Farbschema-Spiel Teil 2 – Schemata 2, 3 und 6 – Pfützen ziehen; Serie und Abstraktion | Chris Carter | Skillshare
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Color Scheme Game Part Two - Schemes 2, 3 and 6 - Pulling Puddles; Series and Abstraction

teacher avatar Chris Carter, artist, illustrator and explorer

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

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Introduction to Part Two

      2:17

    • 2.

      Review of Part One

      7:54

    • 3.

      Materials and Palettes

      10:04

    • 4.

      Brushes

      2:02

    • 5.

      Paper

      2:37

    • 6.

      Mixing Consistency for Successful Washes

      10:47

    • 7.

      Pulling the Puddle Technique

      4:40

    • 8.

      More Pulling the Puddle

      14:06

    • 9.

      Working in Series

      2:27

    • 10.

      More Examples: Plant Series

      3:11

    • 11.

      Abstract Shapes from Traced Objects

      11:42

    • 12.

      Color Scheme #3 Cross Complements

      18:01

    • 13.

      Color Scheme #6 Analogous with Split Complements

      7:26

    • 14.

      Color Scheme #2 Double complements

      6:03

    • 15.

      Conclusion

      4:23

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About This Class

Part Two brings you closer to mastering your color skills as we dive deeper into the myssteries of pigments and mixing pigments. Three more color schemes are presented: #2 - Double Complements; #3 - Cross Complements; #6 Analogous with Split Complements.  In addition, you will practice the Pulling the Puddle technique, learn about working in a series, and begin to step away from representation as you create an abstract composition by tracing found objects.

The example of Color Scheme #3 goes into depth regarding the infinite variations of color palettes possible from three primary hues; one each of red, yellow and blue. The results are determined by the pigments you choose ... the saturation of the pigments and the degree of transparency or opaqueness of the pigments.

As you work through these color schemes you will come even closer to discovering the color palettes preferences of your inner artist and begin to hear your own color voice.

Meet Your Teacher

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Chris Carter

artist, illustrator and explorer

Teacher

Welcome to Skillshare. I'm Chris Carter.

I love exploring the world with pen and brush whether it be by land, sea or air! Here on Skillshare, in tiny bites, I present tips and techniques I've learned over a lifetime of sketching, drawing and painting. My classes are designed with two purposes in mind: to present tips and techniques that help you learn new skills and master current skills; and as quick reference for those of you who have attended one of my live workshops.

I create large, abstract watercolors and oil paintings in my studio. When traveling, which I do for more than half the year, I work realistically, mostly in sketchbooks. I sketch from reality daily to keep my eye, hand and brain coordination well-honed.

