Transcripts
1. 1. Introduction: Hello and welcome. In this class I'm going to
show you how you can create your own watercolor pocket sets so you'll be ready to go and
paint anywhere he wants. We're going to go
over color theory to choose the best colors
should put on your set. Because I know,
especially as a beginner, how hard it is to decide what
colors to get and how to organize it so that you have everything you need when you
decide you want to bake. I will see you in
the next lesson. I'm going to show you what's our project and how you
can prepare for it. I see you there.
2. 2. Class project: Hello. Okay, So let me tell you about our project
for this class. In this class, I'm
going to help you create your own pocket sets. This is the one I'm using, but I'm going to go over how
to choose the box you want, so you don't have to pick
one exactly like mine. Then you're going to
have your toolbox with some colors of your
choice, more than three. And you're perfect brushes, the ones you'd like to use, the ones that are more portable. And then once you feel
comfortable using. So stay tuned. And let's go to the next
video when we are going to discuss a little
bit about the box.
3. 3. Choosing the right watercolor box: Let's talk now about the box for your pocket watercolor set. When do you think
pockets watercolor? I think about portability. So of course, there were
these small comes to mind. But I also like to
think about comfort. So if it's too small, you won't be able to feed
enough colors there. You may go for very
versatile colors, but even so, it's going to be a little bit hard to work
around the limitations. And yes, it's good to limit your palette to work
with what you have, but also it's good
to be prepared. So I think that if you get a small watercolor set
that is not choose mall, this is going to be great. I have here some examples that
are the ones that I like. But you can find
any other types of boxes with the same or
similar sizes to this one? I was primarily using those vanco and you can see
it's a little brand here. These are van Gogh's boxes. I bought them first, empty, the empty box so I could
put my tube colors in them. And I have one here that I use. And this one is actually empty because I didn't create
a palette in it yet. He just has more, three more, three more
spaces for paint here. Then this one. But then I found out about the nice one that it is lively, small, is still pretty
comfortable to use. It feeds a lot of colors, but it's still small enough
so you can carry it around. And I change it to that. This one is metal,
so it's a tiny little bit heavier
than the plastic one. If you get one of the same size. But I think this
is really great. One thing you want to have
in mind when you choose your pocket box for
your watercolors, is that you have some specific
characteristics that you have to look for if you want to feel comfortable
using that box and fit your colors and just
carrying it around. The first one is size. As I told you, you don't wanna go too small unless you really, really want to
limit your choices. But you also don't
want to get too big because then the
portability goes away. So I think this size, which is about my hand, the size of my hand
and I can take my glasses box here to show you. It's about it's about the size of my glasses
with a little bit more. This one is even a bit
smaller than my glass box. These sizes, I think are ideal
for pockets or is smaller. There are some that
are just the size of this square if you really
want to limit your choices. But I think this one is
just going to be perfect. Another thing that you have
to consider when you're choosing your pocket box is how many colors
you can fit in there. For example, these two from Bronco and a lot of
others in the market. They have specific places. So you can put your half pens or even just put your
two pins in them. So you have to be aware of that. One thing I have
to mention is that some proprietary boxes like the vanco one and
maybe the Cotman, the from Winsor and Newton, they have specific sizes
that don't always fit. Other half pens different
from the ones they make. This one is bongo half pans, so it does fit perfectly here. But if you, once you buy your own health bins
and fuel widths, tube or by half pens
with already in Kingdom, they are the standard size. They're probably not fit here. So that's something you
have to have in mind. How many spaces you can
get for your paints. This one, I actually
took out this part here. It comes inside here that holds the paints just because we are going to go
over colors later. But yes, this one has a
space for half pens and a standard half pens that you can buy with ink or empty in, put your own wing in condemn. So that's another reason why I think this box is reading good. And aside from the sizes and the amount of paints
