Transcripts
1. Welcome to color theory for artists: Hello, and welcome to
this course on color. Color is often one of the most challenging
aspects for beginners. Many painters struggle to find the right tones or to
mix colors accurately. In this course, we
simplify everything. You will learn how color works, how to approach
mixing step by step, and how to recreate almost any color in a
logical and structured way. Instead of memorizing formulas, you will understand
the process so you can adapt to any subject. By the end of this course, you will feel much
more confident when working with color and
mixing your paints.
2. The 5-colors palette I use: For this course, I will be using five colors titanium white, permanent red, lemon yellow, bun tamber, and ultra
Miron blue, and that's it. These are the colors I
use 99% of the time. Sometimes I need a few
additional colors, but that is really
the exception. So we won't be covering
that in this course. We will focus on the
essentials and how to achieve almost every color
mixing using only these ones. I like the permanent red and lemon yellow because they are
both quite intense colors, but you can replace them with cadmium red and cadmium yellow, for example, or with
other similar colors. However, ultramarine
blue and Burn timber are much harder to replace. If needed, you could substitute Burn timber with Van **** brown. As for ultramarine blue, it's a fairly dark blue and
a very interesting one. So I do not really use I do not really use
other alternatives, sorry, especially
since these colors are quite easy to
find in stores.
3. What you will learn: Welcome in this big
part of the course. This part is dedicated to color. Color in oil painting and with acrylic painting is
really important. It is one of the key to
create something realistic. If you have the right colors
with the right values, then you can be almost sure to create
something realistic. So that's why it is
something very important. And during this course, we are going to talk about
a lot of things. We are going to talk at first, about the vocabulary of
the colors so that we can understand each other
better during this part. Then we will be talking about the drying time of your colors, and that may seem surprising
to talk about this, but that's something
really important. And to take into account when
you're painting we'll also see how to mix every color from our limited
palette of five color. I only use these five
colors 99% of the time. And so I will teach you how to mix any color with
the five color. Then we'll see how to
lighter or darker color. We'll see that
more specifically, we'll see how to
create some black because on my palette, I
don't have some black. I create it, and I
will teach you also why I create this
black and finally, we will focus a little bit more on the begish color and on the brown color because that's a color that many
artists struggle with. So many things to see, many things I want to teach
you during this part. You are going to learn a lot. And what is important is
that you practice also during the part on how
to mix any colors. Try to do it as well. I will show you and demonstrate this technique with
two different colors. Try to mix them as well. And once the course is finished, try to mix some new color
using this method I told you. So you will learn
during you will learn my logic and how I mix
this color very soon. So enjoy this and
see you after that.
4. Color vocabulary and essential definitions: This part, we are going
to learn a little bit of the vocabulary of
the color theory. There exist many words
about color theory, but I'm going to share with
you only the ones that I feel necessary to follow this
course and these tutorials. So the first world I want to introduce you to
is the word value. The value is when we
talk about the color to know if it's light
or if it's dark. The value is just about knowing if a
color is light or dark. So if I tell you that this
color has a strong value, that means that it is very
dark or if this value or or I can tell that this
color has a light value. So it's just a light color. And a color like the red, for example, can
have several values. There exists some reds
that are very light, some reds that are very dark, and some red that are medium. So their value is not
dark or not very light. So that's the word value. And when we are creating
a portrait, for example, we will need several
value of beige because this is what will help
us to create some volume. So that's why the word value is very useful, and
you will hear me say many, many, many times
during this course, probably thousands of times
during all these tutorials. The second word I
wanted to talk to you about is the
word saturation. The saturation means if a color is intense
or not intense. When you think about some colors like the green, for example, there exists some
green that are very, very intense, and so
they are very saturated. And on the contrary,
there are some green that are not
intense at all. And so you can say that
they are desaturated. And the words I can also use
to talk about this color is that this green is intense
and this one is dull. And these are the words
that I will say also a lot, something intense,
something not intense. So that was our second
words that was important. Now we are going to talk
about the primary colors, and there are three
primary colors. There is the blue, the
red, and the yellow. And from these three colors, we can create thousands,
countless of colors. And when you mix these
colors together, you get the secondary colors. For example, when I mix the blue with the
yellow, I get the green. When I mix the yellow with
the red, I get the orange. And when I mix the red with
the blue, I get the purple. So purple, orange and green
are secondary colors. And when I mix the
secondary colors with the primary colors, I get the tertiary colors. So for instance, when I mix
the yellow with the orange, I get a yellow, orange color, something
that is not too yellow, not too orange, that is in
between these two colors. And when I mix the
purple with the red, I get some kind of
red purple color, something that is not too
red and not too purple. So that was these new
words primary colors, secondary, and tertiary colors. And finally, the last
word I wanted to talk to you about is the
complementary colors. You can also say that these
colors are opposite colors. And to get the opposite colors, that's very simple. You
have to think like this. When I mix the yellow with
the blue, I get the green. So when I want some
green, I don't need red. And therefore, red and
green are opposite. When I mix the
yellow with the red, I get the orange. And so you may guess what is the complementary
colors of orange? That's the blue. So blue
and orange are opposite. And when I mix the blue with
the red, I get the purple. I don't need yellow.
So the yellow is the opposite color of purple. So these are three couples
of complementary colors. And the complementary
colors will be very important
and very useful. We will use them to make our color less intense
or to create some brown. For example, let's say I
have some red on my palette. I like it, but I think
it is too intense. I want to make it
less saturated, so I will use its opposite
color, which is the green. I will add a little bit of green to my color, and this way, my color will become less
intense, less saturated. And we will see that
in much more detail. And that's it for
the vocabulary part. Only these words, I
think are necessary. So we understand each other and can master the color mixing. There exist many other words, but I think that they are not
very useful for our course. And so that concludes
on the vocabulary.
