Posted by: Julie Duell | March 20, 2008

COLOUR MIXING & PAINTS IN GENERAL

 Hello everyone & welcome!  I would like to start with a short summary about the paints & other pigment based materials we use as artists:-

They are all pretty much created from the same sources of powdered pigment. Some colours are derived directly from nature and others are produced synthetically.  When the powdered pigments are mixed with various additives, the following are then created – the binders lending differing qualities as under:-

OIL PAINTS:  As the name implies, pigments are already mixed with oil (usually Linseed) in the tube, which makes for slow drying & easier blending. Cleanup with turps or preferably an odourless solvent. Can be used straight from the tube (impasto) or thinly for underpainting or glazing.  Usually used over canvas or board prepared with an acrylic or gesso undercoat.  Retouch varnish may be used to even out the shine when finished.  All other varnishes should not be applied until the paint has cured (around 6 months). Oils pretty much maintain their mixed colour once dry, unlike water based paints which tend to dry darker or lighter than when wet.

WATER SOLUBLE OILS:  Inter-mixable with traditional oils, water cleanup if used alone, otherwise turps or odourless solvent. 

OIL STICKS:  contain waxes which bind the stick together. Slow drying, they allow hand use as well as brushing once applied. Solvents are the same as for oil paint.

ALKYD OILS:  oil paints with the addition of a resin to speed up drying. Inter-mixable with traditional oils. Handy to include if you are working to a deadline in drying time. 

ACRYLICS:  contain an emulsion creating a non-soluble waterproof surface when dry.  Can be used thinly diluted with water or other mediums for that purpose or used straight from the tube without dilution.  Texture pastes can be added for impasto. Water cleanup. Can be used on non oily surfaces from paper to board & canvas.

GOAUCHE OR POSTER PAINT: contain a binder which remains water soluble when dry. Pigments used are generally of a coarser quality than watercolours and are therefore more opaque, especially pastel shades which are achieved by mixes that include white. Can be wetted again for further blending.  Framing is usually as for watercolours.

WATERCOLOURS: Top quality watercolours are derived from the most finely ground pigments and purists do not use white, but rather allow the luminosity of the paper to shine through, representing the lighter tones. They are created by the addition of  special water soluble gums.   Used on specially prepared W/C paper available in smooth, medium or rough textures.  Only heavy papers do not require stretching. (See Post on Watercolour)  Framing is usually behind glass with a matt board to prevent the work touching the glass.

WATERCOLOUR PENCILS:  allow for line drawing, shading or wetting up into ‘paint’.  

PASTELS:  Here the pigments have been moulded into sticks using distilled water and a minimum of binders. Some are wrapped in waxed paper to prevent breakage.  They come in square & round sticks + in pencil form.  Usually used on tinted pastel paper which has a texture (or “tooth”) to hold the dry granules of pigment. Spray fixatives prevent rubbing, but tend to darken the pastelwork. Framing is behind glass with a matt board to prevent the work from touching the glass.

INKS:  come in waterproof and non-waterproof.  Very fine pigments are used and good quality inks can provide glowing luminosity over white, which can be increased by adding layers when using waterproof varieties.  Can be used with brushes, sponges etc. and also loaded into special fountain type pens for various thickness of line.  Nibs need to be cleaned frequently.

_____________________________________________

NOTE:  Tony and I often begin by establishing an “underpainting”  in acrylics and then finish in oils – giving us “the best of both mediums”.  Remember you can put oil over acrylic but it is not recommended the other way around because the oil can resist the water based paint over it and it can pull away rather than adhere.  Most canvas boards and stretched canvasses are already undercoated in acrylic, so you may be painting oil over water based paint anyway.

___________________________________________

BEFORE WE GET INTO THE COMPLEXITY OF COLOUR MIXING, BE AWARE THAT WE HAVE 3 MAIN METHODS OF CONTRASTING IN A PAINTING:

1.   THE FIRST IS THE MOST EFFECTIVE – & THAT IS DARK AGAINST LIGHT, THE EXTREMES BEING BLACK & WHITE.

2. THE SECOND IS WARM AGAINST COOL COLOUR.

3. THE THIRD IS TEXTURE AGAINST SMOOTH.

Because the awareness of dark against light (tonal values) is so very important, it is wise to limit the amount of colours used until you feel in full control of tone.  Here are 2 monotone ranges by way of example:

Monotone colour range 2

Monotone colour range

LATER ON, YOU MIGHT FEEL READY TO  LEARN ABOUT THE COLOUR SPECTRUM.