You can follow me on Instagram. Additional ... See full profile

Level: Intermediate

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Transcripts

1. Introduction to Part Two: Welcome to part two of the color scheme game. I'm Chris Carter. In part two, I'm going to show you the technique of pulling the puddle, which is my favorite technique. The technique I use on a daily basis both for abstract work and representational work. I'm going to show you how you can go about moving into abstraction in a very simple way. By creating closed shapes for the color scheme, game tracing objects, very simple. A lot of fun. I'm also going to go through working in a series. Working in a series is very beneficial because you don't have to think of what am I going to do today. If you're doing a series of mugs, you just find a mug. If you're doing a series of plants, you just find a plant. You'll see there are a lot of examples of different series. My Family Treasures series was really fantastic because I got to play with so many different shapes and objects within the series of the memories from sentimental objects in my family. The other nice thing about that was it was incredible for strengthening my drawing skills. I will be giving you examples of color scheme number three, which is cross compliments. Color scheme number two, which is double compliments. Color scheme number six, which is analogous with split complements. I'll talk about choosing your paper. I'll talk about the mixing palette. That's what's in store for you in part two. I encourage you to either stick to the rules if you want to learn about value, color, value, or break the rules and understand, make notes of why you're breaking the rules and what you're learning from it. And if it's getting you closer to creating work that feels more like your inner artist is painting. Okay, let's begin. 2. Review of Part One: Part One. I introduced you to the color scheme game and gave you a history of how it came about, how I invented it, to teach myself color, and to teach myself how color schemes work together. Most importantly, I think I continued playing the game because I had learned so much about color value. And how to use color in really dynamic and subtle ways that were far more expressive. I could use a more pure, saturated color to achieve that. I emphasize this because as I've been putting together this version of the color scheme game for skill share, breaking it down into smaller pieces. I find that I broke my own rules many, many times as I continued playing the game, especially during the second and third year. As I mentioned in the first part, I played this for three years straight. Every single morning. I'm sure I skipped a morning here and there, but basically every morning for three years and for the first year, I truly stuck with completely saturated color without diluting it, without making a blue. A lighter value blue, ultramarine blue was the darkest ultramarine blue I could make and still have transparent, have a water color that was not opaque. I was dealing with the darkest, dark, most saturated color that I could. From that, I learned so much about color value. I emphasize this because you'll see in the examples that I am showing you for this part two, part three, part four. After working on some of the videos for you in this part two, I realize it probably will extend past part four because I came up with several new sets of templates to use for the more advanced. But by the time you get there, you will be more advanced. It will work out fine. So I'm encouraging you if you don't have a really solid understanding, even if you've been a professional painter for years and years and years, you may be like I was where I had been painting, teaching, exhibiting, selling my work for a good three decades before. I truly understood the expansive use of color, when I understood what the intrinsic color value was of that pigment. I don't want to keep repeating the importance of this over and over again, That's why I'm making a big point of it now. I'm suggesting that if you would like to strengthen your understanding of color value, the value of a pigment in its most saturated state, then I suggest you hold to that when playing the game, You don't add more. We're working with water color, you won't add more water to lighten it up a little bit when I feel free to break those rules. When you do be aware of that, just be aware that you have lightened it with water. In part one, it's a quick review. I showed you contour drawing. I talked about closed and open shapes because for playing the color scheme game in the way that I'm presenting it, we use closed shapes. You can also do it with open shapes. But that again, is more advanced for you to do on your own and for those rabbit holes that you might want to go down. I showed you how to make a custom color wheel. I hope that you understood the importance of that. That you're not trying to match the colors that are in the kit, the PDF of the color scheme game. You're not going to match those colors. Your colors may match, but your colors also could be completely different on your color wheel because of the pigments you're using. If you're using a yellow or as your yellow, your custom color wheel will not look at all the wheel that you're using as reference. Okay? It's important that you go back to part one and look at that again about making your own custom wheel. Okay. I showed you how to prepare the templates and also how to laminate them if you want. I presented to you the color value diamond in this chorus. You'll also get those reference PDF materials to download and print. You don't have to jump back to part one, but if you want to know more information about them, then you may want to go to part one to see that. Okay, choosing pigments, I talked about that. Let's see, I talked about the importance of clean water and the water containers to use two or three multiple water containers. Then I showed you examples of color scheme number ten, which is the triad with split complements. That was the wire snips. I showed you an example of color scheme number four which was the analogous to extended analogous for that one. I showed you the cantaloupe slices, I showed you color scheme number five, which was analogous with one complement the project Albert do. It was $1 Again, I talked about the warm and cools of each primary. If you're red, you're yellow and blue. Why you choose a cool red over a warm red, or a cool blue over a warm blue? Okay, I also talked about evaluating your choices based on value. Like why do you, after you throw the e, why do you choose one set of colors over another? And I mentioned that I usually choose my pigments based on having the greatest extent of value possible. I want a light, a light value pigment and a dark value pigment as much as I can. I wouldn't pick red and green because they're really close in value over yellow and violet. Okay? Because yellow and violet, I can really play with shapes because yellow is very light value. Violet is a very dark value when I'm using pure saturation. Okay, so that's what I covered in part one. If you want to go back and review that, you always can. I am assuming because this is part two that you've attended part one and you have that information. Some of it I will repeat, but I'm not going to be repeating a lot of it because we have a lot of area to cover. 3. Materials and Palettes: The materials needed for this class are the same materials needed for part one. Those materials are listed below. Basically, it's whatever you use for painting and water color. You're only going to need three pigments, one yellow, one red, one blue. You may be switching those out throughout the class, but for each project that you do for this class, you're only going to use three pigments. Let's see, you'll need your paper, your brushes, water containers, pen pencil. Depending on what you're going to be drawing with paper, towel mixing palette. I will be going over different mixing palettes and I'll be going over different papers. In this class, I will be showing you a number of different palettes that I think work really well. The main feature that you want to look for is that there is some depth to the well and that it's large enough. Now, these are probably large enough for what you're going to be doing, but you would have to fill the well up a fair amount, almost to the top for some of the areas. The importance when it comes to pulling the puddle is that you have a large enough mixture to begin with. Because you don't want to stop in the middle and have to make a new mixture, probably you're not going to be able to match your mixture exactly. You need to make more than enough pull your