Color Confidence: Learn to Mix Watercolor and Discover Your Creative Voice | Anne Butera | Skillshare
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Color Confidence: Learn to Mix Watercolor and Discover Your Creative Voice

teacher avatar Anne Butera, Artist. Instigating creativity and joy.

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

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.

      Intro

      2:33

    • 2.

      Gather Your Materials

      8:58

    • 3.

      Discover Your Personal Color Palette

      6:15

    • 4.

      Some Basic Color Theory

      6:03

    • 5.

      Swatch Your Paint

      8:35

    • 6.

      Observe Color in the World

      3:59

    • 7.

      Mixing Two Primaries

      9:35

    • 8.

      Mixing Three Primaries

      10:28

    • 9.

      Mix All Your Colors

      3:54

    • 10.

      Explore Interesting Mixes

      7:43

    • 11.

      Mix Matching Colors

      11:29

    • 12.

      Your Color Practice & Class Project

      6:09

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About This Class

In this class you will learn how to mix watercolors to create many beautiful colors from just a few. You will develop your painting skills and build a greater understanding of color.

You'll learn basic color theory but instead of focusing on rules, I'll help guide you to explore with curious observation. You'll become more aware color in your life and the world around you and strengthen your understanding of your own, personal color instincts so you can develop your artistic voice.

Throughout the lessons I encourage you to trust yourself and trust the process while I demonstrate simple exercises to help you build skills and confidence. The exercises are meditative and help you to slow down and be mindful.

Observation is one of the most important skills an artist can cultivate. In order to MIX color, you need to SEE color and that's why being curious and paying attention to your paint and to the world around you is stressed throughout the class.

After swatching paint and experimenting with mixing colors, I demonstrate how I go about mixing paint to match a botanical subject. This process is one that you can use when looking at any subject to mix matching colors.

This class will set you up for a life-long practice of curious color exploration.

Materials

You do not need to use the same exact materials or colors I use in class. Use what you have so you can truly get to know YOUR materials.

What you'll need:

  • Watercolor paint
  • Watercolor paper
  • Sketchbook (optional)
  • Brush for watercolor -- a round, size 10 brush works well
  • Container for water
  • Paper towel or microfiber cloth for blotting and cleaning your brush

A journal, pen, pencil, camera and magazines (for cutting images) are optional, but can be helpful when you're exploring your personal color palette and developing your creative practice. Journaling is a wonderful way to help develop your artistic voice.

Meet Your Teacher

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Anne Butera

Artist. Instigating creativity and joy.

Top Teacher

I'm a full-time artist, art educator and writer, but for a long time I believed I wasn't good at art and could never be an artist.

The beginning of my story might sound similar to yours. When I was a child I loved to make things, but as I grew up I "learned" I wasn't good at art and stopped making it.

But that wasn't the end of my story.

I love teaching on Skillshare because through my classes I can help YOU reclaim YOUR creativity. I know what it's like to yearn to make art but not know where to start.

Are you ready to begin rewriting your story?