you can put in the box, you also want to look for the mixing space that
you can have in the box. In this case, the Van Gogh
and some other brands. They have these
palettes for mixing that you can just use it. You have extra space here. So some of them are like that, some of them you can't pop out. There's a space, so you're stuck with many wells
you have in here. Another thing you have to
look for is the brush. You're going to carry. Some of the sets come with
a brush like this one. You can just put in here. And some don't come. This one, it has wells
in here and here. So it's very
compacted because it folds three times and it
doesn't have a brush. But I can see a small brush
in here like this one. And it works fine. So that's something else you
have to put in mind. This one, it really grabs the brush and
it stays stuck here. And this one, it
would be losing here, which is not a problem really, but depending on your
personal preference, that's something you
want to look for. Okay? So also look for the way
of the palate of the box. This one, when all the
painters are here, you can get a little bit heavy, but I don't feel that it's too much heavier than this
one with the other painting, of course, plastic
is a lot lighter. So this one is very light. This one's a little bit heavier, but I do prefer it. I think it's better for me
because it's more competitive. This one's a little
bit bigger than this. That's other, That's
something else you have to keep in mind. And again, the size, if you want even smaller than this one, It's your preference. But we're going to use
something like this and blend the colors for the size
or the sizes right here. So this is it about the boxes. And we will meet in the next video talking about the brushes. I see you there.
4. 4. Choosing a portable brush: Okay, Now we're going
to talk about brushes. And I gotta tell you, most of the time I use water brushes like
this one from Pentel. I have some other and
from different brands. And I loved them because
they are very portable. They can carry water, so you don't have to worry
about bringing in water. Some people think
they are a bit hard to control because
the waterflow, and sometimes they
might be the case, especially if you
are a beginner, but I think they're so,
so user foo and so, so great to work
on location that I just loved them and I got
used to paint with them. So that's what I use. But I also fell in love with this pocket brush since I
bought the Van Gogh boxes. They can, in here, It's number six brush. And it's basically the same
size as my water brush, but it's just a regular brush
in a bucket size that you can mount like this. And it becomes like
a reasonably medium, big brush to use in. You can put on your set. I love them. The holds, quite a lot of
water and paint there. Just great. I just fell in love with
them the first time I used. So I carry them in
here because they fit. This doesn't fit in
here, but this one does. And if I have like a water bottle or a
small cup or something, I can use this with these set. The same way you would
use this one that already comes with water in it. But I also always carried
a water brush with me. And the way they found to have my water brush
always kinda sticking around my pocket sets is
by creating a pen loop. I had this elastic, elastic and I saw it in the end. We, I don't know if you can see, but a little bit of a toothpick, you can use a thin
stick or something just so that it has a bump
here in this end. Because I notice
that this box has some little spaces here in the hinges that I can
just put this one. I can just put it for you to see thinking about at this time. Okay, so I put it here. This little bump prevents the elastic from coming all
the way out and decides, and when they close mine box, I have a nice little place
to put my water brush here. And it's a trick I wanted to show you so you can
carry your water brush even if your box don't allow you to carry a brush with it. And you can make
these in any size you want to feed the water brush or irregular brush,
doesn't matter. You can put it on the sides. I'm going to leave it
there but take the brush out so we can check
their orders. Steps. Workers, this
is it for the brushes. You want to choose one that is compacted enough
to carry with you. And it's preferable if you
can either put it inside your box or is tickets close to it so you
always have it around. You always have it
close by and you don't lose it on a basic
case inside the bag. And if you change
bags, you lose it. So that's my tip
for you on brushes. And I really recommend
your mastering the water brush because they are so great to carry around. They make your set
even more portable. I see you in the next
video and we're going to start discussing colors finally.
