Mix Vibrant Watercolors 2.0: Perfect Color Mixing and Matching | Sade J | Skillshare

Mix Vibrant Watercolors 2.0: Perfect Color Mixing and Matching

Sade J, Watercolorist & Illustrator

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17 Lessons (1h 26m)
    • 1. Introduction

      0:52
    • 2. Need To Know

      0:47
    • 3. Class Project

      0:45
    • 4. Materials

      0:48
    • 5. Wet on Dry vs Wet on Wet

      2:04
    • 6. Mixing on the Palette

      1:33
    • 7. Mixing on the Paper Chart

      1:41
    • 8. Glazing

      2:49
    • 9. Glazing Chart

      1:37
    • 10. Continuous spectrum chart

      2:10
    • 11. Mud

      3:50
    • 12. Mud

      1:53
    • 13. Mix Saturated Colors

      2:36
    • 14. Tropical Flowers

      30:16
    • 15. Tropical Flowers 2

      30:04
    • 16. Wrap Up

      1:17
    • 17. Thank you

      0:38

About This Class

This class is designed specifically for the watercolor painter who wants to level up their color mixing! Get ready to go beyond the basic watercolor mixing and into the world of advanced techniques! Even if you already know the basics of putting together the colors that you desire, this class will give you tools and techniques that go beyond the everyday watercolor mixing lesson. With these tools, you will know everything you need to know about watercolor mixing!

We begin with learning all the different ways there are to mix colors in watercolor, and move on to techniques that help you pinpoint specific shades of beautiful colors. Not only that, but you will learn how to avoid mixing colors that you don't want in your painting. By the end of this class, you will be a watercolor mixing MASTER!

WHAT YOU WILL LEARN

Many people say that there are colors that you just can't mix in watercolor. And that's just not true! I will show you how to mix those super vibrant greens, beautiful juicy pinks, and royal purples that you have been dreaming of.

  • Choose the type of mixing that is best for the colors you are working with and the painting you are making
  • Explore a color and pigments so that you know the full range of colors you can make with only a few tubes of paint 
  • Practice the best methods for creating clean, clear, saturated colors 
  • Prevent unwanted colors from creeping into your painting
  • Mix every variety of all of the colors in the rainbow, with specific tips for each color
  • Bring it all together to paint a beautiful collection of flowers.

This course is designed to teach you everything you need to know to get to an advanced level of watercolor mixing. by the end, not only will you know all of the basics, but you will be able to take these tools and use them to paint any subject with any color you desire!

WHAT YOU WILL NEED

These are the tools that I recommend you use for this course. It's not necessary to get the exact same brands, or the exact same colors, but these are the ones that I have had the most success with.

  • Watercolor Paper : I recommend a cold press paper because it is easier for colors to flow on this type of paper. My favorite is Fabriano Artistico 300gsm
  • Watercolor Paint : I recommend a set of artist grade watercolors, but the class can be completed with student great watercolors if necessary
  • Watercolor Brushes: I recommend synthetic brushes for the actual mixing and natural hair brushes for the painting process. The class can also be completed using only synthetic brushes.

ARE YOU READY? LET'S GO!

I am so excited to get started, and I can't wait to see the beautiful things you will make in your class project!