Read My Blog

Get My Free Sketchbook Guide

See full profile

Level: Beginner

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Transcripts

1. Intro: When I was first teaching myself to paint with watercolor, I had beautiful images in my head of what I wanted my paintings to be. What happened on the page was so disappointing. Looking back at those early paintings, I can see now that one of the reasons they didn't look how I wanted them to was my awkward use of color. Color mixing can be baffling for beginners. Does mixing just the right color for your watercolor paintings frustrate you too. Are you overwhelmed by color choices or confused by why you're red and blue? Don't create a beautiful purple, then the class is for you. Hi, I'm Anne Butera. I'm so glad I didn't give up my creativity 13 years ago when I was stumbling with watercolor. Because today I'm a professional artist creating paintings that do look like what's in my head color brings me so much joy in my garden and in my art practice. I love sharing that joy with you and encouraging other stumbling beginners to keep going because you never know where you'll end up in this class. I'll help you to better understand color and how to use it in your own creative practice. I'll share exercises designed to develop your skills with watercolor and make mixing it less baffling. In order to mix color, we need to see color. And throughout this class, I'll help you do that. Each of us has our own innate sense of color. And I'll help you uncover it through these lessons too. This class isn't about following rules or replicating color recipes, because I don't think that's how we learn and develop creatively. Instead, I'll encourage you to be aware of color and to explore it with curiosity and with joy. By the end of class, I hope you'll have fallen in love with watercolor and begun a life long journey of curious, color exploration. If that sounds good to you, let's get started. 2. Gather Your Materials: I love art supplies and experimenting with new to me materials. Watercolor is, however, my passion. One of the great things about watercolor is that you don't need many materials to get started. If you already have watercolor supplies, don't feel as if you need to go out and buy anything new for class. Just gather up your materials and you're ready to go. I do get a lot of questions about the materials I use. I wanted to start off by sharing them here. If you're new to watercolor, this will also give you an idea of what you need. Again, don't feel as if you need to use the same exact supplies that I use in class. But there are a few materials you'll definitely need. First, you'll need some paint. I love watercolor and get carried away trying new to me colors and brands. Earlier this year, I re organized my paint and arranged it by color instead of by brand. Giving each color family its own palette. Tin. I love working this way, but unless you have a large collection, keeping all of your paints together in one tin works fine. I highly recommend using the highest quality paint you can afford. I use professional or artist grade water colors and prefer using paint that comes in pans. This is a personal preference. If you like paint that comes in tubes, great use that. There is no perfect brand of paint. Higher quality paint is easier to work with because it is more saturated. There's more pigment and less filler. You'll need less paint to achieve deeper colors. But this also depends on the pigment which you'll see later in class. The watercolor brands I use are Arka, St. Petersburg, Daniel Smith, Sennelier, Windsor, and Newton Schmincke, Horodem. Holbein use what you can afford and you'll discover your own preferences over time. Purchasing a set of paint is a great way to start. But I've found that sets often include colors I don't need. If you want to put together your own set, I'd recommend choosing a warm red and a cool red. Warm reds include any of the cadmium and anything with scarlet or vermilion in their name. Cool reds include Matter, lake, carmine, las, and crimson. And any of the quinacridones. You'll also want a warm and cool yellow. Cadmium medium, or deep. Hansa yellow, or Indian yellow are some of the warm yellows. Any yellow with lemon will be a cool yellow. I also recommend including a warm and cool blue in your collection. But these distinctions are controversial among artists. We can't seem to agree which blues are truly cool and which are warm. I'll talk more about how I tell the difference when we talk about color theory. You'll be able to mix many colors with just two versions of each primary. But it's also nice to include a few other colors in your palette. I paint a lot of pink and purple flowers. Many purples mixed from your primaries aren't as vibrant as colors mixed with a purple pigment. You can't mix a beautiful pink with just your primaries colors like dioxazine purple violet, Opera rose, Quinacridone magenta, or cobalt violet will allow you to mix lots of beautiful colors. I also like having orange in my collection. Colors like red, orange, or cadmium orange are lovely. Because I'm a botanical artist, I use a lot of green and often dislike the greens included in sets. Although you can mix beautiful greens yourself, I like having greens in my palette and would recommend any sap or olive green. But play an experiment for yourself. One note about the different brands in different colors as you can see here, Although these are all called Sap Green, they are not identical. That's true for other colors of paint to just because they have the same name with different brands doesn't mean they will be the exact same color. Black and white aren't necessary, but they do make a nice addition to your palette for other types of paint. White is used to mix lighter versions of your color. But with water color, all you need is more water, also with water color. When you need something to be white, your paper is the white. I think white is a beautiful way to make your mixes more opaque and to give them a milky quality. I like to use it when painting fuzzy or gray green leaves. You can mix your own black, but I find it takes a lot of paint. Rarely use black in my mixes. But I like using a tiny bit of black paint when I need very dark details in a piece. In this class, I'm not going to be using my full collection of paint. Instead, I've put together two smaller palettes and other tins. I've added magnets to all of my paint pans, which makes them easy to use in repurpose tins like this neocolor container. Here, I've tried to replicate a set of paint you might buy in class. I also use a set of just three paints, which I put in a tin. If you are putting together your own palette, you can slowly build up your collection and repurpose whatever containers you have on hand. You'll also need some paper. You can use any paper you have or like. For this class, I'm using lots of small scraps of various brands, all 140 pound. Some of the paper is Canson Excel. Cold press watercolor paper. It has a smoother surface than some other cold press paper. I'd say it's moderate quality and fairly inexpensive. I'm also using a more expensive Anson Heritage cold press paper, which has a lot more texture. I've used all of the paper in my block, so I can't show it to you. But here is a small scrap of the same paper. I'm also using two sketchbooks. One is this Anson Excel Watercolor sketch book, which has the same paper I just mentioned only in a spiral bound book. I'm also using this handbook journal with watercolor paper. This paper is 90 pound cold press. You could also glue or tape other papers into your sketch books, no matter what type of sketchbook they are. Again, use what you have. Watercolor paper works best with watercolor and there's great variation between different papers. Every brand is slightly different in terms of texture and color and how the paint either absorbs or sits on the page. Which paper you like best is very personal. In addition to paint and paper, you'll also need a container for water. I'm using a jam jar, you'll need a brush. I'm using this Grumbacher golden edge size ten round brush. I like to use it for mixing because it's nice and sturdy and holds a lot of paint and water. Any sturdy round watercolor brush will work well. Use what you have and what you like using. You'll also want something to blot and clean your brush on. For years I used paper towels and re, used the same small pieces over and over, but I've also started using microfiber cloths and I love them. Finally, you'll need a palette. In class, I use this cute ceramic flower palette. It's great because it has six outer wells and you can use it to create your own color wheel right there in the palette. Favorite palettes though, are these plastic 20 well mixing palettes. They have plenty of space for mixing lots of colors. They're also easy to find at craft or art supply stores and also on line from art suppliers and even Amazon. In the next lesson, we're going to be doing something fun and different by investigating our own personal color palette. I'll see you there. 