5. 5. The split primary color palette: Hello. In this lesson, we're going to finally
be talking about colors, and I'm going to explain why I have the colors
that I have here. But before, let me talk
you a little bit why? It's important to
know your colors. For that. I'm going to close
this palette for awhile and show you my swatch book. In his book, I have a
swatch of every pains to in pen and basically any material
that I owned or still on. In this section, we
have watercolors, so I have this hats and pencils and everything
I used in here. And you can see
if I flip through the pages that I
usually have on top, a swatch of all the colors I
have in that specific sites. Always this and on the bottom, I always have a color wheel. And the biggest secrets, the key for the first colors and the most important colors, I think in our pocket, most versatile set
are this color wheel. This is called a split
primary color wheel. And let me go to one
that I really love. This one I love those
colors from Pentel and that work in
the following way. You create your color wheel
and I'm going to leave a template so you can print on your paper or do whatever
you want with it. But I create a color wheel
with all these spaces. So there are here
123456789101112 spaces, 12 circles in my color wheel. I start by filling
the three primaries. You can see that each primary put it closer
to the camera. Each primary has
two versions here. That's what I'm
talking about when I say a split primary palette, you have two versions of each
one of the three primaries, blue, yellow, and red. And it's usually a warm and
cool version of the color. So I have here a warm
yellow and a cooler yellow. I have a warm red
and a cooler reds. And he didn't have the
same thing for liberal. It doesn't really make sense
calling blues warm or cool, because they are always cool. Blue is a cool color, but just so you understand, it's all about the mixes. So if I had a warm
yellow and the warm red, I can mix more vibrant oranges. If I have a cool yellow and a cooler blue or a more
green leaning blue, I can mix better greens. And the same thing
for the red with a cool red and a cool, the most cool, more
purply, leaning. Blue, I get the best purple
I can get in that set. So the secret is choosing
the best combinations of these six colors true of
each of the primaries. And I'm going to go over how to choose each one of these
in the next video. I just want you to explain
to you how the color wheel works in everyone of the
color sets I have here. I have this same thing, two versions of
each one of them. And I make the mix that you allow me to have the
most vibrant colors. Because sometimes you
can mix these blue, these more sky blue with
the more pinkish red, and you will get a purple, but it's not going to be
the most vibrant purple. And you can absolutely mix the warm yellow with
the more sky blue. Get a green, it's not going
to be the most vibrant. Or even if you mix
with this one, it's definitely not going to
be the most vibrant green. Those are also great colors. I don't think there
is a bad color, but if you want to get vibrancy, which I think is
great in watercolors. This is the way to go. Next video, I'm going to
show you how to choose the best versions of
each one of these. And you can get them
in any brand you want, or even use the ones
you already have. So you just swatch
and take a look. Which one is? The more I'm warm version of the yellow and the more cool, the same for the red and
the same for the blue. I see you in the next video. We are going to go
over these choices of colors that you can
make and how you can adapt them to any brands
or anything you can find on your local art store or a given online.
I see you there.
6. 6. How to choose the split primaries : Okay, so let's go
over the colors. And I have more than
six colors here. I'm here, I'm going to
go over the other ones, but let's focus now on the primary splits
palette so that I can tell you why
I chose each one of these colors and how
you can choose yours. Okay? So first, let's
go for the yellows. I have here. These and these yellow, forget the other ones. Okay? So these two are from
my split palette color. I have the warm one
here in the colon here. And when you look at them, it's very easy to
tell because this one is going more to
the lemony side. This one is going more to
the bright orangey side. So this one is warm, this one is cool. I have here the as a