Transcripts

1. Introduction: Hi, I'm shoddy. The illustrator behind Sadie saves the day. Have you ever wanted to paint a beautiful, vibrant, saturated painting full of life? Do you struggle because you didn't know how to mix the colors just right? Or did you get frustrated because you kept making mud instead of bright colors? I want to show you how to make sure you never have those problems again. In this course, you will learn all of the advanced techniques that watercolor artists used to make. Bright, colorful, beautiful paintings. You'll learn about painting wet on dry versus wet on wet mixing on the paper, racist mixing on the palate glazing and the Thanh more. In the end, you'll put all of those skills together to paint a vibrant bundle of tropical flowers. Sound good, join me, and together we can create a rainbow of water colors. 2. Need To Know: okay, Before you begin, there are some things that you need to know. This is the second class in a series of classes about mixing vibrant watercolors. So there are some things that we learned in the first class, called mixing vibrant watercolors. How to mix colors easily that you need to understand. Before we move on, you'll need a pretty strong grasp of warm vs cool colors, the color wheel, how to make and use a swatter, color spectrum chart, simple color theory and how to read and understand watercolor tubes. If any of this is confusing or you need a little refresher, please check out my class called mixing vibrant watercolors. How to mix colors easily before moving on. 3. Class Project: Let's talk about the class project as part of this class. I want you to try out the techniques that we cover in each of the lessons. That's the best way to really make sure that you learn everything that's being covered. So I don't want you to wait until the class is over to start your class project. Start as soon as you can share you. Project along the way. And don't forget to ask if you have any questions. What are the parts of the cause Project? A completed class project will include and mixing on the paper chart a glazing chart, a continuous spectrum chart and the painting of tropical flowers. Like I said, you don't have to wait until you have all the parts done to post them in the class project section. Just get started and let us see what you have done. I can't wait to see how your class project turns out 4. Materials: the materials that you'll need for this class are watercolor paper. You can use hot press cold pressed or rough. I will be using cold press paper because it is very easy for colors to flow on this type of paper, a synthetic brush for mixing paints and either a synthetic or natural hair brush for painting. I will be using a natural hair brush for painting because it holds more pain and water water, preferably two or three large jugs, full paper towels or a rag and tissue paper. I will be using rags because they're washable and reusable. A pencil and waterproof pen. The ruler watercolor pains. It doesn't matter which brand. I recommend porcelain because the paint spreads out on the porcelain and it is easier to judge the color that way. Been on plastic and optionally masking fluid. If you prefer to preserve whites this way instead of painting around them and that's it, 5. Wet on Dry vs Wet on Wet: Now that you have all of your supplies together, let's get painting. Choosing the right colors of pain is not the only important factor in mixing colors efficiently. There are several watercolor techniques that can completely change the way your paint looks on the paper. I'm going to explore these different methods with you and explain the differences on when you should use each technique first. Let's look at two techniques wet on dry and wet on wet. Wet. On dry is a watercolor technique where you can use wet paint on dry paper. It's probably the way that most beginners start painting with watercolors painting wet on dry lease two very distinct areas of color that don't really blend together. It creates hard Chris defined edges. It is also probably the easiest method of painting with watercolors because it's the easiest to control. Wet on dry is something that you want to use when trying to make a defined area any time that you don't want to make a soft effect. For example, if you are painting whiskers or the crisp edge of a building, this is the technique that you probably want to use the other technique I'd like to tell you about his wet on Wet, Wet on Wet is painting with wet paint on wet paper, this next of paint spread out into the water and interesting patterns. Some people may consider this a slightly more advanced technique, since painting with a large amount of water can be difficult for some beginners to handle, this is the best way to make colors blend together seamlessly, and it creates very soft edges. Working wet on wet is also the best way to ensure that your granulated watercolors creating nice granule ation pattern you should use wet on wet if you are trying to make soft transitions, painting something that does not need to be extraordinarily defined or if you want to fill a large area with even color, of course, you can use both of these techniques together, and most watercolor artists do. Ah, very common way to combine these two techniques is starting with a wet on wet layer, waiting for that to dry and then gradually adding more defined features with the wet on dry technique 6. Mixing on the Palette: you might not think that it matters where you mix your colors, but it does. Mixing on the paper and mixing on the palate can get you totally different results from the exact same colors. First, let's talk about mixing on the palate. This is the most basic way to mix colors and one that you're probably already familiar with . It leads to a very uniform color, and it's much more control than mixing on the paper. If you want to be absolutely sure what color you are going to paint with before you even put it down, this is how you should mix. But what about mixing on the paper? Mixing on the paper is when, instead of taking two or more colors and mixing them in the palate, you simply put them together on the paper itself, just like painting wet on wet. This is a bit more of an advanced technique because it is more difficult to control. One of the best uses for mixing on paper is when you want to combine two colors that don't actually like being mixed together by simply placing them on the paper next to each other and not attempting to mix them with your brush. You can manage to avoid mixing muddy colors. Mixing on the paper leads to a less uniform color, which some watercolor artists like because it can be considered a more spontaneous, loose and natural look. Of course, just like any other watercolor techniques, these two can be combined depending on what you wanted to you. For example, you might want to mix on the paper for a background of a portrait so that it is very loose and spontaneous. But then you might want to mix on the palette to paint the face that is more precise and defined. 