3. Discover Your Personal Color Palette: Everyone has their own color preferences and a unique and instinctual grasp of color. Yet I've talked to so many people who doubt their ability to work with color and lack the confidence to explore on their own. That's really why I'm teaching this class. In this lesson, I want you to begin thinking about your own relationship with color. You can begin breaking down any barriers to your natural color ability. Kap Facet is well known for his fearless use of color. In his book, Kap Facet in the Studio, he writes, obsessed as I am by colors power. I often call my house a color lab, yet I'd never label myself a color expert. Color is such a gigantic enigma, changing and revealing different possibilities each time one concentrates on it for more than a moment. The average person, particularly in Western cultures, seems to rank color quite low on their list of significant priorities. Which accounts for the predominance of grays and beiges in fashion and neutral preferences in interiors. If you don't know much about him, I'd highly recommend K Fascists autobiography, dreaming and color. His life and art is fascinating and so inspiring. Paging through his books is sure to give you a boost and get your color curiosity flowing. I think some of our nervousness about color and using color comes from ideas about rules around color. Justina Blakeney is another inspiring artist with a strong sense of color. She shares a story in her book, Jungle. She was six years old and her cousin criticized her for making a color mistake and wearing red and pink together. Her cousin told her that they clashed for years afterwards. She never combined those two colors. Color associations can be cultural, seasonal, personal, maybe you've internalized those sort of rules too. Or maybe the proliferation of color advice in decorating magazines and fashion magazines makes us hesitant to follow our own color instincts. Then there's the fact that so many colors are associated with well known brands. It's a lot of influence you probably aren't even aware of. Let's start paying attention. If you're in a hardware store looking at paint chips, which colors are you immediately drawn to next time you are? Collect a handful of colors without overthinking. If you're in a craft store shopping for a project, or just wandering around getting inspiration, which colors do you choose? Are you continually drawn to the same colors? Are there certain colors you never think of? Maybe you have a collection of yarn, or fabric, or other materials. Be curious about your choices. Be curious about what colors you have in your home too. What colors do you decorate with? Are they bright, muted, warm, cool? Do you have a strict color palette or do you surround yourself with many colors? It might be helpful to think about why you've chosen to bring certain colors into your home too. Do you change the color scheme of your home frequently, or have you lived with the same palette for years? I also want you to think about how the colors you surround yourself with make you feel. Do certain colors have specific associations for you? Is this something you've thought about before? If you're a gardener or love flowers, look at the flowers you've chosen for your garden or to bring into your home. What colors do you choose? How do those colors and those color combinations make you feel? These color feelings are part of your artistic voice if you're already making art. Another way to investigate your relationship with color is to look at the colors you use. Think about why you've chosen certain color palettes. Pay attention to the colors you don't use. To looking at your arts plies can give you more clues. Which colors do you pick up again and again? The shortest pencils and the emptiest pans of paint tell you which are the most used in your collection. As with everything, I don't think there are any right or wrong answers to questions about color. More than anything, I want you to be curious and aware. You might want to spend some time writing in your journal about your feelings around color, relationship with color, your history with color, why you like certain colors, why you dislike certain colors. Explore your thoughts and feelings. If journaling isn't your thing or if you want to do something else around your color palette, play in your sketchbook, collecting up any colors that speak to you. You can do this with art supplies. You can do this with paint chips from the hardware store. You can do this with photographs that you've taken or images you've cut from magazines. Have fun with this and make it your own. Now, I've already said that rules around color can be stifling. Yet in the next lesson, we're going to talk a little bit about rules or just about color theory. It was something that I avoided in my own art practice for a long time because I thought it was a bit obvious. Because I thought it was boring. In part because I just don't like rules. In the next lesson, I hope to dispel that thinking. 4. Some Basic Color Theory: When I was first teaching myself to paint with watercolor. I read a lot of books on it. Skillshare didn't exist back then and I didn't know of any online tutorials. If there were videos on Youtube, I certainly didn't find them as a lifelong book nerd. I turned to books, I didn't find anything that was quite what I was looking for. Most of the books began the same way, talking about color and color theory. I always skipped over that part because I wanted to get to the good stuff. I wanted to get to the painting. I think that if I had immersed myself in color from the beginning, I would have developed my skills so much faster and easier. My color mixing skills developed naturally over time. I trust my instinct when I'm working with color. I don't regret my organic approach, but I do want to share some things that may be helpful on your creative journey. I think most of us know that the primary colors are red, yellow, and blue. These colors aren't created by mixing other colors. Secondary colors are mixes of two primaries, red and yellow, mixed together make orange, yellow and blue, make green, red and blue make violet. Tertiary colors are the in between colors. Red, orange, yellow, orange, yellow, green, blue, green, blue, violet, red, violet, neutrals, grays and browns aren't on the color wheel. But to me, there are some of the most exciting colors to mix. To create gray or brown, you need all three primaries. But the truth is a lot less clear cut than this. Have you ever mixed two primaries and been disappointed with the color you've created? If we look at my color wheels, you can see that some of the secondary and tertiary colors aren't beautiful versions of those colors. Why not? The short answer is that most red, yellow, and blue paint is not considered pure color. Each of the colors you have in your palette probably leans toward warm or cool. Generally, we think of warm colors as red, orange, yellow. The cool colors as blue, green, and may be violet. But there are cool versions of red, orange, and yellow, warm versions of blue, green, and violet. Let's take a look. A cool red is one that leans to blue direction on the color wheel. If you think about it as mixing a bit of blue with red, your red will lean toward violet. If you look at a red and leaning towards violet, it's a cooler version of the color. If it's leaning in the opposite direction on the color wheel or toward orange, then it's a warmer version. A cool yellow is one that leans toward the blue direction of the color wheel as well. For a cool yellow, you can think of it as leaning toward green. Then there's blue, which is a bit more controversial. Artists can't seem to agree whether a certain blue is cool or warm. And it's no wonder because if your blue leans toward green, it means it's leaning toward yellow. Yellow is a warm color. If your blue leans toward violet, it means it's leaning toward red, which also is warm. Trust what the manufacturer says about the color and also trust your eye. Where this plays out is in the color mixing. A warm primary mixed with another warm primary will give you a warm secondary. Cool primaries mixed with cool primaries will give you cool secondaries. Mixing a warm primary with a cool primary may give you a grayer or browner secondary because it's almost as if you're mixing a bit of the third primary into your color. Don't worry if this all feels a bit confusing or overwhelming. You don't have to wrap your head around it, All right? Now, mostly I want you to be curious about color. I want you to have a little bit of knowledge that will help you when you go about mixing your colors. You can understand why things work the way they do, why things are sometimes surprising. If you want to dig deeper into color theory, I have some suggestions that I'll share later. For now, one thing I want you to think about is whether a color leans more towards warm, more towards cool. As I have already said, sometimes it's not obvious. But just be curious and be open and observe. In the next lesson, we're going to be swatching our colors. I want you to pay close attention to them. And I want you to think about whether or not a certain color you're using is cool or warm. I'll see you there. 