Exploring Color Schemes: In Landscape Painting

1. Introduction: Hi, I'm Mandar Marathe and welcome to the class exploring color schemes. This is a beginner friendly class that teaches you how by selecting a particular set of colors, you can create a specific look or mood in your paintings. The set of colors you use in a painting is called the color scheme of the painting. Careful selection of these colors will define the impact you're painting creates. In a way Color selection is part of your artistic style. As artists, we have the freedom to use any color scheme that we think necessary to create impactful paintings. We are not bound to just copy what we see in nature. In this class, we begin by looking at the basics of the color wheel. I'll also explain how the secondary and tertiary colors are mixed using just three primary colors. Then we'll go through seven different color schemes one-by-one. We'll also talk about what color masks are and how they differ from typical color schemes. To put this knowledge in practice, I'll show you how I paint one scene in eight different color schemes. This portion of the class will teach you how color schemes are actually used while painting. We'll compare these eight paintings side-by-side and discuss how they compare with each other. While painting the scenes, I'll show you how I mix all the intermediate colors in the painting using the colors of the color scheme. This knowledge will improve your color mixing expertise. This ability to create a particular mood in your scene will allow you to create authentic works of art. And you will not feel enslaved by the photo reference or the live scene in front of you. I'll use watercolor and gouache in this class, but you can use whichever medium you are comfortable with. I've included a reference photo with this class. Your project or assignment for this class will be to paint a landscape based on this photo using different color schemes. Once you are done with this class and the project, you will be able to create paintings based on your own interpretation of the scene. And we'll be able to create the required impact by using an appropriate color scheme for it. This will advance you several steps further on your journey towards artistic freedom. I'm very happy to have you in this class. Let's get started. 2. Color Wheel Basics: What I have here is a color wheel. I'm using my iPad to show you or explain you the things before we get into actual painting using the real colors. So that when we get to that, it becomes much more easier for you to understand. As we know, there are three primary colors, the red, the blue, and the yellow. That's why I've written before all of these. Then when we mix any two of these, for example, blue and red, when we mix, we get a color which is called a secondary color, and in this case it's a violet. Then when we mix red and yellow, we get an orange, which is also a secondary color. Just to show you how it is done. I can show you that digitally Also. Let's pick up this red color and apply that here. Though, we'll be doing this completely on paper and color mixing palette using real colors. Let me make it even more clear by showing it to you right now. Then we take the yellow and then we mix it. Hear me increase the size of the brush. And as you can see, what I have here is this color. That's how I have mixed all these colors. Tertiary colors are nothing but the colors between the primary and the secondary color. So for example, let's start with this. Let's switch back to black colors so that I can denote it. So if we look at this color, this is a combination of this orange plus some more yellow. This is a yellow orange. Then if I mix green with some yellow, then I get a yellow green, which is much more lighter than this green. If I mix blue with the green, then I get something which is a blue-green. So this is also a tertiary color. Then similarly, I get a blue violet. I get a red violet because I mix red and violet. And I get red orange by mixing more red into orange. So that's the basic of all the color wheel. And let's get rid of these markings so that we can get into the color schemes one-by-one. See you in the next video. 3. Color Schemes: It'll be now explaining different colored schemes one-by-one. And they are not arranged in any order of importance or any other peculiar order, but I've just listed them down and I'll be explaining. It's not to say that this is better than this, or this comes before this. Let's get started with the first color scheme, which is called complimentary color scheme. I have a line which goes from this end to this end, from blue violet to a yellow orange. I can have these two colors when mixed together. When used together nearby. They amplify each other or they make the other color look bright. That's why they have the highest color contrast, if we wanted to say it that way. Now, let's turn this V and see what are the other colors which are also complimentary to each other. Basically, any color which is on the opposite side of the wheel is complimentary to that column. For example, complimentary of this violet would be to make that M to bring that line here and see that I have a yellow which is complimentary of the violet. Then if I turn the wheel again, red is a complimentary of green. When they are used together, they amplify each other's appearance. They make other color very bright. And that's how, that's why they are called complimentary. They compliment each other. And what also happens is that when you mix these two complimentary together, then they make a grade which is in the center of the color wheel. This is called the complimentary color scheme, and this gives you the highest color contrast. There are paintings which can be made using any two colors, which are complimentary plus white, and you get the highest color contrast. Now let's talk about other color wheel or color scheme, which is the triadic. In this, instead of using just two colors, use three colors. So if I use red, blue, and yellow, then this is a triadic color scheme. If I use a violet, green, and orange, then it's also a triadic color scheme. When I say triadic color scheme, it's not to say that all other colors are, no other colors are used. Basically, what happens is that you have to mix all other colors using these three colors, which will take as the source. That's how a color scheme is defined. It's not to say that these three pure colors are used in the painting. Only. Rather it's that all other colors in the painting are mixed using these. Then if we turn the wheel again, let us say if I use this blue-green, then this red, violet, and yellow orange will be, will make the triadic color scheme. Now let's look at the next color wheel. Let's hide this and let's look at split complementary. We talked about complimentary in which we used opposite colors. And then we created the painting. Of course you will, these things will be much more clear when we get to actual color mixing physically on a pallet and using them to paint our sample painting, then the effect of this will be much clear. But right now, let's concentrate on what split complimentary means. Instead of using the complimentary color of this color, which is the green of red. We use this color which is a blue, green, and yellow, green. And mix all other colors in the