7. Mixing on the Paper Chart: Okay, guys, you know that I love charts, so I have some more awesome charts for you. Of course, all of them have links to the templates in the reference section, so check them out there. All of the charts that I shared with you in the first class concentrate on mixing on the palate. If you're curious to see what your colors look like when mixed, wet on wet on paper, then here is one way that you can do that. I have included a template from making a wet on wet chart, but you can also do this very easily by hand. So it's Here is how you do it. Make a box with a pencil or waterproof pen. Feel the box with a layer of water. Take the first color that you want to mix and paint it along one diagonal half of the box. Then take the second color and painted along the other diagonal half like pick up your paper and swirl it around to mix the colors gently. When this is done drying, you'll have a nice reference for the unique ways your colors combined with mixed on paper. 8. Glazing : The final technique that I'm going to talk about is called glazing. Glazing is one of my favorite techniques, and it's really something that's essential for creating realistic watercolor paintings. Unfortunately, it can also be something difficult for beginners to master. When I first attempted to paint using the glazing techniques, I often ended up with a mess of paper and water on my page to help you avoid that. I will tell you what I have learned to make leasing as easy as pie. Okay, first of all, what is glazing Lazy is a repeatedly adding thin layers of watercolor on top of already dried layers of watercolor. That's it. Pretty simple. Glazing is a method used by botanical illustrators to make paintings that are even more detail than photographs. It gives you extremely high levels of control because you're building up the picture very slowly, painting stone with successful glazing result in blue ness and color that can't really be achieved in any other way. Many people compare, glazing to building a stained glass window. Light shows through the varying levels of color to create a color mixture in our eye, so here are some tips for glazing have a gentle touch. It's really important to use a soft brush and a light hand when trying to glaze. Otherwise, you can end up lifting the previously air of paint off with paper. Instead of putting on a new layer, paint on a completely dry layer. If the layer is even slightly damp, you'll end up simply having your colors bleed instead of laying on top of one another. An easy way to see if the layer is completely dry. It's by touching it with the back of your hand. If it is cool, that means it's still damp and you need to wait a little longer. No scrubbing, many beginning watercolor artist scrub with the brush and painting, but this will destroy your ability to glaze. Practice painting with a few strokes as possible. Long, smooth strokes will make sure that you don't lift the previous layers of paint. You staining pains you don't have toe only use staining pains, but standing pains like Halo blue Nick glazing easier since you don't have to worry about lifting them up from the paper. I think this would be the best way for beginners to step into the glazing technique use high quality supplies. Having a very soft brush and high quality paints will make the whole glazing process way easier. If nothing else, you need to make sure that you are using an artist quality watercolor paper. Lower grades of watercolor paper cannot accept several layers of paint, so even if your technique is correct, the paint me lift off the paper glazing is a technique that takes time to learn. But it's definitely worth it. Don't be frustrated. If your first attempts don't work out with some practice, I'm sure that you'll be able to learn how to do it, too. 9. Glazing Chart : Now I'm going to show you how to make a glazing chart. If you remember making the palate chart, this should be pretty familiar. It's basically the same format, but instead of mixing in the palate, we're going to Glaser colors. This will show you how your color combinations will look. Using this technique. Now it's time to fill in the chart. Instead of filling in each of the squares like with the palate chart, we're going to draw a long stripe of color in each row. You can either take the stripe of color all the way down the square or divided in half. I'm going to show you what it looks like if you divide it in half. The interesting thing about glazing is that the order you put the color down and changes what the final mix looks like, so I will use each half of the square to put the color down in a different order. So fill out half of the square, putting down the colors on the left side of the chart first, then fill out the other side with the colors at the top of the chart. First, let that dry now fill out the chart with the remaining colors. Now you should have. All of your color is glazed over one another in two different orders. You can put a black line between the two different house if it makes it easier for you to distinguish them. Isn't it cool? Try it out yourself. Do some different mixing techniques like glazing wet on wet, wet on dry, mixing in the palate and mixing on the paper. See what the difference is and which methods you like the best. Share your findings of those in the class project section. 