Here then are some demonstration charts for you … all mixed from the 3 primary colours RED, YELLOW & BLUE(+ WHITE, WHICH WE DON’T CALL A COLOUR). 

These three primary colours cannot be mixed so you need to have these ready made in order to begin. They are needed to create ALL the other colours!  

Lets begin with a very basic colour wheel mixed by my grand-daughter, Julia, showing primary and secondary colours..she used a painting knife, wiping it clean with a paper towel in between each mix. Mixing with a brush is messier and it is therefore harder to keep the tints clean.

Next, we made together another wheel, this time mixing some in-between TERTIARY colours as shown. 

Here is a demonstration to show you how to mix a basic Colour Wheel:

Next is a demonstration showing the mixing of complementary (or opposite) colours on the wheel.  Even if all you need to know is how to find – for example – the shadow colour on a red apple (by mixing a little of the opposite colour on the wheel, being green, into the red) this demonstration is of value.

The next chart shows each of the opposite pairs on the above wheels mixed gradually one into the other, then lightened with white for lighter tints. This shows more possibilities than just the single range in the outside ring above right. Remember all these are still from just the three primaries RED, YELLOW & BLUE + white.  Isn’t it wonderful?  What a beautiful range of colours and tints they give!

Of course the end result varies depending on which red, yellow & blue you started with!

The trick to getting a good purple range is to use a red and a blue that have no yellow content within them.  If a hint of yellow is in there the result will be more browns than purples.

If you are starting out in painting and wish to develop a feel for colour harmony, delicate mixing and tonal values (darks to lights) it is a good idea to try a few paintings using  just one row  from the above chart. Here are some examples…(the first, red-orange to blue-green, which is the range most used in landscapes). You will need a good sized palette and a mixing knife (the ones with the raised handles are best to keep your knuckles out of the paint!)

 

The cityscape below I based on a RED TO GREEN mix – but instead of lightening with just white, each was lightened with lemon yellow plus white for a golden look.  This is a great way to avoid “chalkiness” in a painting.  This painting is executed with a painting knife rather than a brush, for texture.  I just love the buttery texture of the paint used undiluted this way!

Now a complete change of colour scheme…beautiful and unusual for evening landscapes or seascapes…

When Tony and I were lucky enough to enjoy a trip to the UK and Europe, we travelled most of it by train, armed with sketch books. Once home I did this little painting of the picturesque lane in Venice where our apartment was, using the colour range shown…

___________________________________________________________________________

  Whilst the above formulas work, there are many occasions when we don’t have a lot of time for mixing colours OR we may be using water-soluble fast-dry paints and need to work quickly.   So…. here is a          

                                     QUICK-FIX  MIX METHOD:   

THIS IS A SYSTEM  USING A “MOTHER COLOUR” (A MIXTURE OF ALL 3 PRIMARIES), THEN WARMING & COOLING IT ETC. YOU MAY NEED A TINY AMOUNT OF ADDED BLACK AS WELL, AS PER THE LEFT HAND COLUMN, OR TO GREY ANY COLOUR THAT IS TOO BRIGHT – (USE VERY LITTLE OR IT WILL DEADEN THE COLOURS). HERE IS A VISUAL CHART WHICH MAY HELP YOU:

Using this “Mother Colour” method of mixing leads you to creating what we call the more subtle “EARTH COLOURS” whereas colour wheel methods tend to result in brighter ‘SPECTRUM COLOURS”. 

In commercially available oil paint ranges EARTH COLOURS are readily available in tubes and are very convenient if you enjoy landscape painting in particular, to save you mixing time.  Some are derived from the ochres found in the earth and rocks, whilst others are synthetic.  Below are some earth colours from the Art Spectrum range of oils.  They all have four asterisks **** which means they are highly resistant to fading.  (Try to avoid anything labelled  ** or *** as they are not as permanent). Some of the earth colours shown are opaque (dense with pigment) and cover well, whilst others are semi-transparent or very transparent.  The more transparent paints are very glowy over a white background and are also useful for glazing (see separate post on “MISTING AND GLAZING SECRETS”.

