"How to Mix Beautiful Colors for Your Paintings" FREE WORKSHOP

[Music] [Music] [Music] [Music] [Applause] [Music] [Music] [Music] [Music] [Music] [Applause] [Music] [Music] [Applause] [Music] [Applause] [Music] [Applause] you [Music] so you can hear us now hello everybody good morning good morning um we are excited to do a Saturday webinar we haven't done that for a very long time and so we're really hoping that the time zones because it's morning here in Arizona and in California it's morning Hawaii it's morning really early in the morning we're hoping that we will catch people in Europe and you know in other parts of the world that we haven't been able to connect with live yet so let us know where you're from in the comments because we want to see you know who were able to reach this morning doing it on a different time zone so then we normally do because we normally do these webinars in the evening our time and then we miss a lot of people because they're sleeping so if you're here for the first time we welcome you we're super excited that you got to join us for this free webinar it's gonna be really great we're gonna go through a lot of really cool information Dimitra and I got our nails done so we're fancy this morning and minor warm and hers are warm warm more both warm a minor warm was some fire they're sparkly so and I got a green ring on so now I'm all Christmassy um but anyway I don't know normally my hands don't look like this at all yeah this is fancy hands we never do nails normally it looked like a greasy mechanic because I have like black under my fingernails and spray paint and I like paint on my hands yeah you already kind of look like an artist normally you know you guys can probably relate let us know if you can relate to that idea if you're a working artist and your hands are in pain every day I guarantee you you have strange-looking stuff on your hands and then like what happens to me as I'll go to a store and I'll start to give like the cashier money and then I see their look like they look at my hands like ice wrong with you and I have like paint and especially if I've been like if there's like brown paint or black paint on my hands that is like really unsightly because they don't know I'm an artist you know and not like it's pink or lime-green it's like brown like what's up brown stuff on my hands but anyway and then I get all embarrassed and self-conscious and then I like hide my hands and but not today so anyway so that was fun we did that yesterday so make sure you let us know where you're from we want to see what what kind of places are popping up Jake we have people from Vancouver British Columbia we have Lincoln Nebraska Northern Ireland India Romania Texas Michigan UK Serbia Lazzari another person from Serbia Philippines South Africa this was a truly international web agent Peru Ontario can Canada Georgia Georgia and Malaysia Wow Croatia whoa Italy Pakistan is another person from India this is crazy Bolivia that's so cool okay well we're really happy you guys have made us very happy we're super inspired we're so happy to reach an international audience like this and and we're so glad that you could join us so maybe we'll do them Saturday morning from now on because it I like it more you do yeah yeah okay we just have to you know drink extra coffee and wake up early and no big deal okay so this is kind of what we're gonna go through today well first let's introduce ourselves you know some of you might not know us you might be meeting us for the first time go ahead you introduce yourself okay my name is Dmytro and I've been a professional artist since I was 15 and just art is such a big passion of mine it's just it's artist life and I'm also a teacher and the co-owner of a lot our Institute and just so you know she's 20 cuz yesterday when we were at the nail salon the guy said I mentioned that she was getting married and he was like getting married how old is she she thought she was 14 and so um anyway case you don't know she's 20 although you know I'll take it as a compliment because later and like that's true when you're my age oh yeah you know 25 you'll be happy yeah okay so Dimitra was very successful and she she has you know really even taught me a lot I know I taught you a lot yeah I'm out of paint and things like that but you've taught me a lot about branding and marketing and just you know we make a good a good pair here so I'm Ellie Milan and the founding owner of Milan Art Institute and John and I my husband we've been professional artists for the last 25 years selling our work kind of old-school way through galleries dealers working with different publishers in sort of the old traditional methods and then we started representing ourselves in the last few years and working more directly with with collectors and we opened Milan Art Institute about ten years ago and our passion has been to help artists really turn their passion for art into a profession because there's not a lot of people out there I was always looking for a mentor I was always looking for somebody who was successful selling their art that had a prosperous mindset that you know was always looking for new and innovative things that wanted to you know really go for it and it was really difficult to find and the successful artists you know weren't willing to share their knowledge with me so it it's been a passion of mine to help other artists and to mentor them and to show them how they can actually make a living selling their art so at the school we also you know teach kind of youth classes or some hobby classes but our main focus really is on the professional on somebody who who just wants to devote their life to art that really feels that their purpose in life is to be an artist that that this is this is really their mandate so that's that's our focus we really love artists like that which is probably people like you so so we are going to just as an overview talk about mixing color because we hear from students all the time that with oil painting first of all can be intimidating yeah and yeah a lot of people just think like oil painting they they want to try it but it just seems so difficult and it's really our favorites yeah and we teach all different techniques like mixed-media too but we always finish the painting with oil so today we're going to be working with oils and showing you how to create really rich beautiful paint that's just looks alive yeah and and to avoid mixing mud and we're going to show you some tricks and we're going to explain how working with color temperature and warm and cool works it's it's pretty much a foundation to the oil painting instruction in our school because if you want your artwork to sell the colors have to be alive it's not that they have to be bright Dimitra doesn't really paint in bright colors I kind of do but she doesn't and but alive and bright are different so we're going to show you how to make rich deep and pleasing color that that literally jumps off the wall into your collectors arms so so many people know nothing about like what we're about to teach you the worms and kuehl's there's so many art schools and just artists out there who they're probably professionals but they don't even know what warms and cools are and like how to really mix paint properly so if you guys learn this like your art is going to just be ten times better than like only the art out there so yeah and you know we had a this was really a cool story last year we had our mastery program it's our one-year program that we teach in the school that takes an