Acrylic Colour Mixing Masterclass | Joy Fahey | Skillshare
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Acrylic Colour Mixing Masterclass

teacher avatar Joy Fahey, Joy of Art

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Colour Mixing Introduction

      1:31

    • 2.

      Colour Mixing Materials

      5:11

    • 3.

      Colour Mixing Blue and Red

      10:42

    • 4.

      Colour Mixing Blue Yellow

      20:19

    • 5.

      Colour Cards

      5:08

    • 6.

      Building Layers

      8:48

    • 7.

      Warm Colour Painting

      18:24

    • 8.

      Red & Blue Painting

      13:33

    • 9.

      Yellow & Blue Painting

      14:45

    • 10.

      Let's Get Creative

      11:20

    • 11.

      Onto the Second Layer

      17:40

    • 12.

      Critique and Finish

      5:32

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About This Class

Having the knowledge of how to mix your colours and harmonize them gives you so much more confidence and effectiveness with your paintings. If you have this as a solid foundation it will save you a lot of time, wasted paint and much frustration! 

This class will give the necessary know how to -

+ Get to know your colours

+ Discover how many variations you can achieve from just 3 colours

+ Use colour cards to build your composition

+ Harmonizing your painting

+ The many ways to use acrylics

 + And have a lot of fun doing it!

You will get hooked on trying different colour mixes and discover so many new possibilities from just a few basic colours and make vibrant paintings in the process

Enjoy!

