Simplifying Painting: 1 Brush, 3 Colors, 7 Paintings!

1. Intro: Hey there beautiful creative person. Want to really expand your Art skills and hone in on your style while simplifying the whole process as well. Or maybe you're new to painting and intimidated by all the supplies and nine, where to start. Maybe you're all over the map creatively. And want to learn how to simplify and be looser and expressive and your painting. Or you could be struggling with a lack of cohesion in your paintings. Like maybe they just don't seem unified or hang together. Even if you're an experienced artist, limiting your supplies, this way will really stretch you and help you grow in unexpected ways. I know it didn't need. We will explore all the possibilities of marks made with just one brush. You might also be in a creative slump or retina that know how to get out. These are all the reasons this class is for you. You're gonna be amazed at some of the paintings we create with one brush and three colors plus white. Of course. What are your annuli or a seasoned painter? This class is going to ignite your creativity. I'm Suzanne Allard and my passion because creating ART that exudes joy and encouraging others to express their creative spirit, which I believe we all have. I didn't start painting and tell us about 52. And I've learned just about everything I know in online classes just like this. Now, licensed my Art for products, sell originals brands, various products on my website as well as teaching online. In fact, I now have about 40,000 online students across the world. I love reading notes about how your rediscovering your creative selves. I used to be terrified though. It's a thought of learning to paint. I always done something creative, like knitting or faulting, needle point quilting. But I thought painting was for real artists and I just didn't see myself that way. And so that's why I'm on this mission. I becomes a teacher that I needed super encouraging and real relaxed phon. I hope that overly technical arisen. This class. We're pairing things down to the essentials to help us expand our confidence and our knowledge of color, as well as inspiration sources. We're gonna be very creative with our limited resources. This class has over 4 h of instruction for every step of the way. It's essentially seven mini classes in one. This is one of my projects. Be sure to download the class resources and references. And while you don't need many supplies or this class, That's the whole point. You can always find my recommended supplies links on my website at suzanneallard.com. We'll start with a supply and Color Wheel video and then learn about the three main brush shapes and them and what they can do. Then I'll select three specific colors to achieve the goals I want for each painting. And then we'll paint them. We paint a couple of florals, one loose and one bouquet, a simple landscape. We do a Matisse portrait, very simplified, an abstract, inspired by my recent trip to Italy. And another bright happy abstract and a still life abstract with pots. This is a wide variety of subjects so that you can experience a wide range of possibilities. I am so excited to see the discoveries you make and what you create in this class. So let's just get to it. 2. Supplies and Color: Let's talk supplies. So let's see you are to restart. Alright, let's talk about, I did this class in my sketchbooks because if you've taken any of my other classes or follow me, I'm a sketchbook looking around, looking at the five or six that are just within view and I'm a little obsessed. I just love the freedom that they give you. So I used to sketchbooks in this class. This is a mixed media one. And I put links to both of these in the class notes, class supplies. This is Stillman and burn, and it's a mixed media paper so it's smooth but really thick, holds moisture well, if you want that smooth paper and then this is a watercolor sketchbook. I just wanted to give you a couple of options which has that they call it tooth. It has that texture to it. So just a personal preference. And this is a really inexpensive one by Artesia and I get it on Amazon. I like the size and it's very nice for the money. So, but you do not need to go out and get a sketchbook. If you don't have one, you please. A variety of papers that are perfectly adequate. Strathmore is a good brand. Kansan is a good brand, is canceled, makes all kinds. These are both Watercolor paper. Then there's a mixed media, rough or smooth. And then there's this Canson watercolor paper. I would just say if you're looking for paper, try to get 140 pound or heavier. Now this one is only 114 pound because I was looking for something a little sooner because I might make a sketchbook out of this paper. But generally the rest of these, the ones in these books, or at least 140 pound. And it just gives you more, more to work with, kinda holds up better. In general. That's papers and sketchbooks. And Let's talk a little bit about this whole premise of this class is one Brush three Colors. And the reason I created is I wanted, I want people to want to simplify creating with paint. I didn't want people to not be intimidated and think they need lots and lots of supplies. So I thought I would bring it down to its essentials. And at least show you what you can do with just one brush and three colors. So paint, I use a variety of paints I use in the class, Apple Gouache. And that's these over here holding and Turner brand than regular gouache. I'll explain the difference in a minute. And then Acrylic. Am I going to go in a lot of detail on the paint, but you can use any paint you have. You can use watercolors, you can use acrylics. You probably, if you're new to painting, don't have Gouache, don't worry about it. It's an opaque watercolor. What I would do if I were putting these on them in the order of how they are created, you have acrylics and I use the Nova mostly. But I wanted to show you that you can create with inexpensive student grade paints as well. Then you have Apple Gouache, which is really a combination of these two. And then the Gouache, which like I said, there's a visit opaque watercolor. What they've done though would it creates is a really high. Let me see if I got some flesh. Yeah. It's very opaque and chalky. You can see here the texture is really opaque and chalky. I just love it. It was my first love. Then I discovered agro Gouache, which kinda takes the properties of boats and combines them. The difference is that this cannot be disturbed with water once it's dry, just like Acrylic. This one can be. So this Painting, if it's hot, it's all actual Gouache, not a combination at Apple Gouache. If I were to take water and disturb this, I could get it to move again. So those are properties that you may or may not want. I think for, um, it's just, it's just really up to you. So Acrylic, agro Gouache, Gouache. Those are the three things I'm using the class. Again, you can use whatever you paint, you have Watercolor with the acrylics. I do have a collection list, Nova Color in California. Those Suzanne Allard collection this on their website. I love these paints because they are a artist grade paint at a student grade color. If you're in the US, there are a great deal. Unfortunately, if you're out of the US, the shipping make some cost-prohibitive. I also did just some basic student grade. I did one painting with these because I want you to see that you can create with whatever you have. I used one brush and each painting. So you can literally just do the whole class with one brush. I think the two that he used the most worthies, the flat and the round. The round is a number 6.5 that I used, I think ended up being a number for mostly edits, bare core, you need three colors and you can even mix. You can have one Watercolor when Acrylic one, see what happens. One brush and some paper that's at the base has Bottom lines, that's all you need now, at the end of this class and the details in a bonus video, I do take some colored pencil on paint markers and gold pounds and add some details to the paintings just to show you that option. But here's another sketchbook I love. This is by handbook and it's a really nice watercolor sketchbook, holds up really well to everything. So I don't think we do a painting or in this class on this buzzy look, that one was one color. Maybe that should be my next class. One color, one color, one brush. Alright, let's talk about color a little bit. So the thing is in a color wheel is helpful. I have a link to this one in my supplies, suzanneallard.com with pretty much a link to everything that I use and all my favorite books and all that stuff. But what's nice about this one is there's just so much information on it. You can flip it over and immediately see the triangle and move it to. You're gonna get your most variety of color mixes from going in a triangle across the color wheel. So if you can pick any triangle you want, you know, people consider the primaries yellow, blue, and red. But people also say that the modern primaries are more of a magenta, yellow, and turquoise. Sort of in-between here and here, and then between here and here. But it can help you to think about the three colors that you want to play with. And I would start with using the triangle. So turned around and say, Okay, I'm gonna do something with a blue or yellow and red orange. Or I'm gonna do something with a red, violet, turquoise and a yellow orange. Or you can move a little bit, but then play with them. We'll do this on the class. Some more analogous colors, which means on the warm side closer together and the color wheel, or on the cool side closer together, those can be pretty more monochromatic, meaning the colors are more similar because they're next to each other on the color wheel. So these triangle colors are called triadic, which is really easy to remember. It's a triad. And I do, even though I've been playing with color for years, I still refer to the color wheel when I, when I want to think, okay, if I want to do a yellow orange, what was, what were the, these makes some three makes some beautiful yellow, orange, blue, green and red violet combinations. So the color wheel is helpful. You can also, you don't have to buy one, you can look at it online. And a lot of people do an exercise where you paint your own, which is found to do to, it won't turn out quite the way. But they do, you'll find, but it'll allow you at least to see what the paints you have. If you take your blue, your yellow, and your red, and you start mixing toward the middle. How to get the rest of these colors and only show you what, what colors your particular paint will produce. I do think a fawn color to throw into the mix is a fluorescent pink. We'll use that in one or two of the paintings. So yeah, color wheel is helpful. I wonder if I can put a picture of this. I guess. Yeah, there's there's pictures online. I was gonna say if I could put a picture of this in the Class Resources. Yeah, I think it's easier for users to Google or color wheel if you don't have one, you'll see that with just three colors. This was page two of just three colors that we did in one of the modules and in another module. Let's see. And get some this be in the sketchbook. We came up with some beautiful colors. Where did you go? Oh, I know where it is. It's hint this one. See, that's the problem of having to Italy sketchbooks. There's no such thing as too many sketchbooks. Here we go. These colors, I love that we came up with for one of the modules. So beautiful. Love it. So anyway, alright, grab whatever you have, start there, and don't feel like you have to have a certain thing. If you can at least recommend you get a good quality paper and as good quality paint as you can. Even if you just get three colors and six colors. If you're choosing six colors, most, most paints come in a primary sets so you're ready, read out the gate. But if you were choosing only six colors, I would say you'd want a yellow, turquoise, blue, or red, and a magenta. That's five actually, of course you need white. Because you can make, you can make an orange. Yeah. Alright, let's get to it. 3. Brushes Practice 1: Alright, let's look at some brushes. So there are three main shapes of brushes that I'm using in this class. The bright or would I call, it's a square or rectangle shape at the end. And they come in different sizes, of course. And I end up using this quite a bit in the class. I really love this brush. This turquoise set is a set of brushes that I designed. They're sold out. But if you're interested, you can go the waitlist on my Website, but any good quality brushes will do. Don't feel like you have to have these. Do try though, to not buy the cheapest brushes. See if I can show you a cheapy. I mean, I've used this. This is the hardest loft brand from Michael's and the US. And they're fine if for color mixing or to use as tools to do different effects. But for our class like this where we're not really scrubbing with the brush, we're trying to get it to perform. In fact, in one of the modules, I'll show you where I'm using one that's trade and give some interesting effects. So you have your bright, also called flat shape. Sometimes the bright is a shorter. You see if I can show you. True. This might be a true bright. Because sometimes the flat means that this part is longer. And on the bright, it's kinda bit shorter like that. So maybe more. Think of it as, I guess the way I think of it as the bright is more of a square and the flat is more of a rectangle. In any case, we're just using these, the flats. And then I use a filbert, this a different brand of it, CATAlyst. I'll show you that in one of the modules. Then the next shape that I use a lot of is a filbert and it's like a flat except that his rounded, really versatile. We'll see what that can do. There's another one, those are my filbert and then of course round. Sure. Using the shapes, but they come in different sizes as well. This is a foreign a six, you really end up using mostly 4-8. Yeah, this is an eight in my work. And if for unless I'm gonna do some real detailed stuff. But for this class, since we're using one brush, we don't want to use, say for example, a brush like this. Although I guess that could be an interesting experiment, I'm not going to say, don't try it. This is a liner. But you can see that if we were to try to create a whole painting now, now I'm thinking that could be phone to try. You would just marks, that's what you could do this. That would be a creative exercise. And then another, I don't use this in the class, but a fan brush, you could challenge yourself to do an entire painting with a fan brush. But since we're trying to see what we can create that is more, less abstract, those would be pretty abstract. Then we're using these basic shapes. So let's just grab one of them each and kinda see what they can do. So that we have a sense of that. Start with, I'll just use this. I ended up using this bright a lot. So I'll use that, I'll use around and I'll use a filbert, but the rest, one of each. And we'll just get some color out. I'm not doing color mixing per say right now. Really just want to show you what the brushes can do, especially when you add, depending on how much water you add. So I'm just kinda pull out some fluorescent magenta because it's so pretty. And get a paper towel handy. Favorite house, really important for controlling what happens on your brush. I'll give you an example. Let's say I wet my brush. And I have, okay, That's a good example right there. I've just wet my brush. There's water all over here. There's water in the bristles, but there's also water all over the handle because I stuck it in there. If I don't blot that and I go and get some paint, the droplets are gonna go down into my paint. And I'm going to get a real watery situation now, if that's what I'm looking for, great. If I want, this is Acrylic, but if I want, kind of got Watercolor paper here, if I want a watercolor effect, great. But you'll see me often. Because I want to control is, I'll go like this. Even if I want water and the bristles, call at least try this, I'm not adding to it. Now the opposite of that would be a dry bristle effect So that I just dried out the bristles and see that good scumbling. It's called, especially on a watercolor paper, you get that lovely texture. That's look at the difference, just water. I mean, same paint, same brush. That the difference is we can get and of course, you can go somewhere in between what your brush a little bit, get some paint, and we can get a nice thick effect. So you're seeing one of the reasons I love the filbert shape. I mean, it's so, especially for florals, it's so naturally Floral. And what is great about it is lots of meltwater out. If I'm painting this way, then I get these effects. But if I want a line, I just hold it on his hand and I can make a stem, make an outline, and you can practice just getting a piece of paper. And this is the one that's a little bit frayed. You can see the end of it. But I have not taken good care of it. And so it's gotten afraid if you take the care of them. I have some others. And it helps when you wash them to flatten them out with a paper towel and so that they bristles dry, nice and flat. Also when you're drying, after you wash your brushes, don't put them back in your jar. Here's my jar of brushes. Don't put them like that when they're wet because the water just goes down into the Pharaoh and water lily damages everything pretty much so. Once