Watercolor Color-Mixing Fun: A Primer for Beginners | Maureen Shafer | Skillshare

Watercolor Color-Mixing Fun: A Primer for Beginners

Maureen Shafer, Watercolor Artist

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8 Lessons (1h 16m)
    • 1. Welcome to the Class

    • 2. Paint Colors Used in This Class and a Crash Course on Watercolor Paints

    • 3. Everything Else You'll Need for This Class

    • 4. Controlling the Tonal Values of Your Paint Mixes

    • 5. Basic Color Theory and Setting up a Color Wheel

    • 6. Exploring More Color-Mixing Options

    • 7. Creating Browns, Grays, and Blacks

    • 8. Conclusion


About This Class

In this class you’ll learn:

  • How to choose watercolor paints by pigment numbers rather than color names, since color names don't necessarily mean anything. You'll also learn what convenience mixes (premixed colors) are.
  • What the different properties of watercolor paint are;
  • How to control the tonal values of your paint mixes. This is a precursor to learning how to mix colors;
  • How to mix a wide variety of colors ranging from eye-popping brights to browns, grays, and blacks using six basic colors of watercolor paint.

The advantages to using a limited palette for watercolor painting are as follows:

  • You'll save a lot of money, because you won't have to buy every color of paint under the sun;

  • You'll be able to create custom colors;

  • You'll be able to achieve color harmony in your paintings;

  • You’ll have lots of fun making colorful messes. ;)

This class is geared toward beginners, but if you’re past the beginners stage you may find some new color-mixing ideas here.