Meet Your Teacher

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Joy Fahey

Joy of Art

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Level: All Levels

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Transcripts

1. Colour Mixing Introduction: Hello and welcome to this class. Today what I'm going to do is a deep dive into color mixing and values. I've talked a lot about this in previous classes, but we haven't really gone right to the foundation to really help you understand how you can make your colors, how you can get harmony in your painting. So they really come together. And it really makes a big difference. Once you understand how the colors work together, how the color values work together, and how you can use just a few paints to get amazing colors from them. You don't have to buy a huge amount of colors. And I'm going to show you with the color mixing, how you can vary so many different tones and values from just using three colors and black and white. It's going to be a very interesting class and I'm sure it's going to be helpful to you to really take your paintings to the next level so you satisfied and happy with how the coming out. So without further ado, let's get started. I'll show you the materials that we're going to use and we're going to have some fun inspiration hopefully in this class. 2. Colour Mixing Materials: The materials that we're going to use a really very simple for this class. I want to make it as simple as possible. Basically, we're going to use the three basic colors of red, yellow, and blue. Whatever acrylics that you've got with those now, there are obviously many different combinations. I've got here a lemon yellow. I've got a lovely sort of rose red. I've got a cobalt blue here. However, you can also try with all different kinds of combinations. For example, this one is cadmium yellow, this one is ultramarine blue. This one is alizarin, sorry, cadmium red. And then another combination could be, this is yellow okra, this is alizarin crimson, and this is a Persian blue. All of these are going to make wonderful different combinations of colors. If you've tried this already with water combination, try it with another. Because you're going to be amazed with what happened with your chronemics is I just wanted to show you here before we start, for example. Here's one that I've done with ultramarine blue and literary and crimson and cadmium yellow. And I've got a wonderful range of colors from here. And it's fantastic when you start really understanding these column exists because basically you don't need so many colors. If you already done some of this, then try colors that you haven't used before. Because it's the most wonderful experiment that you can really do that will serve you forever with your, with your painting. You can never actually doing lots of fees to extend and expand your paintings. And the beauty really, because you have such subtle tones and values going on, because you're aware of how the color mixing works. 2s the palette that you want, plus the fact you'll need a white and you'll need a black. Those are the colors that you'll need. I'm also going to be using a wet palette. Now you can do this in different ways. I've found it very simply here. Basically, I've got some cooking paper on top and underneath here I've got some cloth which is really, really wet or you could use kitchen roll, whichever is easier. And I'm putting the paint on top of here. Now because the rag is very wet all the kitchen roll, it's going to keep your paint from drying out quickly. And it's also wanted, you've used this, it's very easy to change it when it gets too messy, you can easily change it. So I've got some roles of the kitchen, cooking paper, and then I can just change it when I need to. I've obviously got my sketchbook. And actually what I'm using for this, because I liked the sixth paper. This is actually a watercolor block, which is a 32042 by 28 centimeters. And it's a nice summarize, hadn't paid for it 300 grams. So on using this block, basically that's all you need. And obviously some brushes, you can use some flat brushes. I've just got this nice one. And some other flat brushes which are nice, nice to do your little squares with. Those are all the materials that you'll need for this, for this exercise. Let's get started. Get decide on what colors that you're going to use, which rights, which ellos, It's blues. Then when you get you locked together, your paper right on the top, the colors that you're using. And then there are reference. Because if you don't and you come back to it later, you might have forgotten. If you're going to do different, these different combinations of colors. And it's important to know what you've mixed. Let's get prepared and start and into this whole wonderful process. 3. Colour Mixing Blue and Red: Let's start. I've put my paints out here. The colors that I've decided to use, the cadmium red, the ultramarine blue, and the cadmium yellow. So I've got those all ready to go. And obviously my black and my white. So what I'm going to start with, I've also written on the top of my page the colors that I'm using. So that's really, really important for you to do because you want to be able to remember. This is a really fun thing to do when I have a look at some of you already know the time, but a great fan of Paul Clay. I just found this picture on the Internet to one of his acrylic studies of colors. And he was very well-known for his shapes and colors and color value and how he worked at it was wonderful. And we'll do some play with this one. We've done the exercise, but you can really turn it into something fun to do and even frame if you want to. Let's make a start. What I'm going to do here. I'm just going to take some of my some of my blue. I'm going to actually put it under where I've got the ultramarine blue. I've seen the real color is saturated color from the tube. I'm just going to take another brush just to get a pure yellow, sorry, the pure red. And I'm going to put that under the red. These are the two that we're gonna mix to start with together. The most strong colors. Really lovely. So what we're going to start with is 5050. Then we're going to do interesting things with it. I'm going to take my red, then. My blue. I've got a really nice deep violet color. We're going to put this under here. Really lovely, lovely, lovely, deep, deep color. Now if I continue putting blue in it, selfishly going to go much darker, the different tone. And that's the thing that you want to be thinking about. Let's go on. Subtly. You might not be able to see this on camera, but when you do it yourself, you will, you will absolutely be see what happens. Then if we say, put more red in. So I'm gonna take this down here. I'm going to put more red in it. I'm going to put that onto here. Again, a subtle change. Then go further and put more red in. Here. What we can do is change it again. If I wanted to go back to the blue here, then I wanted to add some black, really subtle black. And if you just use normal black and white, It's quite flat. When you mix your black, particularly if you're using these colors. If you mix your black width with these colors, It's going to have a lovely, lovely harmony and it doesn't look flat in your painting. Let's try this one here. It's very, very dark. Again. You probably will be able to see it on camera, but it really looks very different. If I was to take that color. I'm putting a little bit of white with it. Beautiful, lovely violet color. I'm going to put that up here. See how lovely that is. Really, really pretty. Then carry on. Let's put a bit more white in that. I'm going to go really nice, violet. Shade lighter. Go again with white. Beautiful and see how they harmonize with the darker colors. So when you're doing a painting, if you want some nice contrast between your dark and light. Hey, we are. All you've done actually is used three colors, including the white, which is great. Now let's see what would happen if we added black to this mix. We're going to get really subtle gray changes again, the tone, you'll see it when you do it yourself. How interestingly, those tone changes. Now I'm going to add more black to this. Come down here. It's a lovely gray, really warm, lovely gray. Again, let's go to black. See what happens. Again, darker, lovely, warm gray. It's fascinating how, how it works. Now, if for example, there I'm just going to take this exit Sophia. Whilst with playing with these blues. Let's go back to this one and put some more blue in it. Let's see what happens there. We're going to get a nice bluey gray tone. She's beautiful. Really nice. I mean, if we added a little bit more blue, Let's see where that takes us. Very nice, soft blue and see how their heart all harmonized with each other. This is the thing that I want you to be thinking about. Well, just seeing the color mixing but see how they