The Magic of Color Mixing: Master modern color theory using watercolor | Natalie Martin | Skillshare

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The Magic of Color Mixing: Master modern color theory using watercolor

teacher avatar Natalie Martin, Australian Watercolour Artist

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

9 Lessons (2h 6m)
    • 1. Introduction

    • 2. Let's Talk Materials

    • 3. The Colour Wheel

    • 4. Shades ...or 'Why to I keep accidentally making brown?'

    • 5. Colour Charts

    • 6. Colour Explorations

    • 7. Mixing It Up

    • 8. The Final Project

    • 9. The Wrap Up

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About This Class

Hi! I’m Nat Martin, a watercolor artist from Victoria, Australia. I’ve been captivated by this medium for as long as I can remember and while teaching is a more recent thing, there’s nothing more rewarding than helping someone explore or reconnect with their creative side. 

This new course, The Magic of Color Mixing follows on from Welcome to Watercolor and is for budding and established artists alike. In it, we’ll go deep into modern color theory and together, we’ll build up your skills and confidence so you too can create works bursting with life and begin to develop your own language with colour.

The course also covers why it’s important to understand color and how colour affects the mood, temperature and energy of your work. You’ll paint your own color mixing wheel, learn about color reference charts, how to create beautiful neutrals and earthy colors, AND, why you keep accidentally making brown (!)

Color is such a huge part of my own work, I love using vibrant, high energy watercolor and I’m so looking forward to seeing the magic you create with your finished piece.  

If you'd like to use the materials I use in the course, I have put together a handy Colour Mixing Paint Kit.

I have put together comprehensive course notes that you can download and review whenever you like.

To help you get into the painting mood I've also put together a fun Spotify playlist of songs I enjoy listening to while painting and get me in the right mindset.

Meet Your Teacher

Teacher Profile Image

Natalie Martin

Australian Watercolour Artist




Hi! My name is Natalie and I'm an artist based on the Surf Coast in Victoria, Australia. I've painted with watercolor for over 10 years and have been teaching it through workshops and online courses for the last few years now. I really enjoy teaching and sharing the magic of watercolor. 'Welcome to Watercolor' is my first online course, a beginner's guide to contemporary botanical watercolor. My second course is on my all time favorite subject COLOR called 'The Magic of Color Mixing' and I've just released my third, 'Lessons in Layering with Watercolor' - you guessed it! It's all about layering and exploring what this can bring to your work.

My practice explores the natural world with this joyous and free-flow... See full profile

