Color Scheme Game - Part One - How to put a color wheel to good use

1. Welcome to the Color Scheme Game: I'm Chris Carter. Welcome to part One of the Color Scheme Game and how to put a color wheel to use. I will introduce you to some of the tools and supplies that you will find useful when playing this game. I'll also introduce you to some of the basic concepts that you will return to over and over again while playing the game. And you'll be using these in all four of the parts of the Color Scheme Game. In this first part, I will be covering the technique of Contour Drawing, making closed contour drawings. These are the drawings that I use most often when playing the Color Scheme Game. Also in part one, I'll go over the history of a game and why I invented it in the first place. The next few videos show you how to prepare to play the game. Some of the tools you'll need, some of the materials that will be helpful to you and how to laminate your templates to make them water resistant or waterproof. You'll also learn how to create your own custom color wheel with the pigments that you choose to use with each of the Color Schemes and each of the four parts of the Color Scheme Game course, you will be introduced to three, or the Color Schemes, three of the 12 color schemes that I use when playing the game. When you are creating your projects. For the classes. You don't need to use the Color Schemes that I've demonstrated in that class. You can go ahead and play the game by throwing the die and using whatever color schemes you come up with. The project for this class is twofold. The first part is to create and post your custom color wheel that you've created using only the three pigments that you've chosen. One yellow, one red, and one blue. Second part of the project is for you to create a drawing, a closed contour drawing. To choose one color that has to be part of your color scheme. And to choose your color scheme. Then of course, to paint in the drawing photograph if I'm posted as your project, I look forward to seeing your projects. If you want to post more than one, please feel free to do so. You can post as many Custom Color Wheels and as many projects as you wish with each part of the Color Scheme Game. Thank you for joining me. Let's begin 2. Introduction and History: Hi, This is Chris Carter. I'd like to introduce you to the Color Scheme Game. The Color Scheme Game is a game that I invented for myself to learn how to use color. Now this was after a period of two or three years when I went back to making Color Charts and Color Wheels to really understand how to mix color intentionally to get what I want it. And once I learned that, and this is after I've been painting for 30 years. I took advantage of 2008 being a terrible downturn in the economy. And I stopped doing exhibitions and teaching workshops for three years. During that time, I decided that I would master the skills of color. I'd like to think that i've, I've mastered the basics of color by color. Now instead of being a mystery to me because it was really the the weakest tool that I had in my Art toolbox. Instead of being a mystery, now it's just mysterious and exciting. And I, I enjoy not only the color that I use to paint and mixing those colors, but I enjoy seeing color in nature, color in the world, color and fabrics. So much more than I ever did before. My strength was line and shapes and values. Composition, drawing techniques. When it came to color, I was pretty clueless and I faked it for a long, long time. I want to share with you how I made it Fun for myself and how I took my knowledge of color that I learned after going back to the science of light. And I began to apply it in my paintings because it's one thing to know, something to understand how pigments mix, how colors mix. And it's a totally different thing when you're out in the field or in your studio and you're actually putting to use and making color choices. Because I grew up in a family that played games all the time and often. That's how my father would teach me things by inventing a game for me. And I find that that's how I learned the best. So I thought, alright, Now I understand how to mix colors, but what colors do I want to mix? How do I decide that they whole idea of Color Schemes was out of my realm of understanding. I thought maybe it was confining. I just didn't know because it didn't understand color. I didn't really understand color schemes. So I created a game called the Color Scheme Game. And in this game, there are 12 basic colors. Pure saturated colors, the primary colors, secondary colors, and the ones in-between. And there are 12 templates that correspond to 12 different color schemes. So the idea is that you throw a die. This is 12-sided die, or you can use to regular tube dies. And the first throw will indicate which color on the color wheel has to be included in your color scheme. If you want to make it a little bit more challenging than you would use, that color is your dominant color, but that's, that's for the more advanced players. And then you would throw the die again to determine which one of the color scheme templates you're going to use. Then you put that template on the top. I use attack. And I cork. Then you spin it around to make sure that the color that you first through the die for, let's say it's yellow. You would have to make sure that yellow was showing through one of the openings and you have to use those colors undiluted. We're not dealing with Values you're really holding to using colors. And then that little trick here is that you're never going to mix the same colors that are on the color wheel that comes in the PDF file. Because you may be using different pigments. I might be using cadmium yellow medium. You might be using cadmium lemon, or you might be using yellow ocher for your yellow. Okay, So It's gonna be different every time, and that's what you do for one week. You play with one set of three primaries. And then if you want it to, you could swap that out. And then swap out and Alizarin crimson red for a cadmium red and see what happens. Then you really, really reinforced what you know about color and mixing color and you never have to memorize formulas again. You don't have to memorize the names of pigments. Again, you don't have to have five dozen tubes of paint. You need six. And maybe you want to throw in a few extras like cobalt turquoise, which you can't mix, or cobalt violet, which you can't mix. But only those few that you can't mix. Or maybe a burnt sienna because you don't want to spend, you don't want to use your expensive pigments to mix an earth color. So you might get that as a convenience color, but you would never bring that with you if you are going hiking and wanted to paint because you don't want to carry any extra weight. I just carry a little tiny, Tiny Tim with a few pigments in and I can mix anything I want, except cobalt turquoise and cobalt violet. So I invite you to take a look at the Color Scheme Game, whether you're a full-time artist, um, whether that's professional or amateur, what those delineations don't mean very much to me. Or if you've never painted before it, how, how great would it be to learn from the very beginning how color works instead of being lost in the mock cuvette and the mystery of it. And to be washing a lot of paint off your papers, scraping it off your Canvas. I just invite you to take a look, and I hope to see you in class online for the Color Scheme Game. Thanks a lot for giving me time. Have a great day. 3. Beginning the Journey: Welcome back to the Color Scheme course. In this section, I'll be showing you a demo of Mixing your pigments to create your own custom color wheel. I will also be presenting the first painting of playing the game and using one chosen color scheme. Now, I had thought originally that I will present in each section the new color schemes in order 123 456-789-1011, 12. But then I realized that I would get really bored with that. So I'm not going to I'm going to mix it up. You will be granted access to new section, which will be another color scheme that you won't quite know what you're gonna be working with yet. And of course, throughout the course, you can throw the die and just play with your own color schemes. But I do want to go through in this course showing you a demo of each and every