 Well, hi there. I'm Sandy Olnok and I want to show you my hexchard book. I finally put something together. Everybody else has theirs in a nice stored place and I have not. So I've got everything in a notebook now so that I hopefully won't lose them again. And what I have done is created some sections for each of mine. I made my own little homemade tabs because that's what I do and everything's yellow. So it should make me happy and I should put everything back, right? Let's hope. Well notice that there is a Copic, a pencil, and a watercolor section. Don't let this tab get you too excited yet. I'll explain what's there when I get there. But the Copic hexchart was first and it came along because the charts that I was seeing all over the place from the company and from other people were these where they went from light to dark, light to dark, light to dark in each color family and I wanted to compare that skin tone and that skin tone and those sort of things. So I wanted to compare all of these mid-tone yellows to each other and know which one I wanted to pick or basically I didn't want to get up and re-ink something so which color could I substitute that was close. So I spent months and months putting together a chart and it has not been updated because so far Copic hasn't added any colors. If they add any colors then I'll deal with that at the time. But I've printed mine on other colors of paper that I do artwork on just so I know what the colors will look like on that. And while I was doing some cleaning I found something historical and fun. 11708 was when Marianne found out I was certifiable. So I'm a certified Copic artist. There's also a human rainbow chart and this chart comes with some of these, not all of these, but comes with some of these little charts that I've made for myself over the years. I'm trying to gather them all in one place as well. But you can pick that up for free in the same place you get all the hex charts. There's also pencil charts. So I made these for pencil users. There's a Prismacolor. There's a Polychromos and a Luminance and I've printed mine again on different colors of paper so that I can see what they look like. You can color with pencil on black but then the numbers disappear. So I've printed out the chart itself on acetate. So I can just lay it over top of that and then I can read what the numbers are and know which colors are going to show up and to what extent. And the way a lot of people use these hex charts is to find out what color goes with something. So they want to use this and take a jump over a couple in different directions and you might find a color that you can use for blending. And that is where I went when I was thinking about whether or not to do a watercolor hex chart. So now let's talk about watercolor. Watercolor, I made a hex chart a couple of years ago I guess when I first started working with Daniel Smith paints because I just love them and this is not even perfect. They're just out of order here but it's really nearly impossible to do a chart like this and let me tell you why. One is that if I were to sell a digital image of this you couldn't print it out on paper that's watercolor-able as well it wouldn't have ink that you could watercolor over. There's very few printers that could accommodate that. So even though I did this and it was an exercise it's also outdated because Daniel Smith has already added a whole bunch more colors to their palette. They add them all the time whereas these guys haven't added anything in in ages. So those are more stable color collections. This one is not. This also doesn't take into account a lot of people who like to use multiple brands and you would want to see those next to each other as well and I want to see them next to each other. So this only exists to remind me of how painful this was, how hard it was, and that I don't want to do it. So we're going to put that away as that reminder and what I've done instead is done one and a half inch swatches. First I have my palette in here and this is labeled as my 2019 palette. I'm actually going to do another sheet of these with my previous palette because I want a historical record of what was I using at different times and why did I make choices to change from one to another and I could just do that with another sheet and each one of my little cards here I can swap out at any point if I decide to change my palette or make a new sheet if I come up with a whole new color collection or if I have an alternate palette. Maybe I'll have a palette someday that's going to be my going out on site palette versus my staying in the studio palette or going to a particular place when I go to Puerto Rico. I change my colors because of the colors that are there and so I can put together any number of these kinds of things for myself and I have now individual swatches for each of my colors and I'm going to begin using those when I post paintings and that sort of thing so that people know what colors I used because before I had to do it in the comments and it's a little easier to do with swatches than a photograph so watch for that to start happening in hopefully the near future and what else I've got here is everything else that is available in the Daniel Smith collection plus and what I mean is it's got all of the the Daniel Smith colors in here and I've mixed in some of the others so anything without a little notation up here is Daniel Smith and then for ones that are not Daniel Smith I put a W for Windsor Newton and G for Grumbacher and M for M Gram and that sort of thing so I've got them all labeled but it allows me to put a color from another company right next to it and see what the differences are now here I can see there's a definite color difference between the Daniel Smith and the Windsor Newton and it doesn't mean that one is right and one is