Color Theory in Action: A 30-Day Watercolor Mixing Challenge

1. Welcome to this Challenge: Pink plus green equals violet. Wait. What? This and more fun discoveries during our 30 day color mixing challenge. Get ready to play with colors. Welcome to this challenge class where we'll create extensive colors watches and charts and explore key color schemes like monochromatic, complimentary and analogous. We'll also experiment with different primary color sets to mix a wide range of use including skin tones, greens, purples, earthy and muted colors, blacks, pastels, and even metal colors. I will also share with you sample paintings where each color scheme was used. Each demo video is around 5 minutes, making it perfect for busy artists. By the end of this class, you'll have a deeper understanding of color theories, learn how to mix vibrant and harmonious colors, and build a regular art routine. Hi. I'm Bianca Lustre, and I will be your teacher for today. I've been working with watercolor since 2018, and my current obsession is color mixing. In fact, to reward those who will complete this challenge, I have created this color wheels eBook where I mixed and matched different sets of primary colors and expanded them, which you can use as a guide in designing your own limited palette. Find out how to get your copy in the next video. And 2. Preparing for the Challenge: Our goal for this class is simple. Review basic color theories, apply them in mixing pigments, and learn which ones work together and which don't. For 30 days, we'll do lots and lots of swatches and charts. Each challenge features a color scheme, and sample paintings will be presented to give you an idea on how you can apply them on your own projects. To get started, please download the class guide where all pigment names are listed per challenge. But it's important to remember that you don't need to purchase new pigments. Just use whatever colors are readily available to you, okay? It's just that over the years, I have accumulated lots of paint because I put off learning how to mix my own colors. For your class project, you can either choose one of your favorite swatches or lay them all together and take a photo and upload it in the project's gallery. I would love to hear which pigments you used. To reward your effort in sticking with me for 30 days, I will give you a free copy of my color wheels ebook. Just shoot me an email after uploading your project and leaving an honest class review. I'll see you in the next video, and let's get started with day one. 3. D1: Monochromatic: Welcome to day one of our color mixing challenge. Let's keep things simple by working on one pigment only per swatch. Okay, we'll create a gradient swatch here using your favorite pigment. I picked cobalt blue, quin red, and mineral violet, and then we will gradually increase the transparency as we reach the bottom. So the key here is water. More often than not, when it comes to watercolors, we use it to clean our brushes, to rinse our materials. But ever since studying color mixing, I have learned to respect water and treat it as one of the mixing components. So let's put that into practice. Give your brush a good wash, load it with the first color, and try to get this consistency. And then paint an irregular square like this. Now, as we move downwards, I want you to add more water on your mixture and try to get it lighter than the first one. So I have here a scratch paper where I can test whether or not I've achieved the shade that I want. So this is definitely lighter than the first one. I'll go ahead and paint the second one and then add even more water for the third swatch. And then even more for the last one. There you go. During my face to face workshops, I often hear complaints from my students that they cannot seem to control how watery or how thick their mixtures are. This is also a great opportunity for us to practice achieving different consistencies of our paint. Now, let's do the same thing on the second color. I have here quin red, I'll rinse my brush, load it with a thick consistency and do the same. And onto our third color. I want to remind you that this is a mixing challenge. You don't need to get everything perfect. Just enjoy the process. Okay? Now, for the purple, I'll do the same. Can you see that? So thick? Basically, the more pigment and less water, the more vibrant your mixture will be and vice versa. Gen test it out on your scratch if you're unsure if that is a shade lighter than the first one and add even more water. And that's it. You're done for day one. 4. D2: Monochromatic Expanded: Okay, we have this beautiful monochromatic swatches over here for day one, and for the second day I love to use the same colors, but adding black and white pigments. Monochromatic color scheme technically includes black and white to further expand the palette. Just imagine if you're going to create an illustration with just cobalt blue, then the darkest you can get is this blue. But what if you want a slightly darker tone. So that's where black and white comes in. So for comparison purposes, let's use the same pigments we used yesterday, but add black and white to your palette. I'll start with blue. And by the way, it's a good practice to write down the name of the pigments over here and the color scheme because chances are you will forget the colors that you used. Trust me, I've been learning color mixing for almost a year now, and I regret the beautiful mixes that I did just because I forgot to list down the name of the pigment, so it's a good practice to start now. Right. So you can immediately see just on my palette without me painting anything that the cobalt blue here got a lot darker. And that's a beautiful bluish gray, isn't it? So this is ivory black, by the way. Let's put that over here. Now, I will add more blue on the second swatch. And see. There. Lovely. Now, for the last two, let's add white gradually. Technically with watercolors, you can use water to substitute white, but I just want to show you how it looks when you use white on your swatches. So now if we combine this two vertical swatches, you already have eight different shades of cobalt blue. Let's do the same with quinacrodone red. Lovely deep pink color, which you cannot achieve if you only used quin red. So now I'm adding in more pink. That's so lovely. I think by now, you'll notice how much I love color mixing. Mixing in white now. And then add even more white. It's less vibrant, but it's more opaque, and that's what white pigment does. And by the way, it's a good idea to purchase white guash and mix it with your watercolors if you are not that sure whether or not you would like to work with guash as a new medium. That's what I do. I am experimenting with squash, but I only bought white and mixed it with my watercolors. Okay. This is mineral violet. Again, that is so lovely. And then add more violet. Over here, I'll start adding white. This is Chinese white, by the way. You can use other whites like titanium white, or even agua white gouache. There. So this is day two of our color mixing. Great job. 5. D3: Same Colors: Okay, as I mentioned yesterday, we will be working with two pigments, just like what we did here, adding black or white and work with the same set of colors. So if you chose the same as mine, blue, pink, and violet, then I will ask you to bring out all different shades of blues or pinks and violets that you have. And when I say all different shades, I meant convenient mixes like this. What I have here are ultramarine blue, verdia blue. This is the same cobalt blue. Turquoise blue and marine blue. There will be instances when you love a color so much, for example, this cobalt blue, but it just needs to be a bit darker or greener or lighter or paler. And you cannot achieve that by mixing black, white, or water. So what we do is we mix two colors from the same family. So for example, I have here my cobalt blue. Let's see how that changes when I mix in Turquoise blue, for example. So now it looks different than this one. Still a beautiful shade of blue, but by mixing another blue, I came up with this one. Let's say I love cobalt blue. I don't want it to turn into a greenish blue, but I want the granulation that ultramarines have. So I will mix in ultramarine blue, and that is the result. A deeper blue. Once this dries, you can see how it granulates. Now I have vertial blue. I've used this up so much that emptied my half pan in a few days. I love using vertial blue in skies. So let's try and mix that with cobalt blue. Now, it becomes lighter and somewhat near this one where I mixed white, but still it looks different. And lastly, let's mix greenish blue, which is marine blue. And see, look at that shade. That's so beautiful. If I just use marine blue by itself, it looks like this. So by mixing it with cobalt blue, it tones down the greenish side a bit. Okay. Now let me clean this up, and I'll bring my pinks. Now what I have here are the same quinacridone red plus quin magenta, Pyl red, padium red, and opera. Various kinds of reds and pinks and magentas but from the same family. First, I'll mix with my queen red with say magenta. So this is a good way to make it a bit darker, but not really how we mixed black and pink. So this is just a bit deeper. And I love how that looks. What if I mix spiral red? And it produces this lovely reddish look. What about cadmium red? Cadmium red is one of my favorites when mixing skin tones, mix it with yellow ochre, and it produces a lovely flesh tone. That's queen red plus cadmium red. Now let's add opera. Opera is a fugitive when it comes to light fastness, but it still serves its purpose when you use it with other colors. Those are the different shades of red of quinacridone reds that we get when we mix it with other pigments from the same family. Now I have here lavender purple, just purple by sakura and permanent violet and quinacridone lilac. And of course, we have here our mineral violet from earlier. Start with the first one. Oh. It's actually my first time mixing this too, so, Wow. This is lovely. Now, this is purple by Sakura. I don't think there's a major change. And then we have permanent violet, which is bluer when you look at this two. Now let's combine. Not much change, but definitely different from this one. And last, qu nacer dowe lilac. This is a bit pinkish and when mixed with mineral violet, look at that. Lovely, lovely color. That's it for our day three. Thank you so much for joining this challenge and good good job on breaking the third day because as per experience, this is the make or break point when it comes to the first week of challenges. 6. Sample Paintings: D1-D3: Right, you might be wondering, where can I use a monochromatic color scheme like this? Well, using the same colors, I was able to paint these two floral illustrations. So I use Quinn red with different consistencies from the lightest to the darkest, and I also use the white of the paper, as you can see here to depict the lights or the highlights. This is also a good example to study your values and practice painting with different consistencies of watercolors with thick pigment and going as dark as this and as light as this with more water. So here are two floral illustrations as example of a monochromatic color scheme. Right. Now that we've added black, you can see how further you can expand a limited palette with one pigment, plus the addition of either black or white. But here are some examples where I actually use them. I love doing many studies outside like this and this and this one. But then sometimes one pigment won't be enough like what I did. Here on this portrait and on these mini planar studies. I use burnt umber for this one, but then I realize that I need to go darker and I cannot do that by just using burnt umber. That's when I grabbed Ivory Black and introduced that in my palette. Technically, you are still working with a monochromatic color scheme because you only have one base color, which is brown. So if you use cobalblue and add black to it or white, or you can substitute water with white, as we've seen yesterday, then it can still be considered as a monochromatic color scheme. So here are some examples of that being applied. Not this. I use three colors for that portrait. Right, isn't that lovely? Now we tried mixing colors from the same family, and I will show you some applications or how I use them on my own paintings. Here on this simple landscape painting, I mix two blues for the sky and various shades of greens for the foreground. So that's one application. Another one is here, where you'll see I used varying shades of browns for the trees in the background and the grass in the foreground. And on this portrait, I use different shades of brown, too. I used one yellow for the accent, but here, I used a slightly redder brown and a dark brown and even sepia, if I remember it correctly. So that's how you can work with two pigments