Playful Color Swatches: Get To Know Your Watercolors

1. Introduction to the Class (Welcome!): Hi, I'm Stephanie. I'm an artist and of colors, color palettes, and I love to explore them, play with colors, mix them together and see what happens. If I drop brown and yellow. What happens when, when I started painting five years ago, I really dove deep into pigments, trying to understand them all, trying to catalog all the pigments I had, all the paints I had, so I really made a lot of swatches. I ended up liking swatching colors a lot. And after a while, I decided to start making these reference pages for pink palates to document them, to see how the color is playing together. And they ended up being very beautiful. Quite a few. In this class, I wanted to teach you to design your own reference page for color palette and decide which elements you're going to put in them. In this class, we're going to see a number of different color swatches. And you're gonna be able to pick and choose your favorites and incorporate them in your design at the end. We're also going to paint together a few of them. So you get the hang of it. We're going to paint together all the swatches. We're going to have lots of fun. And I'm going to share with you all the tips I have, all the insights I gotten by thanking lots of mistakes. So you don't make them. So if you make them, it's quite alright. You're going to learn a lot. So go grab a coffee or tea, your favorite hot beverage or cold if it's summer, winter here. So grab a beverage of choice, and I'll see you in the next lesson and we'll start watching. 2. Project Video : The project for this class is to make your own version of these beautiful palette swatch pages. We're going to paint one or two together. And I'm going to tell you how to design them. You are going to have a template to make the beautiful swatch page. I'm going to show you how to trace it on paper. I am going to show you how to make all the swatches. Of course. The wavy patterns. Color chart. We're going to look at watercolor paint properties. You're going to have some outlines to use. And they're all going to tie him to the swatch pinch that we are going to paint together and designed to get them. And I really hope you enjoy to share project with their schooling's. You can see below the class, below the videos, hello projects section. You can click here. You can also find the resources. So the templates I shared with you, click on Create a project and a project description called full watercolor swatches. You can add a project description. And I'll make the description of the better leader. You can upload a cover image. This one has the cover image. Make sure it's under eight months. And you can add images. I'd love to see all of your swatches so you can chop them off, drop them, and then click, Publish, a class solely launched. In this section. In the project section, you will be able to see the project or your fellow students and comment on them and comment on them. I will personally go look into each project and review a little feedback if you need. So ask your questions away and I'm really excited to see your projects coming. Before we start, I wanted to say a quick word. All the lessons in the class are on slow speed. That's meant for you to paint along with me. I don't speak particularly fast. So please, if the tempo is not quick enough, don't hesitate to find the little button that makes the video go faster. It might be better. But if you want to paint at the same time, these videos should be at the right pace for you. Let me know if you have any issues with the class and and happy he's watching. 3. Materials Used in the Class: In this lesson, we're gonna talk about the materials needed for this class. Coffee. Important material. In this lesson, we're going to talk about the materials needed for this class, showing up on your screen right now. So you're going to need some water, some colors, of course, a little dishes for if you're using two colors to put the colors in some pallets, watercolor, paper, paint brushes, the templates we're going to use for the different lessons, and some writing tools. So pencils, erasers, brush, pen, five minor tape. We are going to take our time to view each material separately. If you're very familiar with all of these, you can skip the lesson and we'll see you in the next one. Let's start with what's on the table. So jars of water, one clean. Let's try to keep this one queen wants to N12 rinse your brush off and catch all the excess pigment. I'm not perfect with keeping water jars clean, as you can see. But as we're swatching colors or might be nice for you to try and keep one water dish cleans the second important materials of this class, the paint. You can definitely use some tube watercolors. Van Gogh is one of my favorite brands. You can use artisan handmade watercolors. They're very cool to use. There's good a store brand and there's a lovely human making them. You can use brand watercolor pens, which I don't have much of, or at all, actually, those pretty much all handmade watercolors. If you use tube watercolors, you're going to need some little dishes or your palette to drop a bit of color. And if you don't have pallets are tiny ceramic dishes. Bottle caps work well in corn caps, so we really use whatever you have on hand to carry the paint. And remember if you don't use it all as you can see in this one, if you don't use it all, you can come back to it because they're watercolors so you can reactivate them later. Let's put on the sign. As long as we're on the subject. If pallets, there are different palettes so you can use, those are tiny ceramic dishes I made. They were supposed to be something else but an accident happen. So it's now a watercolor palette. You can also use the top of jars. They work very well because you can see this is the dark came from. So handmade pallets or a white plate. White is probably best because as you use color, you'll want to see which colors are on there. So it's always easier to do on white ceramic or whitish tops. But truly go with what works for you and what you have on hand. As you can see, you can use tons of paper for these templates that I made. Those are watercolor, Studio, Watercolor paper. So there are several of those spaced a bit cheaper and they don't behave the same as cotton paper. So this is the cotton paper I'll be using most for the class type of piano, artistically, paper in tiny blocks and in Whole sheets here than I've cut. Because Whole sheets are very large and that will manage watercolor paper that I also love to use. Another favorite is Hannah Mueller, bamboo paper. So this is not watercolor paper per se, but mixed media paper. I really love the way it feels and you can use it. It's very smooth as well. So you can use it with pencils and whatnot. So you're gonna be cutting out some of the paper to make small swatches. So you can either go for tiny blocks, might be a bit more expensive, or large sheets, and you cut them up as you go. Watercolor paint brushes. There are two main types of brushes for watercolor painting. One is based on squirrel hair or imitation of squirrel hair, and the other is stable here, or imitation of will see them in details. I'll show you examples of both brushes. Let's get to it. I work with almost exclusively sympathetic. Fiber brushes. The main difference is in here, that's very soft, similar to scroll here, that's used a lot. They have very fine points, but the hair are very, very subtle. As you see. I tend to favor brushes with hair that are a bit more bouncy. Imitation stable here. Most of the time, I like this brand. Art brushes. My favorite brushes that are there, so pretty. We're gonna be tracing a lot. You don't have to use tape, but sometimes you want a real nice crisp line, one you want that you're going to want to be using either painting tape, masking tape, or a small washi tapes. Those are a bit more expensive, but they're nice. They add a nice little touch when you make your paintings. These are a bit less expensive and they come in a variety of width. So you can get, the larger sizes are tiny ones in the resource section. So let's try this underneath here. Somewhere. You're going to have some templates. So of course they're not going to be cut out for you have to do that part. But you're going to have some templates for the wavy swatch, for the technical swatch and for the swatch page itself. So you're gonna be able to use these if you want to trace to cut out like this, and just need to use your pencil and draw the outlines. But even when we do the outlines, maybe we use some tickets. Final supply, you're going to need a few drawing tool. I usually use my six H pencil, my favorite, because it truly doesn't show much underneath the painting. If you leave it there, you can hardly see on camera now. For that reason, I might be using an HB pencil from time-to-time. But as we're doing swatches, most often it's not. It's okay if we leave the trace of the pencil underneath it. So the wider for which the lighter pencil you have, the easiest it goes to. Notice too much. For testing the opacity of the paint. You're going to want an option of a waterproof ink. So it can be in a fountain pen like this one with some watercolor. Not want to put some waterproof ink. Or my, one of my favorite tools, the brush pen or a simple black liner, simply makes sure, make sure it's certain permanent waterproof ink somewhere on there. Or you might get the bad surprise of your paint mixing it with the paper. Not with the paper, but it was the right. And in the end, an eraser. And that's it for the materials lesson. I will see you in the next lesson. Very short one about watercolor paper to see the difference of the sink color used on four different watercolor papers. 