Abstract Acrylic Painting For Beginners | Rod Moore | Skillshare

Abstract Acrylic Painting For Beginners

Rod Moore, Artist & Art Teacher

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
10 Lessons (3h 34m)
    • 1. Welcome Master

      3:14
    • 2. Module 1 Part 1

      13:49
    • 3. Module 1 Part 2

      33:19
    • 4. Module 2 Project 1

      19:30
    • 5. Module 2 Project 2

      18:49
    • 6. Module 2 Project 3

      21:47
    • 7. Module 3 Project 1

      38:41
    • 8. Module 3 Project 2

      17:14
    • 9. Module 3 Project 3

      19:11
    • 10. Module 4

      28:55
13 students are watching this class

About This Class

Abstract Acrylic Painting For Beginners

This course is designed for those who are just starting out on their journey of painting in acrylics and are looking to become looser and more abstract in their approach. The projects being taught are not fully abstract paintings as they still have a degree of realism to them. They are however a move away from realism to abstraction.

The course is designed for beginner to intermediate artists and is taught using a detailed structured approach. Simply follow along and you too will be able to complete these great looking paintings that are heading in the direction of abstraction.

We use Acrylic paints for this course with a simple palette. 

Anyone can take this course however it is designed for the beginner to intermediate artist who is looking to move away from realism and towards a more abstract approach

