Understanding Color in Watercolor | Renato Palmuti | Skillshare
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13 Lessons (1h 42m)
    • 1. Introduction

      1:04
    • 2. Materials

      1:48
    • 3. Color elements

      7:45
    • 4. Color Wheel

      4:44
    • 5. Tertiary colors

      5:51
    • 6. Color saturation

      12:36
    • 7. Understanding saturation

      11:23
    • 8. Color values

      13:43
    • 9. The basic palette

      7:49
    • 10. Painting layer 1

      10:49
    • 11. Painting layer 2

      15:51
    • 12. Painting layer 3

      7:36
    • 13. Conclusion

      0:53
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About This Class

In this class we will learn about the color theory applied to the watercolor painting. We'll start by building our own color wheel from the primary to the tertiary colors and to stablish the relationships among the different axis and angles of the color wheel. It will give us the keys for color mixing, and the works of values, saturation and hues...the three main elements of the color universe.

In the end all the content will be put on practice in a small and complete painting made in 3 steps, with all the information for you to work and reach the goals of this class.

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Meet Your Teacher

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Renato Palmuti

Illustrator and watercolor artist in Brazil

Teacher

My name is Renato Palmuti

I am an Art Director, Illustrator and Painter.

I worked in advertising, sales and design agencies until 2001, when I focused my carrer in Illustration. I opened my studio in 2005 and since then I've been working for agencies and clients making images for their ads and campaigns.

Painting was always a paralell activity, but recently it has become an important part of my work. I started studing a lot the watercolor techniques, producing diverse paintings and I've been invited for making classes and workshops in various studios and art schools.

