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[Assistant] I looked into the tinted spectacles of my friend and rival, Mr. Barker. It was a curious foregathering, and set us both smiling.


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[Assistant] It seems that he had been engaged by Dr. Ray Ernest's family to make some investigations.


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[Assistant] And had come to the same conclusion as to foul play. He had watched the house for some days.


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[Assistant] And had spotted Dr. Watson as one of the obviously suspicious characters who had called there.


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[Assistant] He could hardly arrest Watson, but when he saw a man actually climbing out of the pantry window, there came a limit to his restraint. Of course I told him how matters stood, and we continued the case together. Why him? Why not us?


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[Assistant] Well, maybe not. I understand that I have your word, Mr. Holmes.


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[Assistant] I'll show you a grim little bit of evidence, said Holmes.


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[Assistant] And I am sure Amberley himself never observed it.


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[Assistant] You'll get results, Inspector, by always putting yourself in the other fellow's place and thinking what you would do yourself. It takes some imagination, but it pays.


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[Assistant] Now we will suppose that you were shut up in this little room, had not two minutes to live.


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[Assistant] But wanted to get even with the fiend who was probably mocking at you from the other side of the door. What would you do? Write a message. Exactly. You would like to tell people how you died. No use writing on paper. That would be seen. If you wrote on the wall, someone might rest upon it. Now, look here.


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[Assistant] Just above the skirting is scribbled with a purple indelible pencil. We were... That's all. What do you make of that? Well, it's only a foot above the ground.


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[Assistant] The poor devil was on the floor dying when he wrote it. He lost his senses before he could finish. He was writing, We were murdered. That's how I read it.


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[Assistant] If you find an indelible pencil on the body, we'll look out for it, you may be sure.


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[Assistant] But those securities, it clearly there was no robbery at all.


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[Assistant] And yet he did possess those bonds. We verified that. You may be sure he has them hidden in a safe place.


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[Assistant] When the whole elopement had passed into history, he would suddenly discover them, and announce that the guilty couple had relented and sent back the plunder, or had dropped it on the way.


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[Assistant] You certainly seem to have met every difficulty, said the inspector.


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[Assistant] Of course he was bound to call us in, but why he should have gone to you I can't understand. Pure swank. Holmes answered.


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[Assistant] He felt so clever and so sure of himself that he imagined no one could touch him.


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[Assistant] He could say to any suspicious neighbour, Look at the steps I have taken. I have consulted not only the police, but even Sherlock Holmes.


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[Assistant] The inspector laughed. We must forgive you your even, Mr. Holmes, said he. It's as workmanlike a job as I can remember.


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[Assistant] A couple of days later my friend tossed across to me a copy of the bi-weekly North Surrey Observer.


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[Assistant] Under a series of flaming headlines, which began with the Haven Horror,


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[Assistant] And ended with brilliant police investigation, there was a packed column of print.


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[Assistant] Which gave the first consecutive account of the affair. The concluding paragraph is typical of the whole. It ran thus.


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[Assistant] The remarkable acumen by which Inspector McKinnon deduced from the smell of paint that some other smell, that of gas, for example, might be concealed,


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[Assistant] The bold deduction that the strong room might also be the death chamber


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[Assistant] And the subsequent inquiry which led to the discovery of the bodies in a disused well, cleverly concealed by a dog kennel, should live in the history of crime


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[Assistant] As a standing example of the intelligence of our professional detectives. Well, well, McKinnon is a good fellow, said Holmes, with a tolerant smile. You can file it in our archives, Watson. Someday the true story may be told.


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[Assistant] And I'm Brad Sellers. And I'm just happy to see that King is back in town and most needed where he's needed the most. Looking forward to talking about it.


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[Assistant] Well, let me say, I think Nick Chubb is the epitome of a southern guy, right? He's got southern hospitality. He comes out, I don't think he's offensive to anybody. His work ethic is what he brings to the table every day and shows everybody what he is.


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[Assistant] But I, but I say this though, I say this, so Nick's over here, he's doing the political correcting.


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[Assistant] The Ohio State football players and basketball players got into it one time when I was at Ohio State and they challenged us to a basketball game at Jesse Owens Rec Center. Ooh, I wish I could be a part of the world. Chris Carters, the Pepper Johnsons, the Keith Byers, right? And I have to, I have to, Thad Jemison, I have to respectfully say that they whooped their butt.


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[Assistant] We took an L. We took an L. We took an L. I took an L. We were betting money. You know, in college, you don't have no money.


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[Assistant] Why did they beat you? Because they could actually play. Who was the best baller? So Chris Carter was the best. Chris played in the NBA? Chris was multi-talented across the board. Cause I said, I said, damn Chris, why you do come out here and play with us?


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[Assistant] I wouldn't have thought that's where you were going with that story. Here, I'll get, we'll get Keith Byers on the show one day, right? He won't ever let me live it down every time he sees me. And then when Chris Carter hosted the Sports Awards here that one year, yeaah. As a matter of fact, let me tell you this story.


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[Assistant] Love by the city, right? He really represents the work ethic that goes on in the city. People come in and get it done and just go on about their business, right? And so I think when you're filing and rooting for a person, I think that it's clear that he's one that can be rooted for because he's just carrying out the morals and ethics that you want to be represented on the field.


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[Assistant] It depends on how it plays out. Again, I'm a bit of a proponent. I'm not going to back away from it. I think that he's at some point of Watson's suspended. He's under center here, right? And I think the deal can re reemerge in some other form, right? You know, it's hard for professional teams to say I got to pay you for


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[Assistant] A mistake I had, right? I gotta pay for it to go away. So I don't think the Browns want to eat that much.


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[Assistant] I don't care what sport it is. This is not this type of town, right? And so they're hesitant about it. Now, how it plays out is this thing could get hairy down the stretch here because it could get kind of kind of ugly here because


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[Assistant] And they did what was in the best interest of the team, not the best interest of the player. And that required you sitting down.


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[Assistant] Well, it depends on who's at the helm, right? You have some general managers and presidents that don't care about the outside noise. Like I'm doing what's in the best interest of my organization. What I feel like I'm going to do. I don't care what kind of questions


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[Assistant] He has taken his life experience and put that back into play here, right? Cause he's created an atmosphere for, uh, and a roadway and a pathway for young people to get through, right? And he's done it with his leveraging his celebrity.


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[Assistant] And everything he brings to the table and he is invested back into his own community. Now you have to understand that the community of Akron is special.


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[Assistant] They are as tight as we bonded together as any city across this country, right? And they respect and take care of their own, right? So you cannot go anywhere near Akron and think you would disparage LeBron James. It's just not going to happen, right? And the thing about it is no matter where he's gone, he has always invested back into his own community.


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[Assistant] Right. And he has put his money where his mouth is where a lot of people around this country do a lot of talking. He doesn't do a lot of talking. He tries to make sure it happens.


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[Assistant] And then he has brought the weight of, the weight of his entire operation to make sure that the school has an opportunity. Putting kids through school for scholarships and everything else, right? And before he left here, he and I had a conversation when I was doing the Cavs Media Day. I said, you contact me at the end, right?


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[Assistant] Cause you're going to be the governor of this place. And he was like, I said, let me tell you something. You're well financed, right? You don't need to raise any money.


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[Assistant] You got over a couple million followers, right? Right? You can get your message out, right? And you understand the plight and the pathway, right?


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[Assistant] It's about you beholding no one. It's about the change you can affect in the lives of people. That's what this job is about. It's not about the money. So he didn't dismiss that. I did not dismiss it.


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[Assistant] Well, the beautiful thing is he has given to, in our own community.


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[Assistant] Is some of the problem is we don't have the exposure to some things, right? And so we don't find out until much later in life. We learned it earlier. It would have been much better off, right? He's giving these kids a chance to expose you and then a chance at this.


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[Assistant] So, and quickly, in my world, it's called, they're called wraparound services, right? So he has provided the wraparound services. Okay, I didn't know that.


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[Assistant] To boost you up. To plug the gap, right? So you have to lift people up and by plugging the gap, his operation is doing that. Now it's doing it on a smaller scale, but because it's just an act, right? So, but it is showing people what needs to be done.


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[Assistant] Alright, what's your, what's your grades? Alright, so I, you know, I'm a little bit different to Bull. I gave, I gave the Guardians an overall C as an average. Right. And, uh, their hitting is, uh, I believe 12th in the, in the, in the major. So I gave them a C+. Okay. Right. They are a middle of the road team, right? This is not the team that went World Series bound, right? We got a lot of work to do.


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[Assistant] I kind of think, you know, I kind of think that Miami makes a stand tonight. I just. They're going to game seven? Right, I think they make a stand tonight. I can't sit here. Wait, but you took the, you took the selfie? I took it like, I took it with a good gut because of the spread. That's not the reason I took it. Eight and a half. It's a spread, eight and a half. Oh, I see what you're saying. It's going to be a close game tonight. I got Miami winning tonight, but in a close game, right? Oh, so Brad wants the other.