            

ABOUT DRYING TIME:

If you choose water-based paint such as acrylic or poster colour, you may find that your colours will begin to dry on the palette before you can use them.  To avoid this, mix in a shallow plastic lidded box (I use a file case) and spray your palette with a little water occasionally to keep the paint from drying.   Whenever you aren’t using the paint, close the lid to keep moist.   There are also commercial liquid retarders which slow the drying of acrylics. With oil paints you won’t have that problem so much as they are slower drying but it still helps to exclude air from your palette when not in use. 

Hint: Be generous with your initial amounts of the primary colours – remember they have to go a long way to create all the others – and you will need on average twice as much of the yellow as the other two.

You will  find my favourite PORTRAIT MIX under the PORTRAIT PAINTING post.

Finally, I just want to point out the importance of TONE in painting.  TONE MEANS DEGREES OF LIGHT TO DARK and is by far the strongest means of creating good compositions.  We have 3 main ways of contrasting in painting:

1. TONE (LIGHT AGAINST DARK)    2. COLOUR (WARM AGAINST COOL)   3. TEXTURE (TEXTURE AGAINST SMOOTH)

THESE ARE THE TOOLS WE USE TO  CREATE ILLUSIONS ON A FLAT SURFACE.

Here is what I mean by tone below. You can see it clearly goes from light to dark when you look at the black and white range but it takes a more practised eye to see degrees of tone when you look at colour, especially when they are next to others out of sequence…

It is very important to keep control of tones when you are painting and very easy to lose that control when you use colour.  It is just something to be aware of.

Good luck and happy mixing!!!  I hope you have found this post helpful.

Julie

Note: THE “AUSTRALIAN ARTIST” MAGAZINE   FEB.2009 EDITION   FEATURES A 6 PAGE ARTICLE BY JULIE  “FREE & EASY COLOUR”   page 22/27.

 

About these ads

Responses

  1. best site I have seen yet. thanks

  2. Hi i just want to know can you please just give me tips how to make colours like Fresh leafe and avo etc. I am just a person trying to help myself in my fabric painting. For example:
    Yellow + Blue = green. Some of those kind of tips please.
    Your work and paintings look exellant.

  3. Hello Sonja,
    Happy to try to help. Mixing from primary colours (red, yellow and blue) varies with WHICH red, yellow and blue you start with and then there are hundreds of tints achieved by the amount of white added or the amount you dilute the mix. The purest mixing comes from:

    1. a red which has no yellow in it to start with (Called different names in different brands of paint – e.g. Rose madder, Magenta, Crimson)
    2. a yellow which has no red in it to start with (a Lemon yellow) and
    3. a blue without any red or yellow in it (French ultramarine).
    Fabric colours might be called different names. If you have a colour printer, you could look at the colours used in the inks to get an idea of what the 3 primary colours should look like – otherwise go to an art shop and get a colour sheet showing the oil colours, which will have the colour names I have used above.

    If you are not using black and want to mix dark colours from your primaries, you will need a darker red (crimson) and a darker blue (Ultramarine).

    Your purest greens will come from a lemon yellow with Cyan blue (Coerulean is another name for it) – once again, look at the colour printer blue ink and try to match that.
    Then you can lighten with white or in fabric paint, dilute with clear to make it lighter (if you are working on white fabric). If using coloured fabric, lighten with white.

    If you want your green to be more like an olive green (as in Australian gum trees for example), you add varying SMALL amounts of red to the yellow/blue mix until you get the colour you want.

    If you want a darker green, then you will need to use a darker blue to start with, such as Ultramarine.

    Remember that all greens need a VERY small amount of blue in relation to the big amount of yellow, so add the blue to the yellow GRADUALLY. (that way you can always add more a bit at a time until you find the colour you are after.)