color scheme that you'll be playing with with the course. And also forcing myself to use one of the colors in each of the schemes. You'll get a variation of not everything that's possible because that's pretty hard to do in a course that's less than several years. They really, really want you to spend a week doing multiple drawings, multiple experiments playing with the Color Schemes. That is the way that you really learn it. If you flash through the course, when my mom, my mom, them, then you will have done them. You'll think that you know, but you won't have retrained your brain. And I cannot emphasize that enough. There's a story that at some point I may tell about retraining my son's brain. And I really learned from that, that habits are hard and our brain does what it's meant to do. It makes getting through the day easier for us by falling back on solutions that already found worked or that it's been using. I have condensed what I spent every day three years doing. If you follow my guidance and if you do all the exercises, I truly can guarantee that you will have such a strong understanding of color. You will be in touch with the Color Schemes that really speak to you and how to use them in different ways. I invite you to take your time, but don't wait a whole week to do your exercise. And if you've gone away or if you haven't been able to do your exercise just because I've granted you access to the next section, does not mean that you need to move on to it. I would still work with One Color Scheme and one set of primary colors for a week at a time. The way that it changed my life is so phenomenal that I want, I want you to have that experience to just a little preview of what's going to be happening in the next few sections. Each section has several lessons. So each section will be featuring a new color scheme. Within that section, you're going to have a demo of me making a custom color wheel with different pigments so that you can see what happens there. So there's a lot of exciting episodes ahead, and I look forward to getting started. Sometimes you'll see me in the demos. I'll be doing the demos, but I won't always be looking at you and talking to you directly like this, but I I certainly will on occasion, please, as always, feel free to contact me with any extra questions or e-mail me and please write your comments. Give, give your feedback to me. I want to make this course better and better and better. If there's an exercise that really bombs, I want to know so that I can replace it with a much better exercise. I am open to suggestions and evaluations and I just want to be the best inspiration for you that I can be and the best guide along this journey. And remember this is Journey. This is not, It's not just a class where you show up and you do the work. This is an adventure. You have a ticket into the world of color. You get to pick your route. You get to explore what you want to explore and break the rules. I'm gonna keep telling you to follow the rules, but but inside of me, I'm hoping that along with following them, you'll break them all to and see what happens. So welcome to the class. I'm excited to get started and thank you for committing to turning the mystery of color into enjoying the mysterious world of color. See you in the next lesson. 4. Color Value Diamond and Pigments: I'm going to start off with just a few quick demos on some of the supplies that you're going to find most useful to you, working through the color schemes, I'm going to present different materials that you'll also be able to use if you're taking this out, plan air, urban sketching wherever you might be, there, very easily portable. The first one that I would like to mention is the color Value Diamond. Most of my students find this one of the most useful tools that I've made for them. You'll find the download for it in the downloads section. I suggest you print it out. You'll get several copies of it on the one page and then you can laminate it if you wish. I won't be talking a whole lot about color value, but I will be referring to it often. This Diamond will really help you to make good choices. When it comes to the hues your use in the Color Scheme Game. There will be another complete course on color value that's down the line. And by the time you finished this course, you're going to be totally ready for that one. I bet that all of you have a whole lot of pigments that have been lying around for quite awhile. If not, you're fortunate. You can just go out and pick a few, pick a yellow, pick a blue, pick a red to begin with. And each week, if you wanna go to the store and add that fine, this is just a super way to use up old paint and to go through them and find if you have one that's just hard as rock, well, then you can just toss it. So what I've done is I've mixed my blues, all my yellows and all my reds. Normally, I will have two tins for yellow, two-tenths for red and two-tenths for blue. One will be for the cool blue, one for the warm blue, one for the cool yellow, one for the warm yellow, one for the cool red, and one for the warm red for the color scheme game. We're going to be very, very arbitrary about it, at least for the first few lessons. Pile your paints into three different bowls, boxes, bags, whatever you want, and then pick one from each. Okay. So what did I pick? I packed cerulean blue and Alizarin crimson. These will be the three that I will use for this first Section lessons. I do want to mention two colors. I want to mention Naples, yellow and yellow ocher. I'm telling you to be completely arbitrary, but I also want, want you to be very successful. We will work with these later on. But I want to let you know that Naples yellow is very opaque, very, very opaque. And that's wonderful. And I'll explain why it's wonderful. In another session will be tricky to mix your colors and to apply them in nice washes that will feel successful to you. It's going to need a little bit more skill and a more discerning eye. Same thing with yellow ocher. Depending on who's yellow ocher you're using, it's going to be more opaque. And I just suggest that in the beginning, if these are the 21 of these two colors is what you pull out of your buck. So your bag, you put it aside and you pull out something else. Okay, So I really want you to have a good time with this and we can do those extra challenges a little bit later. 5. The Importance of Clean Water: In this lesson, I'm going to go over the various containers you can use to keep your water totally clean. One of the primary concerns in this lesson is that you use Clean Water always. Because if you use water tinge with yellow and you dip your brush into it and then you're mixing blue and red to make a violet. You're adding yellow to it. And that means you got all three primaries and you're not going to see what the Pigments truly are doing. You're going to think that it's the red and blue, but you'll forget that you actually added yellow to it. So it's imperative that you keep your water clean. That also means you're gonna be changing or water a lot. You can change it less if you use three different containers. One will be for one of your colors, another will be to wash out the brush that you use for the other color and one log B for totally clean water. This is a great container. The history of this is that I used to use this one. I would go out to the pubs and paint the musicians live. I would use a dip pen with Black Ink. And if I tried to wash that off and my water bucket, of course it would totally mock-up my water. So I would use one section to wash off my dip pen. And then I would use another section to wash out my brush. And I would use the third section to keep totally clean water. So I got in the habit of using three water containers all the time. And this way, I could just bring one and it didn't have to run back-and-forth to the bathroom. I use this in my studio now when I travel, I use this. This is great. This is a nesting set up water containers. Okay. There we go. What I do is I use one of these funky little kids brushes to wash the pigments out. You can see that it's pretty well stained. I get most of that out and i'm I'm more careful. I'll kinda brush this with some kind of rough cleanser if I'm going to be super particular about playing the Color Scheme Game. But I've gotten a little