Mastering the Art of Using Color: 30 Steps for Beginners

1. Introduction: Hi everyone. Paul Richmond here with my good friend. Hi everybody. We are teaching you all about color. We're gonna be talking about value and How It Affects Color. We're going to be talking about different types of Color Palettes. We're gonna be talking about color wheel. We're going to start at the basics and we're gonna move up from there. So we're gonna make it easiest to begin with. And then lead you gently through all the steps for using color very gently. Learning the basics gives artists a foundation to build on. Rules are made to be broken, especially in Art. In this course will go over the rules of color theory so you can decide how to incorporate them into your own work. My name is Melissa Forman. I have been an artist for as long as I can remember and always enjoy creating. So I'm an Art Director by day. I work in the commercial Art fields. I lead a team of illustrators for enlarged greeting card company, but also a painter in someone who loves mixing color and playing with color and experimenting with it in all different ways. And I'm paul Richmond. I am in California. I'm a painter. I've worked primarily in oils, although I have experienced with Acrylic and watercolor and well pretty much all of them. And I show my work in galleries and have collectors all over the world. And believe me, when I tell you, I love color. Holly, ready for this? I'm ready. Okay. Let's do it. 2. Projects: In this course, you better get ready because we're going to do a lot, right, Melissa? Yes. We're going to throw so much color as you yes. You're going to just look like a rainbow. But at the time, and I'll be beautiful and gorgeous each lesson, but pretty much will be a different project. There are a couple that take two lessons but be prepared to do a lot. And because they are short videos, not everything we create in this course is going to be a finished masterpiece. Although you certainly could continue working on the ones that really speak to you and make them into more evolved pieces if you want to. But in this course it's really about learning the concepts and experimenting with color. Yeah, these are really bite-size pieces of color theory and how to use Colors. So you're getting a very quick, short lessons, but they're gonna be, there's gonna be a lot of info in there. We are just found some knowledge and we're sharing it with these to freely. I think it's really up to you how you want to engage with the course. If you want to paint along with us each lesson, I encourage you to do that. But also, if you find that it's sometimes more useful to just sit back, watch us, and kinda absorb what we're talking about. You're welcome to do that, to really use this course and the best way that suits your learning style. Yeah, these are gonna be very quick, short lessons. You're going to do a quick color sketch, explore color experiment a little bit. The goal of this is to not create a bunch of finished paintings. The goal is to just experiment how Fun and explore the journey of learning more about color. That's right, but that said, we would still love to see your work and we encourage you to share it with us in the Your Project section. Because I think it's always interesting to see different people's approaches Color. One of the things you'll notice in this course is Melissa and I both have very different ways of working with color and thinking about color in there. So many different other ways of thinking about it too. So sharing Your Work will actually help to show more of that. So few things we're going to explore. We're going to start with the color wheel. We're going to start about talking about color theory, about primary colors, secondary colors, tertiary colors. We're going a little, learn a little bit more about what all of those things are and what that means. And then we're going to explore using color. So we're going to talk about different color palettes, different types of Color Palettes, ways to talk about color, ways to explore color in different ways. So many things. I am so ready. Melissa, do you want to get started? I am so ready. Hopefully all of you are alone on the journey with us and ready to get started playing with color. By the end of this, you are going to be a color master, not promising too much. Here are awake. Oh, no, not at all. 3. Materials: So what materials are we going to need for this course? Well, Paul, we're definitely going to need some acrylic paint. So I have my Liquitex paint care. You can bring whatever brand you have. So we are going to need the primary Colors and we'll go into more details on what those are. But I have a read, I have a blue, I have a yellow and then I also have a black and white. We have pain, we need some brushes, so I have a mixture of brushes here, so something larger to something smaller. We want to arrange. Don't want to Palettes and mix your colors on. You can use actual Palette Paper, use with a round plastic palettes that have little wells. And then I also want some paper to paint on. So this is watercolor paper. You can have a sturdy paper, whatever you have on hand will work. You also need a cup for water and some paper towels in a Palette knife for Mixing if you're using paper or flatter surface for your Palette, and then you'll need a pencil for drawing 4. Primary Colors: Our first lesson is all about Primary Colors. So that's why you need the red, the blue, and yellow. So this will be come in handy as we start our color wheel. So we're going to be creating a color wheel that will help us build on our Color knowledge for the rest of this class. Oh, some Primary Colors are the three colors that make up any other color. They can't be broken down any further. It's kind of like a prime number, like you can't break it down any further than what it is. So let's say it's too soon to start getting all math. Sorry. The first thing I thought of, I didn't mean to be math into it. I'm so sorry. Most people have heard of the primary Colors. We know what the primary Colors are there, red, yellow, and blue. So I have my paint with me here today. I've Primary Red, funny enough, primary yellow and primary blue. And we're gonna be using these today to start making our own color wheel. So the reason they sell these colors in basic sets, as you can use blue or yellow or red or combination of two of them or three of them to make any other colors. So if you are making Art on a budget, these are the three, right? Start with this. You also usually get a white and black because those are kinda the absence of Color. And you're gonna need those to make anything a lighter or darker, which we'll talk more about that later. But that's why usually in a basic set, you get the white, the black, the yellow, the blue, and red. So we're going to draw this color wheel, right? It I'm sure knowing Melissa, she has some tools that she is using to make it absolutely perfect. What are we doing? I can't help myself, you know this. Alright, so the first thing I have my hands like lightly sketched out here just so I I had a plan going in because, you know, I like to have a plan. It's kinda my brand. So I just this sir, killer Palette, I'm just going to use this to trace. I'm not going to put paint in it yet. But I'm gonna pull it this places on my paper. I have my watercolor paper here. I have a drawing pencil with me. I have a ruler. So you probably want to get those out. So I'm going to place this Palette on my paper just kinda in the middle, so I have room to work around it. I like to have it exactly centered. Now for those of you who are not like the perfectionist level of Melissa, It is also completely okay for your circles to be wonky, lines to be uneven. As long as you understand the concept. Yes, that's totally fine. So for anybody out there who's a hot mess, I'm here to represent representing everyone today. I had my circle drawn me to. The next thing we're gonna do. Of course, I spent a lot of time thinking about how I could do this perfectly and I didn't come up with an easy solution. But the next thing we're gonna do is we're gonna divide this circle into three somewhat even parts. All right? And the easiest way to do that I think is just fine, like mark them center of your circle. And then you're almost making like a peace sign without that bottom crossbar. You're going to divide this into three parts. The kind of looks like a weird peace sign or a Mercedes Benz. I'll draw mine and you can watch. And Paul will be working on his as well. You lost me with the cart with the Carter reference, but I know, right. I'm bringing in math and cars and all sorts of things, just alienating everyone who even Ru rate. You can use whatever materials you want to do this to where we're moving using acrylic paintings. But if you would rather use colored pencils, watercolors, whatever. One little trick, we'll call this a pro tip. So I have some tape with me. If you're having trouble finding the center of your circle, choose the widest part and put some tape down. And then trim your teeth so it reaches the edge of your circle. So it's kinda like the same width as your circle. You're dividing it in half. And then take that tape and just fold it in half. So stick it down, folded over, and then crease the center when it's exactly hold it in the middle and that will tell you exactly where the center of your circle is. So you can mark that before you start marking it off. And then you could also use this to kinda measure out different sides. If you want to use this to draw your lines, you could do that too. Can we pay meal? I think we can pay now, yes. Okay. What are we starting with? Red. You can start with whatever color you want. If you want to start with red, Paul, you can start with red. I picked yellow. Oh fine. Now you're the boss. So we're just going to put a little bit of paint on the Palettes and yellow and red and put out simply what? I'm just going to use the same Palette than they used to trace my circle. You can use whatever you have. If you have a paper plate. If you have a Palette that you'd like to use. Wax paper works really well. Put it out a little bit of each color Hello, reason I'm starting with the yellow is because if I go over the lines, it's easy to cover up. And I just picked red because I thought it was pretty. Here's a question before it, before I start painting, is there a certain order that these have to go in? You only have three, so you don't really have a lot of choices. So one has to go next to the other two. You have to put them down and just go with that. And what you have is what you have options at this one. We will You'll see as we move forward. And the reason Paul asked that is because we will have to put things in a certain order as we keep moving forward with this color wheel. And it will be more important where you put things in, how you put things down. But for this one, no, you just pick a spot and start painting and that's what I'm doing. All right. So if you've never used Acrylic paint before, you probably want to get your brush a little bit wet first. It tends to flow a little bit easier. If you have a wet, slightly wet brush, you don't want it dripping because then your paint is going to just run all over the place but a little bit of water will be helpful. Yeah. And also if you thin it too much with water, the color starts to change too. You don't get that yeah, intensity of the color. So yeah. So we want bright color for this. We want pure color. Yeah. Yeah. And clean your brush out in-between colors just by swirling it around in some water and then wiping it off on a paper towel? Yes, definitely. So that's definitely important. You don't want to mix the colors at this point because you just want that pure color in there. Some of the acrylic colors are a little Transparent, a little bit see-through when you put them down. So if you feel like you put the red down and it's not really the red that you were hoping for. Feel free to put second coat on it. I think just for the sake of showing you, Paul and I will probably just do one coat today, but if you want a really bright color, I would keep going with more coats once the first one is dried. Hang on to this color wheel because we will be coming back to this in future lessons and adding more to it. So put it in a nice safe space, maybe on your refrigerator. Beautiful. That's where you're alright, ends up if you've done a really good job. So we're just using all those lines we drew and we're just filling in the shapes. Feel free to do the edge your own pace, which usually Paul's is much faster than mine. How many colors do you have so far, Melissa? I am halfway through my second one. Okay. Well, me to you. Oh, wow. With it that we are in alignment. Did you start with a yellow or did you start with something else? I started with the yellow because I wanted to be just like Mullis. He does listen. All right. I'm done with my red now time for and I want to say that instead Paul is going to make front of me, but just do your best to stay in the lines. It doesn't need to be perfect. I don't know why you would think I would make front of you for that? I have no idea. It's never happened before. You make me sound so cruel. Alright, there's my red to blue. If you have a different read, a different Ilona, different blue, that's okay. I think on an, on the next couple of steps when we start putting colors together and mixing colors, you might get slightly different results than Paul and I, but that's okay. More about the exercises of exploring color than it is about getting perfect results at this point. Yeah, this will be a good resource once we go a little bit more in depth with it. But you can have with you when you're working on your other Art and refer back to and understand how to work with these colors a little more. That's really our goal. We want to teach you some of the basics and then show you how you can actually apply that to your word. Yeah, there's so much to learn with color. So really starting with the basics, with the beginning is really helpful. Yeah, because you can just build on top of that to learn more about color and how to use it more intentionally. I think like Art in general, there's, there's a lot of rules and there's a lot of things you can learn to begin with, and then you can break the rules later when you want to. And how you went to him of that? Yeah. That's false favorite part. All right. Yes, Beautiful. So hopefully yours looks similar to colonize. Take your time. Feel free to work on it. And we will see you at the next step. Alright everyone, great job. We've learned a lot about the primary Colors and how those work together and what they are and what a color wheel is. We're going to expand on our color wheel. So our next step is Secondary Colors, and we're going to be adding to this color wheel that we already created. So make sure you have that with you and bring it to the next step. Fall. Are you ready? The more colors, the better. Let's do it. Let's do it. 5. Secondary Colors: Welcome back to mastering the Art of Using Color. And today we are going to continue working on the color wheel that we started in the last lesson. Only we aren't going a little deeper this time, and we will be introducing secondary Colors. You ready, Melissa? I'm ready, Paul, let's do it. Go. Okay. Let's jump right back into this. Hopefully you still have, you are color wheel from the last lesson because we are going to now build onto that and create the secondary Colors. So the secondary Colors are the colors that you get when you mix together to Primary Colors. So to start with, take your ruler if you want to be perfect, and divide each of these sections in half. So I'm going to start with my yellow section, find roughly the middle points and then draw another line. And they all do the same thing with the blue and red. You can just use those lines that you've already created and just continue them across your circle, which is much easier than trying to divide it in thirds, which was tricky last time. Now let's go ahead and mix up all of the colors that will be using. So like I said, secondary Colors are made from the combination of two primary. So I'm going to start by mixing together red and yellow and clean off my palette knife first. Don't want to get any of that blue in there. Okay, So I'm gonna take some of my red and scoot it up here. Red is probably going to be the more dominant, stronger color in this pairing. So you might want to start with a little bit less red and a little more yellow. Just mix them together, but you should end up with a nice bright orange like that. Now if you're using one of the plastic trays like Melissa is using the Palette knife probably isn't going to be very helpful for getting into those little wells. So you can also just mix with your brush too. Yeah. What's their whatever's easier. Yeah. Let's go ahead and mix all three colors that will be using and then we won't have to stop to do more of that. So we've got our orange, which is the combination of red and yellow. Now let's make our purple. And that is from combining blue and red. And if you're using a Palette knife, you definitely want to wipe the Palette Palette knife off before moving onto Mixing the next color. Yeah. Don't want any cross-contamination. We just want a pure color here of two primaries together. See what we get. And last, we are going to do yellow and blue. Any guesses what that's going to make? Fine. Big mystery. It's green. Gorgeous. If anyone is feeling like they're they're back in kindergarten right now, it's okay. Yeah. That is probably about my mentality is perfect for me. Pro tip for today. If you have a brush that has a nice flat edge like this, it could be a slant brush or it can be completely flat. Those are really good for painting. Shapes like this when you want to clean edge because you can just take that flat edge of the brush and go right along the line. So I'm going to start with the orange. So find your yellow section. And then the piece that is the closest to read is where we're going to paint orange. So just paint it right on top of that yellow. You to fool. So we're almost doing like a gray dated color wheel. So you'll see is as we go around the color wheel, it starts to feel like a, like a rainbow, you know, and kind of the Roy G Biv type of setup. So red, orange, yellow, green, violet, or purple wherever you want to say it. This is very pretty basic but very helpful information when you are mixing colors. If you are, for example, if you're trying to Mix an orange to match something that you're seeing that you're making a painting of. And the orange just doesn't quite look like the orange in your reference. You can, this gives you now some tools to think about with that, you can ask yourself, does the orange Need to maybe be a little more toward yellow? Does it maybe need a little more red to make it match what I'm painting. Or will also be talking more in the future about different values of each color like darks and lights. So those are other ways you can shift. Yeah, we haven't even gotten into using black and white yet, which makes me, wait. It'll be wonderful. But for now, we're keeping it simple. So next I'm going to jump over to my blue section. And I'm going to paint the section of the blue that is closest to yellow, because that is going to be the green, which is what you get when you mix blue and yellow. So go ahead and paint that section. Just like before, if you do a color and it feels a little too transparent, you can always do as a second layer on it. Yeah, it might feel that way this time because we're painting over what we painted last time. So we're just going right over that blue. So you might get a little bit more of the blue showing through then you want. But you can, you can fix that by doing multiple layers or you can add a little bit more yellow to your paint just to counteract blue. Just about finished with my green. But here we go. Beautiful. This makes me want to go play beach volleyball here. So cute. All right, and now I am ready for my last color, which is the purple. And so that's going to go in the red section that is closest to the blue, because that's what you get when you mix red and blue together. Alright. It's also looking quite dark. It's okay. Yeah, that's okay. And honestly, it's just a good guide for what you get when you mix these two specific paints together. So actually we will be helpful as you're painting something like, what am I gonna get if I put this blue with this red? Oh, it's gonna be this deep purple. Okay. Yes, it's not an exact science because every tube of red is a little different. Every, there are many different shades of red. Some reds are more orange, some reds are more toward purple. So what, depending on what you're trying to Mix, it's good to look at your, your base colors and try to understand what, Where would they fall on this color wheel and how will that affect what the combo will, will look like? If you're using a very orangey red, your purple is probably going to look more brown. Yeah, because it has more yellow in it. So we'll we'll get into that later. But if there's more yellow in that and you're going to mixing all three colors. You're not gonna get a true secondary color. You're gonna get something that's a mix of everything. Yes. Okay, Let's do another little clue here on the purple. Right? Beautiful. Awesome job, everyone. Now, hang onto those Color Wheels for our next lesson, we're going to use them one more time. As we introduced you to Tertiary Colors. See you then, CSER 6. Tertiary Colors: Alright everyone, Welcome back. We are going to continue working on the Color Wheels and finish them by adding something called Tertiary Colors. So Tertiary Colors is just adding the next step of Mixing color and making a new color. So kinda like blue, green, red, violet, all that fund stuff. Paul, Are you ready? That does sound FUN. I'm in. Okay, let's do it. So the first thing we're gonna do is we are going to divide each one of our sections of Color here into halves. So I got my ruler, I got my pencil. I'm just gonna do the best I can to divide each of these in half. Just draw a line through each one. Very similar to what Paul walked us through last time. But we're just going a step further. All right. Okay. All right, Got it. So I have a second Palette here because we're going to be Mixing about six more colors this time. If you still have, you're going to keep us busy. I know. Right. We want to do we got to stay with me. I'm on it. Let's go. Yes, paul is gonna get us moving forward here. So these colors are a little bit different because they're not going to be pure color, so they don't have a name on their own. So it's not gonna be like orange or violet. It's gonna be blue-green, it's kind of a yellow green, it's gonna be yellow, orange. So it's a mix of each one. What we're going to be doing more Last time, we kinda mixed half of 1.5 of the other half of red and half of blue to get violet or purple. This time it's gonna be if we're doing blue violet, it's going to be heavier on the blue and less than the red. So that's just the strategy we're going to use when we're mixing these. So let's start with this yellow, orange. So I'm gonna do a decent amount of yellow and a little bit of red. I want it to be somewhere in-between the orange I just painted and the yellow that we started with. Got it. Let's make that up. We're going to mix all of these. And then if something, if you feel like you start putting it on your color wheel and it doesn't feel quite right. It has too much red in it or it has too much yellow in it will adjust as we go. One pro tip for this one is to put a little bit of the color you mix on the end of your Palette knife or on your brush. And just hold it above the Colors and makes sure it doesn't look too much like one or the other. You want it to be standard stand on its own against the tooth hallways, but it will be next to it. Yes. One thing to be mindful of trivial probably always need more yellow than you think. And probably less red and less blue than you think. Alright, so got our yellow orange. Next one we're gonna do is our yellow green. So again, a lot of yellow. You might even want to put a little bit of blue on your palette knife or a little bit on your brush, and then mix it that way instead of putting a whole job of blue in there because it can get pretty heavy. We will quickly overpower the yellow just because it's a darker color. Beautiful. Here's my yellow green. And again, wipe your palette knife off. If you're using a Palette knife, wipe it off in-between Colors of using a brush, make sure you wash it out really well in between Colors. Right? So the next one would be blue-green. So this time or blue and a little bit of yellow. Good. Next would be blue-violet. Trying to keep track of these in my head and you're going I know I gave you the hardest. Quite glad of that. Now, right? Give me the complicated one. Alright, Paul. Yeah What I blow a little bit of red. Right? Next would be a red violet, right? Right. Yeah. Please tell me if I'm wrong. Okay. No wrong. You never know. I have to check this one, right. Everything. Oh, please. Lots of red, a little bit of blue. Just put a little bit on your palette knife if you're using it, we're, your brush isn't there because it will very quickly take over the red. Remember, last one here? Yeah. You should be a red orange. So red with yellow, right? Okay. Little more red than you've used in other oranges? Exactly, yes. Okay. And the yellow decided to come out very quickly? Well, when it does, exactly what I wanted. No problem. I'll just add more red. It's fine. Melissa is just demonstrating for you all. How do you deal with the view? Don't you appreciate that? You seem like you can be a normal person. Just stop. Get to paint there. Yeah. So once you have your colors mix, feel free to start filling in the little shapes here. I will do that in 1 s once I fix my red orange that decided to yellow. All right, sure, my brush, again, like paul suggested in the last video, I'm going to use this nice flat brush because it helps me so these areas in very cleanly. So where are you starting? So I'm starting with the first one we mixed Mis was that yellow, orange. So I'm going to pick the orange slice of the pie that's right next to the yellow. And I am going to fill that in with my yellow orange that we just fixed. Alright? This is what might be tricky because it will be pretty transparent. So this one might take a couple of coats just to warn you ahead of time. Yellow tends to be pretty transparent as a as a pigment paint. It doesn't matter what type of paint you're using. Just the yellow tends to be really transparent is just the way it goes. Again, we're just aiming for something in-between the two colors we already have on here. So that primary yellow and the secondary orange that we already mixed. Your tertiaries are just a step in-between the two. Blue, yellow or and then the other side of the yellow. So the other shape that we drew within the yellow would be your yellow green. This one, I'll probably also be pretty transparent. Be sure to clean out your brush in-between Cola. Yes, definitely. It will get very muddy very quickly if you don't do that. One thing I do as I'm painting, as I tend to turn my painting depending on, you know, whatever part of it I'm working on. So it's easier for me to turn this as I go. I'm going to angle my hand and get in there. Feel free to do that. My yellow-green is very transparent, so I'm going to paint first layer and then I will go back and add more to that later. Next would be our blue-green, right? Yes. That would be the other side. So leave that green in there and then the pieces, the pie in between your blue and your green. Blue-green This morning you might have to let it dry before you can really see a difference between what Colors and how close you are. Acrylic tends to dry a little bit darker. Yeah, you put it on it also, there's just not as much of a dramatic change because we're going in-between hallway. So when we started out with the primaries, the red, blue, and yellow, those three Colors could not be more different from each other, but now we're getting into the weeds with it. Now. Next I'm moving on to my blue violet. Again, just skipping the balloon. And then your next piece would be your blue violet, right next to that purple. Usually with the darker colors, It's a little harder to tell the step between the primary, tertiary and secondary colors just because they are a little bit closer in value. We will describe that later. But preview. Then my red violet, my space in between my purple in my red. And all of these might take a second coaches because we're working over other paint underneath it. Yeah. I'm feel free to adjust to if you're starting to see that the color scale to close and you're not seeing a big difference, which you probably won't see a huge difference. But if you're not seeing a difference at all, feel free to mix a little bit more of whatever color you need. Like if it feel, It feels too close to the purple, you're probably going to need more red. If it feels too close to the orange, you're probably going to need more yellow in that yellow orange. So just depends which part of the pie are working on. Okay, My last one here, which is my red orange. Look at all of these cola, please. Yeah. So that is our color wheel with our Primary Colors are secondary Colors and our tertiary Colors. Hi everyone. Excellent job. We have some complete Color Wheels and hopefully these are really helpful for you because it tells you how to think about color and different types of Color, how you mix colors. So the basics of how you mix color to get other colors. But next we're going to discover warm color versus cool colors. It's gonna be like a battle 7. Warm Colors vs. Cool Colors: Hi everyone and welcome back to mastering the art of using color. And today is an epic throw down battle between warm colors and cool colors. You ready, Melissa? Hi, I'm ready. Let's do this. Let's battle. Okay, Today is all about warm and cool colors. So first of all, let's just explain what that actually means. Every color that you use has a temperature. And the colors that are on this side of the color wheel are considered the warm colors. And the colors on this side of the color wheel. What are those molars? The cool colors, Paul, Thanks, I've been working on it. Also, temperature is something you can think about and use with each color. So for example, if you're mixing a blue, you could make it go a little bit more toward a really cool blue or make it go a little warmer just depending what you add and it even though it's still considered a cool tone, but the closer that color gets to that warm side of the color wheel, it starts to take on a little bit more of the warm characteristics and vice versa. Alright, so today we most and I are both going to draw a very simple little grouping of flower is very cartoony. And then we are going to color them in each of us using a different color palette. So which one would you like Melissa paul IN team cool colors today? How did I know? Alright, I will be team warm. And for all of you watching this video, you take your choice. You could do one of each or you could just choose to work with warm colors, are cool colors. But to start with, I'm going to sketch out with a pencil. Very simple flowers and losses during the scene. So we can both be doing the same subject matter. Don't worry, your flowers do not have to look like ours. You can make it as simple or as complex as you want. Yeah, and this is just a very simple demonstration of how to use warm colors versus how to use cool colors. I think if you were doing a painting in reality and trying to make something look more realistic, you would probably use this differently, but this is just, just to show you warm versus cool and what that can feel like and what that can look like. Yeah, it can, it can completely change the feeling of a piece. I'm just finished drawing the flowers. Holy cow, you are fast. Team pool needs to like move it because it's because we're so warm over here. You didn't show. I love making everything into a competition. I know, right? It's all the little dots in the middle. B, so fancy, beautiful. And if you want to draw something different or do something a little more complicated, you totally can just practice using warm colors versus cool colors and change every color palette and just see what that can feel like, see what that can look like. So I have three colors here on my palette that are all from the warm side of the color wheel. So I have read, I have yellow, orange, and yellow. So you can choose any colors that you want from the warm side and refer back to your own color wheel and mix those colors. Now at the start, what are you what colors are you working with? Melissa? And I am t and cool, so I'm working with three cool colors. So I have my purple here, which I mixed a little bit of white in with that just for the purposes of this demonstration, because this purple is very dark and allow for the colors on the cool side can get darker, so it makes it a little bit of white. So this is like my lavender color. I have a blue-green and then I have a yellow green. Beautiful. Alright, let's get started. Don't worry, it doesn't have to be accurate or realistic color for anything. Just choose one and go. I'm starting with my red and I'm using that on the stem, which is where already already feels