To have the white squash and black and you can use your watercolors just by adding a little white to them. You don't have to buy a whole set of squash. Okay, I've squeezed a little ivory black here and I want to show you how black is used to offset colors and make them even better because there's a contrast. So we have our two brushes, Robert Simon's and I'm going to take a little bit of blue and I'll take a little bit of yellow and we have a Little Red Terror that'll work. So black plus a little blue will make a darker blue. Very simply, it'll make a different shade of blue.

Let's just put a little bit here. That's the same blue that was here, a cobalt. We'll take a little cadmium red, and we add the cadmium red. I still have a shade. It's just this time, it's a shade. We might call it violet.

A little more and we're getting into the browns. The trick is to add enough black to your color so that the color doesn't look dirty, but it actually looks like a shade. There's a balance between When the color looks dirty, and when it looks rich so too little color is not good. Okay, so now we have a red and a blue and a black. The next thing to do is if you add white and I have some opaque white here or we call squash and I'm going to put a little white right here. Most people use squash too thickly.

It's not supposed to be like cream paste. It has to be thin you only use enough so that it makes it opaque so I take a drop of white. Once I've added white, to the black with color, any of the colors. You now have what's called little water atone and The tone is different than a tent. A tent is white and a color. Let me demonstrate there's a tone.

It has the two colors blue and red plus black and white. I'll clean my brush off. Very clean. Matter of fact, I'll use another brush that hasn't been used. And I will take I'll take a blue blues make very good tips. See how thick that is?

It's too thick to add a drop of water to it. Just enough paint to cover not pasty. Okay, so here is a tent. I'm going to put the tent right beside the tone so the tone. Remember there's there's the tint, white plus color. This is the tone, color plus black and white.

So if I added black to this, I will then get what can you tell me? tint is white plus color. Shade is black plus color. tone is black and white plus color. So I had a tint, and I added black to it. That will make it tone.

Similar talks you look at that now when you put tones with tenths, they harmonize So let's go over that again. This is now a tone, I'm going to darken it with just a little more black. But here's the secret. As you add the black and white, it will lose its balance unless you add a little more the blue or the original color to it. So now I'm starting to get into my little picture here. You see by using my color theory, I'm actually starting to make a little picture maybe there we go.

See tint. tone. White, Black plus color, tint, color plus white, tone, white, black plus color, darker tone. If I want to go even darker, I have to always add a little bit of the original color with the black It's still called a tone simply because I have white and black in it. So I'm just making little shapes here. So playing with tint, white plus color, shade, black plus color, tone.

Black plus white plus color, and pure color. Green. Let's make a green, red tone. green and red tone, which will be a little yellow and a little blue and a little red. It looks like real mock doesn't. and black.

There we go green. Red, blue, black and a little white. Okay, now that's not a gray, that's a tone. Gray is just black and white. So you'll see it's fairly dark. And what I'm going to do is I'm going to outline gonna leave a little white square, I think I'll come right up to the green.

And I'm going to go all the way around it. And you'll see how, when we're done this, the red and green will actually look more red and more green. Spit a little bit now that in between here here's a little trick tones, and that is black, white plus color or colors, tones make the best backgrounds. So you see each one of these even though that's great, and this is great, and I shouldn't say great, it kind of looks like great, but it's a tone. Let me do a real a true gray and let's see what happens. So here's two colors.

And we're going around them. You'll see that the darker the color is, the tone looks different. The same page starts to look darker, because it's going around. Something darker, the tone looks darker. And as it gets to lighter, darker here and this is lighter, it changes Okay, here comes a gray. A pure gray is white, and black.

That's all black and white. And grays are really not as neutral as you think. The best neutral colors, or the best neutral color is a tone that uses black, white and violet. Here's a gray. Now we're going to put the gray next to the tone, you'll see. It's different.

Just lifted off of that. So it lightens up a little there. See that? See how it's a little lighter. Say we're doing a piece of fruit or Iraq, cadmium yellow. Just a bit, work it right in there.

And you'll have a nice green highlight. softened edge. So if you're not using pink paints, a good way for a highlight is lifting says. Now I'm going to just lift that up a bit after it's sat there for a while, and there's my little orange highlight. See. I can do that on all the colors.

I could get this looking really bright. I lift off a little bit, see and stick in a little orangey red Work it in, move it across gently. I think about a pink colors is that you can lighten them. This is an experimental page you want to experiment. Let's put a little highlight on here. soften it.

Remember this has the opaque paint in it. You know removing paint is part of the watercolor secret. Not pasty, pasty, pasty. thin paint has an appeal. So now I can take a little white and some blue. Blue makes a beautiful tent.

Now if I want that to be a little more blue remember these are watercolor paints mixed with opaque paints. So if you want to experiment with opaque paints, you don't have to buy a whole set. Just get some watercolors and some white. But remember, don't make the paint too thick. can go a little thicker here now. Hold on, just try going right over this one.

There we go. Drop it in there, blue and green. Notice how the blue stands out. blue and red. Now it's an interesting thing. But this looks more blue than this one.

But there's an interesting thing going on also, the green has a red after image, which is making this different than this blue. Look at this blue, same blue, same thickness. But because this is neutral, you'll see blue, very little after image. This creates a red after image, which turns out more violent. And this creates a green the red creates a green after image, which makes that look a little browner, blue and orange, great combination. So I take a little more of this white and blue, but little more of the actual blue and let's put that up here.

Write up to the orange. Watch what happens when it goes into the orange? What color does it turns out is a little tricky question. What has the pure blue done to the orange? Well, that's right. A blue and the orange turned into an intermediate color print of a greeny gray.

So here's the pure blue again. I'm going to bring the pure blue right up beside To orange, but I'm not going to mix it into the orange soft edges, create lighting effects