to sort of rub it gently for a moment. And the brush will pick up the pigment. Yeah, start to come off. I'll put this here so you can see I'm just coming into the mountain here, See? See it get has a There it is coming off. They're gonna make sure. Don't go in my sky. Put down here. I actually like this sort of little bleed mark that I'm creating here. It sort of goes with this one here. See how we're just doing a few little techniques? Yeah, I think I'll leave that little bleed mark there. Kind of looks like the winds blowing it on. Look it over here. We have this and this on the coast, the clouds just shoot straight up. Get these great wins. So this little bleed marks Great. I might take my little rag after it's set a bit and just touch it. Just touch it. Okay? Now, I have one little area here that I need to open up, so I might even turn the paper upside like this. And sometimes turning your paper around gives you a different view of it. Now, what I want to do is bring in right in here. Just just go over it a few times, just working across. See how I'm pushing the paint down and creates a little bit of Ah, line on. I need to take a look. Uh, yeah, we're getting those little clouds coming in there. Perfect. Okay. Now for the breakers, that's going to be I think, the last part. I'm going to use a little razor blade to get pick up some highlights. Okay, so that will be the next part. When you're working with a razor blade, it's very important that the papers dry. So sometimes I like to take another piece paper. Let's say I wanted to get a a little breaker here. So the edge of the blade is what you use and go in one direction. Paper has to be dry. And just if you have a soft paper like a smooth paper like this, you're not going to get anything by going across like this. If you have some arches paper that has a tooth on it, then you can just go across. But this one is kind of a little pick. It takes us a moment, then back the other way. I just couldn't put a little bit in a couple little white accents making subtle. If you make it subtle, it will be more effective if you go and start scraping too much. Once you get it started, you could go back and forth and in one direction take off fluff. There you go. This paper Very tough. Some papers really respond quickly to the razor and others don't. Now we just stand back and take a look. You see, just that little bit of white. There goes with the white here and right across here. I would like to get a straight line there, so there's different ways to do that. One of the easiest is take another piece of paper, put it right on the horizon leg because we do like a straight horizon line, even though it's not really straight. And then put this on the edge of the paper, Seve and then just gradually lower it. Just suddenly give it a little my back. There we go. That's in the distance. There we go. We've added a little bit of white highlights there. - So what? I've done there a little bit too strident. So striking. Meaning stood out too much. Just little little dots. You see, this will be my main one, so it might be a little bit brighter. Here we go. Oh, yeah. There looks like spraying a little phone there. Very well done. Thank you for doing this with me. It's been a pleasure to visit the ocean 6. Landscape /Orange and Blue: I'm going to work small first and show you how to use your color very directly. Now there's a couple little sketches. Here we got blue and orange and obvious contrast of color in the sense that the blue excites your eyes and the orange excites your eyes. So the two of them together create a very dramatic effect. Over here, we have more of what we call an analogous color scheme means the colors are closer to each other. Ah, blue is very cold oranges worm. You can't get much farther away than cold and warm. Where's thes? The temperature moves very gradually through, from a green to green yellow to a yellow orange up to her red orange. And then it's a little bit of a darker tone at the top. I've just got some student quality. Cotman paints there about $7 each, as opposed to about 14 to 25 for the more expensive paints. And I'm not going to be using these symptoms up right now. I'm not because you can't get enough color on your brush to do what we're going to dio going to take some water and we're gonna put a little spot of water on the paper, and I'm going to keep my eye on this right here. So what's the first thing to do after that? Put this big brush down and this may make you wonder a little bit, but I'm actually going to squeeze it right onto the paper. Like that. Many times, people, when they're using watercolors, fuss around mixing them. They come off nicely. You can mix right on your paper, there's cadmium. And this way you'll get a much more direct mix and you won't get muddy colors. So here we go. Gonna hold the paper with this and watch this. I want to get full saturation of color. Now if it gets too pasting, See, I've got too much. No problem. Just take a little water. I had a little more water to it. The trick is to get your picture so that the pain is saturated into the paper. Now I can still feel it's kind of sticky. So what do I do there? So I'm gonna put this brush down, take this brush again, clean it off, get some more water and pull it