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[Assistant] No, it is very true. It is very true. I like your eyes. Your eyes are detestable.


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[Assistant] The misuse of Odell Beckham here in this town was criminal.


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[Assistant] I don't care the offense, the offense, the whole nine. The one thing, Mark Cooper, I like Mark. Solid, right? Solid guy does a bunch of things. The one thing Mark Cooper is not, he is not a game changer.


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[Assistant] Beckham is a game change. He used to be back here. He hasn't been recently bowl. Mikey, bring those stats back up. I'm going to show you something. Bring those stats back up. We got to give us one sec bread. All right, when you go back to these stats, just 2021 stats.


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[Assistant] I want you to speak this because you just said something.


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[Assistant] The fit is not right when you're a square peg in a round hole and I don't care how much talent you got. How?


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[Assistant] You have to have all the pieces. Kicking was just off the chart. I mean, it was just, I mean, it's like one of the glaring weaknesses that we had. You have to fill the hole, right? Yeah. And so they saw a chance to get a person that could fill a void for them. I don't have any problem with them reaching up to get somebody in the fourth round, right? I don't.


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[Assistant] If that person can deliver what I need to be done because you get down to stretch. Kicking is a major play out here. Listen, it's called football.


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[Assistant] Wow, that's pretty cool. I got, I got a couple of days for you. How many times did the Browns come up empty on fourth down, right? A lot. And I wish that sometimes we had just kicked the ball and take the points, right?


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[Assistant] You had another option, but I'ma go to something else. G Bush and I were talking about it early in the, in the, uh, uh, pre pre meeting here. Yeah, well.


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[Assistant] I gotta, I gotta tell you. So we're in study table, right? And so the basketball players and football players are Oregon. So this is who was at Ohio State with me when I was when I was at Ohio State, Chris Carter.


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[Assistant] What I did not know, see what happened was, see what what happened was.


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[Assistant] Listen, I didn't know Chris Carter could hoop like that. I read it in magazine, but I never saw it.


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[Assistant] Oh, yeah, please. I need everyone to answer. Well, here I'm going to give you this. Let me tell you something DeQuille. Your boy over here.


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[Assistant] I'ma go back to your cool athlete, right? Yeah, who's yours? Not a cool athlete. Here, Jordan is the coolest athlete. Oh yeah, that's Jordan. He ain't paying for nothing, right? Nothing, right? And he'll walk into the building and the epitome of cool will come.


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[Assistant] My final take is this, you know, and a bravo to Steve Kerr, right? Cause Steve Kerr reminded us that sometimes you don't get to sit things out in here.


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[Assistant] From my family to the families and our families, to the families in Texas, uhm, our prayers are with you. But I will tell you this, you know.


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[Assistant] Steve Kerr reminded us that we have an obligation out here sometime to handle tough, tough questions and come up with solutions when they're not always the most popular to have. And I want to commend Steve Kerr for putting it out there because of you.


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[Assistant] The tragedy that happened in San Antonio, we have an obligation and we have an opportunity at the same time to resolve some of the issues, right? Although they may be unpopular to be discussed,


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[Assistant] Some things need to be discussed and we have to be reminded of this. And the people that sit in positions sometimes, you have an obligation.


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[Assistant] As a person who has taken on responsibility and an oath to deliver to this country.


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[Assistant] At time, right? No matter how unpopular it may be, how much smoke may come your way, right? Eyes can only imagine.


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[Assistant] What the final moments of those kids' life were like in San- and in Uvalde, Texas.


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[Assistant] I can only imagine. And with that, that was blazing my brain.


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[Assistant] There's an obligation that has to be undertook and I want to commend Steve for reminding some people of what their obligations are to this country.


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[Assistant] Well, 4-5 years have passed and the price has dropped.


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[Assistant] If Mr. Blair comes here tonight, I don't wish to see him, now or ever.


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[Assistant] Thank you. You see, I'm Mrs. Kirk Bennett and I heard you talking about a man named Marty Blair. Do you know where I could find him?


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[Assistant] Heartbreak. That night, she was playing.


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[Assistant] I'm afraid I asked for it. You see, I needed help. I still do.


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[Assistant] Music store in Hollywood Boulevard. You see, when I found out she was playing it that night...


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[Assistant] No, no, Kirk played and I'd sing. At least we did when we were first married.


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[Assistant] I wanna be talked about, I don't care what they say. Go bandy my name about, in the end it's bound to pay.


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[Assistant] Fixing stones won't break my bones, and names will bring me fame. A man in the hand is worth two in the arms of some other day.


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[Assistant] And so it has led to various theories as to what happens to this legion. What happens to these five and a half thousand men of Rome's army? How does it meet its end? I think another thing why it always seems to come back particularly for myself in the


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[Assistant] In the UK, and for me when growing up, was the fact that there is this link to the UK in the popular imagination, this popular idea that the ninth legion


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[Assistant] But I think another reason why is alongside that is that we've seen this story revived in various different forms, particularly over the past 50, 60, 70 years.


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[Assistant] Now, one of the first ones we see that is through fictional books, through Rosemary Sutcliffe's children's novel, The Eagle of the Ninth, written in the 1950s, which centres around the whole idea of the Ninth Legion being sent north from York.


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[Assistant] And being destroyed and then the son of the person in command of the night vision goes in search to retrieve the lost eagle.


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[Assistant] In the second century AD, in the early second century AD,


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[Assistant] We know that the 9th legion is in existence because we have archaeological evidence of the 9th legion of its being at York, the legionary fortress at York, but we know that by the late 2nd century AD that the 9th legion is no longer in existence. And so this has led many people to wonder,


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[Assistant] The ninth legion and its interest with Britain is for the fact that we know that for just under a hundred years that it seems that the ninth legion is stationed in Britain, having come across


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[Assistant] With the initial Claudian invasion force in 43 AD, but even before then we've got some really interesting information surviving.


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[Assistant] About this legion, the first thing being that there were two versions of the ninth legion, shall we say that we know of.


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[Assistant] So we hear of the First Night Legion going as far back as the early first century BC in the social wars, fighting in Italy. It then serves with Julius Caesar in Gaul. It may well have come to Britain with one of Julius Caesar's invasions, expeditions to Britain in 55 and 54 BC.


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[Assistant] It then fights with Caesar in the civil wars but it then gets disbanded just before Julius Caesar's assassination but then it's revived by


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[Assistant] Caesar's, shall we say, successor, Octavian, later Augustus, and then goes along to fight with Octavian against the likes of Brutus and Cassius in those civil wars.


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[Assistant] It then has this brief stint in Africa, fighting against the rebel of Rome, that is Tacverinas. Then it goes back to what is ancient Pannonia, modern day bits of...


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[Assistant] So even before it arrives in Britain in 43 AD, it has this rich, illustrious history from Caesar to Cantabria. It's an astonishing story, an astonishing backstory, and then it comes to Britain in 43 AD.


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[Assistant] We can usually assume that there were the four legions involved in the initial Claudian invasion of Britain. The 9th, the 2nd, the 20th and the 14th.


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[Assistant] And we can track the knife's movements thanks to archaeology that survives to a degree.


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[Assistant] Now, of course, the first aim, the first target of the Claudian invasion of Britain is ultimately Camelodunum, ancient Colchester, where the emperor Claudius receives the surrenders of British chiefs, the Roman province of Britannia is declared, and the official invasion of Britain is at an end.


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[Assistant] It seems that the knife is heading north.


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[Assistant] Towards modern day Lincoln, because it's either in the 50s or in 60 AD around that time.


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[Assistant] That the ninth founds a legionary fortress at Lincoln, but also stationed some of its troops further south, most likely at a smaller fort, a vexillation fort near modern day Peterborough at a place called Longthorpe.


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[Assistant] So the one no is the one against Caratacus, Caratarchus, the fighting in Wales. The ninth is not involved as far as we know, directly in the war against Caratarchus because the ninth is heading further north. Their job is to kind of secure the north and also to keep an eye on this powerful confederation further north, which is the Brigantes.


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[Assistant] But the yes is the other big rebel of Rome from Roman Britain in the first century AD, which is the warrior queen, the Iceni warrior woman, that is Boudicca.


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[Assistant] By 60 AD, the 9th Legion had played a


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[Assistant] British Revolt. Lezimus Warrior Women. In our island's history.


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[Assistant] For the 9th station to the North West was a major problem.


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[Assistant] The battle was a catastrophic defeat for Serialis and his portion of the legion. It was the first major military disaster that we know of that the Romans had suffered.