1. Welcome to the Class: Hello. My name is more weed. And then a watercolor artist in this class could be learning how to create a wide variety of colors ranging from my property rights all the way to browns, greys and blacks using just six colors of water color paint. First, to learn how to control the total values of your mixes, they will be giving a color wheel with this one. Then we'll be exploring more color mixing options. And then finally, you will learn how to mix browns, greys and blacks. I'll also be getting your crash course on the properties of watercolor pace. How did choose paint colors by pigment number instead of color name? And how did he call the information found on terms of watercolor pace? This information will help you to make more informed decisions when buying watercolor paints. Don't be shy to post pictures of your project cards on the projects and resources page on. Don't be shy in a post. Any questions you may have on the community page. You'll find the links to both beneath the videos. If you're passing your state, leave my some new color mixing ideas in this class 2. Paint Colors Used in This Class and a Crash Course on Watercolor Paints: in this lesson will be looking at the colors of paint will be using in this class how to choose paint colors by pigment number instead of color. Name the four properties of watercolor paints, how to decode watercolor paint labels and what premixed or convenience colors are. This is a bare bones introduction to the subject of watercolor paints. The six colors of paint will be using our ultra marine blue halo blue green shade, although whole buying calls their version of this color peacock blue, yellow Oakar, azo, yellow burnt sienna and quinacrine own Rose, also known as Permanent Rose Hold Line, and Daniel Smith are some brands of artists. Great paints. The Cotman, lined by Windsor, Newton and Van Gogh, are a few brands of student great paints. Winsor Newton also makes a line of artists great paints, which they call professional artists. Great paints are more expensive, since they're more highly pigmented. Brands such as recent pen tell are sometimes referred to a student grade paints, but they're not their budget. Great paints manufacturers are reputable. Paint brands always include the pigment number on their tubes of paint. They may also include information regarding the light Fastness and transparency of the paint's. Before we look at my tubes of paint to see the pigment numbers, I'm going to explain what's on this watch card, which illustrates the four properties of watercolor paints, namely transparency, light, Fastness, granule ation and staining. Watercolor paints vary in their level of transparency, ranging all the way from transparent to opaque. To test the transparency levels of my paints, I made a thick black line with the permanent marker on this piece of watercolor paper and painted a swatch of each of the colors on top of it. The extent to which the paint color obscures the line indicates its level of transparency. Ultra marine blue sale, a blue green shade and burnt sienna barely obscured the line, which indicates they're transparent, azo, yellow and quinacrine rose obscure. It's somewhat indicating their semi transparent, although the manufacturer of the Van Gogh line of watercolors claims all of the colors in the liner transparent. We're not using George paint in this class but have included it here as an example of a semi opaque paint, you can see that it obscures the line quite a bit. The yellow ochre obscures the line a lot, indicating it's opaque. It's important to understand why the transparency of a pigment matters first. The more transparent to color is, the more the paper will show through from underneath a light to medium tonal intensity wash of it. 2nd 1 of the fundamental techniques of watercolor painting is glazing or layering. This technique involves painting a layer of color on top of an existing one. Semi opaque and opaque pigments are not suitable for this task. Transparent pigments are best for glazing when transparency information is included on a tube of paint. It's indicated by a system employing either squares or circles. The columns in the box, labeled transparency symbols, indicate from left to right the symbols for transparency, semi transparency, semi opacity and opacity. Water color pigments also vary in their levels of light Fastness. When this information is included on tube of paint, it's indicated by either a system that employs Roman numerals or stars. In the case of the former Roman numerals one, and to indicate the highest levels of light Fastness and are considered good for professional artists. Any numeral higher than that indicates fugitive pigments, which means that the color will fade relatively quickly. In the case of light, fastest ratings indicated by stars, the more stars the better granulated pigments such as ultra marine blue, our model looking once the paint is dry due to the fact that the pigment particles clumped together as the paint dries. You can see this clearly on the swatch of pale ultra marine blue. At the bottom left this ghost for color mixes done with granulated pigments as well. Wash is done with non granulated pigments remains smooth as the paint dries the final property to look at his staining to determine the stating property of each of the six colors. I did a lifting test to do it. I took a wet flat hog's hair bristle brush and rubbed it back and forth on each of the swatches. The ultra marine blue and burnt sienna lifted easily, indicating their non staining pigments. I was not able to remove as much pain from each of the other swatches and barely any from the azo yellow