entire puddle. Okay, this would work well. You can see I haven't used it very often. I saw it, thought it was a great palette, just haven't used it often. The palette that I use most often is this. Because it's like a color wheel. And I can put my yellow or my yellow green, I can put my mixtures where they belong on the color wheel, pretty much. Now, it's very hard to get a 12. Well palette, this is 1-234-567-8910, not 12. What I do is I use two of these, is the intermediate, the two extra that I don't have, but it works really well. I do have to scrub it down with some rough cleanser when I'm doing the color scheme game because I don't want any of this blue to mix in with my mixture. It may neutralize it. Okay, that's where you can see I've used this a lot. Something like that is fine because it gives me places to mix four different mixes. It's deep enough, it's large enough for sketch book color scheme game. This little one is also perfectly fine. Once again, you have to really make sure it's clean so that your mixes are pure. This is a tougher ware deviled egg container that also works extremely well. You've got the wells, I can't remember where this came from. It's meant to hold water color to squeeze it in, but it works well for mixing too clearly. I haven't used this, but it would work well. I love these that this is plastic, but it's similar to a ceramic. Nice deep wells. This is real ceramic, which I love. This is what I use to mix very large quantities when I'm working on large abstract water colors. This one is not so great. It does have wells here. They're not very big. It has wells here, but they're not very deep. This is not one that I would use to play the game. This one is really easy to come by. This one is a little harder to find in a art store or online. This one is a basic one. Again. It's 1-234-567-8910, So it doesn't have the 12 wells, but it works really well. Notice to the wells are larger than these wells, so that's why I use this one. Okay. Now I also will show you what doesn't work well. Okay. This is a metal paint box. Paints usually sit in here. These would work somewhat well but they are shallow and it's really easy for this color to get mixed into that color. For me have never worked well because I don't know, you can mix tiny bits, but it's not good for playing the color scheme game, this one. I love this palette. I've used it for so many things. This was the original palette that I used for painting in the pubs in the dark. I don't generally use these for mix, but these have worked well because they're not real deep, but they're large enough that for the color scheme game in a sketch book. When I'm working on smaller pieces, I can mix sufficient washes, and they're 1234567 spaces. This is one of my favorite palettes. Look at the deep wells there. Now, this one I squeezed my paints into here. I haven't used this for a bit, but I took this to France with me and painted on plan a large painting, small paintings. It was just great because I could mix big washes. I've also used this because I had so much paint in here and you couldn't really take it out. I used up the paint that I had squeezed in there, my trips and I used it to mix bi amounts of washes for some of my larger water colors. Sometimes sky, sometimes abstract similar to this is this one. Now you'll notice this is pretty deep. Okay? This isn't quite as deep. This is long and narrow. This is square, This fit into a bag. I have better than the other one. With this, you put your paints in here wherever you want, and then you can mix here. That's really great. This I don't use very much. I might use just to mix something for highlight, but obviously I can't make big puddles of wash there, but I can in the then. This is one that I found recently on my last trip to France. This is a Van Gogh palette, and what I love about this is that it has this extra space for mixing paint. This would work really well too, for playing the color scheme game. It's a nice little travel set. My number one is this. That's what I generally at home when I travel. I have used this in the past. It's deep enough and there are plenty of places to mix, but I think that I'll be experimenting more with this one. Those are the palettes. The main thing is to have a large enough space, a deep enough space that you can make a puddle. What I learned recently when I was talking at a high school, was in spite of me really making a point of the importance of mixing enough paint to start with so you don't have to remix, many of the students didn't do that. What they did was they kept adding water to their paint and creating mixtures every time they went to add to their puddle. And it just didn't work because they were either adding more pigment than before or more water than before, and they kept adding new water so that they could get the pigment. I don't know why they didn't want to mix it ahead of time. I would ask and they just didn't give me an answer. I've seen that in some of my workshops before. I'm really making the point now of mix more than enough of a puddle so that you have that puddle to constantly dip into. When you're making an even wash of the same consistency, you're going from dark to light. That's different if you're switching colors, charging it with a new color, that's different. If you're making an all blue sky that's completely the same value from top to bottom, you want to make sure your puddle is big enough to give you that mixture all the way down through the puddle. 4. Brushes: Now these are the two brushes that I used for those three years of daily color scheme playing. These are the brushes that I would use when I taught the live color scheme game workshops. All right. They're very inexpensive. This one is cheap. Joe's Art Stuff Boon, it's a Kilman precise nylon number ten. It keeps a very nice point for an inexpensive brush, It is just amazing this one. Remember the name of this one? But this also was a super inexpensive brush. It keeps a nice point. Now you'll see I'm not using a tiny, tiny brush. Another skill that you're going to learn along the way is how to use large brushes to get into little areas. You'll find that you'll treat your brushes very well so that they stay healthy and can continue to give you a nice point. But you don't need anything smaller than this. Often you'll see me painting with a smaller brush because I've gotten very spoiled using my Kolinski travel brushes. Now this is Be six and this is a ten. But if you have an 8.5 or a 9.4 use them. You do not have to go out and buy all kinds of new equipment for this. You will find that if the supplies that you have aren't making you happy, then go out and spend the money. But use what you have first. See you in the next lesson. 5. Paper: The last supply that we need to talk about is paper. I'm not going to make a lot of suggestions about paper. I'll let you use up what you have. I'll let you know what I'm using. I do suggest you use a quality paper and you don't get a student grade for two reasons. A lot of the student grade paper has too much sizing on it and the pigment will just slip around on the top. The other reason is that often it's machine made and the texture that put onto it is very artificial. There are some that ends up looking like a paper towel texture. It's just unpleasant. If you have that, try it, use it up or then cut it up to test your colors with or something experiment. I think you'll have more success with this technique of coloring in painting in the sections. You may have more success with the cold press, which is the bumpy kind then the hot press. The hot press is a little bit harder to push the puddle or pull the puddle, which is one of the first techniques I'll show you. All right. So my suggestions are, use a professional paper, use a cold press. Not a rough but a cold press. That being said, you can really use anything you want. I'm using Reeves BFK printmaking paper, which is not a watercolor paper at all. But I find that it really is so easy to lay down a wash. It's not at all what I would use for experimental fun. Wet in wet techniques, splattering techniques, all of that. But for the color scheme game, it's absolutely perfect, really holds the pigment and doesn't fade out the way that pigments will fade out on some paper. So here we go. We are ready to begin. While I got the paper in front of me, this is one of the ones that will be available to you. You will see it in the download section, and I suggest you use your own drawings. If you're not comfortable with that, you can print this out. You need to cut your watercolor paper to 8a2x 11 so that it fits into your printer. And then you print out the PDF file and you'll get something that looks exactly like this. Okay, see you in the next lesson. 