Transcripts

1. Welcome Master: welcome friends to the abstract painting course level one rod more here from more at school . And yes, I know I said, I would never do abstract pounding in the past, but here we are, a zay said in the introduction on the South page. You know, I think it's important that we continue to develop. We try new things, new subjects, new approaches. And that led me recently without being sort of searching to find a new direction or getting my own pining and started to have more of an open minded led me down the path off. I wonder what abstracts would be like right now. I'm not going fully abstract and in this course, but I'm gonna get complete abstract. They will still be a degree of realism in the right side. One of the projects were going to do is this Little six got panting here. We'll do a bigger version of it, but it's still even now. I've done it in a more abstract way. It's still recognizable as a sailboat and a land mass in the sky and water, right? So there's still an element of realism in there, so we're outside abstract. I guess what I'm referring to is reducing the amount of realism, getting rid of the detail and working mawr towards capturing an overall feeling, a sense of place in the panels that we do. So in this course, we're gonna do four different paintings, and then we'll do a bonus module at the end or therefore modules. The bonus module will do some little studies like these little five by seven studies awesome Seascapes, and we'll do a Seascape in the 1st 1 But then we'll do two or three other modules. Where will do other subjects, right? And then we might get more, more obstructive. We get into those as well, but we'll explore, I think, is the important thing. Explore loosening up, having a slightly different practice of what we've traditionally taught him more at school and having a bit more fun being less concerned about the details. How do I draw that branch and leaves on a tree to suggesting a tree right rather than trying planetary? So this is really about loosening ride up having a bit more fun and, uh, and reduce the amount of realism, but still have an element of realism there that makes sense. And we will get through that as we get. We're gonna talk about the more method of pining, right? We're still gonna do it in three steps, so we'll see how that I'm false. And to be honest, I really don't know at this point how it will unfold, but I'm sure it will work out just fine. So we'll start off in modeling, will do this nice little cityscape. And then we'll see what happens in modules 23 and four as we progress. But I think we could have a lot of fun. And as you progress through this course, I would love to see your photos off the pansy producer placing him through to me, it really makes my day. When I see your paintings and song, we're gonna use best the same materials we're using all of our other more method courses. We're gonna use just a few brushes, just a few colors and, you know, we're going to use the same three steps. So I'll see you in the first project. Will do this little Seascape here, but we're doing on the biggest scout, so you can hang it up on your wall is a nice place of can decide. We're gonna have fun, so I'll see you in Let someone cheese 2. Module 1 Part 1: Okay. Welcome to Module one. Our first little abstract painting that we're going to do. I've got ah, 6 10 by 20 Canvas up on the board here. We gotta start out by using cerulean blue and titanium white for our sky. And then we'll get into some ultra marine blue. So to blues, cerulean and ultramarine blue. And I'll tell you the rest of the calluses we progress through it. And as per the more method of panning, we're gonna use a little flat brush here. This one's a little bit wet. Soldiers keeping a, um, bit of a rinse. Now, this is a shape little brush that I get from a art supplies store. It suggests I brush for applying just so brush. But it's got these nice bristle heads about one inch by deal for getting down pipe fast, which is what we want. We want to work fast doing these abstracts, not overthink it now that analyzes on the pain of acrylic. So it is important that we do paint reasonably fast with acrylics. So, you know, with the more method what we tend to do is we tend to do a drawing first of step one. So I'll show that the drug we're gonna do here is basically we're gonna have our horizon line through there, OK? And then we're gonna have a land mass. It runs to about there that Drori. And then it's gonna be very abstract reflections and so on in the water. Let me just check. You probably got a little bit lower, actually, with that horizon line or got there, Which means the my lamb, it's gonna fit in there just to give me a little bit more room to play in the sky on. Then what other colors we put in the sky can then reflect into the water? Is that basically step one of the more method, isn't it? Do a drawing to be shapes. We have a boat here, but we don't draw that in just yet. And we wanna step two, which is blocking in color. So this guy, I want to do this in the surreal Ian and watch running a little bit there forever that thoroughly in the what? To get a north cool color in our sky. Okay, so I just No, I didn't really claim that. Brush it very well today. Squeeze some other that now just block it in. Don't be too fussy about how you block it in at this stage. Poor thing is just to get some Keller down in the sky here, so use a lot of pipe. That's fine with students with acrylics, they tend not used enough pain on. When you're working a bigger surface like this, you're going to need to use a reasonable amount of points safe. You concerned about the cost of the pain because he just starting out. This is a practice painting for you, which is very likely the case then, just by a chip of student brand. Do a few practices before Ugo pipe, one that you think you might keep hang on the wall and then you can use you better Quality points for that. Okay, getting that in never run out of watch. So as the same gonna need a lot of packed for this, you can see already the beginnings of the sky. There going to be a Knauss cool sky, and then we'll use our warmer ultramarine blue in the water. I just got a little bit of a different approach. That is a very my brush strikes around. You won't see this on the video. But, you know, whoever ends up seeing this painting in life will see a whole lot of variety in texture and brush marks in there, which will make it more interesting Pining. Okay. Don't need to get right across the looking at my land mass there, on there we get so they don't start drawing off, which is what we want. So that will move to our bigger area there. Which is the water we got. Block this in an ultra marine blue watch. I'm gonna go, Doctor, over here. We got a little bit louder over there. You get a bigger Grady, but not too much. Um, we don't have fast with that through March of this sturgeon cure. If you consider difference in the two blues there, what's significant? So take the ultra marine blue titanium white, mixed those together. It's not awesome, Doctor. And just a little bit more water that will draw a doctor. Keep that in mind with acrylics. Okay, so now what? I want todo big area to cover. So I'm just going to dip the brush. Just time. Little bit of the water okay. And that water's dirty. So grab back of it and you can see that got a purple tinge to it. Can I have a big area to give it? A lot of that redness in that ultramarine blue really shows out against Thea the coolness of the surreal Iain Scott on I think also when I dipped into the water that my vengeance of red in there as well again lots more pint So they man appointed are mixing up there. I think that's important. Because if you saw that little one that I showed you in the frame that were sort of doing a copy off here, it had really nice text your in the pine for why the point was employed. You can't get that within amounts. Apparently made a lot of pilots. Okay, what I'm doing, I'm just brushing it up. Damn, because basically what we do is create reflections that run up in Dan lock side. Probably bad technique to practice that. Okay, Just feeling always gets here more blue. More what? Somewhat there. So the important thing is in this sort of five years, here is just to get the pipe. Damn. Let's just block in the big air is that we need Keep it a little bit dark along the top there. Yeah. Is that pretty much couples my entire area there Do want a little bit. Doctor Ivor in here sort of with landmass is gonna be a Dhaka reflection in there. So just right. Just a little