I've rinsed them, I just lay them flat. Once they're dry, they go in the jar. Just a little bit of brush care tips. You can use a condition or two. You can use shampoo on your brushes to think of them as hair. You can use a conditioner, hair conditioner to. So, alright, so that's what we can do with a line. We can also control things that we're going to play with this in the class. How we hold our brush. So tighter work tends to be holding the brush like a pencil. So if I wanna do very controlled precise leaves, Let's say I want to do something like this. A little bit more paint. Then you see that i'm, I'm going slower. I'm holding the brush so that I can really control. It. Just depends what you're doing. But if you want to be loose, so let's just do a similar leaf thing but loose, you can either hold it further up like that where you can hold it like this since the latter artists do that. And Lynn, I want to be really playful. Like just I want a flower shape, but I don't want it to be over tight and I want it to be just kind of organic. How I'll hold my brush like that. Because like that and some leaves like that. I'll just get some you'll see them. One of the paintings we just something like that. So that's the filbert and really versatile. The only thing that I would say it's a little harder to do is, let's say you were doing a geometric shape with a filbert because of that rounded edge. Let us know. Okay, let's get to do an example. I've noticed. Let's say I'm doing a building. Maybe it's a little house. And we'll just make it really simple. Can be challenging to get a good corner. See that? Because it's round. So you can kinda go like that anatomy. You can do it for sure. See I did it. You just dab and control like that. But you'll see with the filbert or with the bright and flats, That's easy peasy. But again, if you're not doing really precise work and you want the looser painterly effect than you might not be worried about a perfect corner. This is all stuff you learn. You just play, play with your brushes. It's a great thing to do on a day that maybe you don't have a lot of time or you're just not feeling super inspired. And so you just get out a brush and one color like this and see what you can do. Alright, so that's filbert. You can even like in your sketchbook or on a piece of paper like this. Make notes. This is a filbert and it was a number six 4. Brushes Practice 2: Okay, I'll put this class resources too, just so you have a reference. Alright, maybe we should change color, which would help us keep organized with the different brushes. This is nova color paint, by the way, and Acrylic paint that is available online but not in stores. But just get yourself a good student grade or artist grade paint. Alright, now, I'm not using this Hilbert. We're done with you. Over here. You dry. Let's do the flattened next. So I'm waving my flatten out. If I want See that's what I was meaning, but get it to dry that way. If if I'm wanting really precise line with my flat, then I could do that first before I put paint in it. Just a little tip. Alright, let's take some of this beautiful blue-green. And let's do something similar. Just make a loose floral. You'll see that the petals have a square style and allow us. One of the things this class is great for is help me you zero in or hone in on your style. I've seen an artist I can tell immediately chooses a flat brush. I'll her florals look like this. They all have that edge versus this edge. There's a Watercolor Floral Artist wholesale who flowers all have fat. So you know, she's using a filbert and that's what she loves. So you might love this look. And so remember styles about what you love and just doing more of that and noticing that. So if I were to do a daisy with those, it would end up looking like that. Of course, I can manipulate the brush and do something like this so it doesn't have to. The flat really is incredibly versatile. We can also use its line, its side, just like with the other one. And do, especially if you get a little more control and haven't had too much coffee, which I guess I have because I've made a blob. But anyway, that looks more natural. But you can get very, if you practice paper, you can get a very, especially if you use less water thin line. And if you're brush is not to frayed. In fact, a FUN thing to do with a flat is to take us down like this. I know I keep showing florals, but we're going to do all kinds of subjects and the class. And then just look at those. Just take it like that and you'll make such a pretty fern. Or you can see how I started each stroke from the outside. And so it's darker on the outside. You can do it the opposite way. Let's do the opposite over here. Darker at the center, which is probably more natural because leaves tend to be darker where they're attached to their stone. But who cares? Do it whatever way you want it. We're not doing realistic botanical painting here anyway. So you can just do so much with a break pushed down in. That's something that somebody would think was done with a round brush, right? Let's see. So we can paint loose. We can paint a little bit more. Let's just do like a quick little landscape here. I'm just going to make a border. And let's say we have this. Then we can I'm going to make some hills and do that scumbling again. So I'm going to dry out my brush. Pretty much. The paper towel really absorbs the water. I'm going to wet it. And then let's say I want it to look more like grass here in the foreground. I can get that effect with a light. I'm just lightly dragging on the watercolor paper that happen there because I had too much paint. So it's a good idea to you can if you're if I were making sure I had it right, I would take a scrap piece of paper and say, okay, that's where I want to, before I put it on my Painting. So that and then you can do super, super, super watery. So rinsed almost all the paint out, check it with your paper towel. Now, veterans at more. The white paper towel isn't a magical tool. Say I still have a tiny bit of color. Just grab a tiny bit and do a real watery wash for this guy. Hall with the flat brush. And now let's say I could do some texture in here. Look at these cute little leafy or maybe they're trees Since they're far away, I can even take, and we'll do this in the class to, it can take my flat, just use the corner and make some little dot type marks. The end up looking like a little bit of a you know, they look like I just realized, almost like a little pot shape. And that'll vary too, depending on how much water you have in your brush. So that's a lot of fund that we can have with just the flat. And this is flat number four. So much for and write. Course. Like, I don't want to leave that empty space on our little sheet. So I'll show you. What else can we do? Can do oh, we could do where? You press and lift up like that. And that'll make an interesting, almost looks like a cactus, doesn't it? So much variation you can get with pressing and water direction of the brush to lots to play with. We'll set this one is fine. Let it dry. And let's pick a third color and our round brush, this is gonna be around number six. Wash out my rinsing out my flat really well, I'm gonna go ahead and dry it. Analytic. Try laying down like I said, No. Did you see I just press those bristles. That'll help them dry well and not nice. Okay, let's pick another color about this. Cadmium, cadmium red light. Look at all the things we can do. We're going to do some other similar things, you know, doing the, the loose versus the tight. So loose would be, remember holding or brush like this. Let's do loose flower. This is using the acrylic, pretty much like watercolor because we have the Watercolor paper. And I just, in my imagination, think about how a flower, just, the feeling that it gives me is really about, I'm thinking about here, the joy, the exuberance. If I'm feeling really exuberant, I'll put some things around here like that. Because that just to me makes the flower dance Almost. Okay. Then for the stem, I'm switching to this, holding it this way. Of course. One of the advantages the round is that amazing point. So we can get a really nice thin line. I made it overlays and just to show you, will make it a little sicker for this flower. And we can do, it is the easiest one to do lines with. And that precise work. Let's do a more because I like to work in odd numbers. Okay? So the round can do amazing leaves. If we do something like this coming down here, we can push down and lift up, down and lift up. So we'll do these on this side and then we'll do some dry brush leaves on the other side. Let's see what that does. This is just something you just practice. It doesn't come naturally. You see me dry off some of that. Let's try the bristles. I don't I'm not rough with it. I just give them a squeeze. Let's see what a dry brush leaf looks like or here. I have to do to strokes to get a wider leaf because it's not bleeding at all. But it gives us another texture. And again, this is something that helps you hone in on your style because you're saying, oh, I do not like those dry ones at all, or I love those dry ones. Love that texture. You know, then of course, you can always do the dry over let, let's see if that's dry. Might not work because it's not quite dry. But if we wanted to have some texture over, you could go like that. Yeah, that was drying up. There's really endless possibilities. Let's see here. The round is the best one to do. Things like this. Because it's hard to take the filbert you to be twisting and turning it same with the flat. So this one, if you like, this kinda funny thing, is much, It's easier to make sure you have enough water on your brush and you're not pushing too hard. I have in the love Vineet things. I like to make them coming out of florals. I showed you how you can make a dot with the corner of the flat. Here's making a dot with a round is also easy, depends on the size of the dot though. So if you want the, the very end, make sure you have a good bit of paint, paint and water in there. It won't work if it's dry, then as how hard you press down to get your size variation. So if I press harder, it starts to become more of a brush mark. And maybe I like irregular dots, but it's maybe too irregular like something like that. That's not really a dot. So then I would just go around it like that. Now, you can also do all kinds of things like this that are very, I think interesting. I love lines. So you can take this and roll it like this. Gets a nice texture. Alright, so that's some play with the what did I say number was round number six. Yeah. And watch blotting your paper, done that many, many times. Round. Number six. Okay, so now I've played with some brushes and it's time to get working on our first project. 5. Bright, Happy Abstract 1: Alright, this, I want to do this exercise for a couple of reasons to show, to just show us that we can get inspiration anywhere. You've probably heard people say that. But I thought I would use this module to show you that and also to take three super bright colors and see what that does. So you've got to fluorescent pink here, a, basically a turquoise. This is the blue-green by another color. And this is a hansa yellow light, sometimes also called yellow light, but yellow is generally come in a later version and then usually a cadmium yellow. So just picking a lighter version, lemony yellow. Then got my sketchbook. I was just a background that I played with one of my, I like this watercolor square one. But you can use just a piece of paper or any sketchbook you have. Inspiration. This is the Williams Sonoma. The cover ago recent catalog, the catalog that we have here in the States. And I looked at some of these layouts and I thought, How about that for some shape inspiration for an abstract just as a place to start and get us mixing color. I thought it might be fun just to show you that we can get inspiration anywhere and play. So let's get out some colors. Some of the paint, Let's get some white because we know we use white more than anything. Put some weight out. Get my palette knife and get these colors out. It's probably too much. Sorry. I do love this. Blue-green by Nova. Really. Dark turquoise. Trying to empty the palate might off. Palette, knife. Hand for the brush on this one, I'm going to again use a break, but it's a little bit different, right? Size number six. And the bristles are more stiff. And that way we can experiment with what does that do? The brushstrokes show more because the bristles are more stiff? I'll show you here in a second. The other bright that I was using was the ones that did I designed. And let's see how the bristles are soft. This is the one I want to try using today. It's just stiffer. Can probably see. I have to put more pressure. And this is called a Princeton catalyst poly tip. The other difference with it is that the end of each little hair, it's synthetic, but the end of each little synthetic hair is, has a split end. So it's, it's kinda designed to show brushstrokes more. So anyway, you can use any brush you want, but I'm just trying to like to show you things. So let's sketch again, I'm using the new color, the same color. And I thought we'd just, I like how they believe it or not. Magazines like this are looking at composition on a page like this. They want to make it pleasing to us, interesting to us so that we look at it and maybe want to buy their products. So a lot of thought goes into something like this. So then I say, well, why not take advantage of that and play with the same kind of thing? We might change it. I do like all these cupcakes, circles. We'll, we'll put those right now. I just want to paint in the mean, how lemons. And I kinda like this. Apple out here by itself. And then there's a little yogurt cup right here. It's interesting, right? This is a little bit further this side, trying to make sure nothing is in the center. And this one's a bit taller. I'm just one. Or maybe it's just higher up, but I like the way that came off of there. Alright, let's put some paint down. Good enough sketch. When I think of it, which isn't always, and I'm doing something like this, it makes sense to paint the lowest shape first, the shapes. That's the thing about this image in layers. This is the bottom of the layers because it's underneath that tray, it's underneath this, it's underneath that. So I'm gonna go ahead and make a color. Let's start blending some of these and see what we can come up with. Let's see what happens when you put a little bit of very interesting palette. We can keep it super bright. Or weekend. You saw how I just took some of the AI, primarily the turquoise in the yellow and I added just a touch of the pink to tone this down a little bit. So you can take really bright colors and by using something opposite the color wheel, you can turn it down. I'm gonna go around this shape since they know it's there. But again, I'm keeping my brush strokes. You probably noticed that I don't worry about matching too much colors. I don't I don't want it to be that exact. So if I've run out a little bit, I can match something close and put it in there. And I liked the way that looks. If you want it to be more uniform than you would want to mix more so that you had plenty. I'm just dabbing and adding, tone it down a little bit more. Okay. Here's our first cookie sheet. Nobody's seen this painting. We'll ever, whatever I imagine we got the inspiration from a page of cookie sheets would be okay. Next, in the order of things is this tray. So I'm going to clean my brush and go with because I think I want to make the focal point here. I could either make the tray a bright pink or I could make these circles are bright pink. You can really go either way. Let's try. I have an idea. Let's try making the tray the bright pink. And maybe the circles will be like a pink mixed with the yellow, we'll see. Okay, So this is underneath that one. You can see there's a little bit of green left in my brush because I didn't thoroughly wash it out. And I don't mind that It's given me some interesting sort of texture in there. I often have accidents happened by I've gotten to where I do it on purpose now. Usually usually don't quash my brush all the way out. For that reason, I just like the actually harmonizes your colors a little bit, meaning that they all have a little bit of the other one in them. Okay. And that concept of leading some of the color and I'm going to, I had some yellow. I've still got a bunch of other colors in here. I've got the sum of the green, the pink. Let's do this. Oops, I hit the green by accident. So we're gonna be varying the color. Okay. Just cleaning off my brush so don't waste it because we can use it somewhere else, like maybe up here. And probably maybe I'll use it as a outline for these. You know, it might be interesting to leave those white, kinda cool looking that way and put some lines in them. I like that idea. Okay? That means that if I want to outline them with this brush, I'm gonna get my paint on the corner of it. Let's see this one. This one is underneath. I don't need them to be perfectly circular. I kinda like things to look handmade. Meet let me Very that color on the top one a little bit. It didn't change the color much, but that's fine. Okay, and now we could see those checkmarks here. You could do something like that here with our brush. But I'm thinking I want to use, I want to make an orange. I don't know what I wanna do with it yet. Maybe I'll make an orange and