without the pressure of what color will I produce? Well, surely, you'll know that when you mix two blues, you'll still achieve a blue, but a different shade that is neither blue number one and blue number two. So here are some applications. Tomorrow, let's discuss complimentary colors and start with a red and green pair. Sea. 7. D4: Complementary - Red & Green: Right. Now let's talk about complimentary colors. A quick review. They are colors that lie opposite each other on the color wheel. When you place them beside each other, they look good. Think of strawberries, red and green. So they look good, but when you mix them together, you'll get various shades of neutrals, from browns to different shades of gray. Now, let's start with green and red, our first pair of complimentary colors. By the way, after monochromatic color scheme, I would normally go to primary colors, then secondary and tertiary, and then complimentary colors. But for the sake of simplicity, let's work first by mixing two pigments, and then we'll gradually add the number of pigments that we'll be working with. So what I have here are Pyle red, bordeaux, vermilion hue and permanent rose. For the greens, I have permanent green, viridian hue, sap green and olive green. This three are this three. I watch them so you'll see the difference that it makes when you start mixing them together. Let us start with our Pyrrole red. It is a lovely color, a somewhature red, not leaning towards orange or violet. And I'll just swatch it over here. Now I'll swatch permanent green and start from the bottom up and sort of mix them together, wet on wet. I'll create three swatches here. The first swatch would be a 70 to 30 ratio, meaning there's more red than green. Let's see how that looks. I'll add a bit of green to my red. You'll immediately see how different that is with our pure pyrrol red mixture. You have to also take note that when you use a complimentary color, it desaturates or tones down that color. So this is the 70 30 ratio. And then on the other hand, that's mix a bit of red to our green. Again, that tones down our green mixture, and I'll put that here. And then at the middle, try to mix the two colors equally. So if it's too red, you only have two colors, then it means you'll need to add more green. If it's too green, then you'll need to add more red. But if you achieve a neutral color like this, then that means you have successfully mixed them equally. It is perfectly normal for you to keep on adjusting the mixture until you achieve a neutral color that is neither red nor green. So don't worry too much if it's taking you longer to mix the colors that you want. With practice, you'll get faster and more efficient. Now let's proceed with the second pair. We have bordo and Viridian hue. Now, let's see first how that looks when you mix them equally. Lovely, lovely shade of gray. Now, I'll use the 70 30 ratio now, just a bit of green to my red. Lovely violet. And then I'll add more green. So that's the mixtures that I get with the bordeaux and Viridian pair. Now moving on to the next pair, which is vermilion a sap green. Try to mix them equally first, and you'll get a lovely skin tone shade. So for the first pair, we got a lovely gray shade. For the second pair, we mixed a skin tone shade. Now add more red to the mixture. Now add more green. Kind of turns it into a brownish green. And for a last pair, that would be permanent rose and olive green. First, try to get an equal mix. Again, this is another shade of skin tone, but slightly darker. Now add more pink to that mixture, you'll get a lovely shade of pink. Now, add more green. That's our Day four. I might have done this fast and efficient, and that's only because I've practiced color mixing for months. So take your time, work on your first pair of complimentary color, and I'll see you tomorrow for this second pair. Good job. 8. D5: Complementary - Blue & Orange: But Welcome to Day five of our color mixing challenge. We worked with reds and greens yesterday. Now let's work with oranges and blues. If you want more information about color theories like monochromatic complimentary primary, then you can head over to my other color mixing class where I discussed in detail how I was able to choose which colors to work with. And as a bonus, I will also demo how I painted different landscape scenes using a limited palette. Moving on, I have here different oranges and blues, starting with red orange, cadmium red orange, light red, and burnt sienna. Now you might ask why did I include brown? Because if we review and check our pigment wheel, then you'll notice that browns are also grouped in the orange section. So you can also use them if you have them. For the blues, I have ultramarine blue, turquoise blue, royal blue, and cerulean blue. You should also take note that having the same pigment name from different brands will also affect how your colors look. For example, this Bernsena is from Daniel Smith, but Bernsiena from Holbein looks a bit different, more vibrant. So it's okay if you don't get the exact swatches that I am working on right now. And please don't forget to put the names of the pigments that you work with. I use a code, for example, for bordo yesterday, I used VO for Vidiant Hue VH. And I sort of get it right away because these are the pigments that I've been working on for so long. So if you need to write the whole pigment name, then no worries. Right, start with orange. Rinse and load it with blue. Move up. So you'll get an idea what kind of mixture this two creates. Now, the 70 30 ratio, adding a bit of blue to my orange. I think that's too much blue. I'll be add my orange. Again, as you can see, you don't need to stress out about getting the shade that you want right away. Can see that I keep on adjusting as I see fit. Okay, so this is the tone down version of my orange. Now, adding a bit of orange to my blue. Oh, it turned into a violet. Now let's try and get an equal mix. It sort of turns into a grave violet again, just like what we got with bordo and Vidian hue. Should have added more blue here, but it's okay. Now, moving on to my second pair of cadmium red orange and turquoise blue. Let's start with an equal mix. Another shade of gray. Now add more orange and add more blue. Interesting, isn't it? Let's move to light red and royal blue. I added too much. So if this happens, you can then swatch this one first. Wow. This is a lovely brown. This is for my equal mix. More often than not, I am surprised with the combinations that this color is great. And for our last pair, burnt sienna and cerulean blue. This is the equal part. This a lovely gray. And this is more burn Sienna and the last one. Just add more blue. Lovely, isn't it? Again, don't forget to write down some codes or the pigment names, and you're done with Day five. Good job. 9. D6: Complementary - Yellow & Violet: Last pair of our major complimentary colors. I say major because you can also choose yellow orange and select the complimentary color of that or red violet and check the color wheel, which is a complimentary color of that and work with them. But we're using primary colors, red, blue and yellow, so I call them the major complimentary pairs. Yellow and violet. If you watch my skin tone color mixing class, you'll know that this pair is the most challenging to work with. I almost gave up finding the perfect yellow and the perfect violet for a skin tone mixture. So I'm kind of excited to try out these combinations as it's been quite a while when I worked with this pair. By the way, these are my colors here, hansa yellow. Gambognova, maples, yellow dip, and yellow ochre. For the violets, I have mineral violet, permanent violet, quinacridone lilac, and lavender. So let me prepare my hands a yellow first. So there you go for the yellow and violet. Mmm. Okay. So I can already see here another shade of brown when working with this too. Now, adding a bit of violet to my yellow tone down version looks okay. You might find a use for this in your floral paintings. That's a lovely shade of violet. Then let's mix them equally. You'll notice that compared with my reds and greens and blue and oranges, that this is a bit transparent. Now let's go with the second pair, gumbo Schnova and permanent violet. And there you have it a lovely brown color. Okay, next, I'll add more yellow. This looks like a good shadow color for yellow, which we'll talk about later, a lovely shade of violet, which reminds me of Ube, if you've heard of that. Moving on to naples yellow deep and quinacridon Lila. A lovely shade of brown that could work with skin tones. Keep on adjusting as you see fit. Don't get to attach to your first mixture and pressure yourself by trying to get it right the first time. Now, moving on to yellow ochre and lavender. I did not expect this. Okay, so this is a shade of gray. This pair is a bit different leaning towards gray when you mix them equally. Now, this is 70 30 ratio with more yellow, and now I'll add more violet. But still, it leans towards gray. There you have the three major pair of complimentary colors. But 10. Sample Paintings: D4-D6: Okay. That was a nice experiment with complimentary colors. Now let me show you some sample paintings where I applied this combination. Well, first off, to show you that complimentary colors really work well together. Here is an illustration where I used yellow and violet as my primary colors. Basically, I'm using a complimentary color scheme, but I added some flash tones and some darker blues, but you can really see that complimentary colors really work well together. Now with the mixing, I have here some sample portrait studies where I used for this one, yellow and violet. While this one I used red and green. You can really see the difference of the two. Then I have here other illustration where I used the bordeaux and Veridan hue combination. A simple illustration. Now, over here is where I use blue and orange dominant color scheme. You'll see how I mix oranges with the blues in the distant mountains to desaturate them. It's really exciting to see how this can be applied on different kinds of subjects and styles. Tomorrow, let's make this even more challenging by adding one more pigment and working with our primary colors. 11. D7: Primary & Secondary Colors: Now, this challenge will get more interesting and more challenging because we'll now be working with three pigments. It's okay when you work with two pigments because as you noticed yesterday, if you're mixing red and green and the mixture is leaning towards red, then it only means that you'll need to add more green. But it's different when you're mixing three colors. I have three sets of different primary colors. As I've mentioned earlier, when it comes to liquid pigments like watercolors and your printer ink, the primaries are not really red, yellow, and blue, but magenta, yellow and cyan. So for the purpose of comparison, I am using three different sets of primaries. But if you only have one set of primary color, then no berries. I have here cadmium red, cadmium yellow, and cobal blue, which I'll use on the first column, queen red, which is a pinkish red, permanent yellow deep, which is leaning towards orange and ultramarine blue deep for the second column, and quinacidon magenta, lemon yellow, and palo cyanine blue, red shade for the third column. We'll swatch red here, yellow here, and then blue here, leaves one space for the secondary colors. Then at the bottom, we'll work on this tomorrow. Don't worry about it. We'll deal with the tertiary colors. Okay, I'll start swatching. Now I have swatched my primaries and you can see how different they are from each other. This red from this from this, and this yellow from this and this and so on. Now, I said, Think about the rainbow. So what comes after red orange. That means red, less yellow, equals orange. Let's see how different the oranges that can be produced with different sets of primary colors too. So you'll want an equal mix, an orange that is not too red or too yellow. And let's move on to quin red, pinacrodone red, and permanent yellow deep. I've also switched to a flat brush, since it's easier to create horizontal swatches with this type of brush. Moving on to magenta and lemon yellow. It's a lovely, lovely skin tone. Compared with the first two oranges, it's really different. Let's proceed with the next secondary color. Red, orange, yellow, green, blue. So yellow plus blue equals green. Right. Alas, my dear friends, I was so excited with color mixing that I forgot to hit record when I was mixing this greens and violet. So I will do a retake of that. I know you pretty much get the idea of mixing yellow and blue to get green and red and blue to get violet, but it's different when you actually see someone doing the thing. So I have the same colors here. Let me prepare my yellows, cadmium yellow, permanent yellow deep, lemon yellow. You can see how different itch