bit of moisture there. Pick up a bit more blue, like a darker mix. And let's just start a on some of that end. Just blend it so that we got a little bit of transition there. Okay, for a good step back and have a look. And I think that's looking okay, put my brush back in the water, but that ever been a rinse around and that we need to get in this white mess We're not gonna try and describe on island or anything like that. We're gonna indicate that's the key difference here, right? We're gonna indicate this land mass, so I'm going to stick you with their basic sort of callous came that we was used Not gonna add Listen, crimson yellow icap. Okay, so you but done one of their courses before you be for me with this sort of palate. So that is our loser in crimson on yellow. OK, and what I do want is a little bit more of that ultra marine blue in there as well. So that will give it greater harmony in the fighting. So it was at a a lot of that up there as well. Because if you've done of course, before you will know the real waves makes a dark with ultramarine blue. Oh, and the Eliza in Crimson Excise two together you get a nice doc now, mixing it in a Paul have courted a Washington. So there's a possibility that a lot enough a bit would you like and I'm not gonna overmix it. Okay, it's got all three colors are showing through there at the moment, So dynamics it on, just slide the pellet north through, so we get a chunk and I'm gonna come down here And just what this in out over the horizon line there and let some of these different times come at and makes little edges, trees and things in there. Okay, So as you can see it, it is quite an abstract look that we've crowded there, which is perfect given that this is the abstract painting course. Okay, now just wipe that fell in, off, off. I'll get some sand happening So yellow ICA up there and somewhat trying to get the cattle's mountain colors and money to this stage. Okay, I'm just lopping off a little bit and getting taIking of sloths, okay? And let's just run that in along. The bottom did indicate some sand don't come to fire out here, but a little bit okay there and see that little knife, broken colors. And it's sort of it's not describing every detail, but it's describing in naff detail. That's the beauty of it. Okay, just don't have a flat line for that top there. Make it interesting. Further, like from tree lines. I've been there. Look, I'm quite happy with that, and really, I think that's pretty much at blocking. Stage done. There's a little bit of work needs to be done around here. I didn't quite pan in all that sky Keller, so I just use the Helen off there just because you don't pick up that doc and drag the doc up into the sky. I think that's fun. Okay, that pretty much you're blocking, Which is a step too. I'm not. Let this dry off. Come back in half a now I'm having out step through, So I'll see you shortly in step three, Chief now. 3. Module 1 Part 2: Okay, welcome back. And this is really Step three now, the mall method in our first abstract painting project here. Now I've let this dry overnight. You don't need to let it go that long. You might live it for an hour or so. Just let it dry off. But it's quite dry now to the touch. So, you know, step what we did a very battered Drori. Pretty basic Step two we blocked in color me added in this little island sort of scape here . So Step three is now really highlighting details finishing touches. But we're gonna keep it loose that district. So where I think we'll start out is putting a bit of interest in the sky. Here. We got a cool blue. I'm using the civilian, but I think what makes up some a lizard, crimson yellow ica, and just add some cloud interest in the sky and then will reflect that down into the water and will reflect some of these darker times down under the water as well. So let off get our lizard crews would pretty much finished with the blue for the moment. I think some Eliza in crimson and some yellow So if you've done any ever any of our other courses, you know that. You know, there's a pretty much out by sick palette that we use, so I'm keeping consistent with that pallet. In some of the other abstract approach, we might introduce some other colors for a bit of variety. From what? Using titanium. What and what I want to do is just get a mix. I'll use the palate enough and will take some of the red there, and we'll take some of the red and the L. I darn over mixed this on. Pick up some of this. What? In fact, there's a bit of yellow and reading that. Paul this I'll just pop the what they're. And as I said, let's not I have a mixed this. Let's keep the caliph broken in that get fairly lot. But you can see it's a variety different times and callous in that. Have a look at the knife there. It's not reflecting too much. Okay, I don't want to do is just credit. I've got this island here, so I want to balance that out by putting some clap work in that side just to create some balance in the pining. Okay, using this. So what we got was just very sort of randomly just started fashioning some. So the clad shops, his company is dry. I will just give it us right that water bottles not working terribly. Well, just give it a bit of a lot spray that I'm like this point. Move around a bit more freely. You see, that had some interest into the sky there, which we can then reflect down inter. Just a little bit up here. Not too much. Okay. And then we just take another swap over there, and we're just going to run it down, continue to run this damn and is in the water bottle just to soften it all up. Good. Some hard edges that we try that particular like it in the cloud up in the sky. So what I'll do take my flat, one inch brush and just soften it out a bit. A little bit thick through that, I'll come back and all work the blue back into it. Just get the right affected office looking for I think that's a little bit too dominant there. I'm sure a degree, but with this reflection. Come up with it looking now. Just run that down. You too. The water. Block it all the way. And I see I've still got the blue coming through. I think that's important. Um, and definitely I've done it there. Let that draw off a little bit, and then we will recover that by mixing the blue backing to which I think we need to do too much because it's good. Quite nice. Dramatic effect. So I think we will just push some blew back into it just to soften, especially up in around here, Just a pull back a bit, getting to be more under control. And I think when it all settles down, that might actually turn out okay. Just suffering that in a little bit. Okay. I'll get for some DACA tired. Which means we need to get some of that blue back to the ultramarine blue. The mom is all looking very heavy. Real. I've just done that, but we will fix that. Take out tumor and blue. Had a bit of red. Gonna get a what do that float around we get with swat through. Don't have a mixed the point there and let's just running some of fix here. I think part of the problem is such a large area that I'm not using enough pants mix up a bigger amount part there. It looks better. We're just put it in a little bit randomly, okay? And getting into the same thing. We're gonna screw it with the war ball just to soften it up. And then I'll run the brush through it Can. This brush has got some of the red on their some of that color that mind that try and live some of that under painting of the blue coming through. I just bring it up into ready a time there. Very good. Now what? Push back some of that blue of the sky. That's a really in blue bit of this. What? And let's just work out where we need too much. What? Coming out on the brush there. Just a little touch. DACA. It's just a matter of just getting that rot. Time metric. Eating what we have there previously, but also just complimenting with what off Put down with this cloud callow. And there's not rata run live doing it. It's just better of what you personally think works. You know what you happy with? I wasn't too happy about this clad. He got a big for my locking. That's true. And I'm actually going to get a work. What? I put a little cell by right there in north. What mask? I think that's gonna work. Well, I just danced more That blew into their a couple little dirty spots in here where I'll get some clean of color into in a moment. And I also just lost a bit of my hillside here. Let's say we can regard, not picks up a daki warm doc. We just worked that not everywhere but in places back out of this little island area. So I was quite cool that time. So now I'm going for a warmer sort