Beginners Colour, Contrast & Pattern, Part 1; How to apply colour combinations that work well. | Dawn Cawthra | Skillshare
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Beginners Colour, Contrast & Pattern, Part 1; How to apply colour combinations that work well.

teacher avatar Dawn Cawthra, Artist, Designer, Holistic Educator

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.

      Exploring Color Contrast and Pattern Part 1

      2:34

    • 2.

      Project overview

      2:16

    • 3.

      Materials and Resources

      4:56

    • 4.

      Monochromatic (One Color)

      9:58

    • 5.

      Analogous (Two Colors)

      4:39

    • 6.

      Complementary (Two Colors)

      6:03

    • 7.

      Split Complementary (Three Colors)

      6:23

    • 8.

      Triadic (Three Colors)

      5:45

    • 9.

      Tetradic (Four Colors)

      6:21

    • 10.

      Putting it all together

      2:55

    • 11.

      Well done

      1:53

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About This Class

Welcome to Exploring Colour, Contrast & Pattern

In this 2-part Mini Series, we'll create beautiful hand - drawn decorative  designs as we learn how to combine colours and patterns successfully, collating them all together into a unique Colour & Pattern Resource Book.

In this first class we’ll be using Ink Markers to create small sample papers, giving us the opportunity to feel more confident in playing with colour, whilst understanding how to create visual interest through contrasting elements, using black & white Acrylic Pens and a black Fine-liner.

We will explore the different combinations that can easily be achieved using the colour wheel as our starting point. In a fun and relaxed way, we’ll create:

  • Samples using a single colour (monochromatic)
  • Samples using two colours (analogous and complementary)
  • Samples using three colours (split complementary and triadic)
  • Samples using four colours (tetradic)
  • Contrast with colour and textures

Is this class for you?

  • Do you sometimes stall on a project because you don’t know what colours will work well together?
  • Is your work sometimes flat and uninteresting because you don’t know how to liven it up?
  • Maybe you just need some fresh inspiration?
  • Perhaps you'd like to have a go at using Ink Markers and Acrylic Pens?

Then this class will get your creative juices flowing!                                                                                 Suitable for complete beginners and anyone needing to get back into their expressive groove!

Why Use Ink Markers?

  • They blend well and are so easy to use, plus they cover the page with colour very quickly. 
  • They are double ended with a thick blunt nib and a thin fine nib, enabling you to create many varied patterns.
  • You can buy ready made, cost effective starter packs of harmonious colours, which is helpful if you are new to these ink based pens.
  • They take up very little space, don’t need water or brushes, so coupled with a small sketchbook you can get quick results whether you’re at home, on your lunch break, inside, outside, on a bus/train etc. 
  • THEY’RE FUN! Loved by artists, illustrators and graphic designers around the world.

Why Use Acrylic Pens?

  • They are used to great effect over the Ink Markers to add patterns and texture.

Why Use Fine-liners?

  • They add even finer details to the overall design, giving it more depth and interest.

Final project

Once you’ve got all your sample papers together, you can then collate them to create the first part of your own Colour, Contrast & Pattern Resource Book. This can become your go-to reference for future creative projects, i.e. painting, surface pattern / graphic / textile design, printmaking, illustration, embroidery, quilting etc.

 

Meet Your Teacher

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Dawn Cawthra

Artist, Designer, Holistic Educator

Teacher


A Little bit about me....

I am an artist, designer and holistic health educator based in the beautiful Scottish Highlands and it's a joy to share my skills and ideas with you.

I'm a great advocate of creative playing - always for the fun of it, as it supports our wellbeing in many different ways and you'll hear my mantra throughout the classes 'just give it a go'. It's a lovely way to slow life down for a while, and I'm all for that, as often as possible!

When we allow ourselves time to play it can have a profound effec... See full profile