5. How to mix primary colors: Now let's see what
happens when we mix the primary colors on our palette and what new
colors we are creating. So this is my palette with
the three primary colors, and from these three
primary colors yellow, red and blue, we're
going to be creating the secondary colors and
the tertiary colors. So let's create our
first secondary colors. So if I take some yellow and
I mix it with the red color, then I get some orange. Now, let's create
some green colors. So I'm taking some ultramarine
blue and some yellow, and then I will get the green. You will see that
I don't use a lot of ultramarine blue in
comparison with the yellow. To get a normal green that is not too yellow, not too blue, and intermediate green, then I will use more yellow
than ultramarine blue. The reason for that is that the ultramarine blue
is a strong color. And what I mean by
this is that if I mix the same amount of yellow
and ultramarine blue, then my color will be more
blue green than green. It will be more blue. And that's why when I use
some ultramarine blue, I just use a little bit of it and just after if necessary, because if I use too
much ultramarne blue, then my color will get
too blue very fast. And if I make some
red with the blue, I will get the purple and will have three secondary colors, the purple, orange and green. And from these primary
and secondary colors, I can mix the tertiary colors. That is to say
that, for instance, if I mix some red
with the purple, I will get a purple red, that is to say a purple that
is close to the red color. And I can do the same
thing with the blue and get a purple blue color. And I will do this with all the colors on my
palette. You will see. And therefore, I will get the chromatic circle
with all these primary, secondary, and tertiary colors. And these won't be the only colors that we'll be
able to create, of course, we'll be able to create
some lighter ones or darker ones with
a limited palette by adding some white
or burnt umber, for instance, but you
will see that it's not the only way to darken
or lighten a color. We will be able to
create, as well, some colors that won't be
as intense as this one, because it's actually
pretty rare to have to use some colors that are as pure as bright and intense
as these ones. Most of the time, you have to make them a little
bit less intense, and that's why we use
our complementary color, and that's what we
are about to see.
6. Understanding complementary colors: In this video, we are
going to see what happens when we use the
complementary colors, or the opposite colors. The interest of these
complementary colors is double. We will use the complementary
colors for creating the brown colors or also for making our color less intense. And so that's what we are going to see in more
details in this video. Let's see the
complementary colors and what we can do with them. So on my palette, I make
some yellow and red and got some orange and and
I didn't need the blue. Therefore, the orange is
the opposite of the blue, and you can see
that they face each other on my palette, by the way. To make some purple, I needed some red and blue and didn't need
the yellow color. Therefore, the yellow and purple all the opposite color
are complimentary. And so you guessed it. The red is the complementary
colors of the green color. Now I'm going to remix some
green color on my palette, and we'll see what
happened when we mix these complementary
colors together. So I have my green color, and now I'm going to take a little bit of this green color, and I will add to
it some red color, and we'll see what happens. So I take just a little bit. And instantly, when I add
this red color to my green, we can see that the green
we had at first was bright, very intense and right now is getting pretty less intense. Yes, very less intense
and not bright at all. And the more red I will do more, my color will become
less intense. And we can see that
this green color is getting kind of
brown, green color. And this is how we
create our brown colors. And it can work the other way. That is to say, if I take some red color and I
had to eat some green, then my red color will become
less and less intense. And the more green I
will add to my color. The more this red
color will get towards the brown color red brown color. And in me with my
limited palette, since I don't have some green, I have some yellow and
blue on my palette. I take a little bit of
yellow, a little bit of blue, and I mix them together
to get my green directly when I mix it
with the red color. And so that's how I get
these brown colors, and we can do it the same way with the other
colors as well. So I have recreated this
orange color on my palette, and we'll see how this
orange color goes when we had some ultramarine
blue to it. So I'll take just a little bit of the ultramarine
blue because remember, it is a color that
is pretty strong, just a little bit of this
blue color and my color. And my color will
get very much blue. So I added just a little bit of blue to this orange color, and you can see that
it gets very less intense with this
little blue color and goes toward a
brown orange color. And that's how you realize
that brown colors, actually, there are just some
colors that have lost a lot of their intensity. And with this color, this
orange brown color that I got, I will be able afterwards with my limited palette to
darken it if necessary, with some burnt under, for instance, or with some
other colors as well. It can work. And I
can also lighten it. And for instance, if I darken this orange brown
color that I have, I will get a dark brown
color that we can see on many cases with some
brown skin tones with the painting of a tree, for instance, so you can have these colors in many
different paintings. And well, this blue color, I can also make it less intense, but I will need a lot of
orange color because, like I said before,
this blue color, this ultramarine blue color is pretty dark and also
pretty strong color. And so that means
that I will need a lot of orange color to
make it less intense. But you can see that my blue color right now
is getting less and less intense and getting
closer to some kind of blue brown color that
yes, is pretty special. And finally, I can do the exact same thing
with the yellow colors, so I can directly add some purple to it to
make it less intense. Or I can do it in
the way I do it with my limited palette
by adding just some red and some blue to it. So right now, I
can see that I had it not enough red in proportion, and so I will add a
little bit more of it. And therefore, I will get
a yellow brown color, yellow that is
very less intense. And I can do it on the
other way, that is to say, adding some yellow to my purple, and I will get a
yellow brown color. And so that's how you
make your color intense. And with every painting, you will have some color
that will be less intense, and you create some
browns as well.