swatch indicating there staining colors. Let's look at my tubes of paint now to see what information we can glean from them regarding the pigment number, transparency and light fastest of each color. Keep in mind while looking at my tubes of paint that all pigment numbers followed the same alpha numeric format. The Alfa part of the coat always starts with a P, which stands for pigment on the letter or letters that follow with indicate which of the nine color families watercolor paints are made from. This is known as the color index name. The numeric part of the code indicates what particular pigment within each family the colors made from and is known as the color index number on the tube of whole bites. Ultra marine deep. You can see the pigment number is P B 29 pigment blue 29. You can also see a bisected circle that is empty on both sides, indicating this color is semi transparent, according toe hold bite. But according to the results of the Swatch test, it's transparent. The three stars indicate the light Fastness rating in Hope Pines usage. This indicates the top level of light Fastness as a point of clarification. Whole buying calls this color ultra Marine deep, which is a standard ultra marine blue color. In order to differentiate it from their color, called ultra marine light. You can also see series A on the tube Artists. Greek paints are priced according to Siri's either Siris eight T e or 1 to 5. The higher the letter or number, the more expensive the color. Here I have the tube of whole binds peacock blue, which I told you before is actually say low blue green shade. And they also have a tube of turquoise from the Cotman line, which I did not show you previously. These are both in reality, the same color we're going to look now with the pigment information on each tube of paint. Here you see P. G seven pigment green seven and PB 15 pigment blue 15 blue pigment different from P B 29. You also see two stars to indicate it's like Fastness rating in whole binds usage. This indicates this paint has very good light Fastness. If there was only one star, it would mean the colorless fugitive. Now we're going to look at the tube of Cotman turquoise and here you see Well, look at that PB 15 and p g seven. That's how you know these two colors are the same. It also gives the light Fastness slash solid et al Alami F rating indicated by Roman numeral two, which is good for professional artists. Now you know why you can't go by color name when choosing paint colors. Now we'll look at the tubes of burnt sienna and yellow joker, both from the Cotman line. Burnt sienna paints are made from either one of two pigments. PBR seven, pigment brown seven or PR one No. One pigment red one No. One for the purposes of this class were using the ladder, which you can see on the tube. Here. The yellow okra is made from P Y 42 pigment yellow 42. Both of these colors have a light Fastness rating of Roman numeral one. Here I have the two, but as a yellow by Daniel Smith, you can see that the pigment number for this cover is P Y 1 51 pigment yellow 1 51 This is a different yellow pigment from the one used to make yellow Oakar. They also indicate the name of the pigment, which is Benzema Das alone yellow. When I turned the tube around, you can see that the light fastest rating is indicated by Roman numeral. One pictured here is the tube of quinacrine own rose from the Van Gogh line and a tube of crimson by Reeves. Quinacrine Rose and permanent rose are made from a pigment called Peavy, 19 violet pigment. The pigment number is the only information found on this tube of paint and this the minimum amount of information that should be included on any tube of water color paint, whether artists or student grade. Despite the fact this color is made from a violet pigment, it's considered to be a red. Always look for pigment numbers when purchasing watercolor paints in tubes budget. Great paints such as Reeves do not have any information on their tubes of paint regarding what pigment or pigments are used to make the color. Does Reeves use actual pigment to make their watercolor paints or they made from dice? You have no way of knowing. The lack of a pigment number indicates the painters of low quality. I do not recommend budget great paints. Now you have a basic idea of what's necessary to truth paint colors by pigment number instead of color name. Aside from the six pigment color families, you've discussed here. There are the color families of orange, black and white. The color index names for them R P, O, P, B, K and P W, respectively. To win this discussion, I'm going to say a word about convenience mixes, also known as premixed colors. Payne's gray, a very popular convenience color, is a bluish gray comprised of a blue pigment, often ultra marine blue on a black pigment and sometimes others. Payne's gray can also be mixed. Using ultra marine, blue and burnt sienna. I will show you how to do that when we get to the lesson on mixing browns, greys and blacks as a beginner, it's a good idea to learn to mix your own colors using single pigment paints first before trying convenience colors, Although that's a low blue green shape. Paints I've shown you here are comprised of two pigments favor Blue Green shade is still considered to be a single pigment color 3. Everything Else You'll Need for This Class: aside from paint, you'll need the following materials for this class. I'm going to start off by talking about paper. Watercolor paper comes in two grades. Student Great, an artist grade student grade paper is made of wood pulp Cancel and Strathmore, a few companies that manufacture student grade watercolor paper artists. Great paper is made of 