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[Assistant] Well no, it's not the end of the story, but it's so interesting with the Budokan Revolts and the Ninth Legion because this is the first real


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[Assistant] Much of its strength is reduced in the Budica revolt through this catastrophic engagement. But as you say, this isn't the end of the knife. It's only part of the ninth legion that is involved in this clash with Budica. But the knife is so severely mauled that it plays no further part in


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[Assistant] Putting down the Budokan revolt. But we do know in the aftermath of the Budokan revolt that


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[Assistant] It goes to the River Ouse where it establishes a new legionary fortress, the first Roman foundation at a site the Romans called Ibaracum but which we today know as York.


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[Assistant] Well, it's interesting when you look at the context of why the 90s heading north at that time, it's not many years after the Budokan revolt, uh, in all honesty, around 70 AD, 70, 71 AD. But the reason why is that


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[Assistant] There is, I mentioned them earlier, this big confederation of people in the north called the Brigantes. And in the late 60s AD, the Brigantes, they revolt against the Romans. Cartimandua, Queen Cartimandua, has now disappeared from the sources. There's revolt from her husband.


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[Assistant] Uh, Venutius, and it seems that the Ninth, under the command once again of Quintus Patilius Serialis, who had seemingly disgraced himself in the Bousican revolt, but he's found favour with the new Roman Emperor in 70 A.D. Vespasian.


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[Assistant] Legion in Britain at that time, and their purpose is now to keep an eye on these people to maintain, maintain the peace, you might be able to say, and that's where they will stay. And they, as mentioned earlier, that's the reason they're there, subduing that people and kind of settling in


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[Assistant] I guess you could say for a limited amount of time at York, because as you're gonna hear, the 9th, don't stay at York.


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[Assistant] All the time. They're moving around, bits of life are moving around in Northern Britain and further afield.


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[Assistant] We know the Romans campaigned much further north than Hadrian's Wall, even before Hadrian's Wall was constructed and after Hadrian's Wall is constructed. And the knife forms one of these first expeditions north, shall we say, when you get the arrival of the Roman governor, Agricola,


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[Assistant] In the late 70s, AD, when he takes, uh, command and he,


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[Assistant] No, dude, this is a different world, mate. This is more like a hagiography. This is the other way. This is 2000 years ago. But uhm, it is interesting. So the ninth


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[Assistant] Just before we go into the 9th, going with Agricola to Scotland, it's quite in, I'm going to just elaborate on the point I made earlier about the 9th intermittently being at York, because we hear, we have archaeological evidence at the moment which shows people


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[Assistant] Builders of York, but we also have evidence from places like Carlisle, from Scalescoof, also from Nijmegen on the continent, which emphasises how detachments of the 9th were at other places as well during this time. And this is important, this idea that the 9th was always at complete full strength for now when we go into Scotland with a curriculum.


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[Assistant] So in around 78-79 AD, Agricola leads an expedition into Scotland to go and conquer the north of Britain. It's the idea that they do at this time want to conquer the north of Britain. And the 9th is one of the legions that Agricola takes with him.


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[Assistant] And for much of Tacitus' account of Agricola in the north, we don't hear of the ninth in particular, particularly for the first.


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[Assistant] During these campaigns, we don't hear if the knife is not specifically mentioned until about a year before the great climax to Agricola's campaign in modern day Scotland, roughly that time. And this


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[Assistant] Is another infamous moment in the Knights history. You thought Boudicca was bad enough. Well, this is the second time that they have an infamous moment. The backstory is, is that Agricola's, he's had all this success so far in these early years of his campaigns in the north.


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[Assistant] And then the Caledonian start taking the offensive. They start attacking Roman forts. They start becoming a real nuisance for a Agricola. And it's in that context that this story, this infamous story of the ninth Legion occurs.


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[Assistant] First of all, to clarify something, when that, that attack in Scotland, that's not, we know that that's not like the destruction of the Nigerian. It's significantly mauled. It's significantly mauled. And it's the last literary reference, literary reference we ever have.


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[Assistant] So that's why it's so interesting that


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[Assistant] And once again, it's an infamous moment. It's like Boudicus. Once again, it's had this dice with death and has just been saved. Almost kind of...


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[Assistant] Action, action-esque. Agricola coming to the rescue and all that. So how much we can believe of Agricola being this saving grace.


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[Assistant] Is up for debate, but it's interesting in that regard in that this is the last literary mention we ever have of the Ninth Legion.


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[Assistant] Why do we think it was destroyed? Why do we have this idea that sometime after this, in the early second century, it was destroyed? And I guess the first thing we need to address is the archaeology that survives.


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[Assistant] Talking about the 9th Legion, the last mention we have really of the 9th Legion in Britain, direct


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[Assistant] Then we know that the 9th legion is no longer in existence at all by the 160s AD when a column is created in Rome which records all the legions in the empire at that time.


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[Assistant] And the 9th Legion isn't there. So you have this big window as to wondering, okay, something has happened there, what has happened to the 9th Legion there, which means it's now disappeared.


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[Assistant] Now this has led some people to think, because it's a mystery, because we do not know for sure what happened, some people have said, perhaps it was destroyed in an uprising, in a revolt, somewhere in the Roman Empire, in Britain or elsewhere. And the reason for that, I guess, on one edge,


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[Assistant] Is because of the historical context of the early second century AED.


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[Assistant] We hear on various frontiers of the Roman Empire of there being vicious fighting at this time. And one of the areas where we hear that there was instability, there was trouble where the sources highlight there were, there were lots of casualties on the Roman side. One of the places is Britain.


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[Assistant] The other alternative, and this is just as plausible as we'll get into in a bit, is that it wasn't destroyed in the revolt and uprising, is that it was just disbanded.


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[Assistant] But I guess another reason why the destruction is so popular today that the 9th was lost was, suffered a horrific defeat somewhere in Britain or elsewhere.


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[Assistant] Is because we see it, we've seen once again at the start, we've seen this story revived through fictional books like The Eagle and the Knife. We've seen it revived in TV and Hollywood blockbusters such as The Eagle and Centurion. And that's not to say that these


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[Assistant] These directors, these authors have just conjured up this idea out of nothing because they're


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[Assistant] Ideas are based on thoughts of historians going back to the 19th century to the likes of Theodor Momsen, the famous German antiquarian who first put forward this idea.


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[Assistant] Can be explained by it being destroyed somewhere in the Roman Empire in the second century AD.


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[Assistant] But doing more research, looking at the works of people like Duncan Campbell, also having a great chat with the likes of David Brees and looking at research by others such as Lawrence Keppi, you start taking a step back.


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[Assistant] Now the key thing with these are the dates for these inscriptions. So there's one good example from North Africa, from the legionary fortress of Lambaisis near modern-day Tazunt in Algeria. We have a dedication to Lucius Novius Crispinus.


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[Assistant] Me not believing that the knife legion was lost in Britain. Well, it comes to another fact. What I believe is most likely.


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[Assistant] Is the fact that in 122 AD you have perhaps one of the most significant, one of the most, um,


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[Assistant] Now we know which legions construct Hadrian's Wall because they left, uh, their mark. They said X legion, the sixth Victrix helped build this part of the wall, et cetera, et cetera. We have no inscriptions left highlighting that the ninth legion took part in building any of Hadrian's Wall.


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[Assistant] The counter theory is that it was involved in building the initial turf wall in the west, but that seems unlikely. So what does that suggest? Well, it suggests that by 122 AD, the ninth legion


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[Assistant] So if that's not the case, if it's no longer in Britain, it's either being destroyed in Britain, if we are believing the idea that it was destroyed in Britain between 108 and 122.


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[Assistant] Or it's been taken out of Britain by that time.


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[Assistant] Which talk about people who had previously served in the 9th Legion, perhaps as late as 150, 140 seems to very much suggest then that the 9th was taken out of Britain sometime between 108 and 122 AD and was transferred elsewhere in the empire.


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[Assistant] There are some who believe it could have gone to the Rhine frontier. There are others that mean it could have gone to the Danube frontier. But for me, what seems most plausible is that the knife is transferred to the east, to either Judea or to Cappadocia, and it fights against either in one of the Judean revolts


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[Assistant] I'm going to have to dismay those who are hoping that the night vision was lost in Britain, but my personal feeling


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[Assistant] Is that these career inscriptions, this archaeological evidence from the continent, combined with the belief that the 9th has gone from Britain by 122 AD, seems to make it almost certain in my belief that the 9th has left Britain and has either disbanded or destroyed elsewhere.


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[Assistant] So you can watch, uh, the Ninth Legion, it's called the Ninth Mystery of the Lost Legion. We've got two parts of it. You can watch it on History Hit TV. And of course you can watch the first part on YouTube following this live stream.


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[Assistant] Beginning at nine o'clock with the target contest and a beer picnic in a field which is on six miles north of the town. On route 243. You will have copies of these maps, of course.


