How to create your own watercolor palette

1. Introduction : Hello everyone. My name is fat and I'm a watercolor artist. I want to invite you to my class how to create your own watercolor palette. When I started with watercolor was, I bought the pre-made sets of some brands. And even though they were great sets, I didn't feel connected to some of the colors. Then I started to learn about pigments, pigments, proclivities, triads, coral mixing, and started to create my own watercolor palettes. So in this class, we learn about pigments. Pigments properties, triads, some color mixing. Some basic rules are recipes. How to create your own watercolor palette. So let's start. 2. Class Materials: The art supplies that we'll use in this class, we'll mostly be watercolors. Could be RT squared watercolors are student grade watercolors. They could be the artist grade, could be Daniel Smith, Roman small, Winsor, Newton, shrinking, core, run the run, the Vinci, and M Graham. The student grade watercolor is, could be Van Gogh or quota man. There is watercolor company of the artists grade watercolors. That name warm on small, they are in full pans. There are great artists grade watercolors, and they're very budget friendly. If you are limited in your budget. We will use in this class will be cellulose watercolor paper, cold press, 300 GSM. It could be this paper. Or the concern extra large watercolor paper called clay crest. Because we are doing lots of swatches and color mixing. We don't need really high-quality cotton watercolor paper. We can just use a cheap cellulose paper the pellet will use in this class could be plastic pallets with whales and mixing space. The disadvantage of this palette is that you cannot change the colors once you put them in. And another disadvantage is that the mixing space is getting stained with color. This time. Another possibility is metal tins with empty half patterns that we can fill with water color. Many of them in Amazon. Or empty metal tin, which we can put in some quarter pounds or bigger than one, we can pull to read is full pans or halftones. To create bigger watercolor palette. I like them match it to work with this small watercolor palettes with quarter pounds. Because then I can try out different colors in small quantity and play. But we could also do pellets with full pans or half pans. Will use in this class will be not expensive. Watercolor brushes. They can be flat. It flat, six flat. And they can be round six, round for round. Because we're doing mostly swatching and column mixes. We don't need really expensive brush. It's not for a big painting, just for play. We will also need two jars of water, one with clean water and the other one with the color from the brushes. Will do it like this. We'll take the brush, is the color. Clean it here, then clean it here. Then clean them on the cloths. It could be terrible. Paper towel. We can also put extra water from the brush on the clothes and then continue painting. These are the materials for this class. Watercolor, brushes, water jars, half pans, quarter pants, metal tin of plastic tin, and the cloth. 3. The Universal Language Of Pigments: When buying a watercolor paints, always look at the label. So here we have failed. Blue, green shade and stay low, blue, red shade. You can see we also have the chemical name, say Lausanne in blue. And here we have more details. So say low, theanine blue, PB 15, column three. What does it mean? Salesy and in blue is the chemical name. P is pigment, B is blue. 15 is the pigment blue number and column three is what kind of give me 15. Is there? Because sailor blue, red shade is also a lot CNN blue. But it's PDB 15, column six. The number in the column is different. The other details on the tube that you can look like, what is the bind their gum arabic. The series, meaning the price steers. One usually is the cheapest price, the lowest price. And you will see usually also the light fastness. Why is that important? We look here at catalogs of two watercolor brand. One is Sri Lanka, and the other one is Daniel Smith. They both have fellow blue, green shade PB 15 column three inch mean clay. It's called Helios cerulean in Daniel Smith. It's called fatal glow, green shade. If I go to a shop and don't look at clean label, I may buy the same color twice. Just a commercial name is different. So it could be good to save some money. Another good example would be when they want to try a color that is very expensive, but I can find it in a less expensive brand. For example, cobalt green, PG 50, Roman small. It's much cheaper than in Daniel Smith. And cobalt green is quiet, expensive color. So in Daniel Smith, It's series three. In Roman small. It can cost between four to $6 in Daniel Smith, it can cost between 14, $20, which is quiet a difference. Let's look at one more example. There is a column named fetlock TO quiz, which is pigment PB 16, Roman small, it's called they look turkeys. Pb 16 in Daniel Smith. Fessler to quiz actually is a color that is made of two pigments, PPE, column three and P G 36. In humane care, it's called **** your torque is and it's PB 16. So if a will by Daniel Smith, they look turkeys. It will be a different color than what I buy from from home and small. 