4. Watercolor Papers Comparison: In this lesson, we're going to test one color on four different papers just for the fun of it. Just to see if there really is a difference. So normally when you pick up water, when you pick up color, you drop it in your palette after you make sure the paint is the pigment is well distributed. We're going to start with the studio paper. I really like this paper is very affordable from my local art shop. So I can always try out ideas and not worry about the price so much. But as you'll see, colors tend to be less, a bit less saturated. So we're gonna do a very simple swatch here, just adding a bit of water as we go. I have gradient of sorts. We can drop in a bit of car straight from the pan as well just to have a pump with color. And we're going to do the same with the other papers. And you can see they go on the paper bit differently. The cold press paper will absorb more water, so it stays long, it stays wet longer. You can work on your pieces a bit longer, requires more water to work. As you can see, the color channels a bit more. Especially this this color is and then thrown blue. So it's a bit of a staining color. Dried a bit too much before I added more color. There you go. That's for the cold pressed paper. Now you'll see on the hot press paper, color dries much faster. So we're going to have to be a bit quicker with painting. Again, this is just to show you the differences between the papers. So we're not looking for perfect cubes, perfect swatches. But you can see how fast. Hot press paper dries. Finally, I don't know. I'm rinsing my brush, but I'm using the same colors, so it's not very useful. Here. The bamboo paper, I like it a lot because it's, it's a mixed media paper, but it handle, it handles watercolor is very well. You can see it absorbs water a bit less than the cotton paper, but a little more than the studio one. There we go. So we'll leave this to dry. Again, bamboo, hot press, cold press and studio. Paper hall with the same pen up and down through loop. 5. Paint Properties - Prep + Start: So for this watercolor paint properties section, if this is something that's not interesting to you, you can skip it. I won't know. It's alright. I learned a lot doing this when I started with watercolors. A quick word also, in the technical swatch lesson, we will see and talk about these properties a bit so you won't miss anything. Enjoy the rest of your class. In this lesson, we're going to talk about watercolor pink properties. And we are going to paint the reference sheet with three colors. And we're going to look into fine paint properties. Opacity, water behavior, range of hue, layering and lifting. You can either follow this lesson as a demo or you can follow along. We're going to make a little sheet like this. I'm gonna be using for this one. Hello block of Fabriano artistic cold press paper, as we said earlier, use your most expensive papers, especially, especially at least once, to learn watercolor properties because the paints will react differently on this paper in a studio or a cheaper paper. We're going to use three colors that I chose because they're a bit different to or in pounds, one isn't a tube. So for the ones in pounds are a bit old and well loved as you can see. We're going to put some water on them. Wow, we prepare our sheet. And the two, I'm going to put some inner loop pattern like this. And you go, don't need that much. And if you put too much in the dish on a plate, on a pallet, It's okay. You can just reuse them later on this paper. I'm not sure if you can see. I made some marks with the six H pencil. It won't show as much in the end product. It's hard to see on the screen, but they're just there to guide us. So the first thing we're gonna do is make some lines, as you can see on this one. Because they need to dry quite well. So we're going to make the lines you can use. I'm using a brush pen with waterproof ink in it. You can use a Sharpie. You can use another type of pen that has waterproof ink. Simply make sure you let it dry in a. This is the number one thing we're going to test is opacity. So we're going to see if the pink covers the black line or if it's fully transparent. And you can see the black line without anything over it. We can see on this one that I did, you can see the lemon yellow here. You can see traces of paint over the black line, whereas the other two, the brown one is quite dark, but you can still, on the indigo see the black line very well. So those paints aren't very opaque. The first painting we're gonna do here is to test a number to the property of lifting. So we're gonna start with that because here the paint has to dry. So we're gonna go with yellow first. So here we're going to be making these little squares. They don't need perfect. We're gonna do the second one right underneath at the same time as you have your full color on here and you're going to start pick up a bit more color here. You're going to put the full color here. And as we go down, a wash your brush a little more. And adding water at the bottom. You can just let the color flow a bit. What you're going to get. The nice gradient colors you can get all the different values of that color you can get. Okay. So we're gonna fast-forward for this next part, and we're gonna do the same thing for other two colors. Here I put a bit too much water. Not a problem. Can rinse your brush, dab it on a tissue paper. And then you have a thirsty brush and you can pick up some water. And finally, our brown hematite. You can see this car is a bit more intense. So it's a bit or difficult, was a larger range of hues. You can get a larger range of values to get on this one. But you can see here, I didn't add enough water and I put too much pigment. And we're going to see you in a sec. That's where lifting becomes interest. We're going to make. Now this one, you really want to have your clean water. So I always push my clean water jar way because I want to make sure it stays clean. And we're going to put water in these. We're gonna do them one by one. So put water in that first rectangle. And if you didn't draw them first, it's okay. Let's put the water over there. There's a sweet spot for this. You want the paper to be wet. You don't want a puddle. And this is hard to show on camera as well. You have to hit. You have to look at your paper. See here, There's a bit of a puddle at the edge here. So I want to do is pick up the petal. You can also study the effects of dropping pigment and a puddle. So you want, the goal is to have your paper like this shine with a puddles. And once you have that, you want to pick up some color here with a bit of water but not too much. And you wanted to just drop, drop the color and see how the paint flows. Some pigments Uranus see some pigments will bloom in the water. And others like this one. So this one is azo, yellow medium. Yeah, So please see in this page, this one, this one blue more. And this one which was a yellow, lemon yellow. This one doesn't travel as much in the water. So let's do the other ones. So that's why we want to use the palette here is because I dropped a lot of pigment. It's very thick. Don't want all of that here. And let's drop this one in water and you see how this one travels much more than the yellow. So it's interesting to see what happens with these colors because when you are going to paint with some techniques, you're going to want to see. You're going to want to know this. So if you have a technique that calls for flowy colors, you're going to want, you're going to prefer this color to this color because this one is not going to travel as much. But if you want a color that you can use with a lot of water. Oh, I did. I rinse my brush in clean water. You L0. And you're going to see this one as it dries as well, the color is going to separate. That's another quality or property, I should say, because it can be a good thing or bad thing depending on the effect of trying to achieve. So once again, this one is a very dark and intense pigments, so it's always best to put it in the palette first. See what I did. I forgot to put the water. Okay, So back to it. Now we can get and grammar pigment. And let's drop it. And you see this one as well. Travels much more, much more similar to this one, but more than the yellow. And you can try as well. The idea is to get to know your paints, right? So you can try what happens if you drop a super concentrated pigment in there? Does it travel more or less? When you add a bit more water, what happens? You see the more watery your pigment is, the more it will travel in water. Might not be true, probably true for every color, but maybe not many things to test. Just have fun with it. Directly char. And now we don't mean the clean jar anymore. By the way, this is not very dirty. If you clean your brush correctly, you wipe it. Even though the water doesn't look very clean. 