Level: Beginner

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Transcripts

1. Exploring Color Contrast and Pattern Part 1: [MUSIC] Hello and welcome to this two-part mini-series exploring color, contrast, and pattern. I'm Don Cordera. I'm an artist, a designer, and a holistic health practitioner living in the beautiful Scottish Islands. I've been teaching art and design classes for over 25 years, helping other people to unlock their creative potential. I'm really passionate about color and pattern as you can probably tell. If you'd like to broaden your knowledge and understanding of how color combinations can work well together and how to add visual interests so that your work has that real wow factor, then this class is for you. Or maybe you just like to have a little play with ink markers and acrylic pens. Well, I invite you to join me in this class. It's full of ideas and inspiration to get your creative juices flowing. This class is suitable for beginners, will start off by looking at the color wheel and playing with different color combinations. It's not about seriously studying color theory, but it's about understanding some of the basics and then trusting your own instincts as you build up your confidence and develop your own favorite palettes. Using ink markers, acrylic pens, and a fine liner, we're going to be creating lots of small samples. This is a really playful way to get your creative juices flowing. We'll experiment with how to add contrasting elements to create more visual interest. The icing on the cake is that for your class project, you'll be collecting all of those samples into your very own personal color and pattern book. It's such a valuable resource to have at hand as it can be your go-to reference for any future projects. Whether you're painting, printing, surface pattern design, illustrating, you name it. I'm very fortunate to have my paintings, art cards, and print shown in different Scottish galleries. I'm often asked how I actually start a painting. I rarely know what I'm going to paint before I begin. Color is always my starting point. Then slowly, but surely the image begins to reveal itself. This is going to be a very easy and relaxed class. If you feel inspired to make your own personal resource book and have lots of fun in the process creating a gorgeous samples, well now's the time to put the kettle on, and make yourself a copper. I'll see you in the first session. [MUSIC]. 2. Project overview: The project for today's class is to start the beginnings of your own pattern and color resource book. Now, I'm saying at the beginnings because, in Part 2, we'll look a bit more deeply at pattern-making and also play and explore a bit more about what your favorite color palettes might be, which hopefully you'll be developing as you go through the lessons in this class. This is such a lovely way just to play with color and just to have some fun with it. It's completely suitable for beginners. So I would say give it a go. As I mentioned earlier, I really love color and pattern. I find this such a valuable resource to refer to either before I start painting or maybe if I'm feeling a bit stuck creatively, I'll just flick through my books. As you can see, I do have quite a lot and I'll always find some inspiration to get me going again. This was the inspirational palette for my enchanted forest painting. It was great to be able to have that as a resource and nowhere to start color-wise. As you can see from this split complementary palette here, this was the starting point for my lovely dandelion painting. We'll start off by just using single colors, otherwise known as monochromatic. This is where we'll play with creating contrast and start by adding simple patterns. In each subsequent lesson, we'll play with a different combination of colors, using the color wheel as a loose reference. Starting with a monochromatic, we'll add pattern and contrast and see what different effects we can get. We'll move on to analogies, which is next to each other on the color wheel then complimentary, which is opposite each other on the color wheel. We'll look at split complementary, I'll explain that in the class. Triadic, which is basically three colors and then we'll finish off with tetradic, or otherwise known as a double complementary, which is four colors. You don't need anything special for this class, just your own enthusiasm and a willingness to play. I'd love to see what you create. So please share your work in the projects gallery. I'll see you in the next lesson when we have a look at what materials we need. 3. Materials and Resources: These are the markers that I'm going to be using in this class. The brand I happen to be using is Winsor and Newton pro markers. But they come in any brand so you don't have to get that one. I obviously have a large selection of colors much more than I'm showing you here, and so it's a question of what do you want to buy and what do you want to use? If you're new to pro markers or ink markers, I would suggest that at least you start off with the three primary colors. As we add yellow here onto the paper, by using the other two colors as well, we can get another three colors from this. So as we add red onto the yellow, that gives us orange, as we add blue onto the yellow, that gives us a nice green, and then you can see the blue on its own, then you see the red color on its own, and if we add blue to the red, we even get a violet color. So out of the three primary colors, we actually get six in total. The paper that I'm using here is cheap and cheerful printer paper. I've got Hewlett Packard paper here at 100 grams and a navigate paper at 120, which is a little bit thicker than the other one. The only thing you've got to be aware of though, is that the ink markers will bleed through. So you do need to put something on your surface to protect it from that. I'm using Posca acrylic paint pens. Again, they come in various brands, you don't have to use Posca. I'm using two sizes here, a medium one which is a 3M, and a finer one which is 1M. I'm also using a black Posca pen, which is also the medium-size 3M. In addition to that, I'm using a pilot fine liner, which I think this is a nought 0.7, but you can get any brand you like so long as it does the fine line work that we want it to do. This is how we use this pen because it just gives it such lovely, fine detail. You can see in comparison to using the black Posca paint pen, what a difference it makes in terms of being able to add contrast. Now, you need to just put the nib on the paper first of all, gently just to make sure that the paint's running through into the tube. If you press too hard, you'll end up with a big blob like that. So you just have to be