like we're in another planet or something. Yeah. I know. That's one of the fun things about color actually, I think once you understand how to work with it, it really frees you up and you can start using more experimental colors in your work or use colors where you wouldn't necessarily expect to see them Yeah, just teaches you to think about colors before you start using them. So how are these going to look together? Are these gonna work? Are they going to feel like they go together in the end? And so if you think that through before you get started really can help. Yes. And I think too, and this is something that hopefully this little demonstration will show you the colors that you do choose and the temperature of the colors in particular, has a lot to do with the mood and feeling of the piece. You'll see here, this is a very simple example, but Melissa and I both drew pretty much the same thing, but the colors will make them each have a very different feeling. Yes. I mean, you probably are all aware what people say about painting certain rooms, different colors, and how that makes people feel and overall the mood of a color. Well, it's the same for artwork in it and it's something to think about when you're planning out of painting or drawing or whatever you're working on. How is it going to feel in the end is it doesn't feel the way you want it to feel. Is it communicating what you want it to communicate? Color is definitely an important part of that. You can see it used in every art form, really the colors that are, that are dominant in a movie scene, for example, can make you feel one way or another. I mean, color is very powerful. So this gives you everything that you learn in this course hopefully will give you the information that you need to be more intentional about your color choices. In fact, I think that's a good pro tip for today. Take your time at the beginning of a project and think through the color scheme and what kinds of emotions do you want, the colors that you choose to elicit in the viewer? And we'll get into that more later. I think we have a session while role. We'll talk about creating color palettes and how to put colors together and different types of color palettes. But definitely something to think through whenever you're using colors. Especially in this case, is how to warm colors make me feel versus cool colors make me feel. Yeah. What am I more attracted to or what do I want to use to communicate? What I am wanting to communicate? When you are, if you're painting something more realistic, chances are there will be a combination of warm and cool tones. But this gives you just another way to look at it and think about it. And if you're trying to match a color and mix colors and they don't feel right. You can ask yourself, do I need to change something about the temperature of the color to make it more like what I was going for. All right, I'm just painting my little petals here. This is quite a bright, happy little bunch of flowers that I've got going, how are your flowers feeling, Melissa? Nine are feeling very calm and relaxing, which I love. Mine are ready to go to like a dance club? For sure? Yes. Full of energy. Yes. You can say a lot about yourself. The colors that you choose to wear also, color is every, everywhere. People who are designers and artists, you almost can't even turn off that part of your brain. You are always looking at an analyzing color combinations everywhere. Yeah, that's true. Color can be really inspiring to me and I think a lot of people see that, but don't really understand why. I mean, when you stare at a sunset and you see all the beautiful colors together, it's really inspiring. Yeah. And that's just because of the way the, those colors work together. Yeah. Color is all about relationships. It's color is very relative. It'll look one way, it next to other colors. Then you change that and it can make it look completely different. Yeah. I'm just about finished here. Yeah. Just need to finish these little petals and then I want to do my little dots in the center. Just finishing up my stems, getting those in here, the dots. And then we'll be done. Another masterpiece. And then you'll be able to see the difference between how Paul's fields versus how mine. Yes. My fiery little flowers. Yes. And then this is very chill. Flowers. Yeah. Decide whether you are team cool or team warm. Warm all the way. Go warm. All right. So finishing up walmart dot and then I'm good. Okay, alright, let's compare these beauties now. Look on your screen and see the differences between Melissa's painting in mind and how drastically different the feeling that comes across is just based on the simple color choices. Great job everyone. Tune-in for our next lesson where we are going to be working with saturation versus neutrality. You read the most I already. Okay. See you then 8. Saturation vs. Neutrality: All right everyone, let's start the next lesson. So we're going to be talking a little bit about something called Saturation and something called neutrality and the difference between each. Paul, Are you ready to explore this? I am so ready. Okay. Let's do it. Come on, everybody. So today we're going to talk about, I don't know, maybe something that not everybody is aware of, but this is something that you use a lot when you're playing with color and doing different types of Color and trying to get a different feel as far as how you're using the color. So this is something where we're talking about saturation of a color vs. Neutrality. Neutrality is just the lack of a hue or the lack of saturation. So it's more of a gray. When we talk about that, we usually talk about a 50% gray, which is half white, half black. And that's kinda the, the pure Neutral Gray that you're going to use as the, the absence of color, but also a nice mid-tone when we talk about mid tones. So halfway in between the darkest and the lightest. And then when we talk about saturation, That's the purest color, the brightest version of the color that you could possibly get? My favorite, yes. So it's my personality versus Paul's Personality talking about today. Okay, So the first thing we're gonna do is we're going to draw a value scale. And Paul and I already have this sketched out so you can take some time, pause the video if you need to and draw this out. Basically we just did five different squares next to each other. So just kind of a long rectangle divided into five pieces. So draw that out. We're gonna do a scale of full saturation of a color all the way to a very neutral version of a color just to show you how this works. So pick your primary color. Paul has picked one color, I just picked another in going with red today. And I am going with blue. Yeah. So if you want to go with yellow, that works too. You can do something different than the two of us, or you can try red or blue. So the first thing I'm gonna do is take my white and my black, and I'm going to Mix equal parts to get that 50% Neutral, perfect Neutral Gray. Okay, so you can use any Palette you want. I'm using my little white pellet that I always used just because I feel like with Acrylic, the color stays wet a little bit longer. I'm gonna try and get to dabs of paint equal amounts and then mix those up before just gray, beautiful. Do we get the payment? So my gosh. Oh my goodness. All right. I get very impatient. There's our Neutral Gray. So once you have a neutral gray mixed up, put out a little bit of whatever color you're using. So I'm going to use the reds are a little bit right in my palette here. I think Paul's really ahead of the game already. Which doesn't surprise me at all. Raring to go over here. Yes. Okay. So I'm gonna get my brush a little bit wet as they start painting here. And I'm going to start on the very far left here of this rectangular scale that I drew. And I'm going to put the purest version of my color on the left. So this very first square, I'm, if I read, you would put whatever color you're using. Paul is going to put blue. It's okay if you'd get a little paint out of the line hall. I don't know. We won't tell Melissa she'll never find out. Yes. I like to use my flat brush because I feel like it's easy to paint in the lines with a nice flat brush. You see me straight lines like this. So feel free to do that. Alright? Mll squared here. Feel free to make your squares larger than mine. It could be a little bit easier to paint if you're sure of literature. Okay, I'm ready for the next step. Alright, we gotta read. The next thing we're gonna do is take that Neutral 5050 gray stuff and that is going to go on the extreme opposite end. So that's gonna go on the far right. Okay. Make sure you clean your brush out in-between. Yes. Good tip Paul for sure. Clean your brush. Dry it off in the paper towel a little bit, and then put your gray in here. And then this is just gonna give you a little bit of experience of using a color and what it looks like when a color gets less saturated. So What does it look like when it goes slightly more gray? And this happens a lot with color when you're looking at something in natural lighting. So, you know, if you're looking at my hair as I age, does lose saturation over time. That's why I just have to make up for it with my outfit. Oh my gosh. Depending on whatever Lighting you're looking at some object in. So if it's a brightly colored red apple and then if you're looking at it in wedding that's not as bright. The color is not going to be as saturated. So that's just something to think about when you're painting for using color. Okay? So we have our two extreme. So now what we're gonna do is we're going to work on this middle square, which is a combination of half of that gray and half of your procure Colors. So mine's red, so I'm gonna do half of my red, half of my gray. I'm just going to pull over some of that color that I've already mixed until I have equal amounts and then mix those together. Color is always an experiment. Yes, for sure. That was interesting to see what you end up with. Slightly. It's always okay to adjust your pro tip for today. Right? You're not stuck with what you can make. But it will be fairly gray. It will It will not be well, definitely not mean a saturated color. No. I ain't going ready. Yeah. Okay. So we're just going to paint that in that middle square. Definitely needs usually when I'm painting, I always have a little pile of gray on my palette. Because it's so nice to be able to just grab that and use it to neutralize whatever Colors I'm working with if I need to know, definitely. Alright, we have our two extremes. Now we're going to mix the two. Middle ones are the ones that fall in-between your saturated color in your gray. So the next one to the right of your saturated color is going to be more color than gray. So definitely I go like 75% Color, 25% gray. So somewhere around there. Just to get it a step in-between each of those beautiful and whatever color you're using, you will get different results. So it's interesting to see how this affects different colors. Yeah, It's like if you are using yellow, for example, it will start to get very strange looking as you darken it, because Natural value of yellow is a lot lighter than the other two colors. So yeah, kinda will turn maybe greenish or brownish or something. Yeah. It will start looking a little weird, but that's okay. That's what happens to yellow in different lighting. It looks very different than it does in bright light. And that's really one thing that can start to make your paintings instantly more believable. If you are able to show the true variations of the, of color instead of just using 11 temperature, 11 shade of the Color. Hi. So my other one, I'm going to do the opposite of what I just did. So I'm gonna do 75% gray, red or thirds or what have you want to do the math for granted, trying to take us back to math. I know. I'm sorry. Secret agenda. I tried to make sense of this in my head. It's only way I could do it. It probably makes no Secondary Math. If there are there any mathematician. I'm glad you do that. You make up for the faults of the rest of us. All right. For my last thing. Okay. So as you're looking at this, it should feel like a a slow gradation from that. Gray on the right to your saturated color on the left. You should see a difference between each square, although very subtle, in some ways, very subtle. That's kinda cool though I think, you know, noticing subtle color shifts is yes, Very helpful. So that is definitely something you will get better at as you start using color and more and start being more intentional with it is You'll notice very subtle shifts that maybe you didn't notice before. It is something you definitely have to develop over time. Yeah. And Acrylic is a little tricky because it always dries darker, so some of your colors might look odd when you first put them down, but let it dry and then examine later and see where she got. We are going to be reusing this. So save this one for the next lesson to you. I a great job everyone. Hopefully that gave you a better idea of what neutrality is and what saturation is, and how you achieve both. So let's explore it a little bit more this time using complimentary colors and figuring out what happens when you mix two of them. I can't wait. See you then? 9. Creating Neutral by Mixing Complementary Colors: Hi everyone and welcome back to mastering the Art of Using Color. In today's lesson, we're going to be working with complimentary colors. Just like how Melissa, I compliment each other, wouldn't you say? Exactly. Alright, let's get started. Let's do it. Okay, In our last lesson, we learned how to neutralize a color by adding gray. And now we're going to show you another way to do it using something called complimentary colors. So if we go back to our color wheel that we started out this course with, any two colors that are directly opposite each other on the color wheel are called compliments, Complementary Colors, and just even looking at it from the perspective of trying to choose good color schemes, complimentary colors tend to work really well together because they are as different as to colors can be. Complimentary. Colors are also a way of neutralizing each other. So for example, you, blue and orange are opposites. And if you add orange to blue, it neutralizes it in a little different way than the grade did last time. So we're going to demonstrate that now by drawing another scale. So put five rectangles in a row, just like we did before. If you can do it on the same page, that would be great, or you can do it somewhere else. Choose the complimentary color palette that you want to use. So look at your Color Wheel. Choose two colors that are opposite each other. I put out some blue. I'm going to stick with that, just like what I used for the last one. And then I put red and yellow because that will combine to make orange. What color are you using most of? Well, Paul, in sticking with a red since I used to read last time and okay. You know, everybody watching, you can choose whichever color you want. It was just easier for us if we chose the same color and if you already have the color in your palate, That's great. Just feel free to use it. So I'm going to use red and then the complement of red is green. I'm using red and green. I just adding a little more yellow to my orange so it doesn't look to read. There we go. Alright, so just like last time, we're going to start with the extremes. And in someone who always likes the extremes of everything. So I'm going to start with Maple. You, you choose whichever color you are starting with. And I'm going to paint the rectangle on the far left side. So this will be an interesting little experiment to see how this turns out versus the one we just painted. Yeah, definitely. If nothing else, they're going to be very good at painting in little squares by the end. I know, right? If we teach you anything until to paint a tiny square, which is a valuable skill you? Yes. Alright, I have my blue rectangle. I get a red one. I'm gonna do the opposite. I'm just going to grab a different brush so I don't have to work so hard to get all the blue out of that. Sometimes when I'm painting, actually here's a pro tip that you might be able to use in the future when I'm working on a normal painting, not like a painting like this, but for me, for myself, I will usually have a pile of brushes that I use for my cooler colors. And then another pile that I use for my warmer colors because then they don't you don't have those little remnants of one on the on the brush that changes the color you're trying to work with. Look at you planning stuff out. I am so impressed right now. I think that that is totally your influence. Someone you can hang out with someone like Melissa for 20 years and not pick up a few things. Alright. I have my blue and my orange. Howard Hughes coming, Melissa, It is very christmas see over here. Yeah. I got my red and I've got my green, my two extremes. Yes, now that you all know about Complementary Colors and starting to think about more about color relationships. You're going to notice Everywhere in the world, all of color choices that people make for different reasons. You just won't be able to turn that off in your brain now. So you're welcome. So now we're going to go for the middle square. So just like last time when we mixed half blue and half gray, this time we're going to do half one Color and then half of the complement. So for me it is blue and orange. Be very interesting to see what you get when you mix these two. Because it's, It's different honestly for every Complementary care. And it's actually, it's a very good skill to have to know what's gonna happen when you mix these two are very useful. Because of the yellow in my orange, my little Color has turned the kind of greenish, which is fine. But I'm actually going to add a little more red to my, to my orange. And then I go to a little red middle because I'm wanting to push it a little more towards neutral. Yeah. So the goal is to get it to not feel like either color that you started with. So it doesn't feel too like mine, one filter read or one field to bring in any direction. It feels like they're color on its own is definitely going to be more neutral than what you started with. But I would not say it's gonna be gray. Know, if anything, probably more towards brown. Brown. Brown tends to be the brown is also very neutral. I mean, it can be, or you can have rich, more saturated browns too. But a very neutral brown like this is a great way to add some more neutrals to your painting. So I've got my middle color. I am going to paint that middle squared now with that, initially is good if you don't have a brown. So you don't have a brown tube of paint. Mixed brown? Exactly. I think sometimes using this approach to neutralize Colors, Can you end up with a little bit richer overall colors on your piece rather than just using the pure gray. Although I do both and it just depends what you're what you're going forward. You just so this can be really helpful when you do start mixing colors and your painting something more realistic. You know, say a portion of a person's face that's your painting, is, has more red tones in it and you want it to get more neutral as it goes into the shadows or as it wraps around the face of the person or the, you know, as the skin changes color, you add a little bit of green to it and it will be much more neutral. It will slowly get more neutral as you go around the face. So this is a great tool to know when you're mixing colors. How to, You know, what, what do I need to add if I want to take the edge off at this color and make it go a little bit more neutral. Alright, so now I am taking my blue and mixing in an equal amount of the middle color because I want to paint this rectangle right here. So it's kind of a Louis Brown and my kids. Yes, it's similar to when we mix those Tertiary Colors on the Color Wheels. So you've missed something in-between that you just mixed. Okay. I'm going to think that one mixing a green brown and a red brown or blue brown and an orange brown. Or it could be using purple and yellow or any of the other Complementary Colors. I think it also just gives you a really good insight into how complex color is. Somebody could say to you that they want you to paint paint paint something blue for me. But you would probably need to ask for some additional clarification because there are a lot of blues, just like there are a lot of Every Color. And this gives you some ways to start breaking that down and thinking about it. Do I want my blue to be more neutral? I want it to be more saturated. Alright. So now I'm going to go over to the other side and mix half orange with half round. A lot of orange in. There we go. Liking this neutral green, It's kind of an olivine army green type of color. I don't think I ever used a neutral color before I met Melissa. All of my paintings were just rainbow explosions and then she was like Paul, I can't look at it hurts. Oh my goodness. Pretty sure that's a true story. I don't think so. No. Her memories starting to go, guys. Yes, that is what's happening. It's me, It's not paul. Whenever Melissa tries to fact check, one of my stories I tell you will know what's really going on, right? Yes. And you might want to, if you're going to hang on to this as a resource for yourself as you're working, you might want to make some additional notes on the page so you remember what, what each of the scales are, and also even what colors you used because it is helpful, color, paint. Colors look so different on a canvas or on paper than they do when you're just looking at the tube or even on your palette. So that's kinda nice to have samples for yourself that show you what the different colors actually look like and what they look like when you mix them. I'm going to resonate with C. Complement is one exercise to, to try some of the other complements. So just to see what you get when you mix purple and yellow. Yeah. Here I'm going to write saturation to Neutral. This is primary blue, and this is primary red plus yellow. Here mixing colors later, this can be really helpful tool to, yes, absolutely. Great job everyone. In our next lesson, we're going to be getting into value and how that affects color. I'll see you then laws, CNN, poly 10. Value and How It Affects Color: All right everyone, welcome back to mastering the Art of Using Color. This time we're going to talk about value, what that is, and How It Affects Color. So we're going to explore a few different experiments on how we get Color to relate to different values from light to dark. Paul, What do you think you ready? I think it is going to be so invaluable. Oh my God. Let's go. Goodwill. But we are going to start learning a little bit about value. Value is contrast. Value is how some light something is versus how dark something is. So it is all the things in between. It can be a white, it can be a black and can be a middle gray. It can be all those little tiny variations within those. We're going to talk about value and How It Affects Color. But the first thing we're gonna do is really explore value and How to render something with black and white and mid grays and everything in-between. So we're going to do something really simple, which is draw a sphere. And we're going to start with a circle. So I have a roll of masking tape here. I'm just going to trace this to get a nice circle. You can choose to do that, or you can just kinda freehand it, whatever, whatever you'd like to do. I'm gonna draw my sphere and then just put a little bit of a shadow on one side. I'm just going to sketch that out really quickly. Right? Alright. So we've got our sphere, we got our shadow. And now let's start mixing some different values. So I have white on my palette, I have black on my palette. I'm going to first Mix a middle gray. So half white and half black. And then I'm going to Mix to other colors. So while not Colors values, I guess I'm gonna do one that is more white, so a lighter gray, and then we'll do one that is more black, so a darker gray just so I have some variation. All right. So my Pell is very pleasing to me. That is very black and white. Yes, this is Melissa, his favorite colors. Gray, gray, and more gray. I love it. Everybody makes phone with me because I only wear black and white and neutrals. And it's just easy for me because everything goes together. I don't have to think about the colors. But Melissa, maybe after you've finished this color class, you will feel more comfortable, frantic. Maybe, maybe not. If I were color at this point, everybody would just not know what to do. They would think there's something wrong with me. All right. I've got my different values for everything mixed already. I do. Look at you. You are so fast. Well, while you're doing while you're finishing, I can tell them a little pro tip. I love sharing pro tips. A lot of artists will do a monotone underpainting first, like what we're doing here, where we're just painting at all with different shades of the same neutral tone in this case. Because it does allow you to focus just on value, the value structure of the piece and then bringing color into it. As a second step. Yes, So we will show you that. But first we're going to do this with different values of gray. So I have all my grades here. Paul obviously has all his because you super-fast. I am going to grab one of my brushes. I just have like a small flat brush here. Okay, so I'm going to start adding some values to this fear to make it look more round. And I'm going to start like I like to start with my highlight. I'll put a little white in there just for blending purposes. So I'm going to imagine that my light is coming from the left-hand side. So that just means that my sphere will be lighter on the left and gets darker on the right. So I'm just going to start layering some of my values in here quickly. So we can get to the phone part which is adding the color at the end. I'm just working in a circular motion out from that highlight So right in the center of your sphere would be where you're 50% gray would go, so your mid tone. And that's because it's not, it's neither in full light or shadow. It's kinda in the middle. If you've never tried blending with Acrylic paint before it, you just have to kind of go in-between the two Shades and just kinda work them together a little with your brush. Yeah, it can be a little tricky when you're starting, but painting wet paint into wet paint is usually the easiest way to try to blend. And for the purposes of what we're doing here, do not worry if your sphere does not look perfect at this, okay? It's more about understanding the concept, right? Right. You just want a lot of different variations of gray. So we just went different values. Yeah, which will help us when we add color in the end just to see how color is affected by value is kinda the purpose of what we're doing. For my darker gray here underneath my midtone. Now like to use my brush strokes to find the, the forum or the sheep. So since we're painting a sphere, I'm doing more circular brushstrokes. Especially for Sir, always thinking aren't just something quick like this is just easier. Shadows, which should be, you know, you do have a little bit of black in their shadow. This can be very quick. Just think about it as like a sketch of a sphere just to show different values. And then again, just to see what it feels like to play with value and how it works with color. Eventually here. I, Paul, how are you doing? Do you have your sphere almost done? Almost. The shadow on the ground yet? No. Okay. We'll get there. Okay. Are you finished or anything? I am pretty much done. Yes. Wow. Alright. Well, carry-on. It was it was a quick one for sure. I'm going to make sure my highlight is nice and white in the center here. So I might know a little bit more white. If you want to go back and fix any of your values, Feel free to do that. Having one of these, I like to use this disposable palette when I'm mixing on the go. Because it's easier to mix this way versus the **** with the tiny wells in it. Kinda blenders you go, if you start with a couple of different colors, you can change that and make some of them together, which I think is easier. Yeah. Did you start each color or each value like from scratch, scratch king it. Yeah. I thought it's a lot. Alright everybody. So we have explored value, we have our spheres. Make sure you hold onto this for the next lesson because we are going to go and add Color. Okay, Great job everyone. Hopefully, you learned a little bit about value and what that means and how to use it. So we're going to explore color a little bit further in the next lesson, we're gonna talk a little bit about tints and shades and what those are. Paul, are you ready for this? I'm ready. Okay. Let's do it. 11. Tints and Shades: Hi everyone and welcome back to you mastering the Art of Using Color. And today we are going to be working with tints and Shades. You ready, Melissa? I already, Paul. Alright, let's get started. Okay. Okay. In our lesson today we are talking about tints and shades. So we're doing a little bit more with value. When you Tints a color, that means you are lightening it, adding white. And to do a shade of a color that is darkening it by adding black. So I'm going to show you two different ways to go about doing that with an acrylic painting today. The first one is called glazing. So if you still have your sphere painting from the last lesson, that's what we will be working with if you need to paint a new one really quickly, first put this on pause and then come back. And then what I'd like you to do is choose one color that will be our main color for this piece, and then put out some black and also some wines. Your Palettes. Okay, now we're going to start with the glaze. Glazing is just when you paint a color over top of something that's already there and you paint it in a translucent, transparent way so that you still see what's underneath it. So what? I chose red for my color. And when I glaze the red onto the sphere, you're going to see all these different tints and shades of red that happened just because of the underpainting that's already on there. So I'm using a a big brush. You can use whatever you want, but dip it in water, get it good and wet. And what you wanna do is just pull a little bit of the paint away from the big pile and really wet it down with a lot of water. So it's not you don't want to cover up what's already there. It's almost like if you were painting a watercolor painting, that's what glazing should feel like. And so now I'm taking that and I'm just painting it over top of the whole sphere. The fewer brushstrokes you can use, the better. But that's why I like using a bigger brush for this. Yeah, you don't want to overwork it. You wanted to flow smoothly over what you've already painted. And it'll be interesting because you already start to see the different values that appear based on the color and how Value effects that. I think he'll start to see that the most saturated colors, so the brightest color shows up in the highlights. Yeah. So that's called, you know, that, that's saturated colors. That's not yet a Tints, but you are getting some Shades here. So you're getting some Shades, mostly in the shadow areas. So some of those darker areas that we painted on the right and the cast shadow that the sphere that's underneath it. You can do multiple glazes. If you glaze something and decide do you want the color to be more five brand or you want to work in other Colors. As soon as that layer dries, you can glaze to your heart's content. But we're going to move on because my heart's content says, Let's keep going. So now I'm going to show you a different way to use tints and shades where that actually involves mixing the colors. So we use the values on the painting to create different shades there. But now I'm going to my palette and I'm going to pull some of the red over towards the white. I'm going to pull some of the red over toward the black. And then it's up to you how much you want to tint or shade the color that will just it, that's determined by how much of the white or the black you put into it. I'm gonna put a pretty decent amount because I want to have a nice range of values. So you see when I add the white to my red, it turns pink. And I'm working with yellow, which is a little bit trickier because once you start making shades of yellow, it gets very greenish depending on what black hair using. Grayish brown. So just to show you what Yellow looks like as it gets more neutral and as it gets darker. Side to do that, but is kind of a, it's a tricky color to work with. I will say yellow is a very tricky. That's why I'm glad boluses doing it. Going from the team at this one. All right, so now I have my range of values here. These are all, these are just different tints and shades of the red. And so what I'm going to use this for is the background. And I'm going to paint a gradation that goes the opposite of how the values are falling across the sphere. So on the left side, which is the light side of the sphere, I'm going to paint the background, my darker red color. And then I'm going to let it blend to the light pink. The rate you can put your grade aided background in any direction you want. It doesn't have to be like mine, but I just wanted to give you a chance to kinda see what it feels like to create that kind of gradation with more, more opaque paint rather than just the glaze. So