5. Swatch Your Paint: Swatching your paint is a simple, low pressure way to begin painting. If you're new to watercolor, it's wonderful practice. It's an exercise you can't mess up. You'll also learn some valuable skills when you swatch your materials. Even if you're a more experienced painter, swatching your paint is a perfect warm up for your creativity. First, you will really get to know your colors, how they look on paper, and how they react on the page. It'll give you practice creating washes and graduated washes. It lets you see the immense variation possible with just one color of paint by simply diluting it with water. If you create swatches on different types of paper, in and outside of Sketchbooks, you'll begin to learn the papers differences too. Let's get started. It's important to know what the color is. On the backs of my Swatch papers, I'm writing the name, the name of the color, and the name of the brand. If you do not have more than one brand, it's not that important to write what brand it is. To make my Swatch, I wet my brush and then rub it against my pan of watercolor paint to pick up some color. Next, I gently brush it across my scrap of paper, moving it back and forth to cover the surface. Then I dab my brush in the water, both to wet it and to dilute whatever paint is left and go back to finish filling the space. I'm trying to get the best gradient I can. If the darker side doesn't seem dark enough, I can add a little bit more paint so that I get a full gradient. I'm going to do this with each of my colors. That way I have a record, not just of the color, but how it looks, both light and dark. This is often called a graduated wash, although this is great practice for creating these washes. Don't worry about them being perfect. Just move your brush gently across the paper. If you need more water or more paint, go ahead and pick that up with your brush. And you want to try and get as much difference between the dark and the light as you can. This is a cold press watercolor paper. Use whatever paper you have. It doesn't matter what type of paper you use, the type of paper you use, the way the paint reacts with it will determine how your swash looks, whether you have blooms in your paint, how well it absorbs into the paper. All of that is determined both by the paint and the type of paper. Pay attention to whether your paint is more transparent or more opaque if the paint covers the page, well, if the pigments granulate out, all of those are important things to observe. One of the wonderful things about this exercise, these little scraps of paper that I'm using are 2 " by 2.5 ". But again, do whatever works for you if you want bigger pieces, if you want smaller pieces, if you want to work in your sketchbook. One thing that's important to observe while you're swatching is how well the color transfers to the paper. And some paints are very good at this and some are not using Tara Vert from Windsor Newton. It is very hard for me to get a dark color. Sometimes if you're using lower quality paints, you'll be struggling like this all the time. This is a very high quality paint, but the pigment is just not very strong. Again, this exercise will help you get to know your paint and you'll get to know which paints are strong, which pigments are less strong. And that's going to really come into play when you're mixing your colors later, Swatching your paint is the perfect time to get to know it, and you do that by observing it. By contrast, this color is much darker and much easier to get a dark version. And it's a wonderful thing to know about your paints. Pay attention and observe, but also remember to have fun with the process. I just love seeing all these swatches. They make me so happy. Now, as I said, you do not need to create your swatches on scraps of paper. You could do this in your sketchbook. You also don't need to do a large swatch going from light to dark. You can do multiple swatches and let each one get less and less saturated. I'm just going across the page and adding a little bit more water to my brush each time to make a lighter version. Now that one was going a little bit too fast from dark to light, I added back in a little bit more paint, which is something that you can do. Again, this doesn't need to be perfect. It's really just a record for you. You can see the variations in color, your sketchbook or your small swatches on separate paper, all of that is your record. But the process of creating that record, the process of creating your swatches is where you learn and that's where you're going to be observing and paying attention to how the paint acts. And I think that is really the fun part. It really doesn't matter how things look on the page. What matters is the experience, which is so valuable and also so joyful. Some things to think about while you are making your swatches. How strong is the color? Do you need a lot of paint for a deeper version? Or is it dark without much effort? How difficult or easy is it to lighten? How well does the paint spread on the page? Does the pigment seem more opaque or is it more transparent? Does the pigment granulate? Or is the color even? Is the color more warm or more cool? How does the darker version compare to the lighter version? How does the wet color compare to the dry color? Pay attention, observe, and see what you see. And don't forget to enjoy the process. Your swatches don't need to look anything like mine. There are no rules and no limits to your creativity. Use different papers, different sketch, different shapes and sizes of swatches. Let your curiosity and your joy be your guides. Once you get more comfortable with your materials, you can begin to be more creative with your swatches. Your curiosity will take you in interesting directions. Think about what you most want to capture about a certain color. Imagine what type of Swatch will help you do that. Water color is magical. I'm constantly amazed by how different the same paint can look when it's fully saturated than it looks when it's completely diluted. Just playing with paint in this very simple way never fails to bring me joy, energize me, and inspire me. I hope you feel that way too. Be sure to share your observations from your swatching exercise, either in the class discussion or in your class project. I'd love to talk about color with you. If you have questions, be sure to ask them or answer them if you see one from your peers. In the next lesson, we're going to continue our curious exploration of color. But this time we're going to go out to my garden. I'll see you there. 6. Observe Color in the World: For this lesson, I want to take you on a color curiosity walk through my garden. My garden is the main source of inspiration for my art. Mixing colors to match my flowers is one of my greatest joys. Sometimes when I look at flowers, even when I'm not planning on painting them, I like to think about the colors I see. Often one color will blend into another. I'll see many colors in a single plant or flower. Unless you're paying attention to this, you might not even notice the blending and gradation of color. You'll think of a flower as pink, or orange, or red, but if you look at that same flower with curiosity, you'll begin to wonder which red you're seeing or which pink. Is it cool or warm? Or maybe you see some of both warm and cool. Is the orange you see light or dark, pale or saturated. Once you begin paying attention, you'll begin to see that no flower or plant is a single flat color. You'll see variations of light and dark, warm and cool. You'll see one color flow into another. You'll see patterns and textures. The closer you look, more subtleties you'll notice. I often say that one of the most important skills for an artist is their ability to observe. This is certainly true when it comes to color. If you've already swatched your paints, you may even want to think about the colors you just swatched. Are the colors you're seeing similar cheer paint colors. If they are, how are they similar? If they're not, how are they different? Imagine the gradation of paint from light to dark. Do you see gradation in plants and flowers too? Spending time, simply observing what's in front of you, asking questions, being curious, will truly help you develop your skills with color. Before you can mix color, you need to see color. As a botanical watercolor painter, I'm endlessly excited by color. I'm curious about the colors I see in my garden and nature and I can't help but spend time exploring and observing. This is how I've developed my artistic voice. I want you to be excited by color too. One fun way to practice color observation is to gather as many colors as you can. Do this by cutting your own flowers or taking photographs. Finding images in magazines. You don't need to use flowers for this. Either choose something you especially love or that you find interesting. Another fun project is to create a color wheel with the flowers or images you have gathered. Start with the primaries. Can you find red, yellow, and blue? What about the secondaries, orange, green, and violet? My guess is that you'll also be able to easily include those in between tertiary colors. And probably plenty of colors that don't quite fit any of those labels. If flowers aren't your thing, gather objects from your home or anything colorful that catches your eye. I hope you have as much fun with this as I did. If you do end up making a color wheel out of found colors, please share it in your class project. I can't wait to see what you come up with. The next lesson, we're finally going to begin mixing some colors. I'll see you there. 