Colors Made Easy: Play & Explore To Find Your Style

1. Welcome To My Class: Why stress about colors? why are colors so overwhelming? A palette is like a self portrait of an artist. Each layout and collection of pans is personal and unique. Before a trip and often with the change of seasons I like To review my palettes, to refresh and update them. I may try new colors, give myself some projects such as making a reportage of my home before moving out. And if you spend anytime with watercolorists, you'll soon start hearing that you can't do this. You can't use white gouache, you can't use black or you're not a real watercolorist etc, etc. Some artists insist you already should use only single pigment colors and at the same time, others will swear by mixed paints like Payne's gray or neutral tint. So what's the deal? I think you can just do anything you like and use the colors that YOU find beautiful. Hello, I'm Barbara Luel. I'm an architect, artist, author of two books about watercolor sketching in Japan and drawing teacher. Still working as an architect everyday restoring monuments. In my free time, I make drawings and paintings. Most of the time, I want to commit myself to share my love of making art with as many people as possible just because it saved my life and keeps me sane I made this class because I received a lot of questions from people just wanting to know what my color palette is and how I use it. After a short explanation, technical explanation. In this class, I will give you about pigments. We will dive into playing with them because it's by playing and your sketchbook with your favorite colors, that you will improve your skills and that you will find your unique drawing style. You will learn some facts about colors and pigments. My way of seeing and painting a subject, and my use of color, how I use colors and values to create depth and volume in a painting, and how to use color to attract the eye to your focal point. This is a class for all skill levels, either total beginner or experienced artist. just wanting to get a new point of view and painting techniques. 2. Color class project: You will complete watercolor sketch as your class project. We'll just find some objects to paint. Objects that you like. You don't need to paint what I paint. And please share your work online on the platform in the class projects so everyone can enjoy the work of others and be inspired. And maybe you've discovered something interesting that you can transmit. It would be fun if everyone showed also picture of his watercolor palette in the project section, I'm curious which colors you use. In the next lesson, I will explain all about the class materials. Let's have fun. 3. Class Materials: Hello. In this video, I will talk to you about the art supplies we will use in this class. I will use a soft graphite pencil for drawing. I will use some water color pencils. This is not compulsory. I mean, you can use it if you like, you don't have to. I will use some watercolor brushes. These are fine watercolor brushes because I will paint these darlings. You can choose any object you want to paint with, the colors you want to use. And I will use paper tissue to clean up my mess. And if you want to erase an eraser, I will use this palette. It's one of my palettes that I don't use a lot. Then I will also make these two watercolor palettes. If you want to fill up a new empty pallete with watercolor tubes like I will do. Then you collect all the colors you like and we make together a palette. Otherwise you can just use the palette you already have. That's fine as well. Then. I mean, if you don't have all these colors, That's no problem. You can do your art with the colors you like and you have, you don't need to buy anything special for the class. As paper, I advise you to use good quality paper. If you want to use watercolor, you have a 100% cotton paper or cellulose paper, 300 grams, or a 140 lbs, at least if you want to use a lot of water, I will use this paper. It's Saunders Waterford watercolor paper, 300 grams. And you can also use, of course, other kinds of paper. In my watercolor for beginners class, I explain much more about brushes and paper. You can go to the class if you want to know more about it. You don't need to use these sable brushes like this. You can also use just plain synthetic brushes. These brushes are very nice as well. 4. Color Inspiration: Hello again, Welcome. In this video about inspiration that I had from other watercolor artists and sketchers, I did lots of workshops and masterclasses with watercolor artists like Janine Gallizia. I love her delicacy and use of color. She uses a very limited transparent paint palette, I love the delicacy and texture she creates in her paintings more like sketches and also in her watercolors. And I have kept some uses of these colors, like these Earth colors, burnt sienna, and natural sienna or row umber. And then the rest of my palette has changed over time. And then I also did two workshops with Mark Folly. and, Joseph Zbukvic but I don't have any images of him here. So this is Mac Folly. And what I have kept from his workshops is that I tried to make some contrast in my paintings. And I have learned from him this use of texture and use of gray mixture with blue, ultramarine blue, and with transparent orange. He uses that a lot in his shadowing. And I love the contrasts in his watercolors with the play of light. And you'll see here a very important