do a he's kinda circle things down here. Again, I didn't clean out my brush completely. Do I want to fill them in or leave them like that? Let's see what we think. I'm not going to align line up the way they are there because I'm just not align. I'm a more of a random girl. You do whatever works for you. Vary the color a little bit. Add a little bit more pink and some of them. I like the color. And now I'm thinking I might wanna do is, let's, let me show you some dry brush technique. So we're going to read it. I didn't let the brush, but we're just drawing it off. You might want to test piece of paper to see if you're getting the effect you want. But you see that scumbling, the technical term, but just looks dry and texture and try some of that on this 6. Bright, Happy Abstract 2: And I feel like something wants to come off of this. So just to see here, we'll see then something here. I think I'm done with my inspiration from here at this point, I'm looking at this and this is too uniform for me. So I'm, I want to make a blend of some of these other colors and let's see what can come up with you. There's a lavender, a neutral That's pretty I just took what was on my brush and it's like a mint color. And we could if we took some lines out here. What if we made it leaves a lot of what I do when I create what if, you know, like I put my last newsletter, catch the stem kinda wants to go to this circle doesn't make a plan that release my brain didn't plan it and maybe my maybe my hand and arm knew what was going to happen all along. But in my last newsletter which I wrote about strategies for overcoming fear of painting, it's also a blog on my website at suzanneallard.com. So if you're struggling with that, may be helpful. But one of them was how the body sometimes can, does things that the mind, basically your, your, your brush in your hand, has a wisdom to it. Is that the general idea? I'm feeling like I want some of this down here and we hope this little circle here we made, make it a little bigger. And I want some of that really bright pink down here. So everything I'm going to put it, feel like it right now. I'm trying to bring the composition together because it feels like separate parts to me. So I can do that with color shape that I'm going to bring some of those pink down here. The same pink we meet for the background of this cookie sheet. And put it in here. Just so that the eye doesn't get stuck in one part of the painting. We can do that with pencil tool. We might take some similar color pencils and do some stuff over this. Starting to come together. Bring that green somewhere else and it dried. See if we were using gouache just to point out a difference. We we could reconstitute it with water, but that's okay. We'll just mix a little bit more. I'm not even sure what I'm going to do with it yet, but I want it somewhere. Where do I want it? I keep looking down here, but I don't want to clutter this up and make everything two square. I like the shape of this, but I feel like I know where I could do hello lines. And when you have a bright brush, you can make nice little lines like this. So dark in that color a little bit. I'm just going to come down here, do this like that line. So such energy. Got some paint on there. But just to sketchbook, Let's see here. I could take a little bit of this and just bring it around. So I'm ending up less three instances of these colors, the yellow 123, the green 123, the pink 123. Most scumbling orangey color That's the men is kinda just two elements, but this is, could be counted. This just kind of a trick that helps balance out a Painting. Thinking about using the color throughout to keep the viewer interested. And at this point I think I might want to switch to pencil, except that I want to give that another coat on that leaves. Sometimes with Acrylic. Woo am glad she need to coats to get the lots of layers, sometimes three, to get the effect that you want and let them dry in-between. This case, I don't mind that some of these are transparent, so I'll just hit some of them again so that there's a variety, some more opaque than others. Okay, let's see if we can find various. Here's a fluorescent need sharpening. And Lisa can find some of these colors and a pencil. Although we do need to let this dry completely, it just won't go over pencil. If it doesn't dry. It's pretty close on the yellow. Doesn't have to be rams trying to stick to the three colors. That's kinda close to that pink. Then this kinda greenie turquoise color. I have different kinds of pencils. I have pastels, watercolor pencils, but most of these are just the Prismacolor color pencil. Let's see if I have anything like that, minty green. That would be pretty to put him as this is a no, that's a warm gray, but it might keep it up. I'm going to look for see if I have anything that is closer to that green. I definitely I might have it in foil past. Looking at this, Look at that. Pretty close. Right? We're going past the the brush stage. But I wanted to show you what can be done with some pencil. See if you're try that one feels dry. So I can do all kinds of marks single, she'll better than others. It also depends on the pencil and hot dry the pain is. So if you're finding you're not getting a whole lot of color, let the let the paint dry past the dry to touch stage. I do like that. I'll just have to combine when everything is really dry. And I do like that. We left those circles plane. Still feel like this big block of green need some toning down. So we'll see if this warm gray, amazing what just a few lines over paint will do to soften it, either push it back, we'll bring it forward. You may be fairly be able to see that, but it is softening. Yeah, I like that. Is just taking the edge off that green a little bit. Not sure. I want to do a whole lot more. I do want some dots. I would love for the dots to be in this kind of orangey quarterly color we made. Not bright enough. I want it to really pop. This is the fluorescent which I can put over it. Yeah, that's more like it. So we could also use oil pastel but for Neil color cram. But I'm just going to stick with this like a pin cushion flower. And then I'll go over it with the fluorescent. Okay. I think there's a cute little abstract and you can take a little bit more with pencil if you wanted. I can erase this. Council is inside the circle because I use my watercolor pencil. Just my wedding, I like that and dabbing. Same here. And since we used Acrylic, I don't have to worry about it getting disturbed. Since it's dries permanently. Yeah, that's fine. Who would've thought we'd do that? What if I'm experiments? Thanks for joining me. 7. Blooming Garden 1: Now, for this really FUN spread in the sketchbook, I'm gathering together the Nova color paints. That's the paint company that's based in California. They do a nice artist grade paint for a student grade price. But I would say if you're not in the US than it becomes a higher price. But as a great paint. And I've got three colors here. The, this is the Indian yellow, which is a really translucent orangey yellow. And I've got the getting some paper towel and getting myself setup. And then I've got the cobalt blue, which is just a classic versatile blue, and then the quinacridone magenta. So you could consider these as your primary colors are, are kind of a variation of your primary colors. Primary colors, red, blue, and yellow. These are variations. The yellows of variation and the magenta is a variation of the red. But of course the cobalt is just blue. And I'm getting, getting them out. And then for white I'm just using a juseyo, which is gesso, is a basically a primer for canvas or paper. When you're gonna be paying less Acrylic, you don't. I'm not going to use that on this paper, but I just like the texture that it adds. It's a very matte, meaning not shiny white. And I like my paintings to be matte, so I often use the JSR has a light so that the end result is a little more matte and it's also really inexpensive. And it also adds that layer of primer like consistency onto the paper. Sorry about the hair filming. In this particular video. I have the camera I just got. I just you can see me turning my head. I'm like having a ballet dance here and painting. I got really into it and bend my head into the camera too much. So here you see me grabbing some of the white and mixing it with the other the three colors to get us to just making a background. I don't have a particular plan except to do a loose floral. And I end up making this background pretty past Ellie, just taking some of the blue and you'll see that I've not clean my brush. I'm not sure I clean it. This whole background. You can get away with that. If you're just careful two, not mix across the the color wheel too much. Meaning, if I were to mix all three of those and then not put in white, then lead get mud. But I'm adding a lot of white and I'm going for that texture. So you can see me using quite a bit of paint, quite a bit of gel, so and really just covering the spread. I like that sort of okay here I cleaned my brush and wiped because it maybe it was too thick and also wiping is a really FUN effect on this bread. I'm not going to the edge, so I don't have to worry about, like in Psalm my classes, you'll see me put a piece of palette paper or really any paper behind each page. And that keeps the other pages from getting mocked up. Another solution to that is should just not paint to the edge. So since this is a pretty large sketchbook, this is the Stillman and burn. I think I put the name of it in the class notes, supplies. It's got a really nice mixed media, smooth paper. It's a new or sketchbook that I've found. Alright, so I just made some marks with the back of my brush just going for that texture again and just kind of going all over. Now this video is sped up a little bit. I did want to not speed it up too much because I wanted you to be able to see yes, I'm working quickly on this, but I'm not working so fast that I want you to understand how fast I'm working. So this is sped up just a little bit so that I don't oriented tears, but it's also not real-time. Now you saw me just dry my brush. I've learned to do that over Just over the years, over the months, really recently because even if you've you rinse off your brush and even if the end of it is not too wet, the handle can get water on it and then it all drips down and really waters down your paint. So you'll see me do that occasionally. And now I'm just making a color which I took the quinacridone, magenta, and some of the Indian yellow. I'm just making these loose leafy. They could be leaves, it could be Flowers. Who knows? When I do this kind of thing, I'm really, especially when I'm working with a limited palette, I'm really just seeing what colors can I make that I really love. The shapes are almost secondary to me. I'm really interested in color. And so you'll see me throughout, something like this. Discover a color that I've just made and say, Oh, well, that is going to have to get used because it's luscious. And I will say, I find this combination of a yellow for an orange and this is an orangey yellow mixed with a magenta. And then various shades of white to just yield all kinds of deliciousness. From a, from a pinky peach color like this one I've just made and decided to take it in more of a purple magenta Iy direction and doing a row loose sort of peony shape. Or it could be a dahlia. I usually add something when I use the color somewhere else. That's just seems to be something I do is I want more colors. So it's not that I won't use the exact same color from parts of a painting. But I guess I do like to vary it a little bit. Now, will you saw me introduce do there is I didn't rinse my brush, but I wiped a paint out of it that gives me some of the color that was in the brush is still in there. It it's not sopping full of paint. And so I get that little bit of color that was in it without having to rinse it and start over if you will, because sometimes I want the color in it, sometimes I don't. So that's just something you'll get to by practicing. Even the amount of water that you have in your brush, it makes such a difference in the result. If you want a real transparent glaze almost and use more water or a medium, mediums or additives that are added to paint to get them to behave in different ways. And you can add mediums that I'll send your paint, that'll make it thicker, that'll make it textured, my gosh, they will do all kinds of things that'll make it dry slower, dry faster. That's the mediums to do with just about everything. So this quinacridone magenta is just so beautiful that I'm, I always have to make some, and that's just the the magenta with white. And that's why I cleaned my brush because it's, I wanted it to be pure. So sometimes when I do these sort of Garden one paintings, I'll start with the leaves. Sometimes I start with a Bloom's. It just really varies. Sometimes I'll have references in front of me. A book. I'll put some of the books, my favorite, favorite flower books in the class supply list. But sometimes I just looked through my phone at flowers that I've I take pictures constantly. Flowers, farmers markets, my name on my neighborhood walks. I mean, just constantly. So I think that they're always in my mind. And so sometimes I just take those memories are images and create from imagination. I also tried to think about how colors you don't have to stay realistic. Lot of the master painters didn't. And so I tell myself, you don't have to make the flowers a certain color and the stems of certain color. And That's something that I have to continually remind myself because it's just a habit. It seems like to make flowers pink and red and make the stems green. And so I do tell myself, okay, try something different. I think a really good exercise would be to do the exact opposite. Just, just intentionally for Fun. Make green and blue, maybe purple plumbing flowers and then make the stems pink and yellow and the leaves, you know, just, just flip it. Be funded. Play with that. You're seeing the incredible range of colors I'm getting. We just scratched the surface. With these three colors. We can get some dark. So there I'm needing some darker values. And you can get darks by just mixing your two dark as colors. And I've just really been loving this Palette lately. The other great advantage to using a limited palette like this is that by definition, your painting will be more, have more color harmony. Meaning that the color scheme, the palette will work. And that's because there's a little bit of every color and every other color that you're using. So it will, the composition color wise will have harmony. Just by the way your painting it. Let's continue in the next video. 8. Blooming Garden 2: All right, so here we are continuing. My palette paper is getting full. Palette paper is a paper that's slick on one side. Specifically for this purpose. I have links to it with Paul supplies really on my website at suzanneallard.com. But you can also use a ceramic plate. You can pick one up at Goodwill that makes a great palette. You can use, gosh, I've used so many things over the years. A piece of plastic. You can use a paper plate if it's coded, it'll last a little while. But then the coating will disintegrate and then it won't work so well. I've used those in the past. Palette paper is just nice because it's, I don't know, it's inexpensive, it's made for that. And then you just tear it off the sheet and throw it out. Although sometimes I have one on my wall right now I'm looking at it was so pretty, but I just tore it out and stuck it on my wall in my studio. Just because if, especially if the colors come out, I guess that's an advantage or palette paper, you can have a page of the colors that you made. A few really liked some of them. So here I'm mixing a yummy green with using the cobalt blue and the Indian yellow and just getting this vibrant green, I will say the Nova Color colors just, I don't know, they just have a depth and richness. I would say. Whatever the opposite of flat is. If you mix colors sometimes when you just like, it's just flat and you can't seem to live in that app. If that happens to you though, if you're using a paint, that's just if you've gotten any fluorescent in that same shape, that will definitely live in a top. It's a great way to brighten up a color. Speaking of which, I don't know if you have already taken my color mixing class, but I have a free class that you can find on my website called color mixing success. I think that's what I called it. Yeah. And it goes into a lot of this comes with an e-book and I recommend it if you want to know more about just Color and learning about color. So here I'm taking a variety of techniques. Other way, I don't know if I said that I'm using a number for bright brush. Here is the name or flat for basically a square at the end or a rectangle, the underbrush. That's how the bristles are shaped. I probably use this brush more than any other. It's so versatile because you can do edges by turning it outside. You saw that. And yeah, it's just amazing. I think I ended up using it more than anything in this class. So I'm looking for where to add green, but I also wanted to point out that I'm also letting in some cases the brush be a little more dry to get some texture. Meaning that there's color on the brush, some paint. But I can use the paper towel and stay away from the water and let the, the brush dry out a bit and you get a textured. You