7. Mixing Two Primaries: With all these colors and thoughts about colors floating around in your head, we're going to finally begin mixing color. Instead of trying to mix a specific color, we're going to be mixing color with a curiosity and the question, what if we'll start with two primaries? My aim is to create as many variations as possible. I hope you're feeling more confident and ready to tune into your observation. In this lesson, you'll get to know your materials and how they work together. You'll learn to create a full range of darks to lights with just one color. You'll learn how to slowly change a color by adding another a little at a time. You'll learn how different primaries combine to form many different colors. Sometimes those colors will be surprising. You'll learn to be curious about color and learn from your observations. A couple other things that are great about this exercise is that by mixing the colors like this, you'll slow down and work in a mindful way. You will also discover the joy of color. I hope you will be open to those, as well as the other skills you will learn. I've chosen a yellow, red, and blue from my collection of paint for this exercise, and put the pans into a small tin to keep things simple. All three are Daniel Smith, Hansa medium is a warm yellow. Pyl scarlet is a rich, warm red. Fallow blue is a beautiful deep blue that looks a bit warm to my eye. I want to start out by swatching each of these colors dark to light, just so I can see the full range of colors from each paint. Now I'm going to add some paint to my mixing palette. I wet my brush and pull up some paint from the pan, Rubbing my brush again and again on the paint, then I transfer the paint to my palette. I want to go slowly with my color mixes, and I know that yellow can easily be overwhelmed by other colors. I dab only a tiny bit of red with my brush and mix it in. Now I grab a bit more red and add it to my mix and swatch this next color. If I need to add more, I can. And if I need to go back and add more yellow, I can do that too. You can see I'm very slowly changing the color of my mix from yellow to orange. I'm very careful to clean my brush each time. My aim is to create as many variations as possible. The first colors I've mixed and watched are still a variation of a warm yellow. The more red I add, the more the color shifts toward orange. Between yellow and orange. And then between orange and red, we have many different colors, all mixed with just two of these paints. For each of these colors, there's a huge range from light to dark We can achieve by adding more or less water. Now, none of that you can see on this page, but if you wanted to take things further, you could easily do so. Do you see now why I consider water color to be so magical? Now I'm ready for the next color. I've added a pool of red paint to my palette, and I will begin very slowly adding blue, just a tiny dab. At first, this red is a very warm color, leaning toward orange. As I add the blue, the color is shifting to a beautiful, rusty color. Then we get some gorgeous browns and grays, and finally, deep navy. Oh, so beautiful and interesting. But you'll see none of these look like violet to me. Let's see what happens with our yellow and blue again, I want to start slowly, which is hard with yellow because it's so easily overwhelmed by darker colors. But remember, you can always go back and add more of the yellow if you think your mix has gone too quickly, even adding back in the yellow. This first mix is a little more green than I would have wanted, but that's okay. I'm just going to go with it. Remember that this does not have to be perfect. The point is to explore and be curious about color and of course, to enjoy the process. I just love seeing all those colors. It always makes me so joyful. Our color turns from yellow, green to green, to some gorgeous teal colors, to a deep rich blue. I want to show you another example with three more primaries, This time in a sketch book. I've chosen Quinacridone red from Snellie, pure yellow from Smink Rode. Cobalt blue also from Snellie Quinacridone red is a cooler looking red than the scarlet. The pure yellow is supposed to be in the middle between warm and cool. We'll see how it reacts. I've heard some people say that cobalt is also supposed to be a pure color. This time, I've just painted a single swatch of each primary. I've added three pools of color to the mixing palette. I'm going to start by mixing red and yellow. This time adding the yellow to the red. Again, I want my mixes to progress very slowly, so I'm only adding a little bit of color at a time. This is a wonderful practice for mindfulness and slowing down the color mix progresses from mostly red to end mostly yellow. In the next line I'll mix blue slowly into yellow. I'm working right to left and this one, but it doesn't really matter which direction you go or if you even go in straight lines. And it doesn't matter what shape you use for your swatches. Choose whatever brings you joy. Remember that what matters is the process. This exercise is about being curious and paying attention, observing what happens when you mix one color with another. I'm running out of paint, so I'll add some more yellow to my palette before I begin mixing in more blue. Don't panic if you run out of paint when you're creating a mix. I get that question a lot from beginning artists. If you know what colors you used for your mix, you can easily mix more with a bit of patience. If your first attempt isn't quite right, try again. These grains look a bit muted to me. As the color shifts towards blue, it looks a bit gray. What do you think that tells us about the temperature of these colors? In this next row, I'm mixing red into blue. And I need more of both red and blue on my palette. In the same way that I mixed my other colors, I want to slowly add more and more red to my blue. I'll be moving the color from mostly blue to mostly red. If I need more of any color, I can always add more onto my palette. One thing I'm noticing about these three primaries is that they seem to be a lot less saturated than the first three I used for my mixing. This observation is so helpful when you're getting to know your paints. The type of paper that you use will also affect how your swatches look. This sketchbook paper is not as high quality as the other paper that I was using. It's also important to note that this is the backside of this paper and the swatches will look different as well. You can experiment with mixing each of your primaries with each of your other primaries and see what happens. Be sure to ask yourself questions about the colors, the colors more warm or cool. What happens when you mix a warm and cool together? What happens when you mix two warms or two cools? Are the colors that you mix, what you expected to mix. These are all wonderful ways to remain curious and to observe the color mixing process. You will learn so much by just mixing two primaries, but in the next lesson, we're going to dig deeper and mix all three. I can't wait to show you what happens. 8. Mixing Three Primaries: For this exercise, I'm going to continue working with the primaries I mixed in the last lesson. This time by mixing all three colors together. I've said before that I find the neutrals to be the most exciting. In this lesson, you'll discover why I'm just going to continue on the same paper I started in my mixes in the last lesson. Then this will be a reference for all three of these colors and the many variations I can get from just three paints. This is always so exciting to me, You can do this many different ways. But I'm going to start with yellow and slowly mix a bit of both other primaries onto my palette and then swatch them as well. My first color is a yellowy green. The red isn't affecting the color too much yet, but it does feel like a very warm color to me. Adding a bit more red makes a mustardy color. This is where the color mixing begins to get so exciting. I love seeing all these variations in color. By mixing the three primaries together, I added blue and it takes our color more towards green. Again, there are so many different ways you can go about mixing the three colors together. But I think we'll continue by adding a bit more red and switching back and forth between additions of red and blue. My aim is to see how many different colors and color variations I can create. If you've never done this before, you might be surprised by what you end up with. What a beautiful green that is. One of the things I've learned by playing with colors like this is that I can create more interesting secondary colors. Oranges, greens, and violets. By adding a bit of the other primary. If you want to think about this in technical