use of values. I mean, it's not only good to think about which colors you want to use, it's all about values. If you want to have light in your paintings, you have to have a lot of shadows to create impression of light. He first put the shadows and then he adds the colors. I like his use of color a lot with lots of Cerulean blue and burnt sienna, orange and these beautiful greens. And also some Turquoise. And then another watercolorist I love is Pedro Cano, from Spain. And I love his Earth colors. Also very delicate work. The last years I was more influenced by Urban Sketchers. And I added to my palette more playful colors. And my drawing was a lot influenced by Ch'ng Kiah Kiean a Molaysion, artist. In his work, the drawing part is more important. And then also, this is a great book by Danny Gregory showing a lot of sketchbooks. And here you have Nina Johansson. I did a workshop with her. I love her playful colors. And all these urban sketches have influenced me a lot in my use of color. Because when you go sketching, sometimes you have to paint very fast. And so don't have sometimes a lot of time to mix colors. So I started to use more direct watercoloring straight from the palette to the page. Here's Kiah kiean again. And again, drawing with ink and twigs. These kind of books are very inspiring. If you need some inspiration to get you started again, sketching. Just have a look at these and just see what colors you like. And try them out and see if it's something for you. Other great artists who inspired me, are Veronica Lawlor Land Paul Wang. In my use of color, I don't have a book here from Paul Wang, so I will show images in the video. And Veronica Lawlor is an artist based in New York, also great urban sketcher. And I love her way of drawing, and also I love her playful use of color. 5. Combining Colors To Create Depth: In this video, I want to talk about combining colors and values to convey feelings and create depth and volume in your watercolor. This is a book by Mark Folly, and I want to use it to talk about this subject. So color is the ultimate way to convey feelings and emotions in a painting. As you can see different use of color gives you different feelings. I show Marc Folly because his colors are very strong and I find it very powerful. This is the reason also why I insist on the fact that you shouldn't let anyone tell you which colors to use or give you a rules that don't apply to your way of painting. I've showed you many different artists that have very different uses of painting and color and drawing. You should use your colors. And that will determine the personality and style of painting that you like. What and how do you like to paint? Everyone has different tastes, which reflects your mood, your emotions, and your personality. And the colors I used today can be different tomorrow. The next video we will make a small painting. When playing with colors, you can create depth in your painting. But you shouldn't forget to pay attention to the values and density of the paint to make a variation from light to dark, like, from Tea like density to creamy density. Here you will see very, very dark parts and they create a lot of lights on the building. In my video about watercolor for beginners, from videos 8 to 12, I make exercises to exercise these uses of creamy paint, milky paint, and Tea like paint to go from very dark to very light. And also to experiment with textures. It's important to exercise those textures and densities to have values in your painting. So it's not only about colors like this is a grayish color mixture, ultramarine blue and orange. And here you have this very dark parts also in the red, you can create lots of different values. While painting. We'll, we'll also look at the shapes. Seeing is forgetting the name of the things you'll see. When you try to paint something. Try to look in what direction the lines are going. Instead of the subject that you want to paint, like a house or a roof, just look in what direction the lines are going. And so you can switch off your rational left side of the brain and only paint with your emotional right side of the brain, which will help you also to choose your colors. Here are some tips to keep in mind when you paint and when you think about the use of colors. You have a foreground, middle ground, and a background. And a tip is to use dark and warm colors. In the front. Light and cool colors tend to seem further away. So here in the back, he used very light grayish blue and the houses in front are more detailed and warmer. So the eye will go to these parts which are more detailed and warmer color. The green here in front is much brighter and warm than the background here. Also to create depth is the sense of detailing these very detailed branches of the trees and the fence. And then in the back, the details become less important. So to attract the eye to your focal point, focal point will be more detailed than the less important pieces of the drawing. Like here, these houses are not important. With focal point of the drawing. I mean, it's the point where you want the person who looks at the painting to look at. Here you'll see is a detail of this part of the painting, which is definitely very important to him. You have the trees, the windows, you see the windows in houses and a suggestion of the church. And in these houses, these are less important. You don't see any windows, but they're still quite detailed. This