    Good luck! Julie

  4. PS to above reply: Sonja if you look at Julia’s colour wheel at the beginning of this Post you will get an idea of the red, yellow and blue needed to mix just about all greens you would want.
    Julie

  5. Hello, I need your help:

    1. I want to draw picture using poster colour on a piece of plywood (medium brownish colour plywood with wooden texture), do I need to paint white colour first to hide the brownish textured colour before I paint with other colours? Or just directly paint the colours I want, without put white first?

    2. What is the ratio of poster colour & water should I mix?

    Thank you very much for your favor.

  6. Greetings Husein…
    Re your enquiry re using poster colour on plywood…I am not an expert, but am happy to share what experience I have.

    I would suggest that you would need to first paint the ply with flat white water-based undercoat -otherwise the colours may not be as bright because of the paint sinking into the wood.If the plywood has a varnish of any kind on it already, it may not take
    water based paint -in which case you would need to use oil base paint. However if it is plain untreated ply
    water based paint should take to it OK.

    In my experience in Australia, poster paints have been pretty much superseded by acrylics, which are much more permanent because they are waterproof when dry – whereas the poster paints I have used are not. Therefore acrylic paint would be my preference to use on plywood. However if you still choose or need to use poster paint, I suggest using a minimum amount of water with it.

    You have not mentioned if your poster paint is in dry pan
    form or in tubes -also different brands vary. The principle is the same though – using just enough water to make the paint fluid enough to spread will give the best coverage. Kind regards, Julie Duell

  7. This is a really interesting blog post,I have added your blog to my favourites I really like it,keep up the good work!

  8. Could you send any hints for air brushing with water based paint some times it clogs what type of thinner can a person try to stop this !! HELP

    • Hello Cecilia,

      I have only airbrushed with water based inks on papers
      and with water based fabric inks on tee shirts so my experience is limited
      but I will give you what I can…

      The thinner for water based paint is water.
      Thinners for enamels are various solvents (as used in spraying cars, etc.)

      However, if you thin your waterbased paint further than in its original
      form, you
      will also thin the pigmentation and reduce the amount of coverage when you
      spray – so I wouldn’t recommend this unless you are
      using old paints that have condensed. Are your paints designed for
      airbrushing?

      I recall having clogging troubles early on and learned that I had to put the
      brush into a tub of clean water and blow EVERY time I walked away,
      even just for a cup of tea. If any paint partially dries in the airbrush it
      will
      want to accumulate and block – especially if using waterproof inks,
      which become non water soluble when dry. Cleaning the nozzle regularly
      is a nuisance, but has to be done I’m afraid.

      Shaking the paint well before use and running it through a fine sieve to
      remove any particles can help prevent clogging too of course.

      Sorry I can’t be more specific. Airbrushing is for patient people isn’t it
      as the fun spraying part lasts so little time compared to all the
      preparation
      and cleanup time. That’s why I gave it away in the end – that and the
      noise of the little compressor, which I found offputting to creative
      relaxation.

      Good luck Cecilia – let’s know how you get on.
      Best wishes, Julie

  9. Hi there,

    I was wondering if you knew of a way to teach pre school children to mix their own secondary colours? I am a teacher training student and would like to try something like that out with my nursery class…

    Thanks,

    Al.

    • Hello Al – Please check the beginning of this Post No. 11 for a new addition covering your enquiry. Julie

  10. Wow! That’s a fantastic and original idea. I really appreciate that and will try it out next week. Will let you know how it goes!

    Thank you Julie!
    Al.

  11. If you ever want to see a reader’s feedback :) , I rate this post for four from five. Decent info, but I have to go to msn to find the missed bits. Thanks, anyway!

  12. Sorry you have trouble viewing this post Pirsey – I can’t see how I can improve on that as the picture file sizes are quite small. It comes up quickly for me & others I know on Google. Thanks for letting me know though. Julie

  13. Hi Julie,

    Just to let you know it went perfectly! It also inspired me to do a few follow up sessions and demonstrations that also went well so thank you!

    Al.

  14. G’day from Northern Ireland

    I’m just starting out with acrylic and was trying to use a brush to mix colours – messy and an overloaded brush. Will now go and buy a palette knife!

    Great site which I intend to visit often. Thanks.