100% cotton fibers pressed into sheets, using gelatin or other type of sizing as the binding material. Student grade paper is less expensive, but it does not react in the same way as artists. Great paper dust. The basic techniques of watercolor do not work well on it. Cotton paper comes in sheets, pass and blocks. This is an example of a block. The sheets are glued together on one or more sides as well as at the top, and they need to be separated carefully from the rest of the sheets. Like pats, they come in various sizes. There are many brands of artists, great paper on the market. Arches is the one that is the most popular with watercolor artists. Robbery ano artistic Oh is another popular brand. These two sheets were each cut from a 22 by 30 sheet of each, and both are £140 cold pressed, which is what I recommend and will be using for this class. Sheets are the most economical way to purchase watercolor paper. You can cut them to any size you like, but they're commonly cut in the half sheets. Quarter sheets, 1/8 sheets and 1/16 sheets. I have set up this class so you will need 6 1/16 sheets for the exercises on the seventh. Want to cut into one in strips to use for testing your paint mixes? That all adds up to less than half a sheet. If you opt for a sheet versus a pad or a block, I have provided instructions on how to cut it in the pdf entitled How to Cut Your Sheet of Watercolor Paper. There are other brands aside from the ones I've mentioned. Whatever brand you choose, make sure it's 100% cotton £140 cold pressed watercolor paper. There was no right or wrong side toe artist grade watercolor paper. You can use either side Paper is the most important investment you can make even as a beginner. If you have to choose between skimping on paper and skimping on paint. Get artists great paper and skimp on paint instead. By purchasing student grade paints, you will need a number six on the number eight brush, both of them round a brush labeled with whatever number convey varying size from manufacturer to manufacturer. The heads of all three of the number eight brushes I have here are roughly one inch long. The heads on these number six brushes are both roughly 3/4 of an inch long. You will need something to hold your paints. If you're just starting out on inexpensive folding plastic pallets, something like this one will be fine. When it comes to mixing surfaces, you can use the mixing wells in your palate. However, there's a big problem with using plastic surfaces for mixing paint. When plastic is new, the paint beats up on it, making it difficult to mix your paints properly. Plastic also stains easily and is difficult to clean. Porcelain and ceramic are the best surfaces for mixing on or a breeze to clean using only water. Untold white dinner plate is perfect for the job. I'll be using money place like this one during the class, you will need a board to tape your watercolor paper, too. This is a Masonite board that measures nine by 12 but if you have a wood board with a smooth surface lying around the house, that's fine to use to. You will need Lo Tak masking tape to secure your sheets of watercolor paper to your board. A small squeeze bottle for adding water to pigment to make your paint mixes a fine mist spray bottle to spritzer paints with to moisten them a bit prior to sitting down to paint Ah, three H or a forage pencil or other pencil with a light led to transfer the drawing of the color wheel template. Toe a sheet of watercolor paper when you do the color wheel and a 05 black micron Pento label your swatch cards with you will also need a Nard erasure, also known as the kneaded eraser. This is used to pick up loose graphite from your sheet of watercolor paper. Once you've transferred a designed to it, art erasures don't really erase anything. They just make the pencil lines later to use an art eraser. Just dab it on the paper you'll need at least one jar for water to rinse paint from your paintbrush. I like to use to to ensure I get my brush really clean. For one of the exercises, you'll need an extra jar reserve for clean water only. You'll need something toe. Wipe your brush on. I use an old towel to wipe my brush on after Iran's paint off it and paper towels to blot excess paint from my brush before laying down a wash of color. You can use paper towels for both jobs if you with. 4. Controlling the Tonal Values of Your Paint Mixes: in this lesson, I'm going to show you how to control the tonal values of your paint mixes by varying the water to pigment ratios. This is the basis of watercolor painting, and you must learn how to do this Before you learn how to mix colors, I'll be starting with azo yellow, ultra marine blue and quinacrine own rose. Afterwards, I'll do, say, low blue green shade, which I'll be referring to, a stay low blue most of the time for the rest of the class. For brevity sake, I'll do burnt sienna and yellow occur at the same time. I'll be using a different procedure for each set of colors. As a rule, I take my sheets down with the tape running the full length and height of the paper on each side. But for small sheets of paper like this, it isn't really necessary, so you can take your sheets down using shorter lengths of tape. As I've done here before I start, I want to say a word about the use of testing strips to test your paint mixes on. I'm not going to be getting into that subject in this lesson. I will instead be introducing it in the next lesson. When we do the color wheel for the time being, I'm going to be drawing your attention to the thickness of the mixes on my plate and how that translates into different tonal values. I'm starting with azo yellow, and I'm using a number six brush