part, There's a lot of light So you have to decide when you start a painting, what is important in your painting. And I suggest personally to start with that part, to be sure it's nicely positioned on your sheet and that you have the time to detail it. 6. About Pigments And Color Wheels: Let me explain you some facts about watercolor paints. Watercolor paint is basically pigments in binder. Here you see some ultramarine blue pigment. So it's a powder. And most watercolors are made with Arabic Gum as a binder. Except for these QOR watercolors, which are made with a binder, which is used also in the restoration of paintings AQUAZOL You can read more about it on their website. So what interests us here are the pigments because they determine the color. So this is a pigment, a powder of color used to make paint. You have natural pigments and synthetic pigments. If I mix this pigment with a binder, like we get Gum Arabic, I make my own watercolor paint. If I mix it with acrylic binder, I make the acrylic paint, etc, etc. Like with oil I make oil paint. You can read about the properties of the pigments on the tubes or on the paons. When you buy a pan, you have wrapping. This is Kremer pigment, it's German, and you can see what is in it. So you can see a number like this is a Row Umber. It's a big tube because I love Raw Umber, I use it a lot. Winsor and Newton. And you will see here, you don't see it very well because it's metallic. But you'll see here pigment PBr7. And you will see also the property of the paint. There's a transparent square, which means it's transparent. You can read all this on the tubes. This is an old Winsor and Newton tube. It was white. Much more easy to read. You can see this Cerulean blue, I love as well a lot. And it's PB 35. It's so small. I can't read it very well. Yes. It's very small, I'm sorry. Pbr 7. So the pigments are numbered. So for example, if you have Phtalo green, it's be PG7. And Azo yellow would be PY 151. And you can make May Green if you have, I don't have here May green tube, but this is something similar. So it's Vert Anglais of Sennelier, you can see it's made of PG7 and PY153 And May Green would be its Schmincke. It's BG7 and PY 151. What I mean by this is that you have single pigment colors and pre-mixed industrial colors. And it's important to know this, because these premixed colors, they are wonderful. I have a lot of them. I will show you. If there are two pigments already in it, you can mix it with a single pigment color. But if you mix more than three pigments together, you will quickly get a very muddy color. So it's best not to mix more than three pigments together. You can also buy, for example, premixed sets, watercolor sets composed by watercolorists, you can have a set with chosen colors in it like this, for example. There's a lot of single pigment scholars in it. It's selected by Jane Blundell. And if you see these single pigments colors, they make a wonderful, beautiful mix of colors. You can make really lot of colors with them. So this are single pigments colors. And I made one like this from one of my small sets, this one pocket set. And there's not only single pigment colors in it. They are also pre-mixed colors in it. And then you will see in the grid, some weird colors. Anyway. If you spend time with watercolorist, you will very soon start hearing like you can't do this, you can't do that. You can't add white gouache or you wouldn't be a real watercolorist, like you have to have a limited palette. Because then you mix all your colors yourself. Well, I would say just do like you wish. Like I bought these to see what it gives and gives wonderful colors. But I'd just like to make a bigger palette with more colors in it, because that's just what I love to do. So don't let yourself put any rules and just do like the ones you would use, the colors you find beautiful. And in my opinion, there's lots of good reasons to stick with single pigment colors like this. When you first start exploring, you learn to mix, and it's very interesting to learn to mix the colors yourself. But I like to have a few mixed pigments in my collection that I love when I go paint outside. This is one of my other palettes. I like to have everything ready by hand and just put straight on the page when I'm in a hurry for urban sketching. It's also interesting to know that some colors are made with natural pigments and some are made with synthetic pigments. I like to have a lot of natural pigments in my palette. I will show you in another video which colors I like. So you have to experiment because they can act in very unexpected ways and separate into their components. But I liked that a lot. If you love to learn about color mixing, try to make some color wheel or color charts. I have here. A Color wheel with primary colors, Ultramarine Blue, permanent rose, and Gamboge Nova, yellow. And you can experiment which colors you can make. And also here is a color wheel with Earth colors. In my previous class about watercolor for beginners, I explain and show in detail how to make the color wheels. The color wheel illustrates how colors mixed together to create other colors. In this wheel, you'll see three primary colors, yellow, red, and blue, mixed together to create all the secondary and tertiary colors in the wheel. And opposing colors in the wheel are known as complimentary like blue and orange, red and green, yellow and purple. Opposing colors in the wheel. They