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1. Introduction: hell A. My name is Natalie Martin, and I'm a watercolor artists from Australia. We may have painted together before in my first online course. Welcome toward a color. If so, hello again. If not, welcome a boat. This is gonna be fun. Today we're going to explore the magical world of color. This is a comprehensive guide on color, in particular, using watercolor. I wanna build up your skills and confidence so you can create works bursting with life. It's really important to understand color. It affects the whole outcome of your work. The mood, the temperature of the energy color is such a huge part of my own work off all creative elements. It is far and away my favorite in this course. We're going to cover color theory and painting out in color mixing will learning about color reference shots. We're going to look at Khamenei's colors. Vis is energetic colors. Warm vest is cool. Learn how to make beautiful neutral on anything colors and why you keep accidentally making brown. We'll talk about how to use color in interesting ways and then apply old or new skills to a final pace and start to build your own language in color. I love working with vibrant high energy color. I'm so excited to be sharing 2. Let's Talk Materials: Okay, Now let's talk about materials and made throughout the course I have in front of me. Some watercolor paper. Of course. We're gonna need watercolor paper. We're working with watercolor. It's important to use watercolor paper as opposed to your printer paper. Anything like that. It is built for the purpose off. Taking water on board. It's gonna function a lot better. You get a lot better result. This particular one is a cellulose based paper. It's a lot cheaper than your cotton paper, which is what you traditionally used for our final project. I'd say I probably moved to a cotton shape just cause I really love the way that the color moves on that. But during the exercises, I'm just going to use this cellulose. Most importantly, are a watercolor paints you'll see here I have a whole array of tubes, and if you join me for welcome to watercolor, you'll be like, What's she doing? I thought we're gonna work with the distance again. Well, you can actually use these, and I have included in a pdf in the downloads to point out which colors I'm going to use. But for the purpose of these, for illustrating color mixing. I'm actually just going to use three colors. The primary colors. I am going to use these three here. There is a clinic return rose, a Kevin Ian like yellow and a fellow blue. I'll explain more about these and circle back to them in video number three, which, when we delve into the color wheel, you'll see here I have a whole array of colors and this is my turn. Call appellate here where I have a whole selection of colors that I worked with on a regular basis. Um, the point of this course is, though, that we're gonna learn how to mix all those colors from what we have here. And it's actually just the three. It can be overwhelming in the at store when there's just so many yellows blues in the genders. But, uh, I will come back to that in in the third video when I can explain it more in detail why we choose these particular three. So from there, we also need some scraps of watercolor paper. They're really good for just doing little swatches on and testing your colors. I've got two brushes here. You can pretty much do it with any old brush. You can use a feel that I'll go two rounds. I've got a size 10 and a size four. These are really great vestal workhorse brushes so you can get everything done with just these two. I wouldn't worry about to much more than that. Um, paper towel. Also really handy. I You'll need to block a awful lot of the color that's remaining on your brush, so you're probably used quite a bit of paper towel. I also have here a pencil and eraser. Uh, and what else? To water Jazz one's good two's better ones for rinsing all the pigment off. And the second one's for making sure you've got clean water to access, and it's got no impurities in it. Uh, and most importantly, today is our palate. You can see here I've got a very clean pellets. Not normally this claim, but I've got my three primaries, and that's all I'm gonna work with today. So I wanted a nice, clean palette, so it's really nice and clear for you to see what I'm how I'm mixing in what I'm doing. I would typically work in a lot messy away like this. I squeeze out all my true paint into these wells here and allowed to dry overnight. It prevents me from collecting too much whipped paint and just rinsing it down the drain on guy love this big mixing surface like this. I love big, soupy, messy colors because you get all the beautiful, earthy accidents and mistakes. And if you try and keep the old pigment colors on the outsides really clean, it means that you not get picking up any mystery colors along the way. You can just go. I can confidently pick up the orange and know that that's the correct orange and you're mixing spaces, a designated area. Uh, the last thing you own age, and I say every cause you need a pinch of courage because pointing takes courage. Creating at takes courage and learning something new takes courage. So enjoy that you've seen for on music. Uh, find a perfect little space and enjoy yourself throughout this course from here. We're going to go and paint out color, mixing well 3. The Colour Wheel: The very first thing we're gonna do is paint are in color wheels. The color will is such an essential part of our understanding of how to create up and how to mix colors. And that's what we're here to do today. The very first thing, very first thing, is understanding out primary colors. And if you can see here, I shouldn't have grabbed those three. But I have a whole array of what would typically be called Primary Colors. In school, we might have learned that yellow, blue and ridge were at primary colors were. In fact, when we're talking about color mixing and pigments, magenta is true. Primary color Red is grace but is also able to be mixed from magenta and yellow. And that's what establishes apartment color as a primary color. A primary color cannot be mixed for many other two sources, so the most pure of what we've got a magenta, a yellow and blue, similar to what you must have seen in your printer at home when you've got C M y que you've got Cy in yellow, Magenta and K actually stands for black, they three colors, everything that you need to make the entire color will not just all our beautiful big bright colors, but also black, brown and allowed neutrals as well. It's quite amazing what we're gonna be out of create today. Importantly, the colors it up tracing here have very little influence from thinks quinacrine Rose has very little yellow or blue. It's actually incredibly difficult to find true paint that has no of that are pure primaries that have no other color in there. For example, this is a low blue, actually has green shade on it, which tells May that there's a tiny bit of yellow in the So I know that this one is not gonna be quite right, and the yellow is quite neutral, but it's still got a few imperfections, so we're gonna do the best we can. And that's when I mean, when I'm talking about the disks is that the magenta in here is not a true magenta. It's got a quite a bit of blue in it, which means that you're not going to get exactly the same results as may have actually done a color wheel advance using these disks so you can have that as a comparison. It's downloadable from the resources list. Um, from here we've got a blank sheet of paper and we're gonna start with the primaries. This color will is a little bit different to what we've done, what you might have typically seen in the past. But I've done it in a way that helps you work out the formulas to create all these colors. So get your pencil out and we're gonna draw circles on are scary, always the drawing that freaks people out more than the actual painting itself. Very first thing we're gonna do is draw a circle right in the center of the page and right above it draws a larger circle and to create a tour, angular kind of shape. Gonna do another one of equal size over there and other one of equal size over there. Now, those three are going to be out primary colors in what we're gonna build a color wheel diagram. Gonna grab my paint and doesn't matter what primary goes where this point, so long as you've got yellow, blue and magenta somewhere that I'm gonna start with Magenta here. My paints need a little bit of a warm up and you want to not go to light. You want a really good indication of a really strong magenta? You want that really intense saturation because you want the strongest form of that color. Because within that, there's a whole tonal range as well, which we will also cover around. Sorry, Magenta e. Look at that. Not too worried about the outlines. Guys don't do outlines, and then I'm gonna rinse CIA, and then I'm gonna collect clean water from here. Importantly, because we don't want any of that magenta influencing our yellow at that point because we want the purest form of yellow. And I'm gonna grab my yellow, that saturation, Yes, brunch and same again. And you will need to turn these waters over pretty regularly, I'd say. Well, sweet. Just doing this initial rant whilst we cover the entire well and regret. The blue blue is typically really strong in pigment and quite dominant. So you may not. You might find it quite from dominates all the colors and you won't need as much pigment is what you think. And there is that blue. So there we have three primaries. I get them all. Just gonna ignore that circle shape altogether and paint my own circle over top. Um, primaries. We're going to ignore that center one brought to the very end. And from primaries we have That's our first year of colors. They're the most pure oval colors. You cannot mix them from any other two. From there, we have secondary colors. Secondary colors are simplistic color mixtures. So secondary goes in here. In between the two primaries secondary is made made up. This is not science. Roughly 50 50 off these two colors. But we're going to use that eyes rather than our maths to actually work this out. We're gonna use Find the visual medium between these three points and you should end up with a really beautiful blood orange. So on my palette here, I'm gonna grab the pigment here. Keep these is sourced clean colors and start a new well to mix up my orange. Okay, it's that brush off nicely. Grab some yellow mixed. That'll around. Now, if you think you've got it pretty close on the first go, you can either do a little swatch on your card here and check. And what you can do is just properly in there. Then you got a bit of a visual reference. If it has too much yellow in it, you'll find it actually leans this way. It will gravitate towards this way. And if it has too much magenta and it actually goes the other way for May, I'd say that's actually pretty good. I could deal with a little bit more pigment in their slightly washy. So I'm just gonna add a bit more pigment and try and get that balance back again. There's a lot of rinsing for this first section. All right, grab bitten wheeler. Mix it all up. They were doing. I'm gonna paint in this color here orange. And if you really think that you not super stoked with that color and you could change it up a little bit whilst it's still wet, don't let it dry whatsoever. You can just add in a bit more pigment and mixing over the top. It was good, all right. And now on to our what will be green, which is equal proportions of those two primaries. All right, grab the yellow. Mix it up now, knowing that the blue is really strong. It's a very high value. Keller, meaning it's quite dominant. I'm just gonna grab a little bit because we can always go too heavy with the blue. It's really easy to do, and that's going to heavy. So grab a little bit more yellow to counteract that. What tends to happen if you