artist how to you know kind of start out where arts just a passion and in one year they're trained from the ground up even from a beginner to being a professional artist so we also have students that come on-site to our physical school and they were having their graduation last year in in August and there was a group of them graduating and we rented out a gallery in Scottsdale so it was one of the top most beautiful high-end galleries in Scottsdale and we rented it for a weekend and we took over the whole place so the only art in there was our students art so these are just graduating students and the gallery owners took out all the professional artists artwork and you know put it in storage and we took over the gallery and in summertime in Scottsdale because it's a hundred and you know a million degrees nobody so nobody comes nobody comes to Arizona it's pretty dead downtown Scottsdale in the summer and but for the little traffic that there was the gallery owner came to us after the show and he said I am completely amazed people were coming in off the street which hasn't happened in months here just to see the art and we heard over and over and over again from the people coming in off the street that the colors were alive and drew them in from the street and it was like music to my ears like we were like just so thrilled because that's exactly what's behind this color theory is those alive colors will grab people they'll grip people people will notice your artwork over the artwork around them and even though I want the whole world to know this knowledge at the same time it's beneficial to us that they don't because your art will really stand out so so anyway we should get started yeah so first just to explain the warm and cool and kind of the science behind it or or what what's really happening is in oil paint and watercolor because they use real pigments to make those paints this doesn't count for acrylic so forget this for acrylic if you are exclusively an acrylic painter this information will not apply to you warm and cool color temperature in what we're talking about doesn't work for acrylic paint so in oil paint they use real pigments that are from the earth and they're either metals or minerals or from plants or animals and age so there's this sort of molecular structure to them and how they function and how the electrons move around the the nucleus so of of the atom so it just so happens which is really magical if you think about it's almost supernatural it just so happens that in every color family yellow being a color family orange being a color family red blue etc in every color family half of the colors are cool and half of them about half are warm and what differentiates them is let's say alizarin crimson which is a cool color it's a cool red what will happen is it will recede from you so if you had a lizard crimson here on this paper it would it would move away from you visually but if you used cadmium red which is a warm it would come forward and y1 recedes and one pops forward is how it has there's a lot of science behind it and you can research it and you can look it up it has a lot to do with frequencies and and light waves and and you know things you know the Sun and light and all that but basically a big part of it is how the electrons move around the nucleus so on warm colors they move EXO centrically or from the inside out so it gives this illusion or this to your eye that it's coming towards you it's spiraling towards you and for cool colors the electrons move endo centrically or from the outside in and so it looks like it's it's moving away and so it's really interesting and there's so there's paint companies like gambling colors that are really attuned to this and know and they create their pain with all of this in mind for artists so what what does that mean for an artist well what it means is that based on the color temperature you can create a lot of depth in your paintings and you can make your foreground pop in front of your background by just simply warm and cool and you don't have to rely solely on value or a harsh edge you know like a harsh edge and a blurry edge you can use color temperature and and and you know move your painting so it'll just make your painting so much more sophisticated mm-hmm and we're gonna go into more details about that in in a minute this is just basically the background of it so just know that half of the colors basically are cool and the other half are warm cools recede warms pop for it that's the that's the bullets of what you need to know so you might ask how do we know what colors are warm and how are cool right I mean that's that's the question everybody wants to know and it doesn't change so in other words alizarin crimson is across the brands no matter what brand you use alizarin crimson is cool so cadmium red medium is warm no matter what brand you use and so there's two ways you can think of this one is if you think about the yellows all yellows so if you have yellow paint at home if your yellow is moving towards green meaning it's kind of like a pale a pale yellow that's almost green you know like CAD yellow lemon lemon yellow all right and it's moving towards green it's going to be cool if it's moving towards orange it's it's going to be warm so over here we have the warm colors and we have the cool colors so if you look at this color so we have the warm colors here and we have the cool colors here if you look at this yellow do you see how that moves towards green it is slightly tinged towards green and so it is cool this yellow which is not lemon yellow it's it's radiant yellow it moves towards orange it's slightly more orange and so therefore it's warm if you look at this orange as you can see it moves towards yellow or towards green and not towards red compared to this one this orange is worm because it moves towards red so now when you get to the blues it's the opposite the blues that move towards red are going to be warm and the blues that move oh no that's the same the move the Blues that move towards green are going to be cool so basically you know the the Reds that move towards blue are going to be cool the Reds that move towards orange are going to be warm so that's kind of how you can tell at a glance but to make it easy for you there is a list of colors and their properties you can also google it you can also go to gambling colors calm which they have a color temperature chart as well on their website but we will provide you with a color temperature chart and it's in the link below this webinar and that's how you can access it so we recommend you download that you've you know print it out you keep it close to you and you can build off of this list it's not every color in the universe it's just the commonly used colors so it could be that you come across a color that's strange or a little bit different or offbeat which is great and you need to know if it's warm or cool here's what you do rather than emailing us and asking here's what you do is you take your known warms and cools from this list okay and so let's say you're you have a strange blue and you're trying to understand is this blue that's not on the list is it warmer is it cool you could take Prussian blue what you know is cool you could take cerulean blue that you know is cool and you could take ultramarine blue that you know is warm and kind of put those out on your pallet and then take your unknown one and see where does it fall does it move back or does it pop forward between those two known ones and at first it might be hard for you