emphasize each other. And each color also has its split complimentary, like blue and yellow, orange and red, orange. And the complimentary color of blue is orange. And this would be the split complimentary color of blue. You can be very deliberate with this color systems when you paint, paint with the limited palette, if you want to use complimentary colors to attract the attention to your focal point, I advise you strongly to try out mixing different types of colors and pains granulating or not, and see what you like most. So you'll see here the granulation, I mean, the ultramarine blue here is by Daniel Smith. It's known as very granulating and different when you mix it with this is permanent rose by Winsor and Newton. If you mix these non granulating or this yellow is non granulating with the granulating ultramarine blue, you will have granulating mixes. You can also mix if you don't like this granulation, I like it a lot, but if you don't like it, just take another blue that is not granulating. So I advise you to try out these different mixes if you haven't done it yet. And so you can explore which colors you like most, just use the colors you like. And you will have a way to find your style of painting. Because the colors used by artists are really very typical, usually to these artists. So there are no fixed rules. As an artist, you're totally free to use whatever colors you like. And if your budget allows it, by all means, buy all the colors you like. In the next lesson, I will fill up my travel palette. 7. Chromatic Harmonisations: In this video, I want to talk to you more about chromatic harmonization. So this is a very interesting book. I will put some of these documentation in the Resources tab. So this page shows some different chromatic carbonization. You have these explosive harmonization with color choices that are very realistic to convey emotions and feelings in the paintings. So with primary colors, with complimentary colors, subjective color as giving us colors, psychedelic colors. Anyway, you here and vanilla bean colors. With these choices of colors, you can have very special effects in your paintings. These are not colors which you would see immediately like this really in nature. Then you have implodes if harmonization switch are much more realistic. So according to what you want to paint, you will choose your colors according to the subject. For example, you have this flesh colors, earthy colors. For painting animals or other natural scenery is greenish colors to paint vegetation. And then you have pestilence colors and dark colors, warm colors like for sunset. And then cool colors, bluish voice to paint like cityscapes. According to what you want to obtain as an effect and subjects, you will choose your colors. 8. Color Choices According to Painting Subjects: Here I want to show you some other subjects that will determine my choice of colors. I have here, for example, my book about Japan, which is divided in seasons. So for example, in springtime, there are specific pinkish and flower colors that I will within my palettes. And that will be different. Like when we go to summer, summer, when we go to summer, it will be different. Choice of colors. Also, the light is different in summer than in spring and autumn. And when we go to autumn, we will have, of course, autumn colors, like autumn leaves and tall. So different kinds of colors in those autumn leaves. Also, your color choice will be different according to where you live. In Japan, the trees will be different than elsewhere in the world sometimes. And then you have, of course, winter, which is more cool colors. For example, when you have snowy landscapes, of course you don't have snow, maybe in Australia. So your choice of colors will be different in Australia than in Europe or Japan. And when I go to this is my sketch book of elderly. I looked on internet to see which kinds of flowers and vegetation they had. And I adapted a bit my pallets. So there will be different animals, different flowers, especially more tropical vegetation. I don't have any palm trees in Brussels. So of course, this is very different. Also the light is very different. And there would be the sea, the ocean, which we don't have that kind of ocean also in Belgium and these are very typical, moist in the mountains, which is fog, which is also very typical. So when you choose your colors, think what you want to paint. Think about what you want to paint. You want to paint vegetation, animals, buildings, and choose your colors according to what, anywhere you want to go painting. 9. Darkening and Muting Colors: In this video, I want to talk to you about darkening or muting colors in watercolor with disease. Again, each book, right, scan these pages to put for you in the resources tab. This is our color wheel, which we already talked about. There are several ways to darken and Newton color will see it here actually. And I have made, are you this, so I have made this for you with sap green to show you how I darken the color. I do tweet migrate this, they see my gray with ultramarine blue. And with transplant orange. I mix it with the sap green, and then I get this kind of muted green. So what are muted colors? Muted colors or the opposite of vivid colors, which would be like this vivid color. And they are created by simply adding black or white, or by adding complimentary colors to a base color, making them like Great dealt or desaturated. Muted colors refers to colors that have a low saturation or Kroger. So another way I mute or darken my greens would be with black. I have this lovely lunar black with a lot of granulation, which will make my sap green granulating. Or you can darken it with umber or sepia. This is with Thumper, then it's very warm. Or with sepia, it gets very olive, brownish like much darker. Or you can darken it with the adjacent darkest colors or with complimentary colors. For the sap green, that would be blue. Green is here. Extra scent colors would be like more blue, darker blue. Then it gets much cooler. Or with purple, sap green. The complimentary color would be purple. 