lazy over the, over the years. They know another thing that clearly I've never used, but I thought was really cool as a container that I found. It gets for ketchup and mustard or oil and vinegar or something like that. I found this at the Dollar Store. So check out your dollar stores. They've, they've usually got some pretty cool stuff that you can use for Art. And here, if you want, you can have one for totally clean water and one to wash your brushes out. Or what you can do is just used three yogurt containers, three jars, three Clans. Whatever works for you, will be just fine. 6. Preparing your Templates: Welcome to the first step of the Color Scheme Game. First thing you want to do is to print out the PDF file that you find them below, and possibly to your right under the downloads. So you will download that file, open the file. And these are the pages that you're going to have. You're going to have first, the background of the Color Scheme Game. And how you begin. Next page is two copies of the color wheel. The next page begins the templates, template 1.2, templates 3.4, template 5.6, templates 7.8, template 9.10, template 11.12. The next page will give you a circle, which is a template for making your own color wheel, where you can use the Pigments, The yellow, red, and blue, to create the colors that you can actually achieve with the Pigments, this original color wheel. And I can't emphasize this enough because this is something that would lead to confusion in the workshops. Depending on the colors that you choose for your primary pigments, you will not get these colors. So don't ever tried to match these colors. These are only reference as to what is yellow, red, blue, green, orange, violet, red, violet red, orange, yellow orange, yellow green, blue green, and blue violet. Your variations are going to be different. Your red violet will not look like my red violet. If you're not using the exact same blue, red, and yellow that I used. This is just a reference which works perfectly fine as long as you remember that if you wish to make your own color wheel, using the pigments that you're going to use and seeing exactly what you're going to get. Then you go to this template and you will cut this template out to segment it so that all of these other templates will work with your custom made color wheel. And I will be showing you in another demo how to create that custom color wheel. But it is not necessary. It's just for your convenience. If you have a certain color palette that you'd like to use, and then you would want to repeat that. So the next page is the first side of your cards that you're going to. The next page, and the last page of the templates is the other side of your card. Then you will have the Color Scheme Game part One, which is really what this course is all about. And it defines the 12 different colors. The next page indicates what the number on your die will indicate in terms of few, each of the 12 Hughes has a number corresponding to it. So if you throw a 12, that means that orange-yellow has to be one of the colors you use. Now the rest of the pages are an extension of the game and these rules and examples will not be part of this course, but it's part of the Color Scheme Game. And you can go ahead and play this if you wish. Eventually there will be another course that will show you examples and we'll walk you through this game. This is about Shapes rather than color schemes. The next one is about the value ranges. And it is an additional game that will be covered in a future courts. The last one is a compositional arrangement game that to will be covered in a future courts. But the directions are here basically, and I think that you can probably figure that out. If not just contact me. Page one can be easily printed on thin paper, regular copy paper. I print pages 2 through 11 on cardstock. Now you can get cardstock. It's usually 65 pound, I believe in place, like Staples or an office supply place. The next few pages. All of these can be clamped on thin paper for the cards. And I will show you how to make both kinds I will print page 15 on one side, and then I print page 60. I flip it around. I flip this page around, put it back in the printer, and print 16th, so in with both sides of the card on one piece of paper. But if that's too complicated for you Don't worry about it. You can do the two together and I'll show you how to laminate that together. So the next stage, I'm going to cut these down because I don't like to, I'm very frugal. I don't like to waste the contact paper by all of this extra. What I use is a clear covering. It's meant for covering cupboard shelves. So that's what I use. You peel it carefully to get started. I put it down and roll roll it down. Because you have to be careful that you are in alignment with it. You try to keep it the edges in the alignment and you just press it down. This is a double-sided. For this, you can either just cut it up by hand. I use a paper cutter just because it's neater. I'd like to show you what not to do. If you've printed your cards up on separate sheets, if you didn't make them two-sided. You can glue these together. And I'm gonna show you how I double-sided tape mine together. But before I do that, I want to mention that if you're putting these together and unless you've used a spray adhesive that covers the entire sheet, and you carefully put this down so that two pieces of paper are really attached at all points. I'll show you what will happen. This was two sheets of paper. I put double-sided tape sporadically across. And I'll show you what happens when I cut it apart. You're going to have cards that are just gonna be annoying because they're going to come apart in different ways. So the laminate and really doesn't protect it, they're gonna get wet and it would drive me crazy. So I'm suggesting you don't do it that way. Suggesting instead, this may be a strange way to do it, but I want to mark where I'm going to put strips on the back of tape going this way. And that way. Okay. Then I use double-sided tape. I will cross from those markings. Okay? So now make sure that both top so top to top bond. Okay. So again, it's not stuck together all the way. But what I'm going to do is I'm going to cut the cards first and then I'll show you what I do. So now I have My two-sided card, and you can see that they to have spaces between them. Now granted, you could use it just like that. But I like to have it water resistant or waterproof because I often use these when I'm outside. And they may be in the grass and they just if you don't laminate them, they get beat up pretty quickly. Using clear contracts. The same thing, you're going to carefully roll it down. You're going to leave space between because you're actually going to leave edges when you cut it. And that's what's going to hold the whole card together. And I'll let laminate that one with the scrap. Just like we did before. We'll fold it over. Once it gets started, it's good. Roll it down again so you don't get those records. Lease space on the sides. Ten, you really want to press N against the edges. Now. Cut along and leave not quite a quarter of an inch. Then your card is sealed. I prefer think it's much easier to just print on both sides and have one sheet of paper. But if that's, as I mentioned before, that's a little bit too tricky, then you can do it this way. Then you would cut them all out. And you have at least water resistant card. So these are all the parts that you need to play the game. You need the Color Wheels. You need 123 456-789-1011, 12 templates. And you need your instruction card. You also need attack or pushpin and a piece of cork. And the reason for that is that if you throw a two, which is double Complements, make sure you put it through the middle. This is a wine cork cut into two or three pieces. Then you can spin it around. Okay. Now, one thing I, the other two pieces you have as you have your color wheel circle template, and you're templates to divide it. By. Now, I do want to point out that this circle template is the size of the inside of this color wheel. If you want to be able to label it as I did, then when you cut out your color wheel, you're going to want to just leave extra room around the outside so that you can label it. Okay. This fits just like that. And then you'll be able to use all of your Templates with your, your own color wheel. The other piece you need that I forgot to mention is a die. I use a 12-sided die. You can also use two six-sided die. Or you can just put numbers one through 12th on pieces of paper, fold them up and put them in a bag or box. Whatever works for you. I just really enjoyed the 12-sided die. See you in the next lesson. 