renting you brush. This matches that you get so much water in all your pigments over here, they end up really washing as well. So I want to try and block off a lot of that excess water as we go. All right now. Got this beautiful emerald color that looks about accurate may pop it in there. It's not very strongly need a bit more color. Now it's led off again, and then we've got a final one. And don't forget that you paid the A paper is not stuck to the table. We can spin. It is going to pay a violet. I'm not a big chunk of color little trade blue, a bit more magenta to balance that at it's so important to actually do this. It helps train your eye and your brain and your hand how to make stays colors. If you just watch this and you can say all that's how they do. Uncle, actually doing it is so effective for you learning. And there is our violet. All right, now from sick Andris. What? We have the next sort of colors at our fisheries fisheries full between secondaries and primaries. Really? So every tertiary is made up of one pop primary, one pot secondary. Let this and we've got our primary and we've got our secondaries. So we're just gonna mix portions of those two together, grab some more magenta. I'll start with that one that I've already mocked up. So it grabs on my people. Tony, More blue. Too much. That's so this one. These ones are harder to find that purple perfect middle ground. It's a small arranged to deal with. When you going from here to here? You've got wide open range, whereas you got here to hear you need to have quite distinctly different colors between these two. But then it's, uh, it's small arranged to work with, so it's harder to spot any discrepancies. Makes up a bit more of that color. Who made it down the truck? That's bitter. I got stuck talking on and let it drive. Alright, and then we'll go on to this one over here. And this one will surprise you. A rat Grab some more of magenta and I'm already contaminated. My yellow. I am so hopeless. Says why, my pal? It looks like this. If I got some of that green in my magenta, I would end up with, like, brown instantly. All right, I should get my balance. This correctly A really good fire engine writ too much. It's amazing how little pigment you can actually really shift to color. I always go a bit too heavy handed with that ridge. Now, into this one will end up with a really beautiful golden yellow yellow orange call off. I'm not even just use this bit of yellow over here and mixing its existing. Yep. And the tertiary between yellow and green is a beautiful line up, So Oh, look, I've almost got it just here. Now, if I really have a mistake and I'm just completely contaminated my, um my yellow I might just mop that up because that's going to affect all my colors down the line. Que grab yellow. I'm gonna put my line over here, and we go so it to my I'd say that I might have a fraction too much blue in my line mixture because it's leaning towards the green, more so than the yellow. So whilst it's still wet, I might just paint in a little bit more yellow into that so that I can have a good representation. A rash. Now one of my favorites is this one. Here, you get a really nice Akwa. Tickle is kind of color. Get my very strong blue and at some yellow get when you're mixing up in your wells. It's important to mix the whole area into a mixture because otherwise you may end up with a bit more yellow over there in a bit more blue over there, and you'll have a really unbalanced color. Makes a what color in your little space there every day. Some job boys and the final one is here with a beautiful world. Take over that one over there, I think a tiny bit of magenta because remember, all things come from the three primaries. No matter what, it's one of the other that's gonna go in there, right? Is that blue, and that we have There is a color wheel. What we'll do in the next video is talk about this central dot which will be really fun. One. It's where everything that's coming to place for everyone and explains why you keep accidentally making Brown. 4. Shades ...or 'Why to I keep accidentally making brown?': so we just painted out very and color wheels. But you must be wondering what goes there. Most people would say brown, but it's actually black if we mix equal proportions of all our primaries, we end up with black and black is the ultimate shade, I guess. So what we've got here all you might have noticed every single one of these colors is mixed from just two primaries. It's never third, and any time that you mix three primaries together, you end up with shades, shades of those earthy, muted neutrals, grays, organic colors. You may notice you don't often see these ultra vibrant colors in nature, but when you're looking at a typical say Australian landscape, you're seeing a lot more of these in between colors. And that's what we're going to learn how to make first. Very first up is making black and its most people does their head in, because you need to try and work out how to do this in a really effective way. Because if you are not going to buy a troop of black paint and you're gonna mix it every single time, you don't want to spend hours. They're trying to mix it all the time. So to mix black, what you can do is make mix equal proportions of your straight primaries. Oh, uh, you can mix one primary and its opposite secondary, which is why we've got black in the centre here because we can use this as a tool to go. What is its opposite? So the opposite magenta is green. The opposite off blue is orange, and the opposite of yellow is violet, and the opposite color is called a complementary color, which I know is a little bit confusing because it's on the opposite. So how's it possibly complimentary? But that's help with water cold, so we can either mixed green and magenta to make out black, blue and orange or yellow and violet. I'm gonna try and do it with all three colors, and then I'm gonna show you how to troubleshoot with balancing off it through the use of these color will. Okay, so let's see if I can get this quickly done for us. Can take a little bit of patients. Some drums patients is K and watercolor ARATS. I've got my blue gonna written, so I'm gonna start with the darkest color blue because it's the strongest and its hottest introduced more gently as you go along. And then I'm gonna grab my magenta mix that all in. So I've essentially come out about here with this. Color it off mixed he and probably closer to this one. So for May, to balance this well is that I grabbed my little pencil here and I drive through the center and I end up over here. So what is missing from my mixture? Here is largely, mostly Yeller with a tiny bit of magenta. I didn't quite put enough magenta in that to make it perfectly balanced. So I'm gonna try again. I'm gonna add a tiny fraction more magenta. So now I'm kind of more here. So now I just have to add yellow to mixes into a nice, neutral black, and I want I don't want you to give up and go close enough. I want you to try and get You can get the darkest, richest, most neutral charcoal black and then I'll tell you to never use it ever again. But it's really important to actually you know how to make it. I never use black in my book makes it a lot. I didn't quite get it too much yellow. I'm just gonna keep fussing around teeth a little bit. I mean, the more yellow spectrum now probably lived to orange. So I'm gonna just bounce that out with a little more blue and around. And so here we go until we get it Looking pretty Eben gente The more water you keep adding to your black mixture the more of a neutral gray you'll end up with because you'll keep diluting all that pigment. You want to keep that pigment nice and strong getting closer. And when you start to get really close, you want to just go even more gradually with your little additions into your paint mixture . All right. Getting closer again. Mixed Always little outside edges in because they're going to be really not marriage when you think you've got it and then you give it one last makes and you just collected a whole lot of blue. Um, all right, with kind of a little touch purple. So if I'm looking over here, I've got the tiniest hint of purple in there, so I need to add a tiny, tiny bit of yellow to try and neutralize that. I think I need a tiny bit more blue, too. That's pretty close to neutral, but I have gone a little. Look what I've just done. It's hardly blue, but I wanted to try and get a stronger black so you can see what I'm trying to do here. Just contaminate my source colors exactly what I told you not to do. Get it. 20 more, Tony. It's got a tiny it's a little bit purple, but let's point that fuckin there could go a bit stronger and color still washing out today . You want really concentrated pigments? Make this black, and that helps illustrate the rest. Gonna collect quite a bit close. It's platter of you in, I mean good, never again to get stronger. So there we have a nice, neutral, neutral black, and that could take some time to practice. You can even say may like balancing and balancing balancing. It's all really good practice, and that's why I really wanted to try and achieve the most neutral color that you confined because the next thing we're going to do is do a little tin chat of that color and reveal its tonal range, which helps create some of the neutrals that I was talking about. So you're just below here. I'm gonna do out on a whole series of little squares. However, many fit one of our guts. Eight Perfect. I'm going to grab my richest doctors black that I've got here and feel that first quit. And then I was gonna give that a little bit of a rinse, and then I'm gonna start revealing this tonal range. Now, if I've got these perfectly balanced, I will have totally neutral graze as I start to reveal and dilute this color If I've got it slightly off kilter Alec of it's a little too blue. I'll have some steely blue grays or some really beautiful cold graze coming through and say , If I had too much red in there, I might actually end up with a few beiges as by the time we get to the lower timpte range. But this is really good way of, uh, seeing how neutral were able to get it. Plus, it starts to reveal just how you create those mutuals. It's not like you have to mix neutrals on purpose. They will just they're all within the tonal ranges of these colors that we're making And what I want to do is get down to basically no color by the end off my little Tia and each one's gonna be quite distinctly different. That one super duper, duper deep A lot that's pitched. This one's a little bit in between. We need to get rid, take a little color out. There we go. So I actually managed to get this one quiet. Neutral. If you see here, it's definitely not true blue or to read or to yellow. But what we're gonna do from here is we've got this one neutral gay. But now we're gonna actually explore all the things that sound like they're wrong. But it's ALS. The neutrals, the beige is the olives, all those colors that yes, you can squeeze them out of a tube. And, yes, that makes them easy access. But if you know how to make them, you can shift them to be the exact color that you're chasing to create your work. So from here, grab a fresh sheet of paper. I want you to makes over colors from scratch, but they're all going to be shade. So every color that you mix is gonna have all three primaries mixed into them. And you're going to start to see all these amazing colors that you can make and they don't have to squeeze out of a tube. So I was gonna click some of his droopy yeller that actually made by accident and a lot of the magic happy accidents. But neutrals are so important to understand how you make them. And I'm just gonna do a series of circles, get a bit of yellow in my purple there, and I'll get a really nice, dusky move. I'm just gonna do a circles exercise similar to what we did and welcome to watercolor. Because even when you start to blend some of these, that's when you get some interesting results as well. I'm gonna grab small yellow mixing all in my purple hold of that one. Remember, Not have my hands. 