10. Making Travel Color Palettes: Now I will show you how I organize my palette by making new pocket palettes in this video. I always use these pocket palettes. They are made by Arttoolkit.com. You can order it on the website. Or if you live in Europe, there's a Spanish website: Artemiranda.com You can order it there to pay less taxes in EU. So this is a very light aluminum palettes and it's so super small. I really love it. And this is an old one. So in this video, I will make new ones. I will make one, blue and green, and one orange and yellow, and brown one. So I will show you how I organize my colors. I put all the harmonising colors together in separate palettes. When you travel and carry your stuff, you want to have it light and small. Let's make the palettes. I put ready all my colors and I put them in these little pans. It's magnetic. So you can take it off and rearrange it like your wish. So I leave to London within a couple of days. So I want to prepare these new palettes. And I put the colors I think I will use often in the bigger pans. And the colors I think I will use less. Most of them are sometimes just for fun. I put them in small pans and I immediately make a color chart. And I will write down on the chart which colors they are because when the pans dry, colors tend to become a bit dark. And so you don't always see very well which color it is, especially with the blue and green ones. So I like to write down which color it is. And when you know the names of the colors, it's easy to buy new ones also. And I will leave them to dry during 48 hours before I put them back in. Otherwise, they tend to stick together and if you close immediately, the palette, they can't dry well. These are pinks from Holbein. I use them especially a lot in spring because they're cherry blossom pinks. But I like to splash pink the whole year round. This is shell pink and this is brilliant pink. You can make them yourself with the titanium white, with an opaque white and red. I put this transparent orange here. It's transparent pyrrole orange. And I will mix it with ultramarine blue to make a nice gray that I use all the time as shadow gray. I will put it in a very big pan. It's a double pan because I really use it all the time in all my paintings. A homemade gray and as it's summer now when I'm filming this, I want happy colors and I will make a warm gray with a lot of orange because in summer the shadows are warmer. They have a bit more orange and when they are cooler to have a bit more blue in it. Like I call cool colors. Blues with a lot of blue and also greens with a lot of blue in it. And warm colors, they have a lot of yellow. So a lot of orange. Let's now make our gray. So I put transparent orange. You can also use burnt sienna. I use french ultramarine blue and then I mix, I try not to over mix because I like to see the separate pigments still in the paint. And then I will try to see if it's nice. I just take a paper and I try it to see if it's nice gray. And when I like it, I will put it in the pan. You really have to try until you have something you like. I make this gray in all my palettes. You can also buy nice grays in tubes like Payne's Grey, Jane's Grey. They even have a paint called "Shadow Gray". But then there are industrially mixed and then you don't see separate pigments. So you'll see here I used this big palette to make my mixture and I have too much now, but that doesn't matter. I just leave it in my big palette. I use this one. So for painting, because it's quite heavy to carry around, It's embrace paint just stays here in this mixing pan because it's used for my gray. Like you see, it's full of gray. I used it a lot to make mixes of my shadow gray. So let's continue with the blue. So I have reorganized this palette because I thought that it needed some different. So I have reorganised this palette to make a better organisation for the harmonising colors. I want to have all the harmonising colors next to each other. but, it's not always possible. But I do my best to have harmonising colors together, like similar colors. For example, I want to have this Turquoise next to green. Because in Turquoise is green. Green is blue and yellow mixture. And I want these similar colors next to each other because it makes the palette easier to use. And also because then it doesn't matter so much if one color would go into the next pan. Please tell me if you have any questions. And I mean, these are just the colors I like for the moment. And if there are some colors that I don't use, I just changed the pan, and put another color into it. And when it's dry, I write down the names. Well, I know most names, but especially of the new colors. I write down the names. 