10. Continuous spectrum chart: This is the last chart that I'm going to show you, and it's also my favorite, the continuous spectrum mixing chart when I just can't figure out what colors I need to make. This is the chart that I may. If you remember the water color spectrum chart, think about the continuous color mixing spectrum chart as its big brother or sister. With this chart, you can very accurately pinpoint what colors to makes on what ratio to mix them in. So this chart is pretty simple. Divider paper into three or four rows or columns. You want your boxes to be fairly long because you're going to be painting lots of strokes inside of them now. Disciple color you want to makes. For example, if you're having trouble mixing greens, you can choose three blues and three euros. Write down the names of each of the colors and paint a swat of each underneath our over the name. If you remember in my watercolor tips, you always start with the lighter color, so makes up a big batch of the lighter color. In this case, that would be yellow paint that undiluted on one line. It's very important that From this point on, we do not wash the brush because then you'll be changing the water to pigment ratio. The darker color will not get very contaminated by the lighter color, so you don't have to worry about that now. Let's take a swipe of the darker color and add it to the lighter color. Paint this on the paper underneath the first undiluted line of the lighter color. Continue this pattern until you have run out of space, or the batch of color has completely changed over to the darker color. Do this for all of the other color combinations. You're done. You'll have a chart that shows you exactly how much paint you need to put into a mixture to get a very precise color. It's really convenient when you just don't know what to do. Now it's your turn. Make a continuous spectrum chart and share it in the project section 11. Mud: mud. This is such a controversial topic. You've probably heard Tom's of people talking about a watercolor painting being muddy or saying that they have trouble off waiting mud. What does that mean? Good question. In a way, it doesn't mean very much because it's not very specific when some people say that they have trouble avoiding Lud. What they mean is that they keep getting brown or grey colors. But what's wrong with that? There are a lot of beautiful browns and grays, and nearly everything in the natural world has some brown or grey in it. To be honest, I don't believe in the concept of mud. The problem that I see is when you create de saturated colors without meaning to. But I guess it's a lot easier to say that I made mud. Then I made some de saturated colors when I wanted to make saturated ones. Okay, now that we have that out of the way, how did we avoid it? What are the things that can make us create de saturated colors where we don't want them? Well, here's a list of things that you should do to avoid accidentally de saturating your colors test. Um, it's always a good idea to have a little strip of watercolor paper nearby. You can use these to test out your colors before putting them down on your painting. That way you can be sure that the color you are using is the right one. Clean your palate personally. I don't clean my palette because I like to make spontaneous mixtures, but I know that it can be confusing for some people to work with a dirty palette. So if you keep getting de saturated colors and you don't know why, try cleaning your palate. It might help stop and lift, so you made a mistake. Don't try to cover it up with another color or some more paint in water. Just get a tissue and lift the color out, Then wait for the area to dry. Fussing around with a mistake is a surefire way to make it worse. Single pigment colors like I've explained before, single pigment colors are much easier to mix since they have only one type of pigment in them. Their behavior shouldn't surprise you when you're mixing them with other colors. On the other hand, you hear using a multi pigment color like green with yellow in it, you could get very confused about why it turns into brown when you are mixing it with purple, start with saturated colors. It's much easier to de saturate saturated colors than to saturate de saturated colors. Actually, it's basically impossible to add saturation to pain. There's nothing wrong with working with the saturated colors, but be sure that this is the look that you're going for. If you are attempting to paint vibrant colors, then you have to start with paint that it's saturated to begin with. Be patient. I know there are some of you out there who just can't wait for your paint to dry. Stop. If your paper is a little wet, your color should start mixing in ways that you don't want them to. Just wait for it to drop. Limit your palate. Try using fewer colors. Mixing many colors together does not necessarily mean that you will get to saturated color , but it's way more likely. It can be really difficult to keep track of all the colors that you have a mixing together . So think of a limited palate, a sort of like training wheels. You let you concentrate on one thing until you are ready to take on more challenges. Even master watercolor artists who are amazing at mixing colors don't normally use a large number of different colors in one painting. Try to keep all these things in mind while you're painting. 12. Mud: Okay, now, what shouldn't you do? Don't fuss in the two section, I said to try to lift up a mistake as soon as possible. But if you waited too long and it's impossible to lift it up, just let it dry. Attempting to work with a mistake while it is still wet will only cause more problems. This is also a good rule for glazing. Don't fuss with the pain very much. Just one brush stroke and leave it alone. Say no toe opaque. Okay, Obviously, this is a joke. There is nothing wrong with hope, A paints, but if you're not sure how to handle them, they can make it much easier to keep de saturated and chalky colors. Transparent colors behave themselves much better. No dirty water. Just don't do it. Dirty water is a surefire way to make everything you paint dirty as well. The water doesn't have to be crystal clear, but if it is seriously dark, you will start seeing it by mixing de saturated colors. No over mixing. Don't overmix complementary colors as we know complementary colors de saturate one another . So if you mix it in too much, all you're going to end up with his grey or brown. But what if you need to put two complementary colors next to one another without grey or brown in between? Paint them in wet and wet and don't disturb them. Put another color in between to buffer them if you can. For example, raw sienna is a good buffer in sunsets between blue and orange. Normally, blue and orange would make brown, but raw sienna somehow magically doesn't make green with blue. And if it's between the two of them really nicely, I know that might sound like a lot, but over time you will get used to these rules and they will come to you like second nature . I've also included a list that you can print out and reference if you need to. 13. Mix Saturated Colors: So now I'm going to give you some general rules for making both saturated and decide iterated colors, mixing saturated