to see these these nuances in color especially if you're new to it and just like anything else your eye is going to be trained and it'll be so keen I've had students tell me over and over and over again when they first start doing this they can hardly see it and they think we're crazy and they're like why it all just looks the same and they they don't they don't understand but if you keep looking and you keep those some people get it right away but if you keep looking you will see those nuances and you will literally be a color expert and your eyes will see color in a whole new way we have people write to us all the time that this whole world of color has opened up to them and they're able to see these nuances so it's all about training your eye and just persisting and making sure you keep looking so that file will help you and this theory yeah and eventually you'll just memorize it so there are you're using this technique and painting this way it's just gonna become like another language and then you just understand all of it and it'll be really easy one day yeah so why don't you demonstrate like a like a blue like mix of warm blue in a cool blue and see if they can see it at home I'll mix some colors and then put them on this paper and you can see the difference so I'm gonna mix well actually I'm not gonna tell you okay you'll tell them out mm-hmm here do you want some Galkin yeah I just don't want to soak through the paper okay so I'm just mixing um ultramarine blue with some white for that color and now I'm gonna mix oppression with some I'm going to try to make like the same color just match it as closely as I can that's pretty close okay I'm gonna I'm putting these really close so you guys can tell okay so one of these is popping towards us and the other one is receding so what do you think which ones which I can see it really easily yeah so this one as you can see is receding it moves back and this comes forward and it's in front of that so if you are painting a blue object on a blue background of the same value because if you squint your eyes they're about the same value this is a tad lighter but it's it's really close to the same value so if you had think two things of the same value and you wanted one to pull in front of the other like your background to pull back and your foreground to pop forward you would need to mix a warm color for the objects that's coming forward and a cool color for the the one that's going back so this is an example of and you know in kindergarten your teacher told you that yellow orange and red or warm and blue green and purple are cool so forget that that's that's not what we're talking about that's like summer colors winter colors or something like that this is a true warm and cool where you can have a warm blue and a cool blue so it doesn't mean all blues are cool also when you are switching colors and oil just so you have really rich clean color make sure that you wash your brushes really well and you want to have like a cotton rag to clean them so like paper towels aren't good because they don't really get all the paint out and you have to really like scrub it to like get off all the paint otherwise you're mixing warm and cool together which neutralized your paint and it'll make your paint neutral and and so it won't move it won't come forward or go back so that's why you definitely want to clean your brush mm-hmm really well okay I'm trying to mix a similar color it's pretty close okay so I can see this really clearly that this one is really popping towards us and this one's going back but they're almost like identical colors so that's I hope you guys can see that on the camera and we did this on white paper so that you can really tell I try doing like yeah there's really one thing I'm gonna do a read and while she's mixing those colors I just want to give you a few tips on how to not mix muddy color um one like Dimitri already explained to you you you want to I would yeah I would make absolutely sure you use a cotton rag to clean your brush and make sure you get all of the solvent out of it you don't want this kind of wet messy soupy brush going into your paint you want to keep your paint more or less dry you don't want a big solvent soupy mess down there because it begins mixing in all the paint and paint begins to move and it's not a good situation so using a cotton rag is really really important another thing is having clean solvent so you always wanted to dart your session with brand new clean solvent so before we started this was you know clean crystal clear so you want to always start with clean solvent and not have that you know old muddy you know thick kind of kind of solvent to try to clean your brush with and make it a little bit darker but it's really obvious yeah so that's probably the most obvious one like you guys anybody should be able to see that mm-hmm so if you can see all the colors on this side are receding back and all the colors on this side are popping forward so these are warm and these are cool even though they're very similar value and very similar color so isn't that cool that is just the coolest right that that color temperature and getting that depth and when you start incorporating this into your actual painting it is it is really the coolest thing to to see I love watching students as they discover this journey and discover this process you know it's like they come alive not only did their paint come alive but they come alive because they're beginning to see color in a whole new way so it's really great so um I'm gonna explain like how you should set up your palette and so when you're first I mean even still today the way we set up our palettes it's just it feels so natural to us and it'll just help you guys so much if you don't want to have you know the muddy colors and you don't want to mix your warms and cools then you want to have them separated on your palette and you put all the cools on one side all the worms on another side you can even get like if you have a glass palette you can get a China marker and like draw a line down the middle just if you forget you can even write like worms or cools and we have it set up in a very specific order so we have it yellow orange red green blue purple and we have the same on the other side and so this really helps us when we're mixing color and knowing which ones are complements so the yellow and purple are complements orange and blue and red and green and the reason you want to know which are complements is this will actually help you figure out skin tones and when you mix these you're making browns and different neutrals I mean not neutral as in a muddy color where you're mixing the warms and cools but just as like you know graze or different shades of white then we put like white and black in the middle and so that was how would you want to set up your palate yeah and also notice that your values go from light to dark so these are your light values your mid-tone values and your darker values so as you mix paint what you'll see on your canvas there on your canvas on your palette is that your your mixed color goes from light to dark and also on your mixed on your palette what you'll find is that it'll go from warm to more neutral - cool - very cool and so you'll have this whole gradient of how you mix color so if you're mixing a warm you don't want to mix it over here and your cool is you want to stay on your warm side when you're mixing that paint and why do you want to do this at first it might feel different and stiff and you know foreign to you and not