6. Paint Properties - Opacity + Layering: Five is going to be layering. We're going to take a bit of color and we're going to make a longest shape. Again. If you want to try with some other shape, please go ahead. Just like that. A very thin in water down a bit and we're going to let it dry. Now what we're gonna do after it's come back once it's dry and later another diluted wash of color over it and see if you can still see the wash underneath. Or in some cases, the paint will reactivate. What's under. The washes will combine. And you're not going to see that layering effect. That's what work. But this has to be quite dry. So we're going to let it dry. This is pretty dry. The ideal thing is to prepare it in advance and comeback to make sure this is dry also for the layering and for the lifting. If you can let it dry a couple of hours, it really has to be totally dry to the touch. The paper has to be the same temperature as around it. If it's still cold, it probably means it's not dry yet. So really let it dry and come back. So what we're gonna do, You can either color the whole thing with a pretty strong wash for or you can do as here, bit watered down. So as you can see, this one is not totally transparent, not totally opaque. But you can still see the color quite well over, over the line down here. So why do we test opacity? When would you need to know that your paint? The thing is, if you wanna do some line art, if you want to draw underneath your pain. That's gonna be nice to know how your paint behaves. So if you make a drawing underneath with this paint, we're going to see it once it dries as well. But you see on this page, here or here, if you draw underneath and you put some lemon yellow or some azo yellow pigments dinner that leave a trace over the drawing. The drawing isn't going to pop as much. So you might consider drawing over the color instead of underneath. Whereas with this one, with indigo from this brand, There's no problem. The paint will not show over the line on this one though, you might be better drawing over. So that's one of the reasons you want to know whether the pink covers lines. And it's not again, it's not a bad paint. If it covers dependent. If it covers the line, as just means that this pigment, it'll pick darker colors. It's nice to see the rain, the different hues, the different values. I always confuse these two. The different values because maybe it's quite opaque when you use at full force. And maybe once you water it down. And it's quite alright for what the drawing, for the effects you're looking for. So that's why color swatching as fun and useful. Especially useful. Because you get to know your colors and you get to know. You're trying to make something, an art piece, whatnot. You get to know which colors to use. I'm trying to make a particular thing. And also keep in mind, it's not all yellows. These two are like that, but it's not all yellows that will be opaque. So if you have several yellows, you might want to test them out to know which one to use when you're drawing underneath or when you're using them in journal entries or whatnot. Not all Brown's will be opaque and not all brands will be transparent. And that's why interesting to swatch of color. When you get a new one. So now we're gonna do this second layer of these little things. Pretty dry. But again, if I was doing this either with smart colors or not, I might give it a bit more time, but I want to go a bit over. Then you get to see might not have lot of space to do. Keep in mind that Crayola colors right there. And you want to do the same for the other colors. You don't want to cover the whole thing because you want to be able to see where you went with the layer, where you stopped with the layer. In this demo we're going to stop back to. But you can make several errors. You can make as many as you want. And you can spot where, where you stop having an effect. Stops being noticeable. You can see in, we're going to see it better. Here. I'm just a bit, but that's okay. So you can see the difference, the layers, this one layer is much better. You can very well see the difference. Maybe here it was in trying to, and here you can see the yellow. Once you layer them, you can't really see that second layer. You can see the difference in hue between the two layers, but you can't quite see the second layer underneath. The final thing we're gonna do this is the lifting. So here we made these little squares are very solid color and what we're gonna do. So you put a bit of clean water on there and then you dry your brush again. Rinse it off, dry it, not draw the brush. You dry your brush on your paper. And then with your thirsty brush, you come and pick up the water. And you see all the car on the paper. You see on the paper. That's called lifting the color. So it's nice to test this on your good paper because different papers will react differently to different pigments. And there's only one way to test them. And to know for sure. Actually, there's only one way to know for sure is what I meant to say. So as you can see, you can pretty much lift all the color and you're back to the white of the paper with this one. So ideally, you want to make sure that the color is totally dry when you do this, and why? The water on both of them. Why do you want to test this? Well, if you make a mistake, if the color is like this, if you can lift pretty easily. Well, you know that if you add water, too much color, you can lift the color. However, some colors, especially some reds and yellows as well. There's some colors that don't lift as easily. Rows of Helen color doesn't seem to be lifting as much as she can lift a good quantity of the color. I might not be able to get to go back to white. Again, it's important to do this once the color is totally dry, because once it too, if it's still a bit wet, might be easier to lift. If you make a mistake, don't, don't wait until you're done with your piece. Tried to lift it as soon as possible. Then. Well, maybe there's times where in your process of making art and find a use for that. And you can decide that you make a large wash, large wash of color and you go in and remove color, nice orange washes. If you wanted to do that, you have to make sure the color is liftable. Don't think I'm gonna be able to go back to the one of the paper and told me. One important thing when you test these things is to actually write the names of the color before you forget, because yes, we always think we're going to remember. The next lesson. We're going to start small swatches. 7. The Simple Swatch: In this lesson, we're going to take a look at the simple color swatch. This is truly a way to simply try out new colors or document them, have a reference of them. And also you can play with them after to choose a color palette for project to see how they work together. She's this one. The yellow was nice though they're very versatile. They don't take much time, and they can be as simple or as complicated as you want. So we'll try a few. Before we start. I wanted to show you these four are different. Indigo, though it's trying to compare. So sometimes the larger size works best. But it's not always necessary on these types of colors as well when they separate. Sometimes you want a larger swatch to take the time and the space to look at these properties. And sometimes the small ones, quite enough. So I prepared a number of small papers like this. These are all artistic Fabriano papers. And one, we work with tiny papers. You want to grab another page, mixed media paper, printer paper or something just to put it underneath so you don t table. We're going to try a few colors. In this lesson. I'm going to show you a few ways you can achieve the same effect from one. If you want really, really straight lines like these. You can use some tape. The tape at the bottom, the top, Chavez at top and the bottom. You have nice little spaces like this that will be preserved from the color. So these are two pieces of tape will enable you to write the name of the, of the color and the name of the pigment up top. If you don't wanna do this like this, we can make a simple color swatch with only the bottom, just the name. So when we do these, we'll take a few colors from here. Let's palate. I said earlier. It's better to use a color on account first. When you have the tape, it's pretty straightforward. There's no need to be mindful of the edges and you can just color away. So we'll let this one dry. Also, you're able to do like a solid color such as these. And you could also do if you want adding water, as we did in the watercolor paint properties video, where you gradually add more water to see the full effect of the swatch. So there's many ways to do this. We'll do another one. So we'll use the violet hematite. See, even if there's colors on your palette, you can always reuse it out a bit of water, not too much or it's gonna be a bit watered down my pants. Just because I like having a solid this. So if we don't want to use the tape, you can just make the line. Here. Let's your brush and go right away. And make the rest the color swatch. So as long as you have a brush that has a nice tip to it, you should be able to get a nice line. You can draw it first. Let's make it red. Another way to do this is to have a bit of an effect on my papers. So we can have the nice fact. You actually go for perfect branch here. Oops. Wrote to put the paint here to make sure you have a uniform, wash them. There you go. Named to be straight edges. You can make little mountains. And the last way to do this, we'll take this one. Rows of Helen, as we saw earlier, was a separating color. It's nice. Bit of water in there. Some color. We could go full strength here. Adding a bit of water here. Clean jar. Britain, just water at the bottom. You see how it flows over the round bit. Not too much. Let's grab the paper towel. There's too much water, you can just soak it up. So those are for ways to make tiny swatches. And now for the water in this one grabbed this one after. So for colors that are separating, like violet hematite or the rows of Helen? I'm sure there's not, I'm sure, but I know there's a lot of colors and those you can grab a larger swatch. You could grab a larger brush as well. I'll just stick with this one here. So if you grab a larger paper might be a bit longer and go for a straight edge here. Now, pigment and watercolors travel in water. Long as your whole paper is wet. We can add pigment. And then you'll get a larger, a larger version of this swatch. Since we added a bit more water and we created an uneven wash. I'll get to see as it dries on the separate and colors, what all is separating the two, separating pigments in this car and should settle bit differently on the page. Now for the last color, this is a magnetite paint. Pigment is actually the magnetic, which is kinda awesome. Song. Just wanted to show you the importance of paper. So we'll make tiny swatch of this on the cold press paper. And we'll make another swatch here. So these aren't dried and might stay in the back of my paper. I don't mind so much. If you want to keep them clean, make sure to have a larger under paper. We're just moving this one around because as I was drawing, all the pigment, pigment was going. You can see here maybe a little arc. The pigment was gathering at the bottom here. Back to the magnetite paint and the hot press paper. So on the hot press paper, you'll see that the pigments separates more subtracts with one. Once again, I want to make very solid color. Part of it. Not so water can see how that settles. Long as there's water. You can also move it around it. What happens like Oh, pigment around for me. Interesting things. Now, while you still have your parents in front of you, and you still remember which colors you used. So now they've mostly dried, not all of them, but before we forget, we're going to add both. Cold press paper, hot press paper. This little one. Too much water or too much pigment. Either way. Pigment went all the way to the bottom. Didn't. That's okay. That's it. For the simple swatch. 