terms, it's adding the colors complement or the opposite color from the color wheel. The greens I'm getting with all three colors are much more interesting and natural looking to my eye, at least, than the greens I got when I mixed just the yellow and the blue. Eventually, as your mixes have more of each of the primary colors, they will move toward browns and grays. When the colors you use are those neutrals. Those browns and grays will be warmer. When the colors you use are cooler, the neutrals will be cooler as well. What beautiful colors I'm seeing here. I want this process to be as slow as possible because in addition to neutrals are grays and browns. And our secondary colors, I can also mix interesting versions of reds, yellows and blues, which are really in between or tertiary colors. But I don't want you to get hung up on technical terms. It really isn't necessary. Yes, color theory can be helpful in a basic way. But what I think is even more important, observing how your colors work. Don't just follow some rules. Instead, observe, see how your colors play together, what your colors look like on the page. The more you experiment and play and are curious about your own paints, the more you'll get to know them. You'll develop some favorite paints and favorite color mixes along the way. You don't have to think about rules. Instead, think about what you see. Be open and curious. That's really what these exercises are all about. Yes, I'm mixing my colors in a slow and methodical way, but I'm doing so because the question I'm asking is, I wonder what would happen if I mix this with that? What would happen if I add a little bit of that? Ask those questions about your own materials. Play, experiment, observe, be curious, also enjoy the wide range of colors you can create, witness the magic of this beautiful medium, the joy of color in all its variety. With this row, I started off adding a bit of yellow and red, and then more yellow, and then a bit of blue and a bit more yellow, and then red and more red. Once you have all three colors in your mix and you've explored in one direction, take your mixes in another direction. This is the exciting part of the process. This is the fun part of your experimentation. My greens changed to browns. Then with more red, these colors begin to shift toward rusty oranges as I move my color forward with red. In your own experiments, I want you to follow your curiosity and shift back and forth between colors in whichever way feels right to you. There's no wrong way to do this exercise. Let me remind you again, you can do it with any brands of paint and any specific colors you have, and any papers. Anything that you're curious about. Letting go of rules can be hard for beginners. But trust yourself. Trust your curiosity and trust your creativity. Trust this process. Those oranges are so much richer and deeper and more interesting than the initial oranges I mixed when I was just using the red and the yellow. By following my curiosity and mixing colors just to see what happens, I come up with color mixes. I would never have discovered in any other way something else that can be fun and very helpful when you find a color that you absolutely love to make a larger swatch of it so you can see the variations of light and dark of that mix. Be sure to also record which colors you use to create your mix so you can mix it. Again, any of these colors could be so interesting in a gradient swatch like this, where you can see the lights and darks. Oh, this color is so beautiful from here. There are so many different ways I can go with these mixes. I just need to choose a color and keep going. I still have lots more mixes I can create. This exercise can be a bit of a meditation too. When I'm doing this, I find that I'm slowing down. Because I'm slowing down the process. I'm slowing down myself and I'm slowing down my mind. I'm completely in the moment after I created all of these mixes, I also went back and mixed all three of the other primaries I used earlier in this little sketch book I worked in. The same way as I just showed you, slowly adding more of one or another color, aiming to create as many variations as possible. These three primaries have also created so many beautiful colors. I've been painting for just about 13 years now, and I am still always amazed by how many colors I can create with just three paints after it dried. I noted the names of the paints I used, so I can go back and mix these colors again if I want to. I ended up making two Swatch cards of the mixes I liked, but I wish they had made more. Colors are so gorgeous. Although the colors on both of these pages were created with red, yellow, and blue paint, it's fascinating how different the mixes are. One thing that's interesting to note, and something I've noticed again and again over the years working with lots of different paints, is that cobalt as a pigment tends to granulate. That means that the color doesn't like to stay mixed with other colors. When the paint dries on the page, it creates interesting effects and beautiful textures. Just looking at these swatches makes me want to mix some more colors. Again, I want to remind you that it doesn't matter what paints or papers you use for this exercise or throughout the class, I don't want you to feel as if you have to recreate exactly what I do using the same colors and the same mixes. I want you to develop your own curiosity and be open to the discoveries that you will make along the way. These are the skills that will serve you throughout your creative journey. The next lesson, we're going to take our color mixing even further. I can't wait to show you. 9. Mix All Your Colors: Testing out color mixes is something you can do in so many different ways. I hope that you will play an experiment on your own and follow your curiosity in whichever direction it leads. One way you can get to really know your colors and how they interact with one another is to create a color sheet for each color in your collection, mixing it with every other color you have. You can do this in your sketchbook or on separate pieces of paper. Think of it as your ultimate color mixing reference. I'm going to start by swatching the color by itself from dark to light. I always think this is a valuable exercise to really get to know your paint. A single color of paint can look so different from dark to light. It's truly one of watercolors, superpowers. That's why I keep showing it to you again and again. After you've swatched your color by itself, then fill the rest of your page with swatches of the color mixed with each of the other paints in your collection. This is a huge project, especially if you have a large collection of paint. For these examples, I'm using a small selection of colors chosen to give me a nice range of options for each mix of two colors. I won't be able to create the full spectrum of possible colors simply because I don't have enough room on this paper. But I want to try to mix enough colors to show the shift from one color to another. This is another meditative practice and one that forces me to slow down. I'm making a point not just to record what colors I'm using and the resulting mixes when I combine them, But also to pay attention to what's happening on the page. I'm constantly asking myself questions like, are the colors easy to mix? Does one quickly overpower another? Are the colors I mix pleasing? Are they warm or cool? What happens when I mix a warm color with a cool one? I'd love to know what other questions you're asking yourself and what other kinds of observations you're making while you're creating your own color mixes. So I hope you'll share them either in the class discussion or in your class project. Although I haven't done this on these pages, it can be helpful to write down notes of any interesting observations you make when you're mixing your colors. You never know what you'll discover along the way. One of the great things about working in this way is that it forces me to mix colors I might not otherwise have thought to mix. It's always interesting to see what happens when I mix, what might be considered weird combinations of paint. Remember, the more time you spend studying your colors and exploring your materials, the easier it will be for you later when you want to mix paint to match a specific color. This project is something you can slowly work on over time. It's a huge project, especially if you have a lot of colors in your collection. I haven't finished mixing all of my colors with all of my other colors. But it's something that I can come back to whenever I need an easy exercise to help boost my creativity. In the next lesson, I want to give you another idea for exploring your colors even more deeply. I'll see you there. 