for this exercise. After wedding my brush. I removed the excess water from it so I don't add it to the pan of azo yellow when I pick up some pigment, since I want to start with a thick Micks in order to get the paint to the sickness I want, I have to add to loads of pigment, wiping my brush off before I add the second load. In order not to add water back into the mix, note the consistency of the paint on my plate. After add the second load of pigment. It doesn't move a lot. Before painting the first watch, I removed the excess paint from my brush. Notice how bold the color is now. I'm starting the process of watering down the pink bit by bit by adding a bigger of water at a time before painting a swatch to make sure I don't act pigment back into the mix every time I water it down. I wiped the paint off my brush before I dip it back into the mix. Again, I remove the excess paint from my brush before I paint this watch. Notice how the paint moves more and more easily on my plate, the more we water it down and how this watch has become paler and paler. The more water, read the mixes. If you're wondering why blot the excess paint off my brush before laying down a swatch. It's because if there's too much paint on your brush, the paint could pool or form a puddle. If this should happen to you at any time during this lesson, just want the paint off your brush and then use it as a mop toe. Lightly remove the excess paint. I'm done with the azo yellow. Now I'm going to do the same thing, using ultra marine blue, starting off with a sick mix again. I'll be adding labels on top of vitro of swatches afterwards, so I'm making sure to leave enough room in between Mitro for that. - Next up is quinacrine rose, except this time I'm going to go from light to dark, so I'm adding very little pigment to my plate to start with and lots of water. - After painting the first watch, I have to remove some of the water from my plait. If I don't, I'll have to add a lot of pigment to get the mixed darker. - Notice how the puddle got big again, even though I didn't add that much pigment. That's because the pink in my pan of corn macaron roses fresh and contains more water than it does when it's dried out. Here, I have to move more of the water again before continuing. So there it is. It's all done for these colors. Keep in mind. While you're doing this lesson that it's not about achieving perfectly great atonal washes every step of the weight, it's about exploring your paints. The important thing is that by the time you're finished painting the last watch, there is a significant change in tonal value between it and the first watch. Now I'm set up to go with another sheet of watercolor paper. For the second part of this lesson, I've added a small part of clean water to my work area for this exercise. This is not for rinsing paint out of my brush. I still have my other jars of water on my desk. For that, I'm using a number eight paintbrush. This time I'm starting by making a mix of halo blue that's neither too sick nor too watery . In other words, a mix of medium tonal intensity. - After painting off swatch of it, I'm rinsing all of the paint out of my brush and then dipping it into the small pot of clean water I showed you earlier. I'm removing some of the water from my brush, but not all of it. Now I'm placing my paintbrush on the wet swatch of fellow blue and dragging it across the page, going back a few times to get a bit more pigment. The end result is that I have a swatch that goes from a darker toe, a lighter tonal value. I'm going to do the same thing now with burnt sienna and yellow Oakar always wrenched in the paint off my brush before dipping it into the part of clean water prior to dragging the paint across the page. - Here are my finger swatch cards I've labeled each color with its corresponding pigment number. I could have gone even darker with the ultra marine blue and Quinn Macaron Rose. But this still gives you a good idea of how to create different tonal values by manipulating the water to pigment ratios of your paint mixes. Next up the color wheel. 5. Basic Color Theory and Setting up a Color Wheel: In this lesson, you'll be creating a color wheel like this one using fellow blue, azo, yellow and permanent rose. With this combination of pigments, you'll be able to create vivid colors like the ones you see here. I'll be using medium tonal values when mixing the colors. Once your color wheel is completed, it will be your basic color mixing tool. I'll be explaining more about it at the end of the lesson, along with some basic color theory. I'm presuming you're already familiar with the concept of primary as well. A secondary and tertiary colors. Since basic color. Siri is taught at the elementary school level. Ordinarily, when someone does a color wheel, they'll paint the yellow, blue and red sections first. Then they'll mix green, violet and orange one by one to create the secondary colors and paint each of the sections for those colors in turn, Finally, they'll makes the tertiary colors of yellow, green, blue, green, blue, violet, red, violet, red, orange and yellow orange, one by one and paint the appropriate slices of the pie with those colors in turn to finish the color wheel. I'll be taking a different approach, which you'll see shortly. The first thing you need to do is to transfer the drawing of the color wheel template I've provided to your sheet of watercolor paper. This is easy to do. Just tape a copy of it to a window and then paper sheet of watercolor paper on top of it. So the design shows through from underneath with the three H or four h. Pencil traced the design lightly onto the sheet used her art eraser to