We're going to be using a full palette as we move forward to color. The full palette really provides the full range of possibilities with color. And I'll use this for landscape. So I'll use this for figures, I use this palette for everything that I do where I want a full range of colors. So it's really nice eventually to choose a palette that works for you and really stick with it and keep the orientation of it, you know, on your side table the same way all the time too. And eventually, you'll get kind of an intuitive sense of how to mix the colors.

So hopefully this will be a palette that you really resonate with. But basically in your own studio practice eventually choose a palette that works for you and stick with that. So we're going to set up the palette together and get out all of the paints. There's a palette handout that has all the colors listed on it and chose a photo of the arrangement. Also have a palette knife and a rag. And let's goes out of the palette together.

So I've got all of the colors arranged in an orderly fashion moving from warm to cool, and from saturated to D saturated. There's going to be some premix colors over here, which I'll talk about in a second. And as you put the colors on your palette, make sure to put them around the outer perimeter of your palate so that you'll be leaving the center area clear and clean from mixing as you go. So we've got Titanium White here, we've got what all mixed into a cream color here with a bunch of titanium white and a little teeny bit of yellow ochre. We've got lemon yellow here, cadmium yellow, deep, cadmium orange, cadmium red light. Alizarin permanent yellow ochre, Burnt Sienna, Brady and green, either cobalt or like a cobalt, teal or civilian.

Just a sort of turquoisey blue ultramarine blue, either lamp black or Mars black. And then the premix colors, which I'll talk about in a second. You can see that some of the colors are mixed down to what's called strings. So you've got a dark, the darkest version of the color, the darkest purest version of the color at the back, and it sort of mixed into a gradient of white towards the front. This way you'll be able to use like from the lighter area of the color if you're working the lights, and say from the darker area of the color when you're working the shadow side. So it really helps with the mixing tip set the palette up this way.

And to create a string I've left this one ready to do, you'll basically take your palette knife and do this kind of wiggly side to side stroke and just pull a bit of the color down into the white. You want to make sure that you get some color down in the base of the white there so that you don't just have white at the bottom. We've already got white on our palette over here and you're just wiggling it side to side, pulling a little bit more color down. Make sure not to get any white in the back. You can see how the back of the color is totally just pure color. You want to have access to some pure color With no white mixed into it as you're going as well.

So Mix, mix that out. We've do it on a, the Cadmium Yellow, deep the cat orange cat red laser and permanent radiant and the green. I don't do it on this yellow because it's already so light. And I don't do it on the blue or the black because we actually have a pre mixed section of those colors. For this cream color, you can mix those together. Again, just use a really small amount of yellow ochre.

You want it to basically mix to like a cream color V is too much yellow ochre, it'll be too deep. Remember to wipe your palette knife off in between mixing so that it's clean. You want to just keep everything clean and ready to go. This color here and again, it's described on the palette handout. This is going to be our base flash color. And I've got a bunch of white, a little bit less orange and and I'm actually going to mix this one first which is the little bit of yellow, a little bit of ultramarine blue and a little bit of titanium.

More Titanium White than blue. mix this together and then we're going to mix a bit of that into our base flesh color. So base like so flesh color is basically like a D saturated orangish color. And so by mixing a little bit of blue into this orange and white, it's gonna make a little bit of a D saturated, meaning slightly gray or version of the color. So there's a few words that I'm going to use throughout the course to describe color. There's hue, which is like the color of the color like red or yellow, or green, that's huge.

And then there's saturation, which is like the intensity of the color like the vibrancy of it, like gray would be a really D saturated color. Orange is obviously really intense and saturated. And then there's also tone and tone is like the lightness or darkness of a color. So black is obviously really dark. This is kind of a mid tone, this blue, white is really light tone. And so those are the three words that I'll use to describe color.

We've also got a gray mixture over here, just a bit of black, really small amount of black, the black can be really potent, so creep up on the amount of black. And this is meant to just mix to like a mid tone, kind of like the color of the palette that I'm using. And by the way, it's useful to use either like a gray palette like this or a wooden palette, you'll find when you use those white palettes, it's hard you'll mix the color and it'll look one way on your palette and it'll look a different way when you put it into the context of the painting. These last two colors here are what I'm going to be referring to as base shadow colors. And basically they're a mixture of complementary colors that will create like a rich brown in the underpainting. We use Burnt Umber as the brown for the underpainting and now I've actually taken burns on burn off the pallet.

We have burnt stuff Yana which is a richer color, but not burn timber, because burn timber is a little bit of a dead feeling color. And instead we'll mix these two complimentary piles together to get a richer, more varied more interesting shadow color. So if we look at the color wheel here, basically we're mixing colors opposite the color wheel, we've got green on the screen, it's hard to see that this is green, but this is a very rich veridian green, and we're mixing it in with its complement which is red. And by doing that, we're going to get a nice, rich brown color. But it's just got more of a richness more of an interest than Burnt Umber it's hard to describe it, it's something that you'll definitely feel so it makes sense to kind of like a chocolatey Brown. And again, you can wipe the palette knife off.

And then the next color is cadmium Orange mix with ultramarine blue. And so again, you can see how these are opposite each other on the color wheel. And they're gonna mix to a slightly different sort of a brown I find this mixture creates a little bit more of a greenish brown and it's nice to have the variety and the options you'll find some times the shadows will look slightly green here and sometimes they'll look slightly brown or and so I like to have both of these on my palette. So that's how I would set up the palette. This is going to make it really easy to work. So get your palette set up like this and let's get started on color.