painting. Instead of using just the green, we use these two plus k. Now, if I have to use a split complementary, which uses this orange as the one column as one of the colors. Then what I have to use is this, which is a blue violet, and which is a blue-green. These two colors plus orange plus y will give me all other combinations. I'm using white because I will be showing you the color mixing and color application using gouache colors. But the theory remains same no matter what color or what medium use. It doesn't matter if it's watercolor or it's oil or accurately, or wash or casein. Only. The difference with watercolor is that if you use transparent watercolors, you won't necessarily use white as a color. The action of making a color light by diluting the color and applying it on the paper. That's the only difference. Otherwise, the color theory remains same across all the mediums. Now, let's come back to split complimentary. So basically we are looking at two colors which are next to the complimentary color. If I use yellow as my Main color, then I have to use this red violet and blue-violet and make the color scheme. Now let's go to the next color scheme, which is analogous color scheme. Analogous color scheme means if we are using one color, then this color, then we have to use the colors which are just next to it, which is, if this is the main color is this blue eyelid, then we have to use this red violet. And we have to use the blue. If I have to use, if I choose red as the main color, then I can use this red violet and red orange as the companion colors. Then make all the colors required for the painting. The thing with this kind of color scheme is that that is not much of color contrast. Which means there is no color, which is far away from the main column. These, these colors are not there in the painting. Depending on what kind of painting you want to make, you have to choose. The color scheme. And analogous color scheme is generally used for graphs and pie charts and things like that. Also in real paintings, but they create a different kind of look and feel than other color schemes. Now let's talk about the triadic color scheme in which there are tetra means four. So that's the reason there are four colors in this color scheme. So if I rotate this, I can choose any four colors lying in this scheme. This is red, violet, blue, violet. This is yellow, green, and this is a yellow orange. These four will give me the tetrads current scheme. If I move this, this way. When you want to choose a color scheme, you don't need a device like this. I'm just explaining this with this device because it's much more easier for you to understand when you are actually painting. You can simply look at any color wheel and then pick up four colors which are in this scheme, and then start painting. In this. If I rotate this like this, then I get a blue-green, yellow, green, red, orange, and yellow violet as my four colors. Now, there is a slight variation of this color wheel, which is also possible, which instead of rectangle, you can choose a square. So for example, let's just draw it here and explain it instead of a rectangle, if I had drawn squared. So the square would be something like this. In that case, the four colors of this color scheme would be blue-green, then yellow green. And this color, and this color, it slightly different instead of this violet, I'm getting a red violet. Instead of orange, I'm getting a red orange. And instead of this yellow, I'm getting a green. Yellow green, and blue-green. There is this slight variation. You can use either a square or a rectangle, and you use that to create your current scheme or decide your color scheme. Now let's move to the next color scheme, which is analogous color scheme. And for that, I'm temporarily hiding the color wheel. And what this means is that you choose only one color and mix different tints, tones, and shades of that color and paint a painting. For example. If I take a read and mixed white with it in varying degrees or varying amounts, then I get slightly light red, a lighter red, and the lightest red, and then it becomes completely white. Similarly, if I use this blue-green and go on adding white, then I get these. These are called our tints. And then if I mix a gray into that color, instead of wild, then I get three different colors. Or rather I can get innumerable depending on how much, how many gradations I made. And then I get a slightly grayish red, even more grayish and more gray. And finally, it will be same as this green. Similarly for blue, blue-green. When I mix, these are called tones. When you mix white with red, you get, what I'm going to get are called tints. When you get when you mix gray with any color and graded. Then you get the tones. And when you mix black with any color and create variations, then you get these are called shades. So any painting which is used, which uses just one, just one color, let's say this red. And uses these, these and these to make a painting. That painting is called monochromatic color. Monochromatic painting, or it is called to use monochromatic color scheme. Similarly, instead of red, I use blue. And this can be done with any color on the color wheel, which we talked about. Just for an example, I've taken this blue-green instead of red. If I take this, then I can use these, these and these and make a painting based on that. This obviously has no color contrast because there is only one color and tints, tones and shades of that, but there is no other color present in the painting. But this is also one of the colors schemes used by artists for different purposes. Now what we are looking at is a thing called gamut masking. When you mix two complimentary colors, any two colors, which are complimentary, red and green, you get agreed. When you mix blue, violet with a yellow orange, then you get the same grade. When you mix blue, green, yellow, or red or orange, then you'll get the grade. I'll just show you how I get that gray that I already have a half circle here. I'll mix this color. Again. This is red. And if I take this green, which is its complimentary, and then mix it with that, then what I get is, what I get is this grid. You can see that it's same as this color. When I mix this color with each color on the periphery of the color wheel, then I get a slightly grayed down version of that color. How it is done. I'll show you by selecting this gray, putting it here, and then selecting this orange, red, orange, and then mixing it here. You can see that this is still, this has the characteristic of an orange color, but still it's much more gray down then this orange. Similarly, I've done this for all these colors. Now, what gamete masking means is that instead of using that opposite lines or squares to get the, get the, select the colors of the color scheme, we can use a different shape for it, for selecting the colors. Let's go on another layer and I can show you what I mean by that. So if I select a shape, let's say like this, then what I'll have is this orange as one of the colors of my color scheme? Red, orange. Then I will have this blue, violet as my color scheme, or a scheme color. And then I will also have this. I'll select this instead of this color, which will be slightly brighter then what would have been here? This is the color, these are