10. Explore Interesting Mixes: For this exercise, we're going to take the techniques we used for mixing our three primaries and use them when mixing three other colors. This is going to help you dig deep into understanding your weird color mixes and it's such a fun practice. On the same page where I mixed each of the colors in my limited palette with Opera rows, I'm going to experiment with mixing three colors together. I started by creating more color mixes of opera rows with sap green. You can choose any colors for these experiments. And I'd suggest looking at your color mixing swatches and choosing paints that create what you see as interesting colors. Trusting yourself when making these choices is part of developing your artistic voice. The combinations of opera rows mixed with sap green seemed interesting to me, as did the mixes of opera rows with Quinacridone Gold. As I've said a few times during this class, I want you to ask yourself, what if, what if I mix these two colors together? What if I mix these three colors together? This is how we learn, how we make learning joyful and fun. I first mixed a range of colors with Opera Rose and sap grain. Then a range of mixes of Opera Rose and Quinacridone Gold. Now I'm mixing all three together. I'm doing this in the same way I mixed my three primaries by adding a bit of one and then a bit of the other color. This, like our other experiments, is another meditative practice. I love watching as the color shifts and becomes more and more interesting. Going slowly like this gives me not only a range of different colors, but it helps me see how the colors and how the paints behave. Choosing seemingly random colors without a specific goal in mind opens me up to making so many discoveries. Again, I want to remind you that it doesn't matter which colors you choose. You can go back and try this with any three colors. Over and over with each experiment, you'll make more discoveries. Along the way, you'll truly develop your color mixing skills and build your confidence in ways you never could imagine. I would never have thought to mix pink, green, and gold. But the colors that they created together are so beautiful. Let's try this with three more colors. Looking at my page of mixes with red orange, I'm intrigued by the combination with cobalt turquoise light. I'm also curious about the mixes with dioxazine purple. Instead of working on the same page as my red orange mixes, I'm doing this exercise on another sheet of watercolor paper. I've started by swatching each color by itself from dark to light. Then after making my initial single color swatches, I'm mixing two of the colors on their own. First the red orange with the cobalt turquoise light. I have more room on this page, so I can create many different versions of these color mixes. And I'll take my time with these experiments as I mentioned before. But is a granulating pigment and it makes such interesting color mixes. Next, I'm mixing the cobalt turquoise light with the dioxazine purple. I'm trying to keep my color mixes together in groups that make sense. I can also write myself notes as reminders. Something else to pay attention to is the fact that the paper I'm using is a higher quality than the other color mixing page. Which may affect the way the paint behaves on the page and how the colors look. Both papers are cold press, but this one has a lot more texture which also comes into play. My last combination of two colors is the red orange with the dioxazine purple. Once I've watched each combination of two colors, I can begin working through the mixes of all three. Again, I'll go slowly with this alternating which colors I add. There's no wrong way to do this. These colors are so intriguing, such beautiful grays. Just as before, I can also make a larger swatch of any color, I think is especially interesting, capturing the lights and darks of the mix in a way I can't do with a smaller swatch. This will help me remember this color combination and it's also just fun to do on this larger Swatch. I'm also already seeing how the cobalt pigment is granulating, creating beautiful variations and textures. Even before it's fully dry, I can add more paint to my palette as I need to and continue to experiment with mixing these three colors. I don't have to alternate one color followed by another in a meticulous way unless I want to. In your own color mixing practice, I hope you'll feel free to play and not feel bound by any rules I've said again and again. There's no wrong way to do this. The most important aspect of these exercises is your playful curiosity. Yes, you're developing skills and building confidence, but I hope you'll also enjoy the process. Have fun, relax, Savor the beauty of color and the magic of water color. This last color is so pretty, I want to paint a larger swatch of it. Oh, what a beautiful color this is. I know I say this again and again, but seeing a color from dark to light is pure magic to me. What's wonderful about all these cards and swatches, and pages and papers is that they'll become a valuable resource for your future art practice. Again, looking at all of these colors makes me wish I'd made even more larger Swatch cards like this. Anytime you need to mix a color, you can come back to your color experiments as reference. The Morse watches you make, the richer your reference. I can't wait to see what colors you create. Be sure to share them in your class project. In the next lesson, I'm going to demonstrate how I mix colors to match a botanical subject. It's one of my very favorite parts of my art practice and one that never fails to bring me joy and calm me. I can't wait to share it with you. 11. Mix Matching Colors: We've been practicing our color observation skills and building our knowledge of our art materials. Learning what happens when we mix one color with another and getting comfortable, experimenting and being curious. Now we're going to put it all together and mix some matching colors. I always start by studying my subject. When studying your subject to match the color, it can be helpful to set it against a white background. Looking carefully at this flower, I see that there's pink, maybe a hint of orange. There's yellow and a green color. Now, if we look at our swatches to pick out some colors, none of them really match the colors. I see. That's why it's so important to mix your own colors. When you're painting something from life like botanical, anytime you need to match a color, it's unlikely what's in your collection of colors will match what you see, even if you have as big a collection of paint as I do. I'm going to start with the pink that's in my paint tin here. This is Opera Rose. And I'll grab a bit of the paint and add it to my mixing palette. Before I do anything else, I'm going to think about this color pink and compare it to the flower. The paint is a very cool looking color to my eye. The flower feels much more warm. I want to add a warm color to my mix. I'm going to start with a little orange. My process is not scientific. Tend to just go with my gut and see what happens. Now, the only way to know how this color is going to look on paper is to do a swatch. Let's swatch it and see how it looks. Ooh, I'm really liking this color. It's not quite right yet, but it's really lovely. One thing to remember now is that this mix on my palette has a lot of water in it. It's going to look a lot lighter than if this paint were to dry on my palette and I were to reactivate it. Usually when I'm working on a painting, I will let all my mixes dry, so I'll have a greater range of color. So I'll be able to paint lights and darks of the same color. Looking at the color, I think I'd like to add a tiny bit of warm red, this pyro scarlet, and see what happens. I think that took us too far towards red, but I'm going to watch the color. Oh, it's another really pretty color, but I don't think we've quite got a match yet. Now, looking at this color, I said that it is too red. I think it's also too warm. I'm going to try pushing it back towards the cooler side by adding a little bit of this lemon yellow. Adding yellow to a mix that was too red will give us an orange color. I know it's not going to be quite right yet. Now, these three colors together are beautiful. In fact, combined in a painting of a flower like this Sina, these three colors could look very close to the actual color of this flower. Of course, each of these colors that I've been mixing gets lost as soon as I add another color to it. It really intimidates a lot of people thinking about, oh, I'm going to have to recreate this color, and how do I recreate a color? As long as you remember the colors that you've used, you can go back and recreate it. I have faith in you to take it away from the orange. I'm going to add back in a little more of the Opera Rose. Now this looks very dark in the palette, but let's see how it looks on paper. I think it's too red. I'm going to add a little orange and see what happens. Again, I always swatch my colors even if I don't think they're going to be quite right. Looking back at the flower now, I see the center looks more pink and a little cooler, and the petals radiating outward are more orange. I'm going to mix a few colors here. This swatch looks very dark to me. What I'm going to do is make another swatch of the same color. More water and less pigment to see how it looks. Oh, that is so beautiful. Now remember, these two swatches are the same color. The one is just less saturated because it has more water. Now I want to paint in between version of the color. I'm going to