are. Then when I mix the blues corresponding to this primary sets, let's see how different the greens they make. This is cobalt blue mixed with cadmium. And then permanent yellow deep mixed with ultramarine. This is really deep while lemon yellow mixed with salo blue, red shade. Side by side, you can see the difference that it makes when you pick up your primary colors. So it's almost the same as this. I've managed to create the mixes. Now I'm preparing my reds and pinks and magentas to mix the purples. I have here cadmium red, queen red, and then magenta. I'll mix my cadmium red. It's not as vibrant, but still it will serve its purpose depending on what you're painting. But this one, the second purple that I'm mixing is queen red, plus ultramarine deep. It is leaning towards blue violet, and that is a good color. What about Tal blue plus magenta. Almost the same. And again, if I add more magenta to that, it changes. So let's see. Yes, I was able to recreate this purples, and now we have our complete set of primary and secondary colors. Tomorrow, let's add more challenge by working on our tertiary colors. Good job. Sure. 12. D8: Tertiary Colors: When we look at this color wheel, you'll see that the palette can be further expanded by adding the tertiary colors. Tertiary only means that you'll add a primary color to a secondary color. For example, you want to achieve a red orange. So if we break it down, the name itself is actually a giveaway. Orange is red, less yellow, and you add red again at the front of the name. So red orange only means red, less red, less yellow, meaning there's more red than yellow. The same goes with yellow orange. Yellow yellow, red, more yellow than red. So in this boxes, I will mix tertiary colors, starting with orange, green, and violet. You have two options here on how you'll mix your tertiary. First, achieve a secondary color. So this is my orange. This is the same as this orange, right? And then you can sort of divide that into two, and for the first bit, add more red. I think I've added more than I intended. I'll add in yellow. So as long as it's redder, then that can be your red orange. Now, on the other half, this one, this bit that I did not touch, add more yellow. As long as it's leaning towards yellow compared to this orange and it's not too yellow, then that is your yellow orange. The same goes for your greens. So mix an equal part of yellow and blue first and sort of divide that into half. So that is neither yellow nor green. That is my yellow green, and on the other half, add more blue. That is neither green nor blue. That is my blue green. The same goes with your violet. On the first half. This isn't actually a red violet because as I've mentioned, red, a true red and blue with watercolors creates a muddy violet, so that is good enough. And then on the other half mix in blue. This is actually a gray. But in this case, that is our blue violet. Now, do the same with the other two sets. I will cut off this part, but I want you to take your time all the time that you need to mix in your tertiaries. This is my orange again, for the first half mix in more red to achieve red orange, might be hard to achieve a yellow orange, but that's totally fine. Let me start with my blue green and move to my yellow green. You'll see here with the second set of primary that this is looking more of a red violet and a blue violet compared to the first one, but my yellow greens and blue greens are not really that great. Let's check what the third set will bring us. You can also skip the step where you'll want to mix an equal part. For this one, I accidentally added more red, and that could be my red orange already. And then add more yellow, and that would be my yellow orange. I accidentally Oh, not really accidentally. I have intentionally added more blue, so that could be my blue green already. Then I'll just add more yellow to make it my yellow green. Now, this is blue violet, and I'll just add more magenta and make it my red violet. Here's our day seven and eight. Good job. Which is your favorite among the three sets of primary colors? Or did you use another set? Let me know in the discussion stab. 13. Sample Paintings: D7-D8: That was fine working with different sets of primary colors to produce our secondaries and tertiaries. Now, applying them here you'll see the different secondary and even some hints of tertiary colors where I used this combination. It's really good to see them in one picture. Now I have here mini studies where I use different combinations of primary colors. You can observe how different the blues, the purples are, the greens are from each other because I mix and match different sets of primary colors with each other. Then here are some examples where I use palette sort of same to this one, and then this one is more of this palette. Again, this proves that depending on the set of primary colors that you have, the mood of the painting can be affected because of the secondary and tertiary colors that you'll be able to achieve using them. Tomorrow, let's work with different shades of skin tones, greens and violets. See you. 14. D9: Skintones: Right. As I've mentioned, we'll add more challenge by trying to achieve different shades of skin tones, greens and violets on the succeeding days. Now, I have chosen Quin red, cadmium yellow, and salublue which is actually from the three different set of primaries we've worked with for the past few days with the addition of black. I have also swatched here what we call convenient mixes or pre mixed colors of skin tones, greens and violets. I have here burnt sienna, burnt umber, and naples yellow. Hooker's green, permanent green and sap green, mineral violet, pinacidone lilac and lavender for comparison if we can achieve these colors and we'll start with skin tones. I have been conducting workshops, face to face workshops, and one of the colors that my students find to be so challenging is the skin tone. If you want to dig dipper and learn more about skin tones, then you can head over to my other class. But let's finish this class first. Okay? With skin tones, all you need to remember is that most of the premixed colors like these fall in the orange side of the pigment wheel. All you need to remember is I need to mix an orange first and then adjust it to my liking to achieve different shades of skin tone. So here, if you'll notice, I just mix my quin red and yellow, and this gives me this shade of skin tone, which I actually like. So let me swatch that here. Now, I only use colors two colors for this one, right? What will happen if I added blue to my mixture? Be careful when adding blue because if you added more than you intended to, it will turn into a dark brown mixture. So I'll gradually add blue, and you can see that it makes it a bit darker than the first one. And then let's add even more blue to our mixture. Just be careful because as I've mentioned, here you have really, really dark blue. Now, since we are working with three pigments, how do you know which color is missing? I was planning to mix the skin toad, but what happened here, it turned into a blue. Look at the color wheel. What is the complimentary color of blue? It's orange, right? And since we're working with primary colors and not with a convenient mix of orange, how do you get orange? You add yellow, that's red again back to the mixture. As we discussed during our complimentary challenge, the compliment of blue is orange. So if I mix the two, I should get a neutral color. That's a good color for shadows. See. Lovely. Now, what about black? If you're planning to join my skin tone or you, you've already did, then you know that we can also darken the skin tone by adding in black. So let's substitute blue with black and see how that looks. There. So here is our skin tone swatch. Go and have a play by experimenting with different combinations and do not forget to put in the pigment names here, which I'll actually do now. So I used Queen red, los, cadmium yellow, los, ToblueNPlus block. And here we have it. You can also take notes on what you did for itch swatch like yellow plus red, yellow plus red plus blue, yellow plus red plus more blue and yellow plus red plus black. 15. D10: Shades of Green : Now let's talk about greens using the same set of primaries. I've also put some codes here, yellow plus blue, yellow plus blue, plus red, yellow plus blue, plus red plus blue and yellow plus blue, plus black. You can do the same or you can just have fun and experiment with the different combinations as long as you stick to these four colors. We know from the previous days that yellow and blue makes green. Oops, I added more blue than I intended. And this is a lovely shade of green, right? But what if you want to tone it down? Going back to our complimentary days, you'll add a bit of red, just a bit of red. Because if you add more red, it will turn into a brown, just a bit of red, and it makes the color into a dull green. And then here, I'll just add more blue, so I still have a pull of blue here, so I'll just drag it down to my mixture and see how that changes. Now substitute blue with black and it turns into a deeper shade of green. This is ivory black, by the way, if you're using a different black like lamp black that could be really granulating and will add texture to your swatch. But again, just use whatever pigments are available to you. I'll need to stress out and buy the exact pigments that I'm using. Okay. Takes away the fun and color mixing. Our goal for this class is to really learn how color mixing works and help you decide to choose what colors you'd pick for a limited palette. I'll see you tomorrow, and let's work on our violets. 16. D11: Violet Variations: Right. Welcome back. It's day 11, and let us mix our violets. I made the mistake of not pressing the record button, so I will recreate these watches that I have on another sheet of paper. But basically, we're doing the same approach as we did with our skin tones and greens. The first watch would be your basic red is blue. The second we'll add a bit of its compiment which is yellow, and then the third we add more blue or more red, depending on your preference. And the last one will add black. Let's start with red and blue. Did you see that? I wanted to mix an equal amount of red and blue, and I did I did grab the equal amount, but the blue is really overpowering. So halo blue, Russian blue, and even marine blue, based on my experience, are really strong pigments. That's also the beauty of color mixing. You'll get to know which colors are really, really strong. So when you use that with color mixing, take note of that and just grab a tiny bit of that overpowering colors. Now I'll add a bit of yellow, it's compliment and see how that changes. Lovely, isn't it? It tones down the violet, and I like it. So I'll add in yellow again to this and see if it's, it's a bit different. Then the first one. I actually close to mineral violet. Okay, now for the last swatch, let's add black and see what happens. That's a really deep purple. Lovely, lovely purple. That is the beauty of color mixing, and I should have. For the past six years, I should have learned about color mixing. Just a bit of a backstory. I started painting since 2018, but I sort of ignored and avoided color mixing because I thought it's really hard and it's only for the experts, only to find out that if we know the basics, like the color wheel, the primary, the secondary colors, the complementary colors, if you know those basic color theories, then that is a really good guide to help you in mixing the colors and the shades you like. So we've dealt with our tertiary colors. We expanded them. By trying to achieve different shades, not only yellow orange or red orange, but really skin tones, greens and violets. 