exactly how you're normally mixing paint and how you're normally setting up your palette but if you persist on on working it and doing it this way over time you'll become very fluent and if you're if you're painting a lot I would say within a month maybe even a couple weeks you'll be really strong in this and you'll never look back also what we want to avoid cuz we want you in your right brain and we want to avoid at all costs getting you into your left brain so a lot of times if you follow color mixing formulas and diagrams and percentages it gets you in math and thinking okay 20% of CAD yellow and 10% of white to tint and then you know and you start formulating everything in your left brain and now you're out of that creative realm and you're not working intuitively this method helps you just work intuitively and it might not feel like that at first but if you stick with it within a few weeks it will totally just be second nature you won't even have to think about warm and cool you'll just know this spot on your palette is where you get stuff to come this way and this spot makes it go that way and you won't even associate words to how you're painting the they're great fantastic thing about this method is you cannot possibly make an ugly color you cannot it is impossible so even if you did make mud but it was warm mud it would be beautiful warm mud I'll just show you if you mix you know cool mud you know and you mix a bunch of colors together making kind of some you know topi gray because it's maintained it's cool properties and it moves it'll be a beautiful gray it'll be a rich gray it'll be a live gray so d mitra is making mud right now but its glorious beautiful mud okay put the mud on there so they can see and then make it like a you can make like a cool mud next to it mm-hmm so even though that is you know mixing a bunch of compliments and she made kind of a brownish grey it's not going to look anemic and dead whereas if you cross warm and cool together it's sort of dead on arrival II if all your paint on your paintings are mixed that way and that's how you get those kind of lifeless anemic paintings is when you're not being intentional about what is warm and what is cool so you reverse them so that one's cool and the other ones worn yeah and then I'm going to do a neutral in there just to show a difference okay now I'm going to mix the worm and cool together and see what ugly color I make if something's a little too green then you just add the opposite okay that's gonna be really cool you need a warm get through the orange in there this orange yeah oh my gosh yeah this is super ugly it's pretty orange but it's like a very goopy color that's actually pulling warm because of the orange the bright orange yeah this actually is more because I added a lot of this orange with that green hey Ellie so Lin Briggs is asking about white are there warm and cool whites yeah that's a great question yeah gambling sells I know gambling sells like warm white cool white and then just titanium is neutral so you can mix titanium with any of the colors and it will go towards more and more towards cool yeah that's very ugly it's kind of more green though not really someone said baby poop yes the point is you don't want your whole you're making these colors yeah I don't want your here you're in a better spot to clean that you don't you just don't want to wick mix your colors willy-nilly and without any care or intention to it and trying to you know make you know you'll end up with just basically an anemic kind of neutralized painting it might as well be an acrylic painting or something so because oil the point of using oil especially at the end I use oil on top of acrylic after the acrylics dry and that makes the acrylic painting come alive the other tip on not mixing mud is when you are mixing okay if if you if let's say I wanted to make a nice flush tone a warm flesh tone so I'm going to take this these two kind of opposites you know oops compliments here and I go okay that's two two two orange I'm gonna I want it to be you know more more brown I'm going to take a little bit of blue and put it in there okay and now I've subtly tweaked it to more brown so see how that's like a nice flesh tone but what if I grabbed a bunch of paint a big huge blob of paint and a big huge blob of paint and I mix it together and I go ah too green I need a red a big huge blob of red and then it's like oh it's still too right so me watch tape taking these big blobs of paint to tweak a color a certain way is not going to get you very far you forever I'll take you forever and you'll end up with this big mess and all your paint will get away from you so this is might be a weird analogy but to me it works is if you imagine like a big barge like like imagine the Titanic and you want to turn the Titanic I mean they couldn't turn the Titanic remember and it sank so like it takes so much effort to turn the Titanic so if you get a big blob of pink that's like the Titanic you're not gonna be able to turn it it's gonna stay green brown forever you will have to use your whole tube of red to get that green Brown to go more you know the way you want but if you think of your colors and color mixing and getting little amounts as you do it just small amounts then it's like it's like a little day sailor right it's just like one little one little movement I mean you just kind of step on one side of the boat and it turns so that's really what you want when you're mixing paint so I just think of the Titanic versus a canoe right like if you're in the canoe and you you know sneeze you might go under right so make canoes not Titanic's and really like for really sophisticated painting and for your artwork to have a lot of depth in like you just want like lots of different colors happening especially in flesh tones if you have two people you want to have several different colors and varieties so if you have like tiny spots of you know different shade of brown all over your palate that's like really good that's a really great sign but if you just have like a few piles of paint that you're using the same color everywhere then that's just like you're not gonna have a good painting so you want to make sure that you have just several different shades of colors yeah every time you run out of paint on your brush you should go and mix a new color that will also get you learning color quicker then if you make you take your palette knife and you mix a bunch of big piles of paint and you use the same color over and over again so that's a bad habit okay well we should start painting on this a little bit just to demonstrate how you can apply these principles to an actual painting so so we have a source and we always like create sources for our paintings and this is if you can tell it's like a mermaid and so there's a lot of form on here and like there's a lot of complex things happening but if we make a lot of the background cool and then the subject warm then this is automatically going to pop forward and your background will sink it doesn't matter like how busy you really it is it's just how you use the color and then on the form like let's for example her like her hand is in front of her face so we paint a lot of the form on her hand in warms and then back here behind the hand we paint in cools because we want the hand to come forward so if you paint everything like warm let's say it's all gonna be flat like if you pay everything cool it's all gonna be flat too so you have to use both to really create form and as things like go back like on her