of, Ah, perfecting that which I think it needs, given how warm this has become. Okay, so I think it's going reasonably well. First off, a bit shocked by what I've done there, but having little let it settle down and balance it out a little bit, I think it could work. So the important thing is now to get in that sile about, and it will reflect that rock down through. They have enough big patch A what? We'll do a big one, maybe a couple of small ones off in the distance over here. And I think that will just balance. It'll at quite nicely. Silence. Put that theory to the practice. We get some more white up there on and I'll take a small appellate off. This little guy here. Try years for doing more of the details. Sort of work. So just gonna use that edge there was gonna drag it around for the shape of a sailboat. But I think we'll do it around about this at the bottom of it will come to here. Okay, so this will be the shape of it approximately there. Just give it a try. We're gonna get pure What? Loaded up fibula pain on their I don't have a work it north. Big chunks of piling up on this a lot of texture. There are something like that. Now just grab the bottom of it. Just pull it down, lock side, step back and have look not too bad, But we haven't done. I was quite as well as I'd like to get a little bit more plant there. Okay. Just probably a dry brush and just stop suffer matter little. Okay. All right. And then what will we do? We get some purple tired when he and we'll just that in for a little bit of color, like so little self out. We want to just break out that massive. Why, it will just take this purple turn here again. Just put it in little bit interest like that. Okay, now I think what we need some other a little bit not has brought Watt. So I'm just mixing a little bit of that blue in the apologised griot back a bit. There's been reading a bit of blue in there. Okay, We had a couple of smaller ones, but we'll do them a little bit higher up to create the illusion of depth B A distance. So money to touch those that brush then, baby, just a couple off in the distance. Like so. Just don't get a small brush. This little guy here just get a more They could do these in different Kalas. But if I was gonna do them in different calas, I would make my mind boat. My broadest Kelis, I look down to a red one, then that would be the main one. This guy here, a couple of other little marks there, then the army. Everything that you could do, if you wanted to, would be to just get a bit more variety and interest into these reflections in the water. But you need to be careful not to ever do it. When I went in with that, I think you know, it was a bit enthusiastic. Got a bit carried wives too early where that might be prudent to sneak up on a little bit more of what I've learned from that. So use just a smaller one here. We'll get this blue mixing with this purple, but will go some of this darker blue. Yeah, okay. And just in a few places here just actually been easy. Withdraw Pinal in if with the weather pants are. But let me just break that up with just some of the more dark blue Just imply since doesn't have to be everywhere. And there's some interesting times and textures now that a developing in these reflections , which is what I was really wanting to shave. Careful what you're picking up on that north. I was telling my students in their classes, Look at you brush. Make sure you know what you're about to put down onto the canvas because whatever's on the brush, well, the pellet mouth in this case is what's gonna end up when your pardon. Funnily enough, that's going a bit more interesting there now. And I wonder whether we need to just get a few little hints of a diver in the red and a few hints of the red diver into these purple e area. We probably so just very subtle, very settling citizen and guys and doesn't want you too heavily. So important thing is that I can make mistakes if you know how to correct them. Kale just suffered a bit of that up. Get a little bit. Is red this guy? Keller. Yeah, that's what I was looking for, that sort of subtle effect that press too hard or you'll, uh it's in the yellow green mix of that blue gives it a bit more balance and integration. Nothing. I can knock this back a bit, drink some of that down at the bottom on, and I think just need that time back just a bit of a juggling act now just to get the rot balance. And I said before there's no really right or wrong with this. It's a matter of what your personal preferences are. Get rid of that one. You want that one? That's probably little bit heavy as well. In there, you see how we're not. Do you play it? Place it down, You can review it, You come back to it and you can make some judgments about it after you had a chance to sit with that for a moment, just the addition of just a little bit of turn out of the top, like knocks it back nicely. Actually, that works. Just fix this little bit up, apply the same theory over here. And I think what I want to do now is just get this. It's really in blue into this guy just a little bit more. Just soften it up a bit, being careful that I don't squint my mind. But the just waved the brush around a little bit to try and crap movement in the sky got Sal Butts out there on the action, so we want to create a bit of windy move. Any feeling clubs have been in that. Why that clapped there. Now I think it's more balance. See how you know if you look at the balance of that, too, that this one was too big. So now I've got that under control. I'm happy with that. That's looking better. Just a couple little areas down around the bottom here, which I think I need to touch up. But I think I have a role being quite a nice, interesting looking sky now, Sal. But with the reflections looking good Just a few little things here which I'm really change the brush. Try and get back to that ultramarine blue turn. So I think there's something like that. Yeah, that looks like it. I'm just gonna Why that I have those rough edges up and down even back up into that reflected China. I'm just breaking up those bottom bits that were a bit of a bit rough looking to stop the idea of getting caught down the bottom where those rougher edges all that harder edges work. So even though we're doing abstracts, another sign philosophy and rules were not rules but guidelines. I guess a good pining still to apply to be great. Now this is pining is not completely abstract, still has an element of realism in it. Obviously, we got Salvo in an island sky waters that is still not 100% abstract by any stretch. But it's certainly more abstract than what we would normally do and look, just looking at it, standing back and taking a look. I think it's not a bad little pining. Definitely wanted to go out with a fund and one that we're looking on the wall, and if you're happy with it as I am, I'm not. Make a few more tweaks and adjustments to one of the light of day, but the moment all let it dry, let it sit and very assisted after it's a chance to dry off. But I'm reasonably happy, but so I will just put my signature on that. It's definitely worth pursuing this stall if you lock it because he could do 101 variations on this one thing, couldn't you? I mean, try doing the horizon line down here or halfway. Do it. Do it is Ah, portrait shut. Try a few different variations of a trial with a red style about red reflections. Yeah, there's a variety, different things. You could do it. Just this one simple idea. Andi. I think you'll find that there's quite an enjoyable approach. What? I will do it like this. A little bit of red in the brush, so just put it a little tint of it on that boat there. Don't know why that changed eating, but they got is our first little abstract at a little suits kept pounding with some sailboats and some lovely reflections in the water. It's different from what we normally doing more outscore, and I think it sets the tone for this four week abstract course. We gotta get a bit more abstract with each week that we do. It's gonna be a bit of fun, but have a guard this 1 73 5 so I can see what you've done all love to see it and enjoy it . Just have a bit of fun and play rembered on. You know, if you do run off the rails like I did with the clouds initially die panic, let it dry and then went back into it like I did So I've shown you how to recover from a mistake and just keep adjusting it in balance. Gets spend a bit more talking about I've done here, keep adjusting it and getting the balance right and to your reach, a point where you think you know what that's working on. This is pretty close. As I