the colors of this color scheme, which is a gamut mask. Instead of choosing all your colors or secondary or tertiary colors. You can also choose colors which have lower chroma. Let's hide this layer and get one more layer and draw another shape and select colors within that. Now let's say if I want more of dominating red, red domination, color, color scheme, then what I get is the color scheme will contain this red. Then it will have this great downwards in blue eyelid. And it will also have this grade down version of yellow. Using these three colors plus y dy, I can make another, another version of the painting. You can draw pretty much any shape and select the colors which lie within that. And that will be called a gamete mask. So for example, I'll give you one more example in which let us say the colors could be something like this. Just to give you an example, this color scheme need, this shape, need not be a triangle, it can be any shape. Now, the colors on this color scheme would be these. Obviously this can be mixed with these two, so I will not pick it up separately. Blue, green, sorry, green. And then we'll have this something in-between these two. Let's mix that color so that we can select it orange. Let me mix it. Here on this layer. Orange will have to select this color and then mix it here. Now let's come back to this layer and select, select this color. And this will be our third column. Y only three colors, because we can mix all other colors lying within this range using these colors. For example, this gray can be mixed by mixing this orange and this blue. This green. Dull green can be mixed by using this gray and this green. And how do I mix this green? By using these two? Similarly, we can mix all other colors which lie within this range or within this mask and create a painting. That's how a gamut mask is used. If you select different shapes and take samples from that and make a color scheme and paint the same painting with three different color scheme. The three paintings will have a different look. Now what I have is the color wheel with all the intermediary colors, primary, secondary, tertiary, and intermediary colors on this color scheme. Hopefully all these colored schemes are much more clearer to you. We looked at complimentary triadic split complement. We then analagous, then square and rectangle or debt Roddick. Then we also looked at monochromatic. And finally we looked at the gamut mask, which you will select any shape and select all the colors within that range within that shape. And then use that to make your color scheme. It's called the gamut mask. I hope this has clarified many things to you. In the next video, we'll actually mixed physical colors and then try different, try painting the same scene with different colored schemes so that it becomes clear how these color schemes affect the look and feel of the painting. See you there. 4. Monochromatic Color Scheme: In this video, we're going to paint a painting based on all these color schemes. For that, I'll explain what I have as my setup here. I have made eight rectangles of size five by eight centimeters. So this is the height is five centimeters and the width is eight centimeters. And I'm drawn all the rectangles and made a drawing of land, simple landscape scene based on the photo which you'll see up here. If I zoom in, I can show you the kind of drawing I've made. A simple drawing. There's a mountain in the background that has few bushes near the base of the mountain. There is some form of field and that is edge of the farm and then there is a big tree. This is the same drawing which I made in every rectangle. And what I have on my right-hand side, which is palate, which or on which I'll be mixing all the colors. I have drawn a circle so that it becomes easier for you to understand how I'm mixing it. And these are the three colors which I am going to use. This is crimson lake, this is cobalt blue, and this is lemon yellow. And I'll be also adding some white here, which will help me create the gradations. And I'll be mixing the colors here and painting one scene. And then I'll clean this central area and mix the complimentary color scheme, mix the colors for that, and then the paint, the scene. So this is what we will be doing in this video, and that will make a lot of things clear to you on how to use a color scheme and what effect does it give to the painting itself? That's the reason I've selected the same painting. I'll be doing the same scene and not changing the scene because that also can affect how the painting loops. I didn't want to add that as a variable and wanted to keep the same scene painted in different color schemes. So let's get started with the monochromatic him and in which I'll be using this cobalt blue. And I will also use for monochromatic, we need a black also. I will use black also to make the shades. As we learned in the previous video, there are tints, tones and shades. Because we are painting in opaque. I will start from dark to light. And the tree in the foreground is going to be the darkest. I will have the black color on this side. So start by mixing dark. So for that I will use blue and some blank. This is the darkest color which I have in my painting. Start with, I'm painting the tree. I will not be painting this, these paintings very much in detail because that's not the point of this video. The point is explaining you the color schemes and how things look different with when painted in different colored schemes. And keep the painting as simple as possible. Not paint a lot of details in it. Now let me paint the trees in the near the bottom of the mountain. For that, because of the distance, there'll be some white which will get added to the color. I get some of this also here. I will paint the, you know, value studies which are painted in black and white. This is very similar to that. The idea is similar. Let me try to zoom in so that you can see the painting much more detail. Now the mountain is going to be much more lighter than this. I will add more white to this color itself. Let's see. This loops. Yes, Looks nice. Because of the value difference I'm able to create. Let me zoom in further. And I'm applying it to the mountain shape. Now the next thing would be the ground, or the next light thing would be the ground rather. Some more white. For monochromatic, we could have chosen any any color and paint it with it. To make this part is slightly dark, I will add a bit of this color and then make it slightly darker than the farm. The last thing are the direct, the lightest thing in this painting is this guy. So more of white and a bit of blue which is already here. What I've done is I mixed more white to this color which was there. It's almost white but not pure white. And then start painting with that. Also, the sky is slightly lighter towards the horizon. That's why I'm using this white. I will add a tinge of more blue to it once I go towards the top of the painting. Now let me add a bit of blue. I'm keeping things very simple, not getting into the details. Towards the top edge, the blue will be more, even more intense. It will not be something like steps, will be gradation. That's the scene painted in monochromatic color scheme, which means only one color. And variations of that. Tints, tones, and shades. In the next video, we will paint the same scene with complimentary color scheme. So see you there. 