11. Creating Volume With Colors: Let's do some volume exercises. We have here. These two puppets as they're round. You will have to pay attention to the shadows to make a ball. So I have this felt balls here and we can exercise some volume painting. You will see the light is on top of the ball and under the ball, color is darker and more saturated and also it has a shadow, gray in it. And on the page is also a shadow. Let's make some balls. We can do this in different ways. I will draw a circle, quite big so you can see it under the ball is darker. And I'll talk slides. Then do it in different ways. Either you can wet the ball beforehand and then put paint on the shadow sides. I put two bit too much water there so you can absorb it and take away the excess water. So I put dark paint, creamy paint where the shadow is. Then I can also add a shadow, gray. And I put shadow in the bottom of the ball. And then I will make the shadow on the paper under the ball and it has to be attached. It has to be attached to the objects. Good test to be, to have approximately of course, the shape of the objects. And really close to the object, it's darker than further away from the objects. Don't know if you see this. Well. Let's try another color. These green makes me think that. You'll have to same when you paint a tree. When you paint a tree, we can also just make immediately in watercolor in here I add just fresh water and dark paint. Then. Then I add the shadow. 12. Watercolor Sketch Part 1: Let's paint something. I was looking for, something very colorful. And as I had a lot of fun painting these little dolls for my book about Japanese arts and crafts. I think this is a very good subjects to paint. These colorful exercise. I have looked for some dolls. I have looked for some dolls. and I found this one. This is a Japanese emperor doll like I have on my book. It's very small, but I will paint it a bit bigger. And we will simplify the colors. You don't need to paint all the colors you see in the real object. Just choose the colors you want. I found this old doll I got from my sister. There's lavender in it, so it smells good. A little clown. So we will paint this and I will use this sketchbook. I also used it to make some of the paintings for my book. It's English paper, hot press. It's very smooth. And it already has a lot of paintings. I also use it to go urban sketching. As it's hot press, you really see the colors very well. It's Saunders Waterford paper does have a bit of everything. Really love the paper. You also painted some dolls. You can see it on Instagram, live with Reham Ali, we made a live painting session together. This is Pinocchio and this is Obelix This is another puppet. And I will paint these little darlings here. Maybe I skip a page, so I'm not distracted by this puppet. I paint it here. I will first make a pencil drawing. I always start with the Most important, which would be the face. And that's because if the face is not well done, the drawing of a doll or a person is kind of unsatisfying. So it's no use continuing. Be careful when you rub a pencil away. Not to not to damage the paper. I finished my drawing. I first start with the shadows, and I use my shadow gray, my pre mixture of ultramarine blue and transparent orange. When applying the shadows, it's good to already pay attention to what shape it is and the purpose of applying first the shadows is to emphasize the shape of the object. And then afterwards I can concentrate on the colors. So the shadows can sometimes be a bit tricky because these pre-mixed gray is already with blue and orange. So then I have to be careful not to add too many colors on it. Otherwise it will get muddy. I have these colors of pinkish purple. And so it makes me want to add potters pink. And at the same time, I'm thinking when I make the shadows about how to simplify a bit, the shapes and also the details of the drawings on the dresses of the dolls, especially the Japanese doll. So don't forget that if you don't like the colors of your object, it's your freedom as an artist to just change them and use other colors that you like better. What is your focal point in your painting or in your sketch? For me, it's the faces of the doll and especially this red nose of the clown. The red nose is a great way to attract the eye to the focal point. So if you have a focal point, where there is no special color to attract the eye, either you add special color to attract the eye like a very vivid color. And what you can also do is make great details in that spot. 13. Watercolor Sketch Part 2: Let's continue painting. I will now make the hat of the little Japanese doll. And on top of the hat, Although it's black. There's a more light on it cause it's a satinated textile. So it's a bit lighter on top. So I add water and then I add the black. And that water will make a soft edge in the black. So it will make a little dégradé. Lighter wash with "Tea" like paint to the more dense black wash and creamy paint in the shadowy part of the hat. And I immediately add the little eyes and eyebrows because they're so cute. So if you have too much paint or too much water, you would take your, you clean your brush and you dab in the tissue to absorb the water of the hairs of your brush. And then you can go with that clean, dry hair of the brush into the paint and the water you want to absorb and hairs of the brush will suck up the excess water and paint. Paint the dress of the Japanese doll. And I took a nice purple. I like Daniel Smith's Rose of Ultramarine. And it's a kind