7. Create a Custom Color Wheel: In this lesson, you'll be creating your own color wheel. I'd like to explain something about the color wheel that comes with the PDF file. You'll notice that the color wheel that's printed out, the one that you cut out and laminate it to play the game has two yellows, two blues, and two reds. The reason for this is because there are no pure yellows, there are no pure ribs and there are no pure blues. Yellow is either heading towards blue or heading towards red. The ones that are heading towards red we call warm. The ones that are heading toward blue, we call cool. I put them both on the color wheel to remind you about that. That depending on whether you choose a warm yellow or a cool yellow, you will get different greens and different oranges. This color wheel, the one you print it out, was created from using six different Pigments. A warm and cool of each. The cool red I used with some Alizarin crimson. The warm red I used was a cadmium red. The warm blue I used was French ultramarine blue. The cool blue I used was Othello blue. The cool yellow I used was an oriole and, and the warm yellow I used was a gamboge. These colors were made from mixing warm red and the warm yellow. These were made by Mixing cool yellow and the cool blue. And these are made by mixing the cool red and the warm blue. You will not get these colors even, well, even if you choose some of the same pigments, because you will be using only three pigments throughout this course. One yellow, one red, and one blue. And that's why, even though you can play the game using this color wheel, cutting it out. I suggest that you make your own color wheel for each group of three pigments you choose, and you label it carefully. So in the next step, I will show you how to make that color wheel can easily do that. When you're out in the field. You can do them very quickly or you can take a long time to do them. And I will explain the difference. Now these color wheels are gonna be much closer to what you will be creating using only three huge, hit only three pigments. This is one that I created and it took a long time because I had to paint in one section and then another section and wait for too dry because if I didn't the two would bleed together. That's why I also am going to show you how to do it very quickly. The game, it doesn't have to be all meet like this. This color wheel was created by using a gamboge, which is a warm yellow, using an ultramarine blue, which is a warm blue and a Carmine. I'll just put this down. This is not Carmine, it's Alizarin, but a cool carmine is a cool red. And you'll begin to recognize just by looking at them. You'll recognize whether it's a cool pigment or a warm pigment using these three pigments, I got all of these colors. I did not use any of the other three. Now the reason that this looks so different is because although I used a red and a blue that were similar to these, this was a cadmium red deep, so it's warmer than this. But still, the reason that these are so different is because look at the different yellow I used. Instead of using an Oreo colon or gamboge, I use something that was much more neutralized. This is a raw sienna, which I suggest you play with, but maybe not in the beginning, because it will give you more neutralized colors. Let's get started making your color wheel. I mentioned before that the templates that you have is slightly smaller than Color Wheel. And the reason is, is that I wanted that to fit easily. What you might wanna do. You can label it all well, would be to trace, first, to trace the larger color wheel if you've laminate it. Then putting this somewhat in the middle, trace it again. And then you put this, line it up carefully Okay. Then my yellow, I'm gonna put it the top. And I'm going to label it. This is new gamboge. And it's Winsor Newton. 123. I'm skipping three. And this is gonna be my blue, blue, yellow, and ultramarine blue. And my red. One-two-three, Here's my red. And it's 123. This is going to be permanent carmine. That is also Winsor Newton. Also important that you write in the names because it is so easy to make a mistake. Before I go further. This yellow and blue, this is gonna be green. This is gonna be blue, green. This is gonna be yellow, green, red, blue. I like calling it violet just because it's such a pretty word. And this is blue violet, and this is red violet. I'm going to squeeze a little bit of this out. I'm going to skip to because I'm going to use the three for my violence. And the reason that I use two paints is so that I don't end up diluting the pigment too much. There's a tendency to add too much water to the pan paints. This one is hard to open, so I'm gonna show you what to do. When you're painter. Hard to open. You have a couple of choices. You can always run this under hot water. I have a tendency to not want to do that because often the paper will then come off and I'll have no idea what's inside the tube. What I do is I use a match and a pair of pliers. You can do this with oil paints and you don't want to hold it to, to close or do a too long because then you can melt the cap. Let's see. There we go. 123. A little bit of water on each one. Not a lot. And what I'm doing is I'm not mixing this whole pile up. I'm just using outside to get enough because you don't need to fill in a big area, get enough to flow smoothly. So this consistency should be that of no thicker than half and half, okay. But not as thin as skim milk. It should be like whole milk. Then you're just going to paint in your yellow. Really play that out. Well, I'm pretending right now that I'm out in the fields, so I'm not gonna go back-and-forth and cleaning it up. When you're actually painting, playing the game. I want you to be really careful about this, but I also want you to be able to do this wherever you go. Mixing that up, blue, make sure that you check it out. See how intense it is. You don't want it to be diluted. You want the full strength. And you'll find that some are more transparent than others. It's always better to start off with the light colors. Put yellow in there, and I'm going to put yellow in here, wipe it off, take a look at some yellow in there. Now I'm going to put some red over here. I can do this without mixing up, mixing my Pigments up. In other words, I'm not putting any blue in this. I'm getting the colors to mix. My other 369. Still red. Still red. Still red. I'm using my paper towel to test out the cleanliness of like brush. That's pretty good. Going back to this Now I'm going to go very lightly because I want to do is I add a little bit of the red to the yellow just to touch because yellow terms so quickly, don't want too much water in my brush. I'm going to add this. Don't put it in this one that's your pigment. Now see looking how quickly that changed. Yellow orange. My yellow orange. Now, because I'm going to mix both of these, I can go back into this one. This is the pure R1. So I can go back and forth here. Have a scrap paper. Okay, Now then ask yourself, alright, does that look orange or does that look red on it? That's my peer, yellow. I'm not touching that one. I do want some more yellow in it. So let's see how that looks. Now. That's kinda between there and there. Maybe that was a pretty little more yeah. So there's my arm. And now I'm just going to put a tiny bit of yellow into my rent. So can you see there's a real transition there? This is my red, it's a cool red. This is my red orange, which kinda looks like a nice warm red. This is my orange. This is my yellow orange. You can see it's a little neutralized. And this is my new gamboge. Here was the yellow that I'm going to mix to make my green, my yellow greens. So what will I wanna do? I'm going to want to put only a very, very small touch of blue. A little bit more. Too much. Go back and carefully. Very clean brush. Okay, perfect. So that's still kind of a yellow, green. Okay. I'm gonna go with that. Then. That's going