I'm starting over here on the dark side with my darkest color. I'm not using black, I'm just I'm just going with the dark red. And you only have to paint. You don't have to cover the whole paper. I'm just gonna do a little bit around the edge. I'm not going to fill this whole street. I think it's a different experience to when you start mixing values with the color in the value. So included within that, it does get a little tricky. So it kinda makes the right values and be mindful of that. And that's where you can use the glazing technique. Or you can just look at are the exercise we just did with how we glaze the color over top and the different values that came out of that and use that as a guide. So think about where we put that mid value, where we put the darkest value, where we put the lightest value and How the Color affected it? Yes. And you can glaze over top of any color. It doesn't have to be black and white. Underpainting like what we have here. If you're painting something, just for example, let's say your painting a tree and you paint the leaves. But you feel like maybe the leaves are a little bit too on the blue side for some reason to cool and you want to warm them up rather than just totally repainting them. You could just glaze a little bit of yellow over top and that will move the color in the direction you want it to. So glazing is very helpful and a lot of different ways. And it does use a lot of the concepts that we've already talked about as far as using color and thinking about color. So now I'm just blend, I'm kinda cycling through the different values that I mixed here. So now I met my just the pure red in the middle. And then by the time I get over to the right side, then I will go for the pink and to get Acrylic to blend. I think we've already talked about this, but I'll just show you because this darker tone that I had down already started to dry. So I'm just going to re-wet it in that way it will blend into the red a little bit better. Acrylic will dry quickly, but you can always add more when you need to get it to blend. And acrylic, It's something that actually looks better than more layers you do. So don't worry about putting paint on the other paint. Yeah, it's a good thing. Right now. I'm over here on the right, so I'm gonna jump to my lightest pink. And just something to be mindful if you're using the yellow like me, is that it will be very transparent. So anything you mixed with the yellow will take on a transparent quality. Where that actually means that it's an easy color to glaze width because it goes easily over top of anything else underneath it. Yeah. You don't need to add a lot of water if you're glazing with yellow. Let's just touching up my background here. I think I wanted to kinda bring it out so that it ends. Sort of a rectangular ish shape. It's very tempting to want to skip backgrounds because usually we get excited about whatever the thing is that we're painting and don't give a whole lot of thought. So what's happening back there behind it? But as you can see just from this quick little example, adding the, adding a background or even just a hint of a background totally changes the whole piece. So police have been a lot more you feel like you're looking into place instead of just add a thing. Yeah, it does give it context for sure. Here we go. Awesome work everyone. In our next lesson, we're going to start working on how to create different types of Color Palettes. And the first one will be working with is Complementary. You read the Melissa, I already, Paul, I love color palettes. I'll see you there. Okay. See you soon. 12. Types of Color Palettes: Complementary: Hi everybody, Welcome back to mastering the Art of Using Color today, Paul and I are going to talk a little bit about color palettes and how to use them. So specifically today we're going to talk about a complimentary Palette, what that is and how to use it. Are you ready? I'm ready. Let's go. Let's do that. Today we are going to talk a little bit about color palettes and how you create a color palette, how you think about Color Palettes, what color palettes you can put together and create something successful. The first one we're going to talk about is a complimentary Palette. And a complimentary palette is something that combines two colors on the color wheel that are Split so they're as far apart as they can possibly get on the color wheel. So just some examples of Color Palettes that could be Complementary are red and green, or blue and orange, yellow and purple. Those are kind of your basics. So they are opposites. Think of it kind of like Melissa in me, your opposites in many ways, but we go together so well. Yeah. They are opposites, but still friends. So Paul and I just got a quick start today mixing a few Colors. And so we are using a Complementary Palette of orange and blue. So we're going to paint a little orange on a blue background today. And Color Palettes are not an exact science, is kind of an experiment and how to use colors. So it's not gonna be perfect. Not everything is gonna be exactly Blue. Not everything is going to be exactly orange. But kinda the basics of the color palette is the contrast between the orange and the blue, or the red and green, or the purple and yellow. And that's why it works, because you have two of your main Colors. Feel like they're opposites on the color wheel. Okay, so we sketched out our orange really quickly and you can just take a minute to do that if you need to pause the video, feel free to do that. So here's our reference of our orange and we drew it out and we also mixed a few colors, so it makes it a color for the background. The light blue is gonna be mostly our background. Some colors for the leaf and stem, which is kinda like a bluish green. So you can add a little bit of yellow in that string, a little bit from the Complementary Palette, but still within that realm of orange and blue. And then I have to oranges mixed for the orange itself. So one That's a little bit lighter with a little bit of white in it. And one that's a little bit more of a pure bright orange. Right? Let's go, let's get started. So I'm just going to start with that background. Just get that blue in there. You can feel free to start wherever feels right to you. And we're not worried about making perfect paintings here. No, not at all. This is just to explore the combinations of Color and what they look like. This is just an exercise and how to use Color and how it looks when you put two complimentary colors next to each other. Just get used to experimenting with color in that way. So we're just continuing with our Acrylic paint today, just kind of blocking in some color to start. And if you don't move beyond the color blocking phase, that's okay. It could be very flat that you don't have to do blending if you don't want to, It's really put your own spin on it. This is an experiments. But I do think it's really helpful to learn about different approaches to what makes a good Color Palette. I think that's kinda like the underlying goal here we're going over the next few lessons. We're going to show you different ways you can use Color Wheel to choose colors that will work really well together and that can be a good starting point when you're trying to come up with a color scheme in your own work. Yeah. It's just a tool to get you thinking more intentionally about how you use Color and what Colors could work together. And maybe expanding on different colors that could inspire you to try new things or experiment with the way the colors work together. So different way of thinking about how you use color. Yeah Okay. I just got my background rough can really quickly, so I'm just going to rough in some of the orange, make sure you're washing out your brush really well in-between these two colors because they will get really muddy as we found in past lessons, if you mix complimentary colors together. One thing to think about while you're painting this is if there are more neutral areas, especially in the orange itself, there are some color shifts within the orange. Think about mixing the orange and the blue to get that more neutral orange. So think back to one of our previous lessons where we did the scale and we combine two complimentary colors. And remember the color that you got from mixing those two. And then see if you can find any similar areas within the orange that would require you to Mix orange and blue? I don't know, Melissa, that almost sounds like a pro tip. When you're when you are working with a very limited color palette. A way to make it feel a little bit more expansive is combining the two Colors and you get all these different neutrals you can paint. You can make a painting with very few colors, but make it feel like you've used a lot of Color. That's true. Jail free to use white and black as well. You always need those, no matter what your painting. Definitely try mixing in some of that blue and see what you get and see if you can come up with some other colors. If you look in the bottom left-hand side of that orange, There's definitely some reflected color from the balloon and some areas where it goes more neutral. I think in that area are definitely not a need to try mixing and see what you can come up with. A good idea anyway, when you're painting something realistic and to, just to let the colors reflect and move through and not just have if everything be isolated if you don't want to Colors with within your color palette to be used, but then be completely separate within your painting. You want to combine the two somehow. Make one feel integrated into the other to make it feel like it was all intentional. Look at this cute little orange. Get my leaf and my stem and here. And I'm just roughing these in really quickly to just see how these colors interact. Don't you-all love Melissa's version of roughing, roping it? Yeah. I'm just using a big brush for this whole thing. So I can't get any detail in there. Is that killing you? It's actually not at the moment and I'm enjoying it at the moment. But you know, like at the end, I want to go and add more detail. And that's when it's gonna be time for me to just pull the plug. And Paul says, Are you done? Time's up. Yeah. Likes to do that to me. It's our world. I have to take it where I can give it. Now that I got all that Rodin had a quick shadow and then I think we have completed first painting. Palette. Many more to come. Quick highlight. Beautiful, lovely. Right? Hopefully you all enjoyed playing with a complimentary Palette. Alright everyone, great job. Hopefully you understand what complimentary colors are now and how to use them, how to combine them, how to make beautiful Color Palettes. And the next step we're going to talk about is a Split Complementary Palette and what that is, Jerry all what do you think? Let's go 13. Types of Color Palettes: Split Complementary: Hi everyone and welcome back to mastering the Art of Using Color. Today, we are going to be working with a Split, Complementary Palette. You're ready to get started, Melissa. I'm ready, Paul, let's do right. Let's do it. Alright, my turn now, and we are doing a Split Complementary Palette this time. So that is when you take what would be a complimentary Palette or two colors that are opposite each other on the color wheel. But then on one side you just take a step each direction. So it's almost like they're complimentary, but they're just kinda branching out a little bit, one each way. So for the piece that will be doing in this lesson, I chose a beautiful strawberry. And I'm going to be using the Split Complementary Palette of red with yellow green and blue green for the background. So I'm going to change the background from what we have in the reference image right here on the screen. So if you look at my palette, I've already pre-mixed the Colors. I made three different shades of red. So this is just my pure red from out of the tube. And then here I darken, did a little bit by adding just a little bit of dark green to it that I had already had on my palette. It'd be, you could create that by using blue and just a little bit of yellow. Since those are opposite colors that worked really well to just kinda darken it. And then for the lighter red, I just added some white. So I wanted to go ahead and have those ready. And then I made a really blue green color for the background. And I added a lot of white to it because I wanted the background to be pretty light. So remember to make that blue-green, it's, you use mostly blue and just a little bit of yellow. And then in this case, to lighten it also white. And then this is my yellow green that I made for the leaves. And that is mostly yellow with just a little bit the flu. So if you need to pause the video to mix your colors and to also go ahead and sketch out your little strawberry. I've already done that part so we can jump right in and start painting. Are you ready, Melissa? I am ready poly. Okay. You're probably getting years old drawn and sketch while I was blubbering away. Just work hard at work over here. Okay, I am going to start with the background and I'm using just this really light bluey green color. It's like painting with toothpaste. Yes. Oh, yes, It really is. And I am not going very far beyond the edge of the strawberry. The most important thing to me is just seeing the relationships of the colors to each other. So I'm not trying to fill this whole paper or anything, but you can do whatever you want. And for that matter, you don't have to use the same color schemes that we are ether. Like we've been saying. This is all about helping you have some tools to use for creating your own color schemes. So if you want to change it and choose a different Split Complementary Palettes, just look at your Color Wheel, and that is completely fine. Yeah, that's actually good exercise if you want to decide on your own color palette and you can always paint something different than what we're painting to give you the purple strawberry. Doesn't matter. It doesn't have to be realistic. It's more about it's more about the colors, right? Okay. I'm just about finished with mine backgrounds. Okay. Good evening. Alright. Let me clean up my brush. And next I am going to just cover the whole strawberry with my bright red, the medium one, and then come back and use the other Tones. A lot of little detail on that strawberry. Oh, yes. I know you have taken that all If you, Oh good. We can feel free to simplify your painting and don't worry about the details. I'm forcing myself to do the same. But also if you end up getting really into one of these paintings and want to go longer than the 10 min, nobody is stopping you. Yeah, definitely. You can paint on this all day if you want. Yes, Paul a lot. Not let me do that, but you are welcome to do that. Are you jealous of how nice I am oliver students? Getting that painted in solid red first and then we'll go back and see adding some detail. One thing I like to do when I'm painting, Here's your pro tip for this lesson is to get all of the white of the paper covered before I go back and start trying to do a lot of detail or even before I start going back and trying to look and see what needs changed or perfecting things. Because as long as you are comparing Colors against big white areas of the paper, you're really not seeing the true color relationships and everything changes once you get all the white covered. So that's, I mean, not every artists works that way. But I definitely like getting all of the white covered before I start getting to particular. Alright. Using my other green now to do the little leaves. That's my yellow green. It's very transparent but that's okay. Yeah, so anything with a lot of yellow as we've talked about, as we've gone through these glasses, going to be very transparent so you won't get very used to that. Sometimes if you don't want to have to do 1 million codes, you could add just a little bit of white to it. That can help to make it a little more opaque. But you fread is probably also going to be pretty transparent as well. Yeah. Alright, that is looking gorgeous already. We could call this done, but I am going to take it step further because I know that's what Melissa would want. I'm going to take my darker red now and just kinda follow along where I see some of those darker shadow shapes. So over here along the right, let me come in and add a little bit of shadow. And it kinda comes up to about here. This is not a realistic painting class, this is just a color class, but adding different shades, different values of a colo is definitely a good way to make your pieces look more realistic when you can start breaking down Color and seeing different, different shades. The more you can, the more you can bring out in the piece, the more realistic it will look. I'm just blending that in Using a little bit more of the original red color. And see it kinda comes over here a little. I like to, just like we did on the last one, I like to make the background color play a little part in it too. So I'm going to grab a little of that and just kind of thin it down with some water and put that along the edge over here, just to bring a little bit of reflection of that into the strawberry. All right. Now let me clean up my brush again and we will do that. The big highlights, the light pink. Along the top. It's almost, it's almost white. Realize it is very bright. I'm going to make mine a little bit more, a little more pink instead of that pure white. But you can marry, is, if I was a strawberry, this is the kind of strawberry I would want to do. See you as a Strawberry. Strawberry Shortcake maybe. Alright, and then there's little highlight along this left side. Ok? And now really quickly I'm just going to make some of those little dots. I'm not going for the detail here, but just so it feels very strawberry ish. If you want to break it up with some little dots, you can. There we have our Split. Complementary painting. Beautiful, awesome work everyone. In our next lesson, we're going to do another type of Color Palette, and that is a Triad. See you then Melissa, CSM Valley 14. Types of Color Palettes: Triad: Welcome back everybody. And now we're going to start talking about a different type of Color Palette. Today we're going to talk about a Triad and what that is and how to use it. Paul, What do you think? I think we should get started? Okay, let's do it. We're going to talk about a different color palette today and practice using something called a triad. So a Triad is three colors. Obviously, three colors make sense. Three Colors Split evenly across the color wheel. So the Color Palette will be using today is red, violet, blue, green, and yellow, orange. And if you count the number of spaces between each of those on the color wheel there, each three spaces apart so they're evenly spaced. So you could use something like blue, red, and yellow, which is the common Triad, the primary triad, but paul one and it goes something, go with something a little more complicated today. I wanted to make it a little fields. So we're going with that red, violet, blue, green, and yellow, orange, which is actually a really color, really beautiful color palette. You're welcome. You have Paul to think through that. Okay. I got my brushes, I got everything sketched out really loosely here. I have my colors mix, so I mixed my yellow, orange, so that would be alive. Yellow, a little bit of red and white. I added some white because we're going with kind of a pastel palette today we're painting a really beautiful lollipop. Went with the Pastel Candy feel. And then I have my red violet, which is more red than blue. So red, a lot of red mix up a kind of a reddish purple and then add some white to that. And then my blue-green, which is a lot of blue, a little bit of yellow, and some white. Okay, So the first thing I'm gonna do is get that background. Here. Choose a larger brush. And I'm going to paint fairly flat today is just a exercising getting the colors in the right areas. Like paint by number of paint by number, yes. Paper number, lollipop today. We're doing very sophisticated where it yes. But that's okay. This is just taking a practice with these colors and see how they feel next to each other and play around with the idea of using colors that are Split far apart on the color wheel and see how that feels. Just like last time you can make your own Triad if you want. You don't have to match ours. And feel free to use that color wheel that we created in the first couple of lessons. You can refer back to that and count the number of spaces between them to make sure it's a Triad. I kept doing that just to make sure I have this right when we're talking about it. And this does get complicated talking about the different types of Color Palettes and where the Colors needs to fall on the color wheel. And it's not an exercise that artists do every time they start a piece of artwork. A lot of times Colors more instinctual. But I think that's a good way to start thinking about color a little bit differently and more intentionally. And just kind of start to understand how color works and what colors work together. I think it's just a good exercise. One of those things where you learn the rules first before you start breaking them. Yeah. I think a lot of what we're going to do in this class is pretty intuitive really. I mean, you've probably all chosen Color Palettes are chosen color schemes for different things just based on what looks good to you. And that's, that's really what it's all about. But some of this is to help explain why certain colors look really good together or work well, certain color schemes. Yeah, sometimes you can just know things and feel things about Color or making Art in general and maybe not be able to explain it. But I think this is something that put words to it and helps explain some of the thought behind it. So don't let it suck all the fanout of it for you as you're saying. It's just another tool like anything. Oh, right. It's not an exact science. And I think if you're thinking, I want to do something with three very different Colors. I think that's enough to just start thinking about a color palette and how you want to use color a little bit differently. Yeah, he doesn't have to be an exact Triad. You don't Every time he started painting, you don't have to take a Your Color Wheel and say, Oh my gosh, I had to fix, fit this into a Split Complementary Palette or a No. Just to help you practice. Yeah. It's kinda like if you're a cook, there are certain ingredients that work well together and you can follow the recipe and you'll get something that looks good, but also really good cooks just kinda go in and start throwing everything together. And let's see what happens, right? You kinda generally know what works together, right? Which ****** work with which types of foods in that kind of thing. And then you go from there. Well, most people, not me, I followed the recipe because I am a rule follower and Melissa, right, Paul, you follow the recipe that HelloFresh tells you to follow. Yeah. And again, that's really isn't about making a perfect painting, which Paul likes to tell me again and again. This is more about just practicing with the colors and seeing what works and seeing if you can mix these colors to feel like what you want them to feel like. Experiments in that and just an experiment in how the colors work together. Yes, you don't need to paint every stripe of the lollipop exactly how it is. You can just do what you want, right? That goes for you to Melissa. I don't know if all I'm painting every every pink strawberry in our Every year, red-violet baby steps, I guess. I think choosing colors is something that we do in our everyday lives and maybe don't think about it very much. So when you put an outfit together in the morning before you leave or when you're planning a party and you're choosing streamer Colors and paper plates and things. You often choose a color palette and maybe you don't do it all that intentionally. But I think something that we do every day in our lives and maybe don't think about it as much. But hopefully these exercises will give you a chance to sit down and think about Color. Think about how to use it a little more intentionally. And you can kinda reinforce what you're learning here by just paying attention to color schemes that you see in the world. That's a good pro tip for today as you are just going, going about your day. Look around and when you see colors that work well together, color schemes in the world, whether it's on people's clothing or advertisements, or Every Color is everywhere and very intentional Color is everywhere. So start kinda breaking it down and analyzing what kind of Color Palette is this white? Why does it, why does it work? Maybe weighted evenly will be asked yourself, why did they choose this particular color palette? As we're starting to talk about different types of Color Palettes, start looking at colors that you see together and trying to decide if you can figure out what type of color pellet it is. A good little quiz to give yourself. So beautiful. Now I want a lollipop. Alright. I'm gonna make you hungry with all these. See paintings that were doing. Okay now my yellow, orange now start putting some blue green stripes in here. And again, this was just kind of an experiment. So put some colors next to each other and, and see how they feel. Paul is not going to let me go in and paint all the details here, even though I would love it, I would love to do that. You are welcome to continue after the camera stops rolling bullets. True? Paint to your heart's content. Yeah, it's true for all of our friends to feel free to keep going. This is something you want to work Boron or experiment or try to play around with mixing your colors and see if you, if you weren't able to get the colors that you wanted the first time, keep trying. It might also be a good idea to try drawing a couple of different lollipops and using different color triads on each one so you could see how the different color schemes look. You look at me creating more work for people. Paul likes to do that. It's longer. Yeah, as long as it's Bristol, What else? Right. Exactly. You go and try it and then report back. Very good at outsourcing. Good skill to have in today's worlds. I do like the way these colors look together. Now we know why. Kinda FUN. Hey, happy and phon. Just working on getting my blue green in here, a couple of more stripes to go. And I will just kinda get the colors blocked in and leave it at that. But if you want to keep going and refine this anymore, feel free to do so. When Paul and I say blocking in color, we just mean putting in some flat color, figuring out where the color goes and just putting in some shapes. Instead of doing any kind of shading or blending or rendering or anything like that. Just kind of a basic way to get some color in your painting. Some, some artists will do a color comp before they go to a finished painting or illustration. And that just helps them figure out where they want to put their Color and what it'll look like in the final version. And they'll do something like this where they do very flat color and just lay it down and decide that the colors work together or maybe not, and then adjust from there. Sometimes, color can be very experimental when you start a painting and you don't know how it's all going to turn out or what it's gonna look like. So some people like to have a little map for themselves knowing where the color is gonna go and everything's gonna turn out in the end. Even I like to have a plan sometimes. Even Paul, I deviate from the play in your never really locked in on it, but at least it's nice to have a starting points. Yeah. I like knowing exactly where am I Colors you're gonna go and how they're going to work together. Yeah. Because it really does a lot to affect the mood of the piece, the colors that you choose, nuts. That's an important part of the overall concepts. Yeah. Okay, I think we've got some basic color in here. Learned about what a Triad is, and we got to experiment with mixing some colors. So I think it's been a good lesson. All right everyone, great job. I hope you understand what a Triad is and how to use it. How three colors can fit together and make something beautiful. And next thing we're going to talk about is something called a Tetrad, which involves for Colors and how to combine them. Paul, Are you ready? I am so ready. Okay. Let's go 15. Types of Color Palettes: Tetrad: Hi everyone and welcome back to mastering the Art of Using Color. And in today's lesson, we're going to continue working with different kinds of color schemes. And the Palette that we're gonna be creating today is called a Tetrad. You ready for that, Melissa, I am Paul Tones, very sophisticated. Alright, let's go. Today we are using a Tetrad IQ color scheme, which is basically using a rectangular shape on the Color Wheels to choose for Colors. So you're choosing essentially two sets of complimentary colors. The colors that I am working with, and I think Melissa as well is red and green. Then blue and orange. Here is our reference of the leaf. And we made it black and white because we really want you to be able to add your own ideas about color to it. So if you want to take a minute, Melissa and I have already sketched out the leaf and we've already put out our colors. If you would like to use a different kind of Tetrad it color scheme, that is completely fine. So take a moment, look at your color wheel. Choose your colors, sketch out your reference. You can put us on pause while you do that. Then we'll get started. You ready, Melissa? I'm ready, Paul. Okay. So I think that I'm going to use the red and orange on the leaf. Then I'll use the blue and green in the background. I also put out white and black in case I wanted to lighten or darken the color as well. And I'm just going to do that with my brush while I'm painting rather than mixing up a whole bunch of Colors ahead of time. So this is a free-for-all. Q whatever you want. Your favorite, favorite way of my favorite way of teaching. I'm starting with the leaf this time. Normally I start with the background but mixing it up a little. What are you starting with? I started with the leaf, I can't help myself. Well, that's interesting. We both did that this time. I know. I think the leaf is just, I don't know. It's more FUN to start with hanging in the foreground, which is the rule is dealt with the background and make it easier for yourself. So you're not painting over the background as your painting the foreground? Yes. Yes. Painting into the foreground as your painting, the background. You know what I meant? And it makes sense to someone. Yes. But yeah, I always get excited to start the foreground first because it's, it's the Fun part. Yes, there's a lot of interesting shapes on this leaf. Can you just kinda brush one color into the next if you want to make them blend where you can leave it a little patch here, blockier. Just have FUN with it. I think when you're experimenting with color, it's kinda gives you permission to just paint a little free year. We're not going for a realistic paintings here, so you might as well just have FUN. Yeah. The idea is just to play with color and see how it works together and what types of Color Palettes you're drawn to and try different things. Experiment with some different colors. Yes. I apologize if you hear some chirping birds and the background, my studio is so hot if I don't open the windows. So we're just having a little nature moment this morning. Thank you, everyone here in Bali really loud. Are they taking over? Yeah. They're aggressive like that Alfred Hitchcock movie. The little scary. If I just get dragged out the window by birds, Melissa, you're going to have to finish this. I got your fall. We can't leave these people hanging. They need to understand triadic color scheme. I can't help but the birds, I'm sorry, you're stuck there, but I can help with paintings on your own. That's how committed we are to all of you know. Usually with a Tetrad, a color scheme in any kind of color scheme when you start using more complex ones like this, where there are more than two colors, It's a good idea to think About having maybe one Color be the dominant color in your composition. In fact, that would be a good pro tip for today. When you do color schemes, it doesn't necessarily mean that every color gets used evenly. Sometimes you want to have one Colors be the star, and other Colors be more of like the backup singers. Yeah, So one thing to think about when you make a color palette, and we could talk about this later in, in future episodes, but you probably want to think about your main pillars and then your accent colors. Yes, definitely. And I feel like in this case, the main color for me is the orange, and then I'm using red in shadows. And then the background colors once I add those will be another component. But I think the orange is what's going to really jump out in this one. So focal point or dominance just means it's the, it's the thing that stands out the most when people look at your piece. Yeah, the thing that draws everyone's attention and oranges a good choice because it is very bright. And it will stand out against some of the darker, more cool Colors and the background. Yes. It took me awhile to learn that one for awhile when I was first starting painting, I wanted to make everything dominant. The colors are important. Yeah, it'd be like what's