erase any lines they're not happy with in order to retrace them, I'll be introducing the use of testing strips in this lesson, although I won't be using them at every turn. Feel free to use them as much as you want before you commit a swatch to paper. I'm using a number eight paintbrush for this lesson. I'm going to start with the yellow, and I've already mixed up some azo yellow paint. Notice the consistency of it. It's fairly sick, but still moving. Here is what it looks like on the testing strip. - I want to create the yellow, green, green and blue green by adding increasing amounts of blue to the yellow. I'll paint the appropriate slice of the pie for each color. After I created, I ended up adding too much blue right away when trying to create the yellow green color. So I have to add some yellow back to the mix in order to make the color correction notice that I'm not completely filling in whatever slice of the pie, I'm in the process of painting. If I do that, then that color will flow into the still wet wash of color next to it. This is a good thing in the right context, but this isn't it. If you want to paint in the price slices neatly, you'll have to wait until the slice you've just painted is dry, so you don't risk creating back runs. Back runs air one of the pitfalls of watercolor painting, and every watercolor artists experiences them. Please read the pdf entitled Back runs, Blooms and Cauliflowers. For more information on this subject, if you decide to do it that way, it will take longer to complete the color wheel. Before I continue, I need to clean up the paint. I accidentally slop outside the outline of the blue green slice of the pie. I'm using clean down brushes for this task and the Kleenex for blotting the affected area afterwards. Now the greens are done, and it's time to do the violence. Keep in mind while you're doing the color wheel that your secondary and tertiary colors don't have to look exactly like mine. Since each one exists along a continuum to do the violets, I'm starting off by painting the blue slice of the pie. Note again. The consistency of the paint on my plate, - I'm going to add Read a better time to create blue, violet, violet and red violet. Our paint the appropriate slice of the pie for each color. After I create each one, you could make color corrections to awash as long as the paint is still showing you wet, as I've decided to do here by adding a bit more red to my blue violet color. Now I'm going to follow the same procedure for creating the oranges by adding yellow to read a bit at a time and painting in the appropriate slice of the pie for each color. After I create each one, I'm starting by painting the red section of the pie. - Here is the completed color wheel. I've added labels for the names of the colors and notations indicating whether their primary, secondary or tertiary colors. I've also added her note regarding how complementary colors lie opposite each other. Complementary colors are used to make browns, greys and blacks, which I'll show you how to do in the lesson dedicated to creating those colors. Generally speaking, blue screens and violence are considered to be cool colors, while yellows, reds and oranges are considered to be warm colors. However, we can break this down a bit further, since there are cool versions of warm colors on warm versions of cool colors. Cool yellows are biased towards green. Maybe they have a greenish undertone. Warm yellow, such as yellow Okkert are biased towards orange eso. Yellow is a pure primary yellow, neither warm nor cool. Cool reds, like permanent rose are biased towards violet. Warm reds are biased towards orange. Cool blues like save a blue green shape are biased towards green. Warm blues like ultra marine blue are biased towards violet. I'm going to expand on the notion of color, temperature and complementary colors a bit more. In the remaining lessons, I suggest you keep your color wheel ready to refer to while you complete this class 6. Exploring More Color-Mixing Options: in this lesson, I'm going to show you how to create various greens using fellow blue and burnt sienna and fellow blue and yellow Oakar. I'll then show you how to create various reds and oranges using quinacrine, rose and Burnt Sienna and Queen Macaron, Rose and yellow Joker. Finally, I'll show you examples of purples and greens you can create using ultra marine blue and permanent rose and ultra marine blue and as a yellow respectively. My goal with this lesson is to give you just a few ideas of colors you can create with these combinations of pigments. My sheet is set up and ready to go with swatches of fellow blue quinacrine rose, an ultra marine blue on it. When I set it up, I decided not to include swatches of burnt sienna, yellow Oakar, permanent rose and azo yellow. I'll leave it up to you if you want to. I'm going to start by mixing different greens using sailor blue and burnt sienna. I'm planning to go for a dark turquoise ah, dull forest green or drop all the green and a brownish color. Now I'm going to mix more greens using sailor blue and yellow Oakar. My goal here is to create a blue green, a yellow green on a gold green. This is not the color of green I'm going for, but since I have a lot of paint on my plate now, I'm going to add more yellow Oakar in a corner. Only again, I'm adding yellow Oakar in the corner, only to get to a gold green color. - Now I'm going to do the reds and oranges. For some reason, my video camera didn't capture the colors properly, so you might not be able to see the colors as I'm describing them. For that reason, I've included the photo off my swatch card as an insect for the duration of this segment. Next up