face so around like her chin and her neck that's all gonna be cool because we want it to be round and to go backwards but then on her cheek I mean that's like popping forward so you put warm there so you really have to just at first it might feel a little bit enough weird to like think this way but it really like once it clicks it just stays and you'll just love painting this way and every single painting will be so much easier now that you know this yeah that was good so to to take you from let's just say you're brand new to oil paint you're a beginner you have no idea you're just getting started where do you begin in color mixing so a great way to begin is first of all what Dimitra says absolutely true and how you map out on your source you know this fin is gonna be warm behind it is gonna be cool right just like she said but if you're new to this you don't have to do this once you feel really familiar but a great way I begin students is in this is to start with your darker cooler colors so start with your background first begin with your background that's going to be darker colors first lighter color second so first step is background darker transparent colors darker colors so that's all these dark colors these dark colors and they're gonna all be cool your backgrounds gonna all be cool except for maybe you want this star to pop forward that's up to you as an artist but basically you're gonna want it all cool then you'll begin on your figure putting in the places that are cooler and then you'll do your warms last so that's a great you don't have to she doesn't really paint that way now but if you're just starting it to kind of separate first I'll do my warms then do your I mean first do your cools I'm sorry do your cools first and then your warms that's a great way to kind of map it out in your mind now how do you mix the right color what you want to do is think about local color so local color is the closest color that something is so let's look at dimitra's sweater for example versus my shirt we both have red as the local color okay and so you know her red is greater that means it has more green in it do you see that my red is very saturated it's it's like a mulberry red it's a true red there's not gonna be any green in it there might be a touch of blue right because it's moving towards blue I'm not wearing stuff it's purple yeah yeah I'm not wearing a fire engine you know red orange shirt it's it's a you know mulberry blue like a wine color now dimitra's is grayed out a little bit so to get that gray that must mean a compliment because your complement the opposite color green of red well dull it and give it give it a gray tone so you always want to identify first the local color even in skin tone so if we look at dimitra's face and we look at like the shadow under here okay and any darker shadow parts or this shadow right here the local color of that if you had to pick between blue purple green orange red or yellow what would it be it's gonna be probably blue or purple and and there's really no right answer we know this shadow is mom I would go with purple myself so then it's definitely a compliment so that purple is going to have some yellow in it it's going to have a compliment in it too gray it out to get it kind of more of a like a gray tone so if we look at the highlight over here or cheeks what is the local color it could be it could be red it could be yellow or orange it could even be kind of in this cooler light like a a lime green or something like that so you almost have to be like an exaggerator yeah and think if I were exaggerating if I was a big fat liar what what color would I say that is and your only choices are yellow orange red green blue purple that's your only choices you can't go it's kind of a brown like you can't answer that it's not it can't Brown is not a local color it's either so that's the color you begin with and then when it comes to flesh tones it's always going to be a compliment you begin with one look like orange then you throw in the compliment which would be blue and depending on how much and where it is warm warm warm warm warm warm right cool cool cool anything receding is cool so on the source it's easy right because we have a lot of local color you know what colors the fin blue you know what colors her skin green what colors the shadows blue or purple you know what colors the background red see how easy to sew on a source like this this is yellow this is red you know blue the local color and identifying the local color is very easy then it's just a matter of within that local color does it move towards red is this is this purple blue you know moving towards is this blue move towards red yes so so we'd mix purple and blue together and and some white you know to tint it to get it lighter in value to mix that color so understanding and identifying the local color is a great place to begin on how to mix color and like painting this way will really train your eye and you'll just be a fantastic artist if you learn this and you're just your eye will be so training that you'll just see like the slightest color and everything and it's really cool when that starts to happen so do you want to start I can maybe answer some questions while you may be so let's start with what you know if it's like people are asking about black yeah and one person wants to know if you recommend mixing black into a color to get a darker tone yeah okay great question so blacks just like whites are are also color temperature you know move towards a color temperature so there probably is a true neutral black I'm not I'm trying to think of one right now but ivory black is warm Van Dyke Brown is a is a warm black and Mars black is cool so there's other black sand that exists but the most common are ivory and Mars so now in white titanium is neutral and then warm white is warm of course cool white is cool flake white is warm and zinc white is cool so the the whites and an radiant white is also neutral so titanium white and radiant white you can use both warm and cool without any adverse effects cool white you would want to use for your cool colors warm white you'd want to use for your warm colors so black is the same way now if you want to shade a color darker you can use black I highly recommend that you don't use a ton of it and that you use lots of color with it otherwise it can look kind of I don't know a little a little too straight out of the tube black so if you would wanted to mix for a really dark area like here she might want to mix now she probably will put a lizard in and get it darker that way but if I were painting it I would probably use Mars black and and put the Prussian blue you know and dioxis in purple into that black to get it really really dark what you'd never want to do is mix black and white into the same color so either you're tinting or you're shading you don't want to ever mix black and white together so bobbi-jo Reed wants to know will an acrylic background automatically receive an acrylic background will automatically be neutral so if you do all warms in the foreground and you have an acrylic background it will appear because your warms are pulling forward it will look like the acrylic is but you won't see a giant differential so if you were to glaze your acrylic with a cool oil you'll see a stronger depth differential so dimitra's putting an opaque cool blue color and now this is popping forward even though it's darker so this is acrylic it's acrylic ink which has no color temperature to it there's no it's not actually moving and this