5. Complimentary Color Scheme: Now let's mix green and let's paint the scene in complimentary colors. So I will choose red and green as the complimentary pair and then paint using that. I could have done that with violet and yellow also. But just for I mean, it would be same as choosing any other combination and giving it a try. Let me mix green. And instead of mixing it here, I'll mix it here so that I can zoom in on this scene and the color palette at the same time. So now let me mix the green by adding, let me use a palette knife to mix the green. Because that way it's much easier. Then I can use the Brush for an actual painting. Let me add this blue. Needed so much. Yellow to it. Yellow, this yellow has dried because I'm doing it, doing this on the next day. Can be reactivated with water. And you can see that it's already forming the green, which we need. I think I should amount of green which I have should be starting some water and add some more yellow to it so that it becomes light green. Yellow. And here that's a green. And this is the red which I'll use. I'll try to activate that red color. Some water because the color has dried on the palette. Now let's zoom in and start painting this scene with complementary colors. It, by using color scheme, it doesn't mean that you use only those colors, but you mix all other colors using these two. Plus. If any other colors do this required, you can potentially use it, but the focus should be on these two. That's the way it is. The predominant color should be these two. Now, I will start again with the dark, and for the dark I'll need dark green. So I will start using this green and I'll add some red to it so that it becomes darker. Dark green. The tree. Let me zoom in even more. That's roughly the shape of the tree. Now, I need green, which is slightly lighter than this, because I'll be painting these shrubs near the bottom of the tree and bottom of the mountain. So far that I will need white to make it lighter. I will take this green and maybe even this green and add some white to it. Let's see how, let's see how this looks. Should be okay. Now I need a bluish tone for this mountain, but I don't intend to use pure blue. And that's the reason I'll be using green, which doesn't have red in it, which is this. Plus I will add white to it. And try to compensate for the blue. Value wise. This has to be lighter than these trees, these bushes. I'm adding a lot of white into this. Let's see how this looks. This can be even lighter, so I'll take some fresh white because the color white as also dried on the palette, needs some time to get activated. Now let's use this color for the mountain. Just using two colors of this complementary color scheme is going to be restrictive. And the scene will not look realistic. But understand this or do this exercise as just that. An exercise so that you understand the power of using a color scheme. Because you might want to have this or you might want to use this effect in some other way. Not necessarily paint realistic landscape. It's a version of the landscape. It's you or representation of the way things look. Now I need a color which is lighter than this. I'll add even more white, and maybe I will add a tinge of red. Let's see how this looks. As I said, I'm keeping this painting very simple because understanding the color scheme is the aim and not painting a realistic. The aim painting realistic is not the aim. Now I'd taken some red and mixed with this green to make it this kind of a gray, reddish gray. And I'm using that to paint this part of the land or the Earth, which is on the side of the job farm. I need a dark color for the tree trunk, which I did. I could have painted that with this itself. And I'll do that now. I just wash my brush so that it doesn't have any white in it. You can see that I'm using the same brush. The idea is to keep it simple. Mixed red with this green. And I'm using it to paint the tree trunk now. And maybe a branch here. I'm integration of grass here and there. Now the last thing remaining is this guy, obviously sky. Again be I can't make it green, I can't make it red. And start with white. And let's see how it goes. I can make it slightly with a tinge of red. Again, make it pink. Let's see how this looks. Now. It should be okay. It's not red, but it's not wide either. You can barely see the color because it's so faint. But it's there. Now you should be able to see near the top of the painting, the sky is more desaturated. Towards the horizon. It's more lighter. In value. Color also. That's how the scene would look if I paint in distinct colors, which is two complimentary colors, which is green and red. This will become more clear when I draw an outline around it. Don't try to compare this with realistic painting. We are trying to learn color schemes. And that's the reason we're doing this exercise. Let me make the border for this monochromatic painting. Also. You can see how this creates different moods are different feeling to the painting. Even if the painting is same just by changing the colors, how things look so dramatically different. That's it for this video. The next video we'll paint the same scene with a triadic color scheme in which we will use three colors plus white. And this will be much more realistic because we can mix pretty much any color if we use three basic colors in our triadic scheme, which is the red, blue, and yellow. But we could choose different colors also, instead of choosing the basic primary colors. And let's see how it goes. So see you there. 6. Triadic Color Scheme: Welcome back. This time we'll be painting the scene with a triadic color scheme. And if you remember this color wheel which I had shown you in the first video. I've selected the triadic color scheme, shape for that. Instead of painting with, I could have, or I can paint with a red, yellow, and blue because they are triadic, because they are basic colors, primary colors. But let's do something else. And let's paint with secondary colors. Secondary colors are violet, green, and orange. So let's first mix these colors on the palette here, and then use those to paint the scene. That's how we start. So now I'm again using my first focus on mixing these colors. Let's zoom out. So we need three colors, one here, one here, and one here. Now let's pick some fresh yellow. I need to mix green. Mix it. Just to make sure that I can zoom in again, I will mix the colors here, but know that they are the basics or the secondary color, not basic colors. I'll mix a green. I'm using a palette knife to mix the colors because that way, it's easy to mix. And the brush actually is less effective in mixing because it takes in a lot of colors. So when I wasted a lot of color, that's the green. Now let me mix the second primary color, which is the violet for that and use again blue and some red. This red is crimson. And so it is enough, even in small quantities, it's high tinting strength is enough to make a violet with just small quantity added to a blue. That's the orange. No, sorry, that's the violet. And adding some more blue in it. And now let's mix the third color, which is the orange. So far that I need my palette knife. Very, very clean. Because otherwise the yellow will become green. I