relate to each other. Because in a painting that comes together, everything relates. You want to really get the feel of this now I could carry on adding white or black, adding more blue but overbook. But this gives you a really nice start to begin with. Now let's have a play. We will happen if we add different things to the red on here. I'm going to go back. I've got the road still mixed here. I'm going to add a little bit of white to that and see how beautiful this is. Really nice, kind of rose red. Then let's go again. So obviously I'm going to be going pinker and pinker as I do this, but it's so subtle and interesting. Come here. Really lovely, really nice color. That's just finish off with a little bit more white, bit lighter again. I've got some beautiful tones just from the red, using a little bit of the blue, black and then adding the white. Now let's have a look what would happen if I put some black with this. I'm going to get a lovely groundwater, put it up here. Not too dissimilar to this one with the blue, but it's subtle, but it's a lovely subtle change with it. Then if I go and add it little bit more black to this other one here. That's going to be again very subtle. Little bit more red to it. Touch. And see what happens here. Lovely tone. Let's add a little bit more red. Remember, we're still got some black in this. You see how these are coming together and really, really lovely combinations. Subtlety that if you're doing a painting, you can make these subtle tones. Fantastic difference to your, to your painting. Now, let's see what would happen if I wanted to just take a bit of this off. Let's add some white to the mix. See where that takes us. If you have a look at these tones that beautiful, That's just using the black and white in different varying degrees. You can see how far that can go and how beautiful they are. Lovely. I love it. 4. Colour Mixing Blue Yellow: Okay, now let's go to the the blue yellow tissue here. Was going to get greens. See what happens. I'm going to take my event to put yellow up here. We know the real color. Then if we take the yellow, then some of the blue, more or less 5050. Stupid Mobley going to get a really nice rich dark green. Let's put that here. Look at that. Nice. If we kept adding blue to that. Let's see what happens. A much darker it will do. You know there were so many shades of green you only have to look outside to see that. I can't remember, but it's in the thousands of colors of green. Isn't that lovely? It's really beautiful. Now, let's see for this one, what will happen if we add just a tiny bit of white to see what happens to that. Any fraction of white. Beautiful kind of petrol green color. It's really, really nice. Let's go again with some white with that. Obviously it's gonna go a bit lighter. Then light is still what we might do now is add some more white. Let's do that. Really loved the county on it. And I'm gonna put a bit more whiter because it's such a lovely, lovely to come to here. A bit lighter still. Now what I'm going to do is I'm going to then add some more yellow into that. Let's see what happens then. You guys get carried away with this. You can be doing this. What will happen if? What will happen if it's not confusing because you only got three colors. It's really cool. Okay. This is now a bit more yellow. It's warmed it up there. I'm going to take a bit of this paint off my brush. I'm going to add a bit more yellow to that. Let's see here. Really nice. Yellow was still how that is. You can see all these tones developing. It's really beautiful. I'm gonna go even more with the yellow. See how that comes out. Getting a deeper tone than that one. Take some results here. I'm going to go yellow. Again. This keep going with the yellow because I was green is nice. No, actually another lovely combination is what we'll, we'll try that here. Black and yellow make them really nice. Green. I'm just going to add a little bit of white to that now. Let's see what happens with that difference. Oh, nice. Great. You see how it can come together. Now I'm going to go Y2 still gonna be a really kind of Paley green. Let's come up here. Lovely. Now let's go the opposite direction. To take this off. I'm going to add some black to that. Let's see what happens with that. We'll get a lovely gray green. Put here not quite the same as that because it hasn't got quite so much blue in really kind of soft, lovely gray, lets out a little bit more black to that. Now, let's do something extraordinary with it and add, go back to putting a little bit of blue in it. See what happens there. We'll kind of get a bluey tone to it. Be subtle. Let's go a little bit more blue with still a tone of green. Just changing it up. Really nice. Blue, gray, green. Lovely. Now let's go back and put some yellow in to see what happens with that. Cc. All these amazing combinations. Lovely. Let's go back a little bit more with some more yellow in there. You can see how we're progressing with this. I can carry on and carry on, but I think what we'll do now is we'll do the yellow and the red. I could do a lot more with this. I could be adding some more black. Haven't done a lot of adding of black in here. But you can see how that would work and how you can have really good fun with that. You might do a whole page of just the two colors and see how many you can get from it. That would be a really interesting exercise. And you'd have them three pages of all the combinations of color. The possibilities here. Seriously endless. You can really achieve so many wonderful hues and tones and values and subtleties that you can use in a painting. I've got rid of that. Let's have a clean tissue, clean this off. Now we're going to use the red and the yellow. I'm first and we're going to take some of the yellow down here. I know the red is very strong, so we're going to have a beautiful, rich, lovely orange. This color. Look at that. Isn't that fabulous, really, really rich. So we added a little bit more red to it. Even more rich with it. Even darker. Lovely, isn't it? Then let's go the opposite direction. Let's take some of that more yellow. Let's take a nice big bit of yellow here. See how that changes. Nice. Even it up a bit. Now with that color, Let's take a bit of it off here. I'm going to talk a little bit of white. Have a really nice light. Orange. Great. Let's go a bit more. Going very Paley color now. Flesh color. Let's go a bit more. Yeah, cool. Now let's pop a bit more yellow in. It. Goes lovely. Okay, now let's go the opposite way. Let's take this off. A little bit of black in and see what happens. So let's come back to this one. Black. Probably added too much black. Let's go back and put a bit more red in. Put some more yellow, I'm going to go very rich. Oxide orange, that isn't it. Really nice. We can do touch more black and go back into this one because there's more black in a little bit. See how that goes. Really nice combinations. Then let's go back to this one and then add a little bit of white to that. That's going to change it considerably. Isn't it cool? I love it. Let's put a little bit more yellow in rail playtime this. Let's see how that works. Now let's see what we could do with this one. I bought this right here. Let's do some kitchen roll. What would we do without switching? The role of business I'll be raised me should be able to get general business. Let's put some yellow into here. That really nice, rich pinky color. What I want to do is to add a touch of black, tiny bit. See what happens. Let's put some yellow in. See what fun it can be a, how you can really experiment with this. We can put some white in the yellow of that. That's really beautiful. You can see now really from just doing those few little exercises, all the possibilities, mixing your real basic colors of red, yellow, and blue. And this is literally basic ultramarine, cadmium red, cadmium yellow. And just from that little experiment, what we can do now, I'm just wanted to talk to you a little bit about harmonizing. Because obviously all these colors are harmonizing together. Why is that? It's because we've, we've mixed little bit of everything with it. I had an example which I thought was really funny, but correct if you think that you're the mother paint, so say you want to create a color and you've got the mother color, then you make the child color. We've got the mother color as mother, but we've got a little bit of our mother and father in US. You could say if I put the red with a little bit of blue and a little bit of yellow. I'm creating a new new beating her new color. Let's just have a go with that. So I want to just show you an example. Take this off here. If we put, take the tiny little bit. That's what color should we make say we're going to be mixing a blue, the ultramarine blue, but we've got the ultramarine blue here. But actually it's kind of sticking out a little bit because that's straight