moved back so now this popped forward even though it's darker because dark things received and the fact that a darker thing is coming forward is is pretty extraordinary so so that is the power of color temperature and warm and cool and I'm just using like darks and lights to really pop out these forms too so far this is all cools but I'm just looking like here on the side of the tail is really light so to have this dark it'll make the tail pop the light behind it and it'll just really come forward so a lean Eli or le sorry says my teacher says that I shouldn't use black for darker areas he even said that we don't need black and we don't need to buy it I'm interested in your opinion about that so there's a lot of people that don't use black and think that and it could be that the teacher the teacher is right in that it's not necessary like Dimitra do you ever paint with live not really unless I have a very specific painting that is on block yeah but I get contempt I don't always have it on my palette okay and I use black almost in every painting so to me it's a preference your teacher is totally correct and that it's not necessary you can create your own black by using solely dark transparent colors so if you mix basically alizarin phthalo green and Prussian blue together those three colors together will make here I'm basically a black but I and the danger of using black on your pal especially for students and why maybe your teacher doesn't advise it is because they students can overuse it and then their paintings look kind of dead and you know a little bit cheesy and another thing that can happen with students in black is you could mix white into it and then that is a big no-no so you don't want to ever mix black and white together so I feel like if you use black correctly and you use it well you absolutely can use black and I definitely do because I really like a lot of contrast and a lot of boldness um a partner - found a sari everyone if I get your name wrong he wants to know hi would you also explain the difference between oils and acrylics as in why does the theory for oils not apply to the theory for birds because the binders that they use for acrylic paint is basically plastic and it's the molecules are so large or the the structure of it is so large the binder proportionally is so big that they're they don't put a lot of pigment in it and the pigments they use are synthetic so synthetic pigments don't have the same sort of on a molecular level scientific play to it it's almost like if you look at salt have you ever looked at sea salt that's natural through a microscope and then you look at you know iodized table salt that's been messed with you know the the structure the molecular structure of those you'll see the seesaw this beautiful it looks like a snowflake or something it's it's absolutely beautiful and each one is different and then if you look at the iodized table salt it's sort of like you know strange looking and it almost looks contorted so it's the same thing with sugar natural sugar - modified sugar so acrylic pain is like modified and unnatural and basically plastic and synthetic pigments so that's why it doesn't look as rich and it has that plastic you look to it and oil paint is used with natural oils like walnut oil or linseed oil and there and it's also used with natural pigments from the earth so that's why it has those properties so it doesn't work with acrylic because they're not using real pigment and I I'm not against acrylic paint though I don't want people to think that I I use acrylic paint all the time there's so many wonderful uses for acrylic paint but as far as a finishing layer oil is king oil is rich oil is luxurious it's more its it's just more beautiful to the eye and you can get your paint to move so the final layer is is always oil and that's what we're doing here the the under painting was acrylic and to get some of these effects that we got with the under painting I really needed to use acrylic you can't do those things with oil another technique if you want like your colors to really pop and have a contrast is you can look at your highlights and like in the really bright white highlights I'm kind of making them go towards pink and then the other highlights are kind of more towards green so when you put them next to each other it's like they're both coming forward but they're really interesting because they're complements in the room so I'm not like mixing them together I'm just putting them right next to each other Jabar you for Farhan wants to know what is the difference between transparent and opaque colors so paint there's basically four categories to paint there is transparent and there's opaque and then there's warm there's cool so we recommend that you label your paint is any of your paint labeled no okay so we recommend that you label your paint and transparent paint is like this green here is transparent so what that means is it's it's see-through like a glass of water and this red here is transparent so you can see through it's like has this like stained glass quality whereas this red here is open and you can't see through it and so the light bounces off of it whereas a transparent the light is within it sort of reflecting off of what's underneath it and that's where under painting comes into play because you're under painting will directly affect your glaze layer or your transparent layer so oh now I got artist hands so you you want to differentiate and label your paint transparent warm so that would be you know like a warm transparent like WT just right WT on your tube of paint then you automatically know that's a warm transparent like Indian yellow Indian yellow is a warm and it's a transparent whereas cadmium yellow medium is a warm but it's opaque so that would be a wo then on your cool side you would label your paint like let's say alizarin crimson is a cool transparent so that is a CT cool transparent and your let's say cadmium orange is a cool opaque so that would be C oh cool opaque then at a glance right you you just know this paint is C oh that is a cool opaque and you know this is a CT that's a cool transparent I can glaze my background with that right because transparent cools recede and transparent could be you know a nice glaze for the background like dimitra's done so so that that's basically the four qualities of paint that you want to pay attention to and i think it's useful to label your pain I even have drawers in my where I store my paint and I don't label my paint but I put them in drawers yes so where this drawer is designated for you know warm transparence and then I have warm Opaques under that and then this drawer is for cool Opaques and then cool transparence so I just have the drawers that that are all labeled so now this is really starting to pop out and like even though this is dark it's a warm so it's like it's still in front mm-hmm yeah and darker the fact that a dark warm comes in front of a lighter cool is is evident why you need to know this I'm switching um I'm like making a lot of different colors and I'm just washing my brushes really good and so that's important like to not get muddy colors just make sure you wash it and then use your rag and like really get out all the paint and if your brush is still wet when you're mixing it's just gonna get muddy so make sure it's like totally dry there's no solvent in it okay so we are almost out of time here and I don't know if you guys have any more questions now is a really good time to ask us anything you want and we can take a few questions