said, I'll let it dry off and reassessed in a day or two. But you have a go and send me a photo and let me know how you go Choose now. 4. Module 2 Project 1: get high fives. Welcome back to our next project in the abstract pining course. Now what we do in this project is mawr of a decorative top of approach. It's a very abstract. We're gonna just do big, bold colors with a view to this is the sort of thing you might put in a beach house in a nice, sunny room. It's just really decoration for the wall at moving a Fitbit away from realism to ah ha level of abstraction. But we're still gonna do it as a recognizable seen by actually going to be a Seascape when we go do it in bands of callous and have this sky through there the deeper water there with shallower water and in the short front there. But we're not gonna put any details or information. They're just gonna be purely washer. The color. This is just starting out for beginners in the abstract style of painting. This is the easiest sort of painting 11 Dude. So we're gonna use a big brush lot to paint. Just nice. Be wavy sort of strikes, and it turned. Don't overthink this one right. There's a natural progression of the colors which will If you get it correct, it will tell the viewer that this is a Seascape or a beach scene on. That's all the information we're going to provide them in this pining. So we're gonna need a one inch brush. We're gonna do nearly all the pining with this one inch brush. So you know, that's a minimum size that you would want for this pining. And we're gonna use a few different colors just for a bit of variety. Going to be lots of titanium. What? What has happened up in achieving that? So I would put a big chunk of titanium white up there. Put that to one side and we'll start off with the sky. We'll do that. So really in blue on what? That's early. And they were using cerulean blue. It's a cool blue. We won't ask, are to be cool. And we want our water to be a bit warmer, so we'll just take my little square. The bottle could get a big area of campus here. Oh, just moisten it up a little bit. Stop too much. Now, use a lot of point with this because if you don't use enough pint, you have trouble getting a point to flow on easily. If you do use enough paint, then this will work their problems. So I want to take half of that white. Have you got that? That's a big load of water, right? Probably professional. Started with that. We get some of this early in blue. Mix it around on. That's a nice a sky might sky blue for Yes, I just might show the points 16 reasonably. Well, load the brush up on then to start the top, and then let's just work it across. And if you find the paint doesn't come off easily, then a little bit Mawr water sprayed on should do the job so well, why across? And we just let you get a pining bands here today. Okay? So what I'll do is I'll just take another little chunk of why No mixed that in just wanting it off a little, okay? And then we will work up to that bed, like so with that in Okay. And then keep working. Damn. I want dot smooth transitions in this painting. I'll just keep working it in. I'm happy with, so I'm gonna come down to run about here, but work down over a little bit of a with you. Get a bit. I'm just making sure I get the paint into a with the canvas. There's a few little white spots going a little bit of water, and then it's gonna be docking there. So just lot not the bottom part. A little bit more like. So just work that back out. We've been a bit happier. That case, that's really must sky area done. Let me now add up next turn, which is ultra marine blue. Okay, the chunk of ultra marine blue on that next job here is to cut in a nice horizontal horizon line. Now, that could be a little bit challenging, and some people will put masking type there, which is perfectly fine, but it will live a really hard edge. And that'll distract the idol, draw the are to it what I prefer to do. Okay, A bit of paper towel. Just pull out some of this lot of pipe. Okay, so I just Piper tail, just pull it through. So it's still got plenty of blue in there, but we're using blue, so it doesn't matter. Take half of that blue there. Take a chunk of what not as much water as we use before there's absolute. So if you have a stand at the beach and you look out to the horizon, you'll see where the water meets the sky. That's always docker in the water. So what I'll do is just pull it just the tip in it through and load up the tip that pulls the hairs to give her in a bit of a chisel. Okay, and then I'll start here and I'll just go. Okay, I'll just work it back. And Ford trying to crack the North horrors on tool heroes and lawn. Okay, I'll stop and look a little bit well on that sign that always difficult when you're filming and talking to get this perfect, because often I'm standing offside. You say a little bit of what campus showing through they're not worry about that will touch that up in a moment. Most important is I just want to establish have reasonably striped arising line through there for the purpose of this demonstration. I think that's pretty good. Little bit higher, their funeral refuges that mind the rough edges. That's perfectly thong and then I'll go back and take a smaller brush here. And we're just getting to this lot time. And I'll just work that, um, back in the just beck feeling that what campus? So that's why you should always lower than where you want to put your horizon. Say not to do what I'm doing now. Cowardice. I started my rose and just a little bit lower than what I had intended. But fortunately, there's no making mistakes in what we're doing here. Because whatever you think looks good on you, happy with your gonna put this up on your wall? The only criteria for doing, sir. You look at it and you got You know what? I think that it might be quite happy to have a nice little beach thing up on my wall. Now I'm standing back and looking from a distance and I can see that I'm sort of running down that. Why a little bit. So I'll just take some of that doc again, come back to here and just working up just a little bit higher. This is the are only John that you need to be really careful with. Okay, that's pretty good. I'm quite happy with that. Given that I'm doing them out at what they do any more than 30 or 40 minutes, you know that overall, the demo. So I think that's quite acceptable. Or just moisten the next part of the cameras. Okay, and I'll just apply a little bit more of this Dr Blue and they plenty of Pipe Road. It's a lot way we get plenty of pint names. It'll flow on nice and easy, and it will also give me more time to work it in. Now that's looking good. Neck just come down a bit lower than what we where. We want to stop the next transition, Kim. So if you look at the national further in the doctor, deeper water, it's darker blue. And now this is not true every beach in every action. So don't send me an email, say I went to my Michael Page. You can if you want, but there's always exceptions to the rule, but by the bitches like the ones where I live here. As they come closer, they get a little greener. So many years now, Fellow green, There's meth. I'll agree, and I'm going to use kept me meal. I medium. Okay, so this will give us some north brought color in the water there. So with that nice blue there, we don't wanna lose that completely will take this green. And we're just makes it to the side there and introduce the blue so that we've got a meeting that grain could be true intensive waas more blue in there. It's not a bluey groom on. I'm gonna come back up into this blue here again, just a little, just to get a bit of moisture into it. So it'll make it easy. And I've got my pine on the brush here and I'm just going to come back up about one inch high into that, and I'm going to just work that I'm looking over painted. I want that blue to share through as well. But see how I'm just integrating a back up into the blue. No, I work right. There's a lot of fun when you started and lost General Church. This is a lot of fun. Doing that sort of pines is not real pressure to make it look like anything other than just something placing toe, you know, to sit on the wall because in ice cool colors, they're not relaxing colors as well. Which means that there is a live with. Can I just get a couple of Dr Accents in there like that? Just what it was took more pure fellow grew and added that straight in there get a bit more back into that blue will just work underneath here. And I'm just back and forth, back and forth, just making sure we'll get that packed into the true for