from the tube and it kind of hit you with a bit flat. So let's make it part of, I'm going to put the blue in here. But at the same time, I'm going to make that blue with a little bit of the red, sorry, little bit of the yellow, little bit of the red. This, if you like. These are my other colors. Three colors mixed together. Don't need very much of it. I wanted to take him to get off, but there's a little bit on there. If I mix this with the blue, it changes dramatically. Look at this. Too much paint on that. Let's just have a look how that works. That works because you've, you've mixed in the three colors with it. Now let's see what would happen then if we put a little bit of white with that. See how rich those blues are. Those for tin. So much more than this dose from the tube? Let's go a bit whiter. Still. Then you can play again by doing this with each color. Take them up the color that is all three together. Then tiny little bit fractional mix with either your red or yellow or your blue. And see what happens. You can add some white to it, add some black to it. Let's see if we go a bit lighter here. But these, these are all blending with that. There isn't something that's out of sync. If you were playing a piece of music, you made a mistake and did a sharp with it, you kind of jump. This is kind of getting rid of all the sharps. It flows. You can see how that works. Isn't it lovely? This gives you a lot of time to go and play with it. Taken morning, a few, couple of hours. And really kind of see how many colors you can get out of it and then have a play with the mother color. I'm just going to do one more here. Just to finish off the page. I can have that as a reference myself. It's even lighter here. Fantastic exercise. And it's more than an exercise. It's going to enhance your paintings dramatically because they're all going to be in harmony with each other. I'm just going to show you now some of pool clays pictures. I've got them on my back called here, but I'll put them on camera. You can see some of the tones and how he uses these colors. Let's come back to this one. We've had to look at earlier, how you can play with it. And it would be such a fun thing to do to actually design a picture from it. We might have a go with that in the next video just to see what might happen. Going to talk to you then about the values. Have a play with this. It's a fantastic project to do. And you really gain a tremendous amount of understanding and knowledge plus having lots of fun using this method. Taking you three colors. These were just the basics, as I've said, cadmium yellow, red, and ultramarine blue. Try it then with the other colors. Try it with yellow or CRA Alizarin crimson and Prussian blue, whatever. Cobalt blue, and see all the different color combinations. So hope you enjoy that. And let's move on to the next video. 5. Colour Cards: Another way of doing this lovely exercise with the colors is to actually due to some cards. This is really helpful when you're doing your painting because you can hold the piece up, the color up to see how it's going to work. Show you what I mean here. So this is one of my first little things that I'm playing with, for example, now if I've done this a lot with warm colors, I want some variation so I can sort of hold up different colors on here to see what might work, what my int and it hits. It's a great way to play around and see what's going to work in a painting. It's really easy to do this using some cartridge paper. I get some paper and then I cut it up and do my, do my colors. So it's a really great way to use your color swatches. And it can be extremely helpful in our painting. Now at the things that we'll want to consider about color, basically, we've got five points to think about. The first one is value, which is the light and the darkness of the color. Second one is saturation. How saturated the color? How transparent is it going to talk to you about that in a minute? The temperature, how cool is it, how warm is it? And then we can go back to our color wheel. See where a warm colors are, where our cool colors are. So when you're looking at your color wheel, you're warm. Color is going to be yellow. As it moves round. It's going to cooler. You go to your red and then you go to your violet, which is part of the cooler colors, coming round, the most cool. And then as you add some yellow into your greens, it becomes warmer. You can see your warmer colors and your cooler colors. Then also this helps us with how to organize our colors. The next thing we want to have a look at is the harmony. We've talked about that when we were doing the other exercise. How to harmonize your, your painting. Then complement. Again back to the color wheel. Looking at the compliments opposite to the yellow is the violet. Opposite to read as your green, and opposite to blue is your orange. Then when you're actually doing this little exercise, and the other thing I must remember to tell you when you're doing it. Always remember to write on the back what you've done because otherwise you'll forget what we can look at different ways of looking at how those complimentary colors going to work. You could have a very dark green, for example, in a very dark red. They're both very saturated colors. However, we could go to have a look at something that is a little bit different. You can see the warm color here. They obviously the yellow is very warm and the green is very much cooler. It helps you to get some interesting contrasts into your painting because as we've said before, the eye goes to your contrasting areas, your focal points. So if you had it sort of all, I will say taking these colors, these are all sort of quiet. Similar. They're not going to be of interest, particularly, your eye isn't necessarily going to go there. But if suddenly you throw another color into it, like the opposite of that, more or less the opposite, you've got an interesting contrast. This is saturated and this is translucent. It's fascinating how, when you're doing this, how you can actually, you can put a painting together by using your cards. Which again would be a very interesting exercise, but it helps you to evaluate your focal points and to see where your interests point in your, in your picture. I'm going to show you a little bit more of that. We'll do a little exercise before we come to actually doing a painting using these color mixing specifically to develop some understanding. So let's move on to that and get started on that. 6. Building Layers: Now let's actually haven't experiment and see the different things that we can do with the things that we've been talking about. Particularly in relationship to saturation and translucency because it's interesting what can happen with that. So for example, if I'm doing my free drawing, just got an acrylic pen here. I'm doing some free things going on here. Maybe some of it I want to keep and some of it I don't. So let's let's just see what will happen with this. I'm going to go over this with something that's very opaque. So I'm gonna take this lovely blue. I can paint over this and I'm not going to see that line there at all. However, I can make it translucent obviously by if I wanted to add some water to it. So I can come down here. You can see now, I can actually see through it. I can do lots of things when it's, when it's very watery. If I want to make it run, for example, I can use a spray. I can, I'll do it this way and then alternately other way round. I can make it run. I can make it run and do some interesting drips and that kind of thing. With that blue color straight from the tube is completely saturated and opaque. You're not going to be able to see through it when it is thick like this. You can do some other interesting things. I cannot use the end of my brush if I want, and I can draw into it. I can also do some things with my scraper. So I can, I can scrape into it. Again, getting some nice effects. I can draw into it with the scraper. And if I wanted to, now if I had another color onto there, once it's dry, I can I can show you that color is obviously going to come through. That's what happens when we're, when it's completely saturated out of the tube, then you get to very opaque color. But if I change over now, let's change this over to change over to this read. All right. This is an Alizarin crimson red. This is transparent, so no half, no matter how thickly I've put this on, it's going to remain transparent. Which is lovely. I mean, that's great and it helps us know how to develop our layers. Now, what's interesting is we can make this as watery as we live. I can add water to it, changes up completely. It's lovely. Then if I go over this, over the blue, for example, I'm going to be able to see that color underneath. It changes the color. You can see how this blue here is completely changed because I've put the translucent color on top. You can see that