careful and it's always good to do on a piece of paper first before you actually do on your work. So just do a few lines just to make sure the paint is coming through and then put it on your work and you can see the difference there. You can see that lovely contrast between the thick and the thin lines. Always remember to give these acrylic paint pens a good shake before you use them. Just to make sure that the paint's well in the tube. Again, don't press too hard because that's what will happen. Well, you have to press a bit hard to get the paint to come through, but then make sure that you've just got it coming through nicely before you put it onto your work. So that when you're doing your patterns like this, it's coming through nice and evenly and you're not getting blobs. Always practice on the paper first to make sure that acrylic paint is coming through. Again, you can see this lovely contrast between the thick and the thin lines. So there we have two black, two white, and those are what we're going to be doing all our patterns with. Because we do all the patterns on the print paper, you're going to need something to stick them into. So I would suggest here that you use an A5 sketchbook. I really like this size. It's very handy for doing small samples and it's not too daunting or overwhelming to have to fill up. It works well for the smallest circle pieces, and it works well for doing the slightly larger ones when we get onto the different color combinations. A5 size is really, really good. Because you're not actually drawing straight into the book, it doesn't matter what the quality of the paper is like, so long as it can take a bit of glue and be able to sticky pieces in nicely, that's all that matters. You'll need scissors for putting out your paper, and then something to stick it in your book with either blue tack or a glue stick. I'm using Pritt there, but again, it can be any brand that you like. It doesn't have to be Pritt. You'll need to download from the projects and resources section, the color wheel, and the circle template because that's where you'll be doing the coloring on and cutting out, and then the rectangle template because you'd also be coloring that. Can't wait to get started. So see you in the next session. 4. Monochromatic (One Color): In this session, we're going to be using single colors and focusing on how to create contrast using tonality, size, shape, and added detail. First of all, put something on the surface to protect it. I'm using plastic sheeting. Using a circle template, I'd like you to color in each circle in whichever color you like. If you've got 12 different colors, that's great, if not, then use the colors that you've got and double-up because we can get varied patterns even using the same color. Keep doing this until you cover the whole page and that will be your first layer of ink that's gone on, which we'll then leave to dry. Have fun coloring outside of the circles and do the exact opposite of what you are probably tool to do in school. When you've colored them all in, cut it up the middle because that'll make it a lot easier for you to then work into with some finer detail for more visual interest. We're now going to look at adding the second layer of ink. If I start off with this color at the top here, you can see that I've already got a green going along there in stripes. To create some contrast, I'm going to put my stripes of the second layer going the other way. Because yellow is such a light color, you won't get a great deal of contrast, so I'm going to do this as a block color to make it more obvious. This is how I'm going to do it for my second layer of ink and I will put a third layer on a later stage. This is the stage to start considering about what effect is that you're wanting, what do you want to create with the different nibs that you've got? You've got three different options here, you can use the very thin nib or you can go onto the one that's got more of a blunt edge and use it as a fat nib or you can turn that on it's side and you can use it as a slightly finer one. These are the things just to be thinking about as you begin to put the second layer of ink onto your circles and as I said before, you'll be going over those possibly with a third layer if you want to at some point. As you can see already, you can create some quite different effects just by using the different sizes of nibs whether you use the flat end or the chisel end or the thin end, you can already create quite a bit of contrast and that's just your second layer of ink before we've even gone into your third. Do put a third layer on in areas where you think it's going to make a difference. For example, it's worth putting another one on the yellow one because that's such a low contrast anyway. It's also worth putting another one on the pale green next to it, on the apple green. There, I've done a little bit of extra third layer and left some on the second layer and then added a little bit of pattern as well. There's no point in doing a fourth layer because the paper is now as saturated with color as it can get, so you won't add anything by adding a fourth color. But it is worth just reviewing what you've done and seeing whether or not it makes a difference to add that third layer or not and that might be just simply by going over what you've already done with a slightly thicker nib or keeping it to the same one like I'm doing here on this one where I'm using the smaller end of the blunt nib. If we take a look now at what's going on here, we can see that we've created contrast in two different ways. We've created contrast by the tonality, in other words, with light and dark and we've also created contrast by size in the sense that we've gone with thick and we've gone with narrow. That's two ways already that we've managed to create some contrast there and that's before adding any further pattern. By using the same color on this, which is maroon and just using the blunt chisel end, I'm already getting a really nice effect here by doing that. Taking the lines one way and then taking them another, again, that adds more contrast. You can also get a similar effect with what's called a blender ink pen. It doesn't actually have colored ink in it. What happens is when you use this one is that it lifts the color off a little bit, so I'm going to try it out on this Prussian blue and see what effect it gets. The whole point about this is just to play and experiment. It might not work. So just give it a go and see what happens. You can see that the one on the maroon color that looks very striking and dark, this is beginning to lift it out a little bit. But maybe I'll have to work into that later with finer detail just to highlight