11. My page. The oils from your fingers really, really interrupt the paper, go with some of that black and every single color. I just want you to try and chase something a little bit different about it. So I've got a lot of warm feeling ones this I might add a little more blue. Get some bluish color is going. You start to see how this is, how you would build some landscapes and things from the natural world, less so you're ultra vibrant. Pop colors, which I love to introduce, is, well, actually love marrying these two together on a page and having accents with the really pop colors. But largely if you look closely, they're all neutrals, all handmade. I make all my colors from scratch because then I know exactly how arriving to them make a bit of olive color by Look at that one. That's nice spoonful grain. And if I add some more yellers that Linda was in all of so any time that you're looking for like a really Australia on a green, you can neutralize any pop color. So if I've got a really bright green here, you simply just travel to the other side of the color wheel. I'm gonna add magenta to my green to try and achieve a more natural world color, where you just take some of that saturation out and it becomes a lot more neutral. What do we got here? Let's go a little bit of a warm black. So just keep building sings on these relationships form that's a more yellow in there Been a blue. Can you say that I'm absolutely hopeless at keeping my source colors pure. I just get in the zone and forget what I'm even doing. Then I just dual things I tell you not to do. I'm working from left to right because I'm right handed that way. I'm not got my hand running through the paint. And, um, it means I'm working to the wettest areas each time. So I'm allowing that to bleed if it gets a chance to bleed. And don't forget that tonal range as well whilst painting along because you can go really strong with this one color. So let's go really strong here. And then I could do exactly the same color, but just diluted a little fraction, and I could do a lot of vision off that same one. Get some self grains going to, and this is how you would make brown as well. So if you've got a really concentrated version off your, um there we go. There's a nice oka. So you've got lots of pigment in there, so it's gonna be nice and strong. Um, but so many people go all I ever do. I keep accidentally making brown. The reason you're making Brown is because you're introducing those three primary concepts into one to one color mixture. But you can back. I've got brokers and CNN's and numbers in my tubes, but to mix them yourself. It's really important to understand because say, Oh, really? Oh, Khoury, yellow in color is actually can be treated as a primary as well. It can be that yellow can be used. Teoh compliment a violet. Um, what else? Minute. You could have a few more blue ones that looks like keep going, mixing these colors up. Oh, that's very blue. That's one that's being trapped on the brush that makes him in talking and painting and making mistakes. The color off gonna make sense, um, orange into that so that we can neutralize it a little bit because he looks a little true, blurry for my locking. Good. That's nice. Dirty blue on. So Fred and a pencil. It's wanting to get involved just every single time. Just start experimenting and play like if you've got a little in a child going. Wonder what happens when I do this? This is the time to do it and just see what happens, because there's no one here criticizing and judging us. And learning and exploring is the best way. Teoh Get a grasp of this knowledge. I feel like of like some more strong greens in there. Well, that one's good. Nice Goldie Brody Grain All right. I could really just keep going forever, because I love these colors, and I just think that super beautiful and have your influence and creation of in the selection of them's just amazing. I can't wait to see what you do with this one. From here. We're going to delve into a little bit more technical color mixing and then move on to similar play again. So let's jump to the next class 5. Colour Charts: away. We've just had a look, a whole thing shades and maybe have a better understanding And why you keep accidentally making brown now And you've heard me talk about all these colored always color terminology like hues and shades and tones. This next exercise is gonna be explaining this a little more visually for you. So this is the perfect thing to do. If you're a really visual person or if you are struggling with the color mixing itself, it's gonna be a visual representation off all the mixing we've done so far. And you could honestly do this from every color to every color in your entire kit. And then you would have your entire range of color mixing options as a visual reference in charts. So we're actually gonna draw up straight chaps if you Ah, Taipei? Yes, she may use a roula. I'm just going to scribble him out because I don't really care. But I know what's people like to have it super neat. I'm gonna do three lots of chats along with a four sheet here. I'm gonna go three across and five down. Dais realize I'm just here ever having a check. I know Streit in the final one. If you were to do a ton of these and you put the effort in and popped the manual, I probably would actually measure them myself as well. But for this instance, scribbling acts just fine. So the very 1st 1 we're gonna do is we're actually gonna do a primary color to a primary color. And what we'll do is we'll paint one primary here and mix our way to another primary here. So in this instance, I'm gonna put yellow here. So, yeller, I'm gonna mix my way to blue here. So that means this middle 11 So what? Five spots? 1234 So yellow blue. And this one is great and our fisheries full in these two holes here. So I'm gonna grab some Mueller, try and get my least uncontaminated were a pigment I can, because I have made a total mess of it. Now again, few Taipei's. If you feel this book's immaculately there were just gonna bleed into one another, and that's also gonna drive you insane so you might want to just paint slightly on the inside of your line. That's just the nature of watercolor loves to get involved with a right from here Got a rinse and I find the easiest thing to do is actually jumped down to the bottom one. And I'm going to paint in my other pure primary pigment, which is blue. And you can do this one, uh, yeller to magenta, magenta to blue Whatever you want to do, all you can do all three If you're really feeling enthusiastic for if you just really love this kind of methodical color Maxine, my blue in there now from here, I'm gonna pay the middle one next Because I know what that is That's going to be my sick injury color. It's green. And a lot of you were going. I just mixed all my colors together for my shades. I know I did that on purpose because I'm going to force you to mix them all again because that's really important is keep practicing that hand. And it's not a once off occurrence. You're gonna be color mixing all your paintings from here on in. Trust me, it's with it. All right, go down here. Makes me some grain. And you've always got this as your original reference point as well. So if you're not quite sure, you can always come back to this. This is the case. This is everything in nature. No, Here. All right, writ set off. And then the colors in between. Out tertiary colors. So but lime. And I've got the aqua or turquoise. I'm gonna make each one of these in a different well, cause I do have to come back to them as well. They're still a little bit more alert. All right. It is a lime. The infection, too. It's amazing. Never ceases to amaze me. How little pigment you can actually shift a whole color. And that's the value. And actually painting these old yourself, right? And then I go do my aqua blue opening this clean one over here gets a Mueller, mix it all on the invite. More blue. All right, is Mac were in there, so you can see right here. We have a really nice flow of colors. 123455 pillars down here. What we have here is what you pull analogous colors, analogous colors, harmonious friendly colors. They really like to sit together. They are calming and soothing to the eye. So these guys roll on the same side of the color wheel that makes them analogous. If you go high contrast or complementary, that's the opposite. To analogous. That's high energy. It creates a lot of engagement on the page and excitement for your eyes. If you working analogous colors like this and that could be yellow through the magenta, all this you would have seen a lot of this kind of thing like a beautiful sunset. We lost these pictures because they generate Tom nous. Um, so from here, I'm going to go. This is at 100% intensity. The next one, I'm going to 50% intensity. And then I'm gonna go 20% intensity and the value of this as well as you could do 100 away , down, toe one and literally have 100 squares across. And if you kick mixing this way as well, so you can challenge yourself to create as many colors is physically possible here. But what I want to remind you is that within every full saturation color is there there's a whole tonal range as well, internal range. I mean, by diluting the color you get the lighter tones. So that's why we want to get the strongest version of the color in here. And then I'm going to grab some yellow help support some grain in that one of really group this one up Mueller gonna give it a little rinse like the loss of vision. The dealer. Then I'm going to go in here. There's about 50% off the intensity of number one, and then I was gonna give it one more little rinse and wipe off all of that color and gray down to 20% so you can see the eternal range that's starting to reveal here. It's one of the key things. I want to try and get you to start utilizing straightaway, because immediately people get so excited by a super vibrant, saturated color. They just turf eternal range, and they Terfel the neutrals as well. But that's where the magic glass you need to learn this stuff so that you can have really good interesting combinations of colors and sophisticated works all right onto the lime green. Where's my lime green? I'm going to just grab a little bit of that with a little bit of water on my brush. I've got a diluted vision. Hopes to lot I need a little bit more than that. 50% could even go a bit stronger still. Okay, it's a little bit more off. And take that down to 20%. That's probably more like 10. Very good already and then onto the green. A little bit of that one thrown in prints off too much bit lot Dealer watch now going to go into the quad toe Crazy color that makes you Yeah, a little prince for this and then on to you the blue so blue I go back to the source grips on Lotte Just a diluted version Beautiful sky ble so you would never add Watched watercolor . If you're working in oils or acrylics, you would absolutely use What's the only thing that you can use to dilute your color or waking It will make it more pastel Turn can add mediums and news, transparency, But with watercolor we don't have that. So we're just going to use water to dilute colors and there is that first color shot. So this one is called primary to primary. Next one we're gonna do is primary to secondary and I started talking about this when we're in the color wheel before, so we're not gonna go opposite yet. That's our last one. We're gonna do one primary toe, one secondary. So we're starting to look at the colors that we can't see on the color wheel because there is literally as many colors. Is the ark unseeing here except for, say, neons and metallics. But every other color we can mix from these three. So which culls am I gonna do? Maybe I'll go from I won't do blues and yellows again. Maybe I'll go magenta through to violence. So, magenta is my primary gonna mix up magenta squid here? I want to get that 100% intensity again. Ultra