    • Hi Gary, Yes definitely buy a mixing knife – one with a raised handle is handy to keep your knuckles out of the paint
      while mixing. These are called “painting knives” rather than “palette knives”. Plastic ones are cheaper than metal & wood.
      You will be able to mix cleanly, wiping the knife clean on a rag or tissue – then pick up the required amount of paint on the brush. Saves paint and much neater working method. Dont’ forget the golden rule of mixing – add darks to lights VERY gradually, then you can always add more as needed. Good luck! Julie

  15. hello mam,
    its faria .i am from bangladesh is in south asia .i saw ur website its really helped me to do work for my boutique.but mam i need to know which colour goes with what colour as example we know red & green goes nicely but some i am bit confused which colour match with purple. please if u let me know i will be greatful to u. bye
    Thanks
    Faria

    • Hello Faria, I am very glad my website has helped you. As to your question, if you want harmony in your colours choose the ones next to each other around the colour wheel. However if you want contrast, choose the opposite colours on the colour wheel. For instance: harmonious colours for purple are blue and red but the contrasting colour for purple is yellow (which is opposite purple on the colour wheel). When you say you like red and green together, this is probably because they are opposite one another on the colour wheel too. Apart from this guide, it really is a matter of personal taste. I hope this is helpful to you. Best wishes, Julie

  16. What a great blog and your lesson on mixing colours for kids was great advice!

    I bet you turned on a lot of kids to loving art using your approaches.

    Thanks for setting this up!

    • Wow! Thanks Tim. I hope you are right – nothing would please me more. I have also just put up a short animated story on colour mixing for kids – http://www.kidsfuncorner.com and open the “Stories” icon, then “The Rainbow Fairies”.

  17. Hi,

    I wasnt to do a painting with poster colors + acrylic. Please comment on with possibilities and tips.

    Regards.
    Hemant

    • Hello Hermant – Both poster colours and acrylics are water based on and can be diluted with water + brush cleanup is with water. The difference is that acrylics have a binder mixed into the pigment which seals the paint so that it does not move again once dry.
      Poster paints can be wetted up and made soluble again after they are dry. Because of this difference, acrylics can be laid down over one another without disturbing the layer beneath, whereas poster paints can be softened and blended by adding fresh paint or water to them after they have dried. Good luck.

  18. Hello – I am new to painting and am really glad I found your site as it’s very informative. When you are using just one row of colours from the colour wheel as in Yarramalong Eucalypts, how do you decide which colour to put where, as these are not the actual colours you see in the scene. Thanks for you help.

    • Hi John – Thank you for your comment & question. There is no set formula for choosing where colours go in your painting. This is where personal choice and preference come into play – so welcome to the world of the individual artist! One general guide that may help you though (in a landscape) is that warm colours tend to belong more in foreground and cool colours recede. This is because the atmosphere of air between us and the distance reduces the brightness in colours.
      If you work in quick drying acrylics, you can easily try things out and paint over them until they please you. Good luck!

  19. I was just writing my ‘Kids Creativity’ blog about mixing colours and found your article, I think it’s great so I’ve added a link at the end of my blog in case any older kids/parents want to know more. My blog is aimed at parents of pre-schoolers so the ideas are very simple! xx

    http://www.faerieclareart.com/blog.php

    • Hello Clare – Congratulations on your website – very interesting – and thank you for linking to this site. For young children, I have created an animated story about colour mixing which may interest you, called “THE RAINBOW FAIRIES”. It is on http://www.kidsfuncorner.com under the ‘STORIES’ icon. There are also lesson plans for colour mixing under ‘PAINT’ and ‘KINDY KIDS/ACTIVITIES’ icons. Colour mixing is such a magical experience isn’t it?

  20. nice blog i need to make a gud painting out of poster paints but i mnot gud at painting at all wat shuld i do to make a nice painting pls tell thanks in advance

    • Hi Robin – There is only way to learn to paint and that is by trying. Why not set up a bowl of colourful fruit on a table and have a go at painting it. Have fun!