a bit more clearer here. You can really kind of build up the layers. I'm going to pull that blue down. So I have now mixed it, which is also really exist. You can see how you can build up layers of color. And we're always very interested in doing layers to give the painting some depths. And again, I can do interesting things with it. I can scrape into it and get some interesting effects. Then I can go back over and paint over it and I can do whatever I like. But it's worth experimenting with the difference between the opaque color and the translucent color. Then obviously if I was to add white with that now, the white again is very opaque. So I'd be able to go mixed with a bit of pink. I can go over that completely and it will hide it completely because the white is so opaque. So I've now got some different textures. I've got translucent, I've got opaque, and I've got some contrasts between the two. When you're actually playing. Have a look at how this can work and see what happens when you do the different things together. On the tools that you might use for experimenting. I love using this. You can get some really nice interesting effects again, by going over with the different, either opaque or translucent to see what, to see what might happen. Things develop. You get nice backgrounds. And then once you've got that, you can then go into it. Look how interesting this has become. I've got some really nice variation and different textures, but I've still got the paint underneath it all. It's all a matter of trial and error and seeing what happens if but knowing the opaque, you're not going to be able to see through, but the translucent you will. Some of the colors I've done with that red, but that was a translucent red. But you, and you will discover just clean and solve to get a different color here. For example, if I was to go with orange, orange is very much more translucent from the tube. It's not, it's not opaque. We'll be able to see my drawing behind. The same would happen if I was to put mixed up with some yellow. I'm going to see the line behind, you might say to yourself, Okay, what are the lines that I want to keep out of my drawing? On? What are the lines that I don't want to keep. So if I want to cover that up, this area here, then right here, I can cover that with white. Or another color that is opaque. Can you see how interesting it starts to become? Different? Things start to happen. And it becomes really, really, really interesting. And it's the start of putting a painting together. Then you can go back to your cards. See what colors might look interesting, what, what, what might look good, how are we going to harmonize it? But seeing how you can use your opaque colors and your translucent colors to develop your design is a really interesting thing to play with and to discover. And what you could, what you can get, the different effects that you can get from his hope that's helpful. Now let's, let's move on to doing some specific little paintings with our color mixing. 7. Warm Colour Painting: In this little exercise, what we're going to do is just experiment with warm colors. What I've got here on my palette is I've put out some cadmium yellow, some ultramarine blue, and I put another color here that I haven't used very much, but it's really nice. And it's called some magenta. It's translucent. So it's gonna be an interesting experiment. We're going to see what's going to happen. We want this to be all warm colors. Hawaii, look at our looked at color wheel. It's going to go around this area. We're going to have a try and see what happens with our color mixing. And see how many values that we can get with it. See how to harmonize it, to see what we know the temperature, because it's all going to be the warm colors. We're going to experiment and see what will happen. Then. What we're going to do to bring it all together. I don't know what's going to happen, but it'll be an interesting exercise. I'm going to start by mixing magenta with some of my yellow. Let me get that off with the knife and then it's not gonna make a mess. We're going to get obviously a nice orange, really deep orange. This. I'm just gonna try and see what happens. Just gonna put some of these marks down. We're inspired here by Paul Clay and I've shown you the pool clay pictures, so yeah, interesting. Now, what might do with this then is to add a bit of white to it. Going to change. Really kind of thinking about this. It's, this isn't the left-brain particularly. Gone even whiter here. You kind of discover lots of interesting things that might happen with doing it this way as a painting. Now I'm going to actually make some more yellow with it. Which kind of really neutralizes it with the white light that come together. I didn't know what We'll see. Let's put a little bit more yellow with that. To change it slightly. When you play with this, just kind of be interested to see what will happen with just using very warm colors. To begin with. I'm going to put some white with that now. Go to yellow. Change it up a bit there. Red mixed with it. But that's okay. Interesting to see what the result will be. More white, beautiful, fleshy color. Really nice. Spring something over here. Let's go. I'm going to go back to the right. It's going to take some of this. I'm going to back to the original mix of the yellow, the red together. I'm going to put some white with that. Quite pink. Different kind of often hear. So very subtly, don't like that idea. Let's see what happens if we put some old gosh, I haven't got any blackout. Let me put some black. If we add a little bit of black to the mix, we're going to get some nice contrast and just put some blackout on here. Got to do that. I'm going to add a little bit of black down here. Put a bit more flat. Going to put a tiny bit more yellow with that, just to harmonize it if it's such fun. Really good experiment. Let's do something here with this. See how suddenly we're going there. Let's put something here. Then. Let's put some white with that. I've got a really nice violet color, but it's still warm because we've got the yellow in it and put to put a bit more yellow in it. Something here. Kind of pretty. Let's change the shape a bit to make it a bit different. Then let's put some white with that. Interesting, it is going to change brushes and go to a different bit of a different size. I'm going to go back into my yellow to put some white with the yellow. It's going to go very light. I wanted to create some really interesting contrast. So we'll put that next to this very dark color. I'm going to come across here with it. Fascinating, isn't it? From just using these colors, what happens? Let's go even lighter. Let's put even more white in. Bring that over here. It's going to be a very interesting painting. Let's drop the tiniest bit. Well, let's drop the tiniest bit of red in here. Just touch, touch, touch. Let's put up here a little bit of the magenta in it. Let's bring that over here. Fascinating. I'm going to clean that off. I want to come a bit darker red as we go down. To take the red. I'm going to drop a tiny bit of the orange into it just a bit. Let's bring that too. Over here. You're looking at this, notice where your eyes going. At the moment it's going to some of these contrast, high contrast, which is the whole point of this exercise, is to bring it in here across. Obviously. In all in squares at moment. Now let's put some white in that. Gonna go really nice pink. That's lovely. Look at that. Let's bring that here. We could bring it over here too. It's all harmonizing. Can you see that smoking is interested? Now, when we doing this kind of stuff in an actual painting, I mean, this is an exercise that you could turn into something really fascinating without no, let's wait. Let's put a little bit more white in there. Going already pink. Let's bring that down here. If you look at that, now I'm going to put some yellow in there. Let's see what happens if we've dropped the yellow in it. Put this here. This is just all our lovely warm colors. I'm going to bring it over here too. Let's put some white in that. Let's put a bit all yellow. You can bring that into here. We've got Liza, some darker tones going on here. So naturally, it would say we need a little bit lighter tones to then bring that up because we want to each time enhance each color. Bring it to life, Don't worry. But whilst I've got this, I'll go back over it. I'm going to put something in here. We've got a lot of interesting combinations. Let's put white in there and I was going to go quite peachy, I think. Quite as steep choose the other one. Let's put that in here. Then I think I want to go back to doing some red underneath. To go back into here. Let's put a bit more yellow in. Nice deep color. White to that light. Some contrast here. I wanted to go to this bit more orange. Let's change brushes. Let's have a look. A bit more