saturated. And if you wanted to, you could do the tonal range now as well. Now that we understand, that's where we're gonna go. I'm gonna do a little bit of 50% here and looks too strong. Belt up Still traced wrong. Yeah, good. Not just more popular excess there, which river out. All right, now I know what the bottom color is because it's my secondary. So I'm going to put the violet in next because I just helps me bracket in that range that I'm working with. So I grabbed my magenta find somewhere, clean toe work there. I'm going to try and make my secondary violet again. Touch more magenta. That's pretty good popping in the bottom square. So if you have a true a set of true paints or if you worked in pans or even with the disks , you could literally mix anyone color to any other color. And it's just amazing what colors you can discover doing this and actually doing this as an exercise right and then get down to the 20% down there. All right, Now, I find people tend to get a little bit confused about what to do in this three in the middle here. So we've got one more landmark that we can work with. Which is this church very here. This tertiary goes in the middle so that you've got one, 234 five. So five is in one is in number three. We've got a visual reference for that's there. So I'm gonna put that plum color in now. I'm gonna work with what I already had mixed in. Yeah, and It gets a little tricky here because we've got let's range go to get really trying that I in understand the subtleties and nuances of color here. I'm gonna put this one in here, and you want each wanted to be quite distinctly different that off and get that 20% down Too strong again. Uh, okay. Getting rougher and rougher. Zago can get more neatly animal slyly and take your time with this if you look all right. So now my next challenges. I've got pure magenta here, and I've got my tertiary plum, magenta violet here. I need to find the color that's in between. So I know it's gonna be largely magenta with a tiny, tiny fraction off blue in it because that's what makes up your secondary down here. Or you can mix this and this together. You gotta find the color that sits between that, and it is actually thousands of colors that sit between the But for now, when we're just training and I and just go to find one that sits in that it's distinctly different between the magenta and the violet. So I'm gonna add more than gente to my original mixture. here. That model being to match. Um, I just ended up with full magenta. A lot of 20 s, the blue. All right, let's have a little sample. You can always do this as well. You like what I did in the fifth class? Okay, actually, and it's pretty good. Uh, just put my brush in the wrong paint. They arap Sick point that one in. There's just this tiniest, tiniest, be the blue in there And the last 1 20% and same again with this one here. So we have this sort of plummy color, and we have our true violet. We need to try and work out this color in between here, so I know that it's gonna have more blue than what I had up here. But not so much that it's going to dominate and overcome this blue this violent here sick. I'm gonna grab a tiny fraction of blue mix it in over here. Yeah, definitely gonna use this this time. Just a sample Matney living moment. Gente say that's true. Close to this. That's all was almost right. I had a bit of the first time. All right, so I put that back in there. Oh, I'm just completely blown it and overrun it with blue era. Let's give this one more go. I haven't mixed it well, that really well together. Otherwise, you see how that's more magenta and fade in it. Uh, still need a little bit more. Oh, I think I got it now. Yep, that in there. Oops, I learned about 50% and then a nice washing, one to finish off with. So you can see that the shift in color is a lot more subtle, a lot more subtle. But that's going to really help your eye when you're looking at a painting and you can't quite work out how to mix that color. That experience your hand is really, really essential, and you'll be out ago. I can say that's magenta, but I think it's got a tiny fraction of blue in it. And that's how you'll starts paint more intuitively and have to think less about the mixing itself. The last one is a primary to secondary also, but we're gonna go complementary, So complimentary again is the opposite side of the color wheel. There's actually only three major complementarities you've got magenta, green, yellow Teoh Violet or blue to Orange. I Each one reveals a whole different range of neutrals. Finally, enough because we're gonna go straight through the Black Square. So I'm gonna go yellow to Violet because that's one of my favorite ones. And it's a lot of the kind of grays that I really like to work with. So this one is complementary, and we call start with the primary and we worked with secondary. So my primary is gonna be yellow. Grab that yellow again. Make sure my brush is really, really, really clean Running out of Mark's clean space to work with over here Such a messy work when it comes to color. Okay, Yellow goes in there for my primary and then do the eternal right of magenta on the side of my job and really reached that right down. Still haven't got enough off there. Okay? And is that yellowy? And then we're gonna go Teoh. Violet next, been clean that side of my job that I'm rinsing with my pigments off on. I've already got some violent left over here. I might just put a bit more magenta in it. Oh, you know what? I was thinking, then it's a bit more, but I must of it. That's the one. That's that one. So I put that one in there print set down just a fraction. Okay. All right. So this is where it can get a bit tricky because we officially don't have any reference points anymore, because we're going to go travel right through the center. At some point, we will hit almost mutual black. But when we're just doing five squares down, we actually don't hit it perfectly. But we will end up with a whole bunch of super awesome olive greens and interesting moves and things like this because we're gonna mix. I'm gonna have to make some bit of more of this purple color gonna mix from yellow to Violet. So I was gonna make up Looks a strong violet here. Don't need more perfect right, because yellow is awake color. We are gonna go from violet up towards yellow, so we can just keep gradually adding yeller towards our violet. So take a little portion to another little, somewhat clean space on my pillage, grab a little portion of yellow mix that all in, and then we're gonna end up with a really nice dusky. Did he move? And again? Don't forget that tonal range, because this is going to get a lot of really interesting, say sky colors or soft, beautiful colors. Um, can you tell? I just love color Constant saying. Would color obsessed uh, add a little bit more yellow into that? Then we're gonna end up with a It's sort of brown. Basically, it's sigh, and however which way you paint it with whatever paint you have, this is gonna look entirely different for everyone. Unless you have the most pure, most neutral off primary colors to begin with, everyone's gonna look different, and it's actually surprisingly hard to find really pew of primary colors. So I'm really excited to see how everyone's tends out. Uh, all right, Final One getting distracted makes this last little bit up. It is massive. E you learn Final one. There we go. All right, so that is it. That's our prime. This is how we make color chats. You can literally do hundreds of them. If you feel like it. I find it really valuable. If you're person that goes what? Meet that color again. I made it once can't remember again. But then you've got, especially if you go into the room or complementary colors and your neutrals, which is usually the hardest to remix again. You can identify them super easily on this. Charges go OK, so there. Therefore, it was a mixture of yellow and violet, but it was kind of more towards the violet end, and I just diluted It hates so it has enough when you won't really good visual reference, Um, will really help train your eye in the like the actual color mixing as well. From here we are going to get less technical, have a bit more play and explore some different color groupings. We're going to look a warm and cool and a lot of elephants. 6. Colour Explorations: all right, so we just went fairly technical, but really trying to get down to the like, nuts and bolts of how to mix colors and be out of mixed them confidently and gotta say them I think it's really important. I'm from here. We're gonna sort of deconstruct that process a little bit and get really playful and just mix and mix and mix and see what we can come up with. I've got some themes that we're gonna work alongside. So the 1st 1 I was gonna do half on each other page, he first. What I'm gonna do is just makes every color and see what happens. And in the next one, I'm gonna focus on one color, like one sort of broad idea of a color and just see how many of that versions of that color we could possibly make. And then we got some other ones to do, too. So let's start with just mixing every single color. Soon you have to start doing this. You really start to think about what chemistry is happening on your page over here. Like, um, and all these dirty colors that we've mixed along the way. You'll notice that I haven't walked down my palate at any point. All these air totally viable colors and they may come in handy down the down the line. Which is why I still like to work in a messy soup like this. Because there's little bits and hints of color along the way can be really helpful. Or just like you might get a nice surprise or it's it's less if it to have to mix every single color every single time. All right, so I'm just gonna grab one color here, going to the little circles again because I think it's just a nice way to illustrate the blending capacity of water culture. Reset one off that was a nice little magenta mix, and then I might grab some blue on, mixed into their see what happens. So what we're gonna end up with is a whole bunch of hues and shades that not necessarily primary colors. A little bit of fluff on that, because we're mixing it every single time. Yellow gonna mix that in with that pile. Let's see what happens. So we're not coming gold color a rash again. Don't forget the papers not fixed to the tables. What's mastery of spin? It set off. And then what tends to happen along here as well is that everyone just goes yea a and forgets about their turns. So I want you to try and work in some really latch like turns as well, because any start to see what could be revealed through that playing with that idea as well . Uh, it's gruesome grains in there. It's just that in there, see what happens right now. But look, this nice sort of very easy brown, I think playing and just experimenting over its the last thing we often give ourselves when it comes to sitting down and painting. We want a result every time. But just having a little play and allowing the exploration can really, really help develop your color language. You realize they start to lean towards certain colors like I know some people only of a mixed their colors and will have just just a few tubes to paint from or otherwise you might find that you are really keep going to the same colors, and you could buy troops in that area so you don't have to mix them every single time that's the advantage of the tubes is that you can you can buy the colors that you so you don't have to sort regularly mix them all from scratch. It's like cheats. Way to get to your colors and okay, se any time that you got three primaries, you do have end up with those more earthy chains, Which I think it really beautiful, this one. Very much a learning by doing person. That's sure. See what happens when I just won't go ahead with blue in this. Let me lost like that. Look. Okay. All right. You a few more here. And then when we want to the next one bright yellow on one last one, let's say whatever