Painting with just PURPLE and YELLOW – Limited Palettes #3

yellow and purple color palette This is a topic that many people are looking for. is a channel providing useful information about learning, life, digital marketing and online courses …. it will help you have an overview and solid multi-faceted knowledge . Today, would like to introduce to you Painting with just PURPLE and YELLOW – Limited Palettes #3 . Following along are instructions in the video below:

“Guys are leisha here and welcome to another video today. We are jumping right into into our third limited palette thing and we re moving on to our third pair complementary colors. Which is going to be purple and yellow. I m starting here with a pair by core this is their quinacridone violet and cadmium yellow primrose.

This was the first pairing that came to mind for me. When i was considering purple and yellow course quinacridone violet tends to try a little bit more dull and because this yellow is so cool the mixes don t have a ton of vibrancy and they re relatively soft and dusty and d saturated. Which was something that actually really really appealed to me purple and yellow was the combination of color. So that was actually the most nervous about because i don t like purple.

Very much i ve talked about this a lot i m very picky about the particular shade of purples that i really really like for example now we re moving on to some white nights colors and this is naples yellow by white nights. Which i really love and i ve talked about before and also they re pv3. Which is a dioxin violet and this cool purple. Is actually the reason that i m not a super big fan of purple s the color is beautiful and very deep and lovely and has a lot of versatility.

But i just don t like it very much myself. I do like how this mix here. Though goes right into sort of a raw sienna and really dusty purpley colors that s a lot of fun. But i found that that mix didn t provide me with very much warmth.

So i was a little worried that i would feel too limited with this one. But that s kind of silly because in the other palettes have done they want mean they re all limited. But there was something about purple that it makes me want it to be a little bit more red. I want to have something a little bit closer to a magenta.

Which isn t the same as purple of course. But i couldn t get that idea out of my head. So it took me a while to realize that that was what was holding me up was that i wanted purple to be magenta and once i got past that i was able to enjoy this palette a bit more the last pairing. I did on this sheet.

Was majella mission gold s yellow with mineral violet and mineral violet is a really interesting color. Because it granulates so heavily so it provides really interesting texture to any of the mixes made with it the weird pooling that you see here of my paint definitely is not the fault of these colors or even of my brush this just goes to show you how important water control is i wasn t really making much of an effort to dab off excess water and moisture from my brush before making these swatches which is why we have lots of pooling..

But i actually kind of like the effect especially because of that granulation in the mineral violet. I like the way these swatches looked when they were dry. I like the extra texture that they have i did so much swatching for this pairing. And i even played with some colors that were closer to magenta specifically.

This quinacridone violet over here on the second sheet. With my little thumbnail is actually white night. It s the same pigment. And it has the same name they re both called kona cretonne violet.

But this one is so so clearly closer to a magenta and has a lot more warmth and the colors mixed with it are much peachy er and i was thinking oh. This is fun this is more like what i usually do. Which is exactly why i didn t do it because it s so much like what i usually do and i wanted to try something different i wanted to challenge myself. And i wanted to see what kind of art would come out of using a pairing that i was afraid to use so in the end.

I ended up going with the first pair that i had tried out which was coarse quinacridone violet and that cadmium yellow primrose. So specifically going with colors that i knew were going to be a bit more muted with less saturation to see what kind of atmosphere that would create it may not be a go to pairing for me. But that s kind of the point of this challenge this whole thing that we ve set up here is i want to try things that are unexpected and a little bit different and see how i like them. And see how it goes.

I did end up pulling one of the ideas that you may have seen in the sketchbook two hour video that i put up last week. Just a simple little thumbnail that i did that i was really looking forward to painting. And told. Myself.

I was gonna do at some point. And finally actually i am exploring that idea for the first time today. I do think i will be doing more iterations of something similar to this and playing around with some of the ideas here. But the thing.

I was most excited about for this particular piece was the idea of well multiple things one. It wasn t just going to be a portrait there is a figure included..

But it s a bit more surreal. The face is actually facing away from us a bit and isn t even the focal point. Really i wanted to play around with subtractive painting specifically for this one to create the sort of branch like shapes up at the top. If you re not familiar with the concept of subtractive painting.

It s basically carving out shapes by working in darker values. Which kind of seems like what you do with watercolors all the time. But specifically i m going to be creating my branches. Not by just painting them in but by leaving certain spaces blank.

With each new layer and carving shapes out with darker layers. It seems a little confusing to try to explain that way. But i m sure you ll understand what i mean as we go i was really excited about working with this particular technique. Because there s so much layering involved.

But with each new layer you re covering less and less space. So with each new layer. I m leaving more and more of the previous layer to show through to create new branches and i m getting darker and darker and those colors are getting deeper. But because they re all in layers.

It creates this really soft delicate almost sort of a wafer thin effect that i really really like and just because we re working in multiple layers. Doesn t mean that each new layer has to be exactly the same color as i was working. I decided that i wanted the left side to have a bit more of the violet and then the right side to have a bit more warmth and more of that yellow. So there is this kind of slow gradual gradient from one side to the other with lots of little details to look at lots of growing structure.