can see it on the right, belief on the right, all the way to the right, a little bit of texture behind it. Now I'm playing with something a little different. Usually I do a dark center, but I'm mixing up a blue with the greens and just go almost a turquoise and Color. Just playing with that for a center. Acrylics really need to be layered for full effect. So in this painting we're doing one layer and it turns out pretty well. We'll do some details in the minor details in the bonus video at the end. But for the most part, I haven't messed with this painting since I did it this way, but you and I'll just keep that in mind, that acrylics layer really well and can be painted over completely I'm also thinking about and trying to use minimal strokes. You'll see me. I'm trying to this is something I've been working on last few months, not messing too much. So put them pick your color, put it down and stop. Don't. Because those brush strokes are so beautiful. And it can make the painting look less well, not overworked and more organic to just leave those strokes. Now if you make a color and put it down, you don't like it, then let it dry and do fresh brush strokes over it. But thinking about minimal brush strokes as well as minimal colors. Sort of a minimalist class. Right? Now, I've just made, as I was talking about the lovely, where you make a quarterly color with a yellow and the magenta and a bit of white. You can take it in the yellow to orange direction, or you can take it more in the magenta direction is just such a beautiful range. And then you add white and it just gets even more and more complex and interesting. You see that I probably dry my brush with a paper towel more than I wash it out with water. That also allows if you look at your brush, like if I stopped right now and looked at my brush, there would be, you can probably see there's bits of a lot of the colors. Just have to watch that so it doesn't turn muddy. But you'll see, I mean, if it starts turning money than you wash it out, but it allows me to have even if I'm washing it like I just did, I'm not washing it completely thoroughly unless I want a really pure color. And then you do need to wash it thoroughly. But I'm usually washing just to get some of the paint out and I want to leave a little bit of the other. And that also helps your color harmony because there's nothing on this page right now, No color that doesn't have a bit of at least one other color on there. That helps the whole thing harmonize. Sometimes. And they talk about this in my color mixing class, but some people call it a mother color, where you take a painting and you make sure that one of the color is, let's say in this one that it would be the Indian yellow. That there's at least a tiny bit of it in every other color you're using. And that is an automatic way to harmonize your painting from a color point of view. In this case, I wasn't that intentional about it, but I know from the way that I don't clean out my brush completely and the way that I mixed colors, that in fact I can see right there in that purple that there's a bit of yellow in it. You could just tell it's a bit warmer. So I know that these colors are her are well blended. Not to the point of mud, but to the point of they share. Or United. A community of colors that have something in common. Not just kinda looking around, thinking about, again, guided by color, making a color, thinking, oh, that's pretty, I'm going to put that somewhere else. So it's a combination of that. And it's also a combination of looking around and saying what needs to be, where is there something that's a bit lack some depths or needs another layer? And the great thing about acrylic is it dries so fast. Watercolor to Watercolor, you have to be careful just because if it's, if you're trying to layer. And same with gouache, which is an opaque watercolor and it has not dried, then you can disturb those lower layers more easily than with Acrylic. If I'm light with my brush on this and use plenty of paint on my next layer. I'm probably not going to disturb the lower layers even if it's not completely dry. Again, these are all just things. But I hope that you I was gonna say these are things you learn when you play. And I hope that this class really encourages you to play. Learn. There's nothing like learning these things by just doing them. Time in the saddle is my writing teacher is to say, there's nothing like time in the saddle. So in this case, it would be nothing like the brush and your hand on a piece of paper. But I love how I can see those bits of blue that are showing through the background. And I just think this particular piece has a real energy and movement and flow to it. And I think in part because I'm working quickly. Again, not as quickly as this video. It is sped up, but pretty quickly. I think the whole thing. Before I got to come back to that, I want to talk about what I just did because you'll see them putting, I wanted some lighter pops over there. But there are two translucence, so that's what I meant by layering. You have to then add, add more, let that dry, add more to get more of an opaque. What I'm looking for, they're also just grabbed a lot more paint and mixed more and that helped. Yeah, now, I'm taking this lighter color around. Anyway, I hope this get you playing and gaining confidence is you develop muscle memory and just learn by doing. I know I interrupted myself, but that's okay. Now I'm just taking that pretty color again. I'm guided by that peachy color and working at around because I've realized I really like it. And I think it makes a nice backdrop for some of these sort of hitting the background with a little bit. And that's it. 9. Matisse Lady 1: Alright, for this module, let's take some inspiration from matisse. And using our color wheel, I pulled out some Gouache. This time. Gouache is an opaque watercolor, so it can be reconstituted with water. But it has a really chalky finish that I like, a matte finish. I do a lot of my working Gouache. So for this one, I thought we'd choose pretty close to the primaries. But I've got a blue and ultramarine light. And then I've got an orange matter read, just changing it up a little bit and then a yellow. We're in a triangle area. And I thought it'd be fine to take. I love how Matisse said. I do not insist upon the details of the face. And so I thought we'd do maybe a lady like this and do some FUN things on her clothing that are from this is all a couple of books I have about matisse. This one, the artist speaks and matisse the, this is a series. I've got a few of them cold, great modern masters. I don't know if they're in print anymore. But I think I got them used. But if I can find links to them, I will put them in the supplies. Anyway. So I loose Lady like this and some botanical themes on her dress using only these three colors. This is a great exercise. I wanted to show you where you can take in as just a piece of scrap mixed media paper. And you take one color at the one end. And this is the ultramarine light. And then I really needed space for the pure orange here because you can see that this still has some of the blue in it. Then you just go mixing a little bit of orange in each one. And this shows you one of my favorite darks is a navy or indigo. And sometimes I buy indigo, but it's never quite the one that I want. I really like this kind of indigo, so I make my indigo this way. Then I can control, do I want it to be more along this way or more like this. But when you buy in and ago, a lot of times it's just a really dark royal blue, which isn't the tone that I'm going for, which is more in here. So this is something you could do with any two colors. You could take these two, you could take these two, any two colors. It's really useful to do this kind of progression. So I wanted to show you that. Alright, let's get to sketching this this lady that does not have details of the face insisted upon. Well, let's see, space for all this. Let me put this pencil bookmark over here. And this is the same sketchbook. I'm going to very loosely and not being fussy and we're not trying to have perfect drawing. I'm just going to grab a colored pencil. And kind of her face turned up really big. That's okay. Maybe it'll be mostly actually I don't want her face that I'm going to tell the different colors. I can see it and make it much smaller. It's more like it is her hairline. Trying to figure out how I can put this so you can see it the same time and draw with me. Chris, I'll put it in the class resources so you can have it there. I'm just making loose shapes. Her hair. Make it any way. I'm using his photo is inspiration. I want to move her neck. Since we're gonna be Painting all this and I'm not worried about being exact. And then her shoulders, her next really thick we'll do some big shoulders. And he's kinda come down. And I'm not going to worry about doing perfect hands because we're, this is for us to play with. Play with three Colors and an interesting composition. See here, would be more like here. See when you're painting over, it doesn't matter. You can if you want. I don't think this is oh, yeah, this is my watercolor pencil so I can erase it. You use a watercolor when you can erase it with some water. Since we're going to paint over it anyway and then just blot it dry She's a little too skinny. Let's do her like that. And let's just go. No, it's big but it's a little too big. I erase the more. You can use a regular pencil, which you can erase with an eraser or water-soluble when like this. Yeah. First pencil wasn't water-soluble. Okay. That's enough to have FUN with it. And we'll work on her facial facial features. Going to change her face angle a little bit because it's kinda to straight on. I think that's one of the interesting things is that he does the other faces to the side. The body is moving this way. She's not just staring at us. Face on my hands are a little post together, but again, I'm not going to fuss with that. Okay, so let's start with color mixing. But one brush that we will use on this one, Let's see. Be I think a filbert. So filbert means that it's rounded like this. But I want a bit smaller one just because this drawing isn't that big. Let's look at this one. It's not really any smaller, is it? Where's my smaller filbert is hiding. Here's one, but it's too small. I feel like Goldilocks just write. Here's a just write filter. Right? Now. I'm going to just mix a color, probably an off-white like this. Why not get some white gouache? And I'm not going to copy his colors exactly, but let's make sort of a yellowy weight. And do her dress. Was going to have that outline those arms afterwards. Okay. Too much yellow. Tone down this yellow with just a bit of orange. Yeah. I have some of my other classes and Gouache. Go deeper into the my love of Gouache. And that's pretty get some really nice neutrals by mixing the three colors together with white. I'm going to, just so we have the outline, I'm going to paint the brush strokes. Remember minimum brush strokes. And I'm going to paint them in the shape of the fabric of her dress so that it's part of the texture we get In her whole dress does not need to be same exact shade. I'm going to apply the Gouache. Basically. It's just a choice. Doesn't can kinda do it anyway you want. And I'm going to make the body of the dress just a little bit later. Just for some variation. Neck line can dry. It does dry very fast. So it does kind of force you to work quickly. Of course, you can always add water. Okay. I'm going to just make a little bit of a difference here so we can kinda see the shade. Her sleeve. Those are some puffy sleeves. Fine. Alright. Since I have this yellow made, I'm gonna go ahead and make an orangey skin tone. We're not going to go for realistic just like he did. So she's going to have orange face and maybe a bit darker orange with a tiny bit of blue to tone it down underneath here. Give us a little bit of contrast and the neck is usually in the shade. And I darken that even more and come down to her wrist and hand, which I'm just gonna do, something like that. Keep it simple. We can cut in around for some fingers if we went. Alright, that's good. Now let's move into making some blue will make I'm gonna make her hair kind of a blue shade too. I didn't wash my brush all the way out. I want some of that in there because I'm going to make this software blue her hair 10. Matisse Lady 2: So again, thinking about not making too many brushstrokes. Oops, yellow guy in there. So now there's some green in her hair. That's okay. But someone the other side. All right. Now we're going down to the blue, so I'm just adding more of the blue. What want that to be a really deep blue and darker. So the way we're going to make it darker is to add a bit of its complement. So we're going to grab some of the orange, do even more. So I'm turning this brush different ways, which gives me some interesting brush strokes. Does brushes a little bit frayed? Which depending on what you're going for, could be a good thing or bad thing. Maybe it will cut in a little bit here on my hand. So here's where I'm intentionally not pressing the brush strokes, just put them down and leave him. I want them all going in this direction. I'm just covering. Okay. While the cheese drying, let's make a background color because I don't want to paint over her. Will take the orange. Let's see what happens if we just add a tiny bit of the blue, toned it down in this card that I made. Just when you need to take it down a notch. We could use some white. Let's see what that there's white, cools colors down. So which is fine if that's what you want it. If it isn't, you'll have to add a little bit of yellow to warm it back up. I just wanted to make sure that's not too close to her face color. So just a little more blue. Alright, let's see what that's like. Remember we can vary was making it more watery. And you can see the brush strokes more and it'll be a little bit brighter because the white paper will show through Okay. Now I realized, since this filbert is frayed, which means I've abused it, it's going to make the details that I wanna do more challenging. So we'll try it, but they may need to get the same brush but a newer one that's not as grade. See how the bristles are afraid that's from me using an improperly and my abstracts when doing texture and scrubbing it. You can help a brush if you've got one like this by I'm putting a condition or even a hair conditioner, human hair conditioner and wrapping it in plastic. But I can tell these are just afraid. So it will say I may need to change to a different a newer number six, but we'll work with it and see what we think. Alright, so now you do some little details. So he's got the little details on the dress. But there's other little details we can use anything botanical, anything we want. We can depart from her inspiration at any point course at this point, we've actually copied this painting. Just so we're clear. You would never go with this and pass it off with your own. Because if it's recognizable, which at obviously is, then you have to say, you know, you have copied Matisse, but we learned by copying. Just don't want to pass it off as your own painting. Okay, so let's take some. Even if we change everything from here and it's still recognizable. Let's take a, make a bit of a green because we haven't used much green with the blue and yellow. Greenish kind of like what's in the hair. Maybe one brighter. Now let's just make some little things on her. Just taking the side of the brush and, you know, sort of imitating what a fabric might look like. It's going to have phone, so it's gonna be imprecise and different directions. We could, since we've got that made, get some of the blue and orange and just go for a darker maker, darker color. That can be the hotline. Those things, maybe some face marks. I'm kinda mixing them all a little bit. Gives us dark shade below more water just to get it fluid. We're getting kind of a dark dark gray. Get my paper towel because I don't want my brush too saturated. I'm going to take the side of it and hopefully it'll work with the frayed edges and very lightly bring it around. Trying to do one stroke. You can see my little fuzzy hairs from the free brush. So if you're getting those which, you know, that's personal preference, if you do feel like it fine, if you don't, then check your brush and maybe for aid. Just bring these down a little bit. Have to come in the hallway. Her face. Here. Just think about the mark you're gonna make an make it without, without, without fear boldly. I think I'm going to continue maybe the line just on this side of the address. And this is gonna be tricky with this free brush, but let's do a weekend. Guys. Simple knows. Eyebrow, eyebrow, high Well, if reading is adding actual interests almost looks like eyelashes. Not bad. Right now we can go back and make a color for some other, I think I think a pretty little logistic bit of a line pattern In her her dress. Maybe with a yellowy orange. See what that gives us? Think it's a little too bright for the rest of the Palette. So I think I'm going to add some yellow. Make it more of a yellow tone down, yellow, mustard. I do that by having just a touch of blue. We're getting to see the challenges in the kinda cool effects of a frayed brush. All right. We could go a little crazy and do some circle things on her on her skirt. Why not? Let's do some, actually, let's just do some flowers. The silver is amazing. That because each