orange now, so I'm going to take that. So interesting pictures be had by doing this little exercise. Just colors. You can try it with the different blues and different yellows. See how that's coming together. It's really pretty. And let's put some white in there. Let's put back here. Interesting. Let's see. Take that. Then drop tiny bit. Orangey. See what happens here. Let's see for here what we're going to do. We want to go lighter, I think with this peach color. Let's go to that. Put that in here. What do you think guys? An interesting exercise. Bring that up to here. All our warm colors are three, pretty. You can see what you can do by just using two of the colors. I've used, cadmium red and magenta, some white and a little bit of black. But it's looking quite nice, isn't it? Have a little play, do that little exercise and we're going to do one then with the blue and red. And we might do one with the blue and the yellow because I think it could make a really nice little series of paintings. We can make pleased with that. Okay, don't be good. Let's get onto the next one. 8. Red & Blue Painting: Okay, now let's try one with the red and the blue. See what happens. See what happens with that. Which brush will allow you to have a look. I'm going to use this one. Again. I felt my color palette up. I'm going to take some of the magenta, some of the blue. This is ultramarine blue. Let's see. We go to with this might be considerably darker that denote, Let's start in a different place. I kind of feel I wanted to do this. I'm going to add some white to that. See how that changes color. Let's come over here. Subtly different. Some more blue to that. White. Blue. Let's come up here. Gonna be really interesting. This one is come down here. Let's come here. Just says play, really good play with this lighter one. Interesting, isn't it? To see what we can, what we can get from it? Sound a little more blue to that. Very different. Let's go over here. I can see I'm going to be using a lot of white for this one. Come here, change this up. And I'm just going to go with blue saturated, that's really just ultramarine blue on it. With some white paint to change. Up here. Let's go lighter. Still. Put something over here. Very interesting. Let me join doing. I hope you all kind of interesting to see how you can really stretch that color out to do different, different interesting things. Even lighter over here like that. So tempting to put yellow in it. But I don't want to do that. I want to color keep this going because it's so fascinating. Gonna change brushes. To do the same thing I did with that, with the magenta. I would have the real sorry. We'll go in here. Let's draw something here. Most magnificent color. I think we'll go up here. Now let's see what happens. I put some black into that. See where that takes us to dock. I'm gonna go even darker. We going to put something up here, which will give a very good contrast. Let's drop some white into that and see what happens. Fascinating. I hope you are enjoying this as much as you know. There's a lot to be learned from it. It's fascinating how it works together. Who would have thought? Let's see what would happen if we put a load of blue in there now. A bit more blue in. Put some white dressed. Lovely to play just to do these little things as exercises too. Just to see what the colors will do. Let's go very black again. Let's put black into that nice sort of gray color. Let's drop something in here. Incidentally. I think we could come in here. We're still getting some nice contrast. Even though we're just using these colors. If we, we'll compare it with the orange one in red, one in a second. Then let's go really white into that. Gets a nice light gray, hopefully. See down here. I think Paul Clay would be pleased with us doing this. I think he he did prove I'm loving this color. I wanted to do a bit more of that some way. So I'm going to just clean these brushes out because we're getting too many. Think that needs to be some way that even though it's just access to the experiment and trying these colors, you can still use very much composition and design. Nice. Seeing where our eye is going to make it ready. Very interesting because anything goes, doesn't it? We're allowed to do whatever we want. We give ourselves some direction like this. It's very helpful to be aware of these things that can happen right now. I'm gonna drop pink, some white into that paint. I want to go very light pink. I think we'll go excuse me. We'll go here with that. Excuse me. Now. Let's put some black kids. Yeah, great. I wanted to put a thin line in here. We'll put a thin line down here. Just to make it interesting. Let's now just watch we put down here. I think we need to go a bit darker, so I'm going to put a bit more black in that. Note. Let's add a little bit more white to that. Let's put something in here. Takes our eyes down. We won't have something. Yeah. I think that's all blue and red. One. Lovely exercise or enjoy doing, but see how interesting it is, all these wonderful colors just from those two colors and black and white. And I'm going to see if you can see on the camera. Just move that out away for a second and I'll bring them, see if I can get them both. The two of them together. See that great little exercise. So now we'll do one with the blue and the yellow, and obviously they will have greens. But it's a wonderful thing to do to just experiment with your, with your color mixing and get familiar with it and do some nice paintings as you go. You get prepared and I'll come back. 9. Yellow & Blue Painting: Now we're going to do the blue and yellow. Let's see how we get on with this. I hope you are enjoying these little experiments, but we're making some nice paintings. It's great fun, but I'm going to take some of my yellow. I'm just going to put tiny bit of blue with that. To start with. Blue is very strong. Ten or into a really nice green. Now, let's see what we're gonna do for this one. Let's do something a little bit different. Let's go this way. Let's come down here. He can do what you like with this. So just having some fun play with mixing. Mixing our various colors together, seeing what happens. I'm going to add some white with that. I'm going to make some blue with that. Make that a bit darker. Let's come down here. We're going to discover some interesting greens. This one, already looking nice. Let's go a bit darker. Ready? Dark? Green. Let's come up here. Interesting shapes. Let's put some white with that. More whiter. Think. Bring this nice green to yellow with that and see what happens. Lovely seeing these tones. I'm really enjoying looking at what's going to, what's developing from it. It's fascinating. I'm really hoping that you getting the benefit from this because it's such an interesting thing to do. I'm going to go back with this one and to have a clean brush. This one with the yellow, tiny bit more white. Want to put something in here? If something here. Interesting way to be painting, isn't it very different to being free and seeing what happens when we, we've seen what happens with this, but it's a little bit more contrived. Do this here. I'm going to turn that into a circle here. Different. Let's see. Exercise. If we drop a tiny bit of black into that, that's going to change. Let's put it here. With some of the black. Let's go get more black. Change the tone a little. Something up here. Now then let's put some black into this one. Amounts, not a huge amount. Very honestly green. Now, let's bring something up here. Down here. Let's put white in that now. See why that goes. That's really nice. Gray, green, lovely, lovely color that Let's go darker. Let's put a whole load of blue in there. Petrol. Greeny blue. Let's come here. Nice. Looking for a nice contrast now. And I think we're going to put that in here because it gives us a nice contrast. And let's go back light up, let me clean this up. This one. Let's go with yellow. More yellow, some yellow, white, tiny bit of blue. Minute skill. We've got some contrast going on up here. Let's put this up here. Let's go even, Let's go even lighter. Still. See how tell you what we're gonna do. I'll just draw it with this one. This one little circle in here. We'll put some small lines in here. I hope you're enjoying it. Now then let's see what happens if a little bit of black in there. Now, let's call it a different gray again. Let's put something in here. I think we're going to go a bit more back to the blues now. I'm going to take some blue. It's called a tiny bit. Obvious barking. Sorry. Let's put some of this dark blue here. Let's contrast. Let's go even darker. Yeah, it's coming together, isn't it? Let's put something down here. Now, then let's go back from him. Then. Add some white to not be different. Again. I'm looking off to my son's dog at the moment. My dolphin, him. Just enjoy all playing what they enjoy making lots