yellow deep from Mongo, by the way, I'm using all van Gogh colors here
from royal talents. You can use any brand you want. I'm going to tell the
colors I have and I'm going to even give
you some alternative. Most of the names are going to be the same or very similar
from brand to brand. And you can check
to see if you find one in the brand that you like you are that
you have access to. Or even if you already have
watercolors on your hands, you can adapt to the
ones you already have, so you don't have to go
out and buy a new one. Our goal here is to make your palate the more
versatile pores possible. And you can do that with
what you already have. Okay, So this is
as a yellow deep and this one is
permanent lemon yellow. And let's just start
with the cool yellow. Okay. I have here a
permanent lemon yellow. Some colors you can look
for in other brands or on the market
are Hansa yellow, lemon yellow, or even
cadmium lemon yellow. They are great cool
yellows to mix very bright greens k. So
that's the reason you have these cool yellow
to mix bright greens. Then go into the warm
yellow mine here, ease as a yellow
deep as I told you. But some other
variations that you can find a really good are
the yellow, cadmium. Yellow. In cadmium yellow, deep Indian yellow is
also a great color. New gamboge or gamboge are very good colors to
very warm yellows. So you can go for them in
these type of yellows, they mix very bright oranges. Now let's go for the red. So I have two reds here, warm red and a cool red. My cooler red is a pink based or even
blue based red case. So usually you're cool. Reds like that is something
pink based or rb2 based. I have here a Quinacridone Rose, some watercolors you can
look for our Permanent Rose. And usually those colors, even though they are read, they have a name going into the Rose sides because
they are pink base. These colors, they
are great for mixing bright purples or even
to do down some greens. And you can even use them to mix some grace on your
paints so they are very, very good color should have these specific
quinacridone rose. It's awesome because it does all of those
things I told you. Mixing great grace do
downgrading is if you want a more natural nature, looking greens and of course, mixing the bright purple because purple is such
a hard color to get. So yeah, This one is scraped and you can see I
don't have any purple here because when I need it, I can always mix with
my two colors here. This is the case
for the cool red. Let's go for the warm red. Right now. The warm red can be pyrrole. Pyrrole red can be
cadmium red light, cadmium red, or even vermilion. My case here, I'm using
a permanent red lights, which also works very well. In this type of red, this warm reds, it's great
week stay bright oranges. I told you just by
using the bright, warm yellow we talked before. Now let's go for the blue. I mentioned before. I don't like two categories, blues and reds warm in Coke
because blue is a cool color, so every blue is cool. But I categorize them. Isa, more green leaning blue, and the more purple
leaning blue. For the green based blue, we have these
cerulean blue here. But you can also
use phthalo blue, yellow, green shade,
manganese blue hue. Those are like the sky blue
color and they mix very, very super bright greens. They are awesome. They can also make
some strong purpose, not bright but its
trunk depending on the use you might want for them. And you can get some
soft lilacs with these. And they are great
for painting skies. That's my go-to for getting the brightest green there is with the lemon yellow
I talked about before. Then we go to the
purple based blue, which is this one right here. And for these, I would recommend any uterine
marine color. So you can have your
ultramarine French ultramarine or anything with an
ultramarine and the name is a great color for
mixing very good bright propose and making
some natural greens. Not bright greens, but
those breeds you can see more often nature
there are more, darken, more do
down a little bit. This one is great for that. And these closes our
primary split color in. That's how they work. That's why I think they
are super versatile in that you should have at least
six colors on your palette. In the next video, I'm going to talk
about the other colors and why I have them in, why you should
consider them too. I see you in the next video.