the cameras. Okay, so now that we didn't have a color shift, we're getting warmer as we come towards this come towards the beach. So now we're going to introduce his yellow and I'll get a bit more green. So to yellowy green that look at that for a nice, luscious killer. Okay, let's now just try introducing that. Is that so you know, this is more of a tropical sort of beach, saying that's probably little bit strong. I've role. We don't want that Teoh be the dominant color in there, but I think it's starting to work. We need a little bit better transition back up into the grind into the fellow green, so I could get a bit more. The doctor grain makes it slightly in there. Then let's just worked up, back and forth. Look, So I'm going to get Mawr pure yellow in there. I'm here again. Keep him on with pining with an abstract approach. I'm not trying to get an exact replica here. What an actual beach saying look like I'm just trying to crap something placing to the viewer to the I get some nice interesting shifts in turn and color in there. I think they just setting a bit more that silo green in here just toe. Just a bit more darks in there, I think, is what it needs. We have got gone back up into that. Blew a section there so you can see what's so important way. Keep that water that pint quite thick so that it stays loose and open for us. Okay, Now we come down towards the bottom here. I'm going to introduce some yellow Iker into that meets mix that in good, just a little bit of water in that probably to match. Let's just swirl it around and re establish that yellow I could turn just a few touches in the living. He knows the water. Get shallow up. The wives will stir up the sand and push some of the sand up higher. That's what gonna indicators? Just some marks of that. And then finally, it's time for us to do sand bottom there now, toying with the idea of having a bit of red into the sand color. But you know what? I don't know that we need Teoh. I think we probably a nice cool thing happening here. So what I will do is just claim that brush. And now I will take chunk of this titanium want, and we'll get there. Is this yellow ICA mixed that little pinhead of the cad yellow in there? You know, there's a lot of point they're gonna be ahead, break me off. So scared that got a lot of pine on the brush there because I've still got quite a big, very heated to work out. So just get that in fresh, a little bit dirty. There's probably see but a few breaks of Cala Bitta variety now I think won't got straight a bit of green coming out in match or paint over that section there in a moment. Can you just squint that with the water bottle a little bit more yellow ica a bit more. What? My yellow I care, senator, Have a few colors with pride on interesting little sort of pining. I mean, it's not gonna win award ring about that, but it's going to be a nice decorative pace for on your Landrum wall. If you've got a bitch home, this sort of thing you can do on your own taken our also toe, do another big one. So what? I'm thinking he could do a great big landscape e sized, um, version of this, and it would look fantastic. And, you know, the big you get, you might want to put just a touch more detail in there, which I will do. Another version is and shave. This one is a basic version. So I'm just getting darker at the bottom, especially in the corns. Little bit DACA. Just a few accents of doctors into the sand. And I've got this little transition area here. Just want to get that right. Never screw. It's on the water and we'll get some of these green turn here. Just see if we can't bring them together. And of course, we can do that too easy. Just get a nice transition, you know, so you can barely tell where the sand starts in the water in. Okay, now the mind with lots reflecting on the pipes still wet sides a little bit. Difficult to say exactly what the finished product. One oclock. But I'm pretty sure it's going to settle down quite nicely and look like a good little, uh, for the modern contemporary abstracts. See Scott a little bit more just into this sand there, and you know, if you're going to say it, see places like that, you'll see that there's a lot of artistic kind of similar sort of stalled this and sell their they've sort of pine ings. They're usually pretty good money on, etc. Even eBay. So this is a style, this sort of abstract beach skate style, the to life popular and it just looks good. Reminds people of the time that they were at the beach when they were kids and has a nice feel to it sits on the wall quite nice. So it's not an angry pani. It's a nice, cool, calm, relaxed pain. The people who enjoy, you know, remind them of their summer holidays because people don't get enough holidays. I get enough time at the beach. This sort of little pining can just bring them a little moments, pace and relaxation. I'm just touching up along that Harazin long there. Well, a bit of dirtiness in the brush there you got wouldn't do too much more to this one. A pretty simple little abstract approach. Easy to do. Just big brush. Lots of Keller and you sing how I've done it. You could do this to have a guard, This one. I'll do another couple. I'm just to show you some variations of this and we'll do that. The next video We'll see you there. 5. Module 2 Project 2: Okay. Welcome back. We don't dio pretty much the same piping we did before, which we did as a horizontal. This time will do is a vertical just to share different variety. Same A principal. They're gonna do the big washing sort of movements across the canvas. And this time we'll add in a little bit more interest. So some waves in a bit of phone on the water just to indicate a few waves. Although we don't indicate to many we want the viewer Teoh, identify the wives or, you know, make them up, fill in the gaps. Right? But we'll just put a couple little touches there. So there's that. What? So I'm gonna start at that same process far away in blue and a big one and brush. So let's get that. I want to get a bit of that. What's really in Bloom extends to give up. And what I will do it under the lots here in this recording. In the studio, things do dry out quite a bit to get that through moist pan, little moist and then let's just much easier that flows on. Okay, Don't put too much on their their which are probably just I've done a little bit. Got too much in there. That's OK, will cope a lot. That off. What happened? Just a flat sky. No need to put any interest in there. And, um, come down. Just a touch further, quite moist in the middle of that panning there the mining Hi, flight. Why, Rob, if I was in fear of it running, I could always stop, come back in 10 minutes time or get a bit of Piper challenges wife back a bit. Just psych up some of that moisture, but I think we'll be right. Okay, so it's a little bit fight through there. Just get slightly DACA. That's where most of the moisture is. Just be patient. Just work the killer back up and around you go to where you want it. Okay, so that's looking reasonably good. So with that, we'll just move on to our next color. Now, before I put what in with the ultra Marine blue, it goes quite purple. This particular looks quite blue there. But since he had wide in that, the redness comes out. So yeah, that previous painting I did. I'm just looking at it, drawing off. It looks pretty purple. So I have bad We just mix it up. We just got striped blue This time we'll pick a spot here. We will just more on that quarter in there. Get it still quite wet in there. But that's OK. You just work with what we've got. Come back in strengthening now. My horizon line was a little curved before, so I'm just gonna get this in and stand back and have a look. Um, the two wives has a tendency to curb when I'm filming because off really planning on one side. I want to get in the way of your shot even though I know I do. Sometimes it's just stand back and have a look and you that said, slipping down as well. So I was definitely a tendency to slop when I'm standing on one side. So whatever you do, don't stand on one so high right fights on the canvas, you're lost will be easier still slipping down a little. That should be pretty close to fixing it. I think it's better. It's not perfect, but it's definitely better. So with that done Oh, just getting a bit more of this blue you can seem without watching it. It stays a nice bluetongue, not stock worn blue signified that wide into that before we literally went a movie. Purple color. Nothing wrong with that. Just something to be aware of, Right? If you've done out Callum mixing course, then