4. Pigment Properties: Pigment properties are very important in watercolor. So every watercolor Brown, the asterisk grade anyway, has a catalog with the pigments for parties or the color properties. The light fastness rating, stain this granulation, transparency, and other capsules. So light fastness, lead for snakes means how much durable this color is. If it will fade in less than a month or a few weeks, or more than 100 years. And different ratings for that. So we would like to have excellent light fastness in our paintings if we sell them or if they will be on the walls. And we will not care if we just paint in our sketchbooks. So examples, a very light fast color, for example, would be Hansa, yellow, medium. And not so light fast color would be, for example, Daniel Smith, pretty metallic. Mayan blue, genuine, which is a very beautiful color. And if you paint your sketchbook or really, really recommend it. Another factor is transparency. For example, or the red that is very transparent would be quinacridone. Coral will show it. And another read that teaches very opec would be quinacridone fascia. You can see the difference. Will usually put them on the black line and see if it shows later or not. And you can see right away the difference. When it will dry, it will be more clear. Another thing that is important in watercolors is staining or non staining color. So for example, let's take fatal blue, green shade, which is a very staining color. And in comparison, we'll take another color that is not staining, like for example, again, Hansa yellow medium. Let's try to lift them. If we did a mistake. If we will try to lift fatal blue-green shade, it will be very hard. And if we try to lift Hansa, yellow will be much easier. And you can see here the difference. Another watercolor pigment properties would be when new lighting, hello and non gun relating. So I will give an example of a very granulating color which is called Luna errors or pigment, PBR 11. You can see granulation more when you add more water. And none granulating color would be, for example, Queensland Scarlett, PR 2096. And you can see it's very smooth. It's very important if the color is granulating, not just for the texture, but also for layering, become when a corner is granulating, the granulations when you add many layer, will look a bit muddy and a beak opaque, so it doesn't look good. Another ward is that staining colors because they don't lift. The very good for layering, especially if the both staining and transparent because then you can see each layer. Another important factor is flow. Another important factor would be flow. So if a color flows quickly when it's in water, or if it stays put. Put another example. And we'll put very good example, which is a nickel as a yellow, which flows crazily when we have a transparent color and we mix it, or we put one beside the other with an opaque color. The opaque color with move with flow into the transparent color in the mix will be uneven. So it's also an important factor. Next, we look at clear water colors, like, for example, this nice red, clear and bright watercolors in comparison to muted water columns. And it's a matter of preference. So I spent a lot of landscapes. So usually choose more muted colors. So I prefer to do an earth triad. We'll talk about it later, but it will be, for example, with a Venetian red and not with Scarlett, for example, or read. Neither. Property is watermark or Krakow leaf flowering. So for example, if we take, say color blue, green shade and we put on it the whirlpool water. When it rise, will see this drop of water. It will clearly flour, wheat flour. You can see it already here. We will do it in another place also. So we can see it very clearly and the watermark will stay after it dries. Another thing that is important is if a color is invalid, friendly or not. For example, cobalts and not environment friendly. Cobalt, cuddly ohms, nickels. And on the other hand, S pigments like good tight. A very environmentally friendly, or any color that is not toxic. Like in the unwed peer one-on-one, for example. Another factor we look at would be the binder. If it's with the harmony that can be problematic in UB made environments. Or could be problematic to Vigen people that would not, like honey in the watercolors or Google or any other, began a property. 