6. Mixing Consistency for Successful Washes: I'm Chris Carter. The purpose of this video is to demonstrate the correct consistency to mix when using watercolor to lay down glazes or washes. I will demonstrate it first with pigment. This is pigment that was originally squeezed out of a tube and left in the pan. And it eventually dries and then I re wet it, it has a little bit of a different consistency then the pigment that comes directly out of the tubes. The second part of this demo, I'll be demonstrating mixing good consistency with pigment straight out of the tube, doesn't matter what color I'm using, this is a permanent magenta. First I will add water to it to let it soak in and soften the pigment. What do we do when we want full saturation? And we don't want a lot of water, but we still want it to be transparent. And that is the goal of this video, is to show you how I judge the consistency of my mixture so that I will have the darkest dark I can possibly get with a pigment and yet still maintain the transparency. This is softened up a bit. I could make a smaller quantity of this, but I also want to show you how I mix large enough quantities to fill in an entire closed shape in my dollar art or when I work in larger watercolor formats where I need to be able to lay the whole was down without stopping to, otherwise I end up with streaks. I mix nice big puddles. Now we're going to test this out. To start with over here. Tip it a bit. Okay. So that's pretty much right on the money. I will wick up the bottom. Now when I tip the paper so that the extra water color is pulled down by gravity and I wick it up so it doesn't just sit on the paper and dry in lumps. Now I don't know, you can see that without the sheen, it is not quite opaque. I can see through it. That's really okay. So first shot, but I've done this a long time. I'll show you now how it looks when it's too thick. I go for a consistency that is between 2% milk and whole milk. Half and half is too thick. All right. That is too thick. The reason is, is that it's not flowing at all. It's staying right on the paper. You can see right here, there's too much pigment in there that will dry and be opaque. And it might even be a little shiny. Because remember gum Arabic is the binder for water color and it will dry. Shire's pigment, which often is the case in student grade, the pigment, when you mix it, it will seem a little slippery. I call it slippery, and it never really dries. And the reason is because there's too much Gum Arabic in it. But this one will dry nicely. It will be the darkest dark I can make. And just going a little bit stronger with the pigment to water ratio, I end up with it not flowing. There are streaks there that is going to be our darkest. This one is too thick. This is perfect. You want to mix values from it. You can start from this puddle, let's say. I just want to go a little bit lighter. I'm going to keep my dark in case I need that for something. I'll just add a little bit of water from my brush. I just want to show you the difference in the value. All right. So can you see that this is a lot lighter, but see how much darker you can go with it if you want to for your dark darks. You don't have to go and add black to things, you can just go with the full strength of a dark pigment To begin with, we'll try the green. I'm using Cotman, which is Windsor Newton student grade, and this is Hooker's green, Dark directly out of the two. Now here what you have to watch out for is that you mix it enough When it's in the pan, the pigment is hardened, so you can't even pick it up and bring it over here to mix unless it's already started mixing with water, which is why I added that and let it soak. Now with this, it's like a paste. And I could end up, for example, I could say, all right, I'm going to just paint there. It looks great, goes on nicely. But see, it's not really mixed dark light, it's not mixed in with the solution. And maybe that's what you want. But if you're laying down a wash, that's definitely not what you want. By laying down a wash. I'm talking about doing something where I've got a nice flow going. I will do the same thing with this. I'll add, but not as much water. I'll add a little bit of water and let it sit to soak into the pigment. Let the pigment absorb the water a little, soften it up. And I'm going to work for the same thing. I'm going to go for the darkest Hookers, green, dark I can make and still be able to apply it in a nice free flow on my paper. Maintain transparency but have it the darkest dark possible. I have the supply of paint here. I don't mix in here because then I've used all this paint. Maybe I have it mixed incorrectly. Maybe I have too much water and I can't make any darker. I take from my mother's supply and I use other cups to do the mixing. Now, this to me is looking like half and half. I think that that's too thick. Let's test it out. Yeah, it is too thick. It's close, but still is a hair too thick. It's not flowing down as nicely as it could. So I'm going to add just a bit of water. Not much, because I still want it dark. If it's the right consistency, I can let it sit in a bigger puddle. Can you see that puddle moving? I hope that you can see that on the film. The puddle is now moving down. That is perfect. I might be able to get it a little bit darker. I'm going to try see how this got stuck right there. That was because there's too much pigment to water. Can you see that line? I just wick up on the bottom. All right. I'm going to see if I can get that a tiny bit darker. So I'm going to go back into here carefully, pick up some more pigment. I'm right on the edge turned back into half and half, I want to head back towards the whole milk. Okay, that might be good if you can see this correctly, and maybe we'll see it better when it's dry. You can tell the difference between this, which was too much pigment per water. This was almost perfect, but a little too much water. So it's a shade lighter in value than this one, where the mix between pigment and water is perfect. This is the consistency that you want to look for with your darks, with your lights. It's quite simple. Your lights just make sure you mix it enough. Almost anything lighter than that's going to flow beautifully. So you mix it, just keep adding to your puddle runs down nicely. See how it flows. It's beautiful. The challenge is up here, getting your dark dark that way. It's a gorgeous dark without adding black or without having streaks or lumps or having your dark dry, shiny. 7. Pulling the Puddle Technique: A key to a nice smooth streak free glaze is mixing enough paint. Now you see I've added a lot of water in here. That's why I want to make sure that I get mostly pigment out of my pants because I'm already diluting it to make enough. And I'm going to mix a nice rich dark so that I have a lovely contrast between the background and my pair. I'm using cool red and warm blue. I can go a little darker than that. Notice I'm not adding more water. I'm adding more pigment. I'll test this out. That looks good to me. I'm ready to go, but I'm not going to be mixing any more paint. I'm only going to work with this puddle that I have. I'll be using a number eight and possibly a number four brush to lay in the water. Okay. I'm only going to work out of this puddle. I'm moving my painting around so that I can start at one end, move around. I have my board at a bit of a slant. Not a lot of a slant, but that way the water, the pigment is always running down and it doesn't move back up to the area I've already painted. You want to really add a big puddle to start with, then you're really just pulling that puddle down and you're not going to want to go back up to the areas you've already painted. You simply are guiding this puddle down. When you need to turn a corner, you turn the paper and keep adding to your puddle. Can you see the dark part right along the edge? See how nice and smooth it's looking above my puddle edge. As long as I keep the edge wet, I'm perfectly fine. When the edge starts to dry that you end up with a streak. You can see why you don't want to have to stop and mix more paint. There are ways to vary the color that I will teach you in another class. One little step at a time, you get to be a master of this, or at least fairly proficient. Then you can move on to playing with adding color and also graduating it so that it goes from dark to light to dark again without any streaks. See how I'm keeping this all wet while I turn this corner and still pulling down because it's wet. Gravity works in my favor and it's going to go all the way down. See how it's moving. I hope you can see that in the video. You'll definitely see it when