didn't take some more yellow. Mix it here itself, and take some red. Again because they're tinting strength is high. I'm it's okay or it's enough even to mix a bit of this crimson and we get an orange. All colors need not be mixed in the same quantity to get the secondary or tertiary or whichever color you want to mix. It depends on the tinting strength of that color. Now let's use these three colors plus white and paint. This painting, which is triadic seen or triadic combination. Get the brush. Again, I need a dark to start with. The dark will be, I can meet these two to get even darker color. Let's see how it goes. Because it's, the three is any way a green shade of green. So I'll start with green and add this color to make it even darker. Now we have our dark green. Start with this. This color scheme will have more color contrast because we are having three colors which are equidistant from each other on the color wheel. Now I need the, need to paint the tree trunk, so I'll use the violet and the green is already there on my brush. I can use this. Use it this way and paint some shadow area of the tree also. Now let's paint these bushes. And for that I need a color which is similar to this, but much more bluer and lighter. So again, green, some more violet because there is no blue with us. Becomes like this, less of green and more of it. And I'll add some white to it. Let's see how this looks. Should be. Okay, I can add more white because in terms of value, this is still very dark. This has become almost a blue-gray or violet green. The more the amount of violet I add becomes darker in terms of value. So I have to add more white to it. Use this now, this is much more violet. Then the color which I had used earlier. Now I need a version of bluish because the mountains are more bluish in color because of the distance. I'll start with violet and add a lot of white to it will make it light. It's almost as if I'm using violet as a substitute for blue. Let's see how this looks. Shouldn't be obtain, need some white. Then the color becomes opaque. Painting the mountain with this. Now let's paint the ground, the bottom, the thumb is green. What I can do is take this green and add some orange into it. And let's see if we get a much brighter green. Yes. You can see that I'm using the orange as a substitute for the yellow. This becomes the farm. And now I need a color, earth color. For earth color, I can try and mix some orange. Mix it here and some oil it. Let's see what we get. And I need a brownish color, which is this should be in the earth color family, which is this already. So I'm using it here. And now the thing that remains to be painted is the sky. The sky. And start with wide. Use, reuse this pool of color and mix this here. Start with almost white. It's almost, it's not pure white because there is some while it in it. And I'll paint the sky near the horizon. With this. As I go up, I'll increase the amount of violet in use. Moral violet used up, although I didn't. Let us now take again white so that we can merge these two pillars create a gradation. Of course, these paintings are not full-fledged paintings because I'm not adding any detail to them. Where do you get the idea of how using different colors will give a different feeling to the painting. As artists, we are allowed to choose anything and everything in our paintings. So same as true for the color scheme. We can decide to paint the scene actual in real life might have some colors, but we can choose to paint in the colors which we think we should print it. Because finally, that's our creation. The painting is our creation. It's not something we're not supposed to only copy their nature. This is how our triadic color scheme painting would look like. In the next video, we will paint the next color scheme, which is split complementary. 7. Split Complimentary Color Scheme: Welcome back. This painting is made in a complimentary color scheme in which we used red and green because they are complimentary to each other. Now we'll use red and blue, green and yellow, green. Instead of just the green and paint that will make it split complimentary. Along with red, blue, green, yellow, green, and red. I'll start by mixing. The two colors. Start with some yellow, the blue, some yellow here. And instead of mixing it here, and I'll mix it here so that it's easier for me to close up. This blue. I need to make a blue green and yellow green. In this, I will add more yellow. This becomes a yellow green. In this I will add very little yellow so that it becomes blue green. You can see that this is towards, this leans towards blue. This leans towards yellow. And we'll use red as the third color. And let's paint this for the dark. I will again have to mix this green, some red. Apply this color here. Let's zoom in so you can see it closely. Wanted slide the even darker. So I added some more red in it. I think I will need more of this color, so I'm just made, let me just make it make more of it. More of a blue, yellow. Now, let me make this even darker with the additional color. I will make it even darker. Paint the trunk with it. Now I need a lighter version. So again to this, I will add white. Becomes lighter. Can make it slightly lighter than what it is right now. Now, let's make a blue-green, more bluish color for this. So I will start with this. Blue, green and add a lot of white to it. Without the red. Remember I had mixed red in this eye now not use red. I will directly use this color. Add white to it, and make a really light color. Let's see how this looks. Looks okay, to me. Let's print this. Now I need to paint this. But since I have blue here, I will paint the sky in the same continued brush. So I'll take just the white. There is some green on my brush, so it's not pure white anyway. Now I'll add some of this. The mid value. As I go up, I will add more of this. Even though this is lite version on green. When you compare this with this, green becomes slightly more bluish because the colors are relative to what the are surrounded by. Now I need a bright green color. So obviously we have this green here. I will use that for the palm. In some places, I can add a tinge of red to it to make it slightly more dark. For this portion, I need an earthy color. For that. I will use more of red and some of this green. And let's see what happens if I added this. Some more red. Let's do much. Some white to it to make it opaque. You can see when compared to all these other colors here, it looks more of an earthy colors. That completes our sketch, printed with split complimentary colors. You can see the difference between the complimentary using the red and green. Now this uses split complementary, which means I'm using a blue-green and our yellow green along with red. And you can see the difference it makes. This looks more realistic rather than this. But it's artist's choice what to use when, what color combination or a color scheme to use when to create the effect which the artist needs. So see you in the next video in which we'll paint using analagous colors. 