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Hue: The Color Wheel

We're going to talk about the color wheel we're here and we're gonna do an exercise in this section also. So if you I grew up a cz early as I did, you were taught the color wheel and this in art class. I don't know how many schools even have art classes anymore, but you know, you learned about the color wheel and how you could make just about any color out of three primaries. Now these are what I would call neutral primary's they're not cool, they're not warm, they don't lead to one temperature or another. They're called neutral a neutral color wheel when you mix three primaries together, you get browns when you mix all three together, if you keep it down to two, you get all the secondary and tertiary colors in between. So these would be the secondaries. You mix red with equal amounts of yellow and you get a medium orange. You mix red with blue and you get a violet. You mix blue with yellow and you get a green. So the secondary colors are the colors that exist in between the primaries.

And then you have the tertiary sze, which are the colors that exist in between the secondaries and the primaries and they are they go all the way around the spectrum there and you can see and you go red orange yellow green blue indigo violet I mean it's it's ah it's the whole spectrum right there in your color wheel now there's a another color wheel that that I wanted to show you this is a color wheel that you could buy on art supply store I'm sure daniel smith carries it this is a great way to figure out your colors it you khun turn your wheel and you khun go okay if I do this kind of green and I mix it with this kind of blue or thes air the shades of light when it's tented a little bit heavy or a little bit darker uh these kinds of things air very, very readily available you confined him even online you could probably print a color wheel very similar to this out online but as you turn this around you can figure out what your various shades are like here's a blue violet if you want to see what a blue violet will look like if you add blue to it if you add this this blue to that blue violet this is the color that you'll get so these air thes air very handy I suggest that you buy something like this somewhere along the line okay, so here's another exercise let's take our color will exercise out which is this one and we're going to uh just go in and we're going to do our warm colors and we're going to do the primary and secondary colors and then what I'm going to ask you to do is to fill in the tertiary colors after class is over so that we don't we won't take the time to do that in class because there are other exercises I want to get to so we're going to go with our new gambo jt now I'm purposefully using the warm colors here because if you take a look down at the bottom at this color right here the one that's down at the bottom that's not really a purple that verges mohr towards being a sort of an earthy brown color and that's because you're you're mixing your red and your blue together but because the red is a warm red it has yellow in it and that means you're actually mixing all three primaries together so you can't get a true purple vibrant purple using your warm primaries because you're going to have that that third color yellow mixed in with it somehow and that's the main reason I wanted to do this color wheel so that you could see what was happening there I thought you had your hand raced all right so I'm going to paint the yellow and this is with our new gamboa I got a lot of pain on there so I'm gonna let it drip and and run and phillips square again I would use your dirty water first and then go to your clean water so that your brush is not contaminated. Then go to your pyre. Als scarlett that's that bright red craig. Make sure you put it in the right one. That's. Why I labeled these are g all of them feel that square it's almost fluorescent on screen? Yep. It's a beautiful color. It drives back, you know, obviously. Then let's go to arthur yellow blue that goes in the beast, be rectangle. Okay, here we go now to mix your secondary colors. I really don't expect anybody to get it perfect right off the bat. I don't get it perfect every time I do it, either, but you're going to mix your pyre als scarlett with your new gambo jai, and you're going to try to as best you can try to get an equal mixture of the two, and I'm going to go ahead, mix it on the palette because you're looking for a true flat orange here. If you wanted to create an orange here where that's where the colors just bled together, you could put a double load of paint in there and lift it up and let it flow all around and you'll get a really nice yellow but I'm going to mix them together and try to come up with the kind of orange that I'm looking for there now this is a color that's not easy to mix a lot of people had trouble with this orange in the first class um it's too easy for the pira ls scarlet toe overpower the yellow just as a side note uh, the, uh the action in the chat room has come to a complete everybody's painting, right? Well, good that's exactly what they should be doing or what I want them to be doing anyway. That's pretty good. And then where you mixing them together? I mix them on my palette so you just used one of your little palate wells there, okay? And you can makes him there, and I gave you paper towels so that if your palate well start to get full and you need to clean