17. Sample Paintings: D9-D11: Right. How was that experience? I really enjoy mixing these colors, and I find it interesting that by using different pigments, you'll achieve different results like what I have here. These are mini portrait studies. For this one, I use quinacridone red, yellow ochre, and Prussian blue. While on this one, I used another set of primary. On this floral painting, I used a set of primary colors again, but tried to achieve different shades of green and you can see how that plays well together. Sort of almost the same with this one, but I added a brighter yellow over here for accent. Then another floral painting where I used various shades of violet. But I added here just like how we added black on the last swatch for our purple, I added a hint of neutral violet over here and then just mix purple over here. These are some examples of applying what we learned for the past three days. Tomorrow, let's test out how an Earth primary color thmed palette will look like. Sea. 18. D12: Earth Primaries: Okay, welcome to day 12 of our color mixing challenge. I want us to step back and work with another set of primary colors. This time, we'll be dealing with Earth and muted primary colors because I want it to be flexible, especially if you have a color set like this. This is from Kure take Gansai Tambi. By the time I received this as a gift, I really don't know what to do with this palette, since I thought I don't have the basic red, yellow, and blue. But you'll see later when we work with our muted primaries that you can achieve such colors that you like and even paint portraits and landscapes as long as you have a color close to blue to yellow and to red. Even if they are a bit muted, less vibrant or desaturated compared to our first set, which includes our cadmium red, pinacridone red, and magenta. The colors I have here are yellow ochre, cerulean blue, and Bernsiena. Actually, if you'll check Daniel Smith's Earth primary, you'll see colors or pigments close to these three. And as substitute, I have raw umber, compost blue and light red. Okay, let's start. This time, instead of a vertical rainbow or swatch, I decided to have a horizontal one. So it's basically the same like what we did with our primary colors. Leave one space after each primary. Here you have burnt sienna, leave one space, yellow ochre, one space, cerulean blue. You'll notice that with this earth tone primaries, there's not much difference when it comes to mixing red and yellow counterparts. So here, is a flash tone achieved by combining our red and yellow. Technically, our burn sienna and yellow ochre. Now we'll mix yellow ochre and cerulean blue. You'll see that the tones that we're able to achieve here are really that of earth tones. Lastly, of course, do not expect a vibrant purple here. Burn Sienna plus cerulan blue, which we actually tested out earlier gives us gray. 19. D13: Muted Colors: When I started creating this e book about different color wheels, I was so excited to have discovered that even if the muted colors will produce different shades of colors that you might never produce when you use the basic set of primaries. So what we have here are carmine, Manganese blue, and naples yellow deep for our first set. And then I took out these huge pans from my Gansai Tambi. They are the closest that I'll get to our primary. This is maroon. This is greenish yellow, and this is cobalt blue. Let's start with our first set. This is Carmine. I didn't like this color at first. I actually almost regretted purchasing that one, but you'll see later why I came to love this. So you'll notice by now that the three are almost of the same shade, so it's okay whatever muted blue you use. As long as you stay away from the intense colors that I mentioned earlier, such as Toblue, Russian blue, and Marin blue. Well, you can use them but use them sparingly. Right. Let's start with carmine plus naples yellow deep. It's a lovely orange. It can even be a good substitute for burnt sienna. Now naples yellow deep and manganese. Lovely color. And look at this. I am a fan of muted colors, so I love, love, love this so much, especially if you mix tertiary colors, but we won't get to that. But on your own, you can of course, mix and expand this even more. Can even add black to your palette and see how farther you can expand it. This next combination is more interesting for me. You have maroon, you have look at this. It's green. But it's the closest to yellow that I can get from the palette. This cobalt blue somewhat close, but it's darker than the first cobalt blue that we used earlier. So if I mix this to, let's see what will happen. This is greenish yellow. What we learned earlier with our complimentaries is when we mix red and green, you'll achieve brown. And this is also a tint of yellow to it. So red plus yellow equals orange. So I would guess that this should give us a color that is somewhat similar to these. I'm smiling because it's pretty much close, isn't it? There. Lovely, lovely color. Now, what about greenish yellow clos cobalt blue? That's why it's so important to swatch and mix and match your colors first before judging them. I'm guilty of that. Don't worry. I used to avoid colors that don't look good on the pan or when I squeeze them from the tube. Mixing them, playing with them proves me wrong. And look, another beautiful shade of purple. This doesn't look pretty to the eyes. It's kind of blinding actually when I look at it. But when you start mixing it with other colors, you get the basic secondary set that you'll need, which are orange, green and purple. 20. Sample Paintings: D12-D13: Okay. That was looking really good. I have here some examples where I used Earth. And muted primary colors. For example, this one is looking really different from the other examples I showed you during the first few days. This one I chose an Earth themed primary colors, and the browns are really tone down. The greens are also not that bright and vibrant, but they serve their purpose, and you can see the application here. I also expanded this palette by mixing black on some parts where the shadows are really dark. Applied on a floral painting, this is how a mutant color palette looks like. For this one, I specifically used the Ganze TabitaiGanz tambi set I showed you earlier. And for this one, I chose another mutant primary color set. This is also actually, these are the colors that I used from the Gansai Tambset. I use a greenish yellow, the cobalt blue, and the maroon to mix my flesh tones and achieve this one. On those parts where you'll see that it's looking almost black, I did add black. This is how an earth tone primary color or a muted primary color set will look like when applied on some paintings. Tomorrow, let's mix black without using black. It. 21. D14: Black Without Blacks: At some point in your watercolor journey, you might have heard someone saying that you cannot use black in your paintings as it creates a hole on your artwork. Ever since hearing that, I think that would be four years ago. I omitted black completely from my palette, only now that I revisited the fundamentals and studied color mixing again. That I found that black is really essential when you are mixing your colors. You've seen earlier how we were able to expand our monochromatic color scheme just by adding black to it, right? So now to sort of follow that tip of not using black, but instead mixing your own black. Let's take a look at these different combinations and see if that could really substitute black or at least get closer to it. So for comparison purposes, I have here lamp black. And ivory black. Now for the colors over here, we have burnt sienna, burnt umber and sepia, and at the top, you have manganese blue ultramarine deep, and royal blue. Let's see if we can mix and match them and achieve color close to this one. Right, I'll start with burnt sienna and Manganese blue. It is somewhat gray, but that could be a good substitute to black. What about its darker alternative burnt umber and ultramarine blue, which is, by the way, one of my favorite mixes ever since discovering that you should avoid black at all costs. So this is my ultramarine blue, less burnt umber. Of course, if you added more blue, then it would change into a bluish gray. Sepia is much darker than burnt umber. Royal blue also is a dark one. And you get this lovely dark neutral, which could actually substitute your blacks. Now let's mix and match. I will try Sepia less ultramarine deep. This is, I think, the closest to Ivory Black. Do not forget to write down your pigments here. That's it for our day 14. Today marks the second week of our 30 day challenge. Good job on sticking with this challenge. I'll see you tomorrow, and let's mix our own pastel colors. 22. D15: Pastel Colors: The 15 pastel colors. We're halfway through, so you can do this. Now, at some point on your journey, you might want to explore pastel colors. For whatever reason, you might be tempted to use it for fashion illustration, for children's book, artwork or whatever purpose, it may serve. But I thought when I was a beginner that I have to purchase all of the pastel colors if I want a pastel themed artwork, only to learn that all you need to add to your palette is white. Doesn't matter if it's Chinese white or titanium white. Just choose any white and sort of play or experiment with a different combinations. So I chose here a rainbow color. I have red, pyal red gambochnova for my yellow, cadmium orange, hookers green, ultramarine deep, and permanent violet. Of course, I have here my white. Now, this is going to be simple. Just mix white with them. During our first day of this challenge, you'll know you should have observed that mixing just white with a pigment is different with mixing it with water. For example, I have here my orange. Of course, you can choose any color that you like, okay? And try and create a pastel color scheme with that. So that is my pastel orange. If I just use water to tone it down, it's a bit different. Red, orange, yellow. Now I move on to green. This is my pastel green. Pastel blue. Here's our pastel palette. I'll see you tomorrow and let's work with our browns. We'll add more challenge by creating biased browns. 23. Sample Paintings: D14-D15: That was cool. You might be wondering where will you apply a Black without black mix or a pastel color like this one. Let's start with a black without black. You'll notice that some parts are appearing to be black, but I did not use black. For this particular palette, I used paints gray mixed with burnt umber. Those are really deep blues and browns and you can see how it appears to be black. The same goes for this one where I use neutral tint and burnt umber again. Some parts appear to be black, but they aren't. It also depends on how you play your values well. Another application is over here. Same goes here. The flower is really light. So when I use paints gray mixed with a bit of greens and reds, it would appear as if I've used black, but I did not. Now for the pastel colors, I also mixed white on this pink and on this blue to make them appear more opaque. A here, I mixed white on the sky because the orange itself is just too bright for me and also some white for the blue. Same thing here. They appear really pastel. I mixed white and pink here and then white and red here. For this one night scene, I mixed white with my pinks and yellows to depict a city, a busy city at night. That's how you can use black without black and pastel colors on your paintings. Tomorrow, let's make this even more challenging by mixing biased neutrals or biased browns and grays. Si. 24. D16: Biased Neutrals: Right. I brought back my three sets of primaries, but I mixed and matched them. So feel free to do the same or you can just work with one set of primary. These are Pyl red GambochNva and ultramarine Dee. Quinacridone red, cadium yellow light, so blue. Don't worry about this black. Quinacridone magenta, permanent yellow deep, and cobalt blue. What we'll work on? Today is what I call biased neutrals. Could be a biased brown or a biased gray, but let's get to it. For the first set, I'll work with this three, quin red, cadmium yellow light, and palo blue. For the first mixture, try to achieve a neutral color where all of the primaries are equal. Feel free to adjust over and over and over again. You don't need to get it right the first time you try. So I would say this is a good neutral color. Place that at the center. Now imagine dividing the outer circle into three. You'll have red here, yellow and blue. What I mean by that is I'll grab some of that brown and I'll add more red to it. So now this brown is red, biased. There's more red on this mixture. And then I'll add more yellow to this. And I'll have my yellow biased brown. Then I'll add I'll mix the two, and I'll add more blue. Now, here you have your blue biased neutral. So what we want to practice today is that by adding just a bit of one primary color, and if you want a reddish brown, then just add more red to your brown mixture. If you want a yellowish wine, add more yellow, and so forth. This ladies and gentlemen, is a good practice in estimating how much of each color you'll need to produce the result that you want. Let's do that again with the quinacidon magenta. Permanent yellow deep and cobalt blue trio. You might not get it as fast as I can, but that's totally, totally fine. Okay? I actually have here a yellow biased already, but to be fair, I will mix a brown first, a neutral color and put that at the center. Now grab some of that. Mix more magenta, and you'll have a pinkish brown here. I'll add more yellow. You'll have a yellowish brown. But when you add more blue, it turns into a darker brown, not really a bluish one. Compare that with this one, we got a gray. But in the second set of our trio, we got a dark brown instead. Now for the last one, if you could grab your salty different set of primaries, that would be a really, really good practice. Now to my third set, which is pyral red, gambochNva and ultramarine D. I'll change the order and add blue first. That again is a wonderful shade of gray. Add more yellow next. Oh, sorry, it should be here and add more red tuna mixture. There. It goes to show that the mixes that you'll produce really depends on the colors that you'll pick. Don't forget to label your colors, and I'll see you tomorrow for another set of challenging color mixing exercises. 