8. Analogous Color Scheme: Welcome back. Till now we have been painting all these, making these sketches, and they always have had a blue in it. Now, when we want to paint this sketch in analogous color scheme, I will go for a color scheme which includes more of reds and yellows. For analagous, as we say, we have to choose three colors which are very close to each other. For that reason, I will mix an orange, then mix one, yellow orange, and red orange. And we'll use these three to paint this scene in analogous color scheme. Let me start mixing the colors. I will start by taking our median here. And yellow. Instead of mixing them here again, I will mix them here so that I can zoom in to this area. But I need orange, red orange, and yellow orange. So I will start in the middle. By making an orange. I've added red, and now I'm taking in yellow. This is too much. First make the orange. This is done in which I made. Now. Now I'll use some of this to make mix into this so that it becomes more of a yellow, orange. This still needs some yellow. Then it becomes lighter. Now, I will take some of this and mix more red into it to make our red orange. Just to make the colors look different. What I will do is I will make this slightly more yellowish because the gap or the difference between these two is very, very less. This is adding this color means I'm adding some more yellow to this mix. Now this will come closer to this color. You can see that this is more intense red isn't in the middle, and this is more of a yellowish. Now, let's start using these colors and clean the scene. Obviously because there are, these are very, very close to each other. There is no color contrast. And even the tree which is supposed to be a dark shape, will not be very dark because this is the darkest I can go. Let's start by painting the tree. Let's take this, let's print. Now I need to paint these trees. So what I'll do is instead of making this lighter, I will use this color and make it light. Anyway, they are very close to each other, so they will not make much of a difference. But let's see how it goes. I can of course add white. Any of these, let me take this color and add some weight. Let's print these bushes. For the mountain I need even lighter color. What I'll do is I will take white and add it to this. You can see that the value, whereas they're close to each other, but there is color contrast to slide extent. Because the yellows and reds are orange. Anyway, a light color, the value difference will not be much. Even if I add white to it. The value doesn't change a lot as compared to if I add white to a blue color or brown color, the value would change a lot. But here it's not changing because these colors are any whale on the lighter side. Now let's paint the sky. Again. Start with white. This is pure white. Near the horizon. As I go up, I will add more of this color. Now let's make the gradation proper. Now I need to paint the bomb that I will use this color directly. This has to be lighter than this, so I have to add more white to it. In terms of value, this is not very different, so I'll add more, more white, make it light. Because most of the times, barring some exceptions. The land is more, land is lighter in value. Then mountains. It's only slightly darker than the sky. Now I need a color for the soil, which is seen here. The values slightly different. What I'll do is I'll add one more layer of this color onto these bushes. Becomes we get slightly more valid difference. And then it looks. I can make this also slightly more dark because the farm has to be lighter than it. Let's, let's, let's try. This. Can be slightly lighter. You can now see that the mountain is, by a small amount. It's slightly darker than the than the farm. That's what I wanted it. Anyway, the grass is green. Supposed to be green. So it makes sense to make it slightly lighter. The ground on. So let's draw the outline and they'd be, should be done. This is what the painting looks like when we paint using an analogous color in which we've used orange, red orange, and yellow orange. Just as an experiment, you can choose any three colors on the color wheel, which are close to each other. You can choose one secondary color and to tertiary colors are one primary color and tertiary colors. Besides that. And paint a scene like this. In the next video, we will paint the same scene using tetrarchic color scheme, in which we use four colors instead of three what we have been using, two or three what we have been using till now. So see you there. 9. Tetradic Color Scheme: Welcome back. In this video, we are going to paint the same scene in triadic color scheme, which means we'll need four colors. And by tetra, we mean that we can select a rectangle to get the color scheme colours, or we can do a square. For this video, I'm going to choose rectangle. And we go from here to here. Here to here, will have a violet here somewhere. So we'll need a red, violet, red orange will have a yellow green here and a blue-green here. These four colors will take, and then we'll paint the scene. Let's start by mixing the colors. As usual, I'm taking the palette knife so that the color mixing is easy. To mix the first color. As usual, I'll mix them cure instead of mixing them here, here, here, and here, so that I can zoom in on this portion and then we can paint it blue green. Start with blue and add a touch of yellow to it to make a blue-green. Maybe a bit of blue. Now I need yellow, green, so I'll take blue again here. Less quantity should be enough. I'll take a lot of yellow because I have to nudge the stewards. Yellow. Then I will need red. Let me get the red color out. Take a read. Here. It will be violet, red, violet red and blue mix to make a wallet. As I mentioned earlier, the tinting strength of this crimson is very high. That's why we don't need a lot of that color to make the violet, red, violet. Now, let's mix red, orange. So clean the brush so that I don't get any blue in it. Violet in it. Let's start with yellow and a bit of red. This is orange. To make it red or in a bit more of red. These are the four colors using which we'll paint this now. You can of course, take these colors, these four from the tubes directly, but you don't need to, because when you have basic colors, you can pretty much mix any other color. And it's easier on your pocket as well as easier to understand. Now let's start painting. So let's zoom in. Arcbest part again is the tree. I need a dark green. For that. I will take this and add a bit of violet to this. Maybe a bit of this color to make it slightly greenish. Let's see how this looks. And to paint the trunk, I need an even darker color. Let's start with the violet. In these two, the green is the darkest, so I'll add a bit of this itself. Let's see how dark this becomes. Yes. This is much darker because I've added more of violet in it. And here is the tree trunk. Now let's paint these. This is lighter green. I will start with green and add a bit of white in it. Get some white. Because that is a lot of distance. I will have to make it slightly bluish, which is by adding this red violet. Let's paint this bush on this side. Now I need a lighter version of similar color, slightly more bluish version. I'll add more of violet here. White. And let's see In terms of value, how is this even terms of color? This needs to be even more bluish. I can add this blue green. Since this color is now finished, let me mix some more, more blue and slight amount of yellow to make it blue-green. Let me mix this. Let's try making a distant mountain color with this