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[Assistant] But you will find the key under the bottom step to your left when you face the door. The lock is rusty and must be pulled firmly toward you before you can turn the key. There will be nobody there at that hour.


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[Assistant] Quarters for your troops. Beds and blankets for 250 men have also been arranged by Mr. Korel, as he will explain to you himself when you see him this morning.


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[Assistant] You may expect parachute troops to join you at, uh, 10 o'clock.


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[Assistant] No, I'm not sorry. I used to be an Alderman.


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[Assistant] Just let me stay a little while, and then I'll go.


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[Assistant] A man needs love, without love a man dies. His insides shriveled and his chest feels like dried chip.


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[Assistant] I mean, it was, it was like trending on Twitter. It was a huge deal.


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[Assistant] That's so, it's so heartwarming and I have to admit social media is still relatively new for us. It's new territory. Uhm, in Vancouver and in Sochi, both those Olympics, neither of us were active on social media and were fiercely private. So this has been really special to sort of share our Olympic experience with so many people and


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[Assistant] You know, we always say that that's a big compliment because what we portray on the ice is really important to us and we love getting into character. We love telling a story and a lot of the emotions we portray are universal themes that resonate with everyone. So the fact that people feel


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[Assistant] Invested in our partnership is truly remarkable and I mean we've spent 20 years working hard on this partnership and uhm, a lot of trust and...


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[Assistant] Mostly, I mean, in those moments when the music ended in Pyeongchang, I just looked at Scott and I was so grateful to have lived the last 20 years by his side and to share in that moment together. So you're a couple.


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[Assistant] You know, if it is, what a way to go out on such a high and we took some time off after the Sochi Olympics and had a two year comeback plan and


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[Assistant] To live that Olympic fairy tale the way we did and execute those programs how we dreamed of is something that we'll cherish. You know, that feeling is truly fantastic. I mean...


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[Assistant] Himiako, himiako, ane himiako le kou.


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[Assistant] To go hungry.


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[Assistant] The primary of color mixing for beginners. Now on the mic is my husband John.


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[Assistant] I'm going to point out to him that the film is a little jerky and he's going to be able to jiggle the camera. This is a live show. And uhm,


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[Assistant] What we're gonna be doing is covering, uh, primary color mixing basics.


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[Assistant] Color theory, color mixing is actually pretty advanced, pretty intense stuff.


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[Assistant] But there's a lot that as a beginner you need to know day one when you're painting.


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[Assistant] And I'm gonna cover all of those things. And we're gonna have the beginning of the class where we're gonna cover the basic concepts and terms and ideas that you kind of have to have a handle on.


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[Assistant] And then we're gonna do some demonstrating. I'm gonna teach you how to read a color wheel. I'm gonna teach you how to tint, tone, and shade. Mix secondary and tertiary colors predictively and reliably. And I'm gonna explain


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[Assistant] The myths of primary colors. Now this is part of a, uhm, acrylic painting course.


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[Assistant] Uh, the beginner acrylic painting course. And if you'd like to take the whole thing, it's seven concept videos. It's just everything from how to set up a studio to color mixing.


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[Assistant] And ten of the first paintings every beginner needs to do, and our first painting is going to be tomorrow, so I'm pretty excited. How are you doing, John?


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[Assistant] This is the course. If you've been looking for a beginner primary color mixing course, this is the course.


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[Assistant] Where you're going to leave it actually understanding what's happening and how to mix the colors that you actually have at home, cause yours might be a little different than mine.


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[Assistant] The beginning of the beginnings is what are primary colors.


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[Assistant] We've got that at grade school, didn't you? Where your teacher was like, you know, we've got primary colors and they give you the red crayon and the yellow crayon and the blue crayon.


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[Assistant] And then they tell you some things about them. They tell you that primary color is mixed with all the other colors.


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[Assistant] And that the other colors don't mix, primary colors. Now we're gonna get into the myths of that all later, but that's the basic concept that we're all introduced to. The problem is, is that, uh,


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[Assistant] There isn't one set of primary colors, right? You've seen RGB, you've seen CMYK, there's a lot of ways that primary colors are represented. In pigment,


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[Assistant] Those are even further away from the concept of light.


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[Assistant] Right, of light color mixing. So we've got to deal with that. So let's talk about if you have the right primary.


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[Assistant] So John's got a bunch of really great infographics to help in the learning part of this course. This one right here.


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[Assistant] So, in the course we have, uhm, three sets of primaries that we chose, uh, from the abstract Sennelier line. But you might not be painting with that, right? And, you might not have colors that are listed primary, and even if you did,


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[Assistant] Have colors that were listed primary. You might have magenta and not a quinacridone red. You might have a napalm red. Paintmakers kind of generalize their color theory sometimes. Sometimes they have somebody who's really trained on staff that helps them design these kits, but sometimes they don't. So.


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[Assistant] Just cause it says primary colors on the kit, red, white, and black, it might not be that.


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[Assistant] Uhm, in understanding what pigment codes are.


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[Assistant] And what primary colors are can save you as a beginner to know if you can only get a red and a yellow and a blue and that's what your budget can afford. White and black. How can you get most of the colors that you need


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[Assistant] So, uh, it says primary red in the pouch of 686, but what's really important is the PV-19.


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[Assistant] Uhm, and it's code is 19, and it's generally a quinacridone family. But even in that pigment, John, that goes from a quinacridone red to a violet. Those are very different colors.


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[Assistant] The one that we have here is really a quinacridone, uh, rose or red.


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[Assistant] Right, in this pouch. And that's something you're gonna learn over time.


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[Assistant] But sometimes checking those pigment codes can help.


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[Assistant] Over here I have a primary yellow it says. Ah, but it's pigment code is PY74. Could have been Hansey Yellow, but it's not.


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[Assistant] It's not Hansa Yellow, it's Eluride Yellow, also part of the Azo Yellow family. If you like the, uhm,


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[Assistant] Artist Loft Level 3, they use Auzo Yellow. Uhm, some companies use Hansa Yellow as their primary.


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[Assistant] And I'll explain to you what the differences of those are in upcoming graphics, but let's talk a little bit about the blue I'm using, cause this is important for later. Primary blue. This is pouch 385. And the pigment code is PB15. Which is phthalo blue.


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[Assistant] But if you paint with me all the time, you guys paint a different phthalo blue, and later in this we're gonna talk about this.


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[Assistant] Now John, if you would be a doll and pull up my primary red graphic.


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[Assistant] Or make it bigger. Any of the things. Movie over, make it bigger, whatever we've gotta do. We're also gonna teach you how to read this video.


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[Assistant] I can cover the words. All right. So in this


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[Assistant] Primary red. Now this is goldenpaints.com. Golden Paints is a really incredible resource. And they actually organize their colors.


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[Assistant] From cool to warm. Cool means that the color bias is to the blue or warm means that the color bias is to the yellow.


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[Assistant] Uhm, and in here you can see that they've got primary magenta, right?


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[Assistant] On either side of it, they have Naphthal Red Medium and Quinacridone Red.


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[Assistant] And what that tells you is if you're looking for a close to primary, but you can't find a primary,


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[Assistant] You could look for quinacridone red, or you could look for a natural red medium.


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[Assistant] Kinda to the far side is that cad red dark, well that's pretty biased, or that cad red medium hue. And we're gonna get into what that bias does later.


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[Assistant] But we'll just say that the cad red medium has a lot of yellow in it. It means that you're gonna get hidden primaries in your mixes.


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[Assistant] I also say, highly recommend that you just find this and say this cause it's just a tremendous resource when you're trying to figure out if a color is warm or cool and you're not sure. They have the best people in the world working there.


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[Assistant] And so you know their information is the industry standard. Let's go on to the yellow. Let's talk about that. What could you use if you didn't have primary yellow?


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[Assistant] Great resource. You had it hidden in your video if you can't find it, but I do recommend downloading your own copy.


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[Assistant] Alright, so you see in the primary yellow that like, uh,


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[Assistant] Uh, if you go up top, that's the tight knit yellow that I'm always making you use. See how that's the greenest yellow? Alright.


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[Assistant] So on this it'll say a yellow that biases green or red. So yellows don't really bias blue or red, they bias green or red, green being the cooler of the yellow.


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[Assistant] Primary yellow is right there, and you can see on either side of it is Hansa Yellow, as I told you about, a lot of companies use.


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[Assistant] To one side or the other is really what it is, so they're more likely to mix pure clear colors. On to the blues. The blues.


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[Assistant] Alright, so let's go into the chart, and you'll see on this one it's called primary cyan, it's not called blue. Now golden is correct. Cyan is probably the closest to a true primary blue that you're gonna be able to buy.


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[Assistant] Right, and so that's a good thing to know about that. If you, if you are struggling with a phthalo, you can switch to the cyan.