to be my blue-green. Might want to vary that a little bit so that I can really see because these, these are very distinct, I might like that. And this one, I'm gonna make a variation at the blue-green onto my violet. Now with this, I've got three wells. This is my pure red, that's my not pure, but that's my cool red. That's my warm blue. Looking a little warm to me. Okay. That's pretty pure violet, so I'm gonna put that right in the middle. This is gonna be my blue violet. And this is going to add my red fine. I can get all of those gorgeous colors with permanent carmine, ultramarine blue. And new gamboge. Is this gamboge is really very translucent, much more translucent than what I'm used to. That's why it's important to write down also the manufacturer and whether it's professional or students. That is your color wheel. That took longer than usual because I wanted to be specific. I'm gonna do it a very quick one now. I'm not going to talk this time. I'm just going to whiz through it Okay. That's it. There you have it again. And you can see there's a difference. These are darker. It's a little bit more dilute, but you'll find that this is gonna give you sufficient information about those pigments. After you've been playing this for awhile. And notice that the templates let it dry it. They will fit right over it. Okay. They fit over it perfectly. Okay. So that's how you make your custom color wheel 8. Basic Contour Drawing and Closed Shapes: Contour Drawing can be very successful. If you get into a state where your eye and your pencil feel like they're the same point. So you're really not going to move your pencil unless you're moving your eye. And it's as if you're taking a walk on, in this case, a mug. Whatever object you're working with it will be on that like a key or a fountain pen or whatever you're going to be drawing. And you're going to wait until you're in pencil, feel like they're totally synchronized. And as your eye starts to move across the surface, your pencil will follow that same line. And you'll see that you're not really making straight lines because you're looking at surfaces that are not necessarily straight. You want to only walk along surfaces that you can see. You'll be seeing that I'll be going inside of the mug, but only to the limit of what I can see. I'm not gonna be really focusing on the edges of things. Sometimes I will go along the edge. I'm going to cut across different surfaces so that you can see it's really a Contour. So you can take any path you want along the surface, but no shortcuts. You can't go through the object. You have to go on the outside of the object. So have Fun. And here goes the example. I'll narrate through it. Here's the mug that I'll be using for the demo and drawing the contour. You can see the line progressing, That's my pencil. See that little blip. I've just pretended to walk over the lipid a little bit. And now I'm going down the edge and starting to curve around, walk-around, underneath, along the edge of the cup but underwear the handle this. Now I'm walking around the handle. The lines that you see me drawing or not to indicate the lines that you see. The little red lines that you see on the handle. They are really the Contour, the shape, the surface of the handle. As I'm walking back and forth across it with my pencil. And you'll see that there curve. Because if, if I'm really in sync with my pencil and my eye, then I would not make a straight line across or I'll be going through the pottery. And I want to be going on the surface of the pottery. Here I've cut down across the front because I can take any path I want. And they just wanted to show you that I'm not looking at the edge, the outline of the cup. I cut across again and see you that curves. That's because I'm walking on that surface. I can't walk straight through or I'd be jumping on the inside of the mug. Now I'm on the outer rim and coming back around, walking all along the outer rim, going up and now down a little bit on the little bit of a lip, cutting down across the front surface of the mug and going back over to where the handle is up, we go around the rim again because I can't take shortcuts. Now I'm inside the mug. I'm going along the opposite surface inside of the MCQ. There I'm inside the mark again. Back again, I go on the inside of the mug along that back surface. And that's a line Contour Drawing of this coffee mug. Today, I'll be doing the closed contours, which is the kind of drawing I used when I spent the 3-years daily working on learning color, learning about different pigments. And then following that up with working with color schemes and really, really enjoying colors so much. I never thought it would be possible for me to enjoy color that much. My string is in line and shapes and value was. And now, now color is also a strength because, because I worked at every day and my drawing got better. And the exploration of color was it just opened up new worlds. In this video, I'm going to clarify what I mean by closed shape versus open shape. When I'm talking about closed shape, take for example, the letter 0 is a closed shape. It has a boundary all the way around. I can fill that in. I know where to start, I know where to stop. If I cut it out, I cut along this line. That whole little piece of paper would drop out. The letter U Is an open shape. Why? If I cut along this line, the piece of paper would not drop out. And if I were to color that in, where would I stop? I don't really know. Now, Matisse was famous for open shape, right? He would draw a figure that we create volume because he did not connect it. Look what happens when you connect that line to that line. That line, that line. You see how that whole thing flattens out. You can move in and out of it. So there are reasons to connect and reasons not to connect. A lot of the exercise is what I'm doing is I'm making Closed Shapes so that you can clearly see where to begin and where to end. Either the color you're using or the hue. And where to begin and where did to end the value or tone that you're choosing. And that way you become stronger in design. Now, in reality, you're often not going to have those, those severe boundaries. I just want you to be attentive to that. Because when you start doing a lot of the color exercises, you're going to run into trouble if you're not working with Closed Shapes. Here's another example of drawing a tree. Here. I could fill this in trunk. But what do I do down here? You say, well it's grass or something and you've drawn in some grass. But where do you stop the grass? Where do you stop the trunk? Now over here, I have the sky breaking into this tree. So in order to close this off, you look back at any open Shapes. Really close them off. Now I have closed shape. I just want you to start thinking ahead about these things. This is closed shape versus open shape. We have circle, close, close, close, close. Closed, closed. Closed. Open. Open, open, close, close. Okay. So that's how I think in terms of Closed Shapes from Shapes 9. Scheme #10 Triad with Split Complements: I've decided that I'm going to show you first the Triad with Split Complements because it's a really wonderful color scheme and I know that ahead of time. I use a cork, a third of cork, and a tack. You can put it right through the middle and through the middle of the color wheel that came with a PDF file. Or I suggest you use the Custom-made because those are really the colors that you can get. So these are all the color schemes that you can choose from, that you can create with the three pigments that you've chosen. What I will do to make it more arbitrary years, I will throw the die for what's listed is my dominant color. If you're more advanced, you can go ahead and use it as your dominant color. Otherwise, forget that it says dominant and just pretend it says color. So I'm going to throw the die, right? 