5. One Pigment vs Several Pigments Colors: Let's talk about the difference between a one pigment color and the few pigment color. So for a comparison will take quinacridone violet, which is PV 19, which is one pigment. And rows of ultramarine, which is a two pigment hair color with ultramarine blue. Pb 29 and PV 19, queen red. So now we will mix them with another color and see what we get. So let's take Hansa yellow made with Queen, violet and handsome yellow murder with rows of water moving. Now after the swatches has almost the right. You can see the color separation here in the rose, ultramarine, blue, and pinkish violet. And you can see that the mix of the one pigment violet is quiet, clear, and clean. The mix of the old rules of the ultramarine of pigments is quite muddy and has different color combinations in it. Another color we look at is the valid CPR, which is a two pigment color. It is made of lamp black and PR one-on-one. No NaCl and black, pubic A7. The color we'll compare it with is Daniel Smith bent on borough, which is just PPF seven. So now let's mix them with another color. Will take the slipped here first and make sweet. We use lemon yellow. Put some more lemon yellow. One moment. And now we'll put some burnt umber with some lemon yellow. And you can see how clean it is. With the burnt umber. Then with the two pigments, CPR, it is more Maddie, more grayish as you can see. So it's important if you create a palette for color mixing, it's important to have one pigment colors. There are some excluded paints. I will show. For example, quinacridone, gold. This color makes beautiful mixes. So you can put it to is fatal blow green shade. You can see how beautiful the mixes and clean the mixes it makes. So this is not a regular case. 6. Cataloging Your Watercolors: There are many ways to catalog your watercolors. You can support them like that with lungs lowering. They did wash. Column name, pigment, number, and properties. Can buy the stamps and swaps like that. All the properties and pigment nets and so on. We can swatch them like that. Or you can just watch the color, right it. And write the pigment called. Why is it important to catalog your watercolors? It's easy to choose the colors for your palettes. This way because you can put the Swatches one beside the other and choose from them. And it's also good to know which colors you have and how they behave on the paper. And in swatches like these ones, you can see it also in these ones. So it's great to catalog your watercolors. 7. Triads, The Path To Harmony: Photocopiers, triads are groups of three watercolors, usually with thinking about watercolors, Friday, we'll think about Primary Triads, meaning yellow, red, or magenta, warm blue, or cyan. Here are three watercolor triads, one with yellow, magenta and cyan, another with yellow, mid-tone red and blue or red, blue. And the third is yellow, red and blue. With the yellow, magenta and cyan. Or we can mix bright violet and purples, bright greens, and less bright oranges. And it's good for fluorides. Usually. The red, yellow and warm red will be good for landscapes and urban sketching and wildlife. They create very beautiful oranges, muted violets and purples and muted greens. The triads will be good for landscapes and urban sketching, sometimes also for wildlife. And they create yellow Brown's value. Let the browns and grays and gray greens and yellow gray, gray greens. These are examples for painting with only three colors. These are as triads paintings. So you can see the blue, the golden yellow, and the red brown. And you can see how many colors you can mix from just three colors. And the paintings are more harmonious this way. When creating a watercolor set, it's good to first identified which triad are the best for you, for your own style of painting. For example, if you paint landscapes which are spreads are the best for you, which additional threads do you need to make the most use of your colors? So I invite you to find your own triads for your own painting style. 8. Palette Recipes: There are many polit recipes. To set your palate. First, you can take the colors you cataloged, like these small cards and let them one beside the other. And look at the colors. Or you can swatch all of the colors you have on one page and look at them. Next, you can choose primary colors. We look at them. Cool yellow, warm yellow, warm red, cool reds. Warm blues. Cool blues would start with that. So for example, I will choose this color as my cool yellow, this color as my warm yellow, this color as my warm red, this color as my cool rate. So put them one beside the other. We look at them later. Then I will choose one, warm blue. And why I'm cool blue. Now, I will pick up all the other primaries. Will think now, am I satisfied with these primaries? Maybe I would like to change them to cool yellow or a midtone yellow with some yellow like this one. And to take out this or to put another ClO. For example. Maybe I would like some greens, heavier six colors. If I have a palette of the 12th colors, so I can choose two greens. For example. I have the eight