wrong it just means they're different and I can look at some things to see what might be different and PY 40 is the number of the pigment for both of these I don't know what causes one to come out one way and one come out the other but I find that interesting if I look over here at cadmium yellow medium and then this is just cadmium but these are both cadmium yellow medium and I can look at the colors that are listed here and they're using totally different colors PY 53 P what PV 151 and PY 83 here they're using PY 3 and PY 65 so now I know that those are both going to act really differently this one is PY 35 and I don't know if it's a medium or not it looks like it should belong in the medium family or maybe in the deep family so it might be that but it's still even with the cadmium yellow DPU PY 53 and PY 83 versus PY 35 so just because you buy the color name doesn't mean it's going to be exactly the same from brand to brand and this helps to understand that here we've got Daniel Smith napal napal's yellow plus core QOR I think that's how you say it napal's yellow and look at the vast difference between them this one has PW which is a white has PY which is a yellow and a PR which is a red this one has a PBR which is a brown and a PBK which is a black with a PW so that's why these two are very different colors they have totally different pigments in them but you have to do a little research to get those numbers for other companies Daniel Smith I'll show you in a minute has all that laid out for you and so since I had mostly Daniel Smith I thought well I could do that and it would be interesting stuff to see and I'll explain a little more about how I made all of my little color swatches in just a minute but I've got them all laid out here and I went in rough color order and the reason that I don't need a hex chart to show me this is because I'm never going to look at this color and decide I want to make a shadow color for it I'm not going to grab cascade green I'm not going to grab another color near this I'm going to find a different way to mix another color to make a darker phthalo green if I'm going to do that I might add some neutral tint to it or something to darken that color or find some other ways and in watercolor there's a ton of different ways to create that kind of depth but you wouldn't do it the same way as you would approach Copic marker or pencils so this is helpful to me in order to see all these kinds of things but not necessarily in terms of picking colors to shade with which is what hex charts are for so here's another good example there's three different sap greens this is Daniel Smith core and Windsor Newton and they look roughly the same but they have different colors that are listed for each one it's kind of amazing to me that they they all took different routes to get to the same place and down here we've got sepias and these three sepias are very different in color this one is a little flatter this one is a little on the warmer side and this one is on the cooler side and this is Daniel Smith Windsor Newton and Grumbacher so just because someone says I used sepia on such and such doesn't mean it's all going to be the same so keep that in mind when you're choosing your colors and in order to choose colors you need to know some of this information if you're going to make some smart choices in your watercolor purchases and those things are what I'm going to talk about while I do the actual swatching out of a few of these colors for you and explain what all of these little numbers mean so maybe you'll be able to make better choices when you choose colors also when I ended up doing all of this I don't own all of these Daniel Smith colors I own a little tube of the alternate brands the other brands that are here because my mom gave those to me the way that I made the swatches for the other colors are from dot cards and this is a 238 dot card from Daniel Smith and I have swatched these out using these dots and that means now I have these samples and I can decide from here what I want to purchase so this is a great tool you can also paint directly from these now that I've got my swatches I can use these up when I do my paintings and there's not a lot of paint there but there's enough to do a few things to make all of my swatches I started with arches cold press paper I recommend using whatever paper you normally are going to paint on because you want to see how the colors react on that paper itself and I strongly recommend as good a paper as you can as always if you use cheap paper you're going to get results that will reflect the paper quality 9 by 12 will cut 48 one and a half inch squares I started by cutting out strips from the full sheet of paper and those were one and a half inches long each and before I made the second cut to each one I made a black line with a thick sharpie the reason I did that was so that when I do my painting I can see over top of that line whether or not the color blocked out any of that line that tells me whether or not it's an opaque or semi-transparent or transparent color and we'll talk a little more about that too after I've gotten all those lines done then I cut one and a half inches along each one of those strips so I ended up with little square swatches to begin to write out all of the names of the colors I worked from the brochure you can also work from the dot card itself the dot card does not contain the pigment information the colors that I talked about just a moment ago but the brochure does so I made labels for all of my swatches first and then did my painting afterward and I'll demonstrate a couple of them here for a color like new gambos there's a few things to notice there's a number one here which is the series number and that tells you how expensive the color is going to be and number one is less expensive than