this killer is gonna pay. Very soft grain. Right? So there we have every single color mixed, and you can see that you you can still have really rich, strong, saturated colors. But then that into play in the push and pull of the tonal range. So the light ones versus you dark ones makes it more interesting to look at. If that was all intense color, then you're gonna have a sort of guy doesn't know where to go is a lot going on. So a good little experiment on how to make silly calls from scratch from here I'm gonna do a big play in, Just introduced one color. So I'm gonna choose Green because I like working into the natural world and botanical stuff . So green as a theory, like I'm sure one shade of green comes to mind for you straight away. Maybe it's enrolled. Maybe it's lime. Maybe it's like a gun life grain. But think about green as a whole. And there is just, like, endless possibilities with how you can make so much green. So I was going to start with the grains that I have on my plate on my palette here and just to shake it up, I'm gonna do some leaf shapes on my page, and I'm just gonna keep grabbing things that I have here. And then each time you're either going to dilute or slightly shift the color one way or the other. You can use all three primaries. Obviously, it's gonna be largely yellow and blue because you base is green. But red can also come into play because that's how you're going to get off red magenta. Um, it's gonna come into play when we want to build those more natural grains. The softer ones, the more earthy wonders. All right is on the line. Then I'm gonna grab some of this magenta. You gotta find those boundaries of grain. Like, where is what is green? You have to ask yourself is big questions. There's not one up there sort of judging Hillary Green and then makes this one here. That's green. It's more like a Jenny for full grain. Now I want to go for, like, a classic primary grain. Really not strong emerald they would get that's one supersaturated so and then to play with this tone, arrange its You're always welcome to work with the pigment on the page as well, so I'm just gonna suck some of that in, and it's gonna create a really soft grain next to that. Now I want to try and have a bit more blue ones in there. So playing to those blue greens could even go blue. I think. Let's push that boundary and see just how blue we can make it before we go. That's closer, nimbler than green. All right, Mark and that's pretty on the edge before we tap into turquoise eye. Right now, let's try some. Magenta is in these as well. It's not stock one there soft blue, green on. Let's get some all lives going. Swim Army green. Uh, let's go for a really yellowy green. Now, how can I push it into the brown world but still call it green? This is the questions we have to ask because everything is going to rage and relate to one another on the page, so you need them to talkto another. All right, I'm gonna go for an in between a bit stronger. We're gonna could still try and push that brown boundary a little bit more to Is that still grain? Debatable. Well, Ray Greene. Sorry. Good for painting. Australian Australian colors go really soft, light green. And I mean, you can just really keep going forever and ever I could feel a whole shade and not one green would be the same on there, which is something that really excites me because you can just really changed the temperature and the myriad of apace with the kind of greens you'll selecting. Look, if you go with really saturated vibrant greens going have a very high energy, strong pace. And then if you go for more soft, delicate greens, you could have a really subtle and beautiful Um, it generates a softness. Let's just do a couple more here. That was nice. It was by accident. Sorry, I keep finding more, and so I just want to try that one. Just try that one. Well, what about that one? Let's get at me. I'm getting really close to just completely contaminating all my colors here is aware o no one's going to be alright. I'll stop there. I mean, I could just keep going. Gonna be excited, and it's all right. You guys can go crazy and you can do what typically want. You don't have to choose green. I'd love to see other explorations that you happen to find. Maybe you're painting buries or anything, really? And just explore the whole world of magenta. It's really up to you. Um, they're the first to we're gonna do the next two. We're gonna look at high energy complementary colors like really strong bright colors as well as a We're gonna look at harmonious, analogous colors, which we spoke about before, But let's get them working on the page. Taken. Visualize how that works was to slip that one across. 1st 1 is hot, What I call high energy, which is usually lots of strong, bright hues as well as you want. A strong contrast, so contrast can be generated two ways. It can be through the compliment to the color. So if I was to do's blue, if I was used orange on the page as well. That is really about as high contrast as you can generate with color, but then a suitably eternal range into that as well and a few different visions of blue and orange. And then you've got very strong high contrast, complementary colors on the page. Sometimes you're I actually finds complementary colors almost overwhelming because they're so strong on bond. Why people tend to lean towards analogous colors that a softer, gentle, more harmonious really depends on your vote actually liked you in my own work. Marry the two ideas together so I try and create energy with a little softness as well. So let's separate the ideas here, and we'll work, work our way towards bringing the two ideas together. I'm gonna choose. Let's go blue and orange for my high energy. So you probably gonna pick one complimentary set and work into that a little bit. Um, I'll go back to circles again, I think, cause you'll notice as soon as I start painting, you'll notice that this will represent something that you might say fairly regularly. And that is kids products. Kids products often really high energy brought intense colors and they usually using complementary colors to drag your attention. And they really want to grab you. So he's got this that was like a shade of orange, and then I'm going to grab some yellow so that almost ends up clown lock. That's how brought an intense You can get these colors and it's a high energy slightly, and then don't forget about your tonal range as well. So if we're here, might just put a clear several one, and that will just drag the color in itself. Um, let's grab some blue mix up this aqua here so your color selection will actually have a dramatic effect on the energy present on the page. I like to create a bit attention, but not so much that it's uncomfortable to look at. So you want to try and find that balance of let too much or too little spit, some orange going but one less dirty orange over here. Okay, propping there. You need to get true tropical with the colors. When I say Tropical Azmin, let's get a bit excited and put everything on the page. That's when I get super uncomfortable. It's just that I don't know where to look. This is a bit intense, may, I think, have to look away. That's what you don't want. So it's really easy because the colors are so have fun and saturated that you just want it all on there. Well, actually, what? I use a lot of white spaces well, in my wig because I drew lack intense color, and I think the Watts base just lets it breathe a little bit. But there is. There is a boundary. That, and I've found it many times, and it's a part of the learning process, all right, it's going on the blurry, but maybe a lot of blue alert and getting a bit tropical over here now. Any bit excited? Good. A little bit more grain. All right, So this, um, high energy color for you that is gonna be almost uncomfortable to look at on a large scale pace. It could be too intense. Um, now we're gonna have a look at how Marini's color. How many's color is the smaller area of the color wheels? We might be looking at just 1/3 or even a smaller portion of the color wheel. I think I always think of a sunset when it comes to analogous colors. We love looking at sunsets, the colors of calming to us because they all relate to one another and they don't create any tension. There's no attention when it comes analogous colors. So I actually just used sunset as a reference for myself here, Um, let's go, uh, when we're gonna dio goes a magenta, my tree straps this time just with fun Still a line like that And then I'm going to grab some yell a mix it on in duos line just butts up to that. So let them will bleed into another because they relate so well that they won't actually bleed really nicely together. Do a nice, soft, rosy pink. So and then maybe gets a Miller into a mixture ranch strongly away. Keep going to as much as you want, really entirely up to you more. If you put in some more, you'll get to say and visualizing. I think it's very much about this color thing, just learning how they will work together. That All right, so there we have high energy colors, uncomfortable to look at can be useful in some instances, mostly for super eye catching. And then we've got harmonious colors that are a lot more relatable, a lot more soothing. Um, working had a plate of them together is actually really challenging. But that's part of the fun. And I think, uh, through experience that will be part of urine color language you develop. So the final true that we're going to do, Ah, warm and cool colors. Woman cool can really dictate the over off the overall vibe of the peace. In the end, if you go for a really typical warm colors, it will feel like daylight and bright. And if you go with typical cool colors, you'll end up feeling quite a calm evening time Twilight bod. So let's have a little look at that. I've got my color wheel here like my little printed out one. When we're talking about, uh, temperature wise, warm colors warm tends to be from your yellow green. Probably more like here away around to Sometimes your red violet just sort of depends on how much blue you have in there and then you call colors are the opposite side of the wheel , these ones over here. So for the 1st 1 we've been do warm. So I'm gonna focus all my energy on these colors here and just get that feat, that sense of them on the page and see how they feel se and again, I literally just had a whole bunch of warm colors here in my analogous. So I'm just gonna keep using some of those on my paint some circles just so that we get some general shapes on the page and make sure we work into all that warm colors. They'll generate this like, glowy golden feeling. Um, and you can include shades as well and even a little bit of like that lawn green. I think he's really nice in your warm in the cool thing. One pellet was in the warm colors like this, um, some straight up yellers, Always good and maybe some straight up magenta. But maybe let's just wipe it down a bit. Well, that was nice. Nice little watermelon kind of color. Yeah, give more orangey color going, and then you can also incorporate Brown's into this as well. Because Brown's can feel really warm isn't a self ground, since I am very Coca Cola. Uh, it's going really, really, really lot rich. Maybe some line, so one literally generates warm red congenital rate. Real hate yellow can also, but just working warmth. Warm, warmer colors into work will generate a feeling off warmth in your work. And when you go to your cool side that can generate feelings off serenity, it could be quite soothing. These can feel quite energized still, because it's got a lot of vibrancy. And it, um, it's almost like day and not and working those two together. You just gotta be a little bit cautious sometimes because too much warm or too much cool can really just, like affect the overall pace. And maybe you weren't going to that temperature after all, so I'm going to just do a little bit of the cool colors as well. Let's start with my primary blue and you'll see quite