colors. So for that reason, try to make sure that you have highly saturated colors on your palate. When you are mixing colors, try to mix colors that is close to one another on the color wheel is possible the closer they are, the more vibrant mix will be a warm yellow, and the warm red will make a much more vibrant mix than a cool yellow and a cool red, which are much further apart on the color wheel. Analogous colors are the best colors to mix together, if possible, and now Lucas colors are colors that sit next to one another on the color wheel. That could be a maximum of three spaces apart, so that would include, for example, yellow, orange, yellow and orange or orange red it orange and red. You basically can't go wrong if you mix these colors together, mixing de saturated colors. Now you might wonder why in the world you would want to mix too saturated colors to begin with. But de saturated colors are actually really important for making shadows and realistic paintings. If you have ever wondered why your paintings look flat, it's probably because you don't have a good enough combination of saturated and de saturated colors. Okay, so now you get why they're important. How do we make them? The easiest way to make decide traded colors is to start with the saturated colors. Like I said, it's really easy to de saturate Saturday colors. But it's even easier if you have decided treated colors to start with the's air colors like burnt Sienna, raw number and all those earthy browns on your palate. The fastest way to de saturate saturated color is by using the complementary color. If you remember, the compliment to a color is the color that's farthest away from any color on the color wheel. For example, red and green, blue and orange or purple and yellow. This is also the most extreme method of de saturating. If you only want to slowly and gradually de saturated color, then it's better to use the split compliment. Its fleet compliments are the colors on either side of the complementary color. For example, the split compliment of green is orange and purple, so in the case of green, you could de saturate using orange instead of red. That would give you only a slightly dis actuated color instead of a color that very quickly turns almost black or brown time, mixing up some saturated and decide treated colors on your own. 14. Tropical Flowers: okay. Are you ready to put everything that you've learned into use in order to practice everything that we've learned? We're going to paint this colorful arrangement of tropical flowers. Are you excited? I need to let go. So first I'm going to show you the colors that I will be using for this painting. It's a pretty limited palate, but it's got a few more calories than the one in my first course, So we have a cool and warm yellow. This is P Y. 1 50 and this is P. Y 1 53 I also have a very cool and very warm red pr 1 22 and p 0 73 I have this sort of pinkish color PV 42 that I'm going to use on this flower. But you don't need this color. But if you want to do it exactly the same way that I do, you can use this color. I have a cool and a warm blue PB 16 and P B 29 basically the same pairs I use before, and these two colors are also optional. This is a granulated cool blue, very similar to pp 16. But it is granulated and use that on this orchid here and PT 36 which is a yellow based green. But I'm gonna use in the leaves. But of course, you can always makes up a really nice green, frumpy white 1 50 pp 16 or whatever. Your cool yo and cool blue are you don't have to use these exact pigments, but I'm just showing you what I have in case you want to follow along. Okay, To start out with, make sure that your paper is nice and clean. Don't clean it off with your hands. I use a little fan brush. You can use a makeup brush or something. This painting is gonna have a lot of warm tones in it and a lot of green. So I'm going to start off with covering a lot of it with yellow, So I'm gonna mix up my patch of P Y 1 50 from when I mix up colors. I'm gonna put them on this watch here. But since you already know what color I'm using, I must put that again. So, basically, you're just gonna want to make sure that you have a nice, generous patch. We're gonna cover a lot of this painting. You know what? I want work relatively quickly because you wanted toe drive. I didn't even watch. Try to carefully paint around these holes. Okay, So these flowers are also going to be yellow, and so are these little things here by this, the man of lesson underneath the banana blossom is gonna be a little bit of stem. So I think that in basically anywhere, you're gonna eventually mix something that has yellowing like orange. To put this this also has a little bit. Yo, when the science here, you put that in. This has some yellow here and something over here and these you can smooth out so that it is our not so sharp number. You're trying to work pretty quickly. Reason why I like doing as many colors if I can a z many areas as I can. And when colors because then it makes it look like everything is part of the same picture. Even though there's a bunch of different parts to it. Otherwise it can look like really disjointed. Okay, we're almost done since thes part is a little smaller. Switching to a smaller brush just cover those leases. It is okay. Now, you can just leave that to drive. So I'm taking p Y 42 I'm just putting it on here. It's gonna go over all of these flowers just the same way that I had with the yellow. If you don't have PV 42 you can use PR 1 22 and warm it up a little bit with a little bit of a one yellow. This is just a slightly warmer region. PR 1 22 So it's kind of pink. I can remember like a steak. We just do that. Don't scrub, just dab and try to help paper available, so you don't have to stop too much. But you got to do that as quickly as possible. Thanks. No, this is going to be something a little different. Then how added it to the other ones, but this is actually going to be a blue flower. So I'm gonna do is I'm gonna cook water here. You don't have to be super precise. It's just clear water. Begin side of these two big pedals, and then I'm just going to trump a little bit in there, you know, very much. You can just leave it like that, or you can spread it around a little bit. I wanted to be really faint cause I want this to read his blue. But having this in here, even if it's just a little bit makes it so that this is going to fit in with these other ones. Maybe China mistakes go back in. Fix that. And areas that are pretty dry with a stiff brush. So I didn't