you're doing it on your own painting. You're really the captain of your puddle. You want to steer your puddle in the direction you want it to go. Now, just because I'm coming to the edge does not mean that I don't keep adding to the puddle. You'll see what I do when I get to the very end of this, which I am fast approaching. Then I will use the property of a sponge, which is to soak up. I'm going to do what we call wicking up. Right, there's a puddle there. This is where my paper towel comes in handy. I dry off my brush. I carefully, without scrubbing the paper, gently skim the top of my puddle. I don't rub color off, and I wick it up until I don't see a puddle anymore and then I let it dry. Look at how beautiful that is, That is a seamless wash. This is a technique that I've used more than any other technique. I know I throw paint, I splatter it. I work very dry with dry brush. I do all kinds of techniques with water color. This is the one that I have found most useful in the 40 plus years that I've been painting. You master this and you will have the world at your fingertips. We're going to let that dry completely and then move on to another area. 8. More Pulling the Puddle: Okay to pull the puddle. I will start up here and pull it all the way down. I hold my paper at a little bit of a tilt to help the flow of the puddle keep adding to the puddle. I don't want to get too far ahead because I've got to make sure to get all the parts that are above the end of my puddle. I'm working on Reeves BFK printmaking paper, which is really wonderful for this technique. It's not great for all watercolor techniques because it's really meant for printmaking. But I love it for this coloring book type of painting in. I'm going to start up here again because I don't want to tip the paper to go back up while this is still damp. All right? So I'm mixing up an orange for my fish. I am going to make him an orange fish. And this was a little too red, orange. This was a little too light. It's okay. But I think I'm going to head back in this direction. I don't want to lighten this with water. All I have to do is add a pigment that is lighter than this, which is a yellow. I've added more yellow and I can add even more yellow, just straight yellow. I don't need to add white or water. I can lighten it by adding a lighter valued pigment. So that's exactly what I want. All right. This is a good point to show you if I I have all these places that I will have to go into. This is closed off. I can go all the way around and then I'm going to have to pull through there to come back into here. But that's what I'll do. Let me explain that again. This is open and I would like that to be open. I want my orange to go behind these shapes. I don't want to start here because then I'm going to have to be painting on both sides. And it's really hard to do since this is totally closed off. I will start here and move around and make my way back. Now, there's some open areas here too that I didn't watch out for. I have to make sure to keep this nice and wet because I'm gonna have to leave it to go to other parts. This is where I draw it down and around the corner. That was a challenge. Before I go any further, I want to get some blue so that I have something to gauge my coloring. And I really do want to do these in blue. So I'm going to go for the thalo blue. I love it so much. You need a brush with a nice tip for this. The ink helps to work as a barrier so that the water color doesn't seep past the line, but it doesn't always work. Now here, the color scheme game forces you to do things you wouldn't do otherwise. I now have the peacock feather. Of course, I have to not worry about what color it should really be. I have to think about how the lines and patterns will work, the light and the dark, and where the other parts of blue will be. I know that I want this to be blue, so I think that I should do that next and then I'll know where. Probably some blue detail in here too. But the next step would be to do. The blue dollars are also excellent for pre visualization. I'm looking to see which area I'll paint next. My choices are what value will it be, light to dark? What temperature will be warm or cool? Meaning, the warm colors or the cool color, Which color it will be? Even with the blue, I have choices there. The mix of my ultramarine and my thalo, or just ultramarine or just thalo. And that gives me the warm and cool of the blues. I'm going to go with yellow oranges in here. And then my background, I think will be the deepest red orange I have. The next step is to mix my darkest red orange, put back here, and then I'll be able to determine what to do here. Until then, I really can't. I think I'm going to do the same dark red orange that I paint here. I'll paint over there. I think. I'm not sure. I've decided to do a diluted blue in here. I need to deal with all of this warmth and I think that that will do it and maybe that will let me know what I can do here. All right. I was going to use this as an accent, but I think that there's already a little too much patterning going on. So I'm going to paint this in a light yellow orange, with just subtle differences so that it all reads as one. Shape without too much pattern in it. Okay, the zipper is going to be this light yellow, orange, the outside part. And then it's going to change to be something else here. And I'm going to flip flop these colors too. This light yellow is not working for me at all. I'm going to go darker on that side because I lose the fun over here. This is competing with that, so it's got to be darker. And now you can see this line is popping out more strongly. Now, I'm happier that had to do mostly with the value, sometimes you just don't know until you try it. Just why I like thinking of these as all experiments. Now, the zips, the zips are the very last thing. What do I do with the zips? I think I have to make them kind of go away. Make them orangy, Okay. Looking at it, this needs to be a little redder. This was challenging, and that's what the color scheme game does for you. It forces you into these challenging situations. Okay, much better finished. 9. Working in Series: Of all the series I've done, my Family Treasures series is my favorite. It's an ongoing series. I realized after I was only a little way through it, that to create sketches that can replace stuff is very valuable. I wanted to create these sketches, not just of the stuff from my own childhood, but also from the stuff from my children's childhood. There are things for my own children's childhood that I would love to keep because I like to see them and remember those times that we had the funny adventures that we had together. As a result, my house is getting to be just overrun with stuff. Stuff that should be thrown out to create these drawings that bring back the memories, just as well as the stuff is a better of an idea. I think the idea of compressing a household of stuff into 123, maybe four volumes of sketchbooks, I think is marvelous. In addition, you can make copies of those drawings and paintings and print them out or make other books. It's an ideal way to share memories with your family and your loved ones. We found a box that had tiny little animals in it that had been my mother's her collection when she was a child. My dad's tools were always an inspiration to me. There were the kitchen kitchen thermometer every winter when we made popcorn balls, we used that thermometer memory after memory, after memory. Look around your house and find the things that bring back the best stories and maybe start with those. 10. More Examples: Plant Series: Nature provides the opportunity to explore shapes, Colors, patterns, color combinations, movement, symmetry, asymmetry. It includes information for an artist to hone every possible skill necessary in your practice. I take advantage of drawing plants because I can play with color. I can observe how color changes as the quality of the light of the sun changes, as the color of the sky changes. And that informs me, it informs me about how I want to choose color. When I'm working on planar painting, or studio painting, or meditative painting, I experimented with value lights at darks against lights. I experimented a lot with temperature of color. Warm green against cool greens. I'm able to investigate how a plant grows. When I've sketched a plant, I learn what the shape of the leaves are. I learn the pattern growth of the plant. If I need a leaf in a certain place, because the composition and design wouldn't be improved because of I can invent a leaf that looks like it belongs on that plant. And that's a really, really valuable lesson to learn, because you can apply that in all other aspects of your work. You'll also notice that I experiment with design. I've learned so much about designing shapes within a square, within a rectangle within a page. And I can play with that design just by adding a leaf wherever I want it or a stem that will be appropriate to that plant. I learned how empty space works with cluttered space and how an empty space can balance an area of intense patterning. You'll also notice in the plant series that I'm experimenting with charging the puddle, and I refer to the puddle in other courses. When I make a beautiful transition from, let's say, a blue into a green on a leaf, the transition is seamless. You'll see a lot of that practice. Look at the individual leaves and you'll see what I've done there. If I were to choose only one series to work on for the rest of my life, it would be plants. Fortunately, I don't have to limit myself. 