colors, and I can choose some brown. So can choose this one. Let's take This one's out. Can choose this brown. And maybe something more red brown. And maybe something like a violet iron oxide like this one for example. I already have 11 colors and maybe I would like an amber that will mix well, a black. So I'll take this burnt umber. Here. I had the palate or 12 colors. I can decide that I don't want the greens and the tech something else. Instead, another brown or another blue, another read, another yellow. For example. I will take out this green and put also a regular warm yellow. So it will have more way to mix colors. So this is one recipe here. I have a palette of colors. Now I can start to mix them. I can quit triads and mixes like see how French ultramarine mixed with all these colors are fatal blue, green shade mixed with all these colors and the other primary colors. Also, I will say the potency of the mixes of these colors. So here is an example. I took intense blue and mix it with many colors, both primaries and both bonds. And golden yellows. Another example, I mixed for different blues. These ones three yellows or two yellows and one orange with four reds. Blues and greens with for air stones and with far more deep stones. Another thing I will look at is colors that I really love. Even if some of them are not good for mixing. And I insist that will be on my palette. So for example, this site, genuine, which I really love. Another exams, these two greens. For Payne's gray, actually the four blues and three dogs that they like. But they don't really need them for mixing. There would be nice to mute other colors, but the not so important. Next time we'll see how the other colors that I chose that I love mixed with the other first 12th colors of six colors that I chose. And then again, I will choose which are the most important colors for the palate. So for example, if I chose lemon yellow, Hansa Yellow Deep, Quinacridone, Rose, which else? French ultramarine. Fake load torque is fake law. Blue, green, blue shade, yellow, brown, brown, and some of the Payne's gray. Now, we'll have to see which one I take off. So maybe I will decide to let go of the green because I can mix it with the blues and yellows. Maybe I will decide to let go of the warm yellow and instead take a warm, sorry, a midtone yellow. Maybe I don't paint landscapes so I won't need the yellows, etc. So let's recap. First. We choose the parameters, right colors, the warm and cool primary colors. Then choose supporting colors like greens and browns. Then choose the color that I like the most and see how they mix with the other colors. Then I create threads from the colors I chose and see how they mix and what is their potential. Then I mix all the colors that I chose to see if it's good enough. Palette. 9. Palettes For Different Painting Subjects: There are different color packages for different subjects. For example, for florals will use mostly vibrant colors, mostly primaries. So it will be more. This palette. Let's muted carlos, like greens, maybe a shadow, green for shadows. For landscapes will use mostly muted colors. Like these ones, will use primaries, blues, greens, and stones. For portraits, we use more muted colors that are very soft like these free, for example. Like Quinacridone, that mix well with these colors. For skin tones. For urban sketching, we'll use both primary colors, cool and warm primaries. We use some neutrons like this one, some darks like this one. Or this one. We may use some Payne's gray is like this one's a bit of rounds and some greens. We may also use a little bit of golden yellows. For Wildlife feel, use mostly muted colors like this side of the palette. And some primary colors. And we may use some greens for backgrounds and some botanicals in the area of the wildlife. Another subject that could be for a palate is a group of types of watercolor pigments. Here I have two examples. The first one is a palette for the iron oxides. Danielle Smith, the regular ones, and then viral friendly ones with a mixing palette. Yellow, magenta, warm blue, cool blue, and greens. The other one is the watercolor palette for quinacridone gold. Quinacridone gold to use some mixing colors. 