Now we're ready to mix and match our second color, a red, and a red is a primary. So the purple was the secondary, and this is a primary color. Notice I got some paint chips, and I have many in case I need to use more than one card. I'll put these to the side for a second so we can concentrate on the one red. Now remember, with the purple, the way we start is by mixing the brightest purple. And we did that by avoiding the compliment of purple which was yellow, and picking the correct red and blue.

That would give us the brightest purple. Well, in this case for the red. Red is not made of a combination of two of the colors on the palette. It's actually a primary color. So how do we start? How do we start with the brightest red to match this red?

Well, we have two choices of red. We could start with either one of them but a fun trick to matching a primer. Color is to use the warm in the cool of both of them. The warm and the cool both together to start your primary color. So here we have a cool red. It's a good practice to wipe your palette knife off before you dip it into the next batch of color.

So here I have a warm and a cool read together. I'm going to mix them up that will give me the brightest red. That was for my two options. And because my knife is clean, if I added a little bit of something else in that it would doll it immediately. So it is important to keep your palette knife clean. Now I've just made my first batch.

I'm going to put my first swatch on this paint chip, and I'm going to look at it and I keep staring at it. Sometimes it's real obvious like in the purple. The first thing was it's too dark. But here, it's kind of close. So I'm going to keep looking at it until something becomes obvious and it will be one of six things it's either going to be lighter or darker. So if I look at that the value the light or darkness of it is very similar.

So I'm going to move on to the second pair, which is warmer cooler, that would be a little more of the cherry red. Sorry, the tomato red versus the being cherry red. So the warm red or the cool red. Hmm, it almost looks like this is warmer, my swatch is warmer than the paint chip the paint chip is cooler. That means I could add more of this quinacridone magenta and I'm going to so I'm going to take some from the two because I think I got mine a little contaminated with some blue there. And I want to make sure I keep it real clean first.

So take more of the magenta and accident. Now remember I said when you're using a modern color in your mixtures, you may need to pop it to bring out that darkness. What's interesting here is that the warm red, the Pyro red is actually popping or slightly illuminating the quinacridone magenta, so I don't need to add some white. And I'm glad I didn't because the value is so similar. If I added white, it might be too light. So it's better to err on the side of not very much change.

Subtle changes one at a time. So let's see if this made a difference. Hmm, do that. And every time you do it, you're exercising your eye muscles. So that now I see that adding that quinacridone magenta made it a lot cooler and a lot closer to the paint chip. Here it's starting to look a little bit darker.

So I am going to add a little bit of white even though I said You better not added yet. now's a good time. Okay, kind of a little bit of white probably add a little bit more but like I said I'd rather err on the side of not enough. There's something very relaxing and meditative about color mixing and sometimes, if I don't know what I want to paint, I will just go into my studio and for an hour just mixed colors and often get my best ideas that way. So let's see here I'm adding a little bit of white. Now, it doesn't look lighter or darker, but it looks brighter to me.

A little bit duller, so my choice in going dollar is to add a little bit of reds compliment, or black and Red's compliment would be green. Red is a primary color. The two primaries that are not included in red are blue and yellow. That makes green. So green is a complement of red So I could either add the compliment or black. And if I asked myself which is better to add while I'm staring at it, it actually shows me that black is better.

I don't know how the eye does that. But trust me if you really stare at it long enough, you could start to see the colors telling you what they need. So I'm going to add just a little bit of black. I learned my lesson last time I added too much small amount. It's hard to get tiny small amounts of color on your palette knife, real trick, but after a little practice, you get good at it. Okay, I'm doing the pushing smush trying to get it on a neat little pile all homogenized one color, wiping off my palette and I dip it into that nice clean batch of color.

Closer but it's getting a little dark, which makes sense because I'm adding black the value was pretty close. Last time I'm adding black, it's getting darker, but it's also getting a little darker. So now I'm going to add a little more white. Oops, I got added too much. But we'll see. It's really hard to tell right from this glob of paint, what you've just done on look till you actually put a clean swatch on your paint chip.

It's so easy to want to take shortcuts. Our brain doesn't like us to take long time things. Okay, so now I'm going to see what I did. Huh? That's pretty close. And again, if you look at the colors succession, going from here to here, you can see how the closer you get to the color you want.

It almost looks like it's sinking into the paint chip itself and slowly disappearing. I could still see it. It still looks a little brighter. I'm going to add a little more black, again, very small amount. I recommend to go all the way until the color is completely perfect. You cannot imagine it any more perfect.

If you stop short, you're really compromising. And this is a good practice even when painting. When I have issues to resolve, it's too easy to say and it's close enough. But to make every issue to resolve every issue in a painting and make it the best you can, there's something very fulfilling about that. This is a nice exercise that kind of gets your brain and your eye moving in that direction where you're just going to keep going until it's exactly what you want. color or your painting.

Hmm. It's getting better to add just a little bit more you could call me a perfectionist but Bam. But I think that that striving for perfection is what makes us interested in making art in the first place. We just want to keep making something beautiful or more of whatever our intent is for our work. And if we have to compromise that it's not as satisfying. Okay, let's see what we came up with.

I think it needs a little more yellow. From my point of view, I'm just gonna touch with yellow. see what that does. Well, that's, that's so close to I just the only thing I see is the shadow here. of the swatch of paint on it. So we have successfully matched a primary color.

And remember the this will work with any primary color, a red, a blue or a yellow. In any type of red, blue or yellow, there's variations, right, it's category red, blue, and yellow is primary color. And we start with the brightest. And in this case, instead of a combination of two primary colors, we're using our warm and cool of that one particular primary color. We start with the brightest. And then we just keep mixing and looking at it.

And Reese watching our paint chip until it's perfect and it can only change in six ways it can only What can I say? The the wet paint on your paint chip can only differ six ways lighter or darker, warmer or cooler. And in this case with the reds, the Pyro red versus the quinacridone red or brighter or dollar and there you have it But