of pinkish purple. I like it a lot. Then for the hair of the clown, he has great hair. He or she has great hair. It's good to have a rigger brush. It's lettering brush, like it's called, and it's fine brush with long hair. They have good synthetic ones as well. And this is a stable one. And when you hold the brush quite vertical, you can have really skinny, skinny lines and control well the tip of your brush. And when you take it quite horizontal, you can make a bit broader lines. I add Tiger's Eye Genuine in the hair to have a variation in texture with the Raw Umber, and to have a bit more muted color and more granulation. Let's take the pocket palettes I made in a previous video because I want this orange and this gold here. When you paint two objects, be careful that they are connected together. So the hair comes a bit in front of the emperor and they touch each other. So the two objects are linked together also by the shadow. And I make this gold decoration. Be careful also not to make the whole intensity of your color the same everywhere. If you want a round shape impression, then you have to pay attention to the shadows and make the color a darker there where there are shadows. Otherwise, you will have a flat impression of some flowers on the dress. So I will make some suggestion of flowers. So here we have two complimentary colors, purple and orange. And then when it's dry, I will make some shadows again too. Also some orange splashes on the clown. You have too much paint somewhere or flashes why you don't want to press your brush in the tissue and you can suck up the water or excess paint. You see. Here, I have white drawings. Either I make everything, kind of color of the dress, and I can draw with white, or I can make a white dress and make colored drawings. Maybe I will do that. I will make a nice pink dress. Drawings in another color. Doesn't matter. With that mixture of orange. It looks a bit dirty. Now. You see here, I mixed more than three colors together. It's not beautiful. I shouldn't have dissolved, the orange splashes. 14. Watercolor Sketch Part 3: So let's continue the face of the doll. I use lunar black. I like these black because it's very granulating and it's also in the little Japanese doll. And so it will attract the eye to the face together with beautiful red nose and the heart in the mouth. When you have to make such details, you can steady your hand by holding the little finger to the paper. And so you can guide very well your brush or your pencil. I like to add texture lines with watercolor pencils. When you choose watercolor pencils to add to your painting, It's good to take similar colors then are in your palette unless you want to have one or two contrasted colors. But otherwise, I think it's beautiful to have harmonising pencil colors with the colors in your painting palette. I like to add some strong colors in the shadow. Shadow is never totally gray or black, but it usually has also colors reflected off the object, either reflected on the ground or the shadows of the object itself do have the colors of the object in it. Like a shadow of a blue dress will be a bit blue. And shadow of a tree will be a bit color of the tree. It makes your shadow also more lively. Also, don't be afraid to be really dark in your shadows. The darker your shadows, the stronger light you have in your painting. And I'm like, I tried to remember Marc Folly when I paint because he has such beautiful strong shadows. I was usually too soft and too light because I was afraid to make mistakes and took me a lot of time to dare to go really dark. Finally, I add the drawings, of the dress over the clown with color pencil. I hesitated to do it with white gouache to make it white. But I thought, well, that these colored pencil will make the painting a bit more happy. And also it's easier than to make it with white gouache. I'm trying not to make too photographic paintings and to make it a bit more fun. These splashes are fun to do. And also I like to connect the objects together and to make it like a color party. You can splash colors that you have in your painting Or you can just splash some extra colors. Now I will make the color chart. You can see all the colors that are in the painting. And also, I find it quite beautiful to give some structure to the painting. Well, I hope that you have found something fun to paint and sketch. And I look forward to see your colors and to see your sketches and paintings in the class projects. 15. Final Thoughts About Colors: Congratulations, You made it to the end of the class. I hope you had fun in this class. I think you noticed, I didn't want to bother you with too much color theory and scientific color information. But I will post some class notes. about colors like these color blots I did from the book of Marie Gartside wrote in 1808. Very good book about colors. And I think maybe it will also help you to know more about harmonizing colors and complimentary colors. These nice color studies can be very inspiring. Especially. I want you to think emotionally about colors. Which colors do YOU like? To find YOUR unique painting style. And I hope i managed to make you tap into the emotional part of your brain to make Your Art. Please leave a review of the class and please post your class project in the class. And if you have questions, please leave a question into discussions so I can help you further. Thank you so much for taking my class. See you soon.