that a bit more. It's worth taking another look at what you've done here just to see if there's anything else you want to add with the nib before you then start going in with your finer pens and your acrylic pens. Is there anything else that you think might lift it off a little bit more? For example, on this green one here, I'm going to use a really thin nib just to give that another bit of detail, going on to that layer that he had two layers on it and again, that creates a wee bit more contrast. Then you can start looking at what do you want to start picking out? What details do you want to start picking out either with the fine liner or your acrylic pins? This is where it starts to get really juicy for me. This is the bit that I love the most I think, where I can really start picking out these patterns. I'm outlining the horizontal marks on this maroon circle and then I'm putting little dots into the vertical ones because I don't want it all to look the same but I think just by adding this small element of black, it lifts the ellipses sample considerably. I'm also going to outline the vertical marks on the yellow one as well because I think that that needs it because it's such low contrast. I'm quite just enjoying adding this detail here. Again, I haven't got anything in mind before I start, I'm just really going with the flow of what I think might be interesting and add some nice detail because I've got lots of green going horizontally on this circle. I'm actually adding vertical lines now again as a contrast to those horizontal lines. So it's all about contrast. You're probably fed up with hearing me saying the word now. To add even more contrast, I'm going to add some deeper black using the acrylic pen because that gives it's more intense than the fine liner. I already knew when I was using this Prussian blue color that I was going to have to put white on it to create any contrast. The question is, what marks would you put on? Maybe I'll just step in going with stripes and maybe I'll just stay with stripes. Although actually I don't know, that looks a bit boring to me. He might redeem itself later let's see. It's certainly didn't work, lifting enough of the color off when I use the blender, but let's see what happens with this one here. I think on this other one, just to use the really fine acrylic pen. That's working well. I like that because it's creating some really nice thin lines in-between those blue and it's just lifting it a little bit. Yeah, I like that effect. I think that's rather nice. Last but not least, let's see what I'm going to do with this green one. It's already got a fair bit of contrast going on with the vertical lines and the horizontal lines so I'm just going to do a little bit of fine detail in here. I almost wish I hadn't because I think that's spoiling it. But I've learned this trick before that don't just stop right now because again, it can turn into something that you didn't imagine, just keep going with it. I'm going to outline, see even just doing this outlining of what I've just done that makes a difference. A lot of it's instinct it's like what I'm I going to do next then? Actually, I'm going to do the same shape in-between and I'm starting to like it again now. Fascinating. I love it when that happens. I think I'm going to darken those stripes going that way and that does look a bit more interesting to me, I'm still not particularly keen on this Prussian blue one. I'm going to just add another little something and see if that makes a difference but overall, I'm not too keen on this one and that's okay. Once you've finished doing what you want and you think that all your patterns are complete, cut them out and keep them to one side and then you can decide which ones you want to put into your sample book. Let's recap then on what we've learned today. We've come from a single flat color to three layers with gorgeous patterns on them and we've had a look at how to create contrast by using different tones, light and dark, different sizes of dots or lines, large, small, narrow, wide, we've used soft and hard lines and of course we've added detail. Hope you've had as much fun as I have. I'm looking forward to seeing you in the next session. 5. Analogous (Two Colors): Hello everyone. In this session, we're going to be building on what we did with the circles. Learning about different tonality, light and dark, different shape and mark-making, hard lines, soft lines, all the added detail. As we look and play with the analogous color scheme today, which is basically any two colors that are next to each other on the color wheel. Here you can see two examples of yellow and yellow green, red and orange red, red purple and purple. I've got here blue, green, and blue, but further down, if you were to imagine that going further down and getting paler, this is where this come from on this section of the color wheel here. What colors appeal to you to play with today? What combinations do you feel drawn to? Do you want to go with the greens, with the blues? Are you more in the mood for oranges and yellows? Don't worry if you don't have the exact colors that go next to each other, it's about getting them near. It's really about you understanding the different terminology. To create your analogous color samples, you're going to need the template that's got the rectangles on, printed off so that you can start on there. I suggest you cut it in half and then just use one of the hubs of the paper to work with because that'll be a lot easier for you. What I'd like to suggest that you do today is to do two samples using the same color combination so that you'd end up with something like this. Because they will then very easily fit into your sketch book. And we'll also be using the circle template to cut out the circles and just do the two half colors that you'll be using, like so. Here's a closer look at some of the samples, to just give you a bit of an idea. If you're feeling a little bit stuck for patterns, do feel free to copy anything that I've done here. But I'm sure that once you get going with your own colors, you'll find your own inspiration. So here you can see a little bit of my process as I was making the samples for this session. I went over some of the lines again, so I had one, two or three layers. Some of the things needed highlighting even further just to give them that way a bit more contrast. This bottom right-hand one, I decided that actually, I was really quite surprised that I liked the color scheme because it's not a scheme at all that I've been drawn to in the past. I do tend to use a lot of blues and greens in my work. But I really liked this and I decided to keep it very soft and not actually add any black to it. It