stroke is a, like a pedal. We can vary these by, add a little white, just bury them a little bit. I'm turning the brush a little bit just so that they don't all look perfectly uniform. Personal preference. So you can either have it flat like this. We're turning it like this. To look so serious, but she looks very like deepen thought. It's funny that you can get that. Convey that with one for a brush and a couple of strokes. All right, I think I'm gonna make a really pale, peachy color for this centers. That's gonna be tricky with this brush. Better to just make a stroke in each direction and be done with it. It is mixing a little bit with the color underneath. I could have also left them blue. Just have to be a little more careful and use multiple coats. Okay. There is our exercise and matisse Lady. She was phon I'm glad she is here. 11. Peony Bouquet: For this sweet little bouquet in the watercolor sketchbook, I provided the sketch in the class resources. And you can transfer it to Watercolor paper, tracing paper, transfer paper or carbon paper. But a really simple way is to take a sheet of paper and take a graphite pencil. And we didn't as kids did this as kids shade it with your pencil and then flip it over and trace it right onto your watercolor paper. That's one of my favorite ways because it's a very light touch and you don't get too much. You don't get a bunch of carbon on your paper. So I've got my three colors here and I'm using gouache. One regular gouache, I think in one or a couple of actual Gouache it, but I've got an orange on olive green and a rose. And I'm just starting with the large peony. That's really the focal point. This is, this is a bulky that's just, I think, really lovely and its simplicity. And one of the things that I've noticed and worked on is that we tend to make the flowers in bouquets too small. And when you really look at about K, the ones that I love, that you see in different places. They'll have flowers that are almost as big if they're open as the vase. Just playing with that concept here, making a really large focal point. Maybe it's a peony, maybe it's something else. I don't know. It started a peony, but I do a lot from my imagination. For the sketch, I looked at some bouquets of pictures I had taken and then kinda combined it with maybe some other ideas. And that's what I'll do is get the inspiration from different places like the little onion bulbs on the back that you'll see are from one picture. And then this central flowers from another. And then just kinda make it up as I go along. But we're doing the one brush, which is the number for bright or flat again. And again, trying to concentrate on not too many brushstrokes. I did the speed this up. It's about twice the speed, just so that you don't fall asleep while you're watching this. But even so, the whole thing, I think took 25 min, 20, maybe 26, 28 min. Worked really quickly, again to try to keep myself from overthinking and overworking. And you're seeing me blot the brush. Now with this color palette, I've got the rows, which is a nice bright pink. But I've got the olive green, which is a more of a sort of I don't want to say it's drab, but it's not the slimy green that I love. And without any yellow to make it that way, I had to just deal with it. And that's what's funny about this exercise is how I remember as I was painting this. I want my line, my one. I wanted some yellow to add to that green. I didn't have it. There you go. I do have what's dulling it down a little bit is I do have a little bit still of the pink arrows and my brush. But as we've talked about, that's a good way to have color harmonies, to have just a little bit of the color other, the other pillars in the Painting in each color. This one really does end up with some harmony. I'm darkening to get it dark, I'm adding a touch of the rows, which is where I'm getting my dark from. And the olive green I'm using is the Turner acrylic gouache. And I've got a mix here. I just grabbed colors. And then the orange is the whole Bain acro Gouache. But the rose is a regular gouache. So this shows you you can mix them, No problem. You can mix watercolor. You can use watercolor in a painting that has acrylics, you can use Gouache and a painting that has Watercolor. You can use acrylics in anything. You'll find what doesn't work. Obviously. Watercolor can't be layered on top of. Well, let's put it this way. You can't paint a light color on top of acrylic, on top of watercolor with watercolor. But you can lose squash. So you can see there that I just layered that stem across those leaves. Onion nice stems that just go every which way, which I really love. You can see even in the painting on the other side, I just have a thing for Vineet, windy lines. I think they, in a Painting, they help your eye move around it They would just to me are interesting. And so whenever I see an example like that in nature, I really, really enjoy putting those into my compositions, whether they're abstract or Floral, like this one. Here I've made a really high, it ends up being just a beautiful neutral by using a little bit of all the three colors and then white. Gouache tends to dry. It's funny paint. It'll dry lighter. The lighter colors dry, lighter than they look in the darker colors dry, darker. So it'll dry a little bit lighter than that. And then I'll do something for texture that you'll see. But I'm going through and just adding a bit of dark that I made. So I made the dark by taking the green, the rows. And there's probably still a bit of the orange on my brush. But he basically, when you're working with just three colors, you can make a dark by mixing the two darkest colors. Makes sense, right? You need, you need some darks so that you have some value differences. In I usually you have some lights and darks. That's what's meant by values. You, as long as you have lights and darks in your painting, will be mid pounds. But you'll find if you paint something and it just seems blah, check your lights and darks, you may not have enough of them. So here I'm just being guided by color. I'm using this brush, both Painting with its flat side and its edge sign. And I also trying to be a little bit light with my touch and almost painting more like you'd paint a watercolor Painting, which you can do whether you're using acrylic gouache or watercolor. I'm not trying not to overwork those blooms. And I decided to try to play with making a dark plum background and also not over Painting it. So if there's lovely brush strokes are dry spots letting those be to add texture. I love walls, painted walls that have texture. So I don't mind letting that color variation in the background be there and be kind of almost like a textured wall. And you can do that by letting your brush just dry out a bit and use the paper towel or whatever. And I also don't mind that my color is going to start to run out and very as I paint the background, so some of it will be darker, some of it will be more watered down or maybe I'll have to mix more and it'll be a little bit varied. That doesn't bother me either. I'm cutting in here. I'm not going necessarily all the way to the edge of the painting. In some cases. Now, in that case there I did because that stem came up kinda fat and I wanted it thinner. So I cut in a little bit more on that one. But then on others I'm leaving a bit of this white around which I think is nice with this dark background. I think if, especially with those little stems that look disappear, if I didn't have a bit of white around them. I can always go in afterwards to, with another coat on those stems and make a really opaque white, green by adding white to it. But this worked out pretty well. You can see that my background color is getting center because I'm adding more water to it, which is changing. Naturally changes kinda how it appears, which I liked, I liked that variation. Maybe the light's coming from that side. And so you get some nice variation. Now, when you go to the anterior, you can just choose how much. I could have loved that part white in the interior. But I felt like it needed just some of those spots. And that's what I'm deciding there. I'm saying, well, how much do I want? It brea, It helps it breeze to have some white in there. People talk about whitespace and breathing and I really love how, um, I did not overwork that large peony. I just did one last night when I was messing around and I overworked that thing. It was usually what I'll do with that as learn from it and just keep working on it and more layers of paint. And I just rare for me to just go Now, this one's going in the trash. But on this one, I just kept it very, very loose and love how it turned out. Now here I'm trying to get in. It's taking me some time to get, I want a light color for some texture in that vase, but I want it to pop. And so I'm having to work with how much weight do I want in there? How much? I don't want it to be white, so I'm making an off-white with these colors. And you'll see that I'll end up adding a couple of coats to make sure that I'm getting the coverage that I want because I want these marks to show up and I know that they're going to dry. Not as pronounced as they are right now. I also love the variation in them. I don't need them all to be uniform, both in shape and then color. But you can see here that I'm going through and getting just a little more. Sometimes I'll do a second coat on just some of the marks so that you know how pottery light hits it. And you may see that that variation is natural. So that's what I'm going for here. And then I thought, since I've done all this work to make this beautiful color and the vase. Let me take the corner of my brush and it shows you that even with a flat brush, you can make that little marks. And so that's what I'm doing in the leaves. I just loved that how the texture comes out of there, and I love how these leaves bring you into the painting. They can literally point you right into it. And then the green balls kinda take you around and you've got the focal plane just ended up being a very successful a little study. And we'll probably end up being something I do in a larger scale. I might even paint over the background and a different color. Who knows? We'll see there it is one Brush, three Colors, a piece of paper. So enjoy and do this one in different colors. 12. Simple Landscape 1: Let's do for this lesson, a round brush. This is a round number six, I believe. But you can do for an eight to ten, whatever you got. And this is in the class resources. A photo I took nearby here. It's a golf course, but we're going to ignore that and just use it as a reference photo for really simple Landscape. I hope the saturation and contrast so we can see some darks. And we'll just kinda make a path. And we're going to keep it simple because we're learning about color. And then pay attention to the values in this, meaning the darks and lights. So we see dark hair, dark skin here, and then lights are kind of leading our way in. Alright, so again, that'll be in the reference photos. Colors. I wanted to show you that we can do something where we're not just using like, let's say how you have are student grade paints. So I thought I would do that here and show you these are this is Liquitex basics. This is the Winsor Newton Galleria, which is the cheaper student grade. And then this is another inexpensive student grade, Grumbacher Academy. So those just kinda mix of what I have here. I have a white turquoise. So going back to our color wheel for these three, Let's try a turquoise and then drop over here to read right here, and then a yellow. Okay, So those are three colors. And this is our brush. And I'll just sketch out my sketchbook here. I'm just gonna make a, we're very loose, square, rectangle rather kinda coming across here to kinda give me a boundary for this one. And we can always use this space to put our color swatches. When we make an interesting color that can be a lot of colors or just made by accidents and most of my colors. So that's all I'm doing there than just a sketch this briefly, I'm looking at these mountains started about maybe a third in. And I'm not copying exactly because there's just a reference, something like that. I have this tree line coming. I don't know if you can see this with the pink pencil, but I'm just using a watercolor pencil and I'm not going to I'm just tracing shapes. I'm not this is not a full landscape class, so I don't, I'm not going to go into a lot of detail, but this is a sampler class on modified Color Palette. So I want to keep it a really simple just kinda making our paths coming in. And then this a grove of trees here, something like that. So I've got the big rubber trees, this big green area here, the light area. And then it kinda leads into this focal point through here. And there's a clump of trees over here. We are going to worry about that house. Just getting an overall, you can see how loosely I'm sketching my mountains here. Yeah, drama a little darker. This way I like about this compact trees here is it guides our in and so does this one. And gets us to. I just wanna be clear about where my focal point is here, the lighter stuff. It's kinda, we're going to paint over it so you can see, I can draw arrows coming in this way. Alright, so I kinda got composition. Let's play with color. So I'm going to start at the back and work forward. So I'm just gonna do probably a, we can make this any color we want. Let's not, let's depart from nature and forgive, you know, green. Well, that's what I'm gonna do. You can do whatever you want, obviously. So let me grab some light. I guess I need to set the timer on this so it doesn't keep going asleep. On this photo. Let's see. Times out too much. Your iPad or your phone has settings that you can change, do not make it timeout so much where it saves battery. Basically. I'm just gonna do this. Turquoise back here. Again, we're going to make this just a really quick study. I'm varying the amount of weight in this Wholesale, if you tell yourself you're doing a study instead of a painting, you can seem less intimidating. And we do our best work when we're feeling relaxed. That's why I love sketchbook so much. They just seem to instantly, working in a sketchbook seems to instantly relax. You can see by varying and not overly fussing with them. Brush strokes. I'm getting some hormones, cloud-like textures. And if we were developing this fully, we could come back in and do that kinda thing and make more of a finished painting. But these are studies. Okay, a little bit more water. Alright. Now I'm going to move into the mountain range. So I'm going to continue with the turquoise. Let's see if we can. What happens when we add bit of red? Just a bit. Let's see what happens. We're going to get a dark, purply grayish and it isn't a background. So I do want it to be less saturated. So I think that colors nice. You always come back and change it right? Especially with mountain ranges. Limited brush strokes are great. Because you will get some natural mountain you're looking marks. By not being overly fussy with the brush. More white. We can go past our boundary. You may like the dry brush look that you can see where I'm getting that texture over here. You may want that in certain places and others. You may want to take a color that's a little more intense like this and then put it over that. Or you may want to add more water and have it be more watery, more transparent. Right? So, so far we have this color. I forgot to make a turquoise swatch. We also made a little bit darker. One more reading it, this go back and add that took place. See you then you can take in your page, in your notebook like this, your sketchbook rather. And make notes which paint you used, which colors you used, which brush you used. Will do that. Here's a turquoise. We got. Okay. Now let's start introducing the yellow. So this is the other grove of trees here. And I just wanted to clearly mark so I don't get confused. My part where it's light, it's drawing us in. Because I did meet a lot of sketches there. This is that other tree thing there. So that means you got to think in terms of limited means of this is one color in here. Limited shapes. Our job is to simplify. So let's start introducing the yellow. You don't want to open do yellow with I'm going to tone down Greenville. I'm going to grab some of that turquoise. I'm going to add more saturation as we get closer to the front. I am using a green here. I'm going to darker, so I'm gonna add some more red, more turquoise, more yellow. All three of them. To get a dark. Let's see what we think of that. Be a little bit more paint. So I'm doing all three again. Just depending how much you add of each one you'll get a little bit different shade And I've got these to my dark. My darkest values are up in here and this spot here. But we may leave that out because again, we're just keeping it simple. I think what I might do is make this more of a turquoise green. My face down. I'm going up and down here because this is the shapes of the trees here. And since we're closer or it's closer to us, I want to represent the trees a little bit more even though this is a bottom layer. I'm letting the brush do the work. A little more. Saturation. Can even grab some of the turquoise pretty pure out of the tube. I need more paint. I'm doing it right now. Something that I want to teach you not to do, which is using too little paint. And it's something that is still clearly forget to not do. Because