think this was a big deal. Not too happy with having all this red in my yellow, actually. Really nice Boring, but I don't want to do and that clean that up pretty easily. Okay, so, no, we're gonna have to let this dry because this is touching all the pieces, so we'll come back when these cuts are dry. Okay? No. Okay. Now that everything is Dr, we're gonna try to work from left to right where I am because I'm right handed. If you're left handed, it would make sense away from right to left. The plane is that you're not going back over something, That's what. So we're gonna start with the greens cause there's a lot of greens here and I'm gonna take something. Set PD 36. If you don't have PD 36 or some other yellow biased green, you can mix it up with a cool blue and yellow on. And some of the people I want 52 is make it pretty light. Remember to test things out from deeper to see what it looks like. So, like, how that looks. And they'll put that here. Let's watch for you. That is P D 36 and p. Why, 1 50 So, for this plant, all of the spines are going to be a bit of a darker green. Well, im going in and putting these and most returning to the Stockton that it is come down. Also going to me the outer and your edges Relief A darker because it's curling of it. And then I met. And that the light is coming from the upper left corner because this is underneath. This other flower is a little darker. Okay, so you're trying to get some color into that area to the same thing here. Actual gonna cover this whole thing and green no, to make around it. Look, we're just gonna clear on this side because like I said, Well, it is coming from over there. And then then you soften it in. Exactly. There's just shadow on that. So we're gonna obviously go back in and working on on these colors. This is a race leaders. Not really. I'm gonna have these leases that it's going to be bigger on the inside and then get lighter as we go out. So that is often the food. This whole middle section will be so little green kind of mix up. It's your green to make sure that it matches. And it does. - I was gonna go back in and put up a little bit more green underneath this banana flower. Okay, so we have the basics of my greens potted in, move on to these flowers in the middle here. Need to dark in the center of this flowers. So the nice thing about people I 1 50 is that in mass tune. It's this kind of dark yellow color just perfect for the shadows. So it's gonna take that. Put it in here, leave this side hot and decide soft so that you can see it looks like the inside of the flower do the same thing here. He does not come out onto the sides a little bit so you can see that's curving and then soften it. Timing should have. This didn't touch does well, because I'm gonna go in here at the same time. And that's why we is going to be armed. We're gonna take that warm yellow, so oh, over this flower from the nice washed. Okay. Now, well, this is still well, so that it could make a blue. We're gonna drop in this red. Did you know how high biscuits is Have like this? Read blooming in the center. We'll get make lines if you want being really nice and soft. Sparks started to dry out already. I was gonna have a little more pink here. I put that red back in. That looks natural. A little more really concentrated red in the middle. So that's starting to look like a high biscuits. Weller. Let's let that dry come back to it in a little bit. Okay? So next I'm gonna work on this plant here. So when I make a mixture of the PR 1 22 and the Tito 73 to get just like, basic red color, as you can see here, just a normal red. And I will watch that out there for you. Let me good, decent amount. I know this color. We have to be a tongue you don't know Run out of it when you're mixing up more always just check to make sure it's basically what you want. Okay, so that's going to go here, And these plants have little striations on the inside of them. So we're gonna use basically the same technique that we've been using, which is to put on something and then stuffing it up. - So this looks pretty messy right now, but that's OK. People would get better. I promise. You can already see the shape starting to come out. This is still a little wit, but not white enough to wait so we could go back and work on some other areas. Can put actually a little bit of that same warm yellow into the center of these flowers to liven up a little bit, just a little bit. Open it out. So next time makes up a doctor version of that same green color, It just has more green in it. And I'm just gonna use that too deep in the colors. Have a lease in the same way as we haven't doing. - Use the same color in these different parts of the picture. Now, here, you don't put that was much. Each time you go darker, you don't put as much paint on the paper. So if you went halfway down but the paint last time this time go according way down, - I want to get back to this high. This goes. But we should probably try working on this first toe. I'm going to clear a little space rescue. It's easier to make sure that nothing looks out of place if you develop everything at the same time. And these two haven't gotten as much attention as everything else. I already put down a pinkish color. Now I'm going to get PR 1 22 and put that in over most of this flower. Since this is a least that's curling out where it's a little darker at the base, well, I can't get in. And also underneath this look, So this side is gonna be in the light, but this side is gonna be a lot. Doctor Also parts on the bottom. Since it's kind of a bullish Also, Booker outside of this, he's gonna be doctor on the inside. This won't hurt here. I still have a little bit. Just a little bit more darkness. It's starting to get a little bit of shape. No, this is going to be a blue filer. So clean up a little space Where it here. I'm gonna take some of that Kubu in this case PB 16. I want a pretty dilute. - Okay , so that is the first layer on this market. You know what? That dry and work somewhere else. Let's go back to this green that we were using and take a little bit of that red. Let me get a bit darker. And this actually did crucially on the test. So this is a bit more of a natural greens. Some people might call it a sap Green took the mixture of these two colors. I'm gonna put this in the deeper, shadowy areas of this lead. If you've ever make anything, I just know that on both sides, like abuse, we used on the right side a little bugger, then the ones on the Web. Not exactly the same. And also this one here, done anything flower? That