is quinacrine rose mixed with burnt sienna. I'm going for a register pink color, a warm red and finally more of a brick red with yellow Oakar. Some of the colors you can make when mixing it with corn Akron rose are similar to the colors you can make with quinacrine, rose and burnt sienna. You can also mix sunbaked oranges. I want to start by showing you an example of what I mean by similar colors. I have a smaller amount of corn. Akron rose on my plate for my initial mix because I want to be able to get toe a brick red color quickly. This is very similar to the regret I created with corn Akron Rose and Burnt Sienna. Now, for some sun baked oranges, luscious purples at darker tonal values are up. Next, I added too much water to the ultra marine blue, so I have to add more paint to the mix. I'm adding more paint in a corner of my dish. Only I'm going for blue, violet, violet and red violet by adding increasing amounts of permanent rose to the mix again in the corner. Only now I'm going to create pastel shades of green with ultra marine blue, so I have less paint in my dish. I'll be making blue, green, mid green and yellow green by adding increasing amounts of azo yellow to the mix. - The greens I created using a low blue when doing the color wheel are considered to be cool greens because they have a strong bluish undertone. The mid green and the yellow green I've just created here, using ultra marine blue, are considered to be warm greens because they're biased, more towards yellow. The blue green I've just created using ultra Marine blue is still cooler than the yellow green and the mid green. However, it's not as cool as the blue green I created using Fail Oh blue. Next up are Browns, greys and blacks. 7. Creating Browns, Grays, and Blacks: in this lesson, all be shown you how to create browns, greys and blacks, which are neutral colors. Neutrals are made by mixing complementary colors together. Another way of looking at this is to say that browns, greys and blacks are created by mixing the three primary colors together. Browns are essentially neutralized oranges, so the easiest way to create them is to use orange and blue. Fortunately, in your color palette, you have burnt Sienna, which acts is an orange when paired with ultra marine blue. You will also be able to create grays and blacks with this combination of pigments. I'm going to start by showing you how to create neutrals using those colors. Afterwards, I'll show you how to create neutrals using, say, yellow, blue and orange created with azo yellow and quinacrine rose. My card is set up and ready to go. I'm going to start with burnt sienna and that ultra marine blue to it bit by bit when you add a color to its complement. What happens is that the initial color gets dulled down. The more of the compliment you add, the more the color gets neutralized. - I'm finished now. I've created to Brown's Ah Brown that's starting to move towards a warm great meaning. It has more orange than blue in it, on a neutral great meaning. It has a bounce of both blue and orange. Now I'm going to do the opposite. I'm going to start with ultra marine blue and neutralize it bit by bit by adding increasing amounts of burnt Sienna to it. I'm finished with this Now I've created to dull down blue colors on a cool, great meaning. It has more blues and orange in it. This is a version of Payne's gray, which I talked about in the first lesson. The last Swatch is a warm gray. What I want to do now is create blacks, so I have to thicken up the mix in order to create darker tonal values. My goal is to create a cool block, a neutral black and a warm black. This black does not appear to have come out as warm as I wanted it to, but it's still wet, so I want to let this watch dry before making my final evaluation. When I present my finished swatch cards at the end of this lesson, I'll share my evaluation with you. I'm ready to go with the corn. Akron rose, also yellow and stay low blue. I have to be careful when mixing the orange. If it has too much yellow in it, The mixed will turn green when I add the blue to it. If it has too much regulate, the mix will turn purple. In the first instance, you have to add a bit of red, the complement of green back to the mix in order to neutralize the green. In the second instance, you have to add yellow. The compliment a violent back to the mix in orderto centralize the purple. Yes, this can be tricky. - Here is a swatch of the orange I'm going to start adding, Sailor blew to my mix of orange bit by bit. Now it looks like I'm good to go here. My mix did not turn green or purple when I added the blue. - Here my mixtures turn green. That means I have to add a bit of red to the mix in order to neutralize the green. - I'm finished. I've created to Brown's, a warm gray on a neutral gray. Here are my completed swatch cards on the one for burnt sienna and ultra Marine blue. My cool black and my neutral black came out fine. The third black is indeed a bit warmer, but not a swarm. Us. I wanted so off camera I created a black that's a bit warmer. Go ahead and give creating browns, greys and blacks a try. I'll see you in the concluding video. 8. Conclusion: you now have a good idea how to mix colors. You also know how to control the tonal balance of your mixes. To greet everything from pastels to ducks. I urge you to explore for the wrong your whole with your color bill in hand, you could explore some of the other colors you could create using pairs of complementary colors other than blue and orange. I have provided PdF containing a few more color mixing options for you. Detroit. Don't be afraid to experiment. It's the best way to learn how to mix colors. Happy mixing.