7. Understand your palette and mix all colors together: In this video, we are going to mix all of the colors of
our palette together, the five colors of our palette, and also the several blue
and see what happens when we mix these colors together in different
proportions. So for example,
I'm going to pick the white of my palette
and see what happens when I mix it just with the permanent red
with a little bit of permanent with a medium quantity of permanent red and with
a lot of permanent red. And I will do the same with the four other colors
of my palette, and I will do the same thing
for each color and see what happens when we mix
these colors together. This exercise that we are
about to do will help us to better know our palette
and better know what happens when we mix
only two colors together. Of course, later, when we will
practice these tutorials, we won't be mixing
only two colors. But knowing what happens when we mix just these two
colors together is also great to better understand and better
know your palette. So what I recommend you to do is to do the same
thing as I'm doing is during the video or
watch the video and do that after to bear and
know your palette. Let's see what happens when
we mix our yellow with the other colors from
this five color palette. As you can see here, I
have three parts yellow, one parts red, two parts yellow, two parts red, and three
parts red, one part yellow. And that's the same
for all my color. So let's start by mixing
the yellow with the white. So it is interesting to observe what happens when we
combine this color. That said, a yellow diluted only with white is
quite rare in practice. You might come across it
for something like lemons, for example, but not
in so many occasions. Now, when we mix three parts
yellow with one part red, you can see that we are going to move towards something that is more of a reddish
orange shade because the red is a
very dominant color. So you really need to
increase the proportion of yellow to push it back
towards a yellow orange tone. So now I'm going to add a
generous amount of yellow, and we are finally getting to an orange that
feels well balanced, not too red, not too yellow. And once again, by
adding even more yellow, we can finally shift
towards a yellow orange. On the other hand, when
we are at 50 50 ratio, you can see that the
mix will naturally leans towards more reddish hue. And this becomes
even more apparent. In the final example, where we end up with a
red that appears a little bit brighter thanks to that small addition
of yellow in the mix. It is always
interesting to see what happens when you add a bit
of white to the color. Of course, it naturally
lightens the color, but it also tends to make it a bit paler and less intense. You generally lose some of the vibrancy when you mix
white into your color. And so that's it for
mixes of yellow with red. Now, let's see what happens
when we mix yellow with blue, specifically this
ultramarine blue. And you will notice that even with three parts of
yellow to one part blue, the result still leans
toward the green that feels more on the bluish side rather than being
a balanced green. However, when we had a
generous amount of yellow, we finally get something that start to get a yellow
green shade instead. And what we can conclude here is that yellow is a
relatively weak color, whereas ultramarine
blue is much stronger, and this becomes even more
obvious when we use a 50, 50 mix, or especially when we have three parts blue
to one part yellow. In those cases, the green shades clearly shift towards blue. Now let's see what
happens when we add white to this mixture. Adding white to this
last blue green gives us a beautiful light blue, perfect for all
kinds of seascapes. And when we add some white to
this more yellowish green, we get an emerald green that is really
interesting for painting, vegetation, and many
other natural objects. And finally, we have
an Ovo one that is also interesting for some cases. Now let's see what happens when you mix burnt
and bur with yellow. It's clearly not something
that you would think of, but you can actually get a
very interesting result. What we can notice
here is that we get some kind of green color, but that's really different from the ones we mixed earlier. And this one can be
really interesting when painting some
kind of landscape, countryside landscape,
for example. And finally, when I
have a 50 50 mix, we can get a very
beautiful brown that can also be very useful. And finally, let's see what happens when we add
some white to it, and we'll move on
to another mixture. So now let's see
what happens when we mix Burtmber
with other colors. I didn't include yellow
here since we have already seen what yellow mixed with
Burntmberg looks like before. Now with white, Burteberg can give us a rather clean
and interesting brown, depending on the scenes
that you are painting. We don't usually think of
it because we assume white is only for lightning and
Burntmberg meant for darkening, but you can absolutely
mix these two colors, and you will get a
brown that can make a good base for something
not too intense. When you mix burn
timber with red, it allows you to get some
really intense and dark red. So it can give you
a very good results and create really
interesting element. And we can see now what happens when we had a little
touch of white. You would still get some
quite interesting reds when you add them. So that's what we
are going to see. And by the way, every time you see me add
a touch of white, feel free to experiment, too. For example, try mixing red with burn timber and then adding a bit of yellow
or a bit of blue. That way you can explore even more colors and
discover new shades. Finally, when we mix burn tumbo with ultramarn
blue, we get black. At first glance, these blacks
don't seem very different, but it's really when
you add white to lighten them that you will
start to see the differences. You will notice grays that
are even more bluish or more brownish and which can be very interesting for the paintings
that you are creating. Now, let's take a look at red. When we mix it with white, we move toward pink. Or if we just had a
tiny touch of white, we get something just slightly different from our original red. But it's really the larger
amount of white that will allow us to create
lighter shades of pink. Now, when we mix red with
bluish tone, we get purples. But here, we'll get
different purples depending on the balance. We can go for a slightly more reddish one or a slightly
more bluish one. Although, in the case
of the bluish purple, given the large amount and the power of ultramarin
blue compared to the red, it's really by adding a touch of white that we can
clearly see whether we are leaning more towards a bluish purple or
reddish purple. And finally, we
haven't yet looked at the mix of white
with ultramarine blue. This color will be
very interesting, especially for painting
skies and clouds. Although in most cases, we want to adjust the
blue a bit to make it slightly less intense than what we currently
have right here. Now, let's see what
happens when we mix it with several blue. It's another color that's part
of the five I usually use, but it's going to be really useful when painting landscapes, because we often find
ourselves with deep water or skies that are really
bright azure blue, and our usual five colors on the palette might
no longer be enough. This several blue will
allow us to create blues that are really
intense and vibrant. So let's see what it looks like, and let's start by mixing
it with ultramarin blue. On my palette, just
like I did earlier, I have placed different
proportions of each color, and we can now see the various
shades of blue we'll get. Already, when we mix the two, we notice that we get blues that sit right between the two, and they are clearly different. And these two colors will give us a wide variety of blues, and that's really great
for painting landscapes. When we add a touch of
white to ***** mix, we get also color that is really bright and very
interesting to work on. Now when we mix white
with this several blue, we realize that we get a blue with absolutely
incredible intensity, and it's going to
be truly beautiful. For example, when painting the sky on a bright
and sunny day, we get a very intense
blue sky that can be really interesting to work
with and quite different. And so this gives us
yet another range of blues different from
those we were getting when mixing with
ultramarin blue. Now, when I mix
this blue with red, of course, I get
purples once again. But these ones are
really different from the ones I could get
with ultramarnblue, as we saw earlier
on the palette. And once again, this
can be interesting for painting scenes with
threatening skies, for example, that tend
to be gray or purple. Actually, I often refer to landscapes because that's
often when I use these mixes. But this intense purple can also be found
in a still life, for example, on a vase that might have a bright
and vivid purple. So once again, this allows us to have a wide range
of purples and colors that we couldn't achieve with just our
five color palette. In fact, the colors we get with this several blue are
somewhat exceptional. They are part of
those few percent of colors that we simply can't obtain with our traditional
palette of five colors. And finally, when I mix this
blue with my lemon yellow, I get greens and blue greens
that are really intense. I can even get some
turquoise shades. It's true that we already
have a very intense yellow, and when we mix it
with ultramarine blue, we get some beautiful greens. But here, when we mix these
two highly intense colors, we end up with shades
that are extremely vivid. It is rare to find greens, these intensive natures,
but sometimes it can happen depending on the
scene you are painting. So it can actually
be quite useful to achieve these
colors like this. And finally, let's see what
happens when we add some white to these colors to
create even more variations. Now, let's see what
happens when we mix this blue with burn timber. And once again, we
get different colors. Colors we wouldn't necessarily think of when mixing
these shades together, but it can still be
interesting to have them and to know what
happens when you mix this blue with burn timber. So in this video, we have explored a lot of
different mixes. There's something
else you could try, which I haven't done here, but I encourage you to do it. Place the secondary colors in
the center of your palette, for example, a balanced orange, meaning not too red
and not too yellow, a balanced green,
a balanced purple, and then see what
happens when you mix these secondary colors with
the other in your palette. Doing this exercise
really help to understand what colors you will get when mixing them together. And this way, when you are looking at the colors
in your subject, it will be easier to identify
which direction to go in and which mixes to try
to achieve the right tone.