of noise as well. I think we need a bit of a stronger something. Let's go back to just sit low on its own. I'm going to put a tiny bit of the white with the blue. Let's change the tone up a little bit. Something here. That's nice. Interesting. Drop dead PLO into that. Finish off down here. We've had some fun doing these. Seeing all the wonderful things that can happen with just with the TVC. Same. Then I think we should let our hair down and do something. Do something crazy. Now we've done this. And let's go into black, hit into that blue. Let's come right down here with this. I think I'm going to turn that into that dog. Go over that again. I will not to be modest. We've done the three of them. I think that's gonna really interesting fun exercise to be playing around with mixing colors, making them into a painting, looking at contrasts. You know, they make lovely little pictures as they are. So I think that you're gonna have some fun with that and enjoy messing around and saying what's going to happen. Now we're going to have your head down and do something a little bit more crazy, I think now with the most, uh, come back to teach shortly and we'll make a start on that. 10. Let's Get Creative: In this video, I'm going to put together all the things that we've been doing throughout these exercises. So I've got a limited palette. I've put myself phthalo blue. I've done the lemon yellow this time, and a cadmium red. I got myself some big brushes for this. This is a nice flat brush and a couple of Gesso brushes here. I'm also just sort of digging around in my toolbox and I've got a few things here. I've got my and lovely rubber spatula here, which is great. I've got my scraper. I also found this, not sure whether I'll use it. It's a window cleaner, squishy thing. Just kind of have a play. I want to do something completely different to what we've done before. And really this is to encourage you to do something completely different to to just be free with it. I didn't know what's going to happen. It would turn out to be fantastic. It might turn out to be exhaustive, but nothing is a disaster because whatever I put on here, I can always cover it up with something else, but I thought it'd be nice just to have some fun and do some kind of free things using the limited palette mixing of these colors. So we can get the tone values, we can get the saturation, we can get the temperature, the harmony of the picture, and see what happens. So let's carry on. So the first thing I'd like to do got my acrylic is not listened to do three drawing on top of this. To get started. I just want something that may be then where it's translucent. The sum of the lines will show kind of a, an easy just to stop. What I'm actually painting on here. It's, i've, I've got somebody say cartridge paper and stuck it to this board. And I've given this a coat of ghetto as an experiment. Let's see what's going to happen. The other thing that I have got a couple of things from the kitchen, just to mix. If I want to have a little bit bigger place to mix my to mix my paint, which I'm going to kick off with. I'm just going to put some in here. I want I want quantity to go to one. That's how I see you and I'd like to start. Let's see. Most beautiful color of blue. I love the blue hands a lot my trip. So we're going to let the drip strip. You can see the translucency dad because the lines are showing, then I'm going to make a little bit Yellow River it it's obviously going to go a bit more than that. This is taped my knife in here. See how it happens. What I do feel I would like to put in background because obviously all this is going to be the background. Some orange. I'm going to make some good in my lemon yellow, my cadmium red to get a nice orange, I want to be able to myocarditis whatever preconceived idea. But I like the feel of having the complimentary color of the green, which is the red. Ready? I want the orange in the background. I've got a lot on my brush here with a lot of realtor. I'm going to put some in in various areas. Just so when we're painting. Over the top, I'm going to be able to hopefully some of this through just in areas. Totally different tool of kind of quite like that. Dry off. And then we'll be able to go over it. See what might be done here. I think what I might do is I'm going to do this tissue. Rubbing this tissue. We can experiment with all kinds of things. Just see how this already, because this is drying off the bed, getting some pale layer. Come back to a little bit more yellow. You can see how that layer is working. Here. It's really nice. Together. Once you've got it to this stage, you can let it dry and then continue getting a nice yellow. We want to experiment with the textures, with the opaque, with the translucent. The tone values. Which obviously at the moment we're just layering on the lemon yellow together. Water on this nice round. Obviously getting a few shapes in it. Just a little bit and let it dry and then come back. You can see this.com told me she's nice. Nice variations coming on. Exhibit. If you put some will try to drag. You can see how much free time doing it this way then we learnt before. Okay, interesting stars, isn't it? Let's go justice. While I've got this yellow in here, that's quite a bit darker down. I'm just gonna do one thing. Let's just see few of the strip scaling. I think that's a nice start. I think it's kind of come together. So much freer and experimental. So let's see, Let's let this dry and then we'll, we'll carry on a little bit more and see what happened. 11. Onto the Second Layer: Okay, so now this has dried and I've been having a look at it. I'm thinking that would be a really interesting idea, which I'm going to show you to look at our values, our turn values. One of the things that I've got here is the grade scale. Now, I'm showing you this before in previous lessons. Not actually includes this and the downloads, but it's really an interesting exercise to do yourself. To figure out you'll turn values of your colors starting from the palate. So it would be white right through to black. In ten stages, I shall include how you can, probably can't see the white one so much. But I'll include that in the downloads for you to have a look at. But it's a really good thing to actually do it yourself. Now, what I thought would be interesting, seeing that we've been doing all this color mixing is to see how far we can take all colors. I've done this in C that in the colors I hope I've used the lemon yellow and the phthalo blue, adding white and then adding black, adding white, adding black. And you can see all the various colors. Hopefully you can see them there. It gives us an idea then how we construct your or painting with our time values. It's not full saying the tendency is for us to have all the tones are very similar color. So it's good to actually have some knowledge, not essential to have some knowledge of how auto loans are going to work. So if you were looking at this at the moment, we've got some darker tones here, a little bit here. But all these turns of fairly similar. In order to make it come alive and be a really great painting, we've got to think about tone values. And then the other one I've done is looking at, if you can see this one that's a bit clearer. I, I think this is the lemon yellow and this is the phthalo blue. This is adding the yellow as we go all the way through to the yellow. Of course, you're a really good idea how many greens I can get from using the lemon yellow and the phthalo blue colors you decide to use. Do that little exercise first. Because it will really give you some knowledge of the colors that you're using, be very helpful with the painting. So again, this is a sort of an experiment to try it out, to see how you go with it. So if you preempted it with those exercises, with the calmness that you're using, you'll find it really helpful when you actually come to do the painting. Most paints rubbing on my palette. I'll go to little dishes here, warmer with the yellow and the blue. I'm going to see what happens with this to-do painting really quickly. Not what we're about. We're about exploring and discovering how I want to hopefully show you how you can use what we've been doing with the color values in a constructive yet still keep it creative way. The color values is on knowledge. Once we've attained the knowledge, then we can move into that very much more creatively. And when we all creating, if we've got that as a foundation for painting, then it gives us so much more ability to actually pay the pictures that we love. But I'm not setting out here to paint a masterpiece. I am, but don't mean I'm setting out to explore the possibilities and see how I can make the best painting that I can from using these exercises to show you. Without further ado, let's get started. I've just got all my things here ready. And I will try and explain as I go along. If