Jake do you have any good questions there we'll take bad questions - I'm kidding there's no bad questions so Elisabetta I kind of answered it already but it'd be good for you to answer it Elisabetta wants to know how many colors can we create or can we mix to create a new color how many colors do you need to create a new color yeah how many colors can you mix in order to create a new color Oh - we'll make a new color but but you can mix as many colors as you want as long as you only mix warm with warm so you could create or cool with cool so if you begin mixing warms with cool I do I do actually mix warm and cool together and purposely try to neutralize my paint if I want something in the middle that's not moving back or coming forward that's sort of staying in a mid range but I won't mix more than maybe three colors total because if you mix too many warms and cools together you you will get a mud ugly color that's so if as long as you stick with just warms or just cools you can mix I don't know I mean as many colors as you want you can mix ten colors together it doesn't really matter so but it's important to mix color like rarely rarely if ever will I use a color directly out of the tube without doing something to it so kind of the no nose are mixing black and white together and willy-nilly mixing warms and cools without any intent and another no-no is I think using like plain black plain white yeah you never ever never use out of the tube white never use out of the tube black I mean the exceptions are I use warm white or radiant white right out of the Tozer already mixed yeah they're already mixed but titanium white plain is a big no-no plain black with nothing in it is a big no-no and mixing any you know not mixing color and just using color straight out of the tube is kind of not a great idea unless you do it very selectively click occasionally I'll use CAD red directly out of the tube and do nothing to it but it's only for effect and it's very minimally it's after you've layered and it's after I've layered lots of other colors correct so mock haddassi wants to know do you advise mixing color on canvas I think it really depends on like I'm most of the time you know I would just say mix on your palate and I rarely do that like sometimes for an effect like I've wanted to create like a rainbow drip and I've taken like my huge brush and on each corner I get a different color and then on the canvas like paint with it and it'll have like a ribbing of different colors so unless you're like really intentional about it no what its gonna do I think you don't want to mix yeah you don't want to mix on the canvas the only time I would advise mixing on the canvas and it's not actually mixing paint on the canvas it's more optically with your eye mixing like what th are demonstrated here where you're you see your eye will see pink and green at a glance because they're complements as skin tone or as brown so you you there is a technique where you mix on the canvas where you sort of layer on its how van Gogh painted so it's it's like where you layer or how pointless painted an impressionist painted is they you're I optically mix the colors so you have like an orange dots and then yellow dots next to them and white dots next to those and so you're I will mix the white the yellow and the orange together to create that that color but it's an optical mix you're not actually mushing it I think mushing pain willy-nilly on your canvas or on your palate is never a good idea so I don't recommend mixing paint on your on your canvas so Luiza karora for Cora wants to know that you like why like how you can make it gray without mixing black and white okay so that's through a compliment you you you know we demonstrated here this is this is this is kind of a gray and you know working right here is gray I can turn this color here I think Gray's usually have a base of like blues yeah I can start with a blue and if you add just like a complement to the blue but it's more blue than the orange then you'll have like a grayish color so this is a gray right here I just mixed and like taking this red into the screen has made another gray and this gray is different than not gray so if I made a pile of Gray's here so this blue oops I grab some green accidental that's a case throw some red in there um so just kind of basically mixing complements together so there's another gray so we have like this gray this gray this gray that is going to be a sophisticated gray versus black and white which will be a really like amateur looking great yeah so that's why you want to do it through complements and there's going to be subtle differences between your grades you don't ever want in one gray over your whole painting so there's not one way to mix a gray it's a gray that goes towards green it's a gray that goes towards yellow it's a gray that goes towards blue it's a gray that goes towards purple so every gray is different and these Gray's they just they have life to it so you just mix white and black it's not gonna have any life it'll just right it'll be new shore looking and really boring so yeah another question a few people are asking is how like I know you guys already talked about it but could you go over like using color theory with the backgrounds again just briefly explain like how to like what the backgrounds should have and yeah so most of the time like it really most the time you want your backgrounds to be cool a lot of them should be cool especially around your subject matter if you have something in the foreground and you want that to come forward and not get lost like if you if I made this all warm back here then it would look really funny because this would come forward and that were like sink back and it would just like it would feel weird they wouldn't feel natural so a new feel flat yeah so like you want mostly your backgrounds to be cool and most of your subject to be warm and then wherever things are like receding or like going round then you make that cool as well so like parts of her neck and chest and like the edges of her body I would make so in the background generally speaking most of this would be totally cool now there could be some of these stars or some of the cloud forms a little a little pop here and there that you could do warm so that it does come forward but generally speaking the background is gonna be mostly cool yeah so I think this last question is good for kind of transitioning so Kelley Crockett wants to know if we are having any holiday sales on our courses yeah oh yeah but that's that we're saving mouths words that's a surprise that we're saving for the end so stay tuned and we will let you know about that and you know speaking of Christmas and holidays you know this time of year there's there's a lot we just you know in the United States had Thanksgiving and Christmas is approaching and then there's new year so there's there's all kinds of holidays coming coming forward and I just want to I don't know to challenge you that even though this is the time of year that we think about other people and of course I'm thinking of other people and you're thinking of other people you're thinking of gifts you can get for your friends and your family and the people that you love I'm going to say something kind of radical here and I want to challenge you to think about yourself so a lot of people sort of it's easy for us to think of others and to consider others and put other people before us and ahead of us especially moms and and and dads we put our children first we we put a lot of people