25. Sample Painting: D16: Time for samples. Here you can see two different floral paintings where brown is one of the dominant colors, and I want you to move your eye around and see how I use different shades of the same brown to depict what I wanted to depict. For example, on this one, on the lighter part, I mixed more yellow, so it would appear lighter too. But on the shadowed parts, I mix more browns. On the other painting, you can also see, I use the same brown, but over this part, I mixed more yellows. This parts are somewhat an equal mix. But for the background, I mix blues so that they would move backwards and would really create depth for these two floral paintings. That's how important it is to learn how to mix biased browns and grays too. You can use these different shades to portray distance and also for harmony. If you're using the same color and just changing the amount of reds and yellows and blues to it, then it creates a harmonious effect and your painting is uniform. These are just two of the examples that I can find where I use the same brown but mixed more yellows and blues on some parts. See you tomorrow and let's work with metal colors. 26. D17: Metal Colors: We will add more challenge or color mixing, if it isn't challenging already by trying to mix metal colors. The color of these metals, of course, depends on your preference. For example, you might like gold that is really, really yellow, but for some it might not be the case. For comparison, this is quinacridone gold. Now, for silver, the closest convenient mix that I have is gray, and for bronze, I don't really have bronze, but I think light red would be close to it. Now we'll try and recreate these metal colors. First, with the gold, I will use a combination of brown and yellow. I have here burnt umber, cadmium yellow light, Gambogva and yellow ochre. Let's see which combination suits your preference the best. Starting off with burnt umber plus yellow ochre. This is a different shade of gold, but for me, that's better than this one. Again, it's a personal preference. Your taste with colors comes with experience, have fun and experiment what kind of combinations you would really love to use. Just use a brown and a yellow, and you should be able to achieve a color somewhat close to gold. This is burnt umber, cad yellow light. Then lastly, we have Gambonva plus burnt umber. Which one's your favorite? Next, I have silver. Now, for this color combination, all you need to do is search for a brown, a ready mix brown polls, a blue. So for this for silver, I will try and mix burned Sienna with ultramarine deep, palo blue, and cobalt blue. Here's my burnt sienna mixed with ultramarine deep. This is just basically different shades of silver off gray, sorry. But if you want it to shine, sort of a metallic a real metallic look, then I suggest you go ahead and purchase Mica powder, which is used in creating DIY makeups, and you'll get a shining, shimmering combination. So this is my burnt sienna and cobalt, basically just gray. Now what about recreating this orange brown or let's say bronze? The combination that you're looking for is a brown, a dark brown, plus a red. It can be true red or a pink. In this case, I will be using burnt umber mixed with vermilion hue, permanent rose, and rose madder. Let's see what happens when I mix those. Starting off with burnt umber plus vermilion hue. Does that look like bronze to you? What about permanent rose mixed with burnt umber? Same but different. And lastly, rose madder. Plus. Ooh, the light is shining on me. Rose Mudder, plus Burnt umber. There. To make an object look metallic would depend on how you apply it, how you apply different layers, starting from the most transparent one into the most opaque layer. This is your metal colors. We did our best, and I hope you had fun experimenting with these colors. Next, for tomorrow's activity, I want you to choose the colors that you hate and the colors that you really, really of. Tia. 27. D18: Colors I Hate: But Okay, this is take two. By the way, once again, to my excitement for a guide through hit record, but no worries. I love color mixing, so I would be happy to record this again. This is day 18, and let's go with a bit of an unstructured approach. I want you to choose your list favorite colors. I have here shell pink, raw umber, cadmium red orange, and viridian hue. And just by looking at these colors, especially the two, it annoys me and somewhat I think to myself that I wasted money purchasing these colors. Anyhow, these colors lost the colors that you love. On my end, you'll know what I love, and we use that during our first day, and those are cobalt blue, mineral violet, and Poinacredon red. So let's see how this will turn out. I actually have the swatches here already, but I'll just kind of cover them and share with you my excitement in discovering and giving these colors a second chance by discovering the kind of mixes they would create when mixed with my favorites. Let's start with shell pink. I'll mix co bolt. Blue and look at that. A pastel violet. So instead of white, I can substitute shell pink. I think I added more violet. Wow. That is so lovely. I used to hate shell pink because it gets muddy when you mix it with other colors, but I think I didn't give it justice since I only use it once and then forgot about this. But look at that by mixing with my top three favorite colors produces these lovely shades that I would have never got because I keep on avoiding them before. Now on to raw umber. I didn't like how hard raw umber gets once it dries. So it keeps on cracking and it's hard to re wet, but I've used this earlier, so it's easier now. So I just kind of avoided this color. How it looks when mixed with cob blue. That is a lovely neutral green. And you know that I love neutral colors. Mix with violet. Okay. Neutral violet. And mixed with pink would give us a red shade. Interesting, isn't it? That's the beauty of color mixing, even if you hate a color so much, if you just give it another chance and mix it with other colors, get to know it. You'll be surprised. With the combinations that you'll be able to grade. Okay, cadmium red orange is one of the top colors that I hate, especially when I got pregnant with my daughter. I nearly threw it away. I hate this kind of vibrant orange. But let's see. What will happen? Wow. When mixed with blue, that creates a violet. Turns into something that I actually love. What about orange plus violet? It's this lovely wine color. What about oh, It's too vibrant to my liking, but it could be something that you can work with. So except for this, I really love how this two turned out. But of course, these are just three colors. If I take out other colors that I'm in love with, especially the neutral ones, Indigo, sepia, then that would be a different story. I can even expand this palette and I could even say that I'm starting to love them now. Now onto our last, look at that green. Veridan hue plus Cobalt blue creates a lovely shade of blue. Hmm. Wow, look at this. When I mix aridian hue with violet, it turns into a deep blue green color. What about mixed wig? This is so amazing. Pink plus green, who would have known that we can create a purple out of this mixture. That is the beauty of color mixing. You'll never know what you'll get unless you are really acquainted to this color. So, ladies and gentlemen, this is our colors that I hate mixed with colors that I love. I hope you had fine as much as I am having fun creating this class. 28. Sample Paintings: D17-D18: Metal colors. I did not say metallic, but only metal colors. On some of my paintings, I have already used different shades of gold and bronze by mixing my browns and yellows and then my browns and reds, for example, this fairy house over here, which by the way is another class of mine and this floral study over here, where I mix my browns with reds to achieve these colors and then browns with yellows to achieve a golden look on my florals. But if you really want to apply this scheme and paint a somewhat metallic object like this Christmas balls over here, then you have to be careful and place your lights where they are and then darks where they are by adjusting the amount of browns and yellows or browns and blues or browns and reds on your mixture so that you can achieve different shades of the same color. For example, this one, I use burnt umber plus Gambogova. On my silver one, I use Bercian and ultramarine deep, and then on the third one, I use burnt umber plus vermilion hue. So by creating this illustration, you can see that I've achieved to use the metal colors to make these objects look a bit metallic. It's not perfect and it doesn't appear to be shining, but I'm satisfied as long as I achieve that sort of look. When I look at it from afar, it does look like a gold and silver and bronze to me, good job. Right. That is fun. I would like to admit that I had fun, even if I worked with the colors I hate. Now you might be wondering, where can I use these colors? Well, those are days when I was really tired that all I can do is watch create little studies like this. That's when I discovered that yes, I can give a second chance to the colors that I hate. For example, I have this painting the clouds. Are so beautiful. I used ultramarine blue and cadmium red orange to achieve that. You can see a hint of cadmium red orange over there, which I tone down by adding more water. I'm really glad that I gave this color a second chance. Another study that I have here, I haven't featured this color that I hated, but I used Tra verte, which is a shade of green on this part of the painting, but I adjusted it to my liking by adding different shades of green too. So if you have a color that you think is a waste, I strongly encourage you to give that color a second chance and mix it with different colors that you love. Who knows? You might find your next most favorite mixture. 29. D19: Split Complementary: I I'm actually excited for today's activity. Today's challenge would be working with split complimentaries. So we know that when we look at our color wheel, the complimentary color of red is what's across it or green. But now let's make it a bit more challenging by working with split complimentaries. And I will use secondary colors, orange, green, and violet as my primary colors here. So orange instead of mixing it with blue, let us split. We'll have blue green and blue violet. The closest I have here is radiant hue and neutral tint. Let's see how that will work out later. It's actually my first time working with this color scheme, so I'm quite excited. Now for green, instead of red split, you have red orange and red violet. I have Hookers green, and the closest I have is cadmium red orange and pinacidon lilac. Now four Violet instead of yellow split, yellow orange and yellow green. I have here my mineral violet. I chose olive green for and permanent yellow D. So let's see how this will turn out. First, with the orange. Let's mix Viridian hue two colors that I hate. So let's see. Oh. Okay, I still creates a neutral mix. But again, this would be different depending on the pigments you choose. Just work with whatever you have. Oh, this is beautiful. Like a wine color. So this plus this yields this one, and then this creates this one. Col. Let's move with green. This is Hooker's green. And let's mix cadmium red orange. This could actually work as a skin tone, don't you think? And Hooker's green plus quinacredon Lila. Oops, I added too much. Wow. It's a greenish gray. Interesting. And lastly, our violet. Mineral violet plus olive green. Okay. Sort of similar when you add yellow, and this one is the closest I have as a yellow orange. I think I added too much. And of course, that will give us a brown. So in short, even if you don't have the exact complimentary color, you can go with a split complimentary color scheme, and you'll still achieve different shades of neutral colors. O 30. Sample Painting: D19: You can see here it's not a completed painting, but this will demonstrate that I was able to apply without knowing split complimentary color scheme. I use greens here and violets and I mix them. It's a different violet, not the mineral violet and olive green that we've mixed, but I mixed different greens. This is soft green, and this is a combination of compost blue and quinacridone red and I used that throughout different parts of the painting to keep adjusting my green. This is a tone down version of that sap green and you can see on some parts where it gets darker or turning towards violet that I mix those two. I actually applied this and this without me knowing that I don't have a finished painting where I specifically focus on split complimentaries, but I hope this study somewhat gives you an idea where you can apply it on your artwork. Tomorrow, let's work on analogous color schemes. 