you'll know that we talk a lot about just understanding what your colors will want to . That will do different things right when you mix them together. And if you don't spend some time doing some bicycle, it shots and things like that with, You know, if you're using the same brand of pine Ivanova then uh, doing some color charts will definitely help, right? This is the highlight, Grant. It will definitely help you to understand what you're painful even with the same brand. Like I use until your interactive a lot. I think this must be the batch off that ultramarine blue because I haven't really ever seen it get quite that purple that now this is a fellow grain, not haven't mixing him with anything. Let's just see what happened. Ever put a nice, big, thick band of it on their looks. Pretty exciting. Deniz moisture in the bottom mass. I have sort of fitting right out. Now, I don't want to have a hard line like that. Like I've got three hot lines. I don't really want that. If you want that, that's fine. You can have that. I'm just gonna move some of that point up and down, like so on. Then I'll come back to maybe you wanna have some hard, long, just for a bit of variety, Okay? I personally don't want. It's what I'll do is I'll just break that line by just moving some of these green pint back up in Peppler that relieves the hardness of Vantage. See that now it's sort of hard to know where the blue stops on the green starts. That's easier on the eye, won't sort of distract the viewer and pull our attention so much. However, our lock the way this one of panning out where got mortgage definite sort of, um, sections here, where we didn't quite have that in the previous one. We had blended back and forth a bit more, so let's continue it. That is a thing. Just see where there were taxes, and that's the beauty of these abstract paintings is it apply around you not just experiment with different things. I mean, that's basically all I'm doing. He is going to take this pure yellow. He now run that into the bottom. Here. Not gonna mix it with anything. A lot of gonna be a great on the brush. Didn't claim my brush. If you want more pure Keller, clean your brush and don't let that pine are just put out. Becomes saturated with the previous color, which is what I have allowed to happen here. I'm okay with that mind to harmonize, to give. Basically, that day they're not competing or I really into each other. That, of course, is a problem. So I'm quite happy to leave it like that. And I'm not just feather it up into the green. Not over Palek. During 2 to 5 down into the l A. Band there, but just enough. Just a few flicks of it getting up into that great in that yellow. Pretty much the same as what we did up into the blue with the grain. What? Okay. Crowding from interesting. Do you know we'll clean it now? Get my sand a little bit cleaner and color But as you can see, there's a good little decorative abstract paintings. Easy to do, right? Anyone could do those on. I have a great at come. That look really terrific. On the wall. There's a fanned Get there. Is this what, Pop that? They're mixing sand into it. Okay, what big chunk of on the brush there? Just not some of that back. So we'll get much panel in the brush here at the moment. Just a quick squid of the water. Andi, that's guy. Bit of grain on the brush. A press too hard or just kind of that. And that's the advantage. Having a lot to pine available upon the pellet here was I could just get enough pine just to completely obliterate that grin before wanted to spread that pine around a bit. Okay, Just get a little bit of the yellow intuit Intuit the just work. Those two together, not some brahch and luscious. A lot brighter than our previous version. This is Ah, a lot more dominant sort of color in there, Richard Keller. But what I want to do is order trade. Just a couple of variations now. Um, good, We've done that However, let's indicate a capital a little waves, just a few. Little max is all it needs, right? We'll do one, maybe one main wave. Just breaking. He were a little bit of a roller. Couple little what? Bit of white foam. And that's a little need. And it'll just make this really sing out as a nice abstract debate using. So get that. What? Running deadlock. So just a little scrap of the blood into it, Okay, Could use the yellow. But I just use a little bit of this blue just that's not pure white. Okay? And then I just lied that edge of the knife fairly loaded, But just one edge really is well, I need. And where I've got this little shift in tone, I'll just rung by breaking farm here. And then when I come to this part here, just gonna put the north there and just drag it down into that green, I'm not gonna get buried, and I can continue that line just spreading it out. Breaking up that long a little bit of goes a wife from the mind wives. We'll get a brush and just taught it that up. I'll just get a little bit of this green here on a little bit of the CLI. Make starting there because I think that's probably between brought that Why? And I'll just clip it into that water because you could imagine it's a body of water that's rolled up in either, And that looks a bit subtler sitting there like that. Okay, and I just get a little bit more on the what side and just a few places running a couple of indications of some wives. I'm just dragging the knife along. Look, sigh. Clean that off. Just the tiniest amount. More of that on the edge of the knife there. Okay, a change. Let's just from running a couple more at the back. And that's what we did. Really, isn't it? Now, while it's still wet while it's still wet, I will soften that pact backing because I don't want to. Harsh. Um, I'll find a little small brush dry it, so make sure there's no point, not pint. And I want to get dry. Just a little brush. I'm just gonna use that edge. I'm just gonna feather underneath the point, not riding the pine, but just push up to it underneath and just feather it like that just to soften it out. Like we have a little clumps in here. That's just softening it out that pine around a little bit. The look, sir. Now on that. If he doesn't think it's quite right, just get a little bit of this sailor Grune and just a touch of the yellow. Just run that into the wave. Really? Just to cut back that What if what? I'm doing it still a bit strong. That what? So when you apply that what? Just creep up to it. I went a bit enthusiastic a bit too soon, Um, and had to work back into it. So I took a nap here, just softening it out. A little bit of hair. And they were just, you know, we got on that metal. Put back 20 marvelous stories Levy has in there on get, um when the pilots dry. That's the best approach. I don't know that I want to adjust these ones at all. They they're not jumping out as much because they're against that already. Lot time off the yellow. So really, really nothing to do with just guys. It was just that was ones that were jumping forward a little bit. And then you can see we've got some progression in the waves. This looks like a big wife standing up here about to roll up and over. It's an interesting little Seascape, yet easy to do simple. And then, if we wanted to, we could take it one step further. I wind, but you could get this little brush. You get somewhat into it. Now it's got got green, which is why won't do it. But where you got the sky here had come up to the sky, and I could just scrubbed that brush around, see how much grain is coming out on the board. They scrubbed that around, just cried a few scrubby clouds in there right now. What a said Because the brush is quite dirty. That's got toe attacking point where it needs to be dry, a wet that it's better to do that when it's wet. So what you might do is paint the sky down, then put some clubs in and then continue on with your progress. But there's another version off this exact same painting. That easy to do doesn't take long is a lot of fun, but it looks great on the wall, not bright, vibrant colors. And anyone I love the beach will love that soon. So have I got that one. I'll do one more, and in the farther one, I'll add enough a little headland and do a few things like that just to break it up even more so we'll see the next video. 