itself. Yes, this is better than this one because there is already yellow in this. I need to negate that by adding blue. Instead of that, we can start with this and add white and get the desired color. Let's apply this. It can be slightly lighter than what it is. Even lighter. Now let's paint the crop. The crop. I can directly use this color, green, and in some places I can make it slightly more reddish so that I get a green color. I'll have to increase the value or rather make these darker these bushes later on. Because the value difference is not much between the mountain and the shrubs. Now, what I need is reddish color. Color. Start with this and add a bit of red, violet, and add a bit of white. Let's apply this here. The next thing to be painted is obviously sky. Sky. I will start with pure white and then add some blue green to it. I'm starting with pure white near the horizon. Now I will add some blue green to it. You can see that even with a touch of blue-green, how this looks much interesting. Now, what I'll do is I will increase the darkness or reduce the value to make it slightly loci. So I'll have to mix this blue, green plus some red violet. Then I get distant and I can mix some of this so that becomes opaque. And let's try this. Yes, this looks good. This is the bush on this side. That's enough. I guess I don't need to add any details. But now, let's finish it off. Without Glenn. What you saw just now is how we can use four colors. And you can see that it looks slightly different than this color. Why it's looking very similar. But there is a difference, is because we use the same two colors here. Let me zoom out so that I can show it on the ballot. In this, we used blue green and yellow green, which are these two colors. And we use those here also, because the painting is primarily blue-green. These two are matching. The only difference game. Because we used, instead of this red, we use these two which are adjacent to it, the red violet and red orange. But because there is not a lot of reds in this painting, this painting doesn't look a lot different than this one. But if this was more of an earthy colored scene, then it would have looked different width, split, complimentary and tetanic. Just by adding one color, you can see that this is much more reddish. And that's because we took two colors instead of just one red. Of course, it also depends on the scene itself. How much of the area is occupied by blue-green objects and how much of it is more warm colors. But you get the idea of how to use our debt. Roddick, of course, we could have painted this scene with four different colors, like this, blue and maybe color on this side, which is closer to violet. And maybe the other two colors would be here, the yellow and red orange. That can also be done. But it's just a matter of choosing. There are four colors and then you can paint it. And that would be painting done in tetrarchic color scheme. That's it for this video. In the next video, paint the same scene with gamut masking. So we'll use different set of colors and do the painting again. So see you there. 10. Gamut Mask 1: Welcome back. Now let's paint the same scene with gamete mask. As I mentioned in the video in which I explain all the colored schemes, gamete mask simply means that instead of taking pure colors, maybe you take some portion of the color. We don't take the whole gamut, but mask few area. What that would mean is that instead of this pure yellow, we might use a yellow which is slightly more dull. And instead of pure blue, we might use a blue which is slightly grayer or slightly more reddish. And similarly for red. So now let's make two colors, which will be substitute for our yellow instead of pure yellow will make yellow which is not so bright and has some components of these two. And then use red primarily and mix another color here. And we'll use these three colors and paint the scene. For yellow. I will take this yellow to make it slightly dull. I will add. Let's use some of this. Only a little bit, little bit of blue. Let's mix this. We will get a yellow, which is LDL, which is not same as this. And we'll use this in place of, let's add some more red. What we are actually getting is something similar to yellow ocher, which you can easily get in a tube. But I'm not taking the tube color directly because I wanted to show you that color can be mixed using the primaries. And then we will use this as our yellow for our painting. Now, let's keep this yellow. Let's mix another color which will be similar to burnt sienna. This also is very commonly used, but we will mix it and then let's use those colors to paint the scene. We are getting something which is looking like violet. Let's add some yellow in it. Let's add some more, some more blue that will get some color, which is similar to burnt sienna. And mixing a burnt sienna is not the aim. But the aim here is to show you what a gamete mosque means. That instead of using pure colors, we can use gray down colors also. Make a painting that has a different feel to it. Just like what we did in all of these. Print x. We have these two colors. I haven't made it exactly similar to burnt sienna. But anyway, that's not the aim. This will be our substitute for the red, and this will be our yellow and we'll use pure blue part of the painting. Let's fade the same scene again. These three columns, I need a dark for the tree. For the tree, what I'll do is I'll mix a green here. First, I'll mix a green and then make it dark. Now I have a green and put some of this color to make it dark, some more blue. Now what we have is dark green color. Let's apply this here. Let's see if we can zoom in a bit. Now let's mix a color for this. It'll be version of the same green, but it will be slightly more bluish. It'll have some white in it. I'm taking some white and I'm mixing it here. Let's see if this looks good. I can make it lighter. Now, we have to paint the mountain. For that. I will start with this blue and white because it's not sky. And so I'll, what I'll do is I'll add a bit of this green to it so that it does down a bit. And let's try this. Pure. Looks good. So let me apply it. Now. Let's paint the guy. Let's start with white. As we go up, let's add a bit of blue and more blue as we reach top of the painting. Now we have a good addition. Now let's paint the farm. I need a green, so I will use blue. And I'll use this yellow. Because of the blue on the brush, this has become a green. Let's use this here. We can put some white in it if needed to make it lighter. The last thing, last shape before we paint the tree trunk is the earth color. For that, I will use this yellow ocher color which I had mixed, and then some of this red to get get an Earth. The final thing to be painted is the tree trunk. And either dark color. Let's start with blue and add this red to it so it'd become dark violet. And then use that to paint tree trunk. And I'll paint some of the foliage of the three also with the same color. You can see how vibrant it looks because we are used pure blue. And this is the first example of gamete mask that I've shown you. You need not always use pure colors like this, pure yellow or pure red. You can use slightly dull yellow and dull red and some blue. And then you can paint a scene like this. In fact, if you wanted to paint realistic in nature, you will very, very seldom find pure colors, even if they are red, they're not your red. There is some tinge of other color also in it. So that completes our example of gamut mask one. And in the next video we'll paint the same scene again with a different combination of colors as the last example of this sequence. So see you there. 