10. Mini Class Project: First, we'll choose subject for the palate. It could be landscapes, urban sketching, florals, botanicals, portraits, wildlife. So I will start with choosing my own sought object. It could be for me, landscapes. So I put here most of the colors that they have available of Daniel Smith and some of Schmidt. And I will choose We primaries colors from all these colors. I think it will be ultramarine blue or cobalt blue or blue, red shade. For the blues. It could be for the red earth read and it could be a red iron oxide or permanent brown or burnt sienna. For the yellows, I think it will be nickel as a yellow or quinacridone, gold. I watched all these colors that they wanted to choose from for my primary triad. Now, I will do some color mixing. The next step will be to mix these colors with these colors. And to choose which primary blue I will take to display palette, which yellow and red color mixed all of them. And here are the mixes of old formula in blue with nickel azo yellow with quinacridone, gold, with red iron oxide, with permanent brown, with burnt sienna. From them. If I will choose ultramarine blue, I will choose it, I think with nickel azo yellow. Next, cobalt blue with this color. Next, fatal or blue, red shade. And between the blues and mix these colors. I think I prefer the fetlock blue, red shade, but I have to note something. These two colors are granulating, and this one color is a non granulating color. And usually I prefer a granulating color that I can choose, a red that is granulating. So let's look at it. So if I chose the fake love blue, red shade, these are the mixes with the yellows and the reds. With the yellow, I prefer the nickel as a yellow. It's the first one. With the reds. I think I will choose transparent red oxide because it adds the closest to black from the three of them, maybe the burnt sienna also, but the thing you will prefer, red iron oxide. I have three colors, which I like also, the red iron oxides with. The nickel has a yellow, I think I will choose this free. I can also create a queen, gold, you from these two colors. So I will choose this color, this color, and this color. So these are my three primary colors, swatch to the three primaries colors of the six watercolor palette of the mini-project. So I have here them in front of me. Now we'll choose the three additional colors. Now we'll choose the three supporting colors for the six watercolor palette. So we chose first these three. Now we choose three more. And it will be another triad, like three primaries. And I'm thinking about a granulating blue like this one, or this one. And some yellow like a yellow ocher or Monte a Miata and not well scanner. The red, the cool red or quinacridone red or quinacridone rose. So I will do some color mixing. Then the choose from them. Now I will choose three colors from these six primaries. Yellow ocher or Montana, Miata, or queen read or queen rose. All Mayan blue genuine or Sleeping Beauty. Genuine. And I will do it by mixing these colors with these colors and also between these ones. To decide which are my three supporting colors for this palette. This is the chart of the coral mixing to compare between the other supporting colors, other supporting primaries. So I chose here to mix Mayan blue genuine with all the other colors. And these are the mixes and so on and so on. The yellow ocher and the Montana Miata, I just mix here because the other colors I have there, mixed over here. I think I will choose the Mayan blue genuine, the quinacridone, red, and the Montana Miata, not raw sienna. These are the colors I chose for my mini-project, for my sixth watercolor palette, nikola has a yellow PGY1 50, fatal or blue, red shade. Pb Fifi in column six, transparent red oxide, P R11 Monte I may often not well sienna, PBR seven. Mayan blue, genuine, doesn't have a code because it's pretty thick. Or the Daniel Smith and quinacridone red, which is PV 19. So now we'll start to make the palette itself. Will now choose a palette. I chose this metal tin. And I will spray white acrylic on this side for the mixing area and let it dry. They also wrote the names and pigment codes of the colors I will put in this palette. Let's fill this quarter pounds with the watercolors. So we'll do it slowly. I have even almost finished. But I have enough for this palette. So this was the nickel azo yellow. Now we'll put the queen red, quinacridone, red, yellow, blue, red shade. Monte a Miata. Not want to sienna. Transparent red oxide. Later. Mix them so it will be better. And my blue genuine. Now I will mix each of them in the plan. So they will be better. Mix also this one. Because sometimes there is a separation of the binder and the color. And this way, when you mix them in the water pan, harmonize them all again. And the last one, they didn't mix the quinacridone red because it looks really great in the pan. And the last thing we'll do is to create a column chart for this palette. So I taped. Faces for the color chart. And now I will start it. Put the nickel azo yellow in food strings over here. No less as you can see. Color runaway, cleaned it. Next color will be the quinacridone red PV 19. We'll dilute it a little bit. Next color would be fatal or blue, red shade. Next color will be Montana Miata, not all sienna. Two will be our Earth red, yellow, I'm sorry. Next, red iron oxide, the transparent one, P R11. This is the Mayan blue genuine. So we let the swatch is dry and then look at them. After watching the colors, I bought the column names and pigment codes and peel off the masking tape. Now I