31. D20: Analogous - Blues: But Welcome to Day 20, and you're doing great. Last ten days, and we've successfully completed this color mixing challenge. Right. We've talked about primary colors. The three basic colors equidistant each other in the color wheel, which are red, yellows and blues or technically with watercolors, magenta, yellow and cyan. We've also talked about our three major pairs of complimentary colors, those that lie opposite each other in the color wheel, for example, red and green, orange and blue and yellow and violet. Now let's talk about analogous colors or groups of colors that are next to each other in the color wheel. That's what we'll do for the next three days where we'll work with three sets of analogous colors, starting with blues, greens and violet. So I have here cobalt blue, hookers green, and mineral violet. As far as I remember, we haven't mix these colors yet, especially with the use of convenient mix of green. I'm also taping here a small rectangle where we'll try placing them to each other, the color combinations that we'll come up with. Depending on your choices, you can even create ocean blues. Right. Let's start. This is cobalt blue mixed with green. That's lovely. You can even adjust, add more blue if you want or add more green depending to your liking. Now let's try green and violet. We've tried this, but with this set, you add more violet, we'll turn into this color. If you want more challenge, then you can work with primary colors and try to mix these colors. Okay? It's up to you. This is a nice blue violet. And if I add more blue, so now let's try mixing all of this, creating a gradient, starting from the lightest one. I think the lightest one would be this one, the green plus blue. What I'll do to achieve a smooth background would be to prepare my paper. I'll grab another brush and just wet this whole area. Then let's try creating a gradient, starting from the blue green to the blue violet. Oops. It's okay. That's how it looks. If I take this off, it will reveal this nice crisp border. I could really see using this two in seascapes. Depending on your need, you can make use of this analogous color scheme. Tomorrow, let's work with oranges, yellows and reds. A. 32. D21: Analogous - Oranges: Now, we're done with our first set of analogous colors which can work if you are looking to paint an ocean or a seascape scene. Now, I will use queen red, Gambochinova, and red orange for a sunset palette, and let's see how they will look when we mix them with each other. I'm pretty sure that I mentioned this in my basic color mixing class that if you mix magenta or pink with a bit of yellow, it will turn into a reddish tone like that. So pretty. So let's try and mix more of that. I can already imagine how this would look like in a sunset scene. If I add more pink, that's the color that it'll create. Next, red orange, plus yellow. A vibrant yellow orange. What about orange? Plus pink. Is it different? Yeah, it's different from this one. Now, doing the same thing that we did yesterday, I will create a gradient starting from the lightest one, and I think I'll start with this moving on to this mixture and lastly, this one. Or we can turn it around since we are imagining a sunset scene. This will be at the top, followed by this, and this will be at the bottom, where the sun is. Again, do not forget to prepare and breathe your paper with water so that they will blend smoothly with each other. Starting with that, moving on to this one. The key here is to just let them mix with each other. Do not disturb the pigments too much and let watercolor do its magic. Wow, that's really pretty. I would be honest with you, I haven't tried working with analogous colors before. With my sunsets, I love working with an orange and blue combination. It's very rare for us to see where I am. To see a sunset like this. Most of the time, it's just yellow and blue or orange and blue. Okay. Now, this proves to be a really useful palette when you're working with a sunset scene. Analogous colors of red, oranges and yellows. I'll see you tomorrow for our Berries edition. Where we'll use red, violets and blues. See ya. 33. D22: Analogous - Violets: Right. As I've mentioned yesterday, we'll now work with vary colors. I have here quinacredone red, quinacredone lilac, and royal blue. Let's start with the two quinacridones in our set. Okay, they look different with each other, but this is my first time mixing them. I think it will just create Alright. It turned my quinacridone red into this beautiful red violet color. So lovely. So lovely. What about Queen Lilac loss, royal blue? Oh, that's a nice blue, berry color. Wow. And royal blue plus quin red. Wow. These are beautiful, beautiful shades of violets, you know, that I'm a fan of violet. Okay. Now I'll create a gradient just like what we did. The past few days, I'll start with this one, going to this color and then finally this color. But when creating gradients, you would want to start with the lightest color, so I will lay down the red violet color first at the bottom, and then without rinsing my brush, I'll just grab the second and then the third colors. That will save us time because remember, if you want a smooth gradation like this, you should not let her paper dry. And if that happens, then just let it dry completely and get back to this and re wet. Okay, I've loaded my brush with my quin red and quin lilac mixture, followed by my quin red and royal blue. This is so pretty. I'm actually so happy I started this challenge because I am discovering color combinations I haven't tried before. I used to stick to my basic combination. So this is a great chance to really experiment, get to know your colors, fail, learn, and discover some combinations that you wouldn't have used, if not for this challenge. Right. So that's our three sets of analogous colors. Tomorrow, I want you to prepare your primary colors again, and let's have a quick review of the warm and cool colors. I'll see you there. 34. Sample Paintings: D20-D22: We've played with three analogous color scheme with blues, with oranges and with violets. Now, here are some examples where I use this palette. First off, you have this blues and violets and then you have the sunset, color palette, of course, only applied on this part. Then you also have this bright blues and pinks. They really work well together. Sitting beside each other on the color wheel will give you this harmonious effect and of course are really bright orange red and yellows for this dramatic sunset. These are just some examples on how you can make use of an analogous color scheme. Tomorrow, let's discuss about warm and cool primary colors. Sea. 35. D23: Warm and Cool Colors: I Welcome to Day 23. One more week, and we will wrap this challenge up. Right. Now let's discuss about worms and cools. If you want an in depth explanation, then please go ahead and watch this color mixing class after this challenge class. But as a quick review, for reds, we will consider cadmium red as our warm and quinacridone magenta as our cool. For yellows, we have lemon yellow as our cool and permanent yellow deep as our warm yellow. And for blues, there has been a debate which is warm and which is cool. But for me, I would consider ultramarine deep as warm and Taloblue as cold. But you can swap them. The key here is, if you remember this exercise, I've used quinacridone magenta, lemon yellow, and Toblue together. But now you'll see that I will use quinacridone magenta with permanent yellow deep. Pinacidone magenta with ultramarine blue instead of to blue, and then I will mix lemon yellow with ultramarine deep instead of to blue. You'll just mix and match the primaries that you used earlier. Now if we don't have that many colors, just make sure to use another set of primary different from the ones that you've used earlier. Let's get started. This is actually interesting. We'll get to see a different set of secondary and tertiary colors that this combination will create starting off with cadmium red and lemon yellow. First try to achieve a neutral mixture. This is already a beautiful shade of orange. If I add more red to half of it, I'll have this red orange, more yellow. I'll have this yellow orange. What about mixing quinacridonagenta and permanent yellow deep. Oh. That is so vibrant, that I hate vibrant oranges. That's the orange that it creates, but it does. Wow. That is so beautiful. A beautiful shade of red when you mix more red to the mixture. This is also a bright one. Okay. Now, going to our greens, we have lemon yellow and ultramarine deep. Earlier, we mixed lemon yellow and palo blue. Now we're switching things around. Oh, this is like a pastel green. Right. When you place a color here, just remember that you're adding more yellow to the green, you should be careful and not switch things around and where you'll put blue green here because yellow is the closest color to this mixture, so it should be yellow green. And here just add more blue ultramarine, and you'll have blue green. It's really different from this two that we created earlier where we use lemon yellow and Taloblue. That's why it's also nice to give it a try and mix and match your colors. Don't get too married, as they say, with the first set of primaries. Wow that you have been working on. This is a deep green. Let me check. So earlier during the first few days, we used permanent yellow with ultramarine deep. This is that color. This is obviously more vibrant, right? That's nice. Oh, sorry, sorry. I should have been this one. And then I'll add more To blue. I'm being careful with my To since I know it's an intense color. It's overpowering. Really different, really different from what we mixed earlier. Next, let's work on the violets. This is quinacridone magenta and ultramarine deep. Let me check. Quinacidon magenta and to Blue. That is a different violet. Let's add more magenta. Wow. That's so lovely. And let's add more blue. Mm hmm. Now we'll mix Thalo blue and cadmium red. We used cobol blue and cadmium red earlier, and we produced this muddy violet gray color. So let's see what this would create. Oh, I added more red. I think that would be my red violet. If I try and mix an equal part, that would turn into this lovely gray color. Sort of different from this one, right? Now, if I add more blue, then I'll have this lovely, lovely, bluish gray color. So far, what I'm loving so much is this combination. I'm biased towards violets, but I love this and I love how permanent yellow deep and Taloblue creates this deep green perfect for forests, and for skin tone, cadmium red and lemon yellow would prove to be really, really useful. But you can also try different combinations of primaries and let me know in the discussion stab what you tried and which combinations really surprised you. Tomorrow, let's have fun and experiment with secondaries being used as primaries, LCU. 36. D24: Secondary as Primary: I have experimented with different set of primary colors and created this color wheels. Yes, that's how obsessed I am when it comes to color mixing. And then I suddenly had this idea that, what if instead of these primary colors of reds or pinks or magentas and yellows and blues or Cyan what if I use my secondary colors, the convenient mixes instead of these primaries. Now that's what we'll do. I have here red orange, hookers green and mineral violet for today's activity and tomorrow I will play with light red, viridian hue and lavender. I hate that color, but let's go. Here I have a simple color wheel divided into six and just so we won't get confused, this is my primary, that would be my orange. This is another primary. This wheel is just divided into six, so we will be able to mix our secondaries, but not the tertiary. But it's up to you if you want to divide your color wheel to make place for the tertiaries. Right. All you need to do is fill out those spaces. First with your primary color, this is red orange once again. Followed by Hooker's green. And lastly, mineral violet. Again, feel free to swap colors, whatever color is already available to you. But it would be best if you choose premixed colors instead of using your primaries because it would be no different. With our first activities if you use primary colors. Now, let's start with the first secondary color, which is orange plus green. We mix this during our previous experiments, but let's see what combination this set creates. That's a brown. Okay. You can leave space, a tiny, tiny space between the colors in case your orange and green swatches are not yet fully dried. Don't worry about getting this perfectly colored. Just focus