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[Assistant] Now over here you're gonna notice it says phthalo blue green shade, phthalo blue red shade. I'm gonna explain what that is in a minute because our phthalo blue in my set that I'm using is different than those two and I'll explain why. Uhm, and you'll notice that really here


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[Assistant] Primary cyan and phthalo blue are kind of the only neutrals, aren't they? There's not a lot of neutrals in the blue.


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[Assistant] So that's what you're looking for in there. And the PB15 is the code that you're looking for. Let me explain what has happened to you with the phthalo blue though. Do you have the graphic, John?


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[Assistant] A little blue, question mark, question mark, question mark graphic.


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[Assistant] But we have a lot to cover so you guys understand what you're looking at, and you can come back and reference these.


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[Assistant] Or you can go to the golden website and pull this down. You just look for warm and cool color ratings on their website. Do you have it?


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[Assistant] So PB15, which is what we have in our little pouch, right?


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[Assistant] But Phthalo Blue Red shade will read 15 semicolon 1. That means that they have a red bias into the paint.


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[Assistant] And PB15-3, which is the green shade, which is what most of us paint with when we paint with professional paint.


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[Assistant] That means that bias is a little bit to a green shade. So in professional lines, you don't actually generally have the clear phthalo that isn't biased one way or the other. Sometimes you've got to go to a student line to get the right blue.


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[Assistant] Huh. Huh. I know. This is crazy, right? You know what's funny?


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[Assistant] By the way, this is the best color wheel to learn how to read a color wheel. I love it so much. It's a kids color wheel, but it's like the one I like to use with my students. All right.


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[Assistant] Let's uh, so what I want you guys to realize is, is that


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[Assistant] If you've got just cad red yellow, cad yellow medium, and phthalo blue,


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[Assistant] You can do this course. I've tried to do very reasonable color mixes on here and you can practice along with me and you'll see where you're at. You'll just have some trouble getting certain colors like purple, right?


[User] Please transcribe this text

[Assistant] If you bought this set and you want to paint with me, just replace them and you want to add them into your set. You just use them where I use cad red or I use cad yellow.


[User] Please transcribe this text

[Assistant] You just might not have such a warm bias. However, when I teach you the color mixing here, that isn't going to throw you anymore. In fact, very little is going to throw you once we get into the demo about color mixing anymore. Now let's talk about hue has two meanings.


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[Assistant] I was ready for, Hughes have two meanings cause they do, cause they like to make art confusing. See? Hughes have two meanings.


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[Assistant] This is just important for beginners, or it's gonna be that weird thing that just confuses you for months with no answers. So there's two meanings for hue. Hue is a color name, like blue, violet, red, right? They're a color name. It's a hue. It's the hue of the paint.


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[Assistant] Uhm, but it's also an approximation in pigment.


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[Assistant] So when you're talking color theory, you're talking the color name, the proper color name. But when you're talking pigment,


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[Assistant] You're talking is it a true pigment or is it the hue of the pigment? So you can have cadmium yellow pigment.


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[Assistant] Which is made with pure cadmium pigment or you can have hue which may be a blend of other colors to approximate that color.


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[Assistant] You will hear artists talk about this very quickly and not explain that there could be a difference out of context. So in the context, if somebody's talking about a proper color and they're saying it's hue, and they're saying it's a yellow green,


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[Assistant] That's what they mean. If they're talking about cadmium yellow hue, they mean that the paint has no cadmium in it. It's a color approximating the pure pigment.


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[Assistant] Just something I've answered questions on for years, so I thought I'd just spare you that little specific nugget of misery.


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[Assistant] There are a bunch of mists that we talk about in primary colors and they're true-ish.


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[Assistant] And you go to grade school, you go to kindergarten and they say red and yellow make orange.


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[Assistant] And then you go to paint and you buy a set and you grab a red and you grab a yellow and it makes brown orange.


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[Assistant] Not orange like what you were thinking. And no matter how much you mix it, it doesn't change.


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[Assistant] And maybe you were told that blue and yellow make green and you mix and mix and mix and mix and it doesn't. And then you're also told that


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[Assistant] Primary colors are primary because no other colors can make them. No, no, go back to the red. You're cycling through far too fast.


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[Assistant] I'm so excited, it's like I got graphics. I don't know what I'm doing. Okay. Well I'll let you know if you need a graphic.


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[Assistant] You don't have to guess. I won't make you guess. And we'll put that to the side because that's going to be relevant in a second. So they'll tell you that you can't mix a primary color.


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[Assistant] That's a true and light. Uhm, but it's again not true if you're doing


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[Assistant] Color theory. I actually have three videos. One of them is like, how to paint red without red. And I use secondary colors, purple and orange. So you can, because of hue,


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[Assistant] That's the approximation of a color, not necessarily the color family, actually because of both hues. You can make red without red.


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[Assistant] So, that gets very confusing to new students when they're trying to figure out about color theory because you'll be told something is a rule and then two seconds later told it doesn't apply at all.


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[Assistant] So understand pigment is ground up. Stones and natural objects are synthetically made chemical. It's not light, and light is not perform light.


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[Assistant] What you see in the rainbow is not what's happening on your palette. What you're dealing with on your palette is reflected light.


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[Assistant] Right, it's a light coming off the pigment that you're seeing, and then your eye is sort of subjectively interpreting.


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[Assistant] You know, maybe you were told that you can't make blue. Guess what? You can make blue. Got a video on it. Would you like to show them the blueberry, John?


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[Assistant] What you see in the thumbnail, I made with those colors. Exactly those colors. I made blueberries with purple and green.


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[Assistant] They are. Very blue blueberries. I have all kinds of weird color mixes like that.


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[Assistant] We're gonna be sticking with primaries, but these are things that you need to know. They're rules... ish. They're primary color... ish.


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[Assistant] A lot of colors get put in sets that are not, that are primary-ish. Alright, let's do yellow with no yellow. The lemon.


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[Assistant] So, pretty much everything they told you in kindergarten is wrong. I'm sorry to let you know that.


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[Assistant] But it is just something that happens to all of us. Now I totally want to stay on hands, but let's go to the basic color wheel. Let's just talk about the color wheel.


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[Assistant] You can give him the graphic and then I will use my wheel to explain it.


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[Assistant] Right, we're gonna, we time stamped and chapter marked these segments so you can find your place again if you need to go over a certain concept or idea. So here's my


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[Assistant] Happy dandy little, uh, this is by the color wheel company. And it's the color Saurus.


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[Assistant] And, um, if you're a homeschool mom, it's really good, but actually the Color World Company is a very good, uh, company.


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[Assistant] It's a really good first wheel to understand terms and concept of the color wheel. Now if I may have my graphic.


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[Assistant] And I will try to match my color wheel to the graphic. Come on Mr. Dinosaur, let's matchy matchy. Alright, no no, leave it up. Color wheel graphic, we're gonna leave it up for a minute.


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[Assistant] Oh, sorry. Yes, let's do uhm, how to read the color wheel and then for the next three let's have the color wheel graphic itself. Where it's just the wheel on the primary side. That one. Alright, and then move over into my handstand.


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[Assistant] So and you see the wheel here, and this is when you can reference again if you want to kind of understand it. And we're going to go over with our little dinosaur and talk about how we read the wheel. So on the outer edges of most of our wheel are our primary colors, which is our yellow, our blue and our red.


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[Assistant] And our yellow, blue, and red are in equal distances, right, from each other. So if you go between the yellow and the red, you'll notice there's three segments.


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[Assistant] Between the yellow and the blue, you'll notice there's three segments. They make a triangle. It's a triadic.


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[Assistant] Okay, so you've got your yellow, your red, and your blue separated equal distances apart. Now,


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[Assistant] Secondary colors are when you take your yellow and your blue, your pure primary, and mix them together in equal parts, you should end up in the middle and get your green.


[User] Please transcribe this text

[Assistant] Okay, get your green right here. That's how you get to your green. Now,


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[Assistant] If you wanted to mix your yellow and your red together in equal amounts on the outer edge, you would get to the hue orange.


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[Assistant] I know I'm going right to the beginning, guys, but knowing how to read this wheel will help you do color and all kinds of things.


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[Assistant] I'm gonna go challenge the red, and we're gonna mix blue. And this is, you're gonna hear me say purple, but what I mean is violet. All color wheels will say violet, I say purple. That's cause I'm weird. It's not cause it's correct.


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[Assistant] It's my purple and violet annoys me. But we're gonna violet purple it, right? So.


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[Assistant] On here, so secondary colors are going to be your purple, your orange, and your green, because those are the second colors that you can make if you mix your primary color. Okay?


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[Assistant] Right, let's put up our secondary color thing. Did we put up our secondary colors? That's okay. We've gone over primaries.


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[Assistant] Which we've already done, so we need to move to secondary colors over thirds.


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[Assistant] Let's talk about secondary. Well, we just talked about secondary, so I think we missed our lower manners, but it's okay. Secondary colors, that's what we're talking about. Is the colors that you mix with your red, your yellow and your blue. Now.