should be a little more showing I was gonna And don't forget that. They're also these stuns here and they need to be just a developed. So now those leaves look a little bit less neon and a bit more realistic. Let's go back to working on the center of power, this high biscuits. Since that's not really touching any of this screen here cleaning up, it's blue area. No, we're gonna make this likely be saturated dark region of this orange to give some separation between the pedals. So we'll start out with p 0 73 Mix it with P I u I 1 53 Get this really nice. Pretty orange here. So first. Okay, put that out there for you. And now we're just going to have a bit of the orange in all the places where the pedals into overlap one another. So here this pedal relapse. And here let me see. It's making a kind of shadow to leave These pedals overlap here already using a bit more shape and dimension. And if I discussed, don't forget to define these little carts that are curling over to they're gonna cast a shadow just out A little bit of negative painting here by the stem didn't make it stand out . So that's not gonna look a lot more realistic already. We're gonna leave that to dry. We're gonna take that can mix and add Bunches P I 1 50 to it. So it becomes a much more cool than any color. We're gonna come back to these little yellow flowers and just like before, accentuate the difference between those pedals because they're really very simple flowers. They're basically just yellow. But you don't just want to have a one dimensional yellow flower. That's not gonna look really nice in your painting. There's a lot of different kinds of yellow. You want to show that yellow flowers are actually often really difficult to paint because it's hard to get good shadow colors for yellow and still have the thing looking like it's yellow and not orange or something else. But you can tell these yellow flowers, right? Okay. Before we were working on a piece that you just worked on, remember to use the back of your hand to check to see whether it feels cool. That's the same way that you check to see if somebody has a fever. And if it doesn't feel cool, then you can start working on it again. So I'm going to go back that blue look good. I'm gonna clean a little space here for me to work with. That's why I love using Micah five Classic. If you can just wipe up stuff, you don't have to waste tissue paper. Okay, so we're gonna get more over that PB 16 and we wanted to be a decent amount stronger this time. 15. Tropical Flowers 2: and I'm going to use a pretty small brush as the space is going away again are pretty small Go cutting color twos. Little tiny parts here. Never. Since this color is pretty standing, you have to work really quickly. I also have a bunch of really hard edges. So I just want fiscal center part to be blue, bleeding into this red and later gonna come back and put some details there. So this part, it was a bit in shadow because it's curling older. It s also gonna teepen this shadow here. So since we just painted here, I can't really go in deep in the shadows. Just a little tiny, bit more of a shadow on decide back to this fire. We're gonna use the same color that we used on those yellow Fowler's shadow to make the shower on this No protruding thing here. I had a bit spillover cleaned it up, and then well, that's during I'm going to go back in numbers. I'm gonna make it, but it bluer. So to do that, I'm gonna add a warm blue. Yes, this is a very magenta Get more probably. I just watched that out for you practice p r for 22 class pp. Can you shut up on this? Side is also much cooler. Okay, so now we're gonna take this color. Since it's a stain in color, we're going to start putting in on these bottom to that. We couldn't get in before. We'll see how that starting to make the definition between these pedals. You know, I'm really tempted because I like how this is looking to keep fussing with it. But I'm gonna leave it alone and just try to work on the passion between these other couples so that you can clearly she the shape though this working that's looking pretty nice. Going to add a little beard orange to this blue. To get a kind of do you saturate it? People might even call it an ugly cooler. You need to be saturated. Colors Well at that to these causes are not violent. His arrest. So when that color is this mixture plus cleaning, be 60. So he was gonna get moving around without the point. We're not in time. The water, so you can keep moving around, and eventually you're gonna finish. You're painting, so I'm gonna take this mixture. And when that's gonna add, I wanted to wean woman. It's not quite enough. So I'm also going to have a little bit Look, a swarm, the yellow we're going out to Really? Where did you read? No, there was much. Now we're still tryingto have these lights and darks. We're not gonna paint in the whole thing. How do you want to start looking up it Unless Kitty more like a flower. So I'm just These are the ridges of the father and just bringing this color down and softening. So that's already starting to look bit more full featured. Okay, so we're back. This is high business, which we have made. It's basically with a combination of P Y 23 in Kenya 1 53 Mix it up again because I don't have any left. Remember, it's not that hot spot that color again. You're gonna add just the teams. He is that of PB 29 to build down Nicolle and we get a sort of around once again. I'm gonna go in at the shadows. These shadows won't be as big as other ones. Each time you abuse, you really want to be adding less and less color comes again *** painting around this demon . I'm also going to use this color to start making you lines, suggesting the silliness. So this Weller, it's very quickly lines like also helps Got reform of the power. You don't have to be super precise with this and kind of go from your imagination. It's like the nice thing about flowers. You have to be sticking amount, have a certain amount of accuracy. But it's not something that has to be exact because every flower is different. You hear? All those lines are only going to the center. Why we're here. Let's just having some straight peel. I'm sending you into the center, pulled out just a little bit. Don't go overboard. You don't have to soften every single line. So, yes, this is really what? We're gonna leave this alone. Let's go back to this poor kid and start getting some details. Make sure you watch out your best very seriously. Because blue and orange eagle brown and you don't want any brown in this my way. Okay, so