your dominant color and it'd be like all of them. Yes. Took me a minute to realize maybe that is not always the best plan. We do want people to be able to look at our work without having to wear sunglasses. I mean, I think when everything is dominant, you don't know what to look at, right? You kinda lose the focus. Yeah. That also goes with the saturation of color too. Even if you have everything evenly saturated and really bright, you don't always appreciate the individual Colors as much as if you have some neutrals in there. So it's all about balance. Yeah. Sometimes we'll talk about this later too, but sometimes neutrals can make a less saturated color look even more saturated. So you can be mindful as to how you're using your Colors and what you're putting Next to certain colors to make them appear more bright statically. Alright, I'm just about ready to put some of the blue and green in the background. Let me just finish up. This last part of my leaf. Looking gorgeous. Feels like autumn is here. I know, right? I don't know what time of year it is for you right now as you're watching this, but we are we're in the fall or Painting. Okay. My little beans and may stem. For the background. I'm going to clean up my brush first. I'm just going to kinda put some random sections of the blue and green. I'm not going to paint a detailed background. I'm just going to let the colors blend with each other and surround the leaf. So I'll just grab a little blue. Go here. Then with my next brushstroke, I'll grab some green and go right into it so that they just kinda overlap and create an interesting background. Yeah, we're focusing on the leaf so we don't need to have a bunch of stuff back there. One thing you could do, feel free to mix a little black in there to make the leaf stand out even more. Make that dark room, that background a little bit darker. Yeah. Help. That's a good idea. I will do that. See you once again. I was just wanting to use all yes, contrast of value, using more darks against lights is another way of creating a focal points, right? Yeah. Gorgeous. Look. Almost finished. I'm just going a little ways beyond the edge of the leaf. I'm not filling in the whole paper. Just making a vignette. Yeah. The point here is just to play with color and see how they feel next to each other and how they interact. So don't feel like you have to do a very detailed finished painting here. Yeah. Unless you want to. You can. Did you that this is a really good example though of how relative color is. Because think it looks at how differently the leaf looks now that there's some color around it, then how it looked when it was just against the white of the paper. It's why it's so important. I think when you're making a painting that you get some color everywhere before you start getting to critical because everything changes so much depending on the relationships of Color. Homeless, How is yours come in? Getting there? It is definitely something I could spend a whole lot more time on. But I think it's a good little experiment and it definitely is something that can show you the difference between cool Colors and warm Colors. I think that's an interesting part of any Tetrad color palette. As you are going to have a combination of warms and cools. And I think putting those against each other can be an interesting little experiment to see how that comes together and how those play off of each other. Yeah, it makes it makes each side like feel more like it makes the orange feel warmer. It makes the blues feel cooler. And my favorite motto is more, is more ads, right? A couple of more brushstrokes, and I think we are done. So far. Great job everyone. Okay, we're not finished yet. We have a whole new type of color palette to work with in our next lesson called Analogous. So we will see you there. Are you ready for it, Melissa? I am so ready, Paul. Okay. Fine. 16. Types of Color Palettes: Analogous: Hi everyone, Welcome back to mastering the Art of Using Color Apollinaire here to teach you the next lesson about Analogous Colors. Paul, Are you ready to learn more? I am so ready. Let's do it. Analogous Color Palettes are just colors that are adjacent on the color wheel. So colors that sit next to other colors. So one thing to think about is, do you want to have a more cool Palette? Do you want to have more warm pellet? Do you want to have a split between the two? Paul tonight, today are gonna be using more of a cool Palette. So we're going to start with the blue-green. We're gonna go to blue, blue violet, and then all the way down to red, violet. So just a grouping of colors that feel almost like a gradient of color. So they start one end of the spectrum and move to another end of the spectrum. But you don't want to use more than five colors because then it's not really a color palette, then it's just every single color. So you definitely want to limit it, right? We're not going for rainbow, are going for a collection of colors, but just some things that feel close to each other within the spectrum of Color. So colonize, sketched out a little mountain scenes here. So we're going to be working on that today. And then I have some Colors already mixed. So I started with my red violet and when all the way to my blue-green. So you can see that spectrum of color here. I added a little bit of whites in to my red violet and up to my blue violet here. Just because I'm going to start with those colors in the background and I want them to be a little bit later. So take the time you need to get that done, sketch out your mountains. Paul and I kinda got a head start on that and mix all of your colors. If you need help mixing any of these. It's really just what we've been doing it some of our previous classes. So the blue, you don't have to Mix, but all the other Colors you're gonna have to Mix. So it's really just doing more blue version of green and more red version of violet on one side and a more blue, blue version of violet on the other side. So that just the reds and the blues and then blue with a little bit of yellow. I'm actually going to start in the background this time. So I have my red violet with some white in it. I'm going to use that for my sky. I'm just going to start putting that color back there. If you want to mix a little bit of white in with any of your colors are a little bit of black. Feel free to do that. You probably want to have less contrast in the background and more contrast in the foreground. And contrast is just how dark or light something is. Usually. It will help add depth to a scene if you have less contrast in the background. So if there's less of a shift from dark to light, so I'm going to use a lot of the same values in the background just to help with that illusion of depth. So that's why I added a lot of white to some of my colors. Really just using a lot of flat colors this time just to see how those colors feel next to each other. Something about an analogous color palette. It just feels very soft because there is less of a shift between different hues are different colors that you're using. They all just kinda get along. They play nicely together, which I can feel very relaxing. Anything, partly because we're using cool Colors today to it. It has a relaxing feel to it. That's a good point about Color, is the different colors in different color combinations can definitely make you feel different things. Yeah. Yeah. Well, we'll keep talking about that too as we continue with these classes and talk a little bit more about mood and how you establish that through Color. When you're using an analogous color palette, you don't always have to put those colors next to each other, that fall next to each other on the color wheel, you can move them around and your pellet. But this one, I'm just for the effect, I'm putting each color next to each other as they fall on the color wheel. And that will just help with your illusion because it, honestly, it does happen in nature. If you look at the backgrounds in nature or in, you know? Actually the way you look at mountains, they tend to have somewhat of a Analogous color palette the way they look as they go into the background. Yeah, they kinda pick up the color of the sky. The farther away. If you look at a sunset, it will often have the same Affects. It will, yeah, yeah, Analogous color palette. The way one color blends into the next and usually it's one extreme to the neck, so more warm colors into more cool Colors at the top. Okay, so we're just gonna keep going with each of these Colors is the kind of go into the background, just adding different color per mountain range here. It's like a little paint by numbers. You feel free to add texture if you want to add any texture to your brushstrokes are. In the photo reference. There's some little trees at the top of the mountains so you can add those. Where are you can just paint some colorful squiggles like I am. Paint some 3D shapes. Sometimes hear colors if you don't mix anything else with them, they were be a little transparent. So I'm noticing as I'm putting my blue down here, it's a little transparent. So if you wanna do two coats, you can. If not, that's fine too. It's just practice to see how this color fields. I do like the combo that's happening here. Yeah, it's very pretty. Just going to add a touch of black to my blue just so it covers a little bit better. Where else can you get a beautiful mountain landscape in 10 min? Okay, I'm on my last Color. And then I might add a little bit of detail on some areas or go back and make some of my color a little bit thicker. I'm going to end with that blue-green in the foreground. Looks a little bit of black in it. Just to get a little more contrast in the front here. You, you might end up having to juggle the lights and darks a little bit. Sorry. Yeah. That's always something you can go back and alter once you have paint on your paper here. Looking good. And if you want to try this with a different Analogous Colors game, feel free to do that too. You could do some more warm Colors, which would give it more of a sunset feel rather than a morning Seal? Uh-huh. Yeah. I always think it's interesting to take the exact same subject and painting with different color schemes that really shows you the difference that Color. Me. Yeah, definitely. Yeah, you could try this with with warm versus cool. You could try a little bit of both because an analogous color palette can bridge the gap between warm and cool. So you could try something like that and see how that feels. The Melissa, that almost sounds like a proved to me a pro tip. Tip for today. Yeah. Yeah. Try the same subject matter in different color schemes and you're really see the effect color. Yeah. Okay. Well, I think we have some mountains. If you want to keep painting on these getchar Colors fueling the way you want them to feel. Any add a few details, feel free to do that. But I think that's an analogous color palette. Great job everybody. Hopefully you all understand what Analogous color palette is now and how to use it. So Paul and I are going to talk about something a little different next time, color in Context. Paul, Are you ready to talk about that? Yes. Let's do it. Okay. Let's do it 17. Color in Context: Hi everyone and welcome back to mastering the Art of Using Color. Paul and Melissa here. And today we are going to be working with the idea of color in Context. We always talk about how color changes depending on what's around it. So that is what we will be playing with today. Are you ready to play, Melissa? Ready, Paul? Okay. Let's go. One of the things we've been saying a lot is the color is relative. And today we wanted to give you a chance to really experienced that in a very simple way. So we started out by drawing three sets of squares inside of squares. So go ahead and sketch those out on your paper. You can see mine here. They don't have to be perfect, although Melissa, I'm sure you drew yours with a ruler. I very much did. I had to measure it all out. Oh gosh. Alright. And so for the colors that we will be using today, you can choose whatever colors that you want. But there is a little bit of a thought behind why we chose the ones we did. So let me explain that to you first. So we chose one color that will be the center of all of the squares. And I am using orange for that color. I'm using a purple, so I mixed up a red, blue, and a little bit of white. Okay? And of course my orange is red, yellow. And then what we need, so you can choose whatever color you want as your base color. And then the next thing that you'll Mix is the complement of that color. Or in my case, you don't have to Mix it because it's blue. You just squirt it out. But you'll need the opposite or the complement of your base colors. So for me it's blue and for you Melissa, purple. Wait, what are we talking about? The complement. The complement complement of purple would be yellow. So I have a purple and a yellow. Yes. Yeah. Alright. And then we need a neutral gray. So I just mixed black and white. Melissa did the same thing, I think. Yeah. Yeah. Then lastly, we need a color that would be analogous to orange or on the same side similarly next to, so I use red for that. You use Melissa, I have blue. Beautiful. Alright. So take a minute, put us on pause if you need to get your Colors ready and to draw your squares. And we will be here waiting for you when you come back. Alright, let's go. So to start with, we're going to take that base color. So for me, it's orange for Melissa, it's purple. And paint all of the inside squares. And you may want to give it to coats if it's really thin, like my orange is looking kinda, kinda sad. So I might come back and give it a second coat because you do really want to get the pure is pure color as you can for this example. Yeah. And depending on what color you picked, it might be a little bit translucent, so coats might be helpful. It's important you want the color to really look like itself for this one. So it's worth taking the time and it's not like we have a lot of detailed opinion or anything today. We're just coloring in some squares. But the thought behind what we're doing is we're going to surround the orange with a different color in each of these examples. And then you will see how it changes the way we perceive the orange. In my case, it's the same color. You see that? But once we put the other colors around it, it's going to almost look like a different color in each of the squares. If we do it right, will see some color magic here. Yes. So what's one thing I will suggest if you are choosing a color for your center squares, I would choose a color that is not a primary color. I would choose a secondary or tertiary Color. Good idea, because those colors can easily shift warm or cool. So we're doing a little experiment here to see if this color feels different. If it's placed next to a warm color or a cool color. And I think you want to choose something that could shift either way. And usually that's a secondary or tertiary color. You get a nice review of all your vocabulary. Yes We'll see, we'll see who's been paying attention, right? If you need to Google any of those, feel free. Yes. Alright, I've got my first code of the orange on there. I am going to go back through and hit them with one more coats before I move on. Much better, that second coat does the trick. It's a big difference. Sometimes. You want it to look pretty smooth and not brushy so that you can really just see the overall color relationships. And I mix a little bit of white and less my purple just because usually when you mix purple, it comes out very dark and it's sometimes hard to see what color you're actually painting. It's so dark. It can almost look black. Yes. So hopefully this does not look black on camera. We will find out trust me, it's purple. Can we do we really think we can trust her. I Gone. All right. Almost done with my second coat. How are you How are yours coming, Willis? It's coming along. I'm mixing a little bit more white and my purple because it against this white paper. Actually this is a good experiment against this way. It does look very dark. So I might add a second coat that's a little bit lighter. And that's, that's one thing to think about too, is how you're color looks against white or black and white. It will look darker. If it's on black, it will look lighter. So it's very interesting. Little experiment here. Yeah, you can change so many different things about the way you perceive a color. You can make it look darker or lighter, like Melissa said, you can make it look more saturated or more neutral. You can make it look warmer or cooler and it's all the same color. Yeah, it really is very interesting how it changes or how we perceive it differently based on what's around it. Alright, I have my orange squares done. Let me know when you're ready to move on, Melissa, I don't want to rush you. Okay. I'm almost there. We each chose different colors on purpose so that you would be able to see how this works with multiple different colors. So okay. I think I'm okay. It's very dark, but that's okay. That's fine. Alright, so for the top square, we are going to paint the opposite are complimentary colors. So for me it's blue. For Melissa is yellow. Yellow. And make sure you take the color right up against the inside square. You don't want any white gap there. It's important to be able to see the colors right next to each other? Yeah. Definitely. So any guesses? No. Not you, Melissa, because I know, you know. Any guesses. What will happen to the orange when we put the blue around it versus when we put the red around it. Do you think that the one that's surrounded by blue is going to look warmer or cooler. We will find out as well. Alright, I'm almost finished with this square. Probably use a second coat too, but I think we're going to just let it go and we'll see if we have time. It definitely gets the idea across either way. Alright. So you ready for the next one, Melissa? I think I'm ready, yes. Alright. So in the next square we are going to paint the Analogous Colors. So for me it's red. For Melissa is makes sure if you're using the same brush, clean it off really well. In-between colors you don't want any. Definitely All right. So there's red for me. It looks very close to the orange, but you can still see a difference. It's really interesting. Yes, this one might take two coats as well. We shall see R-squares. Something relaxing about just painting in a square. Sometimes. I know. It's like the coloring book craze that happened for awhile was just relaxing to sit and color something and just fill it in February. Everyone so stressed out, we need to just have to do to chill out something that just turns her brains off for a little bit less. I don't have much problem doing that. You are lucky creature you I know Your brain is always working. It is, is if it's not trying to figure out some problem or solve some giant problem that I could never even think of solving. It is saying some song that I don't want to, that I don't want it to say it doesn't like to shut up. All right. I'm ready to move on to the third square. How about you, Melissa? I'm almost there getting close here. Okay. While you're doing that, Let's go ahead and compare on mine the, the two oranges so far. So if you notice the orange that's surrounded by the blue, feels brighter like more, everyone else feels more warm, like a really warm orange. And then even though it's the same color here, look at how it looks much LDL are much more. It's hard to imagine like an orange being cool, but it is kinda pushing it more towards that direction because it's surrounded by something that's so similar and the contrast, the blue mix, it feels super warm. So now for the last one and you do you see that the same thing happening on yours? It's interesting because the purple looks so gray next to the blue, because the blue is much more saturated and it feels a little bit warmer, but it's definitely feels gray and lighter. And then again, the yellow, it feels much more saturated. A little bit darker. More of an extreme color. It looks totally different between the two. If you just square, stare at the purple square. It looks like a completely different color. Yeah, same here. And it might take a minute for your eyes to adjust to that because you know, it is the same color. But if you didn't know, just imagine you didn't know and you looked at it. They feel very different. So now for the last one, we're going to use our gray and see what that does. Just this should go on. Much more opaque than some of your other Colors. Yes, it does. What do you notice happening once you get the gray on their minds? Interesting because purple can go gray very easily because you're mixing two different colors together. And then I also added a little bit of white to the purple. So it does look very gray against the blue, but against the gray, you definitely see that it's purple. It's not great. Yeah, it feels more saturated. Same here, my minefields super, supersaturated against the gray. And it's, another interesting thing is happening with mine. My gray is a similar value to the orange, like almost exactly the same value. And when you put, when you put two colors next to each other, or Color and a Neutral that are the same value, you almost get this vibrating edge between the two. It's like your eyes working extra hard to try and see the difference. And that is called scintillation. Your pro tip for today, central lesion is the vibrating edge that you get when to, to Colors are the same value that are right next to each other. Almost makes it like a little hard to look at. Yes. It's something to be mindful of when you're creating artwork. Either you can use it on purpose or you want to avoid doing that. Just depends on what approach you're going for, but something to be mindful of when you're mixing colors and putting two values next to each other that are very similar. Yeah, so interesting. So here we have it three different colors that are actually all the same color. Awesome work everyone. Okay, in our next lesson, we're gonna talk about finding Color Inspiration. You ready, Melissa? I'm ready to be inspired, Paul. Okay, See you then. 18. Finding Color Inspiration: Hi everyone, Welcome back to mastering the art of using colors. So today Paulina are going to talk a little bit about how to find color inspiration and what that means. So where do you find that color inspiration? How do you think about using it? We're going to talk about all of that today. Paul, are you ready? Let's get inspired. Okay, let's do it. Today. We're going to talk a little bit about how to find color inspiration. Color inspiration is everywhere. I think it's just something that a lot of us notice in nature or things around us or in photos were looking at artwork. Even sometimes the colors are just, they just worked really well together. And it's something that we can often take inspiration from other things we see in everyday life and use that in our own artwork. So colonized today are going to talk a little bit about how to find color inspiration and how to use it and adapt it to something else. So we're going to have two pieces of reference today that we're going to show you. Our first reference is a sunset. And I think it's sunset. It's something that all of us notice the colors. So it's something that's miraculous because the colors are so beautiful. And so I think it's something that we commonly look at and take inspiration from. We're going to look at this photo today and it's this beautiful photo of this sunset. It goes from warm colors, cool colors at the top. And there's just a beautiful gradation of color from that bright, bright yellow at the bottom. And that blends into the pink up into the blues. So I think this is something that everybody can take inspiration from and use it in a different way. So I'm now looking at a lot of these colors today and just decide how I want to use these colors to paint something different. So we're going to be painting a flower and imagining how colors can be used differently as we're painting our flower. So Paul's very excited, obviously. Ready to start going here. So alright, so the first thing I'm going to look at and think about is how I want to do the background colors I want the flower to be and kinda make some decisions. And that's something that you can think about as we're drawing here. So we're going to start sketching out this flower. And I'm just going to start just kind of sketching out the general shape. Just so I have an idea of how this is going to fall on my paper. I just like to sketch out the general shape first, so I have an idea of where it's going, where the center is, how large is going to be. We've been skipping this part in a lot of the other videos just so we can get to the heart. Yeah. Yeah. But I do think it makes sense to sketch this one out together because that is a lot of the time. That is when I am starting to think about the color schemes that I would want to use for a peace is when I'm just working with the pencil and it's just black and white. And you can just start to imagine filling it in with, with different color choices. Yeah, I think it gives us a chance to really think about the different shapes and how this composition is going to work, and what colors might work within this flower. And obviously this is just an example of how you could use inspiration for color and this can work for pretty much anything you're doing. Yeah. Most color schemes do come from somewhere. Yeah. Colors that are together you can get combined in clothing and advertisements and grit unit graphic design, all of that. The inspiration for this color choices could come from solely different places. Now you do a lot of commercial art. Melissa, do you do like mood boards and stuff? Yes, we do that a lot where we will take different colors and we do it based on the different seasons. So we deal with Christmas allowed or Valentine's Day or different things like that. And we take inspiration from what's always been there. So the traditions, but then we try to do something a little bit different to make it more exciting. So we might think about like, how does Christmas feel more moderate and what colors would you use to make it feel a little bit different without straying too far from what people think christmas should be. So I think, yeah, That's interesting. It's almost subliminal, like people who don't really think or know a whole lot about color will still respond when they see the work even though they might not know why, right? Yes. Or if propellers will know why. Yes. If color is off to you, people will respond to that. This does not feel Christmas or something we do. And the greeting card industry is we think about. So what fields Christmas to want feels happy holidays and happy holidays is more general. So we'll use IC blues and more winter colors for that. And Christmas is obviously red and green, but everything feels like it goes together because you recognize it as Something for that season. Well, art works the same way like you. You can reuse color palette in a, color palettes in a different way to make something feel a little bit different or a little bit more exciting. And it's something you can use in your, in your work all the time. Just think about using color a little bit differently, or how do I play with warm colors versus cool colors are what can I put in the background versus the foreground to make it a little bit more interesting. Yes, people can always tell when a color scheme is not working. Is that a lot from some of my wardrobe choices? Yeah. So I think that's a common one. If you paint in a certain color in your house and it looks really good in the store and you've got at home and you put it on your wall and I'm like, oh my goodness, that is not working at all. Yes. It kind of goes back to our last lesson to you in the relativity of color. It looked great on that little card in a hardware store. So many things can affect it, like the lighting in the room, the other colors in the room. Yes. Alright, so I have a basic sketch of my flower, Paul, how are you doing on yours? Me too? Okay, So let's just start thinking about how we're going to use these colors. So I'm gonna go with what I know of flowers and I know that usually there's bright colors within the flower petals. So I love the really bright orangey yellow in this sunset. And I really want my petals to look like a bright sunset. So I'm going to think about the center of my flower is that bright orangey, reddish pink color. And then my puddles will be kind of a bright yellowy orange. Okay. That sounds like a lovely plan. Beautiful, right? Yeah. Okay, good. That's great. I'm so glad you put that. And since I've got so many bright, warm, happy colors and my flower, I want to do something a little bit different and my background. So I'm going to take some of those more icy blue is that I'm seeing in the sky more towards the top and in the water and do kind of a light blue in the background just to contrast my sunset palette in my flower. So I'm going to start mixing up my background. So let's get some background colors in here. And then in our next session we can start thinking about painting the flower. We're gonna kinda split this one up into two. Yeah, So hang on. So this we will need it again for the next video. Yes, definitely. So what are you mixing to make your backgrounds? I have a little bit of my primary blue and my white. So I want something pretty light just because they don't want a ton of contrast between my flower and my background. I want it to feel a little bit softer and the way that this sunset does. Yeah. The colors to feel like they can go together, but I definitely want a cool background, so I don t think I'm just going to use just a blue and white. I want my color to feel a little bit more complicated than that, so just a little less primary. So I think I'm going to make a tiny bit of red just so is slightly has like a lavender cast to it. So it kinda like which I see that a lot in that photo to you. Yeah. I really like how the flu has a little bit of a red tint to it. It doesn't feel like a straight primary blue. It has a little bit more complicated than that. Which just means that there's a little bit more color. There's some color mixing going on there. It's not straight primary color. Yeah. I think that's something that happens when you work with color a lot. That's our pro tip for today even is that you find yourself being drawn to more complex colors. Wanting to not just use colors straight out of the tube, but create something a little more unique, right? Definitely. Just something that feels richer about a color that's mixed or you almost can't even tell what color it is because there's so many colors in it. Something interesting about that. So, alright, there's my background color. I have a little bit of kind of a purply blue tone. It's got a lot of white in it. It's not too dark. One thing you can do while you're doing this, if you want to paint a little brush stroke on your paper just to make sure this is the color you want, or put these colors next to each other as you're starting to paint. Just to make sure this is the color you're looking for, that can be helpful. Yeah, that's a great idea because it's just like we were just saying with the colored chips at the hardware store, it can look different on your palette than it does on your paper. Yeah. So when did you get it on the paper and maybe like, oh, that's way too dark. That's not at all what I was looking for. Yeah. I actually, I am anticipating that, so I'm going to add some more white. I feel like that's a common thing once you get the color on a white canvas or a white piece of paper like, oh, that's not what I was hoping for. Happens all the time. And that doesn't mean you're bad at color, mixing or anything. It just means that it's, you know, you have found the right one. Yes. Yeah. Yeah. And like Paul and I were saying some of the previous lessons is color is so relative. You can see it in one instance and it looks totally different when it's next to a different color. So great. So I'm just going to take this color and I'm going to paint my background and feel free to add as much as you want. And then in the next lesson, we will start paying that flower and mixing some more colors from our sunset. I can't wait. All right. We will see you then. All right, Great job everybody. Hopefully you understand and how to find color palettes out there in the real-world and use them in your artwork. So the next thing we're gonna do is talk about how to use that color palette that you've just been inspired by. Paul, Are you ready for the next step? I am ready. See you there. 