See full profile

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Transcripts

1. Introduction: Hello. I have not Welcome to my studio for another skew share class in this class. We're gonna studio the color theories applied to watercolor painting. I'm gonna teach you how to build your own caller will and its relations. Speaking about the use separation and the saturation speaking a boat, the values That is a very important topic on what we're painting. We're gonna set a basic palette with the essential colors You must have for any kind of work. Any idea? We're gonna make a painting to show all concepts in practice. Let's do it. 2. Materials: in this class, we're gonna use some watercolor paper for the best results you can consider heaven, uh, cotton paper. This is a 300 grand and 100% gotten, but for the exercises and color tests, you can use cellulose paper that it's simpler and cheaper. We're gonna use some watercolor paints, at least the tree primaries and the three second, their colors and a color mixer. I will speak a little bit more about which paint to use. In this case, during the course, a water container and some watercolor brushes, I have here three different sizes. I think it's enough. Some issues are a small sponge to balance the amount of water in the brush. This is, Ah, black and, uh, with a good and it's waterproof and a fancy. I like to use tree be or for be. It's not too hard, and it wouldn't damage the paper 3. Color elements: Okay, so let's say something about the color cos it's every caller has three different components . One is that, Hugh that we can see in this small bar here. And the hue is what color it ISS. So if it's red, think grew that are just a few Hughes. There are some connections among then, but we can see then every well defined it Some Hughes green, yellow, orange. So every color is inside one of them. The other component, uh, is the saturation. You can see that these red in this small blocks is in a very bright and visit corner. If I take it to the other side, you see that it becomes weaker. Uh, it tends to gray with this trend off the collar uh, creases. And when we arrived in the other side, it is totally great. So saturation is the lives off color, How much it is vibrant, right? And the other component is the lightens. It fits bright are dark. So when we come here, you see a lighter color and here the same Hugh, but dark on light, you see saturation lightness. We can notice a difference among this tree covers this one is situated right here. It is very saturated. If I take this color, we see that it's Ah, median saturated color. He's not dead bright and not great. Even it's in the middle. And if I pick up, this cover is not considered over anymore because it is in the gray part. Off is where so there is no polar information. You see that it's deactivated in the hue bar, right? Media saturated, very saturated, totally day saturated. So we can say that the grace are very de saturated colors and color, like this one is a very saturated. So let's change and they beat these values and these elements in the street colors for for you to understand. So I'm gonna make the most election here in the middle of the square. And then how open this box of control for the tree elements off the cover. The 1st 1 is the huge is the kind off color it is. You can see as more rainbow here in this lighter. And then when I change this, I am changing the hue off the colors that are selected. So here I can see that this part is not red anymore. it is pink and this one is not blue anymore. It's a green, but here we see no change. That's because the gray is not a hue. It's only information off lightness. Then we can see no difference. I can change the huge off the great information. So if I come back to the middle here, I will change now only the saturation. If I put it to the right, we can see that the red had just a little difference because these red waas already are very saturated called as we could notice this blue it was not that saturated, so increasing saturation. Now we can see where this blue can reach in saturation and again gray has can be saturated . There is no Hugh information before the great to the other side. If it come to the left, I can see all the other colors almost becoming raised here. We're only breaking a little bit the saturation. And here we are, taking out all the color information. You can see that the tree cholera we see here are in the same universe off you. It means that that I know you. It's only light, um, medium tone in a dark value. Three different values off light. No, you here. I will come back to zero, and then I will change the lightens. We can see light here and dark here. So if I put it to the right, I can see all the colors even great becoming lighter because Ray has information off like and dark. If I pull it to do the left side, I can see all the colors becoming much darker, right? So I can always work with the tree components separated Lee and together so they can decrease saturation and Ingres lightness or also decrees, lightness and saturation. So this is the way we have to think cars always with tree, different components. And then we have to know how it behaves with paints, and that's what we're gonna do right now. 4. Color Wheel: we will start our color will with this small star that is former with two triangles, this one represents the primary colors and this one the second their cars. This is more or less this color placements. But for the beginning off this exercise, we won't use of secondary colors as faints. We're gonna Butte then with the trade primaries here in the color mixing here I am using cotton, you yellow medium carmine in a bright blue. They are from the brand white knights erosion Brent, The main thing about those tree colors is that they have to be pure. I can't use a yellow that is too hot, aren't to code. I can't have a red that tends to orange are to violet. The red in this case has to be a pinkish red so we can use Carmine or Eliza ring cream son or even magenta. For that, the blue also has to be pure. I am using this blue, but I often new cerulean blue for being part of the primary colors because it's very easy to find in all the friends. And it respects this characteristic for these special brand. We have this bread blue there is a little bit more saturated and very good to build