  21. My query is to do with landscape/seascape colours of Australia. I attend classes but when at home I always hit a brick wall when I come to wanting to mix colours for the Australian bush which is so different to that of Europe, and I have so far not been able to find instructions on line and nor have I found any books that cover the topics of Australian colours. When instructions are given,( as in how to make green for example) the actual yellows and blues are not given. Each make entirely different greens and depending on where on the canvas they are to go, may dictate whether the colours need to be warm or cool. I would find having this information at home extrememly helpful as l simply don’t progress at home. I am trying to paint fine day clouds at the moment but don’t know the colours I need to use other than white mixed with a red (but which red?) or blue (but which blue?) or yellow (but which yellow?)

    • Hello Jenny – Thank you for your question re Australian colours in landscapes and seascapes. In order to help specifically I would need to know which paints you are using, because colours are named differently by various brands, especially in acrylic ranges. What I can say is that colours found in the Australian landscape are generally much more olive than those found in Europe. This means that there needs to be some red or orange added into the greens created by blues and yellows mixed together. There is no exact formula for sky, clouds, landscape or seascape colours because colours vary so much with the time of day and atmospheric conditions. May I suggest applying an overall colour mix wholistically to a painting rather than looking for a formula for say Please let me know which paints you are using and I will be happy to try to help further. – the shadows on clouds etc. as separate to other elements in the landscape. As for greens, one can achieve a range of subtle olive greens by mixing yellow with a tiny bit of black (instead of blue). Also whether you are working from life or your own reference of a place you know well. Close observation and plenty of practice mixing colours – warming and cooling them, lightening and darkening them – these are the keys to your success.

      • Dear Julie,

        The paints I use are a mix of Art Spectrum, Daler Rowney Georgian, a couple of Windsor and Newton’s Winton and a couple of Mont Marte, depending on where I am, prices and availability. If I can I try to buy Art Spectrum but I can’t afford the more expensive colours in this brand. I recently bought cadmium red in Georgian due to cost.

        I am assuming by your comments above, that unlike the actual landscape, there are no specific colours for the clouds here in Australia, and that it is more to do with (as you have said), time and atmospheric conditions.

      • Hi Jenny, Ah good – now that I know you are using oils I can indicate colour names as most oil manufacturers use the same names. You will find the earth colours very useful in Australian landscapes: Yellow ochre, Indian red, Burnt sienna, Raw sienna, Raw Umber & Madder brown. Blues: Coerulean blue, French Ultramarine & Cobalt. Avoid buying sap green as it may not be permanent (cracks when dry).

        For an olive green range: Using Yellow ochre as a base, mix a little Cobalt blue and Indian red into it. Then add gradually more Cobalt to the mix alongside. Then alongside again, add a little more Indian red into it. Finally, lighten with white where needed. For a sunnier look, try lightening with lemon yellow + white. Remember you need at least 3 tones to make something look 3D – a dark, a medium and a light.

        I seldom use any colour that is a mix of only 2 primaries (red/yellow/blue) – subtlety comes with mixing all three in various amounts, even if one is just the tiniest touch added into the other two. Using all 3 means you can play with warming or cooling the mix.

        The colours in everything we see change with the light, time of day and weather conditions. When we paint, we take much more notice of these changes around us and these observations become an added joy in appreciating life. Good luck Jenny. I hope this is helpful. I am thinking of adding another post re Australian colours very soon so stay tuned. Julie

  22. Hi! I saw you and your work only now. I’m delighted! God bless you forever more… Congratulations and thank you. (Of Brazil people) I think I will return here often. Bye!

    • Thank you Clara! Happy painting! Julie

  23. This is really helpful!! I am a beginner to painting, I can’t wait to start mixing! Thanks for this!

  24. very helpful page… pls suggest way to reuse dried poster colors(mix with some oil etc.)

    • You can simply mix your dried poster colours with water for use. Julie

  25. Hi Julue,
    Thank you for giving us so much of your wisdom from many years of painting.

    I really appreciate your generosity and believe that what you have imparted will help me in my creative painting journey.

    Bless you richly!