a distinct difference. And it could have such an emotional effect of your final work. Lots of these cool colors already mixed from other projects. This one over here didn't really put any violets on the other side. But you can incorporate violets. I got a daddy blue, not even try and generate a commune black that can feel quite cold as well. And then maybe a diluted version of that video Next you on. Where else could we go? We can do a big green green fits in this bill, too. That's probably on the warmest side, I would say, Uh, well, blue in there to bring it to the cool size. Okay, more dirty than I like that color. All right, so there we have it. Warm colors and cool colors really, really different vibes, and you'll naturally probably gravitate to one or the other. I think I'm a warm color go, but I often use the cool colors in the shadows to bring shadows the temperature down of the work, and I'll use the warm colors in all the highlights and all the most foreground things. So let's level little review. We had mixed all your colors and see what happens work into green and see all the shades of green that you can come up with as many as possible. Arconic. You keep going and actually feel the whole thing. High energy color, harmonies, color. Whether you can get these two weeks together, that's gonna be experiment, an experiment for you and then we have warm and cool all of these things. Always, Siri's will come together towards our front, towards our final project. Next up, we are going to see how we mix these colors when when we mix them on the pellet and when we convicts him on the way. 7. Mixing It Up: Okay, so we've just had a look at a whole bunch of different kinds of color and groupings of color. Harmonious high contrast, all of the above. When now gonna have a little play with applying some shapes. I we're filming in Victoria at the minute, and it's autumn. So I thought some autumn leaves might be not really nice reference just to inspires for this little exercise. Um, the main idea behind this one is we are going to think about when were mixing the paints and when we can. And when we come so gladly, I've been mixing entirely on the palate. Here occasionally will send me correct things on the page when it's wet. So that's the main true times that you can mix. If the if the paint is drying on your page, I would recommend waiting for it to completely dry before you go over the top, and then you're essentially painting a second layer. If you take what paint into semi part like partially Dr Paper, you're going to get a very strange result and probably a harsh, ugly back run. Not the beautiful kind than the one we don't want. So this is going to be a little bit of play in tow win and how we can mix the colors. Um, the rooms quite warm, so the paint is gonna dry quickly. If you were in a colder place, the paint will dress lower. You'll have more opportunity. Teoh mix onto the page. If you're in a warmer place where there's lots of humidity, you're going to struggle to get the paint mixing on the page because it drives so much faster. So just bear that in mind. The temperature that you're in in the conditions and the environment are really going to affect the timing of how all this works. For May. I'm probably gonna have to work a little bit quickly because it's warm in here. So, uh, autumn leaves beautiful, warm colors, so I'm gonna work largely into warm. But I'm going to start to play with that idea of introducing complementary, and they're just to throw a little excitement in the Do you love unexpected color just popping through when least expected. Eso simple, simple, uh, leaf shapes. I'm just rather than you can and sketch them aloud if you'd prefer. But I'm just gonna paint some street three problems leaves what? This a little playful might belief, I guess. Um, now I can, in fact makes into these well sites with, and I can mix it like we would on the pellet and makes it writing. Or alternatively, I can that I'll switch to my vertical hold and I can drop it in. It can create some really nice affix by just adding a little bit of color in there. And then I might take that same color and painting another leaf and let those chilies blend into another. And I'm just gonna do an assortment of old, different kinds of ladies that we can play with yet eso again. We can mix in the cooler whilst it's which has already started to dry over here from a So I would say that I'm not going to go back over there because it's gonna end up with that. Yeah, Keadilan. That I was mentioning might just drop some color in there and then grab a little bit more. Might go a little into the green area. Um, right. The other thing you can do is blend on the page so I can just grab another color and it's gonna blend like what we did with those circles onto the page. That's one of my favorite ways to do it is actually just allow the watercolor to do its own thing. You get this beautiful, unexpected result and that unpredictability is probably the thing I love the most about watercolor, Um, and giving it the opportunity and inviting on the pages really fun as soon as you like are allowing things to let go a little bit. Uh, all right, let's get some orange colors on their again. Get some unexpected. But that bleed happen, going fairly quickly and roughly hits Maura about the mixing here. So the timings of things, if I wanted to introduce more color here, might just drop some warmer gentry little dots in there and you can also grab a little pain , and you can just flood so you can just hit the same spot multiple times and you can see that that pigment is gradually working its way down there. Another nice way of just, uh, shifting up the colors in there. So rather than having every leaf exactly the same, the same tired you start to get always interesting. Mix is happening on the page. Uh, what color my gun do next, Let's go a little purple E, and then I'm gonna go back to Magenta for the fast out of the leaf. And then the other thing, the one thing I haven't mentioned yet is you can take clean water or dirty water, but I'd prefer clean because I like to know what's gonna happen. Andi, I'm going. Teoh introduced just clean water onto the page, and that is going to start to encourage those backgrounds toe happen, which others dark of crunchy little lines, which is sometimes a good thing. And sometimes a bad thing just depends on your preference. So you let that you can get some really beautiful results. And because we're working with autumn ladies and you got all that crunchy, delicious texture and all the variegated colors, you might as well experiment and just see what can happen. Um, a rap. Let's get back to some red colors for it. Here. I want a really strong rid. So you want as much variety? This is a chance to experiment with everything that we've learned so far just to see what happens and really heartening those uh, really heartening those mixing skills, my pal. It's getting really good work out right now. I really contaminating everything. Um, but you're going to start to work out how to make those browns and how to, uh, like, soften up in grains. Um, in this instance, we're going for a whole bunch of warm colors. What I might do, though, is introduced a unexpected blue will. Something like this where I might go Maybe I paint really, really, really light blue because I've got very, very strong orange. So in my mind to create a little bit more energy, I've got strong orange. I might back off the blue a little bit, maybe make it more of a black blue or maybe a really, really, really soft blue. But I'm going to introduce just a little bit of it somewhere. Maybe. Yeah, and then I'm gonna blend it. So it's just that little hint and that's gonna create just that little Zach of energy. Let's move. Yeller going pinch a little bit of color coming from over there, and then maybe I'll drop some more plain water into that one. That more unexpected going, The more water you have on the page Mawr Unexpected result you're gonna have it can really shift things around cause essentially, water color pigment is transferred over the surface of the page with water. So the more you have, the more ran and it can occur because it travels further. All right, so maybe over here I'm going to just do a cle one and see what comes through. Be a little bit more of its blue them age. I find the using the complimentary when you are painting, say, in one particular, we're using quite a warm color set largely with an orange base. So it is blue that I'm using as a compliment is can be a really good compositional tool. It can help lead your eye around and create a second layer of interest. Because you've already got tonal range, you've got strong, rich colors, and then you've also got very, very soft black colors. And then you've got a secondary tooled Teoh for your composition so that you can create a more sophisticated penny love, dropping a little bit of color into the stem as well. Uh, right back to some more warm ease upside down. One. Let's go. Give this one a big hit of Magenta as well. And yeah, browns and oranges on May be a truck. A little bit of something, Doc. So So I've got a bit of a dance happening. I've got these strongly gentles, which are a primary color. So your eyes automatically gonna be tracked, attracted there because they're really pure. And then I'm going to incorporate a whole bunch of shades. They're gonna be, like the support act to amount pop colors, and they're the ones that are going to fill the space but not draw too much attention. And then I've got these soft blues is luck the on the sidekick Just drop a little bit of color in there, maybe, or just mixing a little bit of red. You can just mix into the wet blended all in, just prevent it being two flats. I think when we have really flat color and everything's to immaculate, it tends to look a bit folksy or naive style. I really like fluid color and happy accidents and just allowing water college to be the beautiful medium that it is not trying to control it too much. What? That yeller. This I'm gonna put it another popular here. Say, maybe even a little bit of line E killer Geneti line That blue just settled that Hillary saved it. But a lot of yellow every here. So I'm gonna counteract in with some more of my red school. I want this to be nice and balanced this way like that some. And don't forget about your turn. Arrange to getting excited and everything is getting a bit intense. So I'm just gonna go soft with the next one. It's all about balance. It's like a little puzzle. Every time I've started painting, it's like have kind of create interest and balance at the same time. Brown's going shaky Blue just for fun. Well, that might be my favorite one so far. Uh, need a bit more yellow, I think. Now, nearly there. I love this time of year over leaves. It was the trade just moments, Junior, that is like electric yellow and then electric red. It's just amazing. I love it. Let's break up that texture, Lewis. And then I'm just gonna do a few little baby leaves around Philip. Some these holes for fun. It's like the ground. I guess I didn't swim of brain looks just sort of think lightly about your work and sort of destroy any to perfect areas. And then we go, there's some beautiful leaves from here. We are gonna go on to our final project. So hopefully getting starting to get a really good grasp of color. I'm gonna talk about mawr of my urn, use of color, and hopefully that will help you with creating those points of interest in your work. I'm going to use gum lease of as a reference and you'll find out more in the next video. 