colors as primary colors first mix with yellow and carmine way. We'll have the orange off course. It will depend on the amount off each one we put to a tear stronger or ah, lighter orange. The second is the green. I will use a bit of yellow and a little bit of blue. No secrets to here, right and blue Carmine, and you have a very beautiful while it. So you have the policeman off those colors in the color. Will the secondary colors each one between the Jew primaries that generated? So let's transfer this information for the color will. 5. Tertiary colors: So with this first part of our color well ready, we'll start establishing other dynamics. The first thing we have to establish here are the new cherry callers. There are always between two off those cardinal points we created in the color, you will notice that from one point to the other point, we have infinite steps. In this case, we can have here nearby the red a red that things a little bit to Violet. And here a violet, a little bit inky and in the middle, something that represents another cardinal point between these two colors. So let's make them and put some marks here for us to understand what is happening. Okay, so let's start this side. I put a little bit more off yellow here, and then I have in orange with Morrie. Evel then read here, did the opposite. A little bit of red and increasing the amount of red. And yours the same. Yeah, uh, so here we can see the whole spectrum of colors we can create. We've just treat primaries off course. We could have used the secondary callers. We didn't need to mix them, But we have to know from where they come In this case, we could have used sixpence or on the tree. In fact, lots of colors in the air. Use it through having our pilot. They are in this color will So we can put, for example, in this part Couple Loon, Dutra, Marine blue. Here we help the We have the couple to Coy's purple, the military orange and lots of other paints that you can use street from a tube of a specific color. Uh, you can just Butte with three primaries. This is the power off. Knowing how the color we were, you will notice that the third cherry colors are not connected. And this is star because they're not considered Hughes as this tree and this tree ones are . I can't say this is a specific hill is his orange. This is yellow and this is orange. Are you? This is the problem. We can define it. It can be ah, yellow with a little bit of orange or on orange with a little bit. Have you ever? So the cherry colors are for definition the Knicks off a primary color with the secondary color, that is. Edge isn't to it. I can't say that a cherry color is just the mixing off a primary and a secondary. Because this is a primary. This is a secondary. But if it makes them, they will neutralize each other because off another relation, we will studio. Right now, they are complementary colors. 6. Color saturation: The complementary colors are the colors that are in the opposite side off the color wheel. So this is a relation off complementary color. This to, uh, also this, I think, to trace those tree. It's enough for us to understand the concept. The other ones we will understand because of them way have this excess, and then we feed. Consider as a center of a clock. We can do this and see all the complementarities, even the things that are not in this more graphic. There are lots off transitions here, and they're related to this transitions here. But let's study the principal ones, and we will understand the concept that's pick up an example off two complementary colors like bring and red. When they are really together, you can almost feel vibrancy one against the other. They are very saturated. They are very different. So there is a kind of a fight here in the middle, a kind of a vibrancy. We can notice the same thing when way put very near a blue and then orange. But, uh, the thing we have to pay attention here is that when the Knicks be neutralized each other and then you don't see anymore. Blue are orange, Read are green. It automatically de saturate colors. Every relation between two complementary will become a great A neutral. We can see the same thing happening with the yellow and violent. See you here it is caller with. Now it becomes great new through in the middle. Okay, so let's see it working in the color wheel. So let's put in orographic these relations between the complementary colors. So we start using the blue and the orange to generate a neutral color. We'll see it happening here in the ballot. I'll start with orange, Mr and No middle Bit Blue, and automatically it breaks the caller information coming a D separated color. It tends to gray, you see off course that are infinite transitions for the the hottest color, or they could this color. But this is what happens if this that's right. More or less, it will descent rate the other relation. Here, let me being in this one. Oh, use green and rat and create a very reach neutral in this relationship. So it's only lying comes here. I noticed that this is not a color mixing exercise. This is a way to know how to work with the color wheel for which side you have to go. If you want a determinate result, this is the other one. We can start from violent or from yellow. There's no difference. So that's boot. Do your yellow here and a little bit off this violence. Do we have grade colder? This is the way make beautiful grace for our paintings using colors. Here we are connecting the opposite colors a primary and a secondary. But wait must remember that the secondary is the perfect neck seen off the other two primaries. All of those colors are coming from this first triangle. There is one other relation in this color wheel that we can consider to create grace. And this time we won't work with this primary triangle where we work on Lee with the secondary triangle. Remember that all the colors that are here come from the 1st 1 So if we makes one with the other, this one has two primaries and this one has true primers to. So if I mix, then I will have another new troops. If I come to this access, I'll have a neutral here. If I come from this access another one and in this access. So let's do it first here, mixing orange and violent. So I have orange here, a little bit of violet and I have already another de saturated color can become hot or cool depending on the