11, 11 is orange. Now, the way I play it is that orange has to be, this is my orange. It has to show through one of these windows. So I have this option. I have that option. And I have that option. So I can either use these three colors, those three colors, or those three colors. This is where the Diamond comes into play. I go for either a combination colors that I just absolutely love, or I go for a combination that allows me the greatest range of values. So here I have orange, which is here, blue green, and blue violet. Alright, so I don't really have any real lights. I go here. I have yellow, which is the very lightest value. I have blue-violet, which is way down here, and I have orange. So that is a really nice spread of values. And I won't get myself into quite so much troubled when I start to paint in my line drawing. No other choice was this one. I have orange, I have read, and I blue-green. So these are all pretty much in the mid-range value. Probably my shapes are going to get confused as I'm painting that in. I'm just going to say these things because for some of you they'll make sense for others they won't. If they're not making sense, don't worry about it. Just pick your favorite combination and you'll find out soon enough as you playing this game, why you want to spread the value range out a little bit more. I'm gonna go with this one. I have my orange color, which is the 11. And I'm doing the number ten, the Triad with Split Complements, know what that means is that the complement of blue, violet is yellow, orange. So instead of doing direct Complements, I'm splitting the Complement and I'm using three colors instead of two. I'm using the colors on either side, the Complement. To now those are the only colors I can use. No variations of them. And no variations in terms of being a little bit more yellow, orange, a little bit less, are a little bit more yellow. A little bit less orange, or more or less blue-violet. Once I mix those colors, those are the three I'm using. And no dilution. I'll probably be mixing this a little bit stronger than what it shows there. So now I have my yellow, my blue, and my red. The yellow will stay yellow. Then my blue, violet. I'm going to mix right in here. And my orange on mix right in there. So I will not be using these two paint. I'll only be using these two paint. Change my water out and make sure my brushes are. So I have my yellow, I have my orange, and I have my blue violet. I will not be dipping into these two. I'm just going to leave them there in case I need to mix more of either the orange where the glue and I begin to play 10. Evaluating Your Painting: I feel it's important to take time to look at what you've done. Squint at it. When you squint at it, you start to see how the value Shapes combine. In this case, the yellow and the orange are really very, very close in value. Going back to our color Value, Diamond, the yellow that I used was the gamboge. And so it was really not as light as say the oriole and would have been, or a cadmium lemon. I'm starting down here. And then I have my orange, which is right here. And so they're very close and when you squint at them, they're almost the same. You perceive the difference because of the difference in hue between yellow and orange. You don't discern that much of a difference in value. That's okay. I'll in here. But when I look at this, I see, okay, what would I change about this? The one thing that I would change is that I want this cell to be separate from this. I want this to really look like it's behind this. I'm the square, rectangular things and calling the cells. I want it, want them to be on two different planes. So how can I do that when I squint? There's an uncomfortable connection for me right in here. And that's because I was up against a wall. If I made this, this color, then that would be another spatial illusion that I didn't really like. Look at, look at your painting. Look at your drawing and see what would you draw differently. What would you paint differently? Where did you run into a snag? You have choices with every single shape. I could've made that shape different. I could make that shape blue. But ask yourself about this shape right here. What would that do visually? Because our brains only can work with the information we give them. What kind of information are you giving it? And what kind of information are you choosing to process? These are all brain questions. You will learn faster. You will learn more completely about everything about drawing, about line, about Shapes, about value, about color, about color mixing. If you reinforce what you do, if you reinforce your actions with questioning, evaluating Your actions before you go to the next step. And you don't have to spend a lifetime at this. But I'm, with each lesson, I reflect. Sometimes I'll share those reflections and maybe sometimes I want, but in this case I will. What I wanna do is I want to see if there's a simple way for me to change this. What do I have to lose? Its a piece of paper, basic paper. It's not even a drawing that I did on the piece of paper. It's a drawing that I printed out on this piece of paper. And I can print it out again and paint the whole thing again. I'm not going to I'm just going to try something now because I've already painted on this this ink that I'm going to add could bleed depending on the paper you use. The fibers have already been opened up. So they're going to be more susceptible to wicking whatever paint or ink you put onto it. So we'll see because I have nothing to lose. Now this is already differentiated. What I want to do is just emphasize this month. I'm stopping right there. I'm not gonna go around the whole thing. I don't need to. There's already a difference there. Okay? Now, I am much happier with that because there's a difference. Can you see that? If you can't, It's fine. Take some time to look at what you've done. Ask yourself some questions, maybe even jot down some notes, you know, depends on what kind of personality you have. You may just want to get on with the next one and that's fine. Get on with the next one's better than not getting on with the next one ever. I suggest you pour a cup of tea, cup of coffee, glass, wine, glass of water. Sit down and spend 5 min looking at what you've done and asking yourself what you learned, what you learned to do, and what you learned not to do. Pace. See you in the next lesson. 11. Scheme #4 Extended Analogous: Welcome back. This is Chris Carter. I'd like to share another method of working with your Pigments, keeping them organized, keeping them clean. If you are going to be painting all the time, you'll want to keep paint's going. You don't want to have to clean them up and throw out all that paint. One of the methods is to just put Saran wrap around your palette overall, if you use the dafur Dann, if you want to play with different colors, it gets a little bit hard to be that flexible. I'll show you another method. This is a template that you have a PDF file for, just like the templates downloaded, printed on cardstock and laminate it, then cut it up. You'll end up with that. I like to use empty pounds. Now I know that I've said to use the two paint and I do use to paint. But what I do when I travel and a lot of times when I'm working at home, I will squeeze the tube paint into empty pans. You can see this was lemon yellow, it was a Winsor Newton. When I get little kits in the past, I don't get them anymore because I make them now. I would just wash out the pan when I was done. And now you can also buy empty pans. They come in half pans. And they come in full pans. This is another manufacturer that it's kinda clear. And I find that it's a little bit funky because it's a weird size. Doesn't fit into the tens quite as well. So I'll show you how to do that. I'll show you actually two things. You can see this is super flat. I get every little bit of paint out of it. Let's say, Oh, one thing I wanted to mention is I use this tape, This use any kind of tape that you can write on. And I label it. I write it first on here. And then I label the pan with the color and the manufacturer that I'm going to squeeze into it because it's really impossible once you start putting these into tens and things, you have no idea what it is unless it's labeled, all you have to do is squeeze it out. Now, sometimes it's hard when it gets to be the end. So what I do is I use needle nose pliers. You don't have to squeeze the whole amount out. You might want to just fill a little bit at a time, especially if it's a color that you're not sure you're gonna like. That's how you do that. Then when you're playing the game, keep your yellows on top. Decide whether the red you're using is a warm or cool. And I would call this a warm. I'm going to put it