19. Using Color Inspiration: Hi everybody, Welcome back to mastering the Art of Using Color. So today we're going to talk about how to use that color palette that we were inspired by in the last class. So Paul, Are you ready to keep going? I am ready, hey, let's go quantum, everybody. Okay, So today we're going to continue on our floral painting inspired by or sunset color palette. And we have our background all painted. And Paul and I went ahead and mixed up two colors that we're gonna be using for our flower. So we have kind of a yellowy orange color here that we're gonna be using for our petals. And then we have a pinky, orangey red color that we're gonna be using for the center of the flower. And then I also just had some black and white and a little bit more red out just in case, I mean it one thing I did not think about is the stem. So I think I'll probably do a darker blue for this stem just to keep within my color palette. So I'm gonna put a little bit more blue on my color palette here for what I need that. And we can start painting. Paul gets very excited to get to start painting. If you haven't noticed by now, I get a little impatient, right? So I'm going to start with those petals, actually. Paul, What are you starting with? Start with the Sterling with the petals to look at us. We're on the same page today. Can you believe it? I know it's shocking. I just have one color mixed for my petals, even though there is a little bit of a range of value in there. So I'm just going to paint that on here and then I can go back and add rendering or some darker values once I need it. But I think getting that color in there as a nice first step just so I can see how it's relating to some of the other colors. You can paint this how ever you want. You don't have to do it the same way we are you doing. I'm to use the same colors we are. Just the main goal is to be intentional about your color choices. Yes, exactly. So if you wanted to use a different photo as inspiration for your color palette, feel free to do that if you have something that you've collected that you really liked the colors, or you have a photo that you took, or just something you've pulled out of a magazine or maybe some famous piece of artwork and you just love the colors that they used. Maybe you have a Monet painting and you just love the colors that you used. Feel free to make your own color palette. Yeah, I think it's so helpful when you're trying to conceptualize a piece of Art and you know, you wanted to feel a certain way. Sometimes it's difficult to know exactly what colors you should use to achieve that when you're just working with a concept that's in your head. But if you can find something in the world that has a color scheme that elicits that seem feeling from you, then it makes it a lot easier. And that's really, I think the main, the main goal of what we're showing you with this, with this part of the course. Yeah, So I think we've gotten through the part where we talked about what color is and what colors work together and all the different terms and vocabulary that you can use to describe color. And now we're getting more into the phase where we're thinking about intentionally different ways to use color and different ways to think about it, where you can put your own spin on it and use what you've learned to make your own decisions about what works with color for you. I think it's not a copyright violation to use someone else's color scheme. Nobody owns color. Yeah, you can't own red and blue and yellow mixed together is just there's so many different ways to use Color. I think as long as you're using it differently in your composition is different and your overall painting approaches different. You can use anything you see in the world as far as Color and be inspired by it. Yeah. I think nature is a great place to be inspired by Colors. So that's why Paul and I decided to use this sunset Palette today because it is something that we're all familiar with. An, I think it's hard not to be inspired by the Colors and at sunset. And it does kinda have a universal starting point because just about everybody has seen a sunset and has certain feelings and emotions connected to that. And so you can borrow from that color scheme, then you're going to tap into that. And most people will relate to it, even though they might not know that they're looking at the color scheme of a sunset. It'll just give him that feeling, right? It's kind of sneaky. I like it. But it's definitely a way to be more intentional about your color choices and the Colors you're putting together. Just a way to use inspiration and a different way. I think normally you would be inspired by something subject matter wise or layout wise. Like, I wanna do something that looks like that instead of just seeing a color palette and deciding to use it in a different way. Yeah, gives you more, more ownership and control of the image. If you're not just trying to copy what you know you see. But you're choosing colors that you want to use, right? Okay. So I'm just blocking in my color here. I have my pedal Color and then the center of my flowers, I'm just going to work on my stem now. A little bit of dark, Neutral Blue. Wanted to kind of blend into the background there. I really want the flower itself, the petals, and the color in the center of the flower to be the focal point. I'm using some cool Colors on the stem and the backgrounds and kind of make those recede into the background. I like to be the focal point to in my life, so I just wear very warm Colors and then stand against Neutral cool tones all the time. That's all the time, yes. Sounds like a Plein. Yes. You could just have your husband Where did the opposite view, which is actually probably what he already does. I don't have to work hard for them. Yeah. It's kinda like the one that we did with the orange against the different colors. I just get to always be against gray. So I Paul, it's perfect. Why it all works yet or are you hanging out with you for that matter, you as we're blocking wait to do. Yes. Ten is probably where it's more color than I do. You see how I intentionally choose the people in my life? Falls very intentional. That was color choices. Very yeah. Where the Wrong one. Sorry. We can't be sorry. If you dare to try and compete with me for attention over well, that is not too far. Alright, so I got my main colors in here, so I am just going to go back and add a little bit of a darker tone to some of my petals that are underneath. Get those to recede into the background a little bit. One thing to be careful about when mixing any Colors with yellow is it will go very green plane. So you might want to add a little bit more red just to neutralize it a little bit so it's not too green, It's a little bit more warm. Cool. We're just going to add this darker color to some of my petals. And then I think go add a little bit of a shadow to the center on my flower and we will be about done. We are turning out a lot of paintings in this course. We have a lot of them are very quick, just practice paintings, but you are welcome to go back into any of them and complete them. I know 10 min is a very fast quick little pro tip, saved them all, put them in little frames and then have an Art garage sale at the end of these 31. That is what Paul is doing. I'm sure. Definitely. Paul knows a little Art garage sale touch-up line work and some of my petals here just to define them a little bit more. A little bit of a shadow where some of them overlap. Yes, this one's going to be a big hit at the garage sale. I can feel it's the sunset inspired floral painting. What more could people want that will sell it. That will give them so many happy feelings? Yes. Great. And then on little more, one little touch on the center. And we are going to make this slightly darker color for that shadow. The center. Solving a little black into my orangey red. A little bit of detail. Okay. This one. All right, Great job everybody. I think we've made some really great paintings inspired by some beautiful sunsets. The next thing we're going to talk about is local Color. So Paul, Are you ready to jump into the next one? I'm jumping 20. Local Color: Hi everyone and welcome back to mastering the Art of Using Color. And today we're going to be exploring a concept called local Color. Your ad to get started, Melissa, I ready to find out more, Paul? Alright, follow me. In this lesson. We are talking about local Color. And local Color just means that the color doesn't like to get around much stays put. So when you're painting something and today we're going to be painting this apple. We are going to keep the color is very much contained within their own little sections. And then we will be reusing this painting again in the next lesson and branching out into different concept. But for today, we're just going to kinda keep it very simple. I've already sketched out the apple on my paper and I put out red, yellow, blue, black, and white. So little bit of everything. But what I am going to Mix is I'm going to start by making a few different shades of red just by adding white. And then maybe I'll do one or two with black also. But it's all just going to be read. Even though I see other colors in the apple, if you look, you can see yellows. You can see places where the blue-green from the background is reflecting. We're not going to we're not going to pay attention to any of that right now. So I'm just gonna take me to leave some of my pure red because I want to be able to use that to. And then I'm just going to make a few different piles on my palette. Maybe three different piles here where I can mix different amounts of white and black with them. They get some different tints and shades. Remember talking about that? It's back. So maybe like a little bit of weight in one makes it just a little bit pinker. Local Colors. One of the simplest ways of thinking about color. So color just means if you break something down to its simplest color, that is local Color. So this guy is blue, or an apple is red, or a lemon is yellow. It's a very basic, very basic, basic way of looking and thinking about color. And it's something that can, stylistically, if you're painting something realistic, oftentimes you want to mix a lot of different colors in there because that's how light and things work when we look at them in reality. So local Color can sometimes hinder you in the way you think about color or the way you approach it. And so Paul and I wanted to make sure everyone understood local Color. And in the next exercise we'll talk about something a little bit different called Perceived Color. And I think this is a good exercise to just begin thinking about color in a more complex way. Absolutely. I think the way that we are going to paint this today is probably similar to how maybe a child would paint an image and there's nothing wrong with it. There are definitely times when local Color is completely valid and might be the way you wanna go, especially if it's more of a stylized thing rather than realism. But we're going to use that as our starting point. But then we will, like Melissa said in the next lesson, get a little bit, let the colors mingle a little bit more. Alright, I have my different shades of red here. And now I'm going to go ahead and mix up a couple of different blue greens, the background. So I'm using mostly blue, little bit a yellow. Let me mix that together and see what we get. That turned very green, didn't it's okay. We're gonna take some of that, put more blue because that got little overboard. He has very little yellow and blue, green. Yeah, there we go. That's pretty dark, which is good because there is a shadow. Let's keep some of that. But then I'm going to pull it over here and mix white with it to get that lighter shade for the rest of it, the background. Okay, Here's our Colors. I'm gonna put a little more white in there with a pretty Light. Okay, let's do this. I'm going to start with the background. Start with the lighter one first. You can start wherever you like. But just remember, this is what painting local Color here. So the Columbus or not mingling They are keeping to themselves. That introverts? Yes. Which is okay. Yeah. They might go to the party, but they are not talking with anyone. They are hanging out with a dog. Yeah. Exactly. That's why I go to parties is just put the dog just like before. You can only have to paint out as far as you want. You can paint all the way to the edge of the paper if you feel like it or you could just kinda keep it right around the subject like I am. Yeah. So just to reminder when your painting that Apple, apple is just read At this point. Though, hopefully by now you're seeing other colors when you look at it. Yeah. That background is just blew up. And like Paul said, you feel free to mix black and white in any of those colors. Because it's still the same color, It's just different tints and shades. So that's that's allowed. Listen to us making all these rules. I know there we can do whatever we want people. You can, but he out for the sake of this exercise. Apollinaire doing exactly. We have no room for it over you though you feel free to do well. Hopefully you're willing to play with us and that's what we're saying. But I'm, It goes if they've made it this far in the course, That's probably true. Yeah. Or at least just watch us, you know? Yes. Alright. And I'm putting I'm going with that little bit darker blue-green for the part underneath the apple. So we'll have that shadow. Just kinda blending it in the other coli. Okay, Now I'm going to clean up my brush really well. Especially important when you don't want the Colors to interact with each other. Right? Now, I am going to start by just filling in the whole apple with red, that just basic primary red. And then I'll go back and pull out a few highlights and push, push a few shadows. We've painted a lot of food in this class. I know it must be hungry. Here's something. I don't know. Yeah. And if the background is still wet like mine is, even when you're painting along that edge, you have to be really careful so you don't drag any of that into it because it will just want to get in there. Yes. You can always wipe it off. If it a little bit does. Okay. Just about got the apple blocked, then it's almost like painting something with, so think about the Apple painting it with a red filter over the whole thing. Yeah, exactly. You still get highlights and shadows, but it's all the same color. Okay. Then I'll just use a little this darker color I mixed for now to put on the stem because I just like to get everything covered. Come back, work on that some more. Alright, now, let me using that dark. Actually, I'm just gonna go ahead and put in the darker shadows that I see on the Apple. So I, especially along the sides here, the bottom, it gets pretty dark. Looking beautiful. Now my reds already dried, so I'm just gonna get a little bit more red on my brush so I can blend in. There we go. We'll do the same thing with some highlights. And then that'll do it for this lesson. Okay, shadows in. I'm gonna go for like Colors here at the top. And it definitely, you can tell you no, we do need some other colors eventually because he painted on there. It's going to look way too pink for what you're seeing in the photo, but that's okay. Yes, that's totally okay in this step and that's part of what you're supposed to experience using local Color because you will definitely see the difference. And our next step, but pay attention to how this feels, just using one color instead of mixing other colors in and does it feel like an apple? There, there are a lot of artists that do like to kinda start a painting by just blocking in color like this and just using more of a local Color approach. And then going back and glazing in or painting in other colors. So that's definitely valid way to work. It lets you get some color on there and then you can just kinda build up from there. Alright, I've got my Apple. And again, hang onto this for the next lesson because there will be a part two. Okay, Great job, everyone. Now hang on to these paintings for the next lesson and we're going to continue, but this time working with Perceived Color. You ready, Melissa? I am so ready, Paul. Okay. See you then. 21. Perceived Color: Hi everyone and welcome back to mastering the art of using color. Today we are going to continue with our Apple only this time we'll be adding more color to it that we perceive. Are you ready to start doing some perceiving, Melissa? Hi, right, Paul, you make it sound so magical. Okay, Let's go precede you. And we're back. We have our apple with us again. And we are going to dig a little deeper this time into the colors that we're seeing. Perceiving, I guess would be a better word because today is all about perceived color. So we have our local color established. We have our red apple, we have our blue-green background. But now we're going to take it a step further. I'm still using the same color palette that I was in the previous lesson. I have my different shades of red, darks and lights. I also have different shades of blue, green. And then I have some extra yellow and white and black on my palette. Also. We're going to just kinda move all around in the painting today. And I want you to also feel free to deviate from what you see me doing. Really study the image and see what colors you see where and try to match them on your painting. That's going to be the best, best way for you to approach this one. But you can also certainly follow along with what I'm doing to, but it's important to have that critical, I think and compare European painting to the reference photo. So for me, the first thing that I want to do is to get some of those yellows, oranges, the other colors into the apple. So it's not just this bright red thing. I'm going to actually take some of the like pinks that I made and separate them and add a little bit of the yellow in so that I'll get kinda like light orangey, peachy colors. Yeah, it's funny how anxious I am to add yellow into this apple. Like it drives us crazy that it's not the right color. Yeah, I guess so. Okay. I want to fix this pink apple and not make it pink. It is funny though, because that is how we perceive it. That's what we see when we look at the apple. And so Paul and I are so anxious to fix it because this is not what we see, local colors dot what you see. It's kind of a basic Understanding, the most simplest, simplest understanding of what color is and how it appears. Yeah, it's not always reality. I think it can be frustrating for beginning artists because we tend to want to paint things the way that we think that they look instead of what we see. And so the temptation would be to just paint in Apple different shades of red. But look at, look at the difference it's making already just putting a little bit of those warmer yellowy, orange, peachy colors here into it. There's very little of this apple that's actually just like pure red. There's a lot of orange, There's a lot of creamy yellowy color paint. What you see, not what you know, there's your pro tip, but everybody says that, but it's harder it's harder to do than you think you really have to get out of your own head and just look at the reference a lot. Yes, definitely. And that's true for any object that chair painting and it's something that Paul and I talk a lot about, is just really look at what's in front of you instead of what you think is in front of you. Yeah. It's two different things. Usually. Break it down into tiny shapes are tiny bits of color. And what are you seeing in those small parts? There is something in there, there definitely is. To use some of the things that you already established in the last round and just add to it. That's like policy and some people approach it that way. So people will start a painting that way. You know, it can be very overwhelming. When you are, when you're painting something and you really start being able to perceive color. Well, you, I've seen this happen with a lot of my students where they start to feel very frustrated because they're looking at a reference and they can see that there's so many different colors, but they have no idea how to mix it or how do I make this thing look like that color? And it's usually, the answer is that it's not just a color, it's a bunch of colors. And you might have to do several layers of painting before you get all of these colors on there. So having a strategy can really help doing an underpainting or doing a kind of blocking in the local colors first is one way to do it We're doing a value underpinning, but color can be overwhelming when you really start seeing it. So that's not a bad thing. And after taking this course, you might find that you are feeling a little bit more overwhelmed sometimes about color, but you're seeing more color. And I just wanted to assure you that that is not bad. That's a good thing. Just means you might need to take your time and do a few more layers and until you get all of the different combinations that are there, because it's usually not just a color. It's about the combinations locally, right? Right. And a lot of it is building up two colors. So layering colors, especially in acrylic, you can layer a lot of different colors over each other and it will, it will look so much better because you will start to see underneath certain layers and certain colors will shine through and certain areas it will actually look more realistic. They'll start to see some of that layering. That's actually one of the things I'm doing right now. I noticed the parts of this middle part of the Apple. Ten of the red takes on a very orangey quality. Instead of mixing and orange on my palette, I'm just glazing a little bit of the yellow on top of the red and it's turning orange for me. So take advantage of what you already have there. Yeah, definitely. Then down here along the bottom edge and even along the sides, that blue-green color from the background is starting to reflect into the apple a little bit. So I want to capture that to clean off my brush. And I'm going to maybe start by doing that as a glaze. Also. Take some of this, really thin it out with water. And I'm coming along this edge. Hope you know what, That's too light. I'm going to use the darker one, the shadow in first. It's a pretty dark edge. There we go. You see this a lot with objects that are rounded, especially the edges will start to pick up a little bit of whatever colors in the background. It's like reflecting that color. If you've ever painted this way before, it might feel weird to be painting clean onto an apple. An apple that's not a green apple. Exactly. I read that. Well, that's great. But it really does. It really is some, it's a complicated color. So Paul and I talked about complicated colors a little bit before, but there are a lot of different things mixed in there and it might have a blue cast to it, but it might be, it might still be a red. It's playing around with what works down there. And that's why Paul mentioned glazing is because that's kind of a slow way to build that color in there without just adding straight blue. Because I think you did that, it would stand out for sure. And that can be a fun thing to do to like if you want a really dramatic, exaggerated style type of painting and I push those colors, relationships farther. But if you want to stay more towards realism than building it up subtly, probably the way to go. Now that apples, it makes it look so much more around. Just from doing that. Yeah, it really starts to come to life as you add more colors to this. Yeah, it's kinda cool. Color is one of the main elements that can really help create the illusion of volume. And in a piece, value is another one, but color also does a lot. To kind of go together. Yeah. You cheer. Color can have value. It can be darker or lighter. So that's something you want to think about as you're adding to this. And then I'm just going to put a little bit, I'm going to mix some of this darker red with some of the orange so that I get that stem color. It's kind of a oranges brownish color. Paint that right on top of what I already have on there. When I'm painting with acrylic, I like painting lighter highlights on top of darker paint. You can't do that with watercolor, but with acrylic and oil. You can. And I liked the way that looks. Right. I think we're just about there. I'm just going to put a little shine. The middle part here. And then I think we will have our apple uniform reflection. This is the kind of thing that you could certainly keep going with two there a lot of details that I skimmed over. All the little, you know, all the little dots. There's a lot more texture than I painted, but I was able to get the essence of it and it definitely feels a lot more realistic now that we have this other colors in there. But feel free to keep going and painting on this as long as you want to you. Great job everyone. Alright, in our next lesson, we are going to be talking about and even different way of working with color and that is imaginative color. You ready for that, Melissa? I am so ready, Paul. Alright, I'll see you there. 22. Imaginative Color: Hi everyone, Welcome back to mastering the Art of Using Color today, or we are going to use our imaginations and try color. That's maybe a little bit different than what we've been doing. A little bit more dreamy and imaginative and phon, follow anything, sounds dreamy. Alright, let's do it. Alright, we're painting these lovely clouds. And Melissa and I are each using different colors that we have just kinda invented, different color schemes that we've invented. And so we want to encourage you to take a minute and look at the black and white image and choose a color scheme that you want to work with. It could be like one of ours or you could come up with something of your own. So what colors are you using, Melissa? I have a Palette of kinda like a bluish green for the sky. And then I have kind of a pinky peach color and some of the clouds Mix was some white and maybe a little bit of darker blue. Lovely. And I am using lavender is pinks and yellows to Easter. And we're just going to dive in and start painting and you can watch both of us. You can also ignore us. What we've been through a lot of different exercises now that show you different ways of coming up with color schemes. And now you just get to kinda put that to practice. The color scheme that works for you. I think we've given you a lot of different ideas on how Color Palettes work together and what colors can work. So choose the one that works for you. And here's your pro tip. We're just going to get it, get onboard right from the start here. You, when you're working from a realistic image, as long as you can capture the values, meaning the lights and darks and how they're arranged. You really do have a lot of freedom to be experimental with color because it will still read as what it is supposed to be as long as the values are working. Okay. Yeah, definitely. So keep some of those lights and darks in the same places, but they can be any color you want. And I think Paul and I have talked through how to mix different tints and shades of different colors and how to add white and black to make something lighter or darker, or adding other colors to add a little reflected color so you can keep all that in mind while you're painting this today. Exactly. What kind of reviewing everything we've already done. Putting it into practice. You've earned a nice FUN, relaxing chill lesson here. Paint some happy, fluffy clouds. Painting clouds because you can be very brushy and things don't have to have clean edges or anything. Yeah, I actually really enjoy painting clouds. There's a lot of different color shifts and interesting things going on that you can play with. You know, one thing to think about why you're doing this as the temperature of the color and where it could get a little bit cooler and where it could get a little bit warmer. And playing with that a little bit. Definitely a lot of times in this, not always true because it depends on the kind of white, but a lot of times the shadows will be a bit cooler and highlights would be a bit warmer. But also, you can do the opposite of that sometimes to just depends. I think the nice thing about what a pain, happy clouds Every day. I was going to say the nice thing about clouds is the color is always shift and change. And, um, there's warms and there's cools and there's a mix of different values. You get a lot of different things going on in clouds. So yeah, do you can experiment with a lot of different things and still make it look like a cloudy sky. There's a lot. It's it's kinda like Elaine. I mean, it is a landscape relates up to it's like a cloud scape, but it has all the same elements. There's depth. You have atmosphere, you have the effects of light. Not just big white fluff balls. There's more to it. Yeah, there's a lot going on there. Hello, you can get all my shadows and first, so that's what I am doing and then I'll start getting lighter. And Brady, I can write for the different colors and start putting those in. Try to establish sounds like a reversal of what you would expect from the two of us, does it? All right? I'm like like having a strategy and you're just going crazy with color and will happen to you. Yeah, I think that's, that's what clouds do to me. Wow, Okay, we're going to paint more clouds all the time. I think one thing that is FUN that I enjoy with painting clouds is trying mixing some of the Warm Colors you have Wix with the cool Colors and see what you get. I have some of this lighter peachy pink color and a slightly darker aqua color. And I'm mixing them together to get a more neutral color and then mixing that in here to see how that feels when I put it next to some of the brighter colors. I think you can really set off some of the bright colors with some of the more neutral colors, which is one of my one of the things I enjoy the most about playing with color. Yeah, yeah, it's kinda like even just using a few different colors, you can make it feel like a very robust color palette by starting to mix them together, it won't feel like you're just using two or three colors. It will feel almost like it's the full range. I think this is a good time to experiment to see what happens when you mix colors that you wouldn't ordinarily Mix? Yeah. Always a good time for that. Yes. I know one thing that a lot of my students say to me is that they're always so afraid of wasting paint. I've seen them like putting out the tiniest little drops of paint and then being afraid to experiment with mixing colors because they don't want to make something and have it not turn out right and then feel like the color is wasted. You know, it's not wasted if you are learning and experimenting and trying things and whatever you end up mixing, you can always adjust it and make it work and we'll do, we'll cover that in a future lesson. But don't, don't be afraid to put out enough Color and to use it. I mean, that's what this is for. Yeah. And I know it's expensive. I know it's hard, but you do not have to buy the expensive paint. You can definitely get away with the cheaper paints. In fact, I'd recommend it, especially if that will help you to feel more comfortable using it. Yeah. Hey, Paul and I tend to use the cheaper paint for things like this where we know we're just experimenting or it's just a tutorial. Yeah, there's no shame in that. It yeah. The biggest difference is just the cheaper pain is usually a little bit thinner, so it might take a couple coats sometimes depending on the color, but otherwise, you know, it's a great city, sensible. Yeah. I'm gonna go for my super warm highlight color here in this light spot. Just by how you arrange the colors, you can really make it feel like there's light coming through. I love that. Yeah. You can go right on top of one color with another color with Acrylic. You don't, don't feel like it's once you've painted a spot, you have to be done with it. You can. Acrylics all about Layering. Yeah, that's the Fun part of it. It tends to look better when you layer it, so don't be afraid of that. Yeah. You can do different levels of opacity like paint some area. If your painting over top of something, you can paint it really thin, like a glaze are a wash and the other information below it will still show through. And this is definitely a painting where you can use your brush strokes to your advantage. Yeah. How's it coming there, Melissa? And it's getting there in definitely playing with color and having FUN over here. Need. I don't think I'm going to paint the little moon in there. I don't run out of time for that. A little abstract at this point, but that's okay. Yeah. Well, this is going wild. I am going out-of-control over here. Gas Melissa. This is what learning about color theory was used to be, so in-control and now C is going crazy. Just, I'm just about them here. Layering in a little bit more on my cool Colors here. This is definitely a painting you could keep working on and building on top of and playing with different colors. Oh yeah. Really cute, fluffy clouds. Yeah. Getting clouds. Alright, beautiful job everyone. Hopefully you enjoyed using your imaginations and trying a different approach to color. The next thing we're gonna do is examining a mood and how color affects it. Paul, What do you think? I am ready for that? Okay. I am in the mood. Let's do it. 23. Color Mood: Hi everyone and welcome back to mastering the Art of Using Color. Today we are going to be experimenting with how color can affect the mood of your piece. You ready to play with some moody pieces? You know, I'm always ready for that. Alright, let's do it. Are you ready to create some mood, Melissa? I'm ready. Yes. Hi, I'm in the mood. I am in the good. So we sketched out this cute little palm tree and you, Melissa and I are both going to show you are versions as we go along because we wanted to use two very different color schemes to show you how that can affect the mood of the piece. So also, what mood are you going forward? Mine is going to feel more calm, serene, kinda right after it's rained, it's in the morning. Very relaxed. I think cool Colors often have that Affects, feels more common. Kinda