amount off each color. You good in it. This is a little bit warmer, but if I with a little bit more off violent, I'll cut it down. These other access orange and green so you don't get it. Ring in the orange here to second. Their colors becomes a grayish color. No. And here green and blankets is access. So again, this is not a color mixing glass. This is for us to know that we can tease on reach an infinite range off beautiful grace in this access in this access in this access this is a way to know how it works. Power off having the correct colors in your palette you can create any other things you need and here we are starting to speak above saturation and the saturation. If we don't pay attention in this part, we will see on Lee the saturated colors here and all the saturated are in this orange 7. Understanding saturation: Let's talk a little bit about saturation. I have an example here. It's a colored picture and with lots of elements to analyze. The only saturated items are those ones. The colored umbrellas and chairs there are right under the sun. All the other things that are not illuminated by the sun directly have grayish callers de saturated cars. So let's push some examples off small parts of this picture, and then you can see that this color is agreeing. This is a great this, uh, brawl caller. It's very grayish Bird bridge brown. There is room. It's totally disintegrated. All right. Taking a look around the whole picture, you see lots of race hot and, uh, cold grace. And as I to the only saturated colors that we can identify like different hues. The green Iran and the blue off the sky are the really illuminated things the same, even the floor under the pavement. Here it is totally illuminated, but it is great. Surface is great. So when you take an example of that, we see ah hot Reyes colder. It means that we need to be experts on doing Bray's to reproduce a natural scene or to give the expect off elimination in a painting. We have to create this kind of contrast between light and dark. What is a light source in seen? And what is the element that is eliminated by the source? So here we are, analyzing a picture, a photo. Let's do the same with of fainting. So here we have a painting. This is the police, the avenue here in some polo. And let's make analysis off each part of the painting. So here we see a lot of green, right? But when you take this green, we see that in this square off the saturation and tones, we have the point here in this part. It's a very great age part off this color that let's pick up other ones you see here very de saturated. This color in its total saturation, would be like this and this part. Let's take other examples. See, almost great gray ready. We'll see some more saturated colors when you see light. So here in the traffic sign, you can see cetera et al here and the signs in the in the street and here in disorder traffic, some, even those callers are much more de saturated, and then you can say OK, but this is a rainy day. Everything is great, right? So let's make the same thing with another picture. So sunny day, colorful scene. But when it will start analyzing collars, you see that it is totally de saturated, and it's very difficult to find those collars in paints. Sometimes you will find, but probably not colors like this or like this, almost in the gray part. Off this square, you see, all of them are de separated colors. Look here and here when you have some very saturated collar. Even this way, you can see that it's not in the toe to saturated part off the square. It means that you will never use the paint as it comes in the tube. This is the color of the paint in the tube. The painting is always a mixing off callers to balance the saturation, the light and the tone. You see even the skin tones. Here we have a very de saturated color. We have to balance the colors in the painting, and this is something that lots off artists don't pay attention. So give two examples off the D saturation that we can observe in two different access one working from a primary to a secondary and another one from one second area to another secondary caller. Right? So I'm going to start with the blue as a primary color, and I'll make a D saturation off the blue using orange. So in the two points here, I will have the pure caller saturated, and then I will start to blend them. So if I come to the left and put a little bit of blue, I'll start this. Saturate the orange I see. If it put more, it becomes even more graves. And the same happens if I do it on the other side. So I will extend it a little bit and start putting Korans and it something. Good week here. So what I want to demonstrate here is that in this access the from boom two orange we'll have when the saturated color. But in fact, in this way, I have infinite regulations of that from, uh ah blue with a little bit of the saturation to the neutral and from an orange with a little bit of the saturation to the neutral, and it will be the same withdrew secondary with Green and Violet here. Then I'll do the same. I'll start extending it to the left, adding a little bit of green. And here I do the opposite. - No . Then I can see on this axis in the middle, will have a neutral color and hear more and more saturated to the points of this radiant. 8. Color values: I mixed a neutral caller here, adding the tree secondary colors I had. And then I have a very dark ain't with no new information. It's a great a reach break made with callers. But it was made to show you how the tones work in watercolor. So I will start this kale with the darkest stone I can reach with this color. So this is 100% off this color. Another color delight is the paper. So zero is exactly the paper with no paint. It means that a scale of 0% of this color eyes made adding water on it, never ending white to depend because in order, Kohler white is the paper. So I have to put water for the paper to be more visible. So the next the next part off the scale is this 80% way will see much more paper. Then the bridge is one in the transparency and so on. So the next one I have to put a little bit more water. It's the middle tone, medium value here in the scale, even more paper than they see in the 1st 1 You can get this scale from the other side to at the pigment instead of adding water is the same. But the concept is to darken. You have to put