reminded me a little bit of items for babies and young children with that little soft palate. The only thing I decided to do to just highlight it a little bit further, I'll give it a bit more interest, was to just add another of the lovely saffron colors that I've been using. The one next to it, I decided that I would use black in there just to see, because I was curious to know what the result would be by adding black. I absolutely loved it. All of a sudden just by adding black, it took on a retro feel, which suits me because I really love mid-century furniture. It also reminded me of 1950s wallpaper, that color palette. I'll definitely be using this in future work. I've been quite surprised here, this because it's really not my normal palate as I said earlier. If you really feel stuck and don't know what colors to use, see if you can take a walk in nature and see what nature has to offer because she's fantastic and inspiring us and she does plenty of analogous color schemes. Once you're happy with your lovely analogous color samples, cut them out and put them to one side. I like to round the corners off because I think they look so much nicer when you put them in your sketchbook rather than sharp edges. Of course, don't forget to call your circle in, that tells you what colors you used. Please share your work in the project gallery and I look forward to having fun with you in the next session. See you there. 6. Complementary (Two Colors): Today's session is focusing more on color and less on pattern. In particular, complementary colors. Let's come back to the color wheel now and have a look at what complementary colors are. Basically, complementary colors are ones that are opposite each other on the color wheel. You can turn that around and you can get six different color combinations using this scheme here. If you start off with purple, that gives you to yellow, blue purple down to orange yellow, blue across to orange, etc. Before you get stuck into your pattern-making today, I'd like you to do a quick color chart of the 12 colors that are on the color wheel. Now you might not have all of those 12. I don't have them all. I've had to do a little bit of mixing to get them. But again, just work with what you've got and do the best that you can. Starting at the top with purple and then going through all the way through and round, give yourself the 12 colors that you've got here. Now, I didn't have the right oranges here at all, so I've had to do a little bit of mixing to get the different oranges here with some of the colors that I've got. You may well have to do the same. Now again, I just want to reiterate here, this is about having fun, it's not about getting it perfect. We're using this color wheel here as a reference, but you could just as easily have printed a different one off the Internet that would give you slightly different colors and you would end up working with those. It's not set in stone, isn't this at all. It's really about you getting to understand colors a little bit more, hopefully in an easier way, and seeing how they can work together and what combinations you could put together that work really nicely. Now, having done the color chart here, then what I've done is I've pulled those two colors together, and that's giving me a nice chart of the complementary colors. We've got the purple and yellow, blue-purple and orange-yellow again, etc. What I'd like you to do today is to choose one of these color schemes. Obviously, that depends on the colors that you've got available to you as well. We're going to do a couple of samples with just one of them. Now, I'm going to choose this one here, which is the blue-green and orange-red. To get that orange-red, I had to mix the lipstick red and the yellow together, and that's absolutely fine. You'll see here that what I'm doing with these two samples is making the blue more dominant in one sample and the orange-red more dominant in the other. I'm doing this because I want to show you how when you use different proportions of color, it gives you a very different result. I'm adding the yellow on top of that lipstick red here so that I can get the orange-red shade that I'm after. That blue-green has dried nicely now. Now I'm going to add the orange-red into the squares that are left. Again, adding the yellow on top so that I get the right orange shade that I'm after. Using the blue-green color then, I'm going to add that to the red in much the same way as I've done with the red to the blue. Now, I haven't just got those little squares quite the same proportion as I have on the other one, but that's okay. Again, it's an exercise in color, not about getting it absolutely perfect. They've dried very nicely now. The one on the right-hand side was very saturated with ink. I wanted that to dry before doing anything else. What I am going to do is to add a little bit more of the blue, the same color blue just to emphasize that color a bit more. The contrast is there, like we said, with the two opposing colors, so it doesn't need a great deal I was adding to it. But I think that does create a bit more visual interest. Because I didn't manage to get the little blue squares as symmetrical as I did the red ones, I'm doing this one slightly more randomly and just choosing that rectangular shape, if you like. Just give those one extra layer there. I'm going to echo the shapes of what's already going on in this little piece. I could see this being a bigger artwork, or the inspiration for a bigger artwork. This is what I love about playing, but it just takes you to places where you didn't even know you were going to go in your imagination, which is wonderful. Always recommend playing, can't get enough of it. I want to add white onto the blue here. Again, I don't want to detract too much from the gorgeous pop of the orange and the blue together. I'm just going to add a little bit of fine white alongside that thicker white there and see how that looks. I do love that color combination together, I think that really works well actually. But it just needs a little extra something, and I think that's just some tiny black dots. You know the routine now, cut your samples out and do your circle that shows you what color you've been using. You can see these two very different looks, they're very playful looks, and even when you move them around a little bit and change the direction of the pattern, you can get something that looks again entirely different. Please share your work in the project gallery and then join me in the next session as we look at split complementary. 