around like that. Here we go. Next is the sky and I am going to wet but not raped up to the bush and keeping away from the bush for now. Now the paper will buckle and there's a way around that. All I have to do is put water on the back of the paper. Now watch how it flattens. Having just a little encouragement. See that now? I haven't touched that. I just left it. I can soften the edge later, but I'm going to take some cobalt blue and I'm going to put it on my paper here and a little bit of Failla blue. I find cobalt blue. It's great for certain applications, but I like to mix a little bit of Fei Lo with it. Now watch what's gonna happen here. I'm going to come up to near this orange, see all the water on it that will keep my paper moist from the bottom. That lifting your paper and letting it drift creates beautiful patterns in the sky. I actually like that that extra shape there it models that shape. OK, now it's time to clean up. You must keep your colors clean right there. Take a little bit of the yellow under and will start dark here and end up light here. So just to wiggle now it's getting a little lighter, See, because the paint is coming off a little lower here. A little higher there. So lower, higher, Darker, lighter, dark hair, dark hair light Here. Now I'm looking at this picture. I'm liking this green here now fail. Oh, and cadmium make a very, very beautiful green. So I'm going to put in a little swipe right in here, and I'm going to break it up a little. Maybe with the edge of my brush just to simulate a little grass. Look at this here. The blues come in to hear. Now, what should I do that that's happened while I wasn't looking? Watch this. I'll clean my brush. No, I don't want my brush to wet, but I do want a damp, and I'm going to lift this up very gently. And I might just throw a little green in there. That's called a happy accident, you know, with water colors that you can't help yourself. You're always gonna have something unexpected. And it's the unexpected that this makes a picture great. Something you didn't plan. So I've likened it there, and I don't think it's going to bleed too much, going to take some pure cadmium and just work it in there like that, even more working it a little bit there, too. Hey, look it over here. This looks like it's in the distance. See the picture doing things that I never expected. And this is where I look at my original little sketch, and I say, Let's use a little bit of cadmium red with some a lizard crimson right there. It's a little wet, so be perfect to get a little maple tree. Something like that. Maybe this was just a bit bigger and all I see on my original sketch that that actually kind of it was darker on the side there. Or like that. Once again, playing with the colors is important. The cadmium colors are very sick, and they have to be used at the end of a painting. You learn that today how to take those thick colors, put him on, then wash them off so that a residue is left and then enhanced them at the end with just the right thickness to make them sick. One of the great things in this class, learning how to recover a painting that's gone a little bit self. Make it even better than you thought you could with an intelligent use of color. 7. Color/ Wash/ Re-Color: cool water, maybe a little touch of warm cabbie EMS. Wash off right away. Faeroe. There's no wash off because gets staining colors. So I didn't like the thickness of the red, so I gave it a little wash. This is how it did. I just put it right under their took the brush to stop it and the cabbie and just washed right off. See the Eliza Ruinous staying in there, Even up here, it's a little bit pasty. If I just No, I want to create a cloud because this is 100 and £40 paper. Just rob gently very gently, and I can almost get back to the white paper. Now these marks here. Great. This is an English technique used by the English water card painters, and this is how they lighten things. Cabins air wonderful because they wash off. See that big layer cabin in their little rub. It's gone, but I want to leave it here. So now we're looking at a picture and see how I can gently rub off a bit of a paint to create an effect can just turn the water off, and there you are and will reintroduce some color to it so I could put the paint on a little thicker. Now, simply because D papers a little damper dispersed. So that's a fairly thick cadmium that's dispersing through the picture. Now we clean the brush, take a little bit of the cadmium red. Not that it's really wet. More a little bit like cream, like touching it toe rag. And now let's put a little bit of that on. You see, it's fairly transparent. It's just barely spreading. I'm going to try it a little bit thicker now. This is almost right from the tube. Put it at the bottom here, and that's just thick as you would want it. Don't leave that little white spot there and you might clean your brush off so you see that's fully saturated. You couldn't put a wash over this because the cabbie, um, sit on top, so we usually leave the really strong cadmium color accents until the end of the picture. I like this. I might take a little bit. Just tap it. Since it's wet, lend to cab lips together and look at the orange that I get. Yeah, probably that orange down here