will let this palette dry for something like two days. Then it will be ready for use. 11. Palette Examples: Let's look at some watercolor palettes. Are pre-made watercolor palettes. One of Daniel Smith and the other oven go. The Daniel Smith one is of 24 colors and it's a mixing palette inspired by artist James Glendale. And you can see here you have the range of yellows, reds, blues mixing greens, more greens, yellows, reds, and browns. And Payne's gray. It's a great set for mixing. And to learn about how to create a mixing set. The next polarities that van Gogh palette. It's the muted tones palate. And you can say that some of the colors are a bit bright, but most of them are muted. And it's a great bullet. It's a good subject. A palette. Next is the palette that I created for landscapes. You can see many stones and they put her some colors that I wanted to fly to know better. Like lavender, like amethyst, cascade, green. I played with it a lot and it's a great palette. This palette is of iridescent colors. There are some more colors that are not iridescent, but I want them to be available for me in my studio. But most of them are really the essence of iridescent, pretty metallic colors of Daniel Smith or iridescent colors. And here are three more palettes of 12 colors. One is about quinacridone. Gold used soda, Nicolas are yellow and green bell orange that the mother and father of quinacridone, gold hue that is made from it with another color and other mixing colors. Another palette is related to lunar colors of Daniel Smith, the very granulating colors, Lunar Violet, lunar blue, lunar black, Nunavut, rocky lunar else. And they put some other colors with them for mixing. The third one is for iron oxides of Daniel Smith. So there are these yellow iron oxides, the regular transparent one and then vivo friendly one. And the same is the reds and browns. I put also some Carlos for mixing and some greens. 12. Class Project: Our class project will be to create 12 or 24 watercolor palette. First, we will choose a subject. For Paulette. It could be landscape, urban sketching, Portraits, florals, botanicals, a group of pigments, wildlife and so on. So first thing, which color do you need? For these subjects, for example, for florals, I will need bright colors. Many greens, very few browns. And ducks. For landscapes, I will need more muted colors. And some greens, and blues and reds and yellows. A lot of Earth's stones. For poverty rate, I will need more soft colors like these ones. More clear colors like Wiener protons. To make skin tones. For urban sketching. I will need It's variety of colors, like some neutrals, some reds and blues and yellows to create the primaries. And it depends on where you live or where you paint. I paint in a city which has very colorful buildings, but also has a lot of pollution. The buildings have some carbon on it on them. So think which color do you need for the place you paint in? We'll give her an example for urban sketching. I will need some neutrals, like this one. Buff, titanium. This one. Tetani and gray. I will need some paints with texture. Like this one. It's a genuine or this one. Gladstone genuine. This granulating brown to create textures on the stones of the buildings, on the blocks. I believe also some primaries, and it depends again where I live. So for example, I have here some colorful houses and also some gray houses. So I will choose some bright red like these ones. Prevalent lot probably pyro, scarlet and quinacridone. Red will lead to some strong blows. Like French ultramarine, which also has some texture or fake law, green, blue-green shade, or fatal cookies. And we'll also use some muted red, flag brown. This burnt sienna be R7, or this iron oxide, one-to-one. And we'll use some variety of yellows, like maybe lemon yellow or nickel as a yellow PGY1 50 or quinacridone, gold. Do you ever use you have maybe an orange to create beautiful greens. The mixing green, for example, fatal green and we'll see a combination with the orange. See how beautiful it is. If I paint in more European cities, I will paint maybe with more darks or mu today blows or dark blues like this one or this one. And this one. I may want more muted, the cool reds or mid tone reds like this one or this Indian red. It really depends where you live and how the buildings in your area. Now after a thought, which Carlos would be great for my painting subjects or Paulette subject. I will choose threads for it. These are a few examples, and I will call them mix them to see what mixes I can create. I will also play with the mixing greens and the yellows and oranges. Like here with this warm yellow, round and muted brown, and some fatal greens. After choosing my threads for the palate, three or four of them. I will choose some colors that I can't leave. This example. I can't live without the light genuine. Or when they open sketch I must have