8. The Final Project: so we're ready to start our final project. I thought I would start off by talking a little bit more about the way that I like to apply color. I try and use it in really interesting, unexpected ways, and some people will go for very safe. Other people love to go crazy. I like toe find a little tension point where there's definitely complements present. So that creates the energy on the page, but largely analogous, so harmonious colors. So about these two examples here in front of me, you'll see here that the focal point is these date orangey reds. So therefore, further down, I've got the compliments in the in the blues and the greens here and then toe harmony are sorry to create tension between these soft yellows. I've incorporated these softer purples as well, so I've kind of got true sets of compliments happening in one painting, and the idea is that it's, uh, it's leading your eye up to burst up into the focal point, which is up here at the flower head. That's Ah, the Luca Genderen pace. And then this one here, of course, like leaves and not pink and blue or this electric grain. What I'm trying to do is create an impression of it on the page for this instance. Here it was from a really shady little section of the plant that I got. So the blues kind of sitting in the shade and you got to try and imagine it in nature in the way that the sun's heat in the way the winds hitting it. And for me, it's It's the have a lot catches through the Lays that makes the color play really interesting. I also want to generate lots of interest to make it interesting looking painting. If this was all botanically painted and beautiful soft colors and exactly as a sort, I've actually find it boring. I love creating, um, you still get in the essence of it on the page, but it's not so literal. I'm having a lot of that is a lot of sort of artistic license in there. Um, this one is another good example of the complementary color theory. So I largely got a lot of magenta, like a lot of magenta and a lot of red, and its complement is because this is the water here is complemented green, So just the pink and the green together can be so intense to look at that it actually gets a bit too much. So what I've done is I've used a lot of purple and blue to try and harmonize this composition. If it was just the grain and the red eyes would actually be like a bit disconcerting to look at it because quite a busy painting. So I needed to use a lot of analogous colors like here to harmonize so that the contrast isn't as severe is what it might have been. I tend to use complementary colors in two ways and paintings. I use it as a compositional tool. So you got greens leading vertically here and then one going through there on then everything else is in the heart, in the harmony harmonizing colors. And then the other thing I like to do is through the mixing, so I will use that the green and the red, and I'll mix them together. So that is a familiarity there as well. So that's sort of true ways that I'm always utilizing complementary colors. This one is another example where I use complementary colors. I have used. Obviously, it's a some flowers, so the yellow of the ladies super vibrant. And to give that energy instead of just applying black or dowel colors, I've used purples as the shadow color and as the central pace give that some really exciting energy and then a lot of harmonious soft peaches, Um, some reds and blacks grains, ovary warm to give it lots of variety and interest to look at. This is one of my favorite ones, and we'll paint something like this today. I've got some gum leaves that we're gonna paint, and I'll take some photos for you as well, so you can paint the same thing if you black. This is a silver princess country. It's got these enormous gun mats, and in the light, it's just so delicate and beautiful. I always, like stop when I drive past one, because it just this elegant and it's too long and draping and really silvery. So I really tried to generate through these soft purples instead of just gray, like a cruise being great. But that would have been not that interesting to look at. So I've I've utilised what is essentially a compliment. You've got the soft pinks, along with all the dark blues, the room, choco easy blues and then along with some grains as well. So you've got to sort of sets of analogous colors working together. You got your purples and pinks. Any grains in your turquoise is, and these are how I'm sort of creating his balance. It's always this tension versus balance for me, and if I haven't got enough tension, I'm not really into the final outwork. And if there's not enough balance, it's not gonna work anyway, so it gets uncomfortable for the I this'll one. Here is a lot more of the analogous colors. It is obviously largely green, blue, purple, and then I've thrown in some warm green. So rather than go to the extreme of going away to the other side of the color wheel and using complementary colors, I've just chosen to add some warmth in their through these warmer greens and a little bit of these brown as well. And that helps give it a sense of bounce as well. So that is some of the things that I like to see when it comes to a painting you wouldn't actually going to gravitate towards high energy or harmonious or find your You just find your fate and you have You start going really like the way that that looks. So I'm just gonna keep trying to achieve that. And that's how you build your color language. Biden remains. Am I the only way this isn't the early wedge generated painting? It's just the way that I prefer myself. That's my taste. Um so from here, we're going Teoh, I'm gonna grab a reference and then get Penny. Okay, so I've done the hard work for us today. I have ducked out and grabbed a little reference for us. I've grab some gum leaves from outside, like literally just outside my studio. I can't even help myself. And I love having just left stuff. 11. My paper. I love having visual reference beside me, especially when I'm doing something more like I'm gonna be focusing on the color aspect. So I don't want to be worrying about, um, structure and, uh, and the composition and things like this. I've got this to work with. It looks a little complex, but what we're going to look at is when when and have a lot hits things and full ground of background is really gonna dictate how we apply color. Um, I'll take photos of this is well, so you guys will have the same reference from, um and you can do the same thing. What I will know it is that I have moved to a large sheet of paper because, actually, do you like working a little bit larger? And it's cotton now. So whenever I'm working on a final peace, I do prefer to work on cotton. Cotton is it performs a little bit better than you sell your typical cellulose paper. It absorbs the water differently, and it's definitely my preference for doing a final pace on um, so let's get started. There's a good chance that I'll just duck out into the zone somewhere here, so bear with me and all, and we'll just keep painting. So very first thing I'm gonna do is undergoing a pencil. And with the absolute most light touch, I'm gonna just jot in where the stems for. Because as I'm painting, I want to make sure the leaves there are able to attach to the stem, and I tend Teoh, get excited and put too many. And so if I don't do this and it's gonna be a reasonable so you won't go as lot and like like, like like like as possible, this we went down there and then the biggest question that I'm often asked is, where do I start? And for me, it's more of the feeling like I usually go into the area that I'm most interested in. So for May, I could either start with these gun nuts up here, or I might start with these little baby ones here on then. Oh, let ladies drip off from the, um I often hold it up to the light. I will change the shape. I will try and pick my favorite angle. I think it's definitely for May. It's looking this way at it. Um, and maybe I won't have quite as many leaves and branches. But, you know, these are old choices that I get to make cause I'm doing the I'm doing the interpretation. Um, and you can you can find your own leaves or you confuse the photo from this is totally up to you. All right, so I'm gonna get started. You can start over here I think that's just what's grabbing me at the minute, um, and get painting. I really want to make sure that I'm consciously mixing colors all the time because that's how you gonna create an interesting work. And when it comes to like you going, it's just not working. Rather than pulling yourself back and freaking out a little bit go bigger, go brave up and you'll be surprised at how much that bit of courage will add to it arrived . So gonna paint in some gun nuts. This is what I'm going to go into the zone. So just follow alone and happy painting. - FEMA little touches. Just checking. Okay, Se, you can see here have a whole series of green gum leaves. And yes, if I was to pull them off like so, they were all the same color best when it comes to painting them and generating an interesting painting. Uh, old flat grain gum leaves is not gonna be very interesting to look at. Plus, you're not gonna be differentiate or have any foreground background or depth. So you go to get a little invented views, that little creative burn that you got in that, um So for my shadow color the color that's receding I've gone with a cool blue and also a cool purple that sends things back. And then for the opposite. I've chosen a rich lime green and that's gonna lift everything forward. So my little gun nuts here my my main leaves and you can see that I've got a bit of a composition going. That's almost circular bang, bang, bang, bang, bang, bang bing around like this. And then all these moves and pinks are creating excitement on the page because they are the opposite off grain. If we go right back to our original color will, we've got a lot of these colors here. So I've had to incorporate a few of these to make it interesting and exciting to look at if everything stayed here less so. Ah, I've also straining and just a little bit of actually conceal. But reds in there. That's the playoff, the really dark grains. So it's all about finding this chemical balance for your eyes on page, and if a low red was in one place, actually, my I would go only there, but I dabbed it here and there and around So it becomes a bit of a dance for the I and you want your eye to go boom, boom, boom And it becomes a story if you just look at it and go. Yep, that's just It's not got a strong enough composition. And for May, leading the around with color is my most favorite way of getting a composition flowing really nicely, so I can't wait to see how you go. It's a lot to absorb, I know. But I think once you get a grasp of color, your paintings all of a sudden just become you put so much more of yourself into them and you really can feel confident and paint intuitively with color, and you are going beyond painting reality and really contributing a little bit of yourself into the painting itself. 9. The Wrap Up: That's it. There you have it. That was the magic of color mixing. I hope you got in hates out of this course, and I really hope you're able to not only use this for your watercolor painting, but you're any kind of painting or creative practice. It can apply across any world. You may even nasty the world it through a whole new lens. You will say the seasons change. You'll see a new growth in your garden or even the landscapes you move through every day. You, the way that you say them will be different. And I can't wait to see how that reflects who you with. I'm so excited to see your final projects. I've left it quite broad. You can focus here or do whatever you lack. I want to see all the jobs you've done through this whole course. I can't wait. I have a Facebook group called Natalie Mountains Student form. It's a really supportive and encouraging space where you can share and grow together. I try and get every now and again also also, please subscribe to my mailing list. I'll be able to notify you of any upcoming courses. I'm also so open to any feedback or suggestions on this course or any future courses as well. I'd love to hear your suggestions. I've had such a good time sharing this course with the I can't wait to see what you come up with. Thanks again for joining me for the magic of color mixing happy painting.