11. Gamut Mask 2: Welcome back. In this video, I'm going to paint the second version of gamut mask. I'm not going to use any of these primary colors in their pure form. So what I'll do is I will mix one blue color, which is slightly towards green, by adding more red to it and also some yellow to it. Here in this mix, what does happen is that this color has more of blue in it and some red and some yellow in it. This has become almost a green because every color is not having the same tinting strength. So what I'll do is I'll add more blue to it. Because this has to be more closer to blue. What I'm getting is kind of a Prussian blue. I will add some more red to it. Not exactly Prussian blue, but very similar color to that. I will use this as my blue. And similarly I will mix other two colors also. Let's do that now. Start with the red and add a tinge of blue to it. I don't know if I've mentioned this earlier, but I'm doing this with gouache colors. And I'm doing this on a glass palette. This is the glass so that it's easy to mix and easy to clean also. So what I've done now is I've mixed Alizarin crimson with some blue. And now I'll also add some yellow to it so that it's also not a pure color enemy. All three colors are in here. All the colors are in here. Just the proportion is different. Now let's mix the yellow. It's very similar to what we did in the gametes mask one video. I'll add a tinge of blue here and a tinge of red also. Because of blue, this has become greenish. And because of red it will become kind of orangeish. What we have is dull yellow because it's inline with the yellow. And yellow is the color which is present in this highest percentage. Some more red and some more yellow. In this case, the gamut mask is this. Only this area out of this whole color wheel will be using only this range. So the idea is to just use this as Blue, use this as the yellow and use this as the pure red. And then painting and mixing colors becomes very, very easy. I need it to be a dark green, so I will add some yellow also do it. This is my dark green. Let's paint the tree trunk also. I can make it slightly dark by adding more blue, especially mixed blue, not the pure blue. Use it here. Non-disabled of the tree because that's where it will be dark. Now let's mix a color for these distant trees. So again, similar green, but slightly more bluish and some white also in it. This is already looking like green and not blue green. You can see the difference. Let me zoom in so that I can show you close up. You can see the value difference and the color difference also. Now I will mix a color for the mountain. The mountain. I'll start with this color and add white to it. Let me get some white. Let's use this. That's the mountain. Now we need color for the sky. Finish this color. So let me mix it again. Just like last time with blue. Color is drying because of the lights. I have for the video. Let's start with blue and some red to it, and also some yellow to it. It's no longer a pure blue for the sky and started with white and then add this because white is more than quantity. I'm just applying pure white. The starting point. Then I will add some of this to white. And then let's apply this as we go up. And let's add more blue. Being the topmost portion of this guy with this. Then we can the gradation. This here you can see the difference between this blue in this painting and this blue. This is much more reddish than this and much more dull because we are adding yellow to it. That's the subtle difference which you'll see when you use colors in a conscious way. Now we need a green. For the green, I will start with this. Let's see. We can use this directly for the audit color. Let's use this yellow plus this intermediate read what we mixed. You can see that how this has a different look, then other paintings or other sketches. Now, let's finish this border. Let's delineate this with this mountain color. Okay, So that completes our gamete mask. You can see the difference between these two paintings, how they have a different field. And that's purely because we have used a different set of colors for this. We use pure blue in this and other to mix colors. Whereas in this we did not use any pure color. We mixed secondary, tertiary colors and then use those in this. So this is an example of gamut mask. Thank you and see you in the next video. 12. Summary: Welcome back. Let me zoom out now and show you all the aid paintings which we did. So just to recap, this is monochromatic scheme. This is complimentary. We use red and green as the complimentary colors. And in triadic views three basic colors. In split complementary, we use red, blue, green, and yellow green. And we've got this. Analagous uses three adjacent colors. That's why it's orange, yellow orange, and red orange. That's what we did here. In debt Roddick, we used for colors. And it looks very similar to this because we used blue-green and yellow-green here, which is also used here. Even though we used red orange and yellow orange in this. Because anyway, the area of a reddish shape is very less. This looks very similar to this. This scene was of a subject in which there was more reds and yellows, then it would have looked much different than how this looks. Then we did the gamut mask, one in which we used pure blue and two mixed colors. And in gamut mask two, we used all three colors which were not pure colors, which we mixed here on our palette. So you can see how by changing colors which we use, we can modify how the painting looks, the feeling it creates, and this is just the tip of the iceberg. You can very many number of things when you actually paint. If you increase the amount of one color and make it dominant color in the painting. If you make it with blue, it'll look different. If you make the red as the dominant color of the painting will look different. If you make yellow as the dominant color. And other two are subdued colors, then the painting looks different. So this is just the beginning of how you can learn more about using color in your paintings. And once you do the experiments yourself, then you will learn much more than by just looking at somebody else paint and watching the videos and something like that. So I urge you to pick up your brush, make a palette like this user glass palette. And you can use any medium which you are comfortable with. And try mixing different colors and make a grid like this. Draw the same landscape, simple landscape in all 8910, whatever number of variations you want to try and create paintings using different color schemes. This experience will give you a lot of learning which you wouldn't get if you just kept on using the same color palette for every type of painting. I hope this will help you solve the color mystery and take your paintings to the next level. Thank you. And I urge you to post your project in the project section so that I can see it. Others can see it. All of us can learn together. Thank you, and see you in the next video.