more pigment and to light. Then you have to put more water. Uh, off course. These are some specific steps for us to understand this cave, but there are no divisions. It's infinite from zero to 100. There are infinite degrees in this case. So a good training for you to achieve a good, great Reagan is to make a scale off Dan parts and then do it from the dark to life and like the door to So now we will make another color will, um, having some stones, information, some values information. We will see the color itself becoming darker and lighter in the concept off saturation in tone and tones. Right. So this line here, off our cover will Is the line off the natural progress, the original ones, the Hughes pure as they appear on the tube. So I put them here, and we will start our work from this information. Well, now, I wouldn't create two Jones for each color, but lighter tones as we saw I do this adding water so it is only more transparent, then the previous one. It means it has more water like her lighter. So it's okay way know how to create lighter tones of a color just adding water. Right now, we have to establish ways too dark and these cars because I have to make some choices when I want to make it darker with doubt changing hue. I don't have many options. I have to use a new truth to increase the tone. Or I can put another caller to make it darker. But probably I'm I'm gonna change the huge with that. So I'll give an example here. If I have blue and I want to increase the tone, it is already in the 100% off. The pigment you see is the maximum off color. I can reach with this with this paint. If I put a little bit off, Magenta can increase a little bit. The tone what it means. It means that if I take a picture a black and white picture off the squares, this one will be darker than this one. But if I put them in the color will, I will change. Did you? I am walking through this circle. I'm not going on the Don's scale. Another example I can have. Yeah, 100% of yellow. In this case, I can increase the tone and in a little bit off read too. But it's not yellow anymore. It becomes orange. You see that? I am walking in this circle. So what we do for keeping the U in this scale is adding a neutral. We have already learned to make neutrals. In this case, I'm gonna use already neutral I use. This is a paint over beans. Great. It's a mixing off course. You can use also a paint. Call it neutral teens that you can find in professional, serious off the paints. That is made exactly for that to increase tone without changing the U. So if I add a little bit off this neutral to the alum, I'll make it here and paint. I was see darker yellow, but it keeps the same you. So they put a little bit more. It's gonna be dark. So what we can notice here is that to increase the value off you in the same you we doubt pushing it to the other side off their color wheel. You have to add neutral and in consequence it will become de saturated. So to darken a color with neutral, you will always be saturate because of that way. Have to analyze. Went to use these method are this matter? - So here we have the color wheel ready. And then what is important to see here is the ways we used to change Tom's off each corner . So here I have the cure calling. Here we add you from to increase. I don't. And here we add, huh? Water Two decrees, Tom. 9. The basic palette: completing this color will. We can notice that we can reached every kind of color we need with just a few ones. When we analyze first part of the work, you can see the whole spectrum and imagine the huge amount of tones and hues we can reach in each off this access. So, uh, in this moment, we have to think about our palate. What would be a good ballot? Basic. A range of paints for me to do everything I want. We could say that if you have yellow read and blew the correct ones, the primary ones, you can do anything, and it's correct, and his graphic disapprove of that way did it with only tree paints. But one thing that you can notice is that the secondary covers beauty from the primary, have a limit off saturation. When you buy already paint like uh, in orange, you can have a strong saturation, and then you can work with this, decreasing a little bit, this saturation to the moments you want. Um, but if you need something really, really saturated, you can have this as a sharp good, and when you meet that they're cherry colors, it's even better because every time you make a new mix from a mix of paint, you lose a little bit. So you can, for example, use the ready orange and already green to have a very beautiful neutral without heading to mix the blue and the apple to get a green for doing this. So I call the secondary colors. Ah, a nice, sharp good for us to have in departments. And then we have to analyze the basic things. The simpler, the better. I think the ballot on this is the kind off thing I'm doing. My pilots. I organize it from the hot colors to the cold colors, and I finished with the nutrients. What I have here. I start with yellow, the process of being with fury. Yellow, yellow cat. I have a gun and orange and I have a burn Sana. I want to have a burn Santa in the polit or something similar. You will notice that it's quite easy to produce. Brown's in this color will using the basic problems because every time you makes primaries or to second there's you have kind of a brown. It's only to push it for the hotter side of the color. But as you are mixing from the mix as a boat, uh, it's very difficult to get a saturated brown because of that, I think very handed to have saturated brown like burnt Sana Onley to decrease the saturation for any kind of use. I need over brown color. Yeah, I have a primary red with Carmine and here I have eyes, more range of blues that starts from here the bright blue or this a rude improve. There is the purest one and then in this way I have cobalt blue, ultra marine blue and violence. It means that when I am walking through this way, I am increasing the amount off read in my group, right? You can maybe consider using only one stage here between the bright blue and the violence blowing the ultra marine blue. They are they do the same work moralize the same work, but to work with bluish subjects. I think it's a good range of colors to have this treatment lose cerulean blue, cobalt blue, ultramarine blue and then the