8. The Technical Swatch - Part 1: In this lesson, we are going to make a technical swatch. There are beautiful way to document the watercolor properties for each pigment that you may have learned so much during those. So I'm gonna teach you how to make them in this lesson. First things first, we're going to trace our little swatch. I'm gonna be using bamboo paper from Honolulu. These are quite the perfect size. So this is the template or the outline I have in the resources section. I'm in a little cut out of this on watercolor paper, on Studio Watercolor paper. And then when you're ready to make a swatch, It's as simple as putting your paper underneath. Some reason it's easier on this side and simply trace the ones I'm using, again, my H pencil so that you can leave the lines underneath. They won't show so much, especially on a swatch. You simply trace these rectangles and we're done. So the other thing we need to prepare is with a waterproof ink pen. You want to make a line. This is a brush pen with some waterproof ink. And you make a line through here. And we need to let this dry very well. Now we're ready to paint. Because we're going to go over the edges here like this. I'm going to put it on another piece of paper. So I don t think on my desk, we had a rush or water and our color. For this lesson, we're going to use Kelvin color from Van Gogh. So we're going to put, we're going to put a bit of this color on the palette. So now we're ready to paint. I'm going to paint with you in the order that you would do it at home as well. So that the layers that have to drive will have ample time to dry as we do this. So the first section here, what we want to test is layering. So how well can the color be layered on top of another layer? And we still see the different layers within it. This is a strong color. I'm going to water it down a bit. There you go. We could go pillar. That's it, we're good. And then this lesson, I'm making circles. Because when I started making these, I really wanted to get better at drawing circles. And it's kind of a habit now. But you could go for any, any shape you want. So while this dries, we're going to paint this little corner and so on previous ones, on previous swatches, I made this section much larger, but in the end you only need a bit, only a small section for this test. So if you prefer monetary swatch, It's totally up to you. You can make it however you want. This. We need for it to dry thoroughly before we actually test the lifting. It doesn't have to be perfect. You can work on that. Better. I feel better now. The third thing we're going to do is to make a full strength swatch here. So this is a space to showcase the color. It's full strength. Talking and painting, difficult thing. So one way to make it your own, if you prefer. So you could have the full strength color here and you can have a much lighter version of it here. Or you can do the full strength version. As I did. You're welcome to see which you prefer. This is not if you do this at home, you can do several cars at once. And this will give you more time for your layers to dry. But I think we're good for a second layer. The second layer is a bit darker than the first. I find it fun to have the lighter layers with larger forms or shapes and to have smaller shapes with the layers that are a bit dark. Again, you can customize this. You can try different things for different colors as well. You don't need to make them all to all the same. And the different layers could be different shapes as well. You don't need to have all circles. You can make rectangles for the second layer and my triangles. The last one, I think I went too dark here. But that's okay. Now we're gonna go for the opacity. So this is our black line that we made earlier. So we're gonna do two things. First of all, we're going to put the color full strength up top here. And then we're going to make a gradient so that the color is much paler at the bottom. And we'll see how to do this. And then we'll see at what point the color becomes transparent. Or if it stays transparent. All the way through. Now you want to put water on your brush and want, and just water at the bottom. And this color is very staining and it will travel quickly in the water. So you see, I didn't even need to add color to my brush after the water. Maybe we want to add a bit more color to that even gradient. There you go. You can tilt the page a bit. And maybe there's a tab much water on this. So just go in a bit of water away on my fingers. So as you can see here, my fingers in the paint and I put my fingers on the paper. And that's a reason why we want to test for lifting purposes. 9. The Technical Swatch - Part 2: This section, this section is about water behavior. So how this pigment will travel in water. We had 0 preview when we made the gradient. Remember we want the paper to be wet with no puddles. Seems about right. Maybe a bit freshwater. So I'm just tilted a bit from the one at the bottom. There we have it. So you want to pick up some pigment. You can test how it flows. As you can see. I was watching, I thought it does travel, but too much. You can add a bit more water in her painting. And you can see that the pigment travels much faster, much quicker. If you have more water on your brush. Let's add another layer to our bottom section. So you want, at this point, quick concentrated pigment. I think, I think my second layer was a bit dark. So one way to test this, instead of going on and saying, oops, I went too far. When you begin, have a scrap sheet of paper sign next to you. And ideally of the same paper you're using for your swatch. Then when you pick up the color before dropping in here, you can make a swatch next to it. And then you have a better idea of where you're at. Because I think not I think I know I went too dark here. You can see that there can be many layers, many hues in-between these 21 way to correct this is two. This is not an easy pigment to play with. So you can add another layer just here. If this happens to you as well. So it's not you don't have to bend. If you make the same mistake as I did, you can just come back and add layers afterwards. And, you know, body wall. And the swatch will make work. And you'll have the information you need where nobody knows. Well, you know, but we're going to add full strength. This is a two watercolor as well. So sometimes it's easier to grab too much color. Whereas when you work with parents, you have to work for the color and tubes. Well, if you dip your brush in the color layer at full strength already. So there you go. You can make as many layers as you can. And there we go. The last thing we want to test is the lifting to the bonus lifting here. So you want to come here and just drop some water. Some clean water would be better. Let's use clean paper towel. And you want to pick up the water after. You can do it with a paper towel or you can do with your brush. You dry your brush very well. And then you pick up the water. And when there's no water left, we add some more. Drying your brush again and pick up the water. You see with this color. We're not gonna go back to the white of the paper because it is a staining color. So it means that means that even though you try and you add lots of water and you pick it up the number of times. You're not gonna be able to pick up all of the color. That's nice to know because if an accident happens like it happened to me earlier, Well, you know, you have to act quickly because if you let it dry, chances are you're not gonna be able to pick up the color. I think that's it for this one. Last thing. And don't skip this step. Either with your pencil or with a pen, or with your pencil first and you do with the panelists later. Write the name of the color. Make sure your pen works before. And then you can look for the pigment info. So this is PR 176, which is a red pigment. And underneath, if this is something important for you, you could write the light fastness and whichever information like the transparency or opacity and the staying power of the color. You can write everything that you need on there. I'm personally, I have the pigment info, the brand, and the name of the color on there. 