less energy, just kinda serene, I guess in mind is going to be the opposite of that. Mine is going to be bright, warm Colors. Ready for the disk go. Sorry, D yes, pause trays ready to party. So the Colors I have on my palette you can see are a lot of the warm tones, reds, yellows, and then I lightens them some to make some pinks and creamy colors. But then I also put out some cool Colors to I have blue, green, and purple, so I have a little bit everything. So mine is just going to be a color explosion. You ready? Ready, and I'm not surprised. All right, Take a moment and sketch out your palm tree. Choose your color scheme. Think about what kind of mood you want your piece to have. It does not have to match ours. Then when you're ready, start painting. You can achieve a mood in, in a few different ways. You could go with different colors, you could go with different values. So maybe everything is a little bit darker, or maybe everything has a little bit lighter. So it just depends on how you want to achieve that. And they're definitely different ways to go about it. I think it's an interesting thing to think about when you're creating a piece of Art. Because a lot of times when people are first starting out, you choose a reference to draw or paint. But you might not always think as much about how is that going to make someone feel when they look at it. It's more about just like the technical exercise of recreating whatever is there. So now, using your understanding of Color, you can actually manipulate people's minds. The Tower of manipulation. It's the best responsibility or not. Abandoned. Yeah, with a bandwidth. That's my that's my approach. I'm just painting kinda right over the palm tree for now and then I'll go back and bring it out on top. Yeah, definitely got my bright pinks. And I'm going to do a gradient in the sky where it will go from the bright pink at the top to more of a yellow at the bottom. Very tropical, colorful vibe. Mine's a little similar, but it starts with kinda cool yellow at the bottom in it feeds into a kind of a greenish blue, aqua color into blue at the top. Will hopefully. One thing to think about two, and you're trying to achieve a mood through Color is think about how much contrast you have, your image. You know, depending on how you do it. What's your values are? If you have, you have darker values and a little contrast, you're definitely going to have a darker mood. Moody, and deep. Yes. If you have a bright colors and a lot of contrast is probably going to have a lot of energy. I feel like we really did a good job of each of us choosing the correct mood to fit our personalities. Yeah. Yeah. So choose the mood that fits your personality and what you'd like to look at. Yeah. And you can paint more than one also. I think that's always a FUN thing to do with exercises like this. Trying out different moods, same subject It's kinda like Painting different rooms in your house. You probably want to share your bedroom, just feel one way and your living room to feel a different way in her kitchen to feel different ways. So you pick different colors depending on how you want to feel every day when you're in that room. Who? Just about done with my sky. Know my little gradient here. And then I chose have a grayish blue and Neutral Blue for my palm tree. I didn't want to go too dark, but it's definitely darker than my sky because I wanted to stand out, but I still wanted it to feel kinda calm and soothing. Who? In the other hand, I'm gonna go for a lot of contrasts with my palm tree. So I'm going to start by just painting it all with this dark purple. Then I'll go back and add some more stuff on top. Let me just kinda get a base coat on there for now. More of a feeling of being kind of silhouetted. Oh, yes, this palm tree is ready to party B minus ready to take it out. Answer is that in a beach chair and not do anything for at least a few hours. And pause, palm tree keeps coming over and try to convince it to go somewhere. Metaphor, is this a metaphor for, for instance, maybe inspired by true life experiences. I don't know. Maybe it's just a little come on you a palm tree. Here's a pro tip for you for this, for this lesson. One thing you can do once you've made a sketch of what you want to paint. If you're not sure about the color scheme, I'm going make some copies of it just like, you know, xerox copies or scan it and printed out a few times and then just use a quick medium like colored pencils or markers or something where you could kinda just roughly try out different color schemes on the copies before you go to your real piece. Where if you're savvy with digital tools, that's kinda how I do that. I will play with color schemes in Photoshop before I started on a piece? Yes, just helpful to see how the colors are going to look together and how it will make, how it changes the piece, How It makes you feel. Definitely. You could probably do it on your phone to after you paint something, you could take it into your photo program and edit it, play with different filters and see what you like. Maybe go with something a little bit warmer and see how that feels. Yeah, for a little bit cooler and see how that feels. It's not cheating, It's taking advantage of the tools that are available and go for it. Let me get this trunk on there and then if I have time to a few little accent colors on the tree, how is your Moody tree coming? Is coming along very nicely. Does it need a friend? Now? It likes being by itself. It enjoys its own company really. Holidays for forage. Alright, I'm just putting some accents of this really bright blue, green and some of us, please. Okay. Well, a little bit of red into the trunk. Few spots. Oh, yes. Just kinda brings it brings that area to life a little bit. Yeah. You are having a party over there and I can hear that. I can hear the techno beat blasting in just about finished with mine. How about you? Yeah, I think so. I think is a very chilled out palm tree versus versus my my little party tree on the go here. Awesome work everyone, you did it. Okay, in our next lesson, we are going to be tackling a question that a lot of Art students have asked us over the years. How do you Match Colors? You're ready to answer them. Finally, Melissa, I'm ready to try my best, Paul. Okay. I'll see you then. See you soon. 24. How to Color Match: Hi everybody, Welcome back to mastering the Art of Using Color. And today we're going to talk about the very popular color matching. I know this is something that trips up artists all over the world and something that is always tricky for me and Paul, I think, right, Paul. Oh, no, speak for yourself. I've totally okay. The policy expert, but unfortunately I'm going to be teaching this section where it all in trouble. Really great. We will figure this out together and we will do our best I color matching. I'm ready. Okay, let's do it. Today. We are going to talk about color matching. All right? What do you think? I think that this will be a great job for you to teach us. All right, so I had my palette here, I have a piece of paper. So we're gonna do something a little bit different this time. We're not going to do a finished painting of the reference that we're looking at today. We're going to look at this. We're going to analyze the Colors and we are going to decide which colors we're going to Mix. And do little swatches on a piece of paper to see how close for getting. Excellent. Then if you feel inspired and want to paint the bird afterwards, you absolutely can. But we wanted to focus on the Mixing this time. Yes. Yes. Alright. So the first color we're gonna talk about and what one of the things that's really important before you start, anything that you're going to paint as analyzed, the main colors in whatever you're looking at. So the main colors I'm seeing here are the balloon, obviously in the parent, the yellow. It has a little bit of black and white and then some green on the top of its head. So we're going to focus on mixing some of those Colors and try to get as close as we can to a medium tone for each of those. Alright, so the first thing I'm going to approach is this Boolean, because they feel like this is the color that really stands out to me. And I want to get this right. So whenever you're approaching color matching and mixing paint, you and decide what your base color is. So obviously this one is blue. So I want to take out a blue that I have. I had my primary blue that I use for everything. But if you feel like you have a tube of paint and the blue is closest to this color blue, I would choose that. Whatever blue you have, you can always mixin, get it to the right blue. But I would choose. Make it easy on yourself. Start with the one that's closest. So I'm going to put out a little review here on my palette because I know I'm going to need that. The next thing I'm going to analyze. So if I'm doing a medium blue, I don't want it to be really dark and I probably don't want it to be as dark as the paint that they just put out on my palette. So I know I'm going to need a little bit of white. If I'm going medium, I don't want a ton of white. I don't want to overwhelm the color with white. I just want kind of a 50% blue, not too dark to light. So I'm going to add a little bit of white and see where that gets me. Okay? Yeah, it's always better to start by adding just a little and then you can always add more if you need to. Yes, definitely. And that's true with any color that you're Mixing. It's always an experiment and it's always a process. So you're going to start with something, you're going to add a few more things and you're going to see how close you can get. So I'm going to start with this blue and this white, and I'm just going to mix these together and see what happens. I have my Palette knife, I'm working on my disposable palette paper just because they feel like that's easiest to see for everyone. But if you feel like you want to work with a different to the appellate, that's fine, too. I'm going to mix this up until I get something that feels like it's not streaky. It's totally mixed. The two colors feel like they're blended together. And then I'm going to take another look at it and see how close am one thing you can do, and this is a pro tip. Something I do in my paintings is I will print out my reference. And as I'm mixing colors, I actually do a swatch of the color on top of the print to see how close am that is a true proved to break. It's if I'm trying to match a certain skin tone and I'm just not sure if I'm going to get it right. I will just paint on top of it and see how close you are and then you can tell which direction you need to go. If you need to go warmer, if you need to go cooler. Alright, so I have my blue here and I'm looking at my reference. I'm looking at the bird's wing. The main color that I'm seeing, and my blue feels a lot brighter. It doesn't feel as smart as neutral. So that means I need more gray. So one way you could do this is that a little bit of black. Since we already added some white, you can add some black and that will probably tone it down a little bit. You could also add some orange because that is a complimentary color. So you could go either direction with this. If you feel like your blue needs to go a little bit warmer, I would go with the orange if you feel like your blue is already pretty warm and the hue or the color feels like it's right already. It just needs to go a little bit more neutral Go with the black. So I'm going to choose the black. And I'm at a tiny bit not allowed at all, just, just a little bit. I might even add a little bit more of the white because then you're essentially adding gray. And I'm going to try that. Okay. Sorry. I just got to say this is the process that I go through, whatever I'm mixing a color and I'm obviously not talking to myself as I do this. I'm just kinda taking note mentally like Where am I, Where do I need to go? How far away? Mi all of that. It's worth taking the time to do. It's something that most artists want to skip, especially when they're first starting out. They just wanted to put out a few colors straight from the tube on their Palette and start painting. But you end up with such a more rich and diverse color palette if you really take the time and premix your Colors. Okay, so now I have something definitely more Neutral. It's feeling to neutral to me, so I'm going to have a little bit more blue. It's also feeling a little too yellow. I might add a touch of red. And that's, that's the way you're constantly going to examine color. Am I going in the right direction? So if something feels like it is more on the yellow side, so more on the green side with flu. I want to push it more on the purple direction and purple, I'll get purple by adding some red. So that's always kinda the thought process. I think it's a handy to still have your color wheel nearby so you can look at it as your Mixing Colors. And if you see it's going too far one way, then you can look on the colon wheel to know what you need to add to get it to go back. It's like you're never it's never a lost cause when you're mixing paint, you just have to keep taking baby steps until you get it to where you want it to be. And I do think the Palette knife is really useful tool when you're mixing color because you can just grab a little bit of Color You Like. I could put some red out of my Palette and just grab a little bit with my knife and just slowly mix it in until I get the color I want. Yes. I do think the red is helping here. What I want. A little bit more blue, and then I think I'm pretty close to what I'm looking for here. You see even an expert like Melissa just takes a few tries to get us. It doesn't mean that, you know, you're messing up. If you combine two colors are three Colors and they don't turn out exactly like what you were expecting. You just have to keep going. Yeah. It is definitely a process. And as you're working on this, if you have a little bit of paint on your knife and you want to hold it up to your screen and see if it's close. You could do that too. Sometimes I will do that and just look at the two together. Alright, so I think I have a blue That's pretty close. It's kind of a medium tone blue might be something that I would use more in the shadows is the wing goes down towards the bottom of the image. So what I'm gonna do now that I have a blue that I like, I'm going to take my brush and I'm just kinda paint a little swatch on a piece of paper. This helps me see what the color actually looks like once it's on a white piece of paper. Okay. Gorgeous. All right, so the next thing I'm going to focus on is my yellow. I'm going to clean off my knife for sure. That's important. Yes. Looking at this yellow, it is very warm. It does not have a lot of green tones in it. So I don't want any of that blue left on my knife. I'm going to look at the color in my tube of paint and I want to see how close it is. I'm just going to compare visually. So my yellow is pretty warm, which is good because, you know, the bird's feathers are very warm. I'm going to start with the yellow. I'm also going to put out a little bit of red so I can grab a little bit on my knife because you won't need much. Reds, one of those power colors when you start adding it, it goes along way. Yeah I'm actually going to put out a little bit of black on my palette because there are some areas was where it goes a little bit darker, but you have to be very careful with black and yellow together. So I'm going to grab a little of my red and I'm just going to Mix that in with my yellow and see where I get. If it starts going towards greens and you know, there's because of the blue in the abundantly. I ended a little bit of red. Actually really happy with this color. It's actually very similar. It's just a little too bright. So again, I'm going to add a little bit of white and a tiny bit of black just to neutralize it a little bit. One thing that might also work with this is pull a little bit of that blue and a little bit of that red to make purple. And that will turn it down a little bit. Cool. That again, I will be very careful with that because it can yellow can neutralize very quickly and turn into something not very pretty. Yes, it's one of those Color is that it can go into bad direction fast. Yeah. A little bit of gray. Mine did start to go a little bit more green. Now a little bit more white and a touch more red just to warm it up a little bit. And it's just this constant push and pull, push and pull of Where do I need this color to go and what can I add to it to get it to go on the right direction? Yeah. And how much do I need to add? And if you're not sure how much to add, I would try very little and just do small increments to where you need Where do you need the color to go? I'm actually pretty happy with that. Yellow. I feel like it's a really nice warm tone. It's kind of a medium tone that will make a nice base color these feathers. So I'm gonna do a similar thing that I did to the blue. And I'm just going to take a little bit on my brush, on my paper. I'm going to do something next to the blue so I can see how those colors look next to each other. I'm going to look at my paper and I'm going to look at the reference. I might have decided those colors feel similar next to each other that they do in my reference. They do. Of course, there's a lot more colors in there, but this was a good way to start the process. But I challenge to you as to Mix that green that you see in the background. Yes. Yes, that's your goal and what colors you have to Mix to get that green. Let us now. Great job, everybody, hopefully that gave you a better understanding of how to match colors, what to Mix and when and how to correct as you're going, the next thing we're going to talk about is how to use Primary Colors to Mix any color that you need. Paul, Are you ready to get started? I am ready 25. How to Use Only Primary Colors to Mix Every Color You'll Need: Hi everyone and welcome back to mastering the Art of Using Color. And today we're gonna be working with primary Colors only and learning how to Mix Every Color you could possibly mean just from those three. So you're ready to do some painting on a budget, Melissa? Ready ball. And so it, alright, let's go. Alright, let's mix some more colors. Today are Inspiration is this big pile of fruits. We're going to not actually paint this, just like with the last lesson. We're gonna focus on mixing the colors together and doing some swatches on the papers so you can see how they're relating if if it's looking right, and then you are welcome to paint the image on your own afterwards. But today we're just mixing. So I want to start. I actually, I should say too that we are only using Primary Colors, then that's what we've been using all along. But there are some pretty complex Colors in this reference. So I think it'll be a really good challenge to try to match some of those. We will see how many we can get to. You ready, Melissa? I'm ready. Alright. I get to steer the ship this time. This should be interesting. I'm going to start with the green, and there are few different greens, but like the top-left corner that the green that I see there. So as we know, green as a combination of blue and yellow. So I'm going to start by mixing those two. You will see what else we might need. I'm just gonna do about half of each Mixing. Make sure you, if you're using a Palette knife like in the colors together really well so that they all become one. You don't want it a lot of streaks and okay, so that is a very bright, very dark green. And now I'm going to lighten it first if think if I can get it closer to the value of what I'm seeing there, then we can assess the Color closer. So I'm going to baby steps like we were talking about last time. So put a little white in there. Okay. About Light and did some more. Now sometimes what I will do when I'm mixing color, here's your pro tip from me today. If I know that I'm painting something that has different values, like shadows and highlights and things. Sometimes I will start mixing the color and then separate it in half and then just keep lightening the other half of it so that you have that darker color already made, already preserved. So that's that's an option that you could do. I'm not gonna do it right now, both. Alright, that's starting to get closer. Little bit more white. And then, Then we'll study the temperature and also the saturation of it to see if we need to make any changes there. Alright, so I'm going to put a little bit on my knife. I'm just holding it up in front of the screen so I can compare. Now what I notice a couple of things. First of all, looking at the temperature of the color, the green that I have mixed fields just a little bit too warm. It's got a little too much yellow in it to be that green. So what do you think we need to add to it to fix that? Melissa, do you have any idea? I think we need some blue Paul. I think you are right? I also think we might need more white if we're adding blue. Yes, because you'll notice the blue is quite dark if you're using this primary blue. So once you add that in, it will darken the color overall. All right, that's, that is heading more in the right direction. Now, I do think it's interesting holding up your knife to the reference and looking at it that way. And sometimes it's helpful to squint to see if you can tell if the two colors are in alignment. Before I held up the color, I thought maybe it was a little too cool. So it is used to look at it that way. Yeah. And sometimes your brain will play tricks on you and it will think it's what, as you go one direction, when it should actually go in the other direction. So yeah, that's really helpful, absolutely. Well, you also have that whole issue happening of Color in contexts like we demonstrated a few lessons ago, when you're looking at the image on your screen, you're seeing that color, but it's surrounded by a lot of other colors that could influence it. So alright, so I've got, I think that that looks pretty good. I'm going to hold it up one more time in check There we go. Alright. Neil, did you aren't quite there yet. Take your time and keep adjusting and tweaking it until you get the color you want. But when you're ready, go ahead and paint a little swatch on your paper, and then you'll be ready to do color. One other tip. I would start with a little bit of paints because you could end up using a lot of paint if this wasn't going to in the right direction. Yes. I just demonstrated that for them. Well, I also completely messed up my white so by getting some green at it. So it's a good idea to clean off your knife in-between colors. So I'm briefing that off of there and I'm going to put out some more white. And we will just pretend that never happened. Good as Mood. Alright, so next, let's see. Let's go for that orange color that's at the top. The second one from the right on top. So we know orange is going to be red and yellow. Start with and yellow. Red. Looks pretty nice already. All right. I'm holding it up. It's not bad. I think you're going to add just a little bit of white to it? Yes, my orange is very deep orange. Know exactly what I was looking for. Keep lightening. You might actually add a little more yellow because the red kinda takes over. Yeah, sorry, I was thinking in those same thing. That's feeling pretty good to me. Folders up a little more red. Again. It's always that like pushing pool, you know, you'll stearate one way, then overcompensate and go too far the other way, and then you have to go back. But that's all a part of it. If you look at it as being like you are trying to solve a puzzle rather than something that is just like really scary and hard and, you know, thinking You'll never get it. Those are two very different mentalities and one will probably lead you to more successful outcomes. Yes. All right, I'm going to color it looks good to me, so I'm gonna paint that on my paper right next to the green. Okay. Now let's pick a complicated one. Let me go. Still on the top row, the only one that's left on top, the one that has kind of like that reddish red burgundy is Color grapefruit or the sled orange. The grapefruit. Grapefruit. Okay. So we're gonna go take a minute before I tell you what I'm doing and look at it and think about what you might use if you were going to Mix that, if you were going to Mix that color, right? The first thing I'm going to put is red. I know that I'll need that. Sometimes there's always an obvious answer at first, like an easy in easy answer. It's good to start with that one because that means that it's like probably got the most of that. If you look at it and that's where your mind goes right away, then chances are you're going to need probably a lot of that one. So I've gotten the red. But then what you can do is like Melissa is TRC, put it on your knife, hold it up and compare it. And then you can start to see what does it need added to it to go more that direction. It's definitely too bright. It's definitely to warm, it needs to be cooled down. So let's try adding a little bit of blue to cool it down. And I'm just doing tiny bit. I don't want it to go purple. I mean, I I just wanted to take the edge off of that bright red. It's already helping. What I might do next. Instead of adding more blue, I don't want it to go to peripheral. Like I said, I'm gonna put a little bit of black in it. Not much. The black also has blues, so it will continue to cool it a bit, but it will also help to darken it some and, and neutralize it. So it's kinda, those are all things needed to happen to that color in order to get it closer. So starting to hit the right direction. Remember to hold it up and look at it because I think that's really important when you see this color on white, it's going to look very different against other colors. Definitely. All right. I think that is like if yours isn't quite there, keep adjusting. If you may be added too much blue or too much black. And it went too far. You can always add more red back into it. And again, remember my trick. If you're, if you're paint pile is getting too big, you don't want to keep wasting too much paint to mix this color. Just take a section of it divided in half or in, into thirds or something, and then just keep working on that one, on one section so that you don't need as much paint to make a drastic change. And you can always use the other half of that color for something else. Exactly. You could turn it into something completely different or it could just be like a different value or different different alternative version of that same color. All right. I'm painting mice Color Swatch the vet, it's Transparent. That red is a pretty transparent colors. So to see the true color on the paper will probably take two codes. But that looks pretty close. That is a very pretty color. I like that. And actually, I really like our little three Color color scheme. Yeah, I like a Limited Palette. It's quite pretty. They look nice together. And for your homework, if you want own work, you're already at home probably so this was homework. But if you want to, if you want to continue, try mixing some of the other colors that you see in that image or different value versions of these colors by adding whites and blacks. And maybe even paint them if you want to. Yeah, if you want a real challenge, tried to mix the brown in the background. Oh, yes, you go. Great work everyone, you did it. Alright, in our next lesson, Melissa is going to help us with something that I struggle with frequently. How to correct Colors, what to do when it all goes wrong. You ready to show us the way, Melissa? Oh my goodness Paul, I am ready to try my best. Let's do it. Alright, I'll see you then. Sounds good. 26. Color Correcting - Where Have I Gone Wrong?: Welcome back everyone to mastering the Art of Using Color. So today we're going to tackle something that very challenging. We're going to talk about what to do when things go horribly wrong. And I'm gonna do my best to gently guide you through it and help you figure out what color you need Next, How It Affects things when they don't love the way you want them to. Paul, What do you think? Are you ready to join me? I think this is gonna be a stretch for you because nothing ever goes wrong in your paintings. But I'm ready to learn. Oh my goodness, Then I am very good at faking it. All right, well, teach us how to come on everybody. Alright, so we're gonna do some more Color Mixing today. But the thing we're going to focus on today is how to fix something when it's gone horribly wrong. I feel like there's a good representation because I don't know what the heck is going on here. We paid off for the Colors. Way we did not know what was happening. Something's broken, something fell over. I don't know. It's also supposed to be artsy, I think. Yeah, it's a thing. We're fine with it. We're gonna go with it. Yeah. Yeah. Okay. So we're gonna talk through some things today that can get in the way of mixing color and trip people up as they're trying to have things go in the right direction. So let's just let's just start by assuming some things about this photograph and then starting there, seeing where it takes us and then trying to figure out how to correct from there. So one thing we can assume is that this background is pink, right? We can also assume that ball is blue and that tray is gray. So let's, Let's just makes pink. Let's just say that background is pink. I'm going to Mix opaque. We know Pink is white and red, so we're just going to put out some white and some red. And I feel like this, this is the way a lot of students approach mixing color when they first get started though, that's pink. I'll just mix pink. I think I know what kind of make a pink. I'll just makes it and then it's good. Yes. So let's just makes it peak. Then when you mix it and you look at it and you compare it and you're like, Whoa, wait a minute. Yeah. Like I have like a Barbie pink on my palette right now. I got some bubblegum right here. Alright, so I mixed this, I'm going to do a quick swatch of this on my paper. And you could use scrap paper for this, whatever you have made you quick swatch on my paper just so I can see what this pink looks like. So I can see where we start and where we end up. So there's my pink. Look at that pink, and try and decide how it compares to my reference. Obviously, it's not the pink that I want. No. Throwing the towel and give up. Right? We're done. We're over. We're going to paint something else besides this hot mess. Now, we're gonna, we're gonna figure out how to fix this. So you're going to use a trick we talked about in a few of the other classes before this. So the other lessons that we've sent out previously. So we're going to hold that up and we're just going to squint and we're gonna look at how the two colors compare. So one thing I'm noticing right away, as the pink in the photo is lighter than what I have and it's definitely more neutral, which means it's more gray. So I'm going to mix a little bit of gray. I'm going to put a little bit blackout. Little a little white Mix. Like a light gray because I know I don't want it very dark because the one thing I'm noticing about the background is it's pretty late. I'm actually going to Mix that great. And I'm going to hold that up and I'm going to see if that feels like it's the same value before it Mix it into my pink. And I think that's something that maybe some people don't pay attention to when they are Mixing Colors. Is, is it too dark? Is it too late? Does it really fit? What I'm seeing? There's a lot to think about. Yeah, and that can be challenging if you're not used to thinking about value. And one way to tell if it's the right value is if you hold it up and you squint and the to feel very similar like neither one stands out over the other one. Alright, so I think I'm there. I'm going to grab a little bit of this gray and I'm just going to start mixing a little bit in. Just see where that gets me fully heading in the right direction. Yeah, it's getting there right. It's it's definitely closer than where we were before. Alright, I'm gonna hold that up. And I'm going to look at the pink on my screen. And it's actually pretty similarly, this is getting very close. I think what helps is making sure it was right value. So I'm gonna do another swatch on my paper next to that first pink that we did. And I'm going to look at the difference. And there's a big difference. There's a big difference. So just seeing where we started and seeing where we are now holding up my brush. Yeah. It feels very similar to what I'm seeing on my screen. Yeah. So we fix it, we fixed our pink. We manage to do it. All right, let's think about something pretty difficult and that is the color of that tray. And it's it's kinda weird, Neutral. I'm not even sure if I know what hue that is. I would call it a gray because it's extremely neutral and I don't even know if it leans more yellow or if it leans more blue. It had definitely has some reflected color in it. So I'm going to start with a gray. I'm just going to assume it's great. That's fair assumption. And as far as assigning the value, I'm just gonna go with a middle tone kinda from the flat part of that tray behind the green ball. Just for the sake of this exercise, we're just going to pick yeah, because there's a lot of different values of it. There's a lot going on there. Actually, there are a lot. Yeah. Yeah. Right. Alright. So I have my gray. Let's just do a swatch on her paper and