when you have too little paint, you can't get juiciness that you want. And the you'll end up fussing with it more. So let's make sure we've got lots of paint. Hitting some highlights here. You go back and make some of this darker. I'm a little too brown. Query. I'm going to take the darkest, dark and run it in here. All along here. Red. That's plenty. That's a lot. And I'm using the turquoise and the red to make some darks. I'm just going to take dark, darker the whole way here. Some dark up there, a little bit over here. Just playing. Maybe a little white brings somebody's forward a little bit. There's some light there. Again. Not looking for a finished painting. Okay, so over here I'm going to just desaturate this aerosol little so that it looks like it's a little further back, but not quite as far back is this part. So it's a little tricky. I needed a little brighter than that. But not as bright as this 13. Simple Landscape 2: Okay. And there's a couple of darks in their dark. Okay. Now, we'll do this front part that we're just going to make light and bright for that, I probably will wash my brush. Have I watched it yet? Yeah, I did after the turquoise. So I'm gonna come in with the yellow, still some red on my brush. If you start getting like a muddy, little bit muddy color, that means that there's still the complimentary color on your brush, which is a cross, the color wheel in this case there was some red. So it was he was killing my yellow vibe, my bright green vibe, which I'm gonna get by, get close, get a lot of pain out, like we talked about. And let's make some turquoise with some yellow. A nice bright variety of greens here. I'll have to be that bright. But we want that. I going like it doesn't have photo straight, straight into there. But you see all the different textures in the photo. We can have a very simple level just represent with these strokes getting a little more saturated. And then the rolling hills two, because we come forward. Remember, unless we're trying to work quickly and not overthink too much. I don't even mind bits of white in this part because if you look at the lips, if you look at the photo, there's kinda where the sand traps because it's a golf course but also where the light is hitting. It looks almost white. So I don't mind for this dry brush effect here in front. I like that. Okay, three colors. Now, I want to do a couple of things. One of the things is bothering me is that this turquoise feels disconnected from the rest of the painting. So I also kinda want to put some just neural nets, but some texture back here. Like that. Maybe some darks to the dry brush. Just a little bit. And I'm gonna show you something though. If you do something like that and you say, I really like it was Acrylic. If you work quickly, you can tone it down or remove it completely. With a bit of water. I'm going to try just a slight green wash on this turquoise suggest. Especially down near the horizon. And if you're paper towels dirty, get even more texture. Actually kinda like that. It did comment down a little bit. It just wasn't warm enough, it wasn't connecting with the rest of it. And the other thing we can do is just grab a little bit of the light turquoise and put bits of that town in here, which is kind of videos down here. Highlights, maybe. Alright, I'm going to stop passing. But you can see how we could have made so many more colors. We could have just kept going. We could still keep grinding, could take some other colors and outline some things. I really want to keep it simple. And just show you which you can do with three colors. One brush, simple landscape photo, and just do a quick study how we didn't put our other colors in here. Let's do that. We had sort of a darker that was one of her films are dark and we get all these greens. He's lighter greens in the almost yellow We have mean that they're making lots of greens here. Different shades of them. Really turquoise, green two. That's right in there. Mortar crazy fan. We have this super late kinda highlights that I did was just a little bit there in their later than that. So what's helpful here, as, you know, take a pencil or pen, colored pencil, anything. What do I have here? Work and list you or you could list your brands. So in this case I use the Winsor and Newton, white and yellow. This was cadmium yellow. Cad yellow. And I used the Liquitex basics, bright aqua green. And I used the crane Bucher, cad red. And then I used the ground brush. We could even draw. Who was the I could draw. I couldn't if I wanted to have these kinda notes, I could put the breast that it was, this happens to be the brush from my brand. So I'll put Suzanne Allard, brush number six. And these sold out. But you can go on my website if you're interested in, get on the waiting list for the next, the next run of them. But anyway, so now we've got in this bread little sketch showing three colors. You know, what they didn't do, as you think we should do, is put the three primaries we used. Let's do that. So we have the turquoise thread in the yellow. Might have been good to put those next to the name of them. Suzanne, right? Let's do that. Aqua. Very bare. The cad red. So I don't know if you saw that. Didn't do it enough there that I take my brush out of the water. I often do this on a paper towel, otherwise you'll find there's just too much water in it and mix up your like that too much water. Okay. Here we go. Simple landscape sketch with three colors. I wanted to take the color mixing a little further with these three because I wanted to get some more colors to do just a little bit of details on this landscape, just to know not fully finished it, but just make it a little more FUN. So I started with the red and white and did some pink, so just plain red and white. And you have to be careful when you want these more pure colors to not have a dirty brush. So that was a clean brush. And then I just started adding a little bit a yellow to get this nice orange and pH, which we don't have in the painting yet. So we can add some of that. Then this, these lovely peachy pink. So I just started adding white to the, what was on my brush. And then I added some yellow. And when that direction, then I added a bit of the turquoise and came down here. It's kinda like for me this way I can kinda see what I added next. And then some turquoise and then a bit of red, which paint in some white which brought it to these tones. And then I went back to, okay, let's just clean up brush and do yellow and white. And then add some turquoise and get these minty grains and added some yellow. Then I clean the brush again, and this is a watered-down red with a little bit of yellow. Then all three of them there. So I thought we'd make some of these and just add a few little details and bring this, like I think adding some of this peach and some of those colors in there could be pretty, because we never mixed here. We never mixed the yellow and the orange. Then there's just so many possibilities. I mean, this page that I did, you could just keep filling pages and go in different directions. And it's really funny thing to do. But that's the brush I was using for mixing. Let's use our Number six, right there. And I'm gonna make up some of this. This is the red with a little bit of white and a little bit of yellow. You do have a clean brush. For now. Wait. So I started with just a pure pink, which is just the white and red. And I'm just going to hit the touch of yellow and maybe do some. Sometime. Could be light highlights if you look at light, now that we have to be realistic with this painting. But if you do look at light hitting trees, sometimes it can have a pinky glow to it. And then we can have some pretty pink plants here, which would be larger in the foreground. Smaller as they receive this plan. And we could also play with pencil, but I just wanted to add a little more the PG tones to this, especially maybe a little bit sun is hitting back there. Maybe if sometimes I just imagine the sun from one direction or another. And if I'm imagining it this way, hitting these trees, then it's hitting that side of that mountain. Maybe it's hitting this ridge. You put some grasses here. Just taking some yellow. That's fine. Just a little bit of Samsung. They just didn't want it to be a little bit boring. Can have that. Let me make this. Sometimes it's just the color that I want to use. So then I have to find a place to use it like this color here. Peachy. It's got white and then it's got the red and the yellow. So pretty we could, I could go crazy and start adding a big tree that's here in the foreground. But I want, because I'm trying to keep this to be simple, quick Landscape. Stop playing, Suzanne know, yeah, those colors are much more yummy. All right. I'm stopping. But anyway, I just wanted to show you how you can take these warmer colors and then come in and just gave the whole thing more life. I think 14. Pots Party 1: Right, So for this painting, I thought were sketch, I guess we'll call them. I wanted to take some inspiration from. I took this photo at home goods store. I just want to show you how you can find inspiration everywhere. And I just loved all the shapes and patterns on these. Well, they're vases are just decorative vessels. And I took a few pictures of the different displays. So we can use some of these pictures, maybe these two, and pick some shapes for Color. I wanted to try a little bit, little bit of subdued, sort of subdued. But I thought we'd try, I think going to change this row to row. So these are not quite across the triangle. So let's put this one about here. Then this one's here. Greens, especially because it's an olivine green. And then the rows is here, I would say between the red and violet. So I wanted to show you that we won't get as dark or dark. So are the variety of colors won't be as great the range in terms of darks and lights. But we'll be still be able to make it dark enough dark to have some contrast. And I just wanted to show you how you can play with this. You can take colors right here next to each other. Analogous colors. You'll just have again less contrast. But there are artists who use that kind of color palette a lot and then maybe just one thing, one color for dark. So if we would play with that first, just as a quick sketch, Let's see what kinda colors we can get. Do that on this page before we, Let's practice on this page doing some of these sketches and then also some colors. So maybe picking up the shapes we want to use. I kinda like this one that looks like it has holes. So let's see. Again, I'm just these are loose sketches. Don't overthink it. In fact, you might find it helpful to hold your pencil like this, her pen or whatever you're using just so you don't get too tight or something like that. And then this one would have the little diamonds, but we can just make shapes. Okay, get that one. You see that on this one's interesting with the flat, a flat top on it right there. And really fat. They so probably be more like this number, something like this. We can put any pattern we want on it. It doesn't need to be those squigglies. See what kind of pattern. I like these, this up here. So maybe this one will have things like this going in different directions. I might even just not do any pattern. We could just make them solid and play with the colors that way. In fact, this is kinda cool way to do that with it. This one is just two colors. Yeah, maybe we won't do any of those wheel. You can choose how many time to any of those. Especially since I'm sticking with one brush. So we can have one that's just something like that to colors. Let's see what else? This is an interesting shape. I only have the top of it, but, you know, it's kind of a classic rounded hello pots. And let's see what color inspiration we could give. Um, that we could do. Was thinking of some stripes. These are almost striped. Well, there's just brushstroke looking. The pottery is so we could use brush strokes to make a texture there that would be fine. And then this one's a pretty she comes down. I've been feeling like if you've found to take a pottery class around at the bottom. Something like that. Alright, that's enough shapes Now let's see what colors we can do with these. It's gonna be fine. Got a rose, olive green. And I'm using a Gouache again, this is the royal talents in the yellow ocher. This is not. So this is gonna be, this is going to tell them things down. This palette is going to be a little more, except for the rows. The rows gonna be bright. We know we use more weight than anything. Now, the brush we could use, I think we could use the round. Please just use the round again. I've already used gonna show you a bright around trying to think of filbert. All the brushes that you might come across or have. The round is seems like the most common around and the bright, which is sometimes called the flat, like this. And a lot of people prefer the flat because they feel like it makes their painting more loose, less rigid and structured. So let's try that and get that kind of painterly look. This is a number for flat. So I'm gonna do that. Start with what's going to be my most exciting color, which is this gonna be a whole range of magenta, is by just adding and taking away white. We can darken lot more. All the way to a pretty solid magenta. Her rows. I've still got white on my brush. Okay, Now let's see what happens when we take that same brush and add some ocher. Look at that gorgeous coral color. Now, would you live thought you could get a coral from Hooker and rows? This is why I love colors so much. Let's go back later. Let's go. You can pick, you can probably see that you can literally fill up pages with just these three colors. Have a little more ocher and warms it up even more. Ok. Or is one of those colors that I used to not buy because I felt a little well, once. That shows you what I know, it's not one of my favorites for mixing. I think you're seeing why. We can keep going in the ocher direction, just adding a little bit more. We get all these wonderful tans and peaches by adding more water. If you want it to go more peach, you add a little more of the rows. We can just make a palette, really what these two? Beautiful, beautiful, beautiful. Alright, let's introduce some greenbelt, since we don't want it to feel lonely, stuck out there. I'm just going to keep with what I have on my brush, which we now know is a little bit of magenta and a little bit of ocher. Now some of this olive is olive green, yellow, ocher, white, and rose. A little bit more. And then we'll just move away from it with different colors. So there's our modified green olive. Let's add just some straight rows and you'll see it. Subdue it, kinda make it more doll and darker. So that's probably gonna be our dark, right? Because you need darks and lights and every composition. And then I add a little bit of white and we're getting towards a brown. Brown can be useful. You just don't want too much of it or you end up with a muddy color. So I'm washing my brush. I still have though, some pink and pilgrim on top of the brush. But I'm gonna go back to my green and just make some ocher with it. Let's see what that does. That really brightens it up. Even more. Olive green. And the way you can make sure if you don't want to go muddy, we're into the shades. Although we needed to, to establish a dark is to really clean up like for these to really clean all the rows out of the brush. And then start with, which is why I use the paper towel. See, I'm still getting some pink. Honestly, it probably needs to be washed out with the St. Louis on brush cleaner to really get it all out. But it's pretty good. Now I take some of my green, some of the ocher without the pink in it, get a more accurate representation of just those two. Alright, now we can add some white, green, get some really beautiful shades of green. We haven't even done the old girl just plain ocher with the weight. You're getting the idea. Look at that. My beautiful adding more white. So pretty. I could fill three more pages because we haven't mixed too much. Maybe we could go and infinite shades, but I think these are the basics. We didn't add those just green with way. So we have a lot more we could do, but this is enough to get us started. And how pretty is that? I like it just like that. Okay, so let's, I'm gonna really try to make us bread that is just loosely defined by these and kind of pots here and their background that we can paint. You can paint it before you could paint after just letting this dry a little bit before I flip the page. If you ever in that situation, you can take a piece of palette paper, by the way, which is paper. It's shiny on one side and it won't stick. And it'll wouldn't do it a completely wet paint but with something like this that's almost dry. I'm in love with those colors. Look 15. Pots Party 2: All right. I say we just take somebody's colors and start making someone who's part shapes. I already have this kind of greenish in my brush, so it's a good place to start. And I can refer back to my Let's not put, I'm gonna do this brands. So let's not put the focal point right in the center. Let's put it sort of hope here. Make this maybe the largest pot might not be that big one I liked. And again, we're going to be quick. We're not going to first to match. You could sketch on first if you want. I just once I kinda have an idea, I know I can paint and fix anything I want to. So I don't. And something like this is meant to be loose and