violent right. But don't forget that you can achieve all of them using these two colors desire Ah, very Andy Sharpe goods as a. I used to have only one green in my pilots. This is a medium green. It means that it is right in the middle off this part of the color range. Here. It's not too yellow, and it's not too blue. So it's a good green that I can push for every side I want and I have here to neutrals. I have Payne's gray and a sepia way learned to make neutrals, but it's a very handy. It's a very good shortcut to have a warm, neutral and a cool neutral. You see that Payne's gray tends to blue, and the Ceka has, uh, a warm color in it. It's a kind of a brown, very dark brown. And even if you want to make a monochromatic, studious bones like this, it's very handed to to use the things break, and there is a white here. But I wanted to have a white in the ballot. If we never use white to make lighter tones, it's true. But if you want, um, Yuki Color, if you want to break the saturation of a color by making need nooky like the pastel colors like the baby clothes is you. You need to unique a new car. For that we use right tribute. The color never value. Is that new? We will achieve always with water. Right? So if you put white in your paints is only to achieve the right color and then we will put water to achieve the correct. Is that okay? 10. Painting layer 1: so we're going to paint this scene, and I think it's a good example, uh, for the using of the colors, the way we saw and the lessons we have very light callers saturated colors. We have darks, we have de saturated colors. So I'm gonna try to make it using only the paint's. We use it in the tutorial I have here some fest marks, mainly the ellipses on the position in off the elements in the paper. Sometimes it's pretty difficult to notice how dark or light is the value off each color. So if you want, you can use a black and white version off the picture. So here we can see the contrasts we need to achieve the clearest bones. The darkest, uh, these stones that are in the middle are quite difficult to understand when we see them with color. How dark? I have tribute my color for this part of the pink. So here is good to see this kind of information so way we're starting the painting like there watercolor technique beach beginning from the lightest in layers. So I opened on Lee, the lighting's, and in this case, the lightest things are the most saturated too. So I will make a layer on Lee with color and light. And then I will start adding layers with been nicked Don's and the darker stores. Okay, so I was stuck with this yellow flowers. I have lots of them here. They're brought it and saturated Also here and here in the front, You're in the front, we can dark in a little bit. And in this case, we can use the the red for that because although it's increasing value, it's also changing the deal so I can put a little bit morals big meant and start given a little bit more of information in this flowers in the foreground. I have, uh, bright greens too. I'm gonna do them right now. The saturated flowers here gonna pain in the same layer. Okay, so let's go to the bright green. So we have 1/3 cherry color here. It's ah, green with a lot of yellow to become bluenose bright. The bottom here, A little bit of green here I am using Ah, 100% gotten paper. 300 brands. You have Ah, some more yellow flowers here and there. Okay, so I will start looking some color and the rest off composition respecting the Hughes. So you can we have a decent iterated caller here, very bright, very light, but is the saturated so I will start with the yellow and this is true saturated to be here . What do I do to break the saturation off the yellow? So the first thing to do is go to the opposite side and break with a little bit off violence. So it's not yellow anymore. It's a grayish color, right? But I see it's a little bit warmer, so I can't unsee there. Put in a little bit off orange, and then I start toe or mop the the great, and it becomes a good color for the first lier here in the ground. I can even let some Dexter Cem white spots because it iss lightened by the sun so can assume some some right some highlights. And I will put something similar to this in this background because it would be too dark. So I have to put some pigment there. I will use the things I have here in the palate, break the saturation warm up here, an example how to get Brown's Interpol, it's and then I'll start mixing with paints I had already put here. It's gonna work like a pigment bays for the painting. It will become much, much darker. But for a while I only need to prepare the paper for the next layers. Here in this part way have Ah, very dark brown. It comes from an orange. I'm going to cool down a little bit this this grayish crawler for this part in the back and I'll make, uh, on orange. There is a little bit, two sets rated. So to break the separation, I jumped for the other side and start breaking it. So I think it's a good think to make this There were caught face. This would be a good place to use. The burnt Sienna, as I told it, has exactly this this warm and saturated brown tone. Okay, so I think this is a good first layer for dispensing 11. Painting layer 2: okay. With the first layer so totally dry, we're going to make the the colors for the second layer. Secondly, there has to be much more dance than the 1st 1 So what I'm doing here are the colors for this background. Because now I'm gonna make your kind off negative painting toe break the saturation. I have to jump for the other side and start step machine disintegrated. A neutral color. So the blue really broke the saturation off the off the orange. You see, it's a very reach neutral here, but I need one for this part. A little bit more of yellow, I think. So. I will start with the elbow and to break the saturation of yellow. Had to jump for the other side and put a little bit off violet with a little bit more. Okay. And make it a little bit warmer with a little bit of orange. So I have two beautiful neutrals to start my background. So I'm gonna use this brush. I like Bern with dispersants of Chinese brush because I can let the differ like this to add details with just a little bit off. First folks insinuating some complexity like this. Notice that I'm not painting the flowers. I'm painting the background around