not, then I will go to microphone. Sorry, I'm just writing this here. Gone to my microphone because I need to come see. It's quite difficult to do this and concentrated towards the same time. I'll see how I guess so. Bear with me at the time. When I'm looking at this picture. Sorry about that. When I'm looking at this sort of saying how I wanted to take shape, where I want my dogs to be, wherever my lights to be, how I want you to flow. It's got a lot of interesting things going on. I want to use some of the opaque paint and I want to use some of the translucent paint and water and just see how it progresses as we go. But it's a spray bottle. It's a nice foundation to start with. And we'll see how we go. I'm actually going to start with coming into my dogs. To begin with, if I've got my dark setup. As we go, then it helps us to then structure the light parts, lighter parts, and the parts in between. Now, one of my wonderful mentors who I loved looking at the work is Nicholas Winton. He talks about the loud conversation, the quiet conversation in a painting. I've talked about it being a focal points. And quiet areas are soft areas to get a balanced so we know what we're going to be looking at. I'm just kind of have a little start with this now. How much you're going to do is add a little bit of black to that as well. To make this really dark. It's going to be opaque and some of it's going to be translucent. So I feel it needs to have then they can get more going on here. You can see immediately looking at that. And what's interesting is that you can still see some of the, still see some of the paint behind some of the things with their hands. Interesting, hey, we've kind of let this unfolds. Let me go into it more. That's a lot darker. I don't want to put some darker in here, so we've got some nice variation of the translucent. We can see things going on behind and above the opaque. Then we can change it up. What I want to change it up to, here, this is a bit of white. So now I know with the white is going to be opaque. I'm going to cover up what some underneath. But that's not to say I can't leave some areas behind. You've got the nice contrast of the two again. Now I might go even more with some water up here. I want this to run down and then I'm going to put some yellow in there. I'm going to take it make it look really interesting. I want to go lighter on the top. Take this down here. Still. Not to drip down. Just show you that. Let me go look some tissue at the bottom here to catch it. So if you're doing this in the kitchen at home, you don't want it to go on the floor, then just sort of protect it with a little tissue. Another habits have some movement happening here because. It's all going in one direction at the moment. What's interesting here is I've got some nice things happening going on behind that. I can century back to highlight something really fascinating happened. Now, take this over here. Now I want to go into the green a little. Now, going to take some of the yellow. My knife, a knife won't go a little bit more green. I'm taking the yellow change brushes. Not going to mix the color of too much because it will mix itself. Only. Paint on the paper. Let's see what happens. It won't, but even lighter. Mixing up with some white guys can see my controls happening. Changing the texture. Interesting. So everything is kind of want to make it interesting. We don't want it just all the same. We can do interesting things with it. So go oldest going on behind, going to spray it a bit more. Moving. Now we go a little bit more already, want some dark areas to give that lovely contrast. Maybe it's coming together. It just takes time. And we'll see a lot of light going on. Here. Still have that orange underneath. This kind of finding a point of interest. You can still see a little bit here. You can see a little bit here. This is why it's so interesting too. It's so interesting to have lovely background. Might just be as simple as that for now. So let's just analyze what we've done. We've got some nice darks and lights and some interesting contrasts to how the paintings working. We've got some opaque, we've got some translucent. We've got some nice graduation of color from the dark through to the spectrum, the greens. And then this just a little complimentary of the orange to the green, which gives it a spark. Now, what might be interesting, and I'm always talking about this. That's just see, why not turn it upside down and see what happens with it that way. Could that be more interesting? And what do you see happening in it there? I need to sit and look at it and once it's dry and I'll be able to do that. But I really want you to experiment with this, really sort of push it and take it to the next level. See if you can do those little exercises with the colors that you're going to be using and see what you come up with. I hope you found that helpful. I'm going to this conjugate of this and see if I might do something more with it or if I might leave it once it's dry. And really I want you to explore this possibility yourself and see how you get on. And we've covered a lot of interesting things about color value and some things to really think about to give your paintings sort of new depths. So you're not just being random, you being structured, even though you're being creative. I hope that's helpful. 12. Critique and Finish: Here's the finished picture. After I'd finished before, I again took a little bit of time to go through it, have a look at what was happening. I've just added a few little details. Talking about focal points of tone values. I just wanted to clarify a few different areas. I don't know what and see it as clearly as I would have hike on the camera. I've added a few little just touches. I've put some lines in here. I've strengthened up some of the yellow, making sure that I've got some interesting contrasts as you might be able to see. I don't think you can see the orange too much here. But in flat, there's quite a difference between the orange and the yellow. I don't know whether you can see it clearly. Just takes a little bit of time. You need to sit on it and look and observe of where your eye is going. My feeling now is your eyes actually going round the picture and you stopping it. Interesting areas here. There's a nice little bit of orange coming through, which is contrasted with the with the blue. And the strength of the yellow here coming through, but more yellow down here next to the straight line. So we've got some straight lines and soft lines. Again, those are points of interest because your eye will go to those areas. I've got another straight line in here and then here, a two here. So it's time to, once you've think you've finished, go back and really look at it and see where your eyes going. Again. Take photograph of it, turn it into black and white. Have a look at your contrasts. So obviously this big contrasts here with the dog, the dog and the dog. But in the flesh. It's interesting the tones of the darkness. This one is actually the darkest here. Taking your eye up, coming round, coming into here. When you are looking at your picture. Just kind of squint your eyes and see where your eye is going. And then the other tip is to put it quite far away. You are looking at it from a distance and see what springs out at you. That's always a very interesting exercise. You know, if it was if it was in a gallery and it was in the window and you were driving past, what would catch your eye. That's kind of the impact that you won't have. Really try and do that self-evaluation. I know it's tricky. If you've got somebody that you could ask, ask them, you know, where is your eye going? Because when we're involved in it, we've gone through the process. So it's kind of a bit more tricky to do that self-evaluation. So if you've got someone to ask, do that, you can always put it in the projects. Because then you can ask for some feedback when you when you put it there and I can have a look at it, which would be wonderful. I'd love to see what you're doing. If you want some some help with it, then please do put the put all of the pictures in the projects. It's always great to see them and I really enjoy looking at them and hopefully can give you some constructive critique. I hope you've enjoyed doing this whole exercise on color mixing. It's fascinating and there's so much that we can learn from using our colors and then using that within paintings with our tone values and our focal points. And there's a little extra to help you with your color. I have a little e-book here, I hope you can see it. It's called five great tips on color, which you can download for free on my website, which is a joy Fe artists.com. You might find that helpful to run alongside with what we've been doing in this class. So, thank you again and look forward to seeing you soon. All the best. Take care. Bye for now.