make sure I don't hit my flower here. I am really liking this color of paint. I'm going to leave what's here in this well of my palette and begin mixing another color. I want a color that is more pink for my second color. Because that first color we mixed where we stopped, that was more orange. I'm going to start with that Opera Rose that I started with before and add some of the orange, just like we did the first time. I really like the colors that we've created. There's a lot of back and forth in this process. Often once a color is sitting on my Swatch paper, I like it even more than I did when I first mixed it. This process brings me so much joy and these colors are making me so happy. I want you to take your time with this and enjoy the process. Now, our color is still not quite right. I'm going to add a little bit more orange, but that was a little too much, so I'm going to add some more pink to make up for it. Now, I'm going to try this again, make another swatch here. This is looking very close. What's going to be helpful? I'm going to take a smaller paper to swatch the colors. I want to use, that way we can see them together without those other colors. Even though they're so beautiful, I'm doing these in the wrong order. But we'll have a darker and lighter version of each one. I just love how these look. They are so beautiful. I'm going to try and darken that first Swatch we painted, so the dark versions will be closer in intensity. They are so lovely. I'm really loving them. I do want to keep experimenting here and make another color for this third color. I'm going to start with the opera rose again and mix a little bit of the orange and then just a tiny bit of this cobalt turquoise light. And see what happens that's looking interesting. Let's watch it and see how it looks on the paper. Now that's pretty dark. Let's swatch a lighter version too. These are so beautiful. I love it. Now, the cobalt turquoise light, which I know from using it, I know that this is a granulating color. That means that the cobalt turquoise pigment will come out of the mix and add interesting texture and color. That is something I really enjoy. I don't know if there's enough of the pigment in this mix for us to see that we'll only really know once it dries, if it does, I think it'll look good with this flower and the way the petals are sort of modeled. I think these three colors that I've mixed so far will be so beautiful together. The last color I'm going to need is this greenish yellowish sort of color. This one is different than the other ones, but I'm going to use some of the same colors. I'm going to start my mix with the lemon yellow that I used earlier and a little bit of the cobalt turquoise. Now, using the same paints in different mixes will help unify your painting. All the colors will be different, but they will have similarities because they have the same pigments. This one is super bright, but I love it. I don't think it's quite right yet, but let me get a lighter swatch of it too. There is not much paint on the palette. So I'm going to add more of both the yellow and the blue before I add any other colors. Even though the greenish yellow color I see is a very cool color, I think I want to add a little bit of warm. I'm going to add a little bit of the warmer yellow, that Hansa medium, and see where it takes us that looks a little too warm. So I'm going to add a little bit more of the cobalt turquoise light. And then I'm going to take a big risk and add in a bit of the Opera Rose. I really enjoy adding reds to greens. And the pink is going to work in that way. I don't want too much, so I'm going to just dab some on the side so I don't overwhelm my mix. Oh, I really love it, and I love the way it looks with my other colors because paint looks different when it's dried. I wanted to show you the dry swatches next to the flower. I think they are so beautiful and I fully enjoyed the process. I hope that you will find joy in the process of mixing your own matching colors. In the next lesson, I'm going to give you some ideas and suggestions for creating a color practice that will help you build your color mixing skills and your confidence. I hope that this will be a life long journey for you and one that will bring you so much joy. 12. Your Color Practice & Class Project: I had such fun sharing my love of color with you throughout this class. Thank you so much for joining me. I hope that you're looking at color with curiosity and beginning to feel more confident in your ability to work with it. Remember, this isn't about memorizing rules or following color recipes. The beauty of color is that it is dynamic and personal. No two people use it, see it, or understand it in quite the same way. Every person has their own relationship with color and their own innate sense and instinct. That is truly a lifelong exploration. And I hope one that will bring you so much joy, I hope you'll continue your curious exploration of color in the world around you. Pay attention to the colors and color palettes you see in crafts and sewing in your own life. When you visit with family and friends and when you look at books, what colors do you notice in interiors? Or when you walk down the street in your neighborhood, look at the colors you see in nature to animals. Butterflies, So much inspiration. I'm finishing editing this class in the beginning of autumn and the leaves are starting to fall from the trees. I can't help but pick up the colorful leaves when I'm out on a walk. They're perfect inspiration for color mixing. And I see so many colors in just one leaf. What colors do you see? Try mixing them. I truly believe that we learn by doing. The more you play with paint, the more comfortable and confident you will become. I shared many exercises throughout the class to get you started on your journey. If you work through them, you'll be well on your way to building your skills and your confidence. I love sketchbooks and using a sketchbook is a great way to continue your color practice. It's an ongoing outlet for your creativity and a wonderful way to continue to develop your skills and your artistic voice. I've learned to let sketchbooks be a low pressure place to create, not worrying if they're messy or if the pages don't turn out as I expected, Keep all of your swatches and color mixing exercises together in one place so it'll be a perfect color reference for you in your sketch books. You can also keep track of your color mixes when you're working to match a color you see. It'll be a beautiful inspiration to look through when you need a boost. Most of all, it will be a fun place for your creative play. If you want to dive deeper into an exploration of the science behind color and color theory, I'd recommend spending some time with some books. I checked out a lot of books from the library about color when I was putting together this class. And I learned some things that I hadn't known before. Take a look at your local library and see what you can find. I also own some books about color as a practice in and of itself. Local Color by Mimi Robinson Warner's Nomenclature of Color by Sim and Lorene Edwards Faulkner's Color In and Out of the Garden. They're so inspiring, I love to recommend them to students who doubt their skills at drawing and painting. I'd also highly recommend taking some other classes here on skill share. When you're doing your searches, remember that you have lots of ways you can limit your results so that you can find just the right inspiration for you. Because color exploration is an ongoing practice, your class project can reflect that in any way you choose. Maybe you'll tell us about your materials and show us your swatches and your color mixes. Maybe you'll tell us about color in your life and share your own personal color palette if you chose to make a color wheel, either with paint or with found colors, I hope you'll share that as well. I had such fun creating my floral color wheel, and I'm sure whatever you choose will be fun and inspiring too. That's the beauty of skill share. It is a place of inspiration, of community. We're all in this together and we can encourage and inspire one another. So don't be shy to share your project. Ask questions, or answer questions in discussions, because that's how we learn. I know when I see projects, when I'm a student in a skillshare class, they inspire me. And even as a teacher, I'm so inspired by your projects and what you create and how you see the world. Each of us has our own unique gifts to give. I always love hearing from my students, so don't hesitate to reach out with questions or comments. I'd love to know what else you'd like to learn too. And don't forget to follow me. So you'll be one of the first to know when I have a new class or when I'm running a contest. I hope you'll also stop by my website where you can sign up for my newsletter and read my blog. I have a library of free resources there for you, including a Guide to Watercolor that you can download and enjoy. Be sure to leave a review of this class and let me know what resonated with you. Thanks so much for learning with me. Until next time, I'm wishing you so much joy and creativity.