7. Split Complementary (Three Colors): In this session, we're going to be creating a three-way color combination using what's called a split complementary scheme. Now, if we look at the yellow and the purple as a complimentary combination, what you do there is then instead of using the purple, you go to either side of it. In fact, you would be using the yellow, the red-purple, and the blue-purple. Similar to the color chart that you created in the complementary scheme, I'd like you now to create one in the split complimentary, but only using the three primary colors. Going from red, now I put the names here of the actual colors that I use, but I don't want you to get too confused with that. You use whatever red you've got, whatever yellow you've got, and whatever blue you've got. From the red, the split complimentary there ends up being blue-green and yellow-green. From the yellow, it's red-purple and blue-purple and from the blue it's orange-red and orange-yellow. Here you can see that I've just again pulled those colors down and created the little color pallets from those three main primary colors. I'd like you to choose one of these color palettes and create yourself a small sample. I'm going to be using this one here because I'm actually taking my inspiration from the pansies that are in my garden at the moment. It's not often that I actually plan a design out beforehand, but because I'm taking my inspiration from the pansies and they're quite circular in shape, I decided that I would go with this circular design. I'm using the blue-purple, the red-purple, and yellow as my three colors. I'm starting off in the middle with a nice, big, yellow circle. Looks a little bit like the sun. Actually now it's starting to look a little bit like a fried egg. Notice, as I use this lovely reddish color, this lovely red-purple, I'm drawing outside of the line there. Because I do like to draw outside of the line. I'm coloring in a really scruffy way as well. Please don't be too neat about all this. Don't take it too seriously. It will look a lot different once I've got the edges right and it's cut out at the end. I'm speeding this video, as you can probably tell, because if you had to watch it in real time, it would be like watching paint dry. Here's the background of the blue-purple. Almost done there, just a little bit of extra. That's perfect. Now I like this color. I think it's rather nice. But I do want to add some pattern to it because it looks a way bit flat. I do find pansies such a cheery little plant. Although I'm not trying to draw an actual image of a pansy, I do like the way that they radiate their cheerfulness from the center. This is what's inspiring me to do this re-like pan around the edge. Also from the middle as well, they remind me a little bit of some beams coming out. I often use this design. It's like the spokes of a wheel. Or you could say the segments of a lemon even. When I'm drawing it to try and make sure that I get the segments fairly equilateral, I think of the hands of a clock so I start at 12 o'clock and then I draw a line at 3 o'clock, I draw another line at 6 o'clock, and 9 o'clock. Then when I'm filling in the gaps in-between those, they're all pretty even. As you can see, I'm just adding extra detail as I feel that it needs it, giving a little bit more color depth to that blue background. I'm not sure that it will show up much, but it's showing up a little bit, which is fine. It's just a question really of going with however much extra detail you think that the work needs. Sometimes it's knowing when to stop, of course. I'm going to highlight the spoke pattern a little bit more because the white just feels a little bit lost actually. By adding that final black, it makes the white even stand out. Of course, I'm going to go round with a black outline onto those lovely shapes I had going in the maroon color. It needs a middle. I do think that it needs something like these white dots just again to lift it a little bit because tonally, it's all looking a little bit same apart from the yellow. By adding a little bit of white here and there just lifts it a bit further. It also gives it a bit more of a focus and draws your eye into the middle, which makes it a bit more of an interesting composition. Actually, it needs a black dot in the middle and that just finishes it off. That's great. I think I'm going to just add a little bit more black. Where I use the acrylic pen, it actually went over those black lines so I'm just reinstating them, if you like, to give it a bit more of a bold look. Now, of course, when I finish this, it needs to be cut out and the little circle drawn to show what colors I've used. Then that'll be ready to put to one side before it goes in the sketchbook. Here's the finished sample along with my color reference in a circle. I don't like it anyone near as much as the one on the left-hand side, it looks too fussy somehow. I prefer the overall design on the left. It has a retro feel to it and it's got more space in it, which is why I think I like. The color scheme, that was the first one using the red and the blue-green and the yellow-green. I just like that one better. I learned from that that perhaps instead of going with the floor like I normally do, I actually try to plan that one out and that's okay. I'd love to see what you do and which color palette you choose. If you'd like to put something in the gallery, please do. I'll see you in the next session where we do another three color way using what they call a triadic scheme. 8. Triadic (Three Colors): How are you doing? I'm glad you've joined me for this session as well, because there's been a lot to take in in the last few sessions, learning all about contrast, how you create it, how the color combinations work together with two more color combinations to look at. Today is triadic, which is a triangle of colors, if you like, and we need to work out which one is going to be the star of the show. Let's start back off with a color wheel again and we'll take it from there. Here we have the triadic color scheme, which is basically a triangle of three colors. Starting off with the purple, that gives you the green and the orange, you turn it round and you've got the red and the blue and the yellow, which are the primary colors. Turn it again and that takes you to the tertiary colors. You've got your secondary, your tertiary and your primary, and you basically got four combinations using this color scheme. What we need to work out is of the three colors in that particular triadic combination, which one is going to be the star of the show? Think of it in terms of a lead singer with two backing vocals. I hope that makes sense to you. In other words, which one of the colors is going to take center stage. I've got some examples here in my resource book. In this top one here on the top left-hand side, you can see that the yellow