one dish, use paper towel with a little bit of water on it and just left it right out. Okay, so now we're going to go to the oh, I would say a tip to you to use your lightest color first? Yes, yeah, yes helps me a lot now this one's going to be hard because we're going with our halo blue halo blue is a very, very dark color, so you're gonna need a lot of yellow so you're going to need a lot of new gambo jt and I would actually definitely start with the new gamboa is first and then add little by little you're othello blue to the new gamboa and you're going to you're going to c I mean like like it's very hard to discern what would be your medium green when you're gonna end up wanting to create a yellow green and a more blue green later when you go back in so this is they don't expect to do this right the first time. Yeah, no really don't expect to do this right this is all about practice and this is what all of this is about. So can you tell me one more time which two you're mixing? Yes, we're using the new gambo jai and the halo blue just to mix the green so the yellow and the blue they have in between exactly so it's probably a good idea to get a lot of yellow the first time you dip your brush. Yes ok and not very much blue because the blue color is has a has a very high what they called tenting street strength and the yellow does not a color with high tenting strength will overpower a weaker color every time but a weaker colored hardly ever can overpower us. Ah, hi. Tenting strength. A strength color. Unless you that hi tending streets color is so diluted that that the weaker color can, you know, do stuff with it. But no, you you would start with your weaker and build up with your with your stronger so it's. Not a fifty fifty mix by. Well, it's a proud of it now with a low wouldn't be a fifty fifty mix no, with they'll only equal tenting strength. Yeah, on lee, go exactly on ly equal tenting streaks so and that's why? This is not an exact science. You can't make a puddle of yellow in a puddle of blue and taken eyedropper and do one drop of yellow one drop of blue and get the color you're looking for. It's you you practice, you do it by eye. Okay, now this is the color that's gonna be a challenge for everybody. Because this is the pira ls scarlet mixed with othello. And this is the one that no matter what you do, you're not going to get it to purple so I would start with a pirate. Scarlett. Put a decent amount of that down and new gambo xyz dealer using yes. New gambo is just the yellow team only we're getting requests from people wanting you to pull your pout a little bit more in sharing so they could see you mixing paints I don't know that actually comes in or not I can pull this over like this see I already I'm starting to get a brown color yeah yeah it's what this one's a this one's a bear this particular color it's going to be very very hard to get what I would call anything that even closely approximates a purple I don't know that we're even mati yeah it's it that's exactly right pews roast beef or dog's nose yeah see that's really just it almost unearthly brown but we learned something in doing this I mean this is what the point is of of working with these paint so that you learn what they do with each other and that color has a home absolutely teo I have definitely used that color star wolf here asks would you say learning to mix color by eyes like learning to play music by ear yes perfect that's a perfect analogy also if it's more transparent you get a little bit more get more light coming through so I think that you know seems violent to me yeah yeah and I put mine down pretty thick now it's going to drive back lighter but you know I'm overdoing it this time because I under date it last time so I'm trying to you know, listen to my own advice which is paint darker than you think you're going to well it's a start doing it why you're talking doing that yeah people are well, I hope a lot of people are watching let's put it that way okay, I'm going to lift this up so that we can take a look at it on the camera I'm pretty happy with this I think it came out pretty good the colors don't look quite is different from each other on camera as they do sitting here looking at them under the lights purple looks almost it's almost black because I put a lot I put a lot of pigment in it it's really more of a big cover? Yes, yes but it doesn't have it actually needs a cool blue in it to make it uh more of an eggplant and if I were doing an eggplant color I would use the cools I would use eliza in crimson and ultra marine and probably get a neg packed eggplant color that way but you know in a light wash that's a really lovely shot it's a beautifully and it's a beautiful beautiful color I mean there are no colors that are beautiful as far as I'm concerned they're just another noble colors that are blended from mixes in the grace and neutral gray just extraordinarily beautiful when you look at them like that, like, I have a paint study coming up a little bit in this presentation later that, um, is all up aches, it's, all of all of our three opaque. And I just did, you know, I added a little more color here and there, and here and there and it's, a beautiful palette. I mean, it's, just they're just beautiful colors. But, like here, this orange is definitely different from the red, and yet it doesn't look it on camera so much. But it's, when I look at him here, this is definitely orange, not red. Okay, so that turned out pretty well.