I'm going to work small first and show you how to use your color very directly. Now there's a couple little sketches here we got blue and orange and obvious contrast of color in the sense that the blue excites your eyes, and the orange excites your eyes. So the two of them together create a very dramatic effect. Over here we have more of a what we call an analogous color scheme means the colors are closer to each other. A blue is very cold, Orange is warm, you can't get much farther away than cold and warm. Whereas these the temperature moves very gradually through from a green to a green, yellow, to a yellow orange up to her.

Read on range, and then it's a little bit of a darker tone at the top. I just got some student quality cottman paints are about $7 each, as opposed to about 14 to 25 for the more expensive paints, and I'm not going to be using these simple right now I'm not because you can't get enough color on your brush to do it, we're going to do we're going to take some water and we're going to put a little spider water on the paper. And I'm going to keep my eye on this right here. So what's the first thing to do after that, put this big brush down. And this may make you wonder a little bit but I'm actually going to squeeze it right onto the paper like that. Many times people when they're using watercolors fuss around mixing them.

They come off nicely. You can mix right on your paper, there's the cadmium and this way you'll get a much more direct mix and you won't get muddy colors. So here we go. We're gonna hold the paper with this and watch this. I want to get full saturation of color. Now if it gets too pasty, see, I've got too much, no problem.

Just take a little water, a little more water to it. The trick is to get your picture so that the paint is saturated into the paper. Now I can still feel it's kind of sticky. So what do I do there? So I'm gonna put this brush down take this brush again. clean it off, get some more water and pull it around like that.

There we go. Next is the sky and I am going to wet but not right up to the bush. And keeping away from the bush for now. Now the paper will buckle and there's a way around that. All I have to do is put water on the back of the paper. Now watch how it flattens out it just a little encouragement.

See that. Now I haven't touched that just left it. I can soften the edge later, but I'm going to take some cobalt blue and I'm going to put it on my paper here. And a little bit of failover blue, I find cobalt blue. It's great for certain applications. But I like to mix a little bit of failover with it.

Now, watch what's going to happen here. I'm going to come up to near this orange. See all the water on it. That will keep my paper moist from the bottom to lifting your paper and letting it drift creates beautiful patterns in the sky. I actually like that, that extra shape there, it models that shape. Okay, now it's time to clean up.

You must keep your colors clean, right there. Take a little bit of the yellow on there. And I'll start dark here and end up light here. So just awake all now it's getting a little lighter. See, cuz the paint is coming off. A little lower here a little higher there.

So lower, higher, darker, lighter, dark hair dark here, light here. Now I'm looking at this picture. I'm liking this green here. Now say hello and cadmium. Make a very Very beautiful green. So I'm going to put in a little swipe right in here.

And I'm going to break it up a little, maybe with the edge of my brush. Just to simulate a little grass. Look at this here, the balloons come in to hear. Now what should I do that that's happened while I wasn't looking how much this I'll clean my brush. Now I don't want my brush to wet but I do want it damp. And I'm going to lift this up very gently.

And I might just throw a little green in there. That's called a happy accident. You know with watercolors. You can't help yourself. You're always going to have something unexpected and it's the unexpected. That is makes a pitcher grade something you didn't plan so I've likened it there And I don't think it's going to bleed too much.

We're going to take some pure cadmium, and just work it in there. Like that. Even more. work at it a little bit there too. Hey, look it over here. This looks like it's in the distance, see the pitcher doing things that I never expected.

And this is where I look at my original little sketch. And I say let's use a little bit of cadmium red with some alizarin crimson. Right there, it's a little wet. So be perfect to get a little maple tree. Something like that. Maybe this was a bit bigger and All I see in my original sketch that actually kind of was darker on the side there or like that.

Once again, playing with the colors is important that cadmium colors are very thick, and they have to be used at the end of a painting. You'll learn that today how to take those thick colors, put them on, then wash them off so that a residue is left and then enhance them at the end with just the thick right sickness to make them sick. One of the great things in this class learning how to recover a painting that's gone a little bit self make it even better than you thought you could with an intelligent use of color.