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[Assistant] The issue with secondary colors that can come up where you start to have color problems, let me explain it to you on the wheel. Say you have a red, right?


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[Assistant] But your red isn't right here in the middle. It's not, it's not a quin. It's not that pure clarified red, right? It's not a magenta.


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[Assistant] So now we have just a little bit of yellow in that, don't we?


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[Assistant] Something to know about colors. If ever you mix your yellow, your blue, and your red together, you're going to get anywhere from a gray to a brown to even a black.


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[Assistant] Depending on how you run that mix. But what you don't get is bright colors.


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[Assistant] There's a hidden other color, so you're getting your red, your yellow, and your blue because the paint biases. It moves away from the red towards one side or the other.


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[Assistant] Alizarin crimson would move down towards the red violet. Hadmium red moves up towards the red orange. So you have a hidden blue down here and a hidden red.


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[Assistant] So if you go to make a secondary color, mixing red and yellow, you've secretly put in a little blue.


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[Assistant] Or you've secretly put in, you go to make green with, uh, yellow and, and, uh, no, you go to make orange with yellow and red, but you've secretly pulled in another color. So that's.


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[Assistant] That's what's happening to you, right? Like if your yellow is biasing over here, like the tightening.


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[Assistant] So if you look at where primaries are in the wheel and you think about your paint, if they're moving towards the blue green or the blue violet, if they're moving towards


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[Assistant] The yellow green or the yellow orange, right? Your cad yellow medium is yellow orange. It biases right about here. Right? Now over here.


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[Assistant] If there's red here and you got blue in there, it's tough to get a green.


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[Assistant] So if I come down to say, let's say I have a little yellow,


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[Assistant] Right in my, in my red. Let's say I have cad red and I mix phthalo green.


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[Assistant] There's a little bit of that yellow in there. You can see on this wheel, it's gonna tell me what's gonna happen.


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[Assistant] This wheel tells you what will happen if there's a hidden bias or an additive of red, yellow, or blue. What happens when those primaries get in there.


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[Assistant] Right, and you can go around and start to see that if you've got a little bit of blue,


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[Assistant] In your paint, like say alizarin crimson, and you try to make orange, you're not gonna get this orange, you're gonna get this color.


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[Assistant] It's Mr. Dino Wheel will tell you why. PERSIARY COLORS!


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[Assistant] But if you want to get one point between yellow and green, you add a little more yellow. So it's two parts yellow to one part green. You get yellow green. Right?


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[Assistant] If you were to mix three parts, yellow.


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[Assistant] Right, to your yellow green you get this very bright color.


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[Assistant] So this will also tell you that's how you would read the wheel. There's very complicated, pretty arty versions of this wheel. This is just the introductory level and it will help you read all of the wheels.


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[Assistant] Cause they all do some version of this with little punch holes in them. This is nice big viewing screens. It's a really good color wheel actually.


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[Assistant] Okay, so if you mix, you have your blue and you're trying to create your, you know, your purple, right, your violet.


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[Assistant] If you add more blue to it, you're gonna get your tertiary color blue violet.


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[Assistant] If you add more red to your violet, you're gonna get your red violet.


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[Assistant] And we're gonna go through the practice of this and you're gonna see how it works in your color.


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[Assistant] On any primaries that you have, it won't matter. You'll be able to mix colors after this. We're just getting the concepts in.


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[Assistant] Mmhm. And oil. If you just came by and you're like, I need some color theory and I'm in oil. This works the same. Same, same.


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[Assistant] So say you were making some orange, you're so happy you made your secondary orange. Your tertiary color, your third mix, if you add more yellow to it, you get yellow orange. And if you continue to add yellow to that, right.


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[Assistant] You're gonna get a brighter yellow. Oh, we go green. No. It gives you kind of a little army green, doesn't it?


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[Assistant] So that's what it is. More yellow moves you more towards the yellow orange. Yellow being the greater color, right, in that mix.


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[Assistant] The way the color leads, the hue leads lets you know what's more in the mix if you're listening.


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[Assistant] If I go down to red orange, the first color is red. That means I have more red in my orange.


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[Assistant] If you're just listening to someone talk about color and they say make a red orange.


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[Assistant] You'll know, you'll hear that audio cue and you'll go, oh, I need to add more right in my orange.


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[Assistant] If you go to the time stamp where it says how to read a tube, you don't even have to watch the whole video, just go to that.


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[Assistant] It'll tell you what all the series is. The series basically, uhm, tells you the expense of the pigment. It never happens in student paints. It only happens in pro paint. And so, if series is more expensive, that pigment is harder to source, maybe harder to make, rarer, that kind of thing.


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[Assistant] Right, right, exactly. This is just to give you an idea of what will happen. Now, when I understand that, say I have a yellow orange.


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[Assistant] And I need to push it back into the background. It's in the distance, it's not as saturated, it's in green.


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[Assistant] I can add a small ditch of green and that will desaturate.


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[Assistant] Right, that means to take down the vibrancy, the color vibrancy. My color a little bit.


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[Assistant] Another way of talking about is tone. That's a way of toning a paint to gray it.


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[Assistant] And it pushes that color back. You don't have to take it all the way to this green gold. You can use it just a little bit to desaturate a color.


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[Assistant] But you gotta understand what's happening in your color wheel to kinda know what's happening in your color palette.


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[Assistant] That's why a lot of times teachers don't teach primary color classes cause this is color theory.


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[Assistant] You can go back and reference them to your heart's content.


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[Assistant] I have previous primary lessons. I've done a primary course with a magenta, yellow, and blue.


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[Assistant] I've done true primaries, I've done, I've done a bunch of primaries. I have primary color mixing classes, and this is just a deeper one than I've done, like I've done one where if you have cad, red, cad, yellow, and phthalo blue, I've got a whole course on just mixing those three primary and what colors you can get.


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[Assistant] Alright, so initially you've got to do it in a very controlled way. And we're going to get into the demo of that where we make


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[Assistant] Our secondary colors and our tertiary colors and we adjust them up and down and we're going to talk about value, how to tint, tone and shade. And I'm going to show you the tricks of how you have an effective


[User] Please transcribe this text

[Assistant] Uh, lightening or darkening, saturation or desaturation of a color, uhm, with your brush on your palette. But there's a clue in the color wheel.


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[Assistant] So if I'm an orange and I want to move from pure orange


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[Assistant] A little more yellow orange. I don't have to make equal movements every time. I can bring over a little more yellow.


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[Assistant] And a little more yellow, and a little more yellow mixing in until I get it to where I want it.


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[Assistant] And this doesn't show a gradation across this space, but if you think of it, it would be a gradation.


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[Assistant] Being a little more orange here, and a little more yellow here. The peak middle point being right here.


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[Assistant] So if you imagine each little space on the wheel being a little bit of color.


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[Assistant] You could tell which color goes in more. If I mix a little more red, I'm gonna go over here. If I mix some more yellow, I'm gonna go over here. And I can keep going over here until I get all the way to yellow.


[User] Please transcribe this text

[Assistant] So the color wheel can help you kind of go, okay, this is where I'm going. If you hold up your wheel and you're like, oh, that's more yellow orange, then you know you're going to have to mix a little more yellow in it.


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[Assistant] Right, whenever you see someone mix, uh, colors from three colors and you just see them go boop, boop, boop, boop, boop, boop, boop, that's what they're doing. They're doing this work up and down the wheel very quick in their head. But, but you're new, right? So, you gotta give yourself a second.


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[Assistant] To figure this out because they make this seem so easy in kindergarten and then you're like, oh, this will be the one thing I get when I start painting and this is the hardest thing there is to do. All of it.


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[Assistant] But once you understand these concepts, then it's like, oh, okay, it has rules, it has function, it has process, and anytime there's those, you can do it. Are you ready to bring us to


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[Assistant] The hue, value, intensity, and tone, there's a graphic for all of those.


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[Assistant] I want the one that says Hue. Oh, this one. Lower third. Okay.


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[Assistant] So we talked about that, right? And I need there's a graphic. It's it's this one. This one right there.


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[Assistant] So hue, we talked about that, that there's hue. What we mean in hue is green, yellow, green, blue, green, blue, right? The colors that we have.


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[Assistant] Uhm, and so hue and pigment means an approximation. Hue and our color, color wheel means the color that it is.


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[Assistant] Let's throw a value and talk about that cause we can kinda see the value.


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[Assistant] Do you see the value bar on, oh. Value. And then he'll bring the value bar back. Do you see the value bar?


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[Assistant] Uhm, all the way at the end of the graphic versus value. And up at the top it says light and at the bottom it says dark.


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[Assistant] Right? It doesn't matter if you're doing watercolors, pastels, oils, right? We think about it in- Oh yeah, this is good. Let's make this big. This is nice.