quick and phon and not. See you look at that texture we're getting with the brush. So I don't want to overly mess with it. But I am going to bring the brush down here to get rid of that outline in a very, in the color. Okay. Let's see that top. So I think I do. It would have like, uh, hoping like this. I'm just making the brush stroke where I might bring another color and to show the top of it. We all see. Okay. Let's do this long or longer, narrow to tone one. And I think I'm gonna go in that pink. I loved the colors when we took this, the rows with the ocher. But I got up, make sure that the green in this case, because it's a complimentary meaning across the color wheel is out of my brush or I will get, it'll tone it down and we might want that effect, but in this case I don't. So I'm going to take some of my rows. So beautiful. Some of my white. In a more paint. I say more paint. The beauty of this working with this Gouache is if you're working quickly like this, I don't have to worry about I was gonna say putting the tops on the tubes, you really should. But I know if I'm using it a lot, if I'm going to be done here is not going to dry. That's not a best practice though. So probably ignore me. Just telling you realistically what I do when I'm working like this. Okay. And let's do this. One was the long and half one color. And you know, you can do a sketch like this, Tsetse a few even like the concept and then come and work on a more finished version of this and say, Okay, I liked how this turned out. I didn't like how this turned out. I mean, painting the same composition several times. I was going to put a light pink down here. Now I'm thinking I want it to have a little bit of a peachy pick up some of the Auger. Okay, so now this is the same part that's in two colors. Brush dries, darker than it looks when it's wet. Just something to keep in mind. Okay. What next? Stood at fat pumpkin, you're looking one. We shouldn't make that something really pale. How about where's my way? There you are. About really pale magenta. Remembering that it's going to dry darker. And I kinda want some of these, I definitely want some of these overlapping. So I'm going to To this, being careful not to rub too hard on the paint. I've already got there because Gouache will can be reconstitute with water. It's not permanent like Acrylic. So if you're using Acrylic, you don't have to worry if it's dry, it's not going anywhere. One of the benefits of Acrylic. Maybe we make the texture, this one different. The brush strokes. This is something you may not even be able to see. But later on I can add interests with it or something. Maybe take that same color and do another part over here. Please just fill this page with pots. Maybe even paler pink. And that one shape that was where do I wanted? Let's just do it here. The shape that was like this one, kind of long and then came out pretty wide. Pretty bad. Pr colors. I'm going to add some of that. We can look back at our picture to see if there's, you don't have a tall skinny thing. Let's do that pretty little bit to what I had of the Holger. And let me see. Thinking color wise, it was going to put it here. I will we can always, we can always. What I was thinking is well, let me paint it and I'll tell you what I was thinking. Whoops, my finger twisted. Worries, we're just changing now. We're going to change the shape of that part. And one will ever know. What I was thinking was that it was going to be too many light colors next to each other. But the great thing about that as we can come back afterwards if we want, that turns out to be the case and add a detail in a darker color. But we might decide that it's just fine that way. So I'm just going to like that. We'll put another color in the center there. And it's already a mixed another colors. So I'm getting some color variation which I love. I don't worry about. It all has to be Maggi. Maggi because late hip things hits things differently. Need something dark over here. So let's brush some of that weight out. Let's see here, there's any more shapes. Didn't do that one with the top. The one that hand to hold on it. I'm gonna grab the green pretty straight out of the to and just add a bit of ocher. And I want to make their kinda go over this one. So let's see here. I'm for both of these, you know what, in this case, since it's getting a little more complex, I'm going to go ahead and draw it in. So it comes like this and it's little dome is like that. I've got a wet spot of paint there, so I'm going around it. Let it dry. Goods stop recording but there's no Fine. Okay. And you don't need to worry so much if you're saying off and I've got all these lines, because you can paint the background while we're here and let's maybe draw in a few more. So I'm looking for some variety. Maybe something low. I don't see it there, but what about one of these low? I don't want it to be centered, so I'm gonna put the base there. Something like that. Right here. You can draw right over the Gouache. So 1234567. I kinda like the way they go. I don't think I'll anymore, I have an odd number, which is important. Important because the eye tries to, it makes it more interesting. I'm not going to say it's important. The eye tends to want to match. And so we look for pairs of things and then we kinda get done with something when we've made pairs. So by making it hard numbers, it just makes it a little more visually interesting. At least that's the theory. It feels that way to me. So it's just a habit at this point 16. Pots Party 3: I'm going to make the top of it's just a little later. Just to make a distinction. Remember, when you're doing something like this. No one knows what we started out with for inspiration. So it's not about making it look like that, right? It's kinda whatever we wanna do. Now I'm going to put in, you know, what would be the inside of it. And same thing here. But I want to, I want to use opposing color there. I can use the green here. And I will use it up here. Hello, yeah, because I don't want the pink to be equal. They're in there like that. Now we've got this little cutie. Oh, I know it could be found. I really pure much and we're going to clean out her brush really well. Stop dripping on your painting, Suzanne. Okay. So this is a little more water down which gives us a little bit different texture, can be done with gouache acrylic, rarely any paint. Just loving these colors. Don't fast with the brush strokes. That's what I'm telling myself. I'm going to take the same pink and put it up here. And I want to put it in some details here, but this isn't quite dry. So how clean off my brush and do the top of this, which could be, let's look at our Colors. Is there anyone that I really loved that I haven't used? We could see what Let's try it. Let's take the green and a little bit of a rose. It's even get a color that's not too much mud. I mean, those complimentary colors will make mud. But let's see if we can get a color that we like. Can always paint over it. Kinda like that. Even though it's, I'm gonna leave it loose like that. Another technique you can do to be kinda phone is just a little bit of lighting. They gave it some texture. I want to use that somewhere else. Okay, So let's take, let's start some texture. I'm having FUN. I hope you guys are to hope your painting along with me. Let's take the brush gutter and let's do some mixing a little bit. Her oh, I did is take that brown and add some white. And let's just make some marks like that. Really pretty. I'm not worrying about these all being the same color. I'm adding more weight as I go or more. Whatever, doesn't matter. I can go back, make it darker up here. So pretty that pink with the brown. Really pretty. I don't want to overdo this painting. I really like its simplicity. I may only do it of marks. One or two of the piano, or three, maybe three of the pots. Let's do odd numbers and leave the other ones plane. I do love this color, so I'm gonna go back to it here or make some version of it, which was a little bit of the ocher, a little bit of the rows and then white. With the Gouache. I could just reconstitute what I have left with water. But with Acrylic, you just make it again? Know too much. Okay. Look at the picture, See you then get ideas for her though. There were those triangles but maybe just some fat stripes like they're can do that on the top of this one. Just got the brush by its, and that's one reason I love these flat brushes. A little thicker. The I'm not worried about that. The top of that one looks strange because I didn't bring the color. We can fix it. I didn't bring that phase color up high enough. I'll have to do several coats. But that can be fixed. Okay. She, you know, might be phone to take the rows, the bright rose. Well, actually this color. Yeah, let's go ahead and make the rows with the ocher. That may that quarterly read. My brush got too wet. So what happens is just depends on what you're going for. I was going for a thicker paint. So when you've added too much water, then you have to go back and have more pain and they becomes like an a. So that's why it's good to block. And I should have plotted my brush more with paper towel then to come back. But I'm thinking of this color over here and using just the corner of this, making some the whole way. But to some little. That's a pretty and intentionally not trying to make them symmetrical or the same size lineup. I am finding or following a little bit of a round apart shape. I really like that. Maybe for here we just do something simple like that. I'm happy with this cute little thing. So from here, you could Details with pencil if you wanted. I know those classes three or one Brush three colors. But you could take your same colors and pencil, for example, and do some little details. This is a Watercolor. Well, not really Watercolor, kind of it's water-soluble, super color too soft by Qur'an dash. I love these pencils. Let's see if I have any of these other colors. This is not really a pretty close to the green thing. Does. These are the unit Pascals. They see if it'll work. We haven't been great on top of what might be better on top of Acrylic, Nancy, it's hardly shows. I can see it but you probably can't. But I just wanted to show you a little bit of how you could take pencil and do that without overdoing this little thing. Because I like, I liked that some of the vase is like I don't wanna do anything on that one. I could just take some lines on this one just at the top. We can also of course start drawing plants coming out of these. So there's lots of options. You can also paint the background. You could choose one of these colors are a few, and paint something going this way, something this way, all in the background, just outlining what you've got here. And then you could paint the flowers or plants. You could just come out of here, What's leaves? But anyway, you can just skim idea of how much beauty you can create with these three colors. With any paint, acrylic, watercolor, Gouache, wash, I think foil, but we're not using oil. I don't use oil. Have FUN making these beautiful. These are kind of earthy but, but not dead because of that rose color 17. Italy Trip Inspired 1: Alright, for this module, I thought we would try. Since I just got back from Italy, went to the Amalfi Coast, got all kinds of photos for inspiration. And I'm gonna do some specific classes, some Italy, but that's down the line. I took this picture at a farmer's market, and I'll put it in the class resources of the amazing array of tomatoes. And I thought it would give us just a little bit of geometrical shapes to practice these warm Italy colors. This combination of three that I feel like can give us some really beautiful warrants. So I thought we flip the page, by the way, I went in and did a little bit of peach that I made because I just wanted that white, but it was too much way. It was all all my I could see. And when I would pass this in the studio, so I knew something had to be done and now I'm happy with it. So just took a little bit of the where the fluorescent and the big yellow that we made me, It's impeach. Okay. Moving on. So again, this will be like a color exercise, but we may end up really liking the composition to, and it just, I just wanted to show you how so many things can be in inspiration. So I thought I would really loosely, you see these containers and they're smaller in the background. So I'm just gonna do some really light look. I'll lose some holding this pencil. Sketches. Maybe even going off the page to show a little bit of interest of not having them smack dab in the middle. They don't need to be perfect squares. In fact, they change shape as they get closer. If you look, they become more like they're more rectangle and narrow back here and then they become more squarish here. And then of course, here's some of the actual tomatoes leave on me. It was just think of them as shapes. Yeah, maybe something like this and just play, Let's see how we like it. If nothing else, we'll make some pretty colors and maybe an interesting composition. Okay, I'll see you there. So the three colors, and I just grabbed another brand of Acrylic just to give you some variety. These are fluid acrylics, I guess I have to brands here, hope direct and golden. But I was choosing colors. And they're all fluid, which means they're just more liquidy, pigmented intensity. But you can use any Acrylic Gouache, Watercolor, anything you want. The three colors I've picked our quinacridone, violet, yellow ocher, and a Hansa yellow medium. We'll see if yeah, This is the one that I want it because we're gonna get those. Italy has so many of these warm. So the color inspiration is just coming from these buildings. And like this isn't around, the buildings are all these warms and peaches, like here in the street. See those beautiful terracotta colors. So that's kinda the color inspiration. I'll put this one in the resources as well. Alright, so we don't really need that because we are, well, we'll leave the colors are, and then we'll start playing. Get some late. As far as the brush. Since I am doing a smaller thing here, I probably will go with I think I've small celebrate or a bright wish you good. We'll just use this one for filling the shapes. Because I remember that great thing about the flat or the bright as you can do outlines two, if we decided to do any decorating on her, on her shapes, I'm white out. This is just the Nova white that I put in this to make it easy to get at the quinacridone. Violet. If you have a quinacridone red, that's fine and magenta is fine. Anything in that purply pink family. The ogre is a really versatile color that I've actually been doing more with lately. Blends and make some of the most beautiful lips. Doesn't paint on the already, some of those beautiful shades. Especially if you want warps. So I'll show you just with some just some white in it. We're almost getting that building code right there. So let's go ahead and you can water. I'm going to show you how you can make Acrylic watery and it'll almost behave well Won't be here like Watercolor in the sense that it won't believe. But if you use watercolor paper, you can get that little bit of translucent effect if you want it. You can also not do that and make it very opaque and thick. Really versatile. Paint is think since I'm using this as inspiration and these buildings have that texture in them that I'll go ahead and make it a little more watery. So I'm just kinda color these in. It couldn't be easier, right? A great thing to do when you see my pencil marks, but I'm not worried about that for this exercise. If you didn't want them to show, you could use more opaque paint. Or you could, honestly, we could a sketch this in another page and then just painted. And once we had our idea, that's pretty yellow, I'm going to add in a little bit of a pink, get Cs. So we're making this more monochromatic than our other paintings, meaning the colors match each other more. They're closer to each other. They're more analogous on the color wheel, if you look at what we're choosing, we have a yellow and think of a, this is sort of an Hooker. And then we're over here, but they're all warm colors, not using any of these. So we won't have as much contrast or as much variety. But it can be a really beautiful thing to do. Will still need to find ways to make things that are a little bit darker. And I'm making sure I'm putting a little bit of all of them. I mean, that'll all of them a little bit of something of the other in each one. In other words, I'm not using anything straight up the tube because I want this to kinda have that warm, glowy, unified feel. And if I, if I want to afterwards, I can do maybe a bit of decoration on these. But even then I wouldn't use it straight out of the tube. I would have bit of probably the Holger on an agenda or something like that. And I'm going to just keep changing colors because we can do this. We can make an infinite number of colors, but I want to show you the variety. Make that a little more yellow. That's a beautiful terracotta. And I'm letting my address, my brush have some dry strokes a year at the edge. Because that is also what we're having here in the texture. Now we can add white and get a really pale version of that. I can leave that like that with a brush stroke in it and a little bit of color variation. Why not even more white? I don't think I've washed my brush yet. Let's make this one looks really visible. Brushstrokes, pretty really liked that. Had even more white. Put it down, lift it up. That's intense. Clump of paint there. This is also good exercise for your strokes and that's just what can your brush do. So I'm putting in, Let's do a lot of ocher, a little bit of quinacridone, get something darker. Let's use a lot. Quinacridone. Now. You still haven't washed my brush, so my colors are gonna be unified just by the fact that there's some in the brush I've everything. And it's also more difficult to make mud when you do this kind of more analogous color palette because we're not doing any complimentary or was that true? That wasn't say weren't doing any complimentary colors, which are colors directly across from the from the color wheel. When you mix more than two of those, they can turn to mud. So we really can't because this is not quite across. We're here, we're hearing that I would say any here. So we be eating a green to make mud. So even if I mix all these together, I'm probably going to get a shade like this. Let's do another one of those really pale pinks. Maybe even more pale. Now I want to squeeze some of this out, maybe with a paper towel because I don't need to wash it, but I want a more pale and want to get some and pick up just some white list. What's in my brush. I can get that later. And same thing, Let's do a really pale yellow. I picked it too much yellow. These fluid acrylics or so. There's so much color around, so much pigment that you a little goes a really long way. That's pretty good. Even more white 18. Italy Trip Inspired 2: Pan for a round shapes down here. See what happens if we do what we talked about earlier. Put all three in there. We're going to get this beautiful rust color. So you can't make mud unless you go across the color wheel. But that doesn't mean you should avoid that. I want to leave those those pale up there because I want the eye, it kind of travel around. And I have enough brilliance up there. I think what I wanna do now is get a heavy magenta. I love leaving those brush strokes in there. And you know, be found to kinda illustrate this. No sketchbook is, but the yellow. So we kinda have chiton down. Yellow is the third here. That's really vibrant. It's toned down. Meaning is subdued a little bit with the magenta, but it's still okay. Now, got that one shape there. I want to go really pale with then I think we should do some decoration. It's like putting jewelry on. Don't have to do it. You may not want it. But how many show you some ways in case you do super pale pink. Maybe there's, Let's see if that even shows bit too pale. Maybe a little bit of yellow in it. Okay. This really jumps out. It doesn't then we just kinda cool. So my, I kinda jumps at that and then looks around here. But I think it was some decorations. And I think I want more of these guys. I'm going to get all more yellow. And maybe a super pill on there. Have to do an odd number, right? We're really liked that pink. Okay, so while they're pink is made, use it some stuff. Who knows what? So you can see the bristles of the brush. We're a little bit clumped. But I kept going because I thought that was cool. The way that it drops off at the end. See there. You can even make a little gradient by putting half of the pink on the bottom, half of the magenta on my brush, and the lighter pink on the top. And make a little gradient if we want. That's pretty excuse me. Here are the more we can do a little more contrast on our declarations. Let's see if there's any, Let's look at that. That to see if there's any inspiration. I do see some inspiration. Look at those bricks, the way they're going around that doorway. I like that idea. I'm going to take these and just kinda go around like this. Then there is, you see these shutters have really tiny, tiny lines. So for that to be really delicate, what are the brush? Make it kinda wet so that it pulls better. There's less friction and Let's just go like this. Right here. It's going to end up being, maybe you're happy accidentally Bob Ross talked about yeah, it is because I have too much water, so I'm getting this texture instead, but I show it to you. I don't know if you can see it. It's really cool. I like that wasn't what I was going for it, but that's okay. It's a yellow somewhere. Sometime down because this stuff has bright man. Being stubborn. You go. Let's see. Here's the cobblestones and around our amazing see those cobblestones. They're not like you would think. Bricks, brick shapes. They're actually kind of squares. So I think they make a good shape and they fit to gather more randomly. Then R6 would they do have a fan pattern? A lot of streets. They're incredible. Not great. And not that I would wear heels walking around Rome anyway, but you definitely wouldn't want to. I don't want to decorate all of these. Might be enough. I think another code of the yellow there, and let's see, something is wanting me to do something here. I'm feeling pulled over here. We could just go like this to represent the see those arches in stone over that restaurant. Well, it's definitely interesting. Definitely has me going, What's that? Do I want another one somewhere? Where do I want to close it and make it a circle? It's found to play. And you know, that's, the thing is, our job. Has artist is to play because that's where we discover things and it's hard. I mean, it sounds silly, but kids are good at that, but it's hard to suspend that. God beliefs and just play. That really is her first job. I like it. But it's making me feel like I need more. Not necessarily a circle. There's no, It's okay to have one. But more of this color somewhere. Let's look to here for inspiration. Look at these windows. Could just do larger windows shapes like that. I think I'm a do some appear to move, we can just keep going. It's fine. Making a little brighter. And then I'll stop because we did make a lot of beautiful colors. With just these three. We used a couple pictures for inspiration, color and texture, and shape. And we have FUN. That's the kind of thing. The two that you walk away from and come back a couple of days later or like just leave it out and it'll say something to you if it wants more or something different. This is wanting something right here. Okay. Putting the brush down. But that was FUN. Italy. Amalfi Coast colors while in Rome and texture. See that dry brush. I love that scene and what we can do with just these three colors. We could have gone even further with the colors, right? We could've gone across this bread. Okay, Thanks for joining me. 19. Bonus: Adding Details: I thought only Fine is a bonus to take our paintings that we created with one brush and three colors. And just go through some of them and see if we wanted to add some details with others that humans I just sense it's kinda one of my things I thought I would at least explore that with you and play with these a little bit. And I've got various colored pencils, pens on paint markers, and just thought we'd play. Let's see what picked up some of my favorite colors. And obviously this is personal preference. You can leave all of these paintings as they are. And maybe for some of them we should. But I just wanted to play a little bit and do show you a little bit about how I like to play with Details. This one I really liked the way it is. I just thought it take some metallic gold and do something. Not quite sure what maybe some loose outlining in which you can do if you have a scanner is if you're not sure that you want to do these things and then you think, Oh, I ruined it. I liked it better before or not, I ruined it but I liked it better before. Then you can scan it beforehand and then you have a version of it or photograph it. But we're just playing. It's a sketchbook and we're seeing what we like and don't like. So Let's play. These are my metallic gold favorite. I did a Youtube and all the varieties of metallic pens. And these have one out as just being consistently. Just good over time there. The pilot, gold marker, medium and the smile, who I really like that. And I've got the link to them it with everything else at suzanneallard.com under supplies. Yeah. That's a little bit of metallic gold baleen. I don't really think too much about this. I just kinda look around and play. And when you do this kind of thing in the sketchbook, that way you have these reference, say becomes a book of references. So if you're working on a piece of paper and in on something that you need ideas, you flip open. I flip over my sketch with all the time and get, yeah, I liked the way that looked like, the way these gold dots looked on that shade of pink or whatever it is. I think that's all I wanna do. That one. It'd be one more. This is kind of like what I did. Kind of me that I travel around a little bit. Maybe one more thing because there's a lot going on here. And I don't mind that it's quieter here, but something unexpected, like a branch. Now I'll leave it back follow up with just got them. Okay. So there's thin this is the pens. This is the pen towel and also the best then liner phone. Then the pilots ended up being my go-to for the medium and relate. Alright, that was fine. Now let's look at this. One. Might not normally want to do with this. I might take, I've got some paint markers I use to brands basically pasta, which are Japanese. See this? I think they're made in France sometimes though. But then these are made here in the States. I think they are made in the US. And they're much cheaper and a lot big Color Range, but you have to shake them more. That's the only to get that true color that you want. So I'm just thinking of accentuating some of these dark areas with this darker plum. Just a little more contrast in there. I really like how this little Bouquet turned out. It's not my normal thing, has a limited color range and I just like it. I might change the background color at some point, I might play with painting over it to something lighter. This little later, green pop is really I adding some life to these, I think those little onion bulb plants. Maybe I'll do that along the stem. I love how that fat gray that we made in the vase, how that turned out really like that. Here's a peach marker. I don't want to fuss with this too much, but it's not wanting to come out. So I'm shaking priming it. Got a sample page here. There you go. Sometimes they leak like that, so you definitely want to get them worked out on your sample paper. And this one's just clogged, I can tell, which means I'll have to pull up the nib and turn it around, which I need to put gloves on for that. So must not be meant to be used. Just a little bit of songs on signature and x2. This one a little bit. I really liked how this is, so I don't really want to do much, but I thought I'd take the Navy, which is my favorite dark. See, It's working fine. The policies do down to perform a little better. Although it looks like it's a little leaky to and just maybe put in a little bit of dark along some of these centers. Could throw in some blinky gold or some green along some of these leaves. We wanted to. If you want the market and look more painterly, you can go with that with your finger. Here's a fluorescent pencil. Just I don't want to overdo that, but I want to show it to you. This is just a Prismacolor pencil. But when I saw the fluorescent, I said, Well, I have to have you guys talk about adding some jewelry to your painting. Yeah, that's fine. I'll show you these puzzles to these Darwin colors, soft, they're less expensive than the the luminance ones. They're still very nice and soft to go on top of Acrylic. So let's see here. I'm just going to find a color that's pretty close to the color there because I just want to show you, you know, you can, you can, let's say you want it a little more shading and an area. You can do texture with a colored pencil on top of acrylic gouache. I dislike showing you guys, you know, when you experiment, just the things he discovered. I am taking classes. I take a lot of classes. Barclays might not have a little turquoise pop. Sometimes just to turquoise pop and each element is, has a bit of highlight. Okay? You play with that. I've shown you colored pencils, I've shown you paint markers. Let's see. Wait, I think there's that still has to try those ink dots. I don't know that I'd wanna do a lot with her. Oh, you know, you could do it. Just decorate her dress a little bit more. Loose, some gold because it kinda goes with her. Yeah, that's fine. She actually is wearing jewelry, so maybe we'll Just to have a little FUN and put a pretty cool necklace on her. Sorry Matisse. If you didn't want her to have a necklace. I don't know. Maybe he'd like it. And maybe just going over some of those. Metallic gold is interesting. It can look like a gray or brown until the light hits it, right? So just keep that in mind. What else could we do? I don't want to, I'm looking at these little, this pattern here, but I wanted to stay with the colors. Picking out a colored pencil that is this rust color. And thinking about what might we do to these, just to make it a little more playful. So there's paintings name is, I'm calling it matisse Lady for the class, but it's I think woman and the Romanian blouse. I put it in the class notes. And I also put the link to this book. I liked the book. It's got paintings. Mostly features the Paintings and then quotes or a Matisse himself, which are really encouraging because he was very untraditional, took risks. Very avant-garde, and kinda makes some fingers. There may be. Alright. Or Landscape woodsy, are you dry it quite could we do here? Okay, that's almost dry. All kinds of things really. We could take paint markers and accentuate or do you know something here with trees? The ones that are more in the sun, we could do little plants and things here. You get the idea. Get your, you know, other things, a pencil or pen. Set this up so I can dry. And, you know, you can take your painting, you know, add some details and have some FUN with it. So that you're adding to your experience of seeing what you can learn with different materials after you've used the, the three colors and the one brush. Incidentally, I did these studies with three colors on one brush. So you can do a little color study like this. Just take one of the colors you made and make a square, and then take the other colors and just go around. And here I wrote the colors that I used to make. The base color, like Boker DPO and orange for this one. This was just magenta and vermilion for that base. Because this olive green ocher and Naples yellow. This is just playing rosy magenta with some light. There's white and all of these, this was Naples, yellow with red. So I put the brand here. This was the Royal talons Gouache. And it looks like I put here the reference that I used for color, the flower color theory book. I'll put that link in the class notes. The page number. I'm not usually not this organized, but I'm working on it because when I want to be able to refer to things, this was also done with a very limited palette. This would have been the primaries though, to get that big of a range would have been the, you're gonna get the biggest range with a magenta, a turquoise, and I'll probably a cad, yellow or Michelle. This is what happens when you grab your sketchbook and you start and you don't check to see if it's right-side-up. Okay, we'll get to keep going on that. But alright, have FUN experiment and just keep playing with colors and see what you can create with a limited color palette. Keep creating no matter what 20. Wrap Up: I had so much sun in this class and just exploring all the different things and being forced. And I remember in this one being forced to come up with a background color that Navy guy wouldn't have. And how much how much I really like it. Just the color range that we came up with, the brushes, exploring brushes. And then of course it was found to put Details on at the end, I would encourage you to just get a sketchbook or a pad of paper and keep doing these exercises. Pick your, take your color wheel, pick your three colors, and play even if you don't do. But you just want to do some practice like this, making colors. We'll even if you just do color swatches like we did this so many great exercises you can do. So make sure to stay in touch. I have the Instagram, I have the Facebook business page, but I also have a student only Facebook group, which you can either find an invite to in the class resources or in your class email. You can't find it. Just send me an email at Art at Suzanne allard.com. Make sure you get included in that group. I think it's about 18,000 people now, but very supportive. Very clear that all work there to do is support our journey and discovering our creative selves. So that's a resource. Keep playing with color, texture, shape. And if you have a lot of fear around starting or creating, please check out the blogs that I've got, several blogs on that subject, my Website and Suzanne allard.com. I also have a Youtube channel. And of course, I have lots of online classes. And my goal is to just get your creating. And he creating even if you hit a slump. And I've got a recent email newsletter about that, which you can sign up for it my Website as well. Because I just went through that myself where I just I don't know if it was burnout or what, but I was just having trouble creating. And so I came up with all these strategies and use them and got past that and every artist's experiences this. But anyway, there's a lot of resources on my Website and just keep learning