slowly, making the picture do its magic. I really like to say coming in here. So I left that off again. See that I like this line here. It's better. So you start looking at things and you start to see things. If you don't like it, the papers dap, you can take it off if fairly thick. Take a little pitch of the red. Just patted him. Do you want to add a rough edge? Here's the side of the brush. Now the green is going to be a little bit of halo with the yellow. Now you can see that the green and the red complement each other. They make each other stand out. I'm gonna soften the edge here around my post a little bit, which all dark and later just kind of rub that out the next red. There. Now, I might want intensify that simply by adding a little more yellow. Yeah, I could get a stronger green. Remember, The colors change as they drive. So blue and the orange, the red and the green. Great color combinations. Painting sort of tells you what to do. After a while, I think I'm going to go with a little darker blue here just to set that tree off and it could be a mountain behind here or just a dark blue spot. See? And then I see it over here and I want to do the same thing here. See, put a little blue in. Just faded out. Adjusting values, values, air, the darkness and the lightness of color. That's beautiful. He's blue triangular motions here, just gently touching the painting, just sweeping it in. Maybe there's a little sky peeking through the trees here. This is nice here. I think I'll just leave it so we'll make this tree look closer by darkening the red. We have a big one medium, one little one, maybe a pincher red in here. He just just adding little bits here and there. Maybe a little more yellow up in here. Strong yellow, great. Adjacent colors, which would be the yellow to green to yellow, green, blue and opposite or complementary colors. Red and green, orange and blue. Violet over here. Just just something tasty that set the other ones off. Here's where the cobalt is great in the violent sections. Put it on, then empty the brush. This using little strokes Clean the brush off soft on the edge. You know, the last thing you could do is take a little cadmium, a little bit of this fellow. If you want a brown post just dark in a few of the posts come even take a pencil and draw these in. Just suggesting tree forts Dings in the field. There you go. Little COBOL, little fellow. A little bit of boldness. I think that adds a little bit to the sky. Some darks here. In there. There we go. You seem to be adjusting all over the place a little darker here, a little more red here, just playing with it and having a good time now that you've established a great color scheme. 8. Afterimage Experience: Here's a few color notes. I like this little exercise. You make a little circle naked, a circle inside it and then just over to the right of it. The same size circles here make this pink. This is for discovering all about after images, so you still that in a swell as you can, but not too big but the size of a P. But he leave this white here and then fill this entire thing in so pink has an after image . As a matter of fact, all colors have after images, knowing what the after images will give you a good color combination because they'll be complementary. Or, as we say opposite. So what you want to do is look in the white circle and focus on it. Don't think about anything. Just focus right on the white circle. Now switch your gaze over to the smaller pink circle and just look at the pink circle. Sometimes instantly or a moment or two later, a very soft green haze will be around the smaller pink circle, and that is the after image. If it doesn't work the first time, go back and do it again until you're relaxed and you allow it toe happen. We call this a color experience. Even though you don't know this is going on during the day. It's happening all the time. Color is influencing other color over to the purple. Leave the purple in the periphery of your vision and concentrate on the white area inside. Now move your eyes over to the smaller one. Just allow that image to come to you. It should be of a yellow cast. It's not dramatic. Each person sees these images differently, but it should have a yellow cast to it, - so 9. Mastering Color Last Stroke: So you finished the class. Congratulations. Let's see what's coming up next. So in this class you have noticed we've covered the two aspects of color the opposite colors and the adjacent colors, sometimes called the complementary colors and the analogous colors. I want you to work with ease in your own paintings and come up with some great combinations of colors. Our next classes will cover the other three principles discovered by Monsieur Chevre in his book. This is the Principles of Harmony and Contrast of Colors and Their Application to the Arts by M. E Chevrolet. This is a facsimile of the original, translated into English and edited forward. I mean forwarded by Faber urine. So I spent many, many, many hours reading this being totally confused at first. But after a while, after taking the ideas and working with, um, it suddenly occurred to me that color was worth exploring and developing. And I hope to do that with you in future classes. See later. Thanks for being part of mastering color