How to transform your colour mixing in a weekend
With so many different colours available, when starting colour mixing, where do you begin?
You find yourself standing in an art store with rows and rows of paints in front of you, scanning up and down the aisles trying to take it all it.
Exotic names and vivid colours vie for your attention, from a Potters pink to a Green gold, and other names you just can’t seem to even pronounce!
How do you even say Anthraquinone blue? (answers on a postcard please!)
Most modern manufacturers have over 100 different colours to choose from, from mineral inorganic colours to man-made organic colours – the choice is immense…
To make things more difficult, some brands can call the same pigment a different name.
Phthalo Blue in one brand is called Winsor Blue in another.
Same colour, alternative name.
So as an artist you’re faced with a dilemma of making a colour decision and hope it will be perfect when you get back to the studio.
You didn’t buy the exact colours recommended in a tutorial you’re following but that shouldn’t matter should it?
It says red, so it will still work the same.
Ah, now we have a problem.
The tutorial seems to have a clean bright pink, whereas you have a dirty, dull salmon.
What went wrong?!
You’re mixing was right, your pigment choice was wrong.
Simple Colour Mixing
Without a clear action plan it can be hard to know where to begin, or where you’ve been going wrong.
You don’t want to waste any more paint, so gaining knowledge on how colours ‘work’ in painting, is crucial.
Sometimes you can feel there is always more to learn, a new colour being released that might ‘fix’ that landscape you’ve been working on for weeks but somehow still isn’t right.
These fixes and fear of colour theory can put off learning the basics that actually help all of your paintings.
With this in mind, I’ve developed a new course aimed to help solve this problem and teach absolute beginners the fundamentals of colour mixing.
It assumes we’re starting from ground zero.
But ‘colour theory’ always seems to bring me out in a yawn, so I’ve designed the course to be more of a practical painting course, supported by a foundation knowledge of colour.
Who is the course for?
If you’re new to acrylic painting or have been painting for years but still have trouble mixing tonally accurate colours and judging colour harmony, then you would see instant improvements on this course.
Why? Because you would have learnt the foundations of colour theory and understand how simple it is to mix and match the perfect colour, every time.
If you’re looking for ‘cheat sheets of colour swatches’ this isn’t the course for you – there’s nothing wrong with specific recipes for colours but I believe having the tools and knowledge is far more powerful to develop as an artist.
Does it cover 100% of colour mixing?
No, this course takes a minimalist approach to move a beginner or someone who feels lost with colour, on to being a painter who is confident with colour mixing and colour choices.
A simple approach
I want to teach you how to mix 80% of the colours you actually need using just 4 colours – in 20% of the time.
Then you can expand your palette, adding in odd paints that achieve a specific colour effect depending on your own personal preferences.
Throughout this course, I demonstrate using a traditional, 3 primary & 3 secondary colour, colour wheel.
I use this because when you’re first starting to learn colour mixing, I’m a great believer in simplicity and a less is more approach.
Understanding the properties of paint, relying on your artist’s eye and letting your new colour mixing intuitions guide you, is a fantastic way to open the world of colour.
Different artists have different approaches to colour mixing, some work with an extremely limited palette using just 3 or 4 muted colours. Others use large extensive palettes that enable them to produce painting quickly, without having to mix colours.
I prefer somewhere in between the two.
There are other colour wheels and colour mixing systems you may come across, such as The Munsell, Quiller wheel or the Yurmby wheel.
Many realist painters and designers relying on print use the Munsell colour notation system for more technical, advanced and exact descriptions of colour.
However, I believe the traditional approach is the easiest and most straightforward to gain a full understanding of colour mixing and work like an artist rather than a technician when finding your confidence with colour.
So if you want to make smart palette choices, use colours that can be used both with acrylics and oils, and want to get instant results then click here to learn more.