there. This is what I would consider a warm yellow. So I'm going to put it there. And this is a cool blue. So I'm gonna put it there. Okay, Now, when I paint, I can just use these to work from. And with a little bit of water, you can moisten them and they soften up. It's not the same as the PAM paints, which are very, very hard to begin with. Different consistency, you'll find different manufacturers will soften up faster or slower than others. And you can just make notes on that. This way you can really see again, we're retraining our brain to recognize whether a pigment is on the warm side or the cool side. And you're also really seeing where they are on the color wheel. Alright, so if these were that way, you would automatically see if this was a cool red. You'd see, oh, you know, there's more space in between, but this way it's the closest it can be. These two are a little bit further away. So what does that mean? Well, you're adding a little bit more red into this mix. If the yellow, we're a cool yellow, you wouldn't be adding any red into it. Fits a warm yellow. It's on this side. So you're adding right into here. What are you doing here? Well, over here because it's closer to the yellow. There's a little bit of yellow in this. Here. It's close to the yellow, there's little bit of yellow to this. So when you mix these two, what are you doing? You're mixing more yellow. Just a reminder, though, in this lesson, we're going to be painting an analogous color scheme. Let's get started. Color scheme number four is Analogous to Extended Analogous. And what that means is Analogous are Colours Issues that are adjacent right next to each other on the color wheel, irregular Analogous would be considered three. Alright, three, Extended Analogous goes to five years. So 12345. Do you have a choice of any of these? So let's throw the die and see what one color we have to include in our color scheme. Now this, this drawing I did this morning. I'm couldn't sleep last night, so I got up and sliced up some cantaloupe and these were the Ryan's for the cantaloupe. Now if I were gonna be somewhat realistic, then I would choose that color scheme because I could use cantaloupe colors. But because I'm playing the game, I can't do that. I'm going to throw the die and I get an eight. Okay, So on my card, eight is violet, red. For red violet, I have to include red violet in my color scheme. Not salt challenging doesn't look cantaloupe be at all, does it? Well, this also is a bit of a challenge because these are all fairly dark in value. Go back to your color diamonds. All of those are down here. So you don't know that I want that either. I'm gonna go around and try to see where I can get some light value. And I think that's what I'm going to have to do. I'll use my red violet as the darkest. Because remember we're going full strength. We're not diluting my yellow orange now. Yellow orange, I can certainly go lighter than this and still call it yellow orange. I just can't go as flight is yellow. This is my color scheme. Now this does not look like a red violet, but it is a red violet. Remember, I'm using a cool blue. And I'll do a color after I paint this in, I'll do a color strip showing you what I get when I mix those two. And sometimes you find that, that you need to add a line because something's been forgotten. So I'll make the color strip that I told you I'd make you see any purple at all? No. Okay. So that's 123 steps away. Let's switch this out. Let's see what happens when we switch. Draw one blue. So I'm still doing the warm red. This time. I'm gonna do a warm blue. Now, there's only two kind of monkey, but you start to see a little bit of lavender over there. Okay, I'm going to have greenness says that's because it's a very, very cool blue. Now I'm going to use a cool red and a warm blue. Cool red. Warm blue. How many are there between only one? Let's see what happens. Quite a difference. The last possible choice to mix is a cool red and a cool blue. So we have a cool red and a cool blue. How many do we have between two. What do you think's going to happen? Here? We had real, real Brown. Okay. No lavender at all showing there were 123 steps. Here. We had a little bit of purples coming into play. There only two steps. Here with One step, we had a lot of purples. So now we're going back to two steps. What to think? Well, I'd like to clarify what I mean by steps. This is very, very important in understanding how to mix your colors and how to make beautiful neutrals How to avoid ugly neutrals. And we have a color wheel. And there are warm yellows and cool yellows. The cool yellows are closer to blue than they are to read. The warm yellows are closer to red, then they are to blue. Okay. The cool yellow is 12 steps to a blue. It's 123 steps to a red. The warm yellow is 12 steps to a red. And it's 123 steps to blue. Okay, the cool blue is closer to yellow than it is to read. It's 12 steps to a yellow and it's 123 steps to the closest red. The warm blue is closer to red, then it is to yellow. It's 12 steps to the closest red, and it's 123 steps to the closest yellow. Cool reds are closer to blue, then they are to yellow. There 12 steps to the closest blue, and 123 steps to the closest yellow. And the warm red is closer to yellow than it is to blue. Because it's 12 steps to the closest yellow and 123 steps to the closest blue. Alright. Now, when we're mixing the different purples, as we did in the color strips. We had four variations. I'm gonna get rid of this so it's not confusing. Okay? Now, what we started with, we started with the cool blue and the warm red, and we ended up with yuk, ended up with brown. Okay. How many steps are there between 123 steps, between the cool blue and the warm red? Okay, That's this one. Then we moved on to a warm red and a warm blue. Okay, so we swapped out the cool blue. For the warm blue. How many steps are between now? 1212. Okay, So we got a little bit of lavender and why? Because they're all little bit closer. They're closer. They are only two gaps between them. The third option was the cool red and the warm blue. So we'll keep the warm blue. And we're going to switch to the cool red. Okay, Now, how many steps are between one? And this is where the Violet's. So that's what gave us all these beautiful violet. Alright, now onto the last one, we have a cool red and a cool blue. So we're gonna go back to the cool blue. And how many steps do we have between we have 12. Okay. That's a little further away than the last one where we only had one. So we had 12. And we do have some nice lavender years. So that's what I mean by the steps. This would be a green area, this would be a violet area. This would be an orange area. So that's why this is a red violet. Okay. I mean, it looks like a brown because because it's in this mix and this is not diluted. What I did here was I just use the red and added a bit of my my red violet to it. And because the red is so much lighter, it lightens up the value of the red violet 12. Scheme #5 Analogous with One Complement: Welcome back to the Color Scheme Game. As you know by now with each lesson, you'll learn how a lot more than just how to play the game. What I'm trying to do is give you as many different ways of trying as many different approaches to building up to using color as I possibly can. And I know that everyone learns differently, even though I may be contradicting myself at times. I'm trying to reach everyone that I possibly can and explain things in a way that's understood by people on many different levels. Today, I'm going to show you a different tool. And this is a dip pen nib that goes in a holder. And I liked, I liked this one. There are lots of different kinds of holes that are available cut in and they have different flexibility. I'm going to use ink now. Now this ink isn't an old school desk ink. Well, American seating company number 60. And I like this one because it has a little cap that keeps the ink a little bit longer than just an opening. Well, what in this inkwell is a combination of different ink, so I can't really tell you what it is. When I clean out my pens, I will often empty what's in them into this ink. I don't put this into a fountain pen because your sediment and particles and all kinds of things I wouldn't want to put into a fountain pen, but it's perfect for dipping, is