flowers. Same thing with the green and the other flowers here in this side. So I'll continue the background. I want to make painting Quite lose. I don't want to add too many details. And here I come, increasing the tone more pigment and then do the same with this part, making some holds for the flowers in the foreground. When I start to see things happening, I'll try to to open some whites, some small lines, okay? And then I'm gonna connect this part in the background with the floor. There are some shadows, and then it makes the con turn off the face. Okay. I have some darks here too. They would draw the these flowers here, and then we use practically on Lee water and a little bit of orange in this neutral to make it very bright for some fast strokes here only to simulate some texture. This this floor, it's a way to put some information with just a few gross throats. Gonna have a little bit Dexter, Wish some water droplets, okay. And then I'll keep at the more dark are areas in this layer. So I'm going to debase again, starting with orange, breaking the saturation with the compliment complementary color. And with that I can at this dark art off the face and also these one leading this despite with light, it's important to give this feeling off sunlight. You see that we have a more saturated part on the left and then it becomes but darker and cooler to the right. So I would just saturate a little bit more I would do it. Took two down the color and then I put it only in this part while it is still wet. All right, Another dark being I can already do is the shadow. The shadow is even more blue A little bit off Violet to increase the power of this blue. But I had some dirtiness here, some warm dirtiness and the color mixer. So it broke a little bit the saturation off the blue. And then they can connect with the shadow behind the basis and also make this shadow here. And the ground shadow draws a little bit. This part of the base that is very important have a light here Dio shadow is connected with the the support off the vase. Then when we have the details, it to be clearer and a little bit more off strength here in this school art on the ground, I will simulate something Way had a motorcycle here with a a shadow. I won't put the motorcycle. So, uh, it's a kind of a whole year. I will, in sin way, something that that is projecting some shadow here in the background. Nothing to find it, Bert. It makes us believe there is something really happening. A little bit more of big men. Yeah. Okay, So I will come back to the with flowers. We have greens but very deep greens to make volume in this in this flowers. So I put my my my green, and I can see that it's too bright for these greens. At first I have to de saturate it and then to dark two de saturate. I can use the opposite and it becomes much more vegetal into darkened. I can use the neutral as the other way we saw to darken callers to increase, so it fits very nicely this part because I need a very dark area here for me to see the light off the face and to draw the small flowers in the middle. This greens see the darkness off this green makes the flowers to appear s lightened. I'll make it a bit more blues here. Okay? And under the same here in the front. Put a little bit of violet two de saturate a little bit more and increase the value. And I start to see flowers here. Okay, a little bit water droplets to make some picture here in the front. I'm gonna add a little bit more off yellow, make it transparent to connect with those greens. Okay, so we'll let it dry just to put this more details in the end. 12. Painting layer 3: Now it's time to put the the highest tones. Uh, there's more details. Basically, the dark's on the support of the visas and some small details here. So I have plenty of these violet here. I tried to use these to generate a reach neutral. So it's to violence. I have to break this saturation to make strong new. True, I have to break the collar so I can use orange or green working in the triangle off the secondary. Colors are can jump to the other side and use yellow for breaking this. So I'll make it with orange in the first time. You see that it becomes a little bit warmer and I want a very thick bent because I'm gonna make some Dr Burst throats. I've got a very good and warm neutral. We see, take off a little bit of paint from the brush and did not start looking for this. This small lines I have to make it with confidence, fruits like this so we can rehearse a little bit. And then in just one stroke, I've changed a little bit, the heel cooling down a bit for this lower part. This part I will let a little bit lighter as it is here. And this other one well, behind go behind the flowers and I have some see their ones here. Another ellipses. Mitch is here. Very so it's more ornament You're in there, then also in this this base combining with the light I have left here. I put the darker part of it. Okay, there is another arch here might be stronger, Good. And maybe open some lines with drivers true in the ground, or I mean a We looked Dennis Violet with the complementary color. A little bit of orange to warm up a little bit more. And then with the brush almost dry, I will details. I can see it as lines distant this part in the first round of the same age. Here it's better to only to suggest some texture with some sparkles. Okay. And maybe I can dark and a little bit this part of the image taken advantage of this cool, violent have here I'll break the saturation with the green I already have here in the the color mixer and then trying not to remake all do the job off drawn in the flowers here but only suggesting And then I can comes to the right. - Of course, when it dries to balance the tones and we will have the final appearance off the whole painting. So that's where he didn't know beat for bet, Then we will see the result. 13. Conclusion: the exercises you produced in the class are a very good material for reference in your paintings, so keep it around to check the caller, mixing the color relations, saturation, saturation values, trying to make it as reference and as part of your projects. So look around all the exercises and the painting in the end, in posted forest Asi I hope you have learned more about colors in watercolor paintings in this class, and I hope to see you again in another skew share class.