one is clearly taking center stage there, but it might not be quite so obvious in the two at the bottom. I'm thinking that the purple disks here are taking the center stage, and you've got a fairly loud backing vocal there and then softer, harmless in the background. I hope these analogies are making sense to you. It might not be quite so obvious with this one here. But a good way to work it out to see whether or not your image has got enough contrast in it or not is by taking a photograph of it and using the filter, if you've got that facility on your phone or your camera to then turn it into black and white. That gives a real indication there as to A, who's taken center stage and B, how much contrast you've got a new piece. When we look at these two images, it's clear that the yellow is definitely taking center stage, and in this one also as the background is very muted. The purple disk here is taking center stage and also the purple disk here is taking center stage. This is a great method to use if you're in any doubt. Here we have the four combinations in the triadic scheme. I think it's worth you're doing yourself under the color chart to show the different combinations because you can instantly see how the combinations work together and which ones you feel drawn to. I keep using this explanation, which ones do you feel drawn to? Because color is such an emotive thing. It's such an instinctive thing that we're either drawn to it or we're not drawn to it. It's not something that you can explain with thoughts and words. Again, use your instincts, go to the one that you feel comfortable with and work with that color combination. In part 2, we will delve a bit deeper into the different qualities of color and how they affect us. In today's session, I'd like you to create two sample pieces. I've got an example here. We'll just use my example in my resource book again. The top one, I've used the color palette of the red, yellow, and blue. In fact, what I did was to create one pattern which I then cut in half. As you can see from the left-hand side, I added black details, and on the right side I added white details. In the bottom one, I did the same again. I did one pattern, cut it out, and I used the blue-purple, the orange-red, and the yellow-green here. But in actual fact, when I did this, I couldn't get the orange-red, so I used spice. This just brings me back to, again, what I've said in the past, don't worry if you don't have the right colors, just go with what you've got because this still makes a really nice triadic scheme. On the left, I've added the white details, and on the right, I've added the black details. Please feel free to do two color schemes if you feel inclined. If not, only do one. If you feel inclined to do more, then please do as many as you like because I'm all for encouraging you to play as much as you can. Here's a speeded up peek at my process as I use the blue-green, red-purple, and orange-yellow combination of the triadic scheme. As you can see, I added the pattern over two rectangles, so that you've got the same flavor in both pieces. I then added the orange-yellow background and added white to one side and black to the other. You can see here that the blue-green flower took center stage and the others in the background more. Here are the finished sample pieces. You can see such a difference with the one added in the black and the one added in the white. I hope you've enjoyed this session. Please join me in the next one where we'll look at the tetradic color scheme. I'll see you there. 9. Tetradic (Four Colors): We're on the home run now, the last of the color schemes. Let's dive straight in and see what tetradic is all about. Tetradic color scheme involves four colors. You can do it in two different ways. You can do it as a cross section here like this, where you've got two complementary colors going one way and two complementary colors going the other way. Or you can do it in what they call a split complementary, where you choose two colors that are next to each other and their opposites. This color scheme here, where it's the blue-green, green, the red and the orange red, is what's happening in these little compositions here in these samples here. I really like this color scheme. I like the tetradic color scheme. I think it's probably my favorite actually. There are, again, a couple of ways of approaching this. You can take two of your colors, the ones that are next to each other, and make them slightly more prominent than the other ones, which is what I've done here. The marine and the forest color here or the blue-green and the green have got more availability if you like, in this little composition here, and the orange, red and the ruby less so. Whereas in this example here, I would say that I've used all the four colors more or less imbalanced. I think that one works just as well. There's no hard and fast rule with this. It's a question of your preference really. You can go back to your complementary color chart, and that might be a help in deciding which one you're going to do. You might want to do a cross-section one, or you might want to do the two that are next to each other. You might want to do one of each. You can use your complementary color chart to help you decide. As these little pieces here we're done using the complementary color schemes that are next to each other, I'd like to share the process with you that I've done creating two using the cross-section. I've got a rough idea as to what I want to do for each one. I want one to be more curvy and the other one to be a little bit more rigid with straight lines. Here I am doing the curvy one and using the two colors to make the purple as I didn't have that one in stock. Also I'll need to use the yellow over the red to turn that one into the orange. Just adding another curve here. I am making up a little bit as I'm going along, neatening some of the edges up and adding extra detail. I keep using this word intuitively, don't I? But I am just going along with how I feel the pattern wants to be really. As always, it's playtime for me and this is fun. I always consider this to be, yes, something that I just loved to do, to relax, to turn my mind off. Just go with the flow with it to see where patterns want to come out. I always like to see what's going to reveal itself if I just let it be. I try not to dictate it too much or direct it too much. What lovely little pattern wants to come out and be revealed. I'm just making some of these marks a bit more distinctive again by doing another layer over them. I don't want to add too much pattern to any of this actually, because the colors are so highly contrasting that they speak for themselves in a way. I want to keep