11. Abstract Shapes from Traced Objects: I've shown you how to pull the puddle. I've shown you examples of different series of paintings. Now I'm going to show you how to easily create closed shapes in an abstract way by tracing objects. This can also be combined with creating a series. There are a lot of objects here. These are all kitchen objects. I probably won't use all of them in the example that I'm going to create for you. But you could easily create a series of 12, series of three, a series of 100 sketches to play with the color schemes, a variety of color schemes. Just using these, I'll show you two variations of creating shapes using whatever the same 345 objects that I pick can look like. I'll create the sketch in this Cpt bound sketchbook that I made. What I will do is I'll work on these two pages so that I can show you the two variations using the same tools. The first thing I will do is I will draw the next part. For this, I'm going to use a pencil because I may not want all of the lines. It may be just too complicated. Let's start off with this. I am placing these somewhat arbitrarily, but also looking to see if in my placing them I'm making what I know will be in ugly shape. And I'm trying to avoid that. If you haven't done anything like this before, I suggest you just go for it and see what happens. You'll also begin to have your own sense of design of what you like and what you don't like. All right. That's enough. Plenty. I'm also going to use the same 6123456 items on this page but in a different way. Hey, so I've used all six items in both of these. I have all of these still left if I want to create a series, and then I could use some of these, choose different ones, that's possible to go into a series. Now what I'm going to do is I will determine the shapes that I want to use. Now, you could paint just like this, but I like to use the black because it creates a bit of a barrier. I won't be covering up all of the pencil lines. I will put a piece of paper towel down so that I don't cause the ink to bleed if it's not totally dry. This is a fairly rough called press water color paper. Again, not my favorite, but I'm just using what I have as I suggest you. Do you learn about paper? You learn about your pens? You learn about color, and you use up materials. The main point of the color scheme game is to learn about color. All these other things are just bonus benefits. Now here for fun of it, I'm going to go over. These lines on this side and under the line on that side makes it more like a padlock. I'm just playing with shapes. I don't care what the objects are, even though I may be doing a series of kitchen utensils and accessories. Once I'm at this stage, I'm only playing with shapes. Okay, I didn't k this, but I'm going to because I think I may do an overlay wash on that onto the second one. I realize that another reason I love working on the Reeves FK printmaking paper is that it's much easier to on with fountain pen would also be easier to draw on a permanent marker like a thin sharpie make a thicker line or a micro pen which would be a thin line also permanent. I can see it's also possible to put far more shapes in here where you don't even recognize these shapes as being kitchen utensils. Okay. There are the two versions using the same tools, two very different designs. This is another version of tracing things, and I'm doing this in my calendric sketchbook that I made. I'll be adding more signatures to it as the year goes by, but I will be traveling, so I'm going to take single signatures with me and then bind them into here when I return. This is all based on the calendar year. It's all focused for me on nature and my connection with nature. That's why when you use these things that I collected and I'll just show you what I have there, These are the shapes that I'll be tracing for a composition. That will mean far more to me and I will be more invested in the color exploration of it. But I did want to show you that you've can use simple objects for the house, probably for demonstrations I'll be doing in the near future. Throughout this year, I will be using natural forms of one kind or another. For this, I'm simply going to trace it with the pen part of it. I'm doing just by eye inventing as I go along, not in what isn't there, but inventing my drawing of this section without tracing it. Because it bends here, I'm doing a combination of tracing and drawing, Putting these back in in case I want to use them another time. Ah, I see something that I really wanted to include that I forgot rocks. Okay, here are three examples of how you can create abstract shapes by tracing objects. These are organic, these are parts of nature. And these are man made kitchen utensils. You now have all three of the techniques that I'll be showing you in part two, Pulling the Puddle, you have working in series. You have tracing objects to make abstract compositions. You know how to paint these in. Now because of pulling the puddle, I won't be demonstrating a lot of the puddle pulling as I paint these in. I will in areas like this because it involves working around shapes. There's some strategies there. I will talk a little bit about color choices and painting myself into corners as I paint these. But the focus of the next few videos will be more on the variations of color wheels and color schemes you get by changing out pigments. In the next few videos, I will be going through variations of the color schemes that are featured in part two of the color scheme game. 12. Color Scheme #3 Cross Complements: I will start with color scheme number three, which is the cross compliments. For this color scheme, there are only three choices. And this because as I turn it one more time, I'm back to where I started. What I will be doing is using three different palettes. This palette is using a gallo pigments, lemon yellow, cadmium red light, and Inman, which is, I think, very close to ultramarine blue. This might be a typical palette that you might choose when you're using basic primaries. Yellows that really look like saturated yellows, reds that are saturated, reds, and blues that are saturated blues. In other words, primaries that are not neutralized primaries. In this one I'm using beam paints. This yellow is called butter, the red is called surprise, the blue is called almost night. These are quite different from these, especially because the reds are extremely different. And the blues, I believe this is more of a cool blue than the in men. Then we have this miscellaneous batch of paints. One is yellow ochre. I have no idea who the manufacturer is. One is paints gray, that's going to be my blue because it's a gray with a real strong blue undertone. Then I have may be either a terra cotta, it doesn't look like a burnt sienna to me. This is what it looked like when I did a little bit of a wash of it. This is drying to look more like a burnt sienna, but it has a very red tone. This will be my red once I make the quickie color wheel of each. I'm definitely using these two. Depending on how this turns out, I may switch out the pains gray for this thalo blue. And that's going to be quite different because these are extremely neutralized and this is pretty saturated. I don't think I've ever played with this combination. I know I've played with this a fair amount. I moisten my paints, soften them up a little bit, trying to get as much information as possible. All right? I can see what my pure yellow is. I can see what my yellow orange is. I can see what my orange is. My red. I can go into a coolish red. I also have more of a lavender or violet than I thought I might. Because I think that this red is a cooler cadmium red light than what I'm accustomed to. It doesn't have quite as much yellow in it, and it gives me a better purple with the y min. Okay, I can get a red violet. I can get a blue violet. And a