a number three so if price means something to you then that is an important thing to know it has the color name in bold and then it tells you how it's available it's available in 15 milliliter five milliliter and a stick and later on I'm going to have a video on the sticks and how and why you might use those the next line has some codes on it and I write each one of those codes down in the lower left corner and then the following line which is more gibberish then I write that on the right hand side the first digit is a roman numeral and it tells you how lightfast it is number one is the best number to have because it's not going to fade in the light opera pink however has a number four a number four is going to fade quickly so I'm not going to use a number four in my professional palette when I'm going to be doing paintings I might sell the second number is the staining number and it will tell you whether or not you can lift that color or whether it's going to stain the paper with that color a number one means it will not stain so you can use water to wash that color back off and get practically down to white again but a number four like on a phthalo blue is going to be highly staining and there are times when you want it to stain because you want to wash off something that's on top of it but leave what's underneath but other times you want to be able to use a technique that's going to lighten the color and blend something underneath so depending on the technique you can choose colors that will do different things the next code is a y or an n and that is all about granulation is the texture on the paper when that paint breaks out some of the watercolor paints will break out into beautiful textures and beautiful colors and others are very flat and they're going to be very smooth and for different effects you may want different amounts of granulation and this doesn't have a scale for how granulating so some colors are going to really granulate and others will just barely and some will do it in combination with other colors better than they do by themselves some will granulate more when there's heavier pigment or lighter pigment really depends entirely on the color and the last notation in that line of four is the empty circle the half empty circle or the full circle the empty is transparent and that means you can see through it the full circle is opaque meaning you shouldn't be able to see through it and the semi opaque is half of that circle filled in and it's somewhere in the range in between the two note that you can water and opaque down enough that it gets thin enough that you can see through it both of these are going to potentially give you a cloudy look if you're trying to layer some colors whereas fully transparent colors will not give you that cloudy look so if you find that on a lot of your paintings you're getting a cloudy muddy look then note how transparent or opaque your colors are once i had all of my color swatches labeled i started doing my painting and for the ones that are in my palette i'm going to work directly from my palette to make the swatches and using my brush i'm going to wet the paint make a little puddle of it or you can go straight from the pan or whatever you're painting from onto the paper doesn't really matter you want pure color though so make sure your water's good and clean and just paint that square in don't worry about perfection these are just swatches but if you want to mask them off that's up to you when it comes to the opera pink i have to use the dot card for this one because i don't have opera pink in my palette and you can see by the dot card there is actual paint here you wet it and put your brush onto the swatch and that's how you can make swatches of all these colors you don't have to own the tubes of so you can see how they perform my last step on each of the swatches was to put a strip down one side of each one and the reason i do that is so i can see what more intense color does i can tell whether or not a second layer of color increases the opacity over that black line and i can see how dark i can potentially get that color my first layer of color i tried to make sure it was not fully mass loaded color meaning very little water i had enough water that the color could move so that i could see the difference when i put the second layer of color down i proceeded this way through all of the swatches that you see in my book they have changed some of the colors in here and i want you to know that when you look at them i have an older brochure and the old brochure went with the old dot card so they may have reprinted this they added in wisteria and lavender and some of the other new colors but if you find discrepancies between the two that would be why because they're slowly updating these things one thing before i go is talking about my own dot card this is my 18 color dot card that i used to have by the time this video comes out there will be a new dot card with these colors but it's only going to be some of these colors because there are 24 in my palette because i have 24 half pans in the palette itself and i had to pick out which 18 made it onto the dot card so you will find that when you get the dot card but you can get them for just a couple of bucks and it's a good way to test out the colors that i have and decide what you might want to try yourself and know that if you instead decide to choose to buy the full dot card set you're going to have all of these colors because these are from this grouping okay thanks so much for joining me for this video if you liked it click that like button if you're interested in more information on watercolor there are some classes available over on my website links are in the doobly-doo to all the supplies used for this as well as the classes and i will see you again another time thanks bye bye