the patterns to a minimum and let the colors be the stars of the show in these two pieces here. This is the thing with doing a square tetradic, that the colors are so opposite each other. They really are very high contrast. You don't really need a great deal of pattern with these. It's amazing actually how the composition starts to build up. Then as soon as you add the yellow, it really pops. It just takes it, again, to a different level. I do like this color combination of the greeny-blue, the orangey-red, and the yellow. In all honesty, I would prefer it not to have the purple, but I did need to do you an example of what it would look like to see the four colors together. But as I look at that now even with the white, I do prefer it to then adding this purple. The square tetradic is not my favorite color combination. I prefer the double complementary because it's more harmonious. This bright scheme is used for lots of different designs, particularly in children's products. It's playful, it's fun, and it's very cheery. Here's where I like to look over what's happened so far. Is there anything that needs highlighting or adding to? Certainly this needs a little bit of pattern on it. As the blocks of color are predominantly vertical, I want to put some horizontal lines in to act as a contrast with it. Let's add my dots because they always add a little bit of contrast as well. A final look to see what else might need adding. A little bit of white here and there. I think the orange on the other one could do with some white circles just to lift it a fraction. I think the patterns now are more or less ready and complete. Well, for all that, the square tetradic is not my most favorite color combination, these are quite fun and I could actually see them as a funky, rugged design. Even though I did end up adding quite a bit of pattern to it, it's still the colors that speak for themselves. In the next session, we're going to be gathering all our gorgeous samples and putting them all together. I'll see you there. 10. Putting it all together : In this session, we'll be gathering all our lovely samples that we have done throughout the class and putting them together to create the beginnings of our resource book. There's no right or wrong way to put things into your sketchbook. With the single monochromatic colors, what I've done here is I've just used Blu Tack to tack them in gently into the sketchbook. The reason I've done this is because it's quite useful to be able to take them out and try different color combinations together just to see whether you want to play with those colors or not. You might decide, for example, that you want to have green in there or you might decide that you don't want green and you actually want to use the peach color. It's a very useful way to be able to have a quick reference guide as to what colors you might want to play with. I quite like this method. Another way of doing it, of course, is to just stick them straight into the sketchbook with glue. I use a dry glue stick because unlike PVA, this doesn't bleed into the paper itself and cause any distortion with the color. As you can see, I'm going from the middle to the outside a bit like you would, if you were doing wallpapering, putting wallpaper on a wall. Stick it down, gently do it with your hands and then give it a quick once-over with a bit of paper towel. If like me, you've ended up with quite a lot of monochromatic circle samples, it's quite nice just to give them their own little resource book because it shows what different colors and patterns that you've been doing. It's a bit like having a color chart in book form and as you build up your stock of pro markers, you can just keep adding the colors as you go along. I like to do a background of one color without any pattern or contrast on it and then use the circle sample over the top to show the difference. Use the same method for gluing and sticking your rectangles into your sketchbook. You don't need a great deal of glue. Again, from the inside going out because this stops you from getting air bubbles in it. As soon as you've got enough glue on, flip it over. Do the same again with your paper towel, give it a quick wipe over. What I've noticed is it just helps to stop the glue from spreading around the edge in a way that's better than trying to do it with your hands. It doesn't matter how you display them in your book, it's entirely your choice. Isn't that wonderful that we always have choice? Because I've got lots of samples, I've also done another little sample book for my split complimentary. In fact, I have sample books for all the different color combinations. If you have plenty of samples, feel free to do the same. Here you can see my large resource book and my smaller ones. Do join me in the last session where we do a recap on everything that we've learned in this class and a quick peek at what we're going to be doing in part 2. I'll see you there. 11. Well done: [MUSIC] Thank you for joining me in this class. I hope you've enjoyed it as much as I have. Let's have a quick look at what we've learned throughout the last few sessions. We've gone from applying a single flat color to learning how to add contrast using the different nib options on your ink markers. Then we created lots more visual interests by adding further details with your acrylic pens and your fine liner. [MUSIC] As we've worked through the different exercises using the color wheel, and the color charts as a guide, we've practiced how to put together different color combinations using two, three, and then four colors. We've then gathered all our lovely samples together and looked at how to display them in the resource book and even looked at further options for creating mini resource books. In Part 2, we'll be taking pattern-making to a whole new level, going much larger and much more complex. We'll look at the process of how we start off with something like this and how we get to this. [MUSIC] We'll take a look at how we take the larger pieces and break them down into small individual designs without spoiling the original one and how to add even more hand-drawn details. Do you feel more confident now about how to play with color successfully? I hope so. Please share your work with me on the project gallery because I'd love to see it and I will respond to you as soon as I possibly can. If you'd like to join me in Part 2, then click the button at the top that says "Follow" or you could sign up from a website to get my newsletter, and both of those things will help you to find out when the class is available. You can find my website details at the bottom of the class description page. In the meantime, everyone, take care. Hope to see you again. [MUSIC]