violet. And then moving into the blue I can get a great blue green, but a blue green. And then into some nice greens around to yellow green, to my pure yellow. That's not bad quickie color. Wheel number two is with the beam paint, the butter, the surprise and the almost. Also going to put a pure swatch for each. This is not a strong pigment, it's a weak pigment and somewhat opaque. It's a very cool blue and a cool red. I always start with the yellow because it's the least strong pigment. And not getting very much of an orange, but getting some nice colors. But that will have to be called my orange. Lovely violets. All right, well, that's an intriguing palette. Now, this first row will be using this color scheme, the yellow and violet, the blue green, and the red orange. These are cross compliments. This whole will be the Gallo paints. This row will be the beam paints. This row We'll be using the miscellaneous paints. I will use the thalo rather than the paints gray. This row? This combination. This row will be with that combination and this row with that combination. Then as I keep turning it, we're back to the beginning again. We really only have three possibilities. I'm using absolutely pure saturation, which is going to get me into trouble in no time at all. That's why I want to show this to you. You really understand the power and also the limitation of totally saturated pigment. When you understand the value of that totally saturated pigment, and you'll see what happens when I don't have enough choices of value change. I will also to make it clear how varied the pallet can be. The effect can be if I put yellow here, I will put yellow here and yellow here. I'm going to use the colors in the same places on each of these and we'll see what happens. Another way to do it is to do a whole page just with this and vary your placement of the colors. That's for you to do on your own if you wish. I have mixed up my colors and I'll say a few things about them because I know that these two, the red orange and the blue green, can be so close in value. I tried making this red orange with as much yellow as possible, because yellow is lighter, so it lightens up the saturated mix. I brought it as close to orange as I dared. I brought it to the point where I could still call it red, orange, and not orange. Okay, I made this as light as I possibly could. The blue green, I did just the opposite. I had a mix that was a lighter blue green. But because I want more of a variation of value, as much as possible, I made this as dark blue green as possible. Looking at this, it's really hard to get a dark blue green with those pigments. The yellow is so light. But that's what I've done then I have a pretty good violet in here, I think. Now I'm going to paint this in. I've decided I want the lightest. This to be the lightest. That's going to be yellow. Now here, because I want the darkest dark to be the violet down here. I'm going to use the shadow as the violet. And I'm going to paint this. I think it's going to look pretty yucky, but I'm going to paint the blue green. We'll see how that goes. I am using the pulling the puddle technique for all of the paintings I'll be doing, pulling the puddle down. I've shown you enough examples of that. I'm not going to show you the entire puddle pulling in this lesson. All right. There's the blue green background. It's really a lovelier color than I expected. I think I need to let that dry because I don't want anything to bleed into and almost everything I could paint would bleed into it. What I'll do is I'll paint the green background for all of them and then I'll go back and do the tangerine for all of them and the shadow. I think that will make sense. All right. The blue green is really hard to come by here. It's pretty much an aqua. A turquoise. And I'm going to have to call that the blue green because I'm going to have to eventually mix a green too. I was hoping to get something in there for the green, but that's about the best I can do to call it a blue green, right? There are two of the blue greens onto the third, there are all three. This one's not quite dry yet, but now they all definitely, even this one look blue green. I'll go back now and paint these all yellow. Now we have the gallo, the beam and the Unknown three different yellows and three different blue greens, all following the same color scheme. Here's the color scheme I'm working with. Now I'll put in. Violet. I'm not sure if you can see this. This I can see now is a violet. Dark violet. It's beautiful violet. This is a much lighter violet. And I'm pretty sure you can see that as a violet, this will never be a violet. There's too much warmth in the red, too much yellow in the red, and too much yellow in the blue cancels out any possibility of a violet. This was there, we don't see any tinge of violet. Now it starts to get a little trickier. I've used a yellow, I've used a blue green, and I've used a violet. Now I'm going to use a red orange. I'm not quite sure where I'm going to be putting the colors. Which colors. I'll go back to I will be going back to the to paint in these sections, but I have some tricky decisions to make now. Just not sure what I'm going to do. I've decided I'm going to go in with the darkest dark, the violet. And it may not make much sense in the end, but I'm going to give it a try. I played, What if? What if I do this? What if I do that? What if I do this? I believe that that's going to be my best option right now. I made these choices for the darks based purely on value. All right? I'm happy with that. I was wondering what was going to happen as I got to this last row. My logic and the way that I wanted to present this was that I would shift each color one space. Let's see. Okay, so whatever was yellow here would be yellow green here, and then would be green here. Okay? Whatever was blue, green would be blue would be blue violet. All right. Now, all of that sounded like it would work well. And first six, I think it if I follow that intention, I have yellow, yellow, green, and green. Okay. Now, green can't be a yellow green nor can it be a blue green. It's going to be really in the middle. In terms of value, green is a reflection. Okay? Green is right here. Blue violet is right here. This shape is not going to stand out well at all against the blue violet. Okay, then I'm also going to have to shift the red violet to the red here. What I'm going to have is green, blue, violet, red. All of these values are horribly close. I really can't change the red because it is just what I have. Okay, right out of the tube, it is the primary that I'm using to make these mixtures. My only flexibility with the yellow orange, now a yellow orange, I can make like this. That's a yellow orange, especially compared to that, that I can make lighter. I have control over that. I don't have control over any of the others if I'm using full saturation. And that is the point of this lesson to show you how much you learn about value and the use of value when you use full saturation. If I didn't force myself to use the full saturation in this, then sure I could make this green and I could make it a diluted green, diluting with water. But I don't want to do that for this exercise. So I'm not quite sure what's going to happen to the leaves next, but I am going to make this a yellow orange because I personally want contrast. Okay, I hope that made sense to you. Here's the finished piece. I learned so much along the way. Always when I do this, I'm surprised by something. I was surprised at how impossible it was to get a better green or a better orange. How impossible it was to get anything other than a brown going toward violet. By this, I was surprised at how beautiful these are. These are my favorite. They're the most neutralized, but they are my favorite. Then the last of my least favorite are these. These were made with pretty much a standard yellow, red and blue. That tells me something about my own tastes. Squint at this. I think you'll see what I meant about the problem with the values, all of this blends together. And what I wanted was for you definitely to see the tangerine, I had to switch it around and make this the yellow orange. These are the color wheels for the paints. This one was made from the beam paints, this one was made from the gallo paints, and these are the unknown miscellaneous ones. You can see why it's important to make a custom color wheel, this is the color wheel that comes in the PDF. But look at how different that is. That looks completely different from that or that if these were your pigments, how in the world could you even judge what you're going to get by looking at that? This is just reference basically to get you used to the color