7. 7. How to complete the palette with more versatile colors : Okay, Now we talked about today six colors here
in the beginning, which is my split primary color. I have two greens here. We're going to leave
them for less. Let's go to the sport here. Okay, So these are
specific yellow here. It's not a essential color. But after I put all
the other colors, I thought were the
perfect combination for on-the-go in
super versatile, I had one spot left
and I love this. Yellow is a yellow I use a lot, is basically the yellow
on my brand color. So it's it's my color basically. So I put it here. That's the only
reason it's there. So if you have some space left, you could absolutely put a color that makes you happy
and that makes sense to you. So that's the sort
of this color. Let's move on to again, the strategic part
of our palettes. I had here, these yellow ocher. Yellow ocher is a color that often comes
in beginner side. So if you have any
set you bought, you probably have a yellow ocher because they come everywhere. And these colors right here, aside from these yellow that I told you the story about it, these five colors here, they are some earthy
in neutral colors, which are really great
to have because yes, you can mix basically almost
everything with these ones, but are some colors, there are some colors that it's worth having on
your side because you can't mix
perfect earthy tones with only the split primary. They are very versatile. But sometimes it's good to have your earthy neutrals
separated and ready to go. Okay, so the yellow walker is the first one I
want to show you. And it's an earthy yellow. These yellow you could
use for painting sand on the beach or mixing a
very wide range of brown's. It also great to do dow some greens and use it
in botanical paintings, in botanical sketch is
really great for that. So that's why it's here. It's a very good, earthy tone to
have on your sets, and I wouldn't have a set
without its order colors. I recommend our browns
even though you can mix them with this or
evenly to your primary. These three brands
I really love, and I have here my burnt sienna. I have raw umber
and burnt umber. I have this tree
here because they think they are great
for mixing skin tones. And I'm going to show
you a page of one over my sketch books where
I export this a lot. Let me just find the
page I want to show you. Here. I started playing around with mixing
some skin tones, and I use this palette, so I mostly use the
browns I have here, but I also use some
of the other colors I have on my palette to make some things more pinkish with
a red or more yellowish, using the yellows or
even darken things with the greens that I have. So you can see with only these three colors
and maybe a yellow and red and maybe a green that I'm going
to show you later. You can get a wide variety
that you can use for skin colors going from
very light to very dark. I can even get darker than
these ones I got here, but I run out of
space here and I was very satisfied
with this experiment, so I just stopped. So that's the reason
why I recommend you having those brands there. You don't need three brands. I got those three brown. So because as I said, I made some experiments
and I like what I got with the ones that I would absolutely recommend for you would maybe be the burnt sienna. Because with burnt sienna, if you dilute it
very much in water, you can get a very
light skin tone up into a medium brown skin tone. And maybe you want to
choose a darker brown like the burnt umber to get more
of those darker skin tones. And then you can have
some type of gray or even some type of black
to mix with these brown, this dark brown to get
even darker skin tones. So notice, we're going from being able to
mix bright colors, super nice, and
bright colors, too. Earthy tones. We talked about sand, we talk about natural greens and are we talking
about skin tones? So can you see how versatile this palette can
become, which just A handful of colors. Okay, so these are my three choices for
mixing skin tones. I add the route number here because I like how
it is on paper. It and it does make
a great skin tones. It helps me darken some things. It's good for natural paintings. All those grounds
can also be used in nature for natural sketching, for Earth, for wounds
or something like that. So they're very,
very good to have. I would recommend at least you, if you can have more, you
can put more in there. And these last one here, before we finished
with the greens. This one is a gray, which, which can be kind of a black if you
concentrated too much. This is it. Okay here, you can see it's
not really black. It's more like a
bloom leaning gray, and it can get very
dark or very light. I can have even some examples in my sketchbook of me using that specific gray
in some variations. Yes, here. Okay. So very light shadow. If you dilute it enough, you can have something very, very light or you can use it more dark or even super dark, like I used to hear gate. So this is very good and
mine is Payne's gray. I've seen some people using James Grey. I like Payne's gray. It's great. It's staining color in, I think it's a good
replacement for black. It's a pull-based Greece. There are some breeds that are
more warm because they are more like go into the
brown or the red. This one is going into the blue. You can see when I
show you this swatch, that it's going into the cool side of
things, of the color. And it's a great color
to have for shadows. It's great for
substituting back. I don't really like to
have black, pure black, or pure whites per se
in my set schools. How do you think these colors look very well on my
style of work coloring. But if this for you, for amines, put a blacking
here and be happy. I like this because
it's not super bike, but it can get super dark
and substitutes the black can give you more
whimsical watercolor look to my paintings when
I want the dark or when they want a black without
really having a black. So this is the reason I have
this Payne's gray here. To finish our choice of colors, I'm going to talk
about the greens. Why did they put
the green in here? Because nature is
a great subject to paint and I paint things sometimes
they want to paint nature, I want to paint leaves, I want to paint blends. And yes, I can mix my greens
here and can even not mixing the brightest one can mix the more strong or do the greens. But having a Green is
a convenience color. You, depending on
what your sidebar, if you paint a lot of planes, if you paint a lot of nature, you're going to use
a lot of green and you're going to use
a lot of brown. So for convenience is good
to have them separated. And you use these ones when
you want something bright or when you want a specific
mix that you know how to do. I have here my
seminary in region. I have sap green
because I think is a great green furniture
and I can mix it with other colors I have in
my palette and make it more do or make it more natural. And the region I have, because it is such
a beautiful green, I like this green and
I can again mixed with some browns or with some
other colors I have here and get a more
natural look and get some other direction
on that green. So these are my two choices. You can choose
other greens, okay. There's not a rule I
follow for greens. I just go with my gut
and with my needs. That's why I have those shoe. If you'd like to paint nature, I would recommend at
least a sap green and then you look for another green that you would love are not using only the sap green
and that will be fine. The reason I have two here is because I have space for it. Okay? So we have one more, one more class, one more
lesson discussing colors. And it's the next lesson. I'm going to show
you why I arrange this box the way it
is. I see you there.