see how that gray fields. Hello, my brush. I think working with neutrals is even more challenging than working with Colors because it's local. It's very subtle. But you all are ready. I'm actually feeling like my Greg, once I held it up is a little bit too cool. Yep. Same here. I do feel like there is some pink reflected from the background. So I'm just going to take a little bit of my pink that I Mix above the gray. Mix that in here and I'm going to see where that gets me. I'm just, I don't want to use Paul's trick where you just mix it in part of the gray that I've already mixed up. Paul didn't even use pulse trick. Paul just like went for it. Has just totally went for it. I'm going to hold it up and I'm going to see if that feels right. Well, minefields bedroom. Yeah. Actually feels like it's closer. Thank goodness. Since I fully fully committed. It's interesting when you paint the swatches, you can see it's not, this one is not as drastically different from the first one, but it is, there is a subtle difference. It really does shift the temperature. Yeah, one thing you can do is put the gray next to the second pink that we mixed two and see how those field next to each other and see if it feels similar to the photo? Yeah. And those do you feel very similar as the right feel to it? I think that's a good pro tip for this one is that a lot of times you'll find if you mix a background color, that color might end up being mixed in with some of the other colors in the image because color is so reflective. Yeah, definitely. We want to try to make sense to you anymore, Paul, What do you think? Oh, we could try and do that green if you want. Okay. I'll try new the green. We'll do a fast one. Yeah, let's do, let's do a quick approach to turn to Mix that emerald green. So I know it's green, but I know it also feels a little bit more on the blue side. Yes. It does have kind of an aqua Look to it. So I'm just going to start with green obviously, but more bluish green. Yeah, yeah. If you know that his leaning one way than you can, choose that ratio of the two colors, but you're mixing together so you don't have to do 5050 and then try to even it out. Okay. And Mixing this blue with this yellow gave me a very deep green. Hello. I'm definitely going to add some white to this and see where that gets me. One thing I'm noticing as I'm looking at this image is that green does stand out because it is more saturated that some of my other colors. But that might just be my eye seeing the neutrality of the pink and the gray tones and thinking that that emerald green as much brighter than it actually is. So it's a good point. So I'm going to Mix. Okay, I know right now I need a little bit more blue. So as I'm mixing more colors for this, I'm starting to understand that all the colors in this image are probably a little more neutral than I'm thinking they are. For that I'm used to, using. Alright, so I have my green here. I'm going to hold this up and I'm going to see how close it is. I'm going to paint a little swatch on my paper. I can see where we start. This one's actually not far off. I think this one's a little bit easier. I think that this is just such a fundamental challenge to try to try to match the colors that you're seeing. And then also to try and take the color you've mixed and adjust it until it works. Yeah. And I'm actually pretty happy with that. I might add a touch more blue, but I think overall success, yeah, yeah. That's a fundamental color palette. I like it. Alright, You too. So Complementary Palette to you. They know that. Yes. Yeah. It's Christmas Eve. Yes. Okay. Beautiful. Great job, everyone. We got through it. We decided how to fix things when they go horribly wrong. And hopefully you feel a little bit better about fixing things when they don't exactly go the way you planned. So the next thing we're going to talk about is working with a Limited Palette and how to approach that. Paul, are you ready for the next lesson? I'm ready. Let's do it. Okay, I see you all soon. 27. Working with a Limited Palette: Hi everyone and welcome back to mastering the art of using color. And today we are going to be learning how to work with a limited palette. You ready, Melissa, I write E Paul, I love limited palettes. But maybe not the right person for this lesson, but I love that you're teaching it anyway. I'm gonna give it my best. Let's give it a shot. See what. Today we are going to be working with a limited palette. Working with a limited palette is something I rarely do. I tend to like to put out every color that there is. But hey, there's a first time for everything. So limited palette for this image is red, yellow, black, and white. So it's not super limited, but I did leave out the blue. And the thing that the reason why we chose this image as the reference is because it does feel somewhat monotone overall. But then when you really do start looking at it, you see that there are a lot of different shifts in there. There are areas that are warmer. There are areas that are cooler. So I sketched it out on my paper. I'm not going to make a full painting of this today because they wanted to just spend the time mixing the colors with you. But instead of just doing swatches, I'll put them onto the image so you could sketch out the reference as well if you would like. Or you could just do the swatches like we have been doing in the last few lessons. It's totally up to you. But let's start mixing colors. You ready, Melissa? Yeah, I'm ready poly. Alright, I want to start by just getting that overall kinda like warm tone that is used in a lot of different areas here. So it is largely yellow, but it's got more going on than that. So you can see because when you just look at the pure yellow compared to the reference is very different. Maybe even just hold up the yellow to the screen and be like, Okay, now what does this need to be more that, and one thing I know that it needs is a little bit of red because it does lean a little bit toward orange. Anytime you see anything that's got browns or tans or anything that is like that usually is in the orange family but just more, more neutral. Alright, so I'm just going to use a tiny little bit of this red to start with because you don't need much. But apparently you need more than that. Small increments is okay. Yes, baby steps. All right. Still very yellow. So I'm gonna do one more. Let's see what that does for us. Okay, That's going toward orange now. Alright. Now, let's hold that up. Okay, It's very bright, but heading more in the right color direction. Now we need to look at saturation, trying to use all of our vocabulary. So to neutralize it, I will add little bit of black and also a little bit of weight. You could also do like we did in the last lesson and mix the gray first separately. But it will also just mix inside of the color. So you, alright, that's heading in the right direction, but still two brains. So I'm going to put some more black and white in there. Not that much blood is getting better, getting better. You can see that the, it for me anyway, the black is making the yellow take on a little bit of a greenish quality because the black has what in it. So to counteract that, to get rid of the green, once I get, once I get it neutral enough. So I still just need to add more black because it's a pretty neutral color. To counteract the green, we're going to add in the complement of green, which is a little more red and yellows are always interesting to work with because they can go If they start putting green, they kinda get that real gross shape. Then you can just pull it right back. Yeah. So it lands where you want it to you. We're going to put a little more yellow in it. Yeah. Yellows are always tricky. There always a challenge. Yeah. Why did you give me the hard one here? You don't get discouraged if your color doesn't look right at right away. It takes a while. It can take awhile. That's okay. Alright. So I'm going to hold that up. That is getting so much closer. Yeah, yeah, much better. You can see that. One thing you could do with this one too, is you could always start with gray and just add a little bit of yellow and a little bit of red until you get to the point where it feels right because it is so neutral. Yeah. That's been really tricky for sure. A little mercury into it. And I think these are always good exercises to, because you actually understand what makes up that color. He started to. All the different ingredients? Yes. When you look at a complex color, after going through after going through this exercise, you start to just mentally break it down and think, okay, what do I need to mix them right now, that looks good to me. So I'm going to put my first swatch of color. So this kinda feels to me like the color that I see up in the top-left corner. So I'll put a little swatch of it there. Where else do I see it? I see it a little bit right here beside the ball on the table. And now we need to make a lighter version of it, which is easy. We deserve easy. After that, we're going to add some more white. I'm going to hold that up because I'm going for the background color now. So let me get even just a little bit lighter than it looks good to me. So clean off my brush. A little swatch of that in the background. And like I said, we're just doing the swatches here in this lesson. But since you're going to have all the colors mixed and you might even have it drawn. Feel free to carry on and continue. It's the painting. I want to go to the bowl now because that's the area that has the most contrast from against the colors that we've already been mixing. So that is a little bit cooler. So I'm gonna take my black and white mixed up a medium gray to start with. Lighter. Now there are areas of that bowl when you look at it that you can see where it's reflecting some of the yellow, especially, I mean, it's not really bright yellow. It's more of a cream color along the bottom of the bowl where it's wrapping under. I can see the cream color reflecting up into that part. So I'm going to use just this cool grade to start with. And put a swatch of that on the top part of the bowl. And then we'll see if we can mix that more warm version of it for where it goes under. So here you will take some of that gray, mix it with some of this warm tone. Good. Kinda just like a little bit warmer. Neutral. Lighten it a bit. And I need to add a little more red to it because adding it to the gray made it go more green. There's already more neutral reflected color. That's gonna go right here. And then Let's see if we can get one more color in here. I want to mix the color that's on the handle of the brush. And I think we can do that using some of what we've already made. That's the beauty of working with a limited palette. There's a lot of ability to reuse what's already there. So I'm gonna take this color that we started with. I'm just kinda go a little bit redder with it. I'm actually going to add a little more yellow into it also. So it goes back to being just a little bit brighter. Once you've got that base color mixed, it's easy to mix on your palette, pulling that base color into some other colors too. Similarly, we've done in some of the other exercises. So you will use that base color throughout this entire painting, which is nice when you have a lot of that mixed up. Exactly, yes. And it makes a very harmonious painting. I think that's one of the advantages of using a limited color palette is that the colors all really feel like they work very well together because they're basically the same. All right. So there are my color swatches and I want to keep going. I want to paint this whole thing, but that doesn't mean you have to. You can keep painting if you Great work everyone. All right, we did it. And now in our next lesson we're going to tackle another question that we get a lot from our students, which is how to mix flesh tones. You're ready, Melissa? I'm ready. Alright, see you all later. 28. Mixing Flesh Tones: Hey there everybody and welcome back to mastering the Art of Using Color. Today we're going to talk about the ever popular topic, Mixing a Flesh Tones, which I know can get a little tricky. And maybe you're not sure how to approach it, but I'm gonna do my best to walk you through it. All you write against started. I am ready. Let's go, let's do. Skin tones are, can be challenging to make C. And I will be honest, I paint a lot of portraits and I think you get to a certain point where you understand, understand, scan and all the different colors that come through skin because skin is translucent so it's about what's underneath it, as well as the color of the skin. So you're mixing all of that and you're thinking all of that when you're mixing certain colors together. I'm kinda understanding what colors are in the more shadowed areas, what colors are in the cheeks vs. around the eyes versus in the forehead. And it's all a little bit different. There are some shifts. So today we're just going to work in to tackle it in a very easy, hopefully easy way. Just by looking at two different photos and mixing two different skin tones. We're just going to focus on one tone per skin color. Today. I'm just two different examples. Obviously, there's a ton of different skin tones and different colors that are in people scan, it's always different no matter who your painting or what their skin looks like. So you do have to analyze it. Understand all the colors that are going on before you start mixing it. So today we're just going to approach it by starting with some basics. So I have white, I have yellow, I have red, a blue, and black on my palate. So just the basics. We're going to start there. And so the first reference we're going to look at is this man with darker skin and darker hair. So we're gonna focus on a medium tone that we see in his forehead. We're gonna have focused on trying to match that. Paul, What do you think our first step should be? We should probably mix some colors. Okay. Paul, of your work-up, what do we do? Please tell me to mix a brown so we can do that. We do. So we're going to mix a brown and we're just gonna do swatches today. We're not going to worry about drawing these places because that's going to take us too low. So the thing I like to start with with skin tones is a nice kind of orangey pink. So I'm going to mix a little bit yellow, a little bit of red. I'm going to see where that gets me. And this always is a process mixing skin tones because you're going to start with one thing and you're gonna end up at a very different place. So here my orange obviously, his skin is not orange. No, we're not going to stick with that. So I'm going to add a little bit of white just to show me on the orange a little bit. And also a little bit of whack. So similar to how we've approached some of the other colors that we've mixed. Now that I've added the black, I see that it feels a little bit too gray and a little bit too green. So I'm going to warm it up. This again is it's going to be a constant push and pull. You're gonna keep adding and you're gonna keep seeing where that gets you. And you're going to adjust and you're gonna go from there. Alright, so I'm getting closer with this. I need a little bit more red. So I have this kind of nice neutral, warm brown. It's a very neutral red. Gonna start holding this up and see where, see where I'm at, see how close am. And now that I'm holding this up and I'm comparing it to my image. I feel like there's too much yellow in there. I'm going to add a little bit more red. If you feel like yours is still too orange, maybe it's too bright. You could also add trying are also try adding a little bit of blue. I often use blue one in mixing skin tones because you will often see some of that blue coming through from the veins underneath. You will often get a blue undertone, especially in certain areas of the face. So if you're looking around the mouth, couldn't in the shadow areas around the eyes, you'll have a lot of blue All right, which is not a color that lets people I think we're expected to use for scaffolded. Yeah. All right. So mine is pretty close, but I am going to add a little bit of blue because I do want to turn it down a little bit because I feel like it's too bright. I'm gonna do this very gradually. Touches a blue as I go to turn it down. I feel like as much closer. So I'm going to make a swatch of that on my paper here. See what that actually looks like on the paper and see if that feels right. Maybe a little Transparent because it does have a lot of orange in. It. Actually feels really nice. I'm happy with that. Beautiful. Alright, so let's try the skin tone of the other example we have. And this is a lighter skin tone. This one, it does have a lot of pink in it. So I'm going to examine that first. Know that I need to start with probably a pink and it's very light. So I'm gonna go probably with a color that I see in her cheek because that is an area where the color somewhat consistent in one area. So I'm gonna go for that first. And this is something you can do if you mix a base color and you mix a lot of it, you can pull parts of that off in Mix different parts of this skin tone from that main color and that will make your life a little bit easier, which we always like. All right, so I have this baby pink color here and I know this is not the color of her skin. That's good. Are we would lose faith in you quickly. Cotton candy, that's good. So I'm definitely going to add some yellow because I know I need to warm this up. Also going to put more white on my palette because I feel like we're giving me a lot of white for this one. It is very Light. And you would go through the same process no matter what skin tone your painting. So you would examine the undertones. Does it go more red? Does it go more yellow? This is there a lot of blue in here? You would look at that first. And undertones just mean like that base color that comes shining through. It might be very neutral, but there's still based color there. One pro tip to for painting feaces is to also pay attention to the colors that are in the background around the, the model because that can affect the colors that are reflecting as the skin too. All right, So I think that's closer, but I'm definitely going to need some blue because I think I definitely need to tone down this peachy pink color. It is not as bright as I might think of this. That makes a huge difference between like feeling natural and feeling like a neon person? Yes, definitely. And hopefully as you start getting used to mixing colors that you wouldn't expect. Once you get a little bit further into mixing skin tones, You'll be a little bit more comfortable with it and understand the difference it can make because can make a big difference when you're mixing a skin tone. I know people have asked me before, what color do you use? What color do you like when your painting skin tones? I can't really answer that question because it's It just depends. It depends what the lighting is. It depends what a person's skin tone is naturally. It depends how dark or how light it is. There's really not one base. You just have to examine everything as you're going. Yeah. I'm pretty happy with this. I'm gonna do a little swatch on my paper, put it next to my first swatch and see how that feels. See if that feels like the photo reference. I think we got it. I think that's beautiful. I actually love really complex Colors. I think they're really pretty when you put them together. And it's just, it's not something that you would find straight out of the tube of paint. Something a little bit more different. I think the more you work with color to the more you start to appreciate those things, you go beyond the, the, the basic Colors and you use just like how a cook usually likes to eat the weird with the weirdest done it so much they want something different and new. Yeah, so now that I have these base Tones, I can take a look at the overall faces, see what colors I would need to add based on the different parts of the face. Alright, everybody, Great job. I hope you feel a little bit more comfortable with mixing skin tones and how to approach it, what colors to use, how to correct things as you're moving through it. And the next thing we're gonna talk about is how to use a Plein Air Palette, which is really interesting. You're ready to get started on that. I'm ready. Alright, everybody, we will see you then 29. Working with a Plein Air Palette: Hi everyone and welcome back to mastering the Art of Using Color. Today, we are going to be learning how to work with a Plein Air Palette. Plein Air is when you go out into nature and you're actually painting from life. So we can't quite do that on the computer, but we're going to show you how are you ready to go do a little landscape painting, Melissa. Hi, I'm ready, Paul, let's give it a shot. Alright, let's go. Alright, today we're going to go out on the trail. Plein air painting. Plein Air is when you're actually out in nature painting something from life. We can't actually do that here on screen, but we will pretend because when artists go out into nature to paint, they don't want to have to haul 20 or 30 tubes of paint with them. So they tend to work with a pretty Limited Palette. They don't spend a lot of time standing there mixing colors either. They just put, put, put the colors from the tube out on the Palette and tend to just mix and paint with their brush as they go. So we're starting with our usual primary palate that we've been using, that's our Limited Palette today there are many different versions of the types of limited palettes that Plein Air Painters use. Sometimes you can make those choices based on where you know you're going or what colors might be most prominent there. But we're going to start with the primaries because we can mix everything that we need with those. So instead of using my knife and mixing colors on the palette, I'm just going to dive right into the painting. You ready to dive right into the painting, Melissa, I'm ready, Paul and still it. I think one of the main things to think about when you're doing a Plein Air Painting is the temperature, color because you didn't have a lot of greens, a lot of blues, lot of kinda earth tones. But those Colors can feel very different if they are more warm or more cool. And looking at our example here, you can definitely see that if you look in the foreground, it's a much redder, warmer color. And as it moves into the background, the colors get progressively cooler. We go to a warmer green, then we go into these almost kinda like turquoise colors and then it goes blue at the back. So that's what we're going to try and capture here on the fly with our brush. I'm going to start with some red. And I'm gonna put a little bit of black into it. A little bit. A yellow can just grab a little bit with the corner of your brush. Put mix it together on your palette until it feels right. Okay. So I definitely see that color. I might put a little bit of white with a T. Definitely see that color in the foreground. There's also some greens and some darker tones in there. But I'm going to start by just blocking in that foreground patch of land. The other thing with plein air painting is that you're not really trying to capture all the details. You can't, there's not time. And we have that in common with them since we only have 10 min for this video, we're not going to be able to capture all the details either. I would suggest using a bigger brush. And it's more just kinda blocking in the sections trying to capture like the different planes of the landscape. So I've got that kind of reddish orange color in the foreground. And now I'm going to grab some yellow, some blue and put a little black. Matt. Mixed myself like a darker green so I can get some of those shadow areas here in the front. I think when you're doing a Plein Air painting, Here's a pro tip for you. It's all about the relationships of the colors in the values you might not be able to capture exactly what color you're seeing in each space, especially if you're painting the sky and the sun, you can't make your painting emanate light, but you can make it capture the relationships of the lights and darks and the temperatures of the Color relative to what you have in your painting. So that's what it really, what I kinda focus on. Alright, so I have that foreground. Let's move to the middle ground now. I'm going to mix green, little more. Mixed a little of the orange into it now to make it a little bit more, to just tone it down a bit. As things move. This green has so much red in it. Yeah, it really does All right. And sometimes you put down my color on your paper or your canvas and it's not quite the right Color and you just, you know, Mix, make something else into it until until it feels right. So in my case it was a little too dark. So I'm adding some white. I'm paying attention to the relationship of that color to the foreground color. That's really what I'm trying to capture hearing. So almost like color blocking. All right. That's looking pretty good. When I do want to get a little more orange into parts of you. If you've ever heard of atmospheric perspective, it's something that really affects you when your painting outdoors. Yeah, thanks. Tend to have less contrast is they go back in space and they also tend to get a little bit cooler probably depending on the Lighting or just a little bit more gray. Yeah. Yeah. Picking up on those shifts is really how you create the sense of depth than I think that's one of the most important things in a landscape painting. Making it feel like, you know, it's not just a flat paper but something you could walk into you. All right. I'm just about done with that middle ground. I just wanted to get that one little section of dark over on the right side and that gets a bit cooler than the rest of it. So I'm adding a little black and a little blue paint. That little shadow right there. Courage is a little bit over here on the left side T. Okay. We're gonna move back into the blue or section. Clean up my brush. Alright, so we know there's blue in the immediate, like in the middle ground part, there is still a little bit of green in there too, so I'm going to Mix, they're going to add some white to neutralize it. I'm just going to add a little bit of the orange to it because that will take the edge off of that blue. I might put a little gray in there also. Just kinda keep scooping up little bits of color with your brush until it feels right. It's all about working fast and trying to make quick decisions. Because when you're doing a Plein Air painting, everything is constantly changing, the light is moving. Nothing's going to stay the same for long. So you kinda have to just choose something and get it down. Gotta be fast. Yeah. The light is literally changing as your painting it, which is really interesting. Yeah, It's a great challenge. All right, I've got these kinda darker areas late in. Now as it goes back, look at how on the left side is almost a pink quality to it as well. But you get a little bit of warmth from the sunlight. So I'm going to add that in there also. The more you look at things, the more color you see. It's always interesting. Especially once you start comparing, you start seeing a lot of differences. Yeah. That can be a great thing. It can also be overwhelming when you're trying to paint quickly. Do you have to make some editorial choices? You can't capture it all in this kind of settings. So you're just choosing what's the most important color relationships that help to create the scene. That's what you want to focus on. Just trying to get the idea across instead of every detail. Like a gesture drawing. If you're doing figure drawing, you only have 2 min to draw it. You can't maybe draw the eyelashes and fingernails, but you can go via the basic shape of the figure, that same idea. All right, I'm getting those distant mountains kinda rough, Dan, and you can see how they get lighter and a little bit more Neutral the farther back they go. That definitely like Melissa was saying, that's atmospheric perspective, we perceive color differently as things move away from us in space. Alright? And now I'm going to block in that sky. It's kind of a little bit cooler towards the top. And then gets lighter and a little bit warmer towards the horizon. In the days before photography, a lot of landscape painters would go out and do quick studies, Plein Air paintings, and then go back to their studios and do more detailed paintings based on the information that they captured in the, in the plane areas. It's still, still done today to you because you can capture more sometimes in a painting. Then you can, with a photograph, can see more subtle relationships of Color. Yeah, camera will never capture color the way you will see it. I perceive it in her life. It's always disappointing. I don't know if you've ever tried to take a photo of a sunset and been disappointed with the results? Yes. You look at it and you're like, Oh, it's so gorgeous. And you look on your phone and it just looks like nothing. That's not at all what I'm same, same idea. Alright, there is my quick plain air painting uniform. Great job everyone. You've done it. Alright, in our next lesson, we're gonna be talking about the differences between natural and artificial Light. You're ready, Melissa, I already, Paul. Okay. See you can see you soon. 30. How Lighting Affects Color - Natural vs Artificial Light: Hi everyone, Welcome back to mastering the Art of Using Color with Paul and I. And today we are going to talk about how Lighting Affects Color. So Artificial Light versus natural light. Paul, you're ready to explore the differences between Lighting? I am ready. Okay. Let's do a command, everybody. All right, Melissa, when life ends, you lemons. You get to painting. Alright, Melissa, each Painting, different lemons today talking about here lumens, my lemons are living in their natural environment, growing on a tree and beautiful nature with the sunlight, sunlight streaming on top of them. In my lemons are kinda like me, tucked away indoors and this beautiful pink neon that has absolutely nothing to do with neat. So let's get to work and you can paint either one of these or you can just watch whatever, whatever we're exposed to for you. But we are both going to paint our women's for you in. So the reason Paul and they're both Painting lemons is just to show you the way Natural Light or artificial Light Affects something a little bit differently. And we thought we would paint the same thing just so you can see the difference between the two and the colors that result from each. Yeah, I've already jumped in to start painting, but we could talk a little bit about our palettes that we're using tooth that might be helpful. So I mixed up some different shades of yellow. I need some lighter shades warmer by adding a little red cooler by adding just a drop of black to it for some of the shadows. Then I have the pinks and reds and oranges that I see in the background. What about you? I started with my primary palate and then I just mix two colors that I thought I would need. So the thing about natural light is the shadows or can be really intense depending on where the sun is. So you get a lot of contrasty high, I guess just a lot of shadowing, right? Because the sun is shining on something directly or indirectly in casting shadows. I have a green mixed up in the green is a little more Neutral, I guess it, in the areas of sunlight, It's a little bit brighter SLO of yellow in it. And then in the more shadow areas, it's a little bit darker, has more blue in it. So the thing about shadows in natural light is they tend to be a lot cooler. Yes, exactly. You can see the Tones of the shadows in mind or anything but cool. Yes. I think they're bright red or they Paul. It was so funny, right? We started filming this. We were deciding who was going to paint what it initially, I sent Melissa the artificial lighting, the pink lemonade. Yeah. And she was like Paul. Seem a little more, you think? Well, he sent me the pink lemons. Why would you ever do that? I don't know what I was thinking because I definitely don't want to have to pin all the You don't want the browns and the dark green Natural to not your thing at all. All right. I'm just going to get some of these. I'm kinda working from the outside in, so I'm getting my background color using because a lot of those colors really show up in the shadows, especially if the lemon, so it'll make more sense if I have them already on the paper. And I mixed my two colors to start and I'm putting those on my paper just to block the Colors in for now, and then I'm mixing as I go. So there are definitely some different tones within the shadows, even though it's natural light and the shadows tend to be a little bit cooler. There is some reflected light and there is just some some of that yellow is shining through so it does get warm in certain places. So I'm paying attention to where it's warm and where it's a little bit more cool. Shadows in photos that are taken outdoors can really tend to go very dark in the photo and might not be exactly what was truly what it looked like if you were looking at it with your eyes? Yeah. I think sometimes artificial lighting is a little bit easier to capture in a photo. Natural lighting shadows, especially in the light to contend to get really washed out if it's, if it's super bright. So you have to start, you have to really think about not only what do you see in the photo, but