8. How to mix any color using simple color theory: Now let's see how
to mix any color with a limited palette
of five colors. So as a reminder, the five colors I'm going to
use are the titanium white, lemon yellow, permanent red, ultramarn blue, and burn timber. With these five colors, I can get 95% of all the colors
I need for my paintings. I can't mix the very
intense colors. For instance, a blue sky that is really
intense turquoise, water, or, for instance, the magenta, uh, on the
hummingbird, for instance, these colors are very intense, and I can't mix them with this limited palette
of five colors. But for most of
the other colors, that's just fine with
these five colors. So the first step when
I want to mix a color is identifying the colors.
What color is this? I know it might
sound a bit silly, a little bit stupid to ask
yourself this question, but know, sometimes it's yellow, it's a red or blue, but there are some colors that are a little bit more tricky, some kind of brown so gray, and you have to wonder, the brown towards which
color is it closer? Which one of the primary
or secondary colors? Is this a brown color that
is close to the orange or closer to the
red, for example? Is this a gray color that
leans a little bit more towards the blue or is it a little bit more leaning toward
the green, for instance? And so identifying the color
that you want to mix is the first step towards before mixing the
color that you want. And for that purpose, to identify the colors properly, you have a really
great tool that is a chromatic circle
that is really detailed, so you can identify much more easily the color
that you want to make. So once you have
identified the color, you can start mixing it. And so I'm going to explain to you the theory,
how I mix the color. And then I will show you with the demonstrations how
to apply this theory. Theory is the following. So the first thing I do
is really to compare the color I have on my palette with the color I want to mix. That's really obvious, but
I do that all the time. And then I ask myself
seven questions. These questions are
the following ones. Is my color too red or not red enough when I compare it
to the color I want to mix. So I look at my color and if
my color is not red enough, if I feel that the
color I want to mix leads a little bit
more toward the red, then I had a little bit of red. However, if I realize
that the color I am currently mixing on
my palette is too red, is too intense
with the red color in comparison to the
one I want to mix. Then I'm going to
lower the intensity of this color that I have on my palette by adding the
complementary color of the red, which is the green,
if you remember. And so I do that with all the secondary
and primary colors. Is my color too blue
or not blue enough? Is it too yellow or
not yellow enough, too purple or not purple enough, too orange or not orange enough, too green or not green enough. And then I adjust. And the last question
I ask myself is my color too dark
or is it too light? And with these seven questions, I can reach the
color that I want to mix and get the
right mix on my pad. And so each time I compare and ask myself
these questions. So, for instance, let's say I have the color
on my palette, and I realized that the color
on my palette was too blue, too intense with the blue color. So I am adjusting
it a little bit and add the opposite color,
which is the orange. Then I compare my color on my palette after I have
made these adjustments, and again, I repeat the cycle and ask myself
the seven questions. And maybe by adding some orange, I add a little bit too
much of the yellow. And so when I look at
my color right now, I feel like my color has
become a little bit too green, and it leans actually
a little bit more, let's say, towards the red. So I'm going to add a
little bit of red to it. And then I ask myself the
seven questions again, and I realize that my color
has become a little too dark. So I had a little bit of white to lighten it a little bit. And then I again ask myself the seven questions
again and again. Until I am satisfied with
the colors that I mix. And at first, it may seem
a little bit unusual, not very natural to ask
yourself these seven questions. And at first, I did it out loud. And at the beginning, when I started mixing color, it may took me like three or 4 minutes to get
a color that I wanted, but now it's really much faster. And for some colors,
it may take like ten to 20 seconds to
get the right color. That I wanted to mix. And I don't even ask
myself these questions anymore because I do it
without realizing it. When I have my color, I'm like, mm, okay, my color
I see right here. Okay, it's not orange enough. So I'm adding a
little bit of orange. Nao, I see that it
has to purple in it. It's too intense with
the purple color. So I'm adding a little
bit of yellow in it. And so it has become
very natural, and the more you will do it, the more it will feel very
natural for you as well, and you will be able to mix any color that you
actually want. So I strongly encourage you to watch the demonstration
that will follow. Maybe at first, watch it once without practicing
so you can really understand the logic even
better of this method. And then once you have
watched it the first time, maybe watch it a second
time, but this time, you have to mix the colors because this is
how you will make some progress with
the color mixing. So practice the same
colors as I do. Watch a second time with me
and practice along with me. So you can understand
even better the method. And finally, keep in mind that
even if you didn't follow my advices and you have
more than five colors, maybe, let's say you have
20, 30 painting tubes, there will be a moment
where you will have to mix a color that you don't
have on your palette. So that's why this method
is really important and why it is really important that you learn how to mix the colors. Because the realism
in your painting, it partly comes from
the color mixing, and it's really
important to have the right colors and the
right mix on your palette. So now, enough theory, and let's see how to mix
the colors right now.