first at times and our dreams our goals are our destinies sometimes take a backseat and they get put off it's like next year okay Oh next year next year I'll do it and I'm talking to the people right now who you know that your life dream is to be an artist to be a professional artist I'm talking to the people who you know your heart just swells at the idea that you could make a living selling your artwork you know maybe you were raised with this belief or this thought that you can't do it and artists starve and I want to tell you I know ton successful artists you know we're a successful artist you can make a living selling your art we've helped a lot of people do it I've seen some of our previous students get out of their jobs that they didn't like and and have a full time career selling their art and exceed their income they were making before I've watched it time and time again and it's really rewarding so this is real and it really can happen for you and I would really want to challenge you that right now at this time of year even though the whole world is singing to think of other people and to buy gifts rather people you know do I think of other people but also think of yourself this could be your year this could be your time that you step into your destiny and you become the artist you've always wanted to be so we are opening we have a new enrollment jet that starts January 6th January for a brand new group of students that will take this year to learn how to become a professional artist so can you imagine this time next year you would be graduating and starting the new year as a professional artist in 2020 is like it's such a cool year yeah that's like the beginning of a decade and to think that that's your year of you like really becoming what you've always wanted and then 2021 you're like stepping into it so the greatest gift you could really give yourself this season is the gift of fulfilling your dream and fulfilling your destiny so you know we we have a info' night for this course it's a one-year course and we it's coming up on December 17th so is there is there a link or yeah okay so there is there's a link under this webinar if you want to register for the free info night so for free you can get all the information you would want to know about this about this course that we offer for artists to become a professional artist and you could get your questions answered you can attend this it's a live event so we're inviting you to come to this live event and if you want to get a reminder about it then you register for it you don't have to give any credit card nothing we're not looking for anything just it's solely so you can get a reminder so you know when it's gonna be and it's gonna be on Facebook so you'll be able to watch us live on Facebook have your questions answered we'll have coaches there that will will share their experience and what what they've learned what we might even have previous students or current starett students there and it's a great opportunity for you to ask questions and find out more information so the new year is starting for this class for the mastery program January 6th so really think about that and also the info night is December 17th at do we have a time for it at 6 p.m. so it's 6 p.m. Pacific Standard Time and it will be recorded so if you if you register for it then you'll have a reminder then if you miss it and you're not able to attend it live you'll receive the recording of it and then that way you you didn't miss it so all you have to do to register again just click the link under this webinar and it'll go to a Facebook post and you press the button get reminder so then you'll be signed up and you'll even get reminders for it and then like she said if you can't watch it live you'll just get the recorded version yeah okay so shall we okay you go you Tom so the surprise which we forgot to mention in the beginning but we have a surprise that you can get 25% off all the instructional videos on our website and that's like a super good deal we usually don't give big discounts like that and the promo code is color 25 so just enter that at checkout and you'll get 25% off and it's only for 24 hours so if you are interested to take our oil essentials class as fantastic we really go into depth about all of this and we teach you it's for for lessons and week three different techniques so it's it comes with three different projects so by the time you've gone through the whole course you'll have three completed oil paintings and three different techniques plus there's a separated warm and cool course so that if you're just getting into oil or you've been in oil but you want to it really advanced your skills that is a that is a fantastic class we also have a portrait essentials class that's all about portraiture and how to paint portraits how to draw portraits skin tones skin tones mixing color with skin tones then Dimitra has a her ink technique that she uses in her personal technique and then I have a mixed-media course that's involves collage and and how I paint a lot of the times so it's like my personal technique her personal technique those are there we have a drawing essentials which is brand new yeah we can we've heard a lot of really great feedback about that one which will really teach you how to draw from a very basic level to a more advanced level what else is there did I actually name all of them I might've yeah okay so there's there's several courses on there and 25% off for the next 24 hours so that will be really great yeah so go check that out and each course has like several lessons and it's not just one lesson there's like it's all step by step we just explain everything how to do everything and they're really easy so any like beginner or even if you're advanced to you can take and you'll learn something yeah so we just really thank you guys for joining us and for participating in this we're we're so thrilled to have so many people a part of this and from so many different places in the world that was really inspiring for me personally and if you just met us for the first time we encourage you to you know go on our website Milan Art Institute comm and check out all the things we have lots of great free information on there there's even a free course that you can watch that's like a mini mini taste 50 ways to lay down pain so that's good you can go in there and watch that and and for all you guys that this is your year this is your year that you are going to do it you are going to take that plunge take that step of wild faith and step into your destiny and do what you know that you were born to do and that's be a professional artist and let your voice be heard let your voice be known and be able to make a living doing what you love most painting and creating we invite you to come to the info night it's free it's very informative you'll have a complete scope of what arc one your course is all about and the costs and everything you need to know about it so I really encourage you to register for that free info night just to get more information and we will see you there we really look forward to meeting you and you know hearing your questions and being able to answer them directly okay so I bye guys and thanks for watching thank you so much you

Channel: Milan Art

Views: 65,887

Keywords: acrylic painting, dimitra milan, dimitra milan painting technique, free webinar, milan art, milan art institute, mixed media art tutorials, painting, tahlia stanton

Id: M6WRvS_Jejs

Length: 76min 35sec (4595 seconds)

Published: Sat Dec 14 2019