10. The Color Chart: In this lesson, we are going to look at color chart swatches. Color charts are basically little squares. Usually they're squares where you mix each color with each color in your square. So you get to see every mix you can make. Almost every mix you can make with the colors of your chosen palate. They can be quite small with three or four colors, or they can be larger. Such as these that are made with a colors. The more colors you add, the more you will have to be patient. For this lesson, we're going to practice with it three color, color chart. That's enough to get the idea of the process here, I chose three primary colors. Yellow, light, indigo, rose, pink. So we're going to use, again my little block of handmade paper. So you basically need three squares. You can use tape to make the squares, or you can use your ruler and a pencil to simply make the squares. We're going to just eyeball it because they don't mean to be commutated. Don't forget to take the time and don't skip this step, especially if you're working with more colors, actually write down your colors. So here I'm using a to H pencil, and later I'll finish it off with my fountain pen to make it look nice. Yellow. And go yellow. Rose. My lines could be a bit more straight, but roll with it. So the first thing we wanna do, this woman was putting yesterday, so I have to reactivate it and actually fill in the squares where it's the color. With the color. That sounds weird, right? So the yellow with the yellow. That's the idea of a color chart, is to have on the horizontal line of a mixes with more of that comp. So right now I'm finishing up the indigo color on that line. We would have indigo mixed with a bit of yellow with a bit of rows. And on this side we'll have the indigo mixed with lots of yellow in the indigo mix with lots of rows. You get an idea. These charts will give you an idea of the range of colors you can mix together using these three colors. So now you need a palette. Just make sure your brushes very clean. Corals are going to contaminate your pen source of car. So we're going to drop a lot of yellow because it takes more yellow. And the other color. Only two-ninths. Puddles. I'm working with tubes because it's easier to get more color. But this one has dried. So two big puddles. And what we're gonna do is add the lightest touch ever. Indigo will put it on the side. She wants something. We'll put it on the side here. And you're going to mix it in a nice greenish yellow color. When you mix watercolors. I have to make sure pay attention to the quantity of water and put my finger in pink. So make sure you don't add too much water or your course will be very pale. This is why for these charts, it's fun to play with tube colors. And the next one, I'm going to grab more color. I was forgetting my Paper and a bit more color. I could add more indigo. See how different those two yellow those two rings are. But they're made with the same two cars. And there's an infinite, well maybe not infinite, but there's a huge range of mixes you can make. These two cars. Of course, those are the two only options will see you in the next lesson, we'll see a fun way to play with this. Make sure your brush is quite clean. So now we're gonna go for, I'm going to put some more yellow as we saw. First one was a bit pale. We're going to grab that pink. That's what we use it after. What keeps them for the indigo. Here, a tiny bit of them might be not enough. Tiny bit more. Now we have an orangey yellow. Orangey yellow. Yeah. I'll put it here. And here. So that's where having the names is good. So you can double-check where you're at. I can't tell you the number of times that I made an error when putting down the color, dropping more pink and they're more girls, actually ******* than an English. More rows here, and we'll put it here. So you can actually see the road rose color with a touch of yellow. So we dropped a bit too much. Pink here, two rows. Go grab us ourselves. Some indigo. Now since my brush is already filled with indigo, I'll go here. And that'll be that will be our indigo rose. Indigo with Martha Rose minute. And I'll wash it off. Graham. Pink. Touch more thing. That is, or pink was lots are pink with a touch of indigo. And we're done. We don't actually put my finger in it. I felt it didn't show as it dries. It dries, kinda shrunk. So I'm just going to cover it up here. This is a big green for my taste. I want it to be a bit more indigo. So we're just going to use that indigo. Require that means more. Indigo. Just hold that on top. M. Now we're done. So as I said in another lesson, the tape on the bamboo pit paper tends to terror of left too long. You can see it a bit. So a nice tip that I did not do here is before you lay the tape on the paper, tape it to your clothing first and then to your paper. So it has a bit less sticking quality to it. And there you have it. A nice little car, truck. Three crops. 11. The Palette Mixing Swatch: In this lesson, we're going to go for the palette color swatch. The color chart is something that's very organized. These types of mixes, they're a bit less organized for documentation, but they have all you can see all the nuances in there. So for this one, we're going to actually use the Fabriano artistic go watercolor pad. Because it's more fun. You can put more water and you can have a bit more depth in your colors. These I usually do with four colors, but we're going to use these three. See how it goes. So first of all, make sure your callers are well activated. If you have old Mr. like this, you can just add water on the page depending on the size you're working with. And here I'm working with some tiny brush. So you might actually want to use a larger brush. We're going to make it work here, but it's fun to adapt the size of your brush to the size of your paper. What we're gonna do is basically pick up the colors on each corner, will. That's why we do them with four colors, but It's going to work. On each corner you start with one color. Which I'll draw. Here is we have only three. There's gonna be a bit more space for each color. Play with the saturation doesn't have to be full strength on the way. And we're going to let the colors touch on the page. Next. You see magic happen on the page. And in the middle. That's the fun part about it. Make sure to perhaps use the palette. That's right. In the middle, we're going to have all three colors meet your right and put the endergonic bottom. Let's see, this is where larger brush would be. Better because I thought the picture would stay wet longer, but common tries more quickly than I expected it. Depending on the weather. On the temperature of your house that day. The humidity level, the paper will dry more or less quickly. Those you can see in the middle as these are kind of primary colors. I'm going to start seeing a neutral color start to appear. And then you get to see all these beautiful colors in between various scientific formal way to mix your cards so you just go in. I could actually do this for hours. He's drunk, color on the page and smooth. And it's quite fun to do on cotton paper because That's where you see. The paper is still wet the longest and can definitely playful. Long time. The car is if it starts to dry and just pick up some color, add more color to blend in the bits that are wet and dry. It's important to go over all the parts or you might leave marks. And even if you leave some marks, undergo is taking over quite a bit. But if you know me a little bit and we all know, that's not a problem. I love. Maybe we're missing a bit of yellow. Some drop in some yellow. Almost a second lane. Bring him there, you have it. That's another way to play with a palette of colors and see what happens when you mix them together on a page, bring back the car trunk. Will see here you only have nine different cues on your paper. Whereas here you have many more. And you can see all the range of greens. You can get all the arranger, orange-ish colors, and all the purples. And of course, like all those neutrals, you can get the mix all three together. 12. The Chaotic and Playful Swatch: In this lesson, we're going to take a look at chaotic and playful color swatch. So this is a way to make low palettes and just have fun swatching your colors in different ways. And as you can see in these pages, there is no color names, no documentations. We're just randomly choosing colors. I'm playing with them and see what happens and train your eyes to look at color. In this lesson, we're gonna be using artistic owe, 100% cotton paper, but hard-pressed. Just for the fun of switching it up. You can take a larger page to do this, or you can take the smaller one. You could even do it on the little pages. It doesn't all walks. Activity here. Sorry, I'm just gonna go pick some colors. Then I dropped them on the pitch. I'm not sure you go for those squares and see what is fun to make here. Green. And what can you ask herself? Well, I think this will make a nice combo. Actually does, and I think this will not be as nice. But it's not that bad. It's something to go with that yellow, green with some more lemon yellow dots a convoy don't like as much. But it's interesting to have non page. So that's really just the plain colored groupings. Most one way to go burn it. The corners touch into how the mix. I can. Newton put them next to each other. Touching. And there's no pressure sensor, sons well, there shouldn't be any pressure when it comes to do as you want. But especially in this exercise, the goal is not to darken and just the claim and see which colors you feel like picking up and putting them next. And you get to film. And there you have it. A nice page of colors that are all bleeding into another. And you can take a moment to look at which ones you liked. Or you can flip the page and make a new one. 13. The Wavy Pattern: In this lesson, we're gonna learn how to make these wonderful color swatch. And the resource sections. I'm giving you a drawing, the line work based on this piece. If you would like to use it for your project, you're welcome to try it. There are three different ways to make the wave patterns and won't go through them