8. 8. How to organize your colors: Okay, we're back and I'm
going to get rid of this page now because we're going to talk about the organization
of the pellets. It's something personal. It depends on how you use
your pellets on the Hollywood feel comfortable
using it. For me. I like to be strategic when
organizing my colors here. I'm going to give
you a few tips. Let me take these colors out. That's another thing I love about spelling
because that again, pop it out and I have
more mixing space here. And you just can't
have my colors there. So let me just get rid
of put it to the side. And let's go understand
how these colors work. First, let me give
you a little tip. What I do is I
always put a tape, masking tape or
something with the name of the color here
and maybe the code. If I use a specific brands, like as I told you, this
is o van Gogh watercolors. So that I remember what is everything and where
everything was and I don't lose things and I
don't mess around with it. That's one tip. And
now let's go for the organization of my palettes. What I like to do here is put my primary split
palette on one side, and I'm used to putting it on the left where you can put it on the right,
it's your choice. I just put it first. Then I put my neutral
and earthy tones here in the middle. Because I have a middle here. If you have a smaller polity, might not have space
in the middle. You just put your primaries and your Orpheus and
neutrals. But I had space. So I explained to you
that I put the greens as a convenience and I put
my favorite yellow in here. I organize the split primary based on the brightest
mix, mixture. So you remember, we
want bright oranges, bright purples,
and bright greens. So this is it, yellow and red. The mix the best,
orange, red, and blue. Then mix the best purple and blue and yellow and
mix the best green. This is why I
organized like that. So I don't have to look
at the palate and take the time that my brain has
to take to analyze and see, oh, this is the best yellow
and this is the best blue. Let's mix them to
get the best grade. No, I already have it all set up automatic for me even though it might take only
a few seconds, but I like to save the time and just
organize it like that. So that's my
recommendation to you. Put your combinations
already in place. So it's going to be so easy. And you're going to
see that with time. You go to your brain, which should be on
automatic and just pick up your brush and start placing
it in the right places. Doubt worrying to
think, oh, wait, I want to warm and warm
red and warm yellow, although they are already here. So it's very automatic. Then, since I have
two greens here to kinda divide the primary
splits in the new trust. My favorite yellow here. And then I organize
the three brands I had on the bottom on the order. That makes sense to me. I know that this first
one is the one that I mostly often used
for skin tones. And the other ones like
our kind of exercise. Or convenient when I want to get darker or more earthy
or something like that. My paint, Payne's gray
right on the corner here. And I decide to put those two yellows
together because there's no way I will come
confuse those. So this is the way I
organize my palette. And if you want to
copy it, great, do it. It works for me,
my work for you. If you want to change it, Joey, chill and think of how it
can work better for you. Okay? So after all, it's personal preference and
what's more convenient and more effective on your
creative practice. Okay, so in the next class, I'm going to show
you me swatching this palette so that
you can have a look at how the colors look
and also do yours too.