how could that be differing from what was really what it really looked like? And natural light really depends on the weather and the time of day two. So you will get a lot of shifts and how the color looks or how the lighting looks, depending on what time of day it is. You know, a lot of people talk about golden hour being the best time to take photographs because the lighting is a little bit more. There's a little bit softer or you get kind of nicer coloring. Where if you're taking a photo in midday afternoon sun with intense shadowing, it can be pretty harsh. Yeah. I think we're seeing a little bit of that in the reference that I'm painting it. It's pretty intense. And some places intense little lemons. Yes. Now we're just doing a quick loose rendition of this image obviously, because we're keeping it to about a 10-minute video. You can certainly spend a lot longer on each of these and bring out a lot more detail. Yes, definitely. This is more of a color sketch to kinda get the idea across and decide how the color is affecting the lemons differently. Look at these cute little guy is and do like painting fruit for some reason I found my love for pain through this class. Yeah, we've seen it a lot, has been a lot of fruit to go darker now in the shadows. This is, we've talked about this before, but you know, the shadows are usually one of the places where a lot of the colors from the environment will show up. So if you're not sure what color to make a shadow, a good starting point usually is look at what's around it. And it will probably pick up some of it. Although I'm impulse reference, when you have artificial light, you can make the shadows and he color you want basically you can, you can, you can control what you get, which is often why people like taking portraits and another photos indoors because you can control the amount of light you're getting and how it's being spread across the subject. How the cameras interpreting that, which is difficult to do outdoors, you don't have much control. Yes. That's why in all the old TV shows and movies, they always were filmed in doors, even the outdoor scenes. Look at it and see all the painted sets and stuff in the background. I think that's so cute. They just did not have the capability. They can't cameras at that time did not have the capability to be able to, you know, control how things would look in and outdoor setting. Often changing. They're showing movies. They will take artificial lights outdoors and use them because it's easier to control that. We have about a minute left to go on. Our little women skiers are coming together. Even. Artificial lighting can have very different temperatures, depending what kind of bulb is being used or how how close it is to the subject. So I think in general, no matter, no matter what kind of environment your subject is in, it's just really important to study it. Look and see what colors are truly there and not just what, what you think it is. I mean, that's that's a pro tip. Always look closely at your at your reference. Don't paint what you know or what you think, you know, paint what you see, right? John, assume anything. Yeah. Color is always relative depending on whether it's artificial Light or natural light, it's always gonna be a little bit different. Yeah. You can sometimes even have both in the same image if it's an indoor scene, but there's light coming in through the window. You might have some artificial light that's hitting 11 side of the subject and natural light coming in and hitting the other. So this can get very complex and interesting as long as you are just studying what you see. I'm, You'll, you'll portray. Alright, how are your lemons coming, Melissa? They are coming along, Paul looking a little lemony. Just about to wrap it up, you get some shadows a little bit darker in underneath. So feel free to experiment with different lighting. You could even set up your own Lighting, your own still-life and see what the differences between an endorser life at an outdoor still-life. See what you enjoy painting more. I think it's really good to think about these things and to start experimenting with setting up your own reference, creating your own references so that you have more control over all of those choices that lets you. The mood of a piece can change dramatically depending on whether it's artificial or natural lighting gives me out totally different quality. We finished. I think so. All right, Great job everyone. Hopefully you understand a little bit more about how color is affected by different types of light and got a chance to explore that a little bit. And our next lesson we're going to talk a little bit about how layering different Transparent parent Media Affects different colors and how to achieve different colors with that poly. Ready to give that a shot? I'm ready. Let's do it. Okay. See everybody next time? 31. Layering Color in Transparent Media: Hi everyone. It's great to see you again. Welcome back to mastering the Art of Using Color. So today we're going to explore Transparent Media and how that affects Colors, so different layers and achieving colors that way. Paul, What do you think you ready gives us a shot. Let's do some layering. Okay, Let's go plight. Alright, so we are back today to paint a landscape. But the thing we're gonna do differently today is use Transparent Media to get the color that we want. So there's different ways of painting with acrylic. You can paint a little bit more opaque Lee or you can paint a little bit more transparently, which just means that a lot of the paper shows through the paint's a little bit thinner. So you don't have as much pigment. So I'm going to use more water today to make some of my Colors and make some of them lighter instead of mixing a lot of whites or something like that to make the color lighter. So I'm just going to start putting a little bit of water on my palette and just mixing a tiny bit of red because I'm going to mix a light pink to spread across the bottom of my paper here. And that's just going to achieve that light pink color that's in my, my water. So it's not going to take very much paint at all. And this is more of a watercolor approach to acrylic, which can be used in a lot of different ways. It's pretty versatile. So to get the color lighter, you just add more water. You're just diluting the amount of pigment that you have. I'm going to decide where my horizon is. Right in the middle there. And then I'm just going to paint everything pink that's below the horizon line. So just spread that really thin layer of pink across your paper all the way down. A good pro, tip for painting this way is to just kind of slowly build up to the darks because you're basically using the white of the paper as your white. So once you have the covered, you can't really get it back. So you can do multiple layers to build up to the dark. Okay, so I have my light pink wash. I am going to move on to the blue. And the top part of my painting here. Just while that paint dries a little bit. And I'm going to take the same approach to the blue. I'm just going to mix more water into it to get a lighter blue. I'm going to spread that above my horizon line. Pastel Lee. I know, right? So pretty I'm just going to take that all the way up. And if you mix the two colors, if you get the wet paint next to the pink wet paint, it might start to blend, but your pink might be dry enough already that it won't. So it just depends on the look you want. If you want a softer line, you can blend the two in to each other. Beautiful. Alright, so we get that. So next thing we're going to think about is the purple in the water. So I'm just going to use this blue that I had already mixed up for this guy and add a little bit more pigment to it. So I get something a little bit darker and as red, so I get a nice soft purple. Okay. Right. And then I'm just going to take this purple right over top of that pink that I already painted. Start blending that in. Deciding where that meets that pink in the center, I want to make sure I'm leaving some of that. They want that reflection, a nice reflection from this guy to remain in the center there. One of the things that's nice about painting this way is that you kinda take advantage of each layers so you, that pink layer is still showing through even when you start adding the purple on top. And then you kinda get really nice, rich, complex Colors from all the combinations of the purple on there. I can come back to that pink that I originally mixed up. Add a little bit more red to it again. That brighter pink towards the bottom We're just gonna keep layering this way till we get the look that we're going for. I switch to a slightly smaller brush just to get a nicer blend between the purple in that pink. If you feel like the colors aren't blending the way you want, you can always just add a little bit of water to your brush and mix the two together again. I'm gonna keep layering more of that purple over top until I get a darker tone. Each time I might add a little bit more paint and less water just so I get something a little bit darker. Then you can use your brush strokes to kind of imitate the shape of the waves. Really just going to focus on the water today because there are so many nice color shifts and variations there. But if you want to continue with the sky, you could do that the same way. There's a lot of similar things going on with the clouds and the reflections of the light from the sun. Since a good technique for painting things like that, I think like things that are a little bit more soft edge didn't kinda just grab the light, kinda gradually moves through it. It's a good way of breaking that down. It's a nice way to get a soft blend with acrylic, which I think is difficult if you're painting a little with a little slightly thicker paint, I can challenge it. And then the other nice thing about acrylic is once you have this nice soft blend with these transparent layers, you can go more opaque on top and add some blue that Richard Color and just continue layering. Yeah. I'll say use this approach if you've started a painting and you started with more opaque layers and you just wanna kinda maybe warm up a color or something you could do what's called a glaze over top of it where you paint thinner like this and you still see the other the other information underneath it, but it just kinda pushes the Color in a different direction. I think about Layering are okay Colors. You'll probably have to wait for these more wet layers to dry first. Yeah. You really can get these beautiful color effects and the soft transitions with something that's a little bit more transparent. Yeah. That is something I think people struggle with with the acrylic is how to get it to be soft and to blend. It can be a challenging medium to do that with. So just keep adding more color, adding more pigment. I think this photo is similar to the one we painted in the Plein Air Palette. Lesson. This one, it gets a little bit lighter and it gets a little less contrast it, as it goes towards the background. And that's that atmospheric perspective working again. So you probably want to keep that in mind as you're working on your layers. Here. Makes me want to go on another Cruz. I can see you being all about cruises, Paul Revere, cruise ship director. I think that's me. I could totally see who like teaching painting classes on a cruise ship. Okay, So that's it for this lesson. We're just gonna keep layering and keep building up this painting as we go. All right, That was awesome everybody. Great job. I hopefully you understand a little bit more about Transparent Media, how that works, how to get the colors you want by layering paint and mixing with water and play a little bit that way. So in our next lesson we're going to talk a little bit about Thumbnails and how to achieve different color results through different ways of sketching. Paul, What do you think? You're ready for that one? My Thumbnails are ready. We're all set 32. Color Thumbnails: Welcome back to mastering the art of using color. Today we are going to be working with color thumbnails, which is a way of trying out different color schemes before you start on a piece. Ready to make some thumbnails? Melissa, lot of sounds fun. Alright, let's go. Let's do it. Okay, In this lesson we are going to be creating some color thumbnails. And this is a great way to explore different types of color palettes before you actually start on a piece. So we'll be using this adorable little doughnut today, continuing our theme of food and trying to make you hungry. And so on my paper, I'm just going to start by drawing a little, a small rectangle that represents the canvas or the paper that I would do the actual painting on. And I'm inside that rectangle, I'm going to draw an oval to represent the doughnut. And then I'm gonna draw a little squiggly line to represent the icing. And that's really it. When you do a thumbnail, it's not meant to be detailed, realistic piece. It's just, it's really just trying to get the essence of it so you can see a lot of different variations quickly. So let's go ahead for this first thumbnail. I'm actually going to just use the colors that are in the reference. So I'm going to mix up a pink, kind of a cool pink. So I'm going to put just a drop of blue and then I'm going to mix three different colors. No blending, nothing like that. So I've got my pink for the frosting and I'm going to mix a little bit lighter version of it for the background. Then I'm going to add a little yellow to it to make the color for the untrusted part touchable. The goal of thumbnails is to be quick and just let you visualize how it will look. Okay, so I'm going to do this first one. Coffee frosting, icing, what do you call that? What is that? Is it frosting or IC? I don't even know that. So I think it can be either right. You would think I would know as much as I like. Now. Right? This should be my area of expertise. I know, right? The gluten-free person who doesn't eat sugar. Melissa, tragic. You're telling me this is probably a very torturous painting for you then. Sorry. No, it's good. I think so. I'm sure someone does. Right? I could just dream and reality. I remember when I made you a vegan cake for your birthday one year, that was really good. Yeah. Like a piece of cardboard. Actually, I did not know what I was doing. I went and bought like $100 worth of the weirdest ingredients I'd ever heard of. Trying to follow a recipe I found online. It was not it was not a success. Like 20 years ago when they didn't have a lot of options, right? Okay, so now right next to that rectangle, I'm going to draw another one. So this is the idea of thumbnail sketching. You do a bunch of them and you put them all next to each other so that you can see, you can see them and compare them and make a decision about what direction you want to go. I think for this one, I am feeling like I want to do like maybe a very light pastel blue color for the background. The background and the frosting do not have to be the same like they are in the first one. We are in charge of this world so we can do whatever we want. So I think actually for this one, I might keep the pink for the frosting and then just change the background to blue. Sometimes when you're doing thumbnails, you don't have to change everything. You can just try changing one thing to see how that affects it. So I'm gonna do I'm gonna paint the same color for my donut. I feel like that's sort of a Standard doughnut color. Then I'm gonna do my pink frosting again. This is something that a lot of artists do, especially commercial artists, they'll do a little color studies before they move to the final illustration that they're working on. The final design just to see what feels the vast. There are different ways you can do it. If you work digitally, you can do this on the computer that can save some time too. But you can do it with paint, you can do it with colored pencils. But it really is helpful. I think the, the pro tip for thumbnailing is that it lets you visualize color relationships without having to deal with all the details and all of that because that's totally different thing. It just lets you get a big overview of it. And it, even though people are usually eager to get to their finished piece, it really is worth taking the time to do this process because it helps you to make some important decisions before you get started. Yeah, you can definitely start to see things about your thumbnails as you're working on them. So the first one, there's just not a lot of contrast between all the pinks because everything is kind of in the same color family. And then when you start doing that cool background like Paul suggested, you definitely see a difference in that doughnut stress to stand out a lot more. And so you just start discovering things before you move to your final piece. Exactly. Alright, for my next one, I want to see what it would look like with a darker background. So I'm going to mix up a purple using my blue and my wrist. And I might put just a little bit of white in it, but not much because I wanted to I wanted to see how this would look against a darker background that would make the doughnut really pop out more. Might look great, might look terrible. That's the beauty of a thumbnail though, is that you're not investing a lot of time in it. So if it does look terrible, you don't really care. But it lets you explore that idea. It's a lot easier than making a big painting. And then realizing you need to change the color of something or, or repeat something multiple times before you decide what you want. I'm drawing my third little thumbnail here. Oval. Got my squiggle. I'm going to go ahead and do the standard doughnut color again. I'm not sure what color I want for the frosting yet, so I'm going to start with what I do know. So I know that I want the donut to be that same color and I know that I want the background to be the dark purple. So I'm going to paint those two things and then I'll decide what might look good with those. So I've got my dark purple there. I think it's a good idea when you're painting thumbnails to make sure that you are trying, you know, drastically different things in each thumbnail. There's no benefit to painting the same thing five times. You want to explore really different ideas each time. You can also explore different moods too. So if you're trying to achieve a certain mood through color and maybe you try a few different things and see which one feels right. Yeah. You want to make a moody doughnut? Don't show. I do. This one's very dramatic, I like it. And this is a good place to think about color. Some of the different color palettes that we explored early on in the course. When you're trying to choose what colors you want to work with. Think about colors that work well together. That's always helpful. Alright, I've got my purple. I'm thinking maybe kind of an analogous color palette here. I'm going to use my light blue that I had for the background previously and use that as the frosting color. Yummy. You. That dark background does make it stand out. That might be my favorite one. You know, when I first started, I really liked the pink. So there's a lot of times you might have one idea going into it and then doing this process helps you to see that you might stumble into something totally different and unexpected. Alright, so I've done three, and we are out of time for this lesson, but you can definitely see how you can continue this and do. Some people will do fives and we can give ten. There's no set number, it's just how many you need to, to explore all of the different variations that you think you might want to try for a piece. Awesome work everyone, great job. And you can keep going with this as long as you want until you find the color scheme that's right for your piece. So in our next and final lesson, I can't believe it's already our final lesson. We are going to be talking about how to find your color personality. Are you ready to find your color personality moles, so it sounds very intriguing. Pauling, so ready? Alright, let's go do it. 33. Finding Your Color Personality: Welcome back to mastering the Art of Using Color. You have made it all the way to our final lesson. Congratulations. Today we're going to have a lot of fund finding our Color Personality. You ready for that, Melissa? I am so ready, Paul, this sounds so PFK-1. Alright, let's go do it. Are you ready for our last painting, Melissa? Hey, I'm ready, Paul, I think the Soviets online, hopefully all of you think the same. Let's jump right into it. We decided for this, for this last lesson, we would both paint the same thing or painting this poppy. And we really wanted to talk about how you can find your own kind of Color Personality or your own color preferences. Melissa and I both have very different ideas about that and you'll see that as we beat. So let's just jump right in and we can talk while we paint and you can do the same thing at home too. You can put out whatever colors you want. Just have a field day with this. Yes. So the first color I went for was the black is a super bright, happy blue. So we're gonna talk a little bit today is just a little personality quiz through color and ask yourself, what is your favorite color? I mean, it sounds like a silly question, right? But what is your favorite color? What do you tend to lean towards? What's the thing that the tube of paint that you grabbed first? Yeah. It's a silly color, but think about are silly question I guess. But think about why that's your favorite color and why you tend to lean towards that. It's kinda funny when your kid you, I feel like that's something that you think is one of the most important questions in the world because everybody asks what's your favorite color? And then you grow up and nobody cares anymore. But it's still a very important thing because it helps you to know what your own taste is. And I think your tastes to forgive you can figure out your taste. That goes along way towards helping you figure out your style as an artist. Yeah. Yeah. So what's your favorite color and why? Ask herself that and then ask yourself, do you tend to go towards more muted colors or do you tend to go towards more bright colors? And I think Paul and I can both very confidently answer this question. Probably already know the answer for each of us. Yes, I think that's a safe. But it also doesn't know you have to be one-dimensional either. You know, there are times when Melissa uses brighter colors in her work there times when I use more neutral. So just because you do identify a preference, does it mean you always have to limit yourself to that either? Right? Right. So maybe it's whatever you're trying to achieve through color. Yeah. That's a good weight, one. That's a good it's a great question asked herself before you start anything, what are you trying to achieve? How do you want this piece to feel? What do you want the overall mood to be? And then think about colors that will help you achieve that. Yeah. And then it doesn't have to be anybody else's idea about what colors would achieve that it could be what colors you feel achieved that? Uh-huh. Yeah. It's interesting because it isn't relaxing for you. Yeah. It's universal, but it's also personal. There's, you know, everybody has their own ideas about it to you. Yeah. You know, everybody likes to say that black is depressing or black is the absence of lights or it's all darkness. But I, I know there's something very sophisticated and luxurious about black. I think there are different sides to every Color. And I think certain colors might speak to you in a way that they wouldn't speak to other people. The way that you pair colors together is also a big part of it to not just choosing one color, but what colors do you combine and How does that affect the peace? Definitely. I'm combining all the colors you can see from my palette. I like, Oh, I'm going to Have Fun with this one. I'm putting everything out there and that's kinda true to how I paint. And I imagined that Melissa is a bit more methodical about it. But usually when I am working on a painting, I will put out a little bit of everything on my palette because I want to be able to grab whatever color pops into my head as being the right choice at any given moment. Now, what is your typical Palette like when you're working on it, on one of your paintings. That's not like for a class like. Well, as another side of my personality is very organized and very strategic, Right? Oh, I'm sure So what I lay out my colors. I like them to be in the color spectrum. Light, I will go to yellow, I will go to orange, pinks, reds. I will start with warms. I will fade into cools, and then I will do earth tones at the bottom. All the way I organized my palette. That is used a lot. There's a lot of photography. You put it into that. I do. I do. I like it organized in a certain way so I know what I'm getting. I know where the colors are when I start mixing. It's a little bit easier for me, so I am very organized about how I do it in mind, as you can imagine, as a total chaotic free for all the big blobs of color everywhere. It's gonna say giant mounds of color all over the place. I do tend to put my pure colors out of the tube. Kinda. Normally when I'm working, I didn't do it here, but normally I put the pure colors around the perimeter of my Palette and then I use the middle for my mixtures. But beyond that, there's really no rhyme or reason to it. It's just kinda like, you know, what, everything goes wherever it goes. I think as you're starting out, That's one question a lot of students asked me what is the right way to organize my Palette. There is no right way, but it's good to try different things and to see what works for you and what fits your personality. I think that's another piece of this whole Color Personality topic is how do you work with color in a way that makes it work the best for you? I like having chaos. I like having access to lots of options. That's what helps me to to find the colors that I want the easiest. And for Melissa, it's the opposite. Sheila, she has more control and more more more of a thought process behind the organization of it. Yes. I'm very methodical when I do a piece like the whole the whole thing, that's very methodical and I think Paul works very differently. Aggressive and spontaneous and he enjoys that part of it where I like to have a clear plan. And neither neither way is the right way. It's it's only, the only thing that matters is what works for you. When I tried to paint in a more controlled way, I don't like the results as much. It just doesn't fit me. It doesn't fit my personality. So you're not as an artist, you're not competing with other people. You're only trying to find your way. Your, your what, what fits your personality, what fits your taste, what fits your style? Yeah, I think Polonaise whole point in creating this class was allowed to allow everyone a chance to explore color in different ways and see what works for you. So I think everything about Art is centered around experimentation and trying different things and seeing what works for you and what is your way of creating Art in the end, yeah. It might not be one thing. Maybe it's something different every day. Maybe you'd like to have a variety of different things in front of you and different ways of trying. Yeah. Don't don't box yourself in, you know, too quickly. It's especially like try different things and see what, see what you like and what feels the dust. Try try to be a Melissa one day and then try to be appalled. The next day. You'll have more font on your Paul day. Just kidding me, nice and calm in your Melissa. You'll be you'll be really hyped up on your Paul, the cob full of energy. So Palette, I just want you to be able to discover different things, experiment with different things in a safe space where you feel like you can try things with a little bit of guidance. Yeah. Yeah. Yeah. Color is not something to be afraid of. And I think that is a big, a big thing for a lot of people when they're starting out because it feels so overwhelming in you might be looking at something and trying to match a color and it just feels. So all these tubes of paint, you have no idea how to get to the end result. So hopefully we've given you some tools and techniques to help you navigate that a little better. And ultimately, the way you choose to work with color is completely up to you. It does not have to look like either one of us or any other artists out there. It's all it's a very personal choice. Yeah. It does not have to follow the rules. We've given you all the rules so you can decide which ones work for you. Yes, the rules in Art, kinda like in life, are meant to be broken. So now you know, um, so Have Fun. Don't follow it. Exactly I've got my colorful little flower here coming together. How is yours coming, Melissa? It's good. I like how this bright orange plays against the dark background. I think it's Fun. And just putting some finishing touches on here. The oh, my goodness. Or nine is definitely just to start. We can do a little longer. I'm fine with that. You let me know when you are ready. Okay. I mean, it it doesn't have to be finished. It's totally up to you. Yeah. Do pain as long as you warm it up. Okay. I'm just going to do a few more little touches here that I think I'll be good. I mean, I, I2 could work on this for quite a bit longer, but I just wanted to get some basic colors detail so you could see how it sounds crazy. Mine is compared to Melissa, my green stem here. And I do enjoy the dark colors, but I also enjoy the dark colors versus bright colors. And the combination of the two I think is fine. Oh yeah. Everything kind of plays off of each other. You really do need both. I love Hello, one can set off the other. Yeah. Courage. For the orange is definitely Transparent. So, yeah. Take awhile to build on top of list. B little flower. I think I'm good with that of a you. Let me do one more thing. I just add a center to this flower and then I will be good. Okay. Well, you know, good enough. Why not have that qualification to them there? Yeah. It's definitely not good, but there's what it is in 10 min. It's all about the color, it's not about the finished product. That's good. Well, Centene on this all day if we loved him. Well. Let me a second. All right. Lobe or black in the center and then I'll call it quits. Isn't that what you said 3 min ago? Nope. I don't remember that. Japan has recorded. Yeah. Okay. That helped. Alright. So we did step away from the paintings. Mads is rough. Great job everyone. Now, you know Your Color Personality and you can use it in your work in many different ways. We hope you enjoyed this course. We hope you learned a lot. We hope you feel a lot more comfortable with color. Do you feel better about color now, Melissa? I do. Getting the practice was a lot of PFK-1 and I hope all of you enjoyed it too. We love getting a chance to meet with you. So thanks for everything. Yes, Thank you. 34. Closing Thoughts: While we made it all the way to the end of this course, and it has been so much fine. I've had a blast exploring color with you, Melissa. I know Paul II has been great. I've had so much fine. It's been very colorful with hanging out with you as nothing if it's not colorful. Ready. And hopefully for everybody taking the course, you feel a little bit more confident now about working with color. I know that is one of the things that a lot of beginning artists really struggle with and feel insecure about. And there's no reason to feel that way. It should be a FUN exploration. It's kinda like a color that venture, right? Right. We hope you loved the chance getting to explore color a little bit more, learning all the roles and then learning that you can break those rules. We hope that you discover it a little bit more about yourself and your own art-making ability and your own personality through Color. Absolutely. And we would love to see the results of all of that. Please, please, please share your work with us. Makes it so much more funds to know that all of you are out there working right along with us and we love to see your work and share comments with you. So please take a moment and take some pictures of your favorite projects from this course and send them our way. Yes, we would love to see it. We love all the different ways everyone interprets the different lessons that we share with you. We love to see all the ways that you come up with to explore color. Everybody's a little different just as you saw between Melissa, me, we each approach it in very different ways. Very different. Those are just two options. There's so many other approaches in each one of you will have your own style, your own way that you approach color. So if you enjoyed this course, we would love for you to come back and take some more courses with us, wouldn't we? Yes. Oh my gosh, please come back. I love hanging out with each other, but we love hanging out with you even more. So please, always more FUN with you. Yes. Explore other classes. We have a lot more ideas, a lot more teaching to do in the future and a lot more courses coming your way. And when your friends come over and see your artwork in your house and start complimenting you. You can invite them to come and take the course right along with you next time. Invite all your friends, all of your family, because our motto is everyone is an artist. Thank you all. Next time. See you soon.