one by one. The first way is to trace the outline from the resource section onto your paper. The second way is to draw on your paper, freehand your own lines. And finally, you don't have to draw any lines. You can simply paint the shapes as you go along. And we'll see this during this lesson. Depending on the margins that you want on your piece, you're going to use the proper size of tape. This is quite a large paper and we'll make large margins using this. I'm using Fabriano compress and Brianna artistic cold press for this one. I'm going to try something and not go for equal margins. So small piece, pretty much centered. So small piece was the large white frame. That's what we're going to, if you want to trace it or if you want to use a pencil to freehand trace lines. If I suggest again, my favorite six H pencil, you can simply just make a couple of lines here. And the rest were gonna do just freehand. So here you can see the lines there are very, very light, but that's what we want, so it doesn't show too much. So depending on what you are doing, if you're just doing it as an art piece, I suggest three to four colors. And we can mix them together as well. But if you're documenting a palette, like we're gonna do in the swatch pages. You're going to use the colors themselves. So for this one, I'm going to clean my palette. I'm like doing this. Just add water to what's left in your palate. And we're going to try to keep a few different colors. So on the first line, what you wanna do, what you wanna do, you do you write? But the way I work is I do the line first because that's the part of the design where you need to be paying attention. And we're maybe I shouldn't be talking too much. So I do the line first to get the shape the way you want it. Then you simply have to make sure that all of it stays with. So on a cotton paper, it's not quite an issue. But if you're working on Syllabus paper, you're going to see it dries faster. And you want, you want the color to be equal on the whole length. So you want to try to work quickly. And then we're going to take another color here to green. Now it's the same thing we're going to go. We're going to do the line first. Courts quit piano. That's okay. We're gonna do the wine first. And since we drew this, we can do both wines, which is worrying. We know where they stop right? There you go. I might add some color later. Experiments I thought. So again, we want to follow the line first. Touched much. That's okay. And you follow the line underneath. So if you're working with from the outline, so if you trace this on your paper, get something like this. You're just going to keep doing these sections. So it's the same process over and over again. Simply need to choose a color every time. Now, this one bled a lot. Okay, it looks good. Now gets a bit different. Here. I don't have any more lines, so how do I decide where to go next? So here, this line is not a question, right? You have to follow this one. So the only question you have to answer is where is the bottom line we're going to meet? I usually paint that first. Paint the bottom line. Makes sure I like the shape. Then I'll go and make the top line is now when it's drying, the colors start to dry. This is when you want to add some of. This might be another class one day. But if you haven't salt on hand or I can just drop a bit of water to create some fact. See this one is to drive. So I don't have any effects. Depending on when you put the water in there, gonna get different effects. And you don't need to. Some of these are made with no facts. Really liked them. Somehow, very few, somehow more, more saturated your color is, the more the effects are going to show on the page. So if you saw in the previous image with the indigo, you can see the effect of the water much more than working at sea. Same thing for the bottom shape first. And then you fill up the rest. Now I'm thinking these colors are starting to become very pale. So that's the power we used a bit in an earlier lesson. We're just going to go pick up some color and drop it in here. Just going to draw a bit more color here because we entered untrue grayish territory. While it's okay. I want it a bit more color. So that's another effect actually you can make. We can go grab some color and drop it in there. Just let it go. And that's why we spent time at the beginning looking at watercolor properties because this is going to inform you when you decide to do this effect, or you want this effect, or you want a color that really, really blooms into the water. While you're gonna know which one to choose. This is starting to become a very interesting looking piece. So now we have a very pale green and now let's say the one shape I don't like so much is to have a big belly in round one. But it's really a question of taste. So here, one thing I like to do, let's don't actually make them shorter. Rainbow effect. So I'll show you in a sec. Long as greener than this one. Here at the bottom, we end up with a rainbow effect n with making the arc of your circle like this. So more pronounced and then smaller. And then you get a rainbow. Whereas in these pieces you have more rounded shapes in the middle. And they're a bit more abstract. So it's really, you can, from here you can go one way or the other for the sake of it, because if you use the outline, you're going to end up with a rainbow we want. So for the fun of it, we're going to try something else here. We're going to actually make a split one. What is the split one? So these are very technical. So you make a larger shape, right? Then you decide to leave some space here. Another column, C, you haven't filled the whole thing. See this one I loved Dr. It got to be careful. Work fast. Or more water when water, non cotton paper. No problem. The top layer is this one because I was talking is too dry to make an effect like kissing the colors. So we're just going to leave them with a nice white space into two. So this here I could have I could have made a bit larger, but I'm going to put some yellow in here. And then you just fill shape. Now, you might want to change brushes. If you don't have quite a very consciously, as I was saying, since that she is very narrow. If you want a very clean what you might want to change your brush to a smaller one, which I could have done, but I didn't. That's okay. Let's see. Do we do one last one? We're going to keep a little space here. Oh, interesting too. So welcome. Bit of car that's not quite mixed in. Here. This ended up beautiful, even better than I expected. So once drop some pink and this one and see, drives go down, Let's finish with a nice touch of blue. So as you can see, this is a very intuitive process. What does that mean? Means that you don't mean to have a very set plan. You can just go with what feels right in the moment. And I've done a lot of these. So if that's not something that's easy for you, That's quite alright. You can practice that will make it for you. And there you have it. Anyway, Me pattern. 14. Designing Your Swatch Page: In this lesson, we are going to be designing our own swatch page. Your swatch page doesn't need to be exactly like mine. I'm going to accompany you in deciding what you want on your own swatch page. In the resources section, you can download this and then trace it onto watercolor paper. You don't use a cotton for that, but you do V0 paper or cardboard or something. Just cut out the squares, the different squares in this. Be mindful of your fingers while doing this. And I speak from experience. Once you have this, it will be easy to trace. We're gonna do that in the next section, six color palette of space to put your colors as paste to mix them. And two spaces for wavy swatches. Maybe you've had a lot of fun trying to make something like this. Maybe you had more fun making a mixed pallet. Are you really want to have the opacity information on your card. And perhaps you want to do a color chart or some random palettes with whatever mixes you can get. Or you want to make little rounds like these. On your reference page. The choice is really up to you and I invite you to customize this template. The page, I've done pages on nine by 12 " pages, which is a bit larger than A4 or letter size in the US. And I've done them on half sheets of these blocks, nine by 12 ". So as you can see, this one is nine by six. You can also cut down sheets of paper. If you use a large sheets, which is a size, these are one-eighth. This is one 16th of a sheet. And as you can see, it is a bit smaller than my nine per 6 ". And this is roughly a letter size and a bit larger than this. So if you want to cut down sheets, the fun is, you can decide yourself what is going to be the size of your swatch page. So what you wanna do if you want to use this template, go right ahead. For this, the only six colors, or you can just not put the sixth. And if you want to use a bit more colors, well, you can still use the template, but you just separate the colors here. You get to decide which feature you would like. So here are two wavy patterns. You could decide to use. One wavy pattern. And then here I have a big chunk of the palette mixing swatch. You could decide to add some little pellets, some little combos of the different colors in your palette in one of the squares. You could also decide, I don't want to use that. I want to make a small color chart. And that's a very cool idea as well. And perhaps you use a lot of water in your work and you really drop some colors and water and you're like, okay, well, I want the middle one to be just a square where I'll drop water and see how the colors behave. You can decide here, instead of making small gradients of the colors, you are going to paint six rectangles, a water, and then just drop the colors in. That's truly up to you. And then the space here in the