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[Assistant] Uhm, you see it in ten shades of gray. Not fifty, but generally ten. Right? And so the form of your objects


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[Assistant] On your canvas of our subject is a lot determined by the value.


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[Assistant] And that's one of the first things that you've got to figure out as a new painter is how to lighten and darken your paint.


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[Assistant] So that things seem like they're more in shadow and things seem like they're more in light if you do a ball.


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[Assistant] Right, you would have all the little shadows at the bottom where the light is blocked and all the little highlights up at the top and you would go through those little ten shades. Right, so that's where the magic of the painting is.


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[Assistant] That's how a brush makes our tree branch seem round. Now over in saturation,


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[Assistant] This is another thing we talked about. Remember when I said about knocking it back? Whenever you hear someone say, knock that color back, they mean two things. You're toning it, you're graying it, and you are desaturating it.


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[Assistant] Because things that are desaturated appear further back in the canvas.


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[Assistant] That is, uh, saturation. Yea, it's the intensity of the color. That could also be intensity of color.


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[Assistant] Um, yeah, intensity, sorry. I went on and I didn't, uh, well, yeah, intensity. Thank you, babe.


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[Assistant] We have notes so we don't get too lost. That's what I'm talking about here, is in that saturation.


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[Assistant] With the intensity, right? That's intensity of your color. So if you have pure color from the tube, right, that's got a lot of saturation. That's the pure pigment.


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[Assistant] But like say I took red and I kept adding green to it like we talked about.


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[Assistant] Well, sometimes intensity can be part of toning, but toning doesn't have to be part of intensity.


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[Assistant] So the intensity of the color, the saturation of the color, toning is a very specific activity that we do in the paint. It's a very specific term. Because you could also buy pigment that was not saturated.


[User] Please transcribe this text

[Assistant] That was done for you too, right? So you're buying colors from the tubes. There's lots of ways that you can get here. You could have a hidden color bias in your paint where there's red, yellow, and blue there that you didn't know cause you mixed


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[Assistant] Uh, cad, uh, red medium in phthalo blue, and it's got a green shade, and the cad red's kind of biased orange, and that's definitely primary.


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[Assistant] And so it's tough to get to a purple. You have a less intense saturated purple. Let's go to tone.


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[Assistant] That you will hear. I don't have tone necessarily on this wheel. Um, cause it's a little bit not quite all the way into full artist concepts. Toning, right, is where, uh, you add gray.


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[Assistant] To a color, you tone it down. You add literally black and white, you add gray. And...


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[Assistant] Shade and the tone of it is like, again, how bright or saturated or desaturated. Uh, let's get into shade real quick because I want to just go over that.


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[Assistant] When you shade something, or you tint something, if you shade it, you're adding black to it. If you tint it, you're adding white. So whenever they're like tint it, they mean lighten it. Whenever I, or anyone says shade it, they mean darken it.


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[Assistant] It doesn't literally have to be black, in this we're gonna be literal, we're gonna do basic color theory. But tint and shade, tint, lighten, shade, darken, tone, gray.


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[Assistant] Desaturate. That's those were those terms. Let's talk about color schemes real quick.


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[Assistant] Because in learning, it's not just concept, it's also practice. You have to take the concept and put it into practice to make something you can use in your painting.


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[Assistant] Man, it's a deep, deep well. I'm giving you just the introduction. So if you read an article, you have some idea what everybody's talking about.


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[Assistant] Right, or if a teacher says a word, you kind of cue into what they mean.


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[Assistant] So you can paint along and have a better time doing that.


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[Assistant] Oh, cause it, it'll clue you in cause it won't make a good color. So if you take a red and a blue.


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[Assistant] And it doesn't give you purple, then there's a bias in there. Sometimes you learn to see it. Look, if you look at your color wheel, right.


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[Assistant] You can see your red here, and your red orange, and your orange. You can see that in pigment too. You're gonna...


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[Assistant] Over time learn to observe that your reds are all very different. Right.


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[Assistant] Right, cause the warm side of the wheel is yellow, orange, red. All the way through here and the cool side of the wheel is over here. Right.


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[Assistant] So warm side of the wheel, cool side of the wheel.


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[Assistant] You'll start to see the colors have their biases. And remember, if you don't


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[Assistant] No, the graphics we threw up from Golden Artist Colors, they did all the work for you.


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[Assistant] It's literally they went and they used a spectrometer and they organized it by bias.


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[Assistant] You don't have to have 20 years of painting experience to just go get the answer. If you're like, cerulean blue, where does that bias? You can see where primary is, and it tells you whether it's a red or blue, red or green bias.


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[Assistant] And if it from primary, alright, so there's the primary cyan, that's neutral. Everything going back towards those teals is a green bias. Everything, you know, coming forward can be a, uh, uh, red bias. Does that make sense?


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[Assistant] And they're very good at explaining it, right? So I've got primary cyan, everything going back towards teal, that's all super, super-duper green, right?


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[Assistant] Not as green as all those other colors, but they tell you it's got a bit of a green shade.


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[Assistant] And then they go, but then there's the red shade, and they go through and they tell you.


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[Assistant] Green to red bias in order. You would never intrinsically know that because phthalo blue is a green shade. So wouldn't you think it was more green than cerulean blue deep? Just intuitively?


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[Assistant] Alright, so I get asked all the time, how does this color theory, how does this basic color mixing apply to me? Because I get asked all the time, how do I know what colors to use in a painting?


[User] Please transcribe this text

[Assistant] Oh guess what? You don't have to just know that. You don't have to have a natural and inborn sense of color. At all. Cause the wheel will tell you what colors to pick.


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[Assistant] So, if we can put up our graphic and put up color schemes. Let's do color schemes and then our graphic with the value shade thing again.


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[Assistant] So, and I'll show you on the wheel how to figure out your color schemes. By the way, you can print these out, and I have several on my site that you can print out, you can have them free.


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[Assistant] So I do like the color wheel company cause it's got the spinny, spinny thing and they got a pocket version too.


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[Assistant] So the first color scheme is complementary. You'll hear that say that, complementary colors. Does that mean yellow says nice things about purple?


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[Assistant] I think so, but what it means is these are opposed to each other directly on the color. We'll see that there. Yellow is directly across from purple.


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[Assistant] It's good to see them up close. Now you can see what they are and then I'll explain all of them.


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[Assistant] On the wheel, so you go, oh, that's what the wheel means. And the wheel will tell you what to paint.


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[Assistant] Oh, perfect. All right. So say that you've got yellow, right? Right across from that is your first, this is your first color scheme that you ever learned how to do.


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[Assistant] Complimentary colors. Colors that are opposite on the color wheel. If I go to red and green.


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[Assistant] They're opposite on the color wheel. Why we like Christmas colors so much, you know?


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[Assistant] If I go blue, it goes to orange. Opposites on the color wheel. Okay, that's the first set of color schemes that you're going to do. Now it works for secondary and tertiary colors. Yellow, orange,


[User] Please transcribe this text

[Assistant] Is opposed exactly opposite from blue, violet. They're complementary colors.


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[Assistant] Every color on the outside, every hue on the outside of the wheel has an opposing friend.


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[Assistant] Red violet is yellow green. Now, it's interesting enough, dioxazine purple has, uh, and you don't even ever see it's little friend on the color wheel cause it lives somewhere down here in yellow green.


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[Assistant] So sometimes it gets more complicated than this. This is the basic first concept, but there's like an algebra of color, of course. So as you listen, you will hear more and more intense and involved things as you go down your painting journey. This is just...


[User] Please transcribe this text

[Assistant] Okay, now let's go to analogous. That's the next concept in color theory. When you're trying to mix things.


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[Assistant] Get it. Let's show them the analogous. There we go. Analogous color.


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[Assistant] Alright, it's a harmony. Color harmonies, you'll hear that too. When painting with kids, I only put out harmonies.


[User] Please transcribe this text

[Assistant] Right? And the reason I only put out harmonies is they'll only mix good colors, even if they're intermixed, right? The color biases are minor.


[User] Please transcribe this text

[Assistant] And, you know, cause kids, the first thing they want to do is mix all the colors on the plate. Their first instinct, because their shirt, this is gonna make a rainbow. And then they're very disappointed when it makes gray or green. But that's one of the first instincts, right? So.


[User] Please transcribe this text

[Assistant] Harmonies means that it is the colors next to each other on the wheel. Be like, all of these, right. It's a harmony. These are a harmony. They're next to each other on the wheel.


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[Assistant] If you're trying to create a calm painting, a serene painting,


[User] Please transcribe this text

[Assistant] Well you wouldn't want to use complementary colors because that's dynamic. That's energetic. You would use a harmony.


[User] Please transcribe this text

[Assistant] Kind of in the, and they're next to each other. What harmonies do I want? Well, I've got a blue kitchen, so I can probably go from blue green through violet to make something kind of exciting and pretty. But it's also very calm and will work in my house.