    Trish

    • Hello Trish, Lovely terminology “creative painting journey”. I wish you joyous challenges along the way and thank you very much for your comment. Julie

  26. HOW DO I MIX GREEN TO GET DIFFERENT COLORS OF GREEN. HOW DO I MIX RED TO GET DIFFERENT TYPES OF COLORS? PLEASE I NEED THE ANSWERS LIKE THIS [YELLOW + BLUE= GREEN] CONTACT ME THROUGH MY EMAIL. { fredrickifeanyi@gmail.com}

    • Hello Fredrick, I suggest to start by looking at the category marked “Colour Mixing & Paints in General” on http://www.artintegrity.wordpress.com which should cover answers to your questions. You have to buy the primary colours (red, yellow & blue) as they cannot be mixed, then all other colours are created from them (+ black & white). The basic greens created by mixing yellow & blue can be made into olive greens by adding small amounts of red or orange to the mix. Enjoy.

  27. Thank you so much Julie :-)). I’m a mom who has 2 month baby. While I am feeding her I read your website. You inspired me and teached me essential tips. You are awesome :-)))))))),

    • Hi Maryanne,
      I am so glad my website is helping you. When my children were small is the time I began to really get into art so I understand where you are at. The playpen became my ‘studio’ actually!! It looked pretty funny if someone came to the door and Mum is in the playpen while the children play outside of it. Good luck with your art & please feel free to send any images to me. I would love to know how you are going. Julie

  28. awesome tutor!

  29. I’m really grateful for the info you’ve provided! I have a much better understanding on colour mixing now. Thank you :)

    • Very glad to be of help!

  30. I am 92 young, and have started painting useing Mont Marte from Flash Harry shops. I find your articles very useful, and find from a distance my efforts are sort of. My difficulties are in painting over water colours, by water colours to right an error, especially in trees.. Thank you Julie. Joe.

    • Hello Joe – Congratulations on your new art career! Glad to be of help. Enjoy!

  31. Hi Julie, I’m Marietjie from South Africa. I also just stumble upon your website. FANTASTIC. I went for professional classes (still feel like a beginner) and also struggle with mixing and understanding color. In class we didn’t give chances to make any notes. Every time it is a case of mix a little of this and a little of that. I stopped going because its very expansive and at home I cannot seamed to help myself at home. I’ve marked at the top page to following to get emails but I don’t get the confirmation email.(marietjie.bekker@gmail.com) I also struggle to keep my interest to do some good painting. We lost our only child (son, 24) 2 years and 4 months ago in a tragic car accident. I struggle to get out of bed daily and since Monday decided to try and force myself to get up early and try and paint. But once I started to struggle with the mixing and color choice I just leave and return back to bed. I will deff will ask for more help in the future. Thanx VERY MUCH for now for every I could learn at your site. Love Marietjie

    • I am so happy to be able to help you with colour Marietje.
      Don’t forget that contrast in tone (light against dark) is the most powerful tool in painting, so if colour is a problem, just choose one colour plus black and white and try that for while. Later on, choose 2 colours plus black and white & so on. This way you will stay in control of the composition. Some expressive painting of how you feel can be very beneficial in dealing with emotions. I am here to help so don’t feel alone. Julie

      • Wow..!! Finally got wonderful site.Thank you so…much for the information.
        Will you please suggest how to start teaching kids colouring ? My kids know about colour wheel…but am confused how to use them in colouring..
        Recently I bought 1 canvas..1st time am gng to start painting on canvas.so will you please tell me how to prepare base for painting? For the poster colours.Do I have to apply any primer or base?? Or shall I start direct using colour??
        Pls..help me…

      • Hello and thank you for your comment and questions. I suggest you just let kids experiment with colours and gravitate to their favourites. I have a childrens’ website which may be helpful http://www.kidsfuncorner.com
        Re your canvas, most ready-made canvasses on stretcher frames are already primed with a white acrylic base.
        If so this should be on the label. If the canvas is raw you will need to give it a coat of gesso before applying colour. I haven’t used poster colours on canvas myself, preferring acrylics because they are waterproof when dry. I’m no expert on poster colours except that I know they are suitable for works on paper and are similar to gouache (opaque watercolour). I guess the best way is the way I learned almost everything about art – just go ahead and try it! Enjoy!

  32. Wow that was a good refresher. You have put in a lot of work!

    • Yes a lot of work & it would all have been lost when my teaching charts got soaked in a roof leak. It was then that I decided to photograph them and put them on the web…so something good comes of everything! lol


Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

Categories

Follow

Get every new post delivered to your Inbox.

Join 362 other followers

%d bloggers like this: