Ever laid down a confident stroke of color—only to instantly regret it? We've all done it.
The solution is testing before committing.

Smart painters don’t just mix and hope for the best—they preview their color with a small sample first. This is one of the simplest things to do:

I call it the 3S Method.

SMALL - SWATCH - STRATEGY

Let’s break it down today.

The "3S" Method for Better Colors

→ How to check if a color works before you commit

1. Color is Always Part of a Bigger Context

Colors don’t exist in isolation but the fundamental problem is that the palette isolates colors, by default. Sometimes, you simply get it wrong on the palette and you only realize it too late. Sometimes, it’s even worse than that: a color that looks right on your palette might shift completely once placed next to other hues on your canvas.

Observe the brown and orange tiles, they look different but they're actually identical.

🔎 WHY THAT? Because color is always relative. Its value, chroma, and even its temperature will change depending on what’s around it. It’s very much like the optical illusion with the cube and the different color swatches: they look different in the context but are actually the same color. Well… now, imagine that you entire making a painting is like building a giant optical illusion with small color tiles placed next to each other.

2. The 3S Method : Small - Swatch - Strategy

Because color is always seen in a certain context, we can’t just rely on palette mixing. That’s why we test directly within the painting’s context with the 3S = SMALL - SWATCH - STRATEGY.

The 3S Method is fast, subtle, and gives you crucial feedback—without the stress of repainting a section.

Before you commit to a full brushstroke:

Load your brush lightly with the color you've mixed.
Gently dab a small test mark on the area where you intend to apply it.
Step back. Observe. See how it behaves.
- Does it sit nicely within the light family or shadow family?
- Does it look too cool, too warm, too strong, or too dull?
- Is the value correct?
If it works—great. Now apply it with confidence.
If it doesn’t—scratch it off with a palette knife or wipe the swatch, remix, and test again.

You’re not painting over anything permanently at this stage—just sampling.

I have an old video about that, check it out:

3. Tiling and 3S = Awesomeness

The power of the Brush swatch Technique doesn’t end with testing color—it becomes a complete method when combined with a tiling approach.

What’s tiling? It’s the practice of placing individual color “tiles” (or dabs) next to one another, piece by piece, rather than blending everything together early on. With this approach, it’s almost like a painted mosaic. You’re constructing the painting by carefully laying down controlled brushstrokes, each one tested, adjusted, and positioned in relation to its neighbors.

The 3S is the perfect match with the tiling approach.

When you test a swatch, you’re not just asking “does this color look good?”—you’re asking:
“Does it belong in this neighborhood?”

Here’s how to think about it:

Every color on your canvas is surrounded by context. That context will shift the perception of your swatch.
So when you test, place the swatch right at the edge of an existing color shape. Don’t float it out on its own—it needs company to be meaningful.
Now ask: How is the transition with the previous tile? Soft or Hard? Do I need to let them naturally blend or keep the edge sharp?

4. Why Tiling + 3S = Easy Mode

Technically, you can build an entire painting this way, little by little. And it doesn’t even mean that you need to use small swatches, you can do the same with big brushes. This method has a powerful side effect: it improves your decision-making.

It develops the habit of making real-time adjustments on the canvas. Each swatch is a micro-decision: cool or warm? lighter or darker? duller or purer?

And as you build, you’ll begin to feel how easy this approach.

Plus, you can always take risks because correcting is easy and can be done right away. If the swatch isn’t working, just remove it with a palette knife of cover it with something better.

What It Looks Like in Practice

Place a clean swatch of color next to a previous shape.
Compare. If it’s too strong, remix slightly and try again.
Once it fits, leave it alone. That mark is doing its job.
Move on to the next tile, the next swatch.
Over time, these controlled placements create beautiful, subtle transitions.
Blending happens naturally, simply make the swatches closer to blend them.

This kind of painting is a conversation. Each new swatch is responding to the ones around it. With a tiling approach, the 3S becomes more than a test—it becomes your main construction tool.

And here’s the best part: this method works for everything. Portraits, landscapes, still life, even abstracts. The logic is universal.

So next time you feel unsure about a color? Don’t guess. swatch.
Let the context guide you—and let the painting build itself, one tile at a time.

Final Thought: Testing before committing

Testing before committing might seem like it slows you down, but in truth, it saves time.

Fewer reworks. Fewer muddy corrections. And your eye becomes sharper with every choice. Over time, you’ll find yourself needing fewer tests because your accuracy improves.

Painting is problem-solving. You’re constantly making decisions based on visual relationships. The 3S Technique gives you a low-risk, high-reward way to check your judgment—and gradually, it turns color guessing into confident, intuitive control.

Use it and let me know how it goes.