wheel being yellow, yellow, green, green, blue, green, blue, blue, violet, violet, red, violet, red, red, orange, orange, yellow, orange. But yellow orange can be many different things. This is yellow, orange, that's yellow, orange, that's yellow, orange. Then there are all the yellow oranges Between this orange and yellow orange, the possibilities are indeed infinite. Next we'll look at color scheme number six. 13. Color Scheme #6 Analogous with Split Complements: To make things a little easier for myself, I'm going to use a palette that I used for the previous color scheme. I am going to use this one that gave me this color wheel. This color wheel. You'll recognize that from the previous lesson. I'm going to go with this yellow, orange, yellow, yellow, green. This is red violet and that's blue violet. All right? I'm going to need a really big puddle of my blue violet. All right? With clean water, I'll get a fair amount in here so that I know I have enough. I think I need to start with this. And when you want a dark mixture, it really takes a fair amount of paint. Okay, It's definitely a beautiful color. Can I call it blue violet? That's the tricky part. Might be a little more red. That's the blue I'm starting with, and that's the red I'm starting with. I think I have to go with this now. I'm only going to be working from this. I'm not going to dip into my palette and I'm also not going to dip into water. If anything, I'll wipe my brush off a little bit with paper towel, but not much. I have to keep it wet so that I'm not changing the consistency. This is a closed shape. This is a closed shape and then this is the more difficult closed shape. Nice big puddle. Notice I have my book on a bit of a slant. This paper is very absorbent. This also is just a very small closed shape. Now this is the more challenging part I'm going to keep. At the same value though it doesn't look like it. I am still pulling a puddle. I have to work very quickly because I can't let either side dry or I get a streak or a hard edge. I want to make sure this stays nice and wet. There's my puddle over here. I bring this down to the puddle that the pigment is always on the move. It's not waste pain. I'm trying to bring some of the puddle up there to bring back down this because I have to keep going. I need to make sure that I'm not leaving too much of a puddle in the corner. But I really don't want to wipe off my brush to wick it up, unless totally necessary. Because then I can start pulling up paint, which is what I don't want to do. These raggedy edges are due to the roughness of the cold pressed paper again, there's a lot of puddle on this one. I have to bring it around while it's still wet. You can do that without a problem. Notice I am going in both directions because it's a big area and it's all really wet. It's okay to do that. I'm still pulling the edge of the puddle. Whichever direction that goes in, I'm still the edge. So I can pull the edge this way. I can pull the edge that way. Well, it's still wet. Has to pull around. By still being wet, I mean, in the gravity will go down, it'll be easy enough for me to keep that from being a puddle. A puddle that sits can't have any sitting puddles. Okay. Now here's where I have to turn it because I'm still pulling it down. I'm going to make these work together as a double spread. I'm also going to paint in this area, and I will film that too because it's a little tricky, It's going around a lot of different places. I'm going to let that f so that I don't put my hand in it and I don't tip the book in a way that will make whatever's wet here go back up into the wash. All right. I think I'll start at this end, go down that way for me, it's easier to start with the bigger wash and end up with a narrower area. I hope you can see how much paint I'm adding to the paper just keeps getting soaked right up. Thirsty paper. I think too, it holds onto it because of it being a rougher paper, so all the little indentations hold on to the paint. Okay, from here I'm going to go ahead and paint this in. I'll show it to you when I'm done with it. Next we'll look at color scheme number two. 14. Color Scheme #2 Double complements: Another way to play the game is to choose your color scheme. Then find pigments that match where you're not mixing them at all. What I've done here is I've picked green a gallo ion I think that's how you say it. Gallo. That's a yellow orange. This is a yellow green. I have aqual red violet, and I have a gallo Tyrian purple, Viola de ti. I will paint my abstract composition from the traced natural elements with these four pigments. First, I'll make myself samples of the colors I'm going to find my darkest and my lightest version of them. There I have yellow, orange, blue violet, yellow, green, red, violet, double complements. Here is the composition that I'll paint in using these colors. For this one, I'm going to allow myself to change the value by diluting. This is not really watercolor paper, so it should be pretty interesting. The puddle is not going to work too well on this kind of paper. I'll still pull the puddle, but I'm going to have a lot more variation and I'm going to be just fine with that. This is more like a hot press. It doesn't feel very absorbent. The paints sliding around a little bit. Actually, the paint is sliding around a lot. I'm still not going to get streaks, but I'll get splotches. I'm still dragging the puddle. You can see I'm not being all that careful about staying within the lines. I didn't mix a whole lot because I don't mind variations this time. It's getting to be the end of the day and I'm just having fun. I want to remember that I don't want to have equal quantities of color. I find this really ugly. When something like that happens, my go to is to flick some paint to bring it all together. That's what I'll do. I'm going to cover this up. Oh, better already. Okay, now I'm happy. 15. Conclusion: I covered a lot in part two of the color scheme game. I did a refresher course on pulling the puddle. I talked about working in a series, which for me, made it much easier to stick to a daily practice of playing the color scheme game. Then I also presented a very basic technique to break away from representational art and into abstraction. I enjoy creating both representational and abstract art. We covered three different color schemes, number two, number three, and number six. Number two is double compliments. Number three is cross complements. Number six is analogous to split complements. I went into depth with number three showing you three different palettes having chosen different pigments, a red yellow and a blue for each. I think that you saw that the results were drastically different. This is an introduction into the in, in world of color choices. I think you'll get the most out of this class if you do each and every one of the color schemes. And if you explore a variety of pigment choices. Now I know that could take you up to a year to really explore fully. I can just guarantee you that it will be worth whatever time you spend playing the color scheme game. As always, encourage you to bend the rules, make your own rules, and really start to discover and nurture your own color voice. If one color scheme really grabs you, keep going with that for a while. Make the rules break them. Make the rules break them. I know I keep repeating that, but I really think that that is a key to expressing yourself to your own work, becoming so unique and recognizable as yours, not anyone else's for your project. I'm only asking that you post one example of what you've done, though. I'm hoping that you'll post a lot more than that. Because we all learn from your experiments and the pigments that you've chosen. Just as in a live workshop, we learned so much from all of the other artists in the workshop, the only way we can learn from each other, taking online classes, is to post the projects and to make comments about our own experience as we were making those projects. Do go back, add to your project page and share them with all of us. I learn from seeing your projects too. Now, what is coming up in part three? Well, as I was doing part two, a lot of new ideas flooded into my brain. I'm not really sure what I'll present to you in part three, but since I continue to go down these rabbit holes, I have a feeling that I might present only one or two of the other color schemes, present it in greater depth. Because as you go through each of the color scheme, you are becoming a better master of color. And I can present greater challenges. I will I'm not sure yet what they'll be. I hope for you that this becomes part of your daily practice. I'm Chris Carter. Thank you for taking my class here on skill share.