9. 9. Swatch your colors to know them better: So I got here, finished swatch page for
this particular sites. Even though we already
had a page for all the vanco colors I have I have a few more colors
here than I have in this ad. So I made a specific
page only for these box. And the way I like
to do my swatches is drawing the box and I can show you the previous ones again. So I had some examples. Drawing how is the material? Because they think more
creative and more fun in ages, like to have it like this. I think it's better. So I did all the colors individually and then
Amy, my color wheel. And the only thing I'm precise about is the outermost circle. The rest I just eyeballed the
lines and I go from there. You want to start at the top, dividing the circle in half. So you can do the splits color, and I usually do yellow first on top just
because I like yellow, but it can do other colors too. And then you count 123 circles. You do the next primary, which for me is usually
the red here, 123. Next one, that's blue, 123, and you go
back to the yellow. So in this third of the circle, I have the most lemony
yellow and the sky blue, which platform is set up. So cerulean blue. So here's what I mix my
brightest greens of the SAT. Then I have the ultramarine blue with the Quinacridone Rose, which is one mixes the best
and brightest purpose. And then I have my warm
red with my warm yellow, which makes my
brightest oranges. So this is how I do my swatches, and this is a great exercise for you to understand how
your palette works. So even though you might have a palette that is not built with the tips I gave you in choosing
the colors here, you can. If you bought a basic
sad Tory pre-made head, chances are very high that you have some kind of split primary. It may not be the perfect
split primary buddy, It's going to go a long way. So you probably have
two types of yellows, two types of rich types of blue. Or sometimes they see sets. They have two types
of Bluetooth types of red and one yellow. Because yellow is
very versatile, you can get great things
with almost any yellow. But chances are you
have some kind of a split primary in any pre-made
but basic set you have. And you probably
have a yellow ocher, some type of brown. And sometimes I see green. I see blacks and whites on a basic set which I told
you I don't really like, but you can make it work for me. It's Payne's gray and
I don't have at all because I think watercolors
are meant to be diluted. That's how you get lighter
versions of the colors. So these were my tips on how you can create
your own custom, super versatile, super practical and
compact pockets sets. And I'm going to come in
the next video talking a little more tiny tips that you can use to
improve even more. These one are some things
that you want to look out for when you're building
your sets. I see you. I squared.
10. 10. Final tips: Okay, Welcome to this last
lesson in this course. And I hope you have enjoyed
everything we learned here. And I just want to encourage you to post down in the
project section, the picture of your
pocket set or your swatch page or whatever you create using the tips I gave
you in this class. I want to give you a few
more tiny little tips that you might find useful. I already told you
a little bit about the bugs and some things you
have to look for in a box. And I even showed you a
way of adding E pan loop, or in this case a brush
loop to your boss. But let me tell you
some other things here. So first thing, remember, lookout for the amount of
colors you can put on your box. This box here is
supposed to hold 12.5 pens and you can even see
the metal parts here. But if you squish
things together, you can put actually 14. And I think so much
better because they pens, they don't wiggle
around that much. And look for how many wells
and mixture spaces you have. Even this one can
be popped out and I have more extra
space here to mix. If you have space for
a brush and I usually carry with me are some pieces of toilets or paper towel to just clean up my brush
when I'm painting in, don't contaminate all
the colors I have here. One thing that I'm experimenting
with is also putting a little bit of a sponge to the side because my
box allows to do it. Some bugs already come
with the small response. In some areas, mine details, but I can absolutely
put it and it's been working so far so I can just clean my brush
here and I use it. And that's really great. So I'm going to
keep experimenting with that or see if it's just the keys for carrying a small piece of paper towel or paper towel to
clean the brush. It's just better than
carrying this one. And this is it for our course. I hope you have enjoyed it. I hope you create
great things with it. And I see you in our
next course. Bye.
Jéssika Rocha, Creativity & Productivity