template is meant for a simple swatch of each color. Once again, you can customize it. You can make larger swatches, smaller swatches. You can even make little circles of colors if you want. This palette was only four colors. So of course, there's no need to go for six. The choice is really up to you. If you do the, if you still decide to make two wavy patterns, you can think one on the other side. You can add texture in one, not on the other. You can have some colors on this one and the other colors on that. Possibilities are truly endless. So I'm gonna be using a larger version to show you how to trace and how to perhaps center it. So we're gonna put tape over the edges. Not because it's very necessary, but because it's going to help us Center the template. One thing that's fun when using tape is that as you can see, it's the same width all around, right? So it becomes much easier to center stuff. So I'm gonna be using the same template. And I'm gonna be tracing my squares. You can do this with me. I'm not going to be speeding this product. So how the time to do it with me? Or you can speed me up. You're just watching. So remember, if you're not using a six H pencil like I am, please make sure to press down super heavy. The top line there, something went wrong when I cut the shapes, It's not quite straight. I kinda bothers me a bit. But as I noticed when I did this one, when I made these, I made tape all around. I didn't draw a shape. I just taped everything. I don't feel like doing that so much. But for these squares of these rectangles squares, I'm going to actually add some tape because I found it very difficult to keep straight edges. So I'm gonna be using this tiny, tiny bit, larger tape, tape than the previous one. Quick tip, if you're taping over. If you've traced underneath and you want to use tape. If you tape just over the pencil line, right? We taped over the pencil line. Well, it's not gonna be painted over, right? When you're going to remove the tape. You're gonna be able to erase the little lines you may ask to keep in mind. Now if we want here, okay? And now we have one over, might have to adjust a bit. We'll get there. When we paint. There you go. And in this one, what I'm gonna do is I want to check the opacity of the paint. So I'm going to make lines through these here so that I get a reference of how opaque these paints are. Just for the fun of it. You don't have to make a straight line. You can draw a little something here, mountain or something. Let's have fun with it. Or you could draw circles in the paint, right? You make a pattern. So all oxygens that you can do for the rest. So you've seen this one. But for the rest, I'm gonna do my classical swatch page. 15. Project Paint Along - Beginning: I've decided little palette, Carmen, some Chrome oxide, violent hematite, indigo, Copper, blue, glassy. Yeah, so 123456 colors. As I'm preparing to paint, I realize these top squares aren't very, even. Some of it too fast. To make sure everything is straight. I'm going to put down bearing, go. Okay. Now we're ready. First thing to do. You can paint them in the order you want. Great. It's nice if you go from left to right so that you don't put your hand over. That is, if you're right-handed, if you're left-handed, maybe you wanna go the other side around, the other way around or you want to turn your paper, something. I do a lot. So both for the sake of this, we're going to paint these lines. Just remember to leave a bit of space for the name of the color. Same thing here. We're gonna be putting down the colors themselves. The reason why I do these before is here, I tend to mix all the colors together. So you want to get a nice bit of each color without any mixes in before you start, before you start having fun. Let's do this. And because I'm terrible at just wait for this. So we have six colors, right? Briana first split it in half, and then in three sections. This is to remind myself of the space phase colors shifting. And then we just have fun painting. So we're gonna start with that Chrome oxide. So I'd like to start with a color full strength. Oh, I forgot my paper. And then just bring it along with some clean water. That's why you want to have your water clean to be the cleanest possible. So speaking to myself here, remember to rinse or brushes dirty water. Next up, the violet hematite. Queen Morgan. So this is gonna be a real-time video. I might not be talking all the time. And you can see some pigments travel much quicker than others. Whereas when we put some water down for the green, you saw that the green didn't go all the way through. But for the violet hematite, the pigment traveled to the inferior quickly. Next up, indigo. This is my favorite color. I use it everywhere. It's often the base color of my paintings. And then I decide what goes with indigo secret. Everything goes with indigo. S1 or almost everything else. Let's see where do we go next? I will put the glacier Bu, Jesse. Let's see, That's where you have to be. I didn't leave enough space between the two colors. That's okay. You can trace it out. Maybe I tried to lift, Let's see, as easy. But as we tested the lifting capacity of the colors, that's still be very difficult to. With the color, like in a straight line for the whole thing. So just pay attention. Pay attention when you're putting the colors. The calamine color. As you can see on the paper, this is a very staining color. Very quick, takes over quite rapidly. Chosen the water. Gouache. And that's why it's good to know your colors or to get to know them. Because the small, smallest, smallest dash of color of this one goes very far. And you have to wash your brush very well with this one. So it's good to know once you played with it a bit, you know, I don't get surprised with some leftover pink. And you didn't expect it to me. The copper. I don't use many shiny colors, but copper's goals, implement italics are pretty cool in my opinion, and that goes for everyone to decide for themselves. Here. I might have put a bit too much pigment on. That's okay. It doesn't need to be perfect. The goal is to have fun. And take a moment to notice what happens to your colors as you lay them down. And that's how you get to know them. The more you work with them, the more you'll know them, the better you'll be able to use them in the way you want them. So if you remember, in the original one, I put more color here and let it go with more water here. It's quite similar to this one. Then this other page, what I did was put some water but just dropped bits and see how they traveled in water, salt. I'm gonna do this again because I find it interesting. And here we already did the water part. What we're gonna do, I find it easier to do it the other way to leave the water on this side first. So when you have the tape, it makes painting much easier. Because you don't have to worry. They're going over doo doo me. Mindful though that if you're told me Well crest, the paint will go under and don't overdo it with the water. But yeah, we're going you're recovering this. And as you can see, this color is quite opaque. We don't see the black line anymore at all. And that's a quality of the water quality. If you're looking for transparent paint, it's not a color for you. It's not a, it's opacity is not the quality. But if you're looking for covering pain, green oxide is the color free. So we did a bit of this here and then we're going to pick up some color again. And just here. And as you can see, you saw here that it didn't travel much. You can see here how much it doesn't show bit more ordered to add more water. Well, and here I don't like this. Maybe she can see the paint went over here. So what I'm gonna do is I'm going to dry my brush on my paper. I'm good to go pick up some color because I feel like dropped a bit too much. You put some water on your brush and then go in and pick up the water and pigment and see what happens if you think I have a tapes doing all their job. Of course, when you do this, be talking doesn't want that at the same time. So there you have it. Just short. It's true right? There you go. Better. Alright, so it's not perfect. Perfect is boring right? There you go. But as you can see, you would leave this out because the idea is to show that the paint doesn't travel well. Here, we're gonna do the same thing. We're going to put the I'm gonna go with the pilot hematite. Kind of it on my palette or any one thing was ceramic palettes that you put on them dries pretty quickly. That's alright. Just means that the if you just add water to reactivate your pigment, then you might end up with a wash down version of your color. Make sure to add more pigment as well. Unless you don't want the paint to be very, very pigmented. Soft ones shown. Again, this pigment is a bit of headache. The sense that we don't see the black line as much as much as what as emotions with another color. And not be quite a lot of water. As you can see. It doesn't travel too much when there's not water, but you'll see when it dries. Travel quite a bit. And again, rinse your brushes off. The dirty water jar. 16. Project Paint Along - Middle: Oh, I forgot to this. When you just look brush, you forgot to add color. The water. You can just grab another brush instead of linked rinsing off the pigment of the water first, this brush. And you can start again with your pigment loaded brush. We're going to drop color here. Also. It's interesting to note how car travels and then how it dries because maybe it looks like nothing like you see the green starting to dry and they stay like very compact. But then once they try, they expand a bit. So take note of the shifts that happen. Once we try and see I did it again. I loaded up my brush with the next color. Am I totally forgot to add the water. Maybe I should've said, Make this lesson with