And i really loved watching these shapes emerge with each new layer and because you re working in layers. Each new set of branches is a a bit darker a little bit deeper than the next so it creates this beautiful sense of depth or it looks like some of them are further back and some of them are closer to the viewer. And it s just something that i have been telling myself. I was gonna play with more for a long time and i kept putting it off and putting it off and i want to use it a lot more i want to do a lot more with this technique of course.

There are so many different ways to apply something like this i m working in lots and lots of layers here but you could just lay down a really loose wash of a bunch of different colors you know in your first layer across the entire piece and then go in with something really really dark and carve out your shapes that can be a lot of fun too and i actually really enjoy how repetitive this sort of painting is it s actually kind of therapeutic to just work one layer at a time and just build and build and build and vary the colors of the washes. So it creates just a bit more interest of color just a lot of different shades throughout the whole area..

And i really like it every new piece does always feel like a bit of a surprise for me. Because i don t do a ton of pre planning. And i sometimes do little thumbnail sketches and sometimes. I know what colors.

I m using specifically for this challenge. I do which is a little bit of a rarity. I don t always know exactly what colors. I m going to be using so it s fun when a piece surprises you in the end.

And it s not exactly what you thought it would be but that s only because in this particular case. I didn t know what i thought it would be or how it would turn out in the end and overall. I am really happy with how this piece turned out after a while i kind of stopped thinking about how limited my palette was because i was working more in subtle shifts of hue and in building up the values. Which i think is most important anyway so i think working in limited palettes like these is actually a really really fantastic and valuable exercise.

Because it helps you to think about just your process for painting and knowing when a piece is done knowing when an area needs more work without just going i think i ll add this color or making just arbitrary decisions. You can kind of structure. The piece a bit more and the color isn t as much of a distraction and it just streamlines things a bit i got to a point where i wasn t really able to tell if i needed more depth in the upper portion of this painting. So i needed to work on the figure itself for a little while i went through and added.

Just a bit more form and a little bit more dimension. But the head overall. It was feeling really empty and that like there was just a lot of blank space in the head. So while i was trying to figure out what i was gonna do my husband was walking through the room and i asked him if he could just tilt.

His head up a little bit and let me take a picture of him for reference. And that was how i got kind of the pose for the ear. I ended up adding to this painting. I originally wasn t planning to do that to add much structure to the head at all.

But i thought that an ear would be a great way to add some dimension in the middle of the form between the body at the bottom. And the branches at the top and the form is still pretty abstract..

It s not super realistic or highly detailed. But i think it just creates a nice place for the viewer to look when seeing the whole piece. And it gave me an excuse to paint in some of the other muscles around this area like the twisting muscles of the neck and including some of the form of the spine. Which i really liked towards the end of this piece.

I actually kind of forgot to go back in and add any paint splatters or white gouache or super light and energetic texture at the end of the space. Which i usually do that s usually one of my last steps is splattering paint all over the place. And when working on this piece actually just kind of forgot which in the end. I m grateful for i feel like it gives the piece more of a look of a frozen static moment.

Which i like the overall effect of this color palette. Ended up being a lot of fun i feel with these two color palettes. I often end up using a lot of the individual colors and not a ton of in between shades or end up. Favoring one or the other and with this one i definitely relied pretty heavily on that quinacridone violet and the mixes it made with the yellow not a ton of the pure yellow on it so.

But i m still really really happy with how this piece turned out as a comparison. I wanted to see what a super limited palette piece. Looked like next to a piece that didn t have a really limited palette. So this is another piece that i painted recently and this one.

While i didn t use every single color in the palette. I still had a lot more variety of maybe five or six colors and you can really see how much the limited palette affects the atmosphere of the piece especially when you re comparing it to other pieces that incorporate more colors or even just different colors. So i thought that was super super interesting this piece is available for sale on my shop and prints are up there as well if you re interested you can check that out via the link in the description. Thank you all so much to those who have been kind of participating in these challenges and working with these colors alongside me.

I m really loving seeing all of your art and the things that you re putting together and i can t wait to see what you guys come up with for purple and yellow feel free to experiment with different colors. If you d like i hope you guys have enjoyed watching this video. And i will see you all next week bye bye. ” .


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“Support me on Patreon: shop: this piece: available here: color combo should I do next? I haven t decided if the next palette will be two colors or three! So many decisions to make. 😀 nnMATERIALS*nPorcelain Palette: Watercolorsn- Quinacridone Violet: Cadmium Yellow Primrose: Black Velvet Oval Wash: quill (sizes 1 and 4): Watercolor Paper (for swatches): nCanson Heritage HP Paper (for final painting): Tool: n*I am an Amazon, Jackson s, and Blick Affiliate, and purchasing ANY items using these links will help support this channel at no additional cost to you! Thank you.nnCheck out my newest class and try Skillshare free for two months: s connect! nnInstagram: Amazon Wishlist: nn(See the things I m interested in currently. You might enjoy them for yourself, or it s a good way to gift something to me if you ve ever wanted to do that. Please don t feel obligated to do that, however. )nnPO BOX: nArleesha YetzernPO Box 127 nHamburg, PA 19526 nUnited StatesnnMUSICn”Mornings” – Sebastian Winskogn[ “,


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