9. Color mixing demo: create any color step by step: Oh. So this is our chromatic wheel
and let's see it a little bit more in depth. So it's really easy. You have the six primary,
secondary colors, blue, red, yellow, green, orange,
and the purple one, and different values of
each of these colors, some very light values that are really close to the center, which is the white, and some darker one that are closer
than to the black color. So really, that's basically
it for this chromatic circle. And now we will
use it to identify correctly all colors before
mixing them together. So this is the
first color that we are going to try
to mix together. So I have chosen two colors, and I tried to choose
some colors that aren't very easy to, well, identify or to mix
because, well, it is better to exercise ourself with something a
little bit more difficult. So I'm going to
try to identify it at first on the
chromatic circle. And at the first glance, I can definitely tell
that these colors isn't close to the
green to the yellow, to the orange, purple color. It is, well, I think it is
quite close to the blue color. So we are going to look in depth in these
colors at first. And so now, if I take a look at the different blues of
the chromatic circle, I can definitely tell that
our color is pretty light, so it won't be part
of the darkest one. And also, our color is
not very, very intense. It is some kind of a blue
that goes near the gray. And so, basically, when
you think about the gray, it is some kind of a blue color
that is not very intense. And in my mind, the colors that
are the closest to the ones that we want to
reach are these ones. And so we are going to go
towards the ones at first. And yes, so now that we
have identified our color, I think that we are
ready to mix it. So now that we have
identified our color, we can tell that the color that we can use to
start is the blue one. So I use a little bit of blue, and I ask myself the
seven questions. And the first thing that I can notice is that my
color is too dark, so I'm going to lighten it a
little bit with some white. Now, if I compare my color with the one that I am trying to mix, I can definitely tell that my color is still way too dark, so I'm going to add a little
bit of the white color in it to make it lighter again. When I was on my palette mixing this blue color,
well, right now, it was difficult for me
to identify the value and to compare it to know if my color was too light
or not light enough. So I asked myself the seven
questions once again, and I noticed that my color, my blue color was too intense. My color right now was with
a blue that was too intense. So my color was too blue. And so I had to make it
less blue and less intense. And to do so I had to add a
little of its opposite color, which is the orange. So that's why I added a little bit of the yellow
and a little bit of red to my blue color to
make it less intense. What I do notice right now is that my color is less intense, so this is great, but
it is also too dark. Now I can really see
that it is too dark, so I have to lighten
it a little bit. So I am adding some white to it quite a lot because I am
mixing a lot of painting, so I have a great amount
of painting on my palette. But most of the
time, I try to do it very step by step and just add
a little bit of the color. But since now I have
mixed a lot of color, I can do such things. So now my color is getting
lighter and it's better. So now we are getting
really close to our color. And so I am asking myself these seven
questions once again. Is it too light or
not light enough, too blue, not blue enough, too red, not red enough, too yellow, not yellow
enough, et cetera, et cetera. And what I notice is
that my color has become not blue enough when I added
some yellow and red to it. I make it not intense enough. And I also notice that my
color tends to go a little bit toward the green color because when I added some orange to it, I may have added a little
bit too yellow in it. And so since it is too green, I will also add a little bit of the red color in my mixture because the green color is the
opposite one of the green. So now we are getting good. Well, I like how
the color looks, but when I ask myself
the seven questions, once again, what I can
really notice right now is that my color is
too dark once again. So what I'm going to do
now is that I am going to take a little bit of
the white color and mix some with just one part of my mixture because I have
mixed quite a lot of color. Now my mixture is pretty big. And well, if I don't want to waste a
lot of the white color, so I'm going to mix
just a little bit of white with some of my mixture, like I am doing right now. We are getting really
close to this color, and when I compare
them together, I can see that once again, my color is a little
bit too dark, so I am adding a little
bit more white to it. And also, it is not blue enough. This blue color is not as
intense as it should be, so I am adding just a little
bit of blue color to it to get closer to this
color we are mixing now. Now we are getting
really, really close. I think that we need
just a little bit of the white color,
and it will be good. And so now here we are. We have finished
to mix this color. When you can tell
really the difference between the two colors, well, I think that's okay
and that your color is good. So here we are with a new color, some kind of a
brown color to mix. Brown colors are a little
bit more difficult. So the first step, once again, will be to identify this color on the chromatic circle
and try to well, locate which one is
the closest to it to mix it afterwards. On this chromatic circle, if I look at the brown colors, I'd say that they go like, from the green colors
to the red ones. So well, I'm going
to try to look in this area at first to
identify my color. And so if I look deeply
at this color and compare it to the other ones
on the chromatic circle, I think that this brown
color tends to go a little bit towards the
orange, green color. Well, it's not easy, but I think that
there are two colors that stand out on this
chromatic circle and that are the closest one to
the one that we want to mix. So these are the two ones
that are the closest one. And since I don't
really know which color is the closest from this one
that we want to try to mix, when I don't really
know what I do at first is use a little bit of
the three primary colors, mix them together,
and then I will adjust my colors to
get the one I want. So here we are with
this new color. So like I said, I'm going to use a little bit of my
three primary colors yellow, red and blue. So I'll use the same
amount of yellow and red, but not the same
amount of blue because the blue color is a color
that is very powerful. That is to say that if I had the same amount of blue
color and of the other ones, this color will tend to
go more towards the blue. So that's why I had just a little bit of blue
color to my mixture. So now that we have our color, I'm going to ask myself the seven questions that
I mentioned before. And so what I can notice thanks
to the seven question is that my color is too
light and also sorry, my color is not light
enough, it's too dark. And also, my color is too red. So since it is too dark, well, I'm going to add a
little bit of white to it. And since my color is too red, I'm going to add the
opposite color of the red, which is the green. So I am adding a little
bit of yellow and of blue. I will mix my color
and see what I get. What I see now is that my color is still a
little bit too dark, so I'm going to add
some white to it, and I can also see that it is still too red and
red orange color. So now at first, I'm
going to add more blue to it to make it more well, to make it less orange,
less red orange. So now I can definitely
tell that my color isn't too red or too orange
thanks to this blue. But what I notice
when I ask myself the seven question now is that my color tends to
be too purple now, and also that the color
that I want is more yellow. So since I wanted to
make it less purple, I need some yellow because it is the opposite
color of the purple. And since I wanted to
make it more yellow, well, I need some yellow,
so that's perfect. I'm going to add some yellow to it and see how it gets with it. I can see that thanks
to this yellow color, I'm getting really closer
to this brown color, but my color is still too dark, so I'm going to add a
little bit of white to it. Now, once again, I am
comparing my color with the one that I want to mix, and what I can notice is
that my color, once again, is not yellow enough, even though we got closer thanks to this yellow,
we had it before. But still, it's not
yellow enough right now, so I am adding a little bit
more yellow to my color. Oh so once again, I think that my color is
a little bit too dark, so I am adding a little
bit of white to it. But like I did with the blue gray color that
we mixed before, I am only mixing just a
little part of my color to not use too much of
my colors on my palette. And also, I can notice
that the color that I want is a little bit goes a
little bit towards the green. So I am adding a little
bit of yellow and blue to my color to make it
look a little bit more green. And I think that this is making a difference
and that we are really getting closer to the color
that we want to reach. And I think that now
we are really getting closer to this brown color
that we try to make. So I am still adding a
little bit more yellow and white to it because I think that the reference
color is more yellow, and also it is lighter. So that's the reason why I am adding a little bit
of these two colors. I am now adding a little bit of the burnt Hamburg
color because I may have lightened a little
bit too much my color. So thanks to this color, I will be able to
darken it a little bit. And I think that
we are now okay. We have reached the
color that we wanted. So yes, it was a little bit
complex to get these colors, but these ones are really
the complex ones in my mind to you will see
that the more you practice, the quicker you will be. Personally, at first, it took me quite a lot of time to
get the perfect color. But now, when I
paint an artwork, to get this color, it might take me something like
one or 2 minutes. I take my time right now to make sure that you
understand how I do it, but now it is
really quick for me to get these paintings right.
10. How to darken or lighten any color: In this video, I'm going to
show you how to lighten or darken a color because when you think about lightning
or darkening our colors, when you were at school, maybe you heard the same
thing that I heard. If you want to lighten
the color, use white. If you want to darken
the color, use black. But that's not it. We can't use only
these two colors to darken or lighten our colors. If we only use these
two colors, well, we won't be able to get the
color that we actually want. So I'm going to show you how to exactly light or
darken the colors, and you will see
that there exist many other ways.
Let's get started. Have these three
colors on my palette, and we are going to see how to lighten or to darken
each one of them. So I'm going to start with this green color that is some green that is
pretty intense. And the first thing
I'm going to do is that I'm going to lighten it. And so if I want to lighten it, I can use some white
because the white will always lighten my color. So first thing I do, I apply
some white to my color. And so I apply this
white to my color. It gets lighter, and it
gets also less intense. And when I mix some white
with my color, it lighten it, and it's also going to make it less intense, less saturated. So that's something that
it's important to know. And now I wonder, so how
could I lighten my color? With some ultramarine blue? No, it's way too dark. Burnt umber is the same. I can try with some red
and see how it goes. So if I look at my
color now that I have applied some red and I
compare before and after, I can see that now, it
is a little bit darker. So let's give a try now
with the yellow color. Can see that with
this yellow color, it's getting lighter. So I can lighten my color this green with some
white and yellow. And it's really up to me to lighten in the direction I
want to give to my color. Do I want to make it more
yellow green or just lighter, less saturated with some white? So it's up to me to choose the color I want to lighten it. And when I lighten
with some white, I can also make this green
more blue as it gets lighter. So I'm hading some white
and also adding some blue. And therefore, my color
is getting lighter and going much more towards
the green, blue color. And so I have three colors
to darken this green. I can use some red, burnt
umber, and ultramarne blue, but the free greens
that I will get that will get darker won't be the same ones with
the free color. I will have three
different greens, three darker greens, but
three different ones. And so it's really
up to me to wonder how I want my colors to
be when I will darken it. Let's see the next color. So if I compare the value of the colors on my
palette with it, I can see that there's
only one color that is lighter,
that is the white. So only the white color will help me to
lighten this color. The four others,
it will darken it. And so I can darken it in
four different manners. For instance, I can
darken it with some red, and when I will mix
some red to it, then I will have
something darker, and that will be
more pink, more red. And so this yellow color, I can also use it
to darken my color. And as I use it, it will go a little
bit more towards the orange as there was already a little bit
of red in my color. And I can also darken my
color with some blue, and my color will get purple as there was
already some red in it, and red plus blue makes purple. And finally, the
burnt umber will also help me to create
something darker. And with this color,
my color will be still a little bit neutral
as it will get darker. So several ways to darken
my color, some red, some yellow that makes
something orange, some purple, some burnt umber
to have something neutral. And that's all up to me and to what colors I want to
get as it gets darker. And I can also darken my
color by adding two colors. If I had some yellow and some red to it because
it makes it darker, then my color will get darker
and will get more orange. It will get darker because there will be less white
in the proportion of this mixture on my palette and I can do the same thing with more ultramarine blue and more red to have something
more purple. I can also do it with
more, I don't know, burnt amber and yellow, and I will have something
even different. Always when I get my color darker or when I
create something lighter. I ask myself the questions. How do I want my color
more yellow, more red, more blue, or more green, more purple, more orange. And this way, it makes
it easier for me to know what colors I should add to my mixture to make it
darker or lighter. And finally, this last color. So how can I lighten it? Well, with some white, of course, but not only white. When I compare the value, I can see that my red color
is lighter than this purple. And so if I add some
red to my mixture, then this color will get lighter
and it also be more red. And I can also lighten it with the yellow because the yellow, in this case, is lighter
than this purple. And so, right here, the yellow color is the
opposite of the purple. So if I wanted my purple to
be less intense and lighter, then the yellow color
is the right one. If I wanted my color to get
lighter and gets more red, then the red color
was the right one. If I just wanted to
lighten my purple, and also if I wanted
to make it more blue, then adding some white
and a little bit of blue would have helped
me to get a purple, blue colour that would be light I had just some
blue to my purple, now it gets darker
and more blue. And if I had some burnt
umber, it gets darker, and I can also had
some burnt umber and a little bit of
red, and therefore, my purple will be
also darker and go more towards
purple red color. So really, when I darken
or lighten a color, I always ask myself
this question to know how I want
my colors to be, it gets darker or lighter.
11. How to mix rich blacks without black paint: In this video, we are going to see how to mix different blacks. And I'm saying blacks because we can create
several types of blacks. We can create some blacks that are cold and some that are warm. And depending on the situation, we might want to use
one or the other. So we are going to see how to create the blacks
color right now. So let's create these black colors I've
talked to you about. So to create my black colors, I will need some burnt
umber and ultramarine blue, and I'm going to
mix them together. The first mixture
I'm creating has more ultramarine blue
than burnt umber. And then I will create another mixture, another black color. But this time, you
will have more burnt umber than
ultramarine blue, and then we will compare these
two black colors together. So right there, I have
my two black colors, and even though they are
a little bit different, it's really hard to
notice the difference between these two
for the moment. But we are going
to use some white, and we are going to
see the difference. But if I add some white to it, that's where I see
the difference. Usually, when I add some white to a traditional black color, it tends to get gray. Right now, my color
is get brown. And if I add some
white to the 01, it will get blue, more blue. And this is really interesting because if I'm painting a
portrait, for instance, where my colors and
the shadow colors tend to be much more brown, then it will be interesting
to use this black colored, one that gets brown. And if I am painting seascape, forest landscape, for instance, where there is a lot of blue, then if I have to
paint with some black, it will be much more interesting to use the one that
has more blue in it. If I want to get the
regular gray color when I lighten this black, just like when I lighten the ivory black that comes
directly off the tube, then I have to mix the same amount of burnt
umber and Nutramarn blue, and then I will get
this regular gray, this gray that I usually get. You have to find the right balance between
these two colors. And in the same manner, when I'm painting a tiger or a lion, I will have some
black area to paint. And this black area, it will blend a little with the color of the
tiger of the lion. And these colors tend to be some kind of orange,
some brown orange. And therefore, when this
black will lighten, it will be much more better that this black color goes
towards the brown. A brown black color will be better for my transition
and for my colors. And so that's why I
think it's really interesting to mix your
black by yourself.
12. How to mix natural beige tones: This video, we are going to
see how to mix skin tones. It often feels like
a tricky subject, but actually mixing skin
tones is like mixing, any other kind of color that
we can mix on our palette. And with a little bit
of method and logic, you will be able to mix any
kind of shape that you need. There is an incredible
larger amount of skin tones because there are so many people on Earth, so many
different people. And we can almost say that we need one specific color
for any individual. I am exaggerating many people
have some different skin. And so we couldn't have just one skin tones that could apply to every human
being, for instance. And so that's exactly why I
don't recommend you to buy some skin tone painting tubes ready to use because
it would be wrong. You would always
have to adjust it. And so it's better to see how to mix them properly with a method. Now, let's see this example with this woman, for instance, if you look at this woman, you can see that
I have identified five different skin tones. And so if you wanted one
tube of painting for each, you would already need five
just for one portrait. Now, look at these
three new portraits of people with fair skin
with some light skin again. Even though they have
some light complexions, none of them share
the exact same tone, and it's the same
with dark skin tones. Everyone's skin reflects life differently and has
some unique undertones. So if we relied on
premade colors, we could never achieve
the realism that we want or any person that
we will be painting, the color would be wrong. We can't just apply some premade color
for each individual. We have to adjust
and to adapt it. So that's why I think
it is better to have a limited palette and to be able to mix the
colors that you want. Because if you buy some
premade skin tones, that means that you
will also probably buy some for the lips,
some for the hair. And in the end, you
have 100 painting tubes and you will always
have to adjust them. So we are going to see how
to mix the skin tones with the same logic and the
same method that we have used so far. So
let's get started. So this is my five colors
palette, and from this one, we are going to try to mix
these three different colors. So we have one that
is pretty light, another one pretty dark. And the last one that is
pretty dark and quite neutral. So at first, I start
to ask myself, what is the color that is the closest from
the one at the top, and the answer is the orange. So I'm going start creating something a
little bit orange, but with a lot of white because I don't want to have
something too dark, and this color is
actually pretty light. The skin tones usually are very, very light, and so that's
why you need a lot of white. Now, I thought my color
hadn't enough yellow in it, and so I also didn't want to
have something too orange. When I would have mixed
it with the yellow. And so that's why
I added some blue, which is the opposite
of the orange. Blue color, it really lower the intensity, which is great. Now my color is
getting very close. I'm going to add just
a little bit more of red to it because I
think it is necessary. My color the color I want is a little bit
more red than this one. And then that will be good. And from this color, I can
create different ones that would be useful in some
other areas of a portrait. For instance, I can create
a lighter one with some white that will
be very useful in some areas where there is a
lot of light on the skin. I can create a darker one by
adding some orange to it, which will lower the
proportion of the white, and I can darken it with some burnt under afterwards because
it will also darken it, but it will make
it more neutral. That's also pretty great. So now let's see
the second color. So first thing I do,
I mix some orange, and I'm going to add
some white to it because I don't want to have
something too dark, so that's why this
white is important. Now, I look at my color and
see that it is too intense. It is too orange. So that means I have to add the opposite
color of the orange, which is the blue. When I see my color, I think
it is still too intense, so I'm adding some blue again, and I will also add some burnt umber because I want it
to be a little bit dark. And this burnt umber, it really helps as well to create a little
bit more neutral. And so that's what I did. Now my color is probably
a little bit too dark, and so I'm going to
add some orange to it because when you compare the
value of the yellow and red, you can see that
these two colors are lighter than
the one I'm mixing. And therefore, it's lightening
my color and also making it going towards
the orange color because I wanted it to be
a little bit more orange. So now I'm getting very
close to my color, making some last adjustments,
and that will be good. And from this color, once again, I'm going to be able to
create some different ones, and that is very
important for me to create some different
ones because thanks to this, I will have a wide variety
of color and values. And when you paint a portrait, there is a very big variety
of color on the face. There are many different
pigments with different colors. And so that's why I always create several values and
several colors from one color, and I have mixed now let's
see with this last color, how to do it and how to mix it. So this color is pretty
neutral and it's hard to tell what color is the
closest from this one. So in that kind of case, what I do is that I
take a little bit of my five colors and mix them
together and just afterwards. Like right now, I
am mixing them, and what I see is that when I compare my color on the palette with the
one I want to mix, my color is two purple. So that means I have to a the opposite color
of the purple, which is the yellow. And with some yellow,
it should be better. Now, when I look at this
reference photograph, what I think is, it has a
little bit of orange in it, so I'm going to add a little
bit of red and yellow, and so I think I will
get closer to my color. So right now, my color was not orange enough in comparison with the one I wanted to make. So I added some orange. And now I think I am close
enough to this color, and I will stop mixing it.
13. How to mix browns: This video, we are going to see how to mix the brown color. That is a color that is
always tricky to mix. It always seems so difficult. But this was before this video. After this video, you will see that it's not that hard
to make some brown. I remember back at
school when I was a kid and we were
doing some painting, and we wanted to get some brown. And so we asked the
teacher Teacher, how do you mix the brown? And the teacher
answered, It's easy. You have to mix the yellow, the blue, and the red. And so that's what we did. We mix these three
colors together, these three primary colors
and we got some brown, but that was not the
brown that we wanted. And every children was a
bit disappointed because all our browns were
kind of different and we didn't get the brown
that we actually wanted. So the teacher was wrong, but also was right because
you have to use some yellow, blue and red to make some brown. But it all depends
on the proportions. That is the that
you will do with the proportion of these three
primary colors that will help you to get the
right brown because there are actually a lot of different browns that
we can mix together. And so these browns that we will mix will depend on
the quantity of the three primary
colors and also on the white and the burn
timber that we can have. So in this video,
we are going to see how to mix some different
brown still using a five color palette
and you will see that the way of doing is the
same that for any colors. And so after this video, you will be able to identify
better the brown, I think, and to create the brown that you actually want to paint
any kind of texture, like the wood, the skin tone, or any other thing that
has some brown in it. Now, let's see how to do that. The side, I have my five
colors palette with yellow, red, white, ultramaron
blue, and burnt umber. And with these five colors, I will show you how to
get any brown afterwards. Now we're going to
focus on the role of the complementary colors
to get these brown colors. So the complementary colors of the orange is the blue because to get the orange,
I don't need blue. I need yellow and red. The complementary colors of
the purple is the yellow because I don't
need yellow to get some purple. And
you've guessed it. The complimentary
color of the green is the red because you don't need
red to create some green. So let's give it a try
with the red color. So the red color, it's opposite is the green color, sorry. So it's like if I
was taking some yellow and blue because
green is yellow and blue. So if I add some red
to my green color, you can see that it's getting
close to a brown color, some kind of neutral. It's not too much green or
too red this kind of brown, but if I had more green, you can see that my brown will tend to go
towards the green, so we'll have a
brown green color. And on the contrary, if
I add more red to it, then my brown color
will get closer to the red color.