two brushes. Kinda fun to add. Two brushes are more playing around. Always ready for when you need them. Maybe my brain just mute. There you go. I'd like to start these link. Lot of watercolor teachers will tell you, don't take the paint directly from the pan and put it on your sheet of paper. Because you want to make sure you don't put too much pigment. I like my colors to be, especially during the washing process, to be quite quiet pigment. So I tend to do this often. You just have to try it and see what works best for you. And now we're gonna take some pigment and we're going to drop it in. I think apart from the red one. Seat. Not to traveling. Again, it depends on the color, the amount of color you put, the amount of water you put on your brush with pigment. So all these things I think I might have not properly, properly rinse my brush. Won't do the Carmine color you see on the palette even though it hadn't totally dry. But you can see how rich and how much it spreads. I might need to reduce some girls, I'm having a strict time. But as much as you see how it takes over the whole space, if I would just tilted, the color would just run away. You can see how transparent and still is because you can see that very well. The reason most of these things are lines is because if you put water, you get to see at which point it becomes very transparent. So if you put round like this, you only have like two or three yeah. Dots. And that's okay. Here. Now we're going to drop some and you should see it slowly take over. As you see this one. Part of it stayed in place and part of it everywhere. Every last car put the water various. So it's a good exercise as well. If you do this a few times. See, my brush was totally ruins. There's a bit of an annoying part of if you can see it. But there's a slight slight pinkish tint. That's okay. But if there were no serious swatch, What's a series? I'm printings launch or something. It's not too bad, but good practice. For water. You can see this one doesn't show much pigment, then you would have struck them here. And we will see once. What do we do with the bottom left? In this one, we're gonna do this version since there are six colors, you can't have 1234 and the corners. So we're gonna just links them up and see what happens. I'm going to put a bit of water all around. Maybe it's the water over there that's starting to be a bit pink. I'm going to end up pink anyway, so I'm not going to go and change it now. I'm just going to grab some colors. How fun? And it goes. You can see my pen is pretty entertaining. It's okay. I have indigo patterns are the only ones. Oh, and by the hematite, I've never, never, I have not emptied a lot of colors. But these two, I've emptied over and over. So the goal here is just to have fun mixing the paints. Mixing the colors, shapes and shapes. This water is not clean at all anymore. But that's okay. The goal in these is I often try and to have the middle with all the colors now the brown, violet hematite over parent everything with them. That's fine. We're going to add more colors after. Because one, when you work with cotton paper, good quality cotton paper, you can actually put many, many layers of paint and water. And it will, the pitons of paper will. What do I want to say? And the paper will keep doing its job and not buckled too much. Ground hematite, violet hematite and that Carmen color are really beautiful Mexican. Way over here. A bit more to see. Blends a bit much, but the glacier blue and indigo is a comma. So I'm strapped a bit more green in the middle. That's another thing with these colors that are quite opaque, they tend to add a bit more. They don't blend as much. They like, sit on top of everyone else and say hello, I'm here. That's okay. More in blue here. Now I'm going to drop some more red because I feel it's interesting to see how the red pushes. Let's not forget our copper. So when I have a metallic paint, these mixes, I like to put it over everything and then now might be a bit too much red. My liking. More indigo because when I was there too. Now there's a bit more water. So your brush just kept some water at the edge. And see we're finding a nice purples here. The reason I like to make these is because you just blend all the colors in a way maybe you hadn't thought of is he just dropped cars in a huge puddle. But now we're seeing a blue light purple with the Karman, the indigo and the glacier color. This is quiet, a fun discovery. So before everything dries, you want to pick up some of that copper, drop it in where things have been trying that corn who were there first in the green as well as dry. And that's why that's the reason why you want to work in your palate. And then as you start putting color in here and you want to go back for more coppery, don't wanna put all these colors in your copper pan. That's one reason to, That's one reason to work in your palette instead of picking up color directly. But if it's happened, it's not the end of the world either. There he go. Overdo them and add them as accidents. Yeah. There you go. I think. One is it done when you decide? 17. Project Paint Along - Finishing touches: Here we're gonna be making our two wavy patterns. For this one, you can either mix all six colors or you can have two versions of it. I'm going to use what's in my two pallets. So on this first one we're going to do the glassy, Let's see color and the pink. And on the other, we'll do this three others. Because I think it's fun to have two different ones. Do you remember? It's just fun. This is where the sable brush than this much more difficult to do with the brush where the hairs are much simpler. And the goal here, what I kinda tried to do is to have like each layer has a very different color. I tried. Since then, I try not to repeat the same hue too much. Especially in a small drawing painting. Like this. Big coupling. I was going to pick up, pick up some blue. Because as we saw earlier, that pink color is really overpowering. It, overpowers that blue very rapidly. We're gonna go for small. So go rapidly, design quickly. We want this pattern to go on, this one. That's not forget, it's nice to have a metallic because accent in there. So for this pattern, I decided to not leave. It's harder to talk while making these. So in this pattern, I decided not to have lots of wine and to let the colors touch a lot. It's one way to do it. Wants to turn to pick up more saturated version of it. And what makes it up here? Another way to use different colors. Another way to change the colors to add more water? Or should we go next? So more blue. So this one is very blue. See how quickly it changes. So most lavender Kubernetes, maybe a way to red line. See, I'll quickly at this, this little button in the beginning. That's what let's finish with this. So we're going to do the other one. Here. I put my paper upside down when I make these. Um, so we're gonna start from the bottom. Switch up my palettes. Indigo. This one goes like this. We're going to make the other one go. We're going to invert this circle. So because, why not? There's no reason other than, let's try it and see what happens. So now we're working with three colors. So we're gonna do bit more mixing. And perhaps try to keep the layers. Remember, smart. You see how quickly adding a bit of green links the indigo quite opaque. Take lunch. So if you want these layers too, it is whose senseless? If you want the layers to gently touch and bloom like this, you're gonna be wanting to use some water in there. One more of these wavy patterns when they're smaller. Easier to go with just one curve instead of what I mean. When there are small, it's easier to have one curve, but it's still possible to have them go wild. So I'll try this. Here. Might have been well, try it on another one because frankly, I've committed a bit to the to the ring Louis kind of effect on this one. Let's remember if we want to. And some effects with dropping a longer and this one is to charm. They do. This is to try as well. If you want to drop in or drop water, don't forget to do it as you go because if you wait till the end, then everything is dry. So this one, I think we're going to drop some. This poem becomes very neutral. Can become vein. Depending how you mix these three colors together. I always find them. Here you go. Charles Coulomb using rich neutral. Touching. Too much. Maybe now is the time for some copper. Before we forget, right? Going interesting direction. Now, one thing you don't want to do is actually take your brush full of a sparkly paint or metallic paint and drop it into my pink than the pink of the sparkles. And that can sometimes be difficult to clearly. So Omega pure indigo here, safe space for one more week, under-used. So violent hematite. Now I'll tell you a secret as well. Let's see, there's a layer you don't like as much. You can paint over it. This one I'm not liking so much. Um, so I'm gonna go over it was more violet hematite. It's your watercolor sheet. It's your swatch page. You do with it as you wish. 3,000. Last thing to do is to remove all the tape, right? Right. The car names. 18. Thank You for Joining!: Congratulations. Congratulations for finishing the class. I hope you had fun. I had a blast showing you all the different swatches. I hope you made a wonderful reference page that you really enjoy. I would love to see it. Share them in the project section, I will be happy to see them and comment on them and ask away any questions that you have. Oh, I'll try to answer them. I hope now that you have a wonderful collection of swatches that you'll find somewhere in this studio to put them in, in a binder on the wall. Wherever you want. Share your creations with me. I'd love to see them. I'm Stephanie at the knee. Good depth here on Instagram. And I hope to see you in another class.