Buff Titanium, especially if we want to paint a *****. Seaside. There are some greens that I really, really love that I can't live without. Like this one. Green apatite genuine or these J that genuine. There are also some reasons that relate to my own painting style. For example, like sometimes to put a pair colors like lavender, which contains white, which makes it opaque. At the end of the painting. I like to put adult pick colors and also to mix with them like these yellows of shimming car, which has a very opaque. One more thing that I will think about is how the paints behave on the paper. For example, yellow iron oxide PY 42 can be very crisp on the paper. So it's not good for what they did washes, we'll see it later. But it's very granulating and it has high tinting strength. On the contrary, Montana Miata, not well, sienna PPRF seven has a close you. But it's softer. But it's, it's not granulating as the yellow iron oxide. So I'll have to think which of them I prefer a softer color that doesn't granulate to match and has the same hue. Or a crisper color that has more granulation. Here is another example. A granulating, very granulating, dark or less granulating, dark, more greenish or more purplish. Another thing I like to do is to sort all the brands. For example, I have it could be any other color. And see if I create the ones that I like from some of the colors, the other colors in my palette. For example, this and this are almost the same. I wanted this color. But I thought that maybe I can create it while mixing. This is this or this, or this, or this with this. This is the result. I wanted to create some Van **** brown, which is this color. I try to mix burnt umber with some hematite and didn't mix well. They mix it with other colors. And this was the result. This is the vendor cook brown. This is the mics, Same here with genuine and perylene green with other granulating colors, and so on. After choosing the colors for my palette, I will now put the colors from the tubes in the half pans. If you have a half pan that already, it's great. If you have a palette that you have to put the tube colors inside, do it now in this stage of the process. Now after the colors are indeed half pans, I will put them in the palate. I chose for them and do a chart. The colors are in the palate. They also created a color chart that is a map for the palette back to time. Buff, titanium perylene, green with paralleling green and so on. So we know which color is which, because sometimes they look almost the same. The half pans when they're dry. I wish you a joyful process. By creating this class project, I invite you to share your process in the discussion area and to share your project. In the project area, like the color chart or the pelleted cells. 13. Creating A Color Mixing Chart: This part of the class, we'll do a color mixing chart. So I switched all the colors in this palette up and down. And now I will swatch the mixing of them. I will put some parts of it. Bonds to this class. You don't have to do this part unless you would like to. So let's start. First. I put the buff titanium 23 times for column missing in this tray. Now I will start the mixing itself. First color, of course his birthday, Daniel Boone. Put it here. As you can see, I don't paint the whole space because I don't want later the colors to mix with each other. When they touch it under I don't want them to touch. We'll start with lemon yellow. So we'll do full strength one moment. And the diluted mix. Next, we'll mix nickel azo yellow with Buff Titanium. As you can see, the buff titanium dilutes the mix is a little bit, makes them more white. And also it creates really, really soft colors, which is really nice. Teton you with queen, gold. It's transparent, pyrrole orange. Some parallel Scarlett can see how soft the mixes are. And I think that will be great for a flesh tones. So I'll continue to swatch the mixing chart and we'll come back later when it's ready. So I only have two colors, swatch. So let's look at them together. Much paint. You can see that I swapped one full strength and one diluted. So why do we need mixing color chart? It's easier to see the potential of our colors with this chart. And also to see if we want to change the colors. Maybe I would like to put row number instead of burnt umber or a brighter blue like cobalt, teal blue, PG 50 or PB 28. And many other possibilities. So I invite you to try if you'd like to create a watercolor mixing chart. And have fun. 14. Final Thoughts : Final thoughts in this class, we had a two class project, one, mini class projects, creating a limited palette of six watercolors. The other was creating a palette of 12 to 24 watercolors that suits your own painting style and subjects. I hope you enjoyed this class. If you need added information, you can watch it in my YouTube. If add flavor. Have a wonderful time and happy painting.