That's quite logical. Let's give it a try with the
purple and yellow color. So I have my purple color. And if I had a little bit
of this yellow color, well, my purple will become
less and less intense. And the more the yellow
I will have to eat, the more this color will get
closer to the brown color. And so, once again, it's another brown color. You can see that it is pretty different from the one
we created before, and it tends to be pretty
close to the purple color. And if I want my color to
be more intense again, I just have to add
some purple to it. Again. On the contrary, if I want to be more brown, I had some more yellow again, and we can see that now it's more yellow brown color that we have had it because
in proportion, we have much more
yellow than purple, and therefore, it's our yellow that has lost some intensity, and that has become brown. And I can do the same thing with this blue color by
adding some orange. Right now, my orange had
too much yellow in it. That's why it went
towards the brown, so I added more
red to my orange. And slowly step by step, this blue color is
getting less and less intense to get closer
to the brown color. And the more I add
some orange to it, the more you can see it. And I can do it also
in the other way. The thing is, I have to ask myself what color is
closer to this one? For instance, if I have a brown, and I think that my
brand is more orange. Well, at first, I will
pick some orange, create some orange, and
then add some blue to it. On the contrary, if I think that my brown color is
closer to the blue, then I start with a basis of
blue and add some orange to it to make it less intense and more going
towards the brown. So now we are going to create some browns from these colors. And well, the first brown we are going to
create is this one. And the first question I have
to ask myself is what color is the closest to this run from my primary and
secondary colors? And if I look from my primary
and secondary colors, I can tell that this brown
is the closest to the green. So the first thing I do
is that on my palette, I am creating some green color
with my yellow and blue. So now I'm going to compare my color with the
one I want to mix, and I ask myself
these questions. Is my color too red
or not red enough, too blue, not blue enough, too yellow or not yellow enough, too green or not green enough, too purple or not purple enough, too orange or not orange enough, and too dark or too light. And the first thing
I notice is that my color is way too intense. This green is too intense in comparison
with the one I want, so I am adding its
opposite color, its complementary colors,
which is the red. Right now, when I see my color, I think it is still too intense, so I am adding more red to it. And right now when I ask
myself the questions again, I can tell that my color is too light in comparison with
the one I want to mix, so I am adding more
burnt umber to it. Once again, when I ask
myself the questions, I think my color yet still too intense and also
not dark enough. So I'm going to add
some burnt umber and some red to it again. So I'm getting very
close to my color now. I think it needs to be a
little bit darker again. I think that when I compare
my color with the one I want, I think my color needs
more yellow in it. So that's why I'm going to pick some yellow a little
bit, and I had to eat. And then I'm pretty satisfied
with the color that I want. Now, if I take a look at
this new brown color, I can tell that it seems to be going towards the
orange red color. So the first thing
I do is that I create a big amount
of the orange color. So when I compare my color, the first thing that
I can notice is that my orange is
not red enough. I think it needs more red. Also, this orange
is too intense, so that's why I am adding the opposite color,
which is the blue, and I just had a
little bit of the blue because the blue is
a very strong color, and if I had more, it will get blue very fast. And also, my color
isn't dark enough, so some burnt umber might help me to get
towards this color we want. Once again, I think my
color isn't dark enough, so I'm adding more
burnt umber to it and also not red enough, so I'm adding more red. I observe the same thing
because I didn't have enough, so I'm adding more red
and burn timber to it. And now I'm taking my time to explain to you
everything that I do. But with more experience, now this kind of mixture, it takes me 30 to 60 seconds. Whereas before, it might
have taken me, like, four, 5 minutes because I
needed more time to analyze the color and know what direction I had
to give to my color. And the more you will practice, the more it will become
natural for you, trust me. We're getting
closer, but I think my color is a little
bit too dark, so I can do several things. I could use some white, but the white would make
my color less saturated, less intense, and
that's not what I want. Or I can use some yellow or red, and I will actually use
both because I want my color to be lighter
and more orange. So the yellow and red will lighten my color
as the value of these two colors is lighter than the one of the
color I am mixing. And it's also the color
that I want my color to be. So this orange will
make my color perfect. And now I think it
is pretty good. And finally, I'm going to
create this last brown color. Sorry, my burnt umber
disappeared on the camera. I zoom a little bit too
much, but it's okay. I won't need that burnt
umber for these color. So if I look at
this brown color, I can tell that it's closer
to the red purple color. So therefore, I'm creating a purple color with
a lot of red in it. I'm going to add
some more again, to make it more red, and to make it going towards
the brown color, all I will have to do is to add the opposite color
of the purple, which is the yellow,
and therefore, I will have a great color,
the one that I want. And so that's how I
create my that's how we created all these colors
with this limited palette. Now it's your turn. You have to practice a lot, pick a color, try to mix it, do it again with
many other colors, and this is how you will be able to mix all these
colors as well.
14. Conclusion: mastering color with confidence: So this is it for this
part on the color theory. We have seen many things, and it's really
important that you practice and you try to
make some new color. Take the time, for instance, and focus on some colors. You see these in your
room, for instance, that has some kind
of a red color, then try to mix it. Then there is a
leaf, for instance, on the flower, then identify
the color and try to mix it. Or even on the Internet, if you go to Google
and you write, for instance, a
blue gray color or a brown orange color, you will see that there are some pictures with
just one color, a square full with this
color that you search for. And then you try to mix it, to identify this color properly, and then try to mix it using this method
that we've seen together. It's really important
that you get the grasp of this method and you really
master color mixing. Of course, it takes some
time at the beginning, but the more you practice, the more it natural and you will get better
at color mixing. And you will see that with
all the exercises later on and with the demonstrations
of the full tutorials, I always take the time to show
you how to mix the color, and we always take the
time to identify them because it's really important
to get something realistic. Now, that's it for this part, and let's focus on the exercise.
Tristan, Teacher and Artist