6. Module 2 Project 3: Okay. Welcome back. We're gonna do our third little of abstract E six caps saying here and this time I'm gonna do just a little bit variety. So what I'm gonna do here is I'll just get some of this blue just indicate for you. We're going to have a horizon that runs more like that than to be halfway, but not to worry. And then I'm going to do Hedlund, which is what I wanted to come half way. So I'll bring into their on. This is going to bay. This is going to bay Nusra front page headlined here. Okay, so that's battle the drawer. EOD do so. As you can see, with these abstracts, we don't need as much. Drawing is what we might do. Women normally during demonstrations with more rascal find somewhat What? So what? Before you go enough. So really enough there? Just get that sky in now I've got my line there. It's a very rough drawing. I mean, look at a measure, anything like that for doing an abstract decorative abstract on Bill. Call this Nusa from pitch, and nobody will sort of question whether it is or it isn't because look, It's not meant to be an executive. Representation of green in the brush didn't clean it well enough. Okay, It's important if you pan pan occasionally and you give compression clinic the end. You probably gonna run into problems like that. But when you plug is the third video in a row and that sort of clean the brush But I hadn't fully clean the brush. You can run a little problems like that. Okay, so, fortunately, sir, really, it is a greeny blue. Anyway. Probably picked it up from that green there. Okay, Um so you can get a wife beater greening cerulean Sky way. Don't want too much of it. Obviously a lot of sky here to cover. Keep that in mind. Now, what we might do. Let's do a little bit of variety. Hey, let us do a son glow scenario just to mix it up. So for a sunglass, sun glowed yellow. I could there. What I'll do is add a little bit off Blizzard crimson will credit nice son glow in the bottom part of that sky. Because early morning, my wife in oil often get for slimming Nusa, and usually a sudden is coming up. That's the East over their sons, usually coming up behind the headland because Noosa beach, the beach here, faces to the north, and that's east over there. So you get their beautiful rising wolf here. So all of done is all mixed up. Titanium. What? Lizard, Crimson and yellow. ICA gives me an OSP hee orange time. And let's just scrub that in. Don't write about your lawn. We find that long shortly. Okay? Scrub it in up into the sky that we've already done. Not too much. I want to get too dirty. You want to keep nice clean colors in here, but this will have a nice glow to the sky. What a little bit more red towards the bottom here. - Adding some clips of it up into that blue. Look at that. What a nice, glowing sky we got. Wow, I get a little bit of the blue. Look, let me just I don't wanna have it'll that pink. It'll just be one big, massive it a bit too much. So just let clip in a little bit of cerulean blue. Okay, now just bodies together, just dominoes to give it nicely loving that that's really no conoce. But you know it's not so strong that warmth, that it's going to dominate anything. Okay, so now, while I've got the Lutheran Crimson on there, let's get in these Hedlund he And because the sun's coming up and they have a side, it's gonna be mostly a doc, Really, isn't it? So just probably more ultra. Okay, mostly a dock. So we'll just pick up the ultramarine blue and half the writ through that I've run out of room to mix that they are not want to mix it there because I don't wanna saturate those a lot of calories sort of mix it here, so not purple. Just push it up because it looked a little tree tops. This is like the noose, the national park area, but koalas and of the world life up in there. Effective. Some people were out hawking there this past summer, and I came around a corner and they found a goanna on a giant python snake having a battle to the death that would have been a bit of a freaky thing. All happening up in the national park here now makes up times. Don't just have a blended toe one purple time. Mix it up. So we've got a bit of variety never warm and cool. Okay, if you've done any of our courses of more at school, you know that how important woman crew colors are if you want to find out more about that than you should do a Callum X and course when we talk about that in great depth detail. Okay, so we're not gonna do any sort of any amount of detail in their pop from just shifting the warm to the cool in there. The temperature could be on that not detail required. There's the headline now these brushes got docked on. So I will lose this brush and we'll get back to our warnings brush. I sure got this Bites down far enough. Cool. Cool. So that is nice. Cool. Blue in the sky as the sun was rising with the rising warm from the sun over here glowing across the horizon line crying a shed out on this side of the headlands. But we could still see the little silhouetted tree tops and things. Um, you know, because there's still enough, like breaking through those, and, uh, it's looking good I'm happy with it. All right. So the next step is gonna be to get the blue water in. Well, run that blue water and through here. Then we got green and yellow, and then we'll go, Sandy. Okay, Suck. Make sure enough punch so we could not like the old masters would pain in layers. I'd come back in that rework liars when it we're using are far more direct approach with abstract painting. I think you could get away of really direct approach like this. So that means you just need to make sure we have one pass and we get it rot. We can always come back and, of course, scripted. But that kind of defeats the purpose of what we're doing. Heat don't come back to this painting, you know, three or four times one. Just apply the paint the way I felt. It should have been applied. And have that be the time. Especially if you're a hobby artist. Um, don't have timeto. That's too much time into anyone. Panel wouldn't of thought. Let's all you've got time. And then maybe a different scenario. Now, this horizon of the water needs to be higher than the horizon line of the landmass just so that we can just a little bit of depth into this pining case. I run about there on Let me run this water and through he we just merged eyes together. I don't want any delineation off the to shuts there a lot of water on the cameras in the pint. Which is kind of ironic, given that we're panning water might be just familiar, anyway that, you see, it's running. They're so that means that I ever did the water, that it's a fine touch. You just get the right balance where we were enough water in there so that the point will move, but not enough that the pint will run. Just pulling hair out there again didn't take my boss. It's always better with his, just so let the paint dry hard on in the heads to flick out, but we always want to chase the heart of the feudal Sanders may. But yeah, I always chasing my cat have got plenty of Silo green. Then let's just bring that up Indiana because it's That's the lot. Source here is on the facade of the headline. Here there's gonna be a little bit doctor, but what will do It will punch some lot through a wife. Get a little what? Today when you add a bit of water into that file I green. It really hums. That's right. It's a lot of big. Brought California colors and yellow. Let's get out. Yellow. Happening. Wait. Can I want to repeat that pink in here somewhere? I haven't worked out where enough we would do that. Maybe we'll use that as our highlight. California wives. Okay, really? Just pushing it back up. That was a bit ambitious. Just combined the two together. I'm getting a bit high up there now. Why don't you just control myself to control a road? Okay. I'm not entirely sure what I'm doing there. Blood, Okay? Thing is working. So it's nice and dark around here. What you'd expect and then is locking up through here. Just a cracked some interesting shifts in color and value. And so that Russia claimed it's more that yellow polka there. Get this. What? Yellow ICA mixed those together a lot of point there. A lot of pain. Let's just get that in. He didn't claim a brush very well. again money because I'm filming. I don't want to spend 20 minutes cleaning my brush each time on a two on video over cabin from just volume a pint. Should have got rid of that. You shared a little bit of green in there, but I could just take that back. And it just could be mindful not to press to have a brush grain sitting up higher in. Is that now just for you knows edges to give a now because of the Hedlund There on the right hand side, it's crowding a bit of a what are called Whiting issue. There's a lot of white ever on this side of the planet, not so much on the left hand side. And I think it needs a bit of balance without made an object be, is that he? But we need something that way. Um, a voice that's just not quite