[User] Please transcribe this text

[Assistant] If I am trying to put up a healing painting for a friend, I can put something very calm up. That's a harmony. Alright, next to each other, on the wheel, harmony. Next one is triadic! And we all know one triadic by heart.


[User] Please transcribe this text

[Assistant] So triadic color schemes are always dynamic. Uh, if you do quilting, you've probably done, uh,


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[Assistant] Blacks and brights. You actually do use a lot of these in certain types of other crafts.


[User] Please transcribe this text

[Assistant] But the one triadic color scheme you know is red, yellow, and blue.


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[Assistant] Equal distances, three apart across on the color wheel. However,


[User] Please transcribe this text

[Assistant] They're not the only ones. I could do 1, 2, 3 blue violet, 1, 2, 3 red orange. So yellow green is a triadic color mix with red orange and blue violet.


[User] Please transcribe this text

[Assistant] Red, violet, blue, green and yellow, orange is always a pretty color combination.


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[Assistant] But if you do this, then you'd be so much happier over the next year.


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[Assistant] Just knowing this. Just knowing any element of this. Whatever you take away will make it easier for you. You won't be feeling so much anxiety.


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[Assistant] Alright, so that's what that means. Try to add those equal distances, three apart on the color wheel.


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[Assistant] Split complementary colors. Oh, now we're getting fancy. I get so many like little tricky tricky questions about a split complementary color. Right. So let's go back to our basic that John has got me trying to find my little dot.


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[Assistant] So there's my, you remember our first complimentary yellow and purple.


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[Assistant] Opposite on the color rule, very dynamic. A split complement is on either side.


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[Assistant] So a painting done across there on either side, and I even find with a harmony. So you've got a little bit, a little, a little bit of the yellow and then a lot of this very exciting painting. Right. For sure on either side. That's a split compliment.


[User] Please transcribe this text

[Assistant] So if you have orange, your split compliment is blue violet and blue green. See how I can read this on the wheel?


[User] Please transcribe this text

[Assistant] Right, that's where it is. You can do it anywhere. Yellow, green. If this is the compliment, then it's violet and red. That's how you find that. That's a color scheme that you can use.


[User] Please transcribe this text

[Assistant] That's one that's going to work out often and make beautiful arrangements. Um, rectangle, let's do the rectangle.


[User] Please transcribe this text

[Assistant] It's kind of like a split, split compliment on either side.


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[Assistant] So imagine if your split compliment was on both sides.


[User] Please transcribe this text

[Assistant] Yeah, now you're getting, now you're getting tricksy with it. Here, split compliments on both sides. Right.


[User] Please transcribe this text

[Assistant] Here, split compliments on both sides. You don't have to know all that by heart.


[User] Please transcribe this text

[Assistant] Okay, this is just the basics of it. And ColorSource says you can do it.


[User] Please transcribe this text

[Assistant] We're gonna get those specifically in the after show if they don't be covered in the demo.


[User] Please transcribe this text

[Assistant] So, my favorite color scheme is a square harmony. It's probably the closest to one of my favorite artists, uh, Bob Blass, Bob Earth. He's a wheel that just does this for you. But what he's really talking about almost is a square harmony.


[User] Please transcribe this text

[Assistant] And then, ehm, I'm going to have my, uh, blue green and my red. And it makes a square. So it goes square.


[User] Please transcribe this text

[Assistant] And you can move that visually around in your head, right? So if this went over to yellow green, this would move up to, uh,


[User] Please transcribe this text

[Assistant] The orange here, wait no, yeah, orange here. From right off orange. Okay.


[User] Please transcribe this text

[Assistant] And then, uhm, this would go over to the red violet. It just all moves over one. The square moves, moves. It's the even diamond.


[User] Please transcribe this text

[Assistant] So, a good wheel will have this for you, and how you basically do this is predominantly pick


[User] Please transcribe this text

[Assistant] Your compliment, and then you hit with a little bit of that secondary spice.


[User] Please transcribe this text

[Assistant] Right, or you could say it's two, it's two apart. It's two colors apart is another way of thinking about it. So if it's this color, then it's two colors in here. Right, then it's two colors in here. And it's two colors in here.


[User] Please transcribe this text

[Assistant] It's just every two, so it's split by two and it goes around the wheel and you can organize that into any group.


[User] Please transcribe this text

[Assistant] And so like, I would use this color scheme like, personally I probably do most of it purple.


[User] Please transcribe this text

[Assistant] And then I'd do my focus in yellow and I would do little pops of color in the orange and teal.


[User] Please transcribe this text

[Assistant] It's not that I have to do purple. I just, I just like purple. I just like violets. That's just what I picked.


[User] Please transcribe this text

[Assistant] Maybe you like yellow and you want most of it to be yellow with a focus of purple and a little pop of the green and orange.


[User] Please transcribe this text

[Assistant] That's your preference. That's where your preferences come into play. There isn't really a specific rule there that you have to follow. This is just a guide and the wheel can guide you through. So sometimes it's three apart, right? Triadic. Three apart. My favorite, harmony. The square harmony.


[User] Please transcribe this text

[Assistant] Two apart. And the reason it says harmony is because it is. It's always a harmony of color. It just always looks good.


[User] Please transcribe this text

[Assistant] Always looks good. Oh my goodness. There's a lot. That was a lot. I think, I think now we're onto hands. Now we're into work. We're gonna get to demo now.


[User] Please transcribe this text

[Assistant] It's got lots of extra information, like your tint, your tone, your shade. If you didn't remember, it gives you definitions on the back. Color Wheel Company.


[User] Please transcribe this text

[Assistant] Uhm, goes all the way through, I, I, I'm, I'm not, I kinda know them, but like I don't know them like they have ever given me a penny or even a color wheel.


[User] Please transcribe this text

[Assistant] Like, we're not friends. But I, I mean, I like, met them. This is a good company though. They make a really good product. The Color Wheel Company.


[User] Please transcribe this text

[Assistant] Uhm, makes varying levels of this from the color source to quite some serious art tools for professional artists. If you're brand brand new, or you're with kids, I say get the color source. Cause it's not intimidating or overwhelming.


[User] Please transcribe this text

[Assistant] I could probably sell a bunch of these if I was selling them. If it doesn't work out on YouTube, I'll go, I'll go into color mixing. Okay. We're into our demo time, guys. You ready for it?


[User] Please transcribe this text

[Assistant] How to do it. So we learned what it is, what we mean, but how do you do it? How on earth do you do it? Let's talk about the first one, how to tint.


[User] Please transcribe this text

[Assistant] In practice, not in theory. Okay, so here's the thing with paint.


[User] Please transcribe this text

[Assistant] Oh, he's just got to adjust the camera. I've got the palette out there. You guys zoom out.


[User] Please transcribe this text

[Assistant] Do I need to flip this vertical and move this all in closer? I've got my notes right here.


[User] Please transcribe this text

[Assistant] You think so? Okay. And I'll move this. I moved over this way cause you were like having some things.


[User] Please transcribe this text

[Assistant] We'll talk about this. So we talked earlier about the tinting strength. The tinting strength which is on the tube of your paint.


[User] Please transcribe this text

[Assistant] Um, lets you know how tinting it is. But compared to white, all of this has a much stronger tinting strength. Yellow being the weakest against it.


[User] Please transcribe this text

[Assistant] Probably in this group Phthalo Blue being the strongest, or maybe Mars Black being there.


[User] Please transcribe this text

[Assistant] So tinting strength is how much the color can affect another color.


[User] Please transcribe this text

[Assistant] Yellow, low tinting strength. Blue, red, higher tinting strength. Black, strongest tinting strength. John's gonna make me small.


[User] Please transcribe this text

[Assistant] So, when we are tinting, which is to lighten with white,


[User] Please transcribe this text

[Assistant] We want to be really careful and go slowly and


[User] Please transcribe this text

[Assistant] You don't wanna take the white over to the red, like, you don't wanna try to lighten red with white. It's gonna take so much of your white paint.


[User] Please transcribe this text

[Assistant] That you're gonna waste a bunch of paint. When you're trying to tint, you're gonna take your color to your white in small incremental amounts. I've got my bright here. Make sure the brush is clean. Right.


[User] Please transcribe this text

[Assistant] And what I mean by that is, I would come over with my red, if I wanted to create a tint of the red, and say I'm getting just a little bit.


[User] Please transcribe this text

[Assistant] I'm not trying to take the white to the red and tint it.


[User] Please transcribe this text

[Assistant] Lighten it. All this white would barely lighten it and have to go again more and more and more. Right? See how little of the red it takes to tint? So when I'm tinting my paint.


[User] Please transcribe this text

[Assistant] Strongest pigment taken in small increments to the weaker pigment.