on mixing your colors, okay? So that's a brown. What about orange and violet? Red, orange and mineral violet. All right. I do remember mixing the same color, but it's different when you see them in a color wheel. So this is orange and violet. And then green and violet. Turned into a gray. This color mixing challenge is also giving us lots of opportunities to practice our brush stroke. Okay. That's looking weird, but that's okay. In a way, if you look at the combinations that we have here, sort of look like our metallic colors, right? This could work as your silver. Let's see what happens when we mix the two. This could work as your gold. Let's mix that with this one. Now you have your different shades of neutrals here. Then let's mix this with this gray. Hmm. Right. You might find some uses here. For example, the Black without black exercise we had earlier, you can actually substitute this hooker's green and mineral violet and forget about your blue and orange combination. That is interesting. This also can really work with roofs when you're painting roofs in your landscape. And this one, you can sort of use this for your skin tones. So that's a great discovery. Tomorrow, let's do another set with some of the colors that I hate. ICU. 37. D25: Secondary as Primary 2: We're already on day 25. That's so nice. And I like how this test swatches are piling up. So, great, great, great job. Oh, actually, I haven't used the back of this one yet. There you go. Now we'll do the same. But this time, instead of an orange, this is a light red. As I mentioned earlier, browns are also grouped with oranges. So if we have a red mix of brown there, it could be a burnt sienna, burnt umber, you can substitute that with this color. Feel free to use that. Oh, here we go again. I really don't like this color, but for the sake of color mixing, let's use Viridian hue. And then lavender. I also sort of avoid this color. Like shell pink, it gets really muddy when mixed with others, but a standalone color is good work. Right. Let's try light red with viridian hue. That's a brown, but a muddy brown. Muddy brown, of course. Brown is the color of mud. But compared to this one, this is looking duller. What about light red and lavender? This is the first time I'm mixing these two. I would take a guess. This should look like a grey. That's my guess. Let's see. Ah. What? I think I'll need to add more lavender. Still a brown. Okay. It's not a gray. I was wrong. But it was good discovery. And then lavender and green should give me a gray. Oh, no. No, you're giving me a blue. Okay, it's giving me a pastel blue. That's nice. So these two colors that I hate are actually giving me a color that I favor. Now let's try and get the same neutrals by mixing these a greenish gray. What about this too? A neutral gray. And what about this too? Brown. Lovely. Lovely, lovely colors. Let me know what secondary colors you used as primary. I'll see you tomorrow and let's mix shadow colors. 38. Sample Paintings: D23-D25: Okay, I created this painting specifically to join a challenge where we used a combination of warms and cools, and this is the result, and I'm so happy that I joined that challenge. You can see some really tone down purples over here. I also used a red, and then different shades of yellows. You also have blue close to Silo blue. So I hope this gives you an idea how you can apply this too on your artworks. Okay, I was really excited to see that I've actually done this before. I thought I would need to create a new illustration to show you how you can use a secondary color set and use them as your primary colors. This portrait study where I used cadmium orange, sap green, and a combination of ultramarine blue, and opera for my purple and use that for my skin toe. You don't worry about this one, but you can still see hints of purples over there and some greens over there and a lot of how it turned out. I was so happy that I found this small study and that proves that even if you don't have your basic reds and yellows and blues, you can still find some substitute because in a way, if you really think about it, orange has red and yellow. Green has blue and yellow and purple has red and blue. In a way, you'll be able to achieve neutral colors and it depends on you where you'll apply this. You can even use this on a landscape painting or a still life or even just a value study. So I hope that gives you an idea on how you can use this color palette on your own projects. See you tomorrow. 39. D26: Shadow Colors - Reds & Oranges: For today, we'll talk about shadow colors, how to mix shadow colors, specifically for red and orange. Don't worry about those. I made a mistake labeling my colors, but for the next three days, we will explore how to mix shadow colors and what works best. So I have reserved these two circles for my red, orange, yellow, green, blue, and violet. But of course, you can just choose colors that you'd like to discover what pigments work for their shadows. What I have here is I will use pyal red for my red. I'll color this up with my Pyl red and whichever is, I think the best shadow color, I'll drop those here. For my pyral red, I have quinacridone magenta, which is from the same family, but only darker. Cadmium red orange, which is an analogous color because it's beside red in the color veil Hooker's green, which is its complimentary color and black. Let's see which is the best one when it comes to mixing shadow colors for red. This is my Pyrrole red, so I'll prepare four pools, starting off with pinacidon magenta. So that is the shadow color that I've achieved. Next, cadmium red orange, an analogous color. Okay. What about Hooker's green? It's compliment. Oh. If you achieve a color like this, a neutral color, try to add more of the red because what we're aiming is only the shadow color, not really a neutral wine. And lastly, black. Okay. I think I'd go for this is hard. I think I'd go for Hookers Green and black. Let's see how that will look like when we paint Pyl red along with these colors that I've chosen. That's too dark. And then while it's still wet, I will drop in the shadow color over here. That is Pyle red, that's hooker's green. What do you think? Next, PyroleRd again then Pyrole red with black. I might need to go over again one more time and make this redder. And then I'll add more black and drop it here. Okay, interesting, isn't it? This only shows that we really shouldn't ditch black and remove it from our palette just because someone said that you cannot ever use blacks when it comes to painting. That's for our red, but obviously you can also choose a color from the same family or an analogous color, which is this tube, magenta and cadmium orange. Now, I'll go for orange. This time, I have cadmium orange, red orange here, and I will mix it with burnt sienna, which is a darker orange, actually, a brown color. And then scarlet lake, which is an analogous color. Royal blue, it's compliment and, of course, black. I'll always use black throughout this exercise. Let's start with burnt sienna. Cadmium red and burnt sienna. How does that look as a shadow? It looks a bit dirtier. What about one mixed with scarlet lake? I'd definitely choose this one. And what about royal blue? Here again, since we're using its complimentary color, it will naturally turn into a brown color. But maybe depending on what you're painting, this can also work as a shadow color for your orange. What about black? Oh. Almost the same with my royal blue. So this time, I will choose this two, a color from the same family, which is burnt sienna and then a color analogous to it, which is scarlet lake. So I'll remove this two. I won't need them, then I'll color in my circle with orange and drop the shadow colors. Alternatively, of course, you can use the same color and just let the first layer dry and add another one. Most of the time, that's what I'm doing, but there will be times when you'll need a slightly darker shade darker than the original color that you're using, and this is a good exercise to do to discover which color works best for you. Okay, do not forget to write notes here. So this is what I chose. And for the Pyl red, I chose hookers green and black. To clarify what I was talking about earlier about letting the first layer drive first and then adding another layer, let me just look for a green. For example, this one. This is my first layer. Imagine this is a leaf. And then it dried already. You can go ahead and use the same color. Let us assume that it is hooker's green and then add another layer. So that can also work. But for the purpose of learning how to mix our colors, we will deal with same color, family, analogous color, complimentary color, and of course, black. I'll see you tomorrow, and let's work on yellows and greens. 40. D27: Shadow Colors - Yellows & Greens: Day 27 will work with yellow and green shadow colors. Yellow must be the hardest colors among the primaries to mix the shadow color. I'm actually excited to try this one because I've been wanting to paint some sunflowers, and I find that it's really, really challenging to mix shadow colors, especially for yellow because it's easy to get a body mixture instead of a shadow color one. So for this, I will use cadmium light as my primary yellow, and then for color of the same family, permanent yellow deep, cadmium red, orange for an analogous color, permanent violet for its complimentary and of course, black. Now for green, I'll use permanent green as my base, M hookers green for the same color family, royal blue for an analogous color, scarlet lake for its compliment and, of course, black. Let's get started with the yellow. Cadmium yellow is a neutral yellow. It's not warm, like this permanent yellow deep, or it's not cool like lemon yellow. So this is a good base color. Let's start with permanent yellow deep. Okay. Not much change, but that's okay. But about cadmium red orange. I think I've added more orange than intended. As expected it turned out like yellow orange, but about permanent violet. We've always been using mineral violet, so now it's time to try a different violet. Okay, a bit muddy. That's okay. And, of course, black. Oh, it's hard to decide. But if I am to choose, I would go for the orange and the violet and let's paint the circles with the base color, which is cadmium yellow light. Don't worry if you go outside the line. You can even paint a cube if you want, but I like to do it this way. So this is my cadmium orange mixed with yellow. I forgot to watch the black one. Next, we have the cadmium yellow light loss permanent violet. Which do you think is better? Now we'll go with greens. Green is sort of easy, I think to mix shadow colors. We haven't really gotten into the other color combinations like mixing greens with browns, but I will leave it up to you to experiment and find out shadow colors for your favorite pigments. This is permanent green. I'll start it with a color from the same family who cars green. Maybe I mix too much. That will do. Hooker's green. What about royal blue? Royal blue is a dark blue. So Wow. That looks so good. But might not be too good when you are working with floorls. Well, it depends. It's a case to case basis, actually. Mixing it with scarlet lake turns it into an olive green. Lovely. What about black? Oh, it's hard to choose. I'll go with Royal blue and black this time. Let me just star them so I won't forget which I chose. Again, royal blue and black. Goodbye, this two. Permanent green plus one mixed with royal blue. The sun is shining on me. I think it's approving of my color choices. This one is the one mixed with black. So what have we learned here? For some colors, adding black is a good choice like this one, one with the green and the one with the red. But for yellows and oranges, they don't really look that good. So that teaches us that you can really choose another color instead of black to achieve a shadow color or a deeper color or darker shade that you want for a specific pigment. I hope you're having fun discovering shadow colors. Tomorrow, let's discover what works best as a shadow shade for our blues and violets. See ya. 41. D28: Shadow Colors - Blues & Violets: I Okay, it's time to mix colors that I really love. So for blue, I have chosen ultramarine deep as my base, and I will add royal blue as a color of the same family, permanent violet for its analogous color, burnt umber, for its complimentary and, of course, black. For my violet, I will use mineral violet as my base, add permanent violet. Add Hooker's green as its analogous color, yellow ochre, and then black. Let's get started. This is Ultramar indeed. Another color that I really love except when working with portraits because it granulates. That's fine. Let's mix it with royal blue. Lovely. See how that change. What about permanent violet? Okay. Not really good for its shadow. What about burnt umber? This is a combination that I really, really, really