now we're gonna start join those veins and just really likely. If you want, it's something that just a little bit. You know what I lose too much Do, too. So these come up and then they Brancheau's. But you don't know, really. Delegate with these lines. That looks much more like a far now, doesn't it? I'm gonna go back in later and add more shadow inform on top of these details, but the details really bring stuff. The life I'm gonna mix up so more of this purple don't make stuff earlier. I'm gonna make it very dark batting a little bit of green to it. We wouldn't think that Greenwood may cripple darker normally the color you think I would be yellow, But in this case, green works, but not too much or it will just turn into blue. Since it's a pretty dark purple, we're gonna use this dark purple to start putting in details here as well. - This is a slightly dark a region of the sexy mixed. We're gonna use this tongue, which is a bit designs, really thin, kind of colliding on the surface of the paper. It's not a lot of pressure. Sometimes it feels like you're not even painting anything. But it does make a difference. Anything about purple is you can use it for darkening most. Any shade like he's on the green in other places. It's really nice. You got to keep it away from yellow. We're gonna take some of that color earlier and just put it on the shadow side. I use a little everything is Look it two purple. I'm gonna go for it. Okay? Now we're gonna go back to that blue working except somewhere that blue, you know, we're gonna starting it. It's a tiny amounts. If you see anything coming together to try to use a really small books, Really, he's more places. - No . We're gonna add a little more orange to this, making it more orange. That's not quite designed. Do they want to add a little bit of here to get it back to the sort of quick cover? Just read, Read to be about a match for this, And it is so And when I just dug in it slightest bit with a little bit of so I'm just repeating the same process. A lot of political issues repeating the same processes until you get the look that you want Deepening colors, adjusting saturation. Well, that's trying. I'm gonna mix park, making cooking that color. I feel 1 17 and then sing it with 29. You were just gonna that that to the center of the high. This is that's experience. Really. You can just really not You got the area. Just drop in the starkness. If you don't like the shape, just lift it up. And Robinson, until you're happy with how it looks, just a teensy is a bit not to be other. - The side is a bit, doctor, because it's in the shed. It's a We're mostly done. Now clear up. Stuck purple capsule Pay me for to just so nice and great and with a kind of his damn bush and with a kind of handouts rational, a wet brush. Just kind of bringing back that pinky feel into this banana blossom. It's not so dull within. You're gonna go back in this out, get some more p p 16 and with another just damn pressure going with it straight. Try to get a little more color in there just really softly. Anything pretty big Russians, We've been pretty quickly. Now this is mostly drive. I do. Spanners were actually going to with using a clean dries stiff brush? Uh huh. Pio, by 1 15 you could have also have mess this out that you don't need much good when I get you a clean a result. But if you don't have masking fluid, wanted to be able to do this too. Take that same pink. Carry it up. You didn't have to go all the way up a little later at the top. The light is hitting it. We're looking for a cure if you want to basically just playing around now, adding something to the shadows on this, which will help it actually to blend in with the other filers. You don't really notice it, but it's there bottling. If this is dry, go in a pretty thick. Make sure because I think and kind of make to regain movements. Thank you. Look a bit more like it's shiny. No softening of these ideas to finish off. If you feel like there's mystics, anything you want to live, just go ahead and clean it up. Stiff brush. Now on the last thing. Now that I'm looking at this again, I want to make sure that I have really nice dark green movement ad some point to this group . That's what we're going. Yes, a little bit cleaner. Okay, that's nice and dark. And I just going into this, like just a couple of places. Just people. Places. - No , You have a beautiful. That's it. Now you have a beautiful tropical painting. 16. Wrap Up: Now it's time to wrap things up before we finish the class. Let's just do a review of all the things that we've learned. We learned that painting wet on dry is better for hard lines and details. While painting wet on wet is ready for soft blooms ingredients, we also learned that mixing on the palate leads to more uniform color than mixing on the paper. The mixing on the paper can lead to more vibrant colors. We made a mixing on the paper chart so that we can see what our pigments look like when they're mixed wet on wet on the paper. We also learned all about glazing and how it's a great way to make delicate transitions in color. In order to test out our new glazing knowledge, we made a glazing chart. Then we made my favorite chart the continuous spectrum chart, which is the perfect way to pinpoint color. The exact way every single time I shared with you all the things that you should and shouldn't do to avoid mud, including stopping blessing with your strokes and making sure that your paper is dry before continuing. Painting the last piece of advice I gave you was about how to make saturated colors with color close together on the color wheel and making unsaturated colors by doing just the opposite. And then we had a lot of fun painting some bright tropical flowers. With all of that information, you should be a color mixing master. 17. Thank you: Thank you so much for taking this class. I hope that it was helpful and that you learned a lot about how to mix your colors in many different ways. Make sure to put everything you learnt into practice as soon as possible and complete your class project that will make sure that you remember all the things that you learned during this course. A completed class project will include in mixing on the paper chart a glazing chart, a continuous spectrum chart and the painting of the tropical filers. I can't wait to see what you come up with. Please leave a review. If you enjoyed this class and feel free to leave your questions or comments in the community section, I hope that this course was helpful and I can't wait to see you in the next class. Bye.