perfect for brushing. I love insects. Now I know many of you probably don't, but I find them incredibly inspiring. I mean, look at all those different shapes and the shadows are great. I'm not quite sure where I found this one. I'm not going to do this realistically. I'm going to take Shapes and work around them. And then I will draw the cell afterwards because I like things to be outside of the cells. So it may not look like the insect at all when I'm done. But I'm just going to take one little segment at a time. And this is a variation from doing a tight closed contour. And you can always close up Shapes in order to put your, your pigments in your colors. Let's see what happens. Okay, Now I got all of these shapes just from these shape. So now I'm going to look more at this than I am. And I'm going to see what I can do. Just inspired by what I learned. I'm not going to look at the bug anymore. I photograph the drawing and formatted it so that it could be a PDF file for you. This is the copy that I printed out on watercolor paper. The first thing that I wanna do is I want to check to make sure that I have Closed Shapes. So I'm going to go carefully around this and with permanent ink because I don't want it to bleed. Since I printed this out in a printer. It won't bleed. So I don't want just what I'm adding to bleed. You can use a fine tip permanent marker or permanent ink pen and something like this. I'm going to add a shape because I'm thinking I may kind of like that to be a little bit different. I wanted to make sure that this crazy drawing with work as a closed shape drawing for you to work with. And after photographing it so that I could print it up as a line drawing. I worked into it with some value washes just to see if in terms of it being black and white, it would work well. And this video will show you how that worked out. And then we'll move right into the color. The color scheme Will be number five, Analogous with One Complement. Now let's find out what color we will include in the Color Scheme, a three. So we have to include green. And the color scheme. Here is our color scheme number five, Analogous with One Complement. And I have to include green. So I have this, which are not too crazy about because it looks really close. Close in value. Say, Look, I'm dealing with these red violet is probably not quite as dark there, so I doubt that I'm going to pick that one starting here. I could pick this one, which doesn't look bad. I got red, violet, and I have yellow, yellow, green, and green. Which gives me a pretty good range. Moving over this way and it's getting into territory that I'm not crazy about. I am not a huge fan of red and green because they're so similar and values, it looks like I'm losing part of my value range. I've lost my yellow and I've come back up in the red. So I'm really only in this range for color value. Not crazy about that. Okay. This is a little bit more interesting. I've got blue, blue-green do here. And then red, orange. It's still is too much in the middle of the value range for me. And it looks like that I can't go any further because then they don't have green. This is the one I'm going to pick. Why? Because after playing this for three years, every day, I discovered that when I'm stuck with middle-range value, it doesn't work very well. The colors can be beautiful, but I lose my design, which means I lose my composition. And so certainly try it. Go ahead. You could make the yellow green almost as light as the yellow. Red. Can only go so dark. If you're red is an Alizarin crimson, then you might be able to pull it off pretty well. Triad experiment you're going to learn by doing it yourself. For the demo, I'm going to use red, violet, green, yellow, green, and yellow. Here is my pallet for painting in the abstract Insect. Now I use these two to mix the red violet, and I use the blue to mix the green and the yellow green, but I'm not using these when I paint. The ones you've seen now are the only ones that I'll be using. Red, violet, yellow. And I'm only using the cool yellow that I've chosen, even though it shows two here, that's just for reference. You're only using one yellow, yellow, green, and green. This is the palette that I'll use to paint the line drawing. The reason that I'm not using the tens is that I have to make sure to mix enough paint because it's gonna be very hard to match this exactly. So even though I have the stirred up in case the pigments separates, I have enough to paint that small drawing. This has a lot of very small areas. Even though I can get into small areas with this, it's going to be very frustrating. And I'm just not in the mood to be that frustrated. I am going to go with my favorite travel brushes, which are the Da Vinci. They're just divine. They spring back and they really work well. I will use this one when it comes to larger areas, and sometimes I use both. You can move on to a smaller brush if you want, or you can stay with this one. It's up to you. And I am seeing right here, I've got this floating arm. I'm going to fix that too because it looks like it's balancing on top of this. And I think because I have the analogous colors to play with, I'm gonna do the bodies with the Analogous, and I'll do the background with the dark so that I have a good contrast. That's where I'll begin and I'll start with a bigger brush. See, I'm pulling the puddle. Make sure you have a big enough puddle and I have to keep going back-and-forth. So that at this point because it's Split right here, I need to push to puddles. At the same time. You don't want to do that then just make sure that you close off this gap. And the paper I'm using now is a much better paper. It's arches, so I'm having far more Fun moving it along. It feels great. The drag on the brush is just wonderful. Notice that I'm turning my paper because I like to keep moving my brush and the way that's most natural, I'm finished painting and the red violet for now, I got a basis from which I can choose everything else. When you're working with an analogous color scheme, it's a little bit more flexible. There were some areas that I originally painted, the lighter, the yellow, green. And I found that this shape was blending into this and I didn't like it when this was dry. I was able to put another glaze of the green on top of it. And you'll see there's some variations where I'd gone and I've lightened something up or dark and it lightened it by adding a glaze of the yellow. I did that here. And then I made this darker. But it's still is totally within that range of yellow to green. But feel free to play with that. The important thing is that you're making decisions, not that you're stuck because you're following the rules. If there's a really good reason for you to change the value of something, do it. That's what this is about. It's about learning how to make those choices and seeing what those choices do. 13. Review and What's Next?: Let's review what you learned in this class. You learned the basics of playing the Color Scheme Game. You learned about Contour Drawing and about closed shape and open shape drawings. You also learned how to create a custom color wheel using only the three pigments that you chose, the one yellow, one red, and the one blue. I presented tutorials on three of the 12 color schemes. You created your drawing from either one of those three colors games, or another color scheme of your choosing. Hopefully, you've posted your custom color wheel and at least one of the drawings that you've created playing the Color Scheme Game. Now, what comes up in part Two? While in part two, I will go over a few more materials that you might find useful. Different supplies are tools. And I will also present three more tutorials on three more of the Color Scheme. Also be showing you my favorite watercolor technique, which is that of pulling the puddle. This is used extensively when painting in Closed Shapes. I'll also present the idea of doing a series of sketches. My family treasures series began because I was playing the Color Scheme Game. I will also be presenting a way to break into a bit of abstraction and to play with shapes without them being representational. I hope you've enjoyed part One of the Color Scheme Game, and I hope you'll join me for part Two and ultimately for parts 3.4. Thank you. I'm Chris Carter.