love. This would be my first choice, obviously. What about black? Oh, almost the same with my burnt umber. Okay, what do I choose? Burnt umber and Royal blue combination. Goodbye, this too. I won't be needing you for a change, let's use a color from the same family. This is royal blue. That's ultramarine blue. Then the one mixed with its complimentary, which is burnt sienna. Sorry, burnt umber. Burnt sienna can also work with ultramarine blue. But obviously, you'll get a deeper shade when you use burnt umber. Should have added more blue. Let's do that. There. One has a subtle change, but the other one, the shadow color is really, really obvious. That's for our blue. Let's clean this up for our violet. For our violet, this is mineral violet once again. Let's start off with permanent violet. One is leaning towards blue, which is permanent violet. But I don't think that looks like a good shadow color. What about an analogous color, ocher is green. I've added too much, let's add back mineral violet. Yeah, that could work. But maybe add more violet so that it's not an abrupt change. Yellow ochre. It made it a shade lighter. So no. No, no. Black. Add more mineral violet. Right. So it's obvious, I'll choose this too. Booker's green, it's analogous color and the one where we added black. This has been an exciting challenge. I'm so happy I pushed through with this one. I hope you'll find joy, too, in practicing color mixing. So this is my Hookers green. And lastly, the one mixed with black. Lovely deep violet colors. Right. Last two days, you can do it. Tomorrow, let's create a complete color wheel. See ya. 42. Sample Paintings: D26-D28: I have various examples here where you'll see almost all of the colors, starting with yellows. Here you can see that I really love mixing my yellows with oranges to get a deeper shade. Same goes with greens where I mix them with blues and sometimes over here I mix them with black. Same goes with reds and violets, where I mix blues and blacks also to achieve a shadow color and here's another one. I mix browns with my pinks to get shadow colors and the same goes for the greens. The branch, on the other hand, I mix blue with it to achieve a darker one, just like how we mixed royal blue with our cadmium red orange, well brown is also in the orange family, that's how it looks like when you apply the same concept to your paintings. No 43. D29: Color Wheel: Okay, I'm so excited. For today, since I will be using some colors that I haven't used the entire challenge. And if you have another set of primary colors, again, you can use a pink, a red, a magenta, even a brown for an earth themed color wheel. This is bordeaux. This is naples yellow. I haven't used it. It's long as I remember, I haven't used it in this challenge, and then Prussian blue. Prussian blue is an intense blue, so I was avoiding it really during this challenge, but just like Talublue, you can control it once you get to know how little or how much you should only be using per mixture. Now, this is a complete color wheel, as I call it, in a way where we will plot our primary colors, our secondary colors, and even our tertiary colors. If you remember, this is during our day seven. We plotted our primary and secondary in sort of a rainbow format, and then the tertiary colors go here. We also plotted an Earth themed primary and secondary colors like this and another set of muted tones. But this time, we will be using this format. It's a circle divided in 12 sections equally, and then we will place our primary colors equidistant to each other. So one primary goes here, another goes here, and another goes here. You should leave three spaces between each primary color. Now, I'm so excited because this is the format that I have always been using when working on this color wheel eBook. And so far, I haven't used this trial before the bordeaux naples yellow, and Prussian blue combination. So let's get started. I would also recommend that you plot first the primary. I like to mark them with a dot. Just to remind myself that hey, give space for the others. One, two, three, so my yellow goes here. And then one, two, three, my blue goes here. I'll start with bordeaux. Bordeaux is close to magenta. This color wheel doesn't need to be perfect. But as I mentioned earlier, this challenge also gives us lots and lots of opportunities to practice our stroke. But I don't want you to prioritize creating a perfect swatch, creating a perfect circle, painting inside the lines. Perfectly, I want you to focus on the mixing part. Okay? That is our priority. Not creating beautiful looking swatches. Took me some time before I managed to find out which brush works well with the swatches. But my earlier attempts look similar to this, not uniform sizes, blotches of colors, but that's fine. Okay. Let's start with our first secondary color. If you remember, if we mix red or pink plus yellow, we should achieve orange, and that orange should lie here between the two primaries. That's what I'll do. I already have my naples yellow here. I'll just grab some bordeaux and oh, what is that color? Okay, that is flesh tone, I think. As long as you achieve a color that is bordeaux or that is neither red nor yellow, that will be your secondary. See? This is a beautiful color for me. I am a fan of mited colors, and then I will sort of divide this mixture into two, starting with one where I will add more yellow. This is kind of tricky since Naples yellow is a weak color, and then for the other half, I'll add in more bordo. So far so good. Now we have our first set of primary border and yellow, maples yellow, secondary, which is this flesh tone, and then tertiary, which is supposed to be yellow orange and red orange, but they are not, and that's fine. Next, I will work on this side. This should yield violet. I already have my halo blue there. I'll just add more bordeaux, and this is what it gave me. I think that's try to achieve a color that is neither red nor blue and that should be a violet. It's also good review for the primary and secondary colors and also tertiary. If you keep on doing this over and over and over again, you don't have to check your color wheel just to find out, Oh, how do I make violet again? How do I make orange again? That happened with most of my students with my face to face students. I took them quite some time to kind of memorize by heart, which primary creates which secondary color. And that's totally, totally fine. Again, if you're lost, just remember your rainbow. Roy Ji Biv without the indigo. And on the other or the other half, I have my blue violet. I'm in love with this combination. They are giving me the muted colors that I love so much. And finally, for the greens, let's have maples yellow back on our palette. I wouldn't expect a bright green since naples yellow is. So you can see it's a weak yellow, but I love using this for my skies. Oops. Weak yellow versus a strong blue. It would really be a challenging task to mix them. Another mutant secondary, which is green. Once again, divide that into two, mix in yellow first, and fill in your yellow green. Then make more blue here. Now for the space over here, you can just mix all of these colors together and try to achieve a neutral color. I'll add in more yellow. Maybe I need more bordeaux, no, more blue. Yes, this is a good neutral color. Put that over here at the center. Then try to add more red, more yellow on one part. This is our biased neutrals, if you remember, and more blue on one part. Lovely. I'm so in love with this trio, I should add it to my e book. Okay. So that is our complete color wheel. Now for tomorrow, we will expand this palette and create skin tones, Paris shades of greens and violets. I'll see you for our last day. Good job. 44. D30: Color Wheel Expanded: Starting off with skin tones, we know that the basis of skin tone is orange. So that again, ladies and gentlemen, is yellow, this red. Oops, too yellow, too red. This can actually work as a blush, so that could be another variation. For this part, I'll just add more yellow, and that is it. This is my first watch straight up yellow pus red, and this is my blush. We're actually just remaking some of these colors, but that's totally fine. Now for the third one, we will introduce blue. I did this because I know Prussian blue is so intense, so I will just pick up some of my blue here instead of just dipping my brush directly on my pan, which more often than not, is too much. Once again, I added more blue than intended. There, this is better. And lastly, let's add black. We will extend this palette by adding black. This could work for the pupil of the eyes or the nostril. So those are your skin tones with our bordeaux naples yellow, and Prussian blue trio. Next up, greens. I already have my blue here. So let's mix greens. You can even take a look at what happens if you add more water to your mixture. So that is a transparent wash. This is my second wash. I added more blue. There you go. And, of course, add a bit of red or bordo. It happened. Okay, it turned into an olive shade. Olive green. That's what I wanted to happen. It's different from this green, so that will work. And of course, lastly, add black. There you go. Next up, purples. Again, add more water to see a lighter version of the tertiary over here, tertiary color or secondary color. Then for the second swatch, you can just add whatever you want. Is it more blue, more red? It's up to you. But for the third swatch, we will be adding the other primary color. This case is yellow. That is a lovely shade of violet, which we weren't able to achieve when we were working on this color wheel and add black. Lovely. Now it's time to have fun and experiment with kind of neutral colors. Yes, we did. We mixed this, but they are too pale. So now let's have fine and just mix everything on our palette. I will even grab the other one and mix them here. So I was able to as long as they're different from the mixtures already. Okay? This is like a neutral gray. What about this one? Sort of different, but same. What if I Okay. What if I add black? Oh, that's too much black. It's a way to clean up your palette, too, when you do this. Beautiful, beautiful. See how we were able to really expand a palette of three plus one black by learning to mix our colors. Let me just put it here as black on last swatches. So I'll know that it's not really only bordo, naples, yellow, and Prussian blue, but I used black. Congratulations on completing this challenge. 45. Sample Paintings: D29-D30: Okay. This is looking good. Some examples where I used primary colors again, but different sets of primaries to create this winter scape, this beach scene and this lovely Mountain illustration. These are actually some outputs from my in person workshop where we focused on mixing our own colors, specifically working with a set of primary colors plus black. And coming up with different scenes. You can see here how I managed to achieve different shades of oranges, of purples, and of greens. That's why I love color mixing so much because you don't need tons and tons of tubes of different colors, but you'll need patience and of course, your love for the medium to really learn how to mix your own colors. I hope you're having fun. In the next video, let's take a look back at what we did during this 30 day challenge and what you can do from here. Oh 46. Before You Go: That was an amazing experience. Even for me, who's been obsessed with color mixing for almost a year now. Which combination is your favorite so far? We did a lot of mixing, starting from a monochromatic color scheme, complimentary primary colors and mixed them to achieve secondary and tertiaries and expanded them to produce skin tones, different shades of greens and purples explored using earth and muted primary colors mixed are black without blacks, our own pastel colors, and even metal colors. We also gave a second chance to the colors we hated. Then we tried a split complimentary color scheme, reviewed our warm and cool colors, experimented using secondary colors as our primary and tested out which pigments works the best of shadow colors. We finished strong with a complete color wheel. You all put in an incredible effort. Thanks for sticking with me till the end. But if there's one thing that I want you to take away from this class, that is making time to create mini color studies. It's the best way to get to know your colors and improve your mixing skills. Hope you had fun in this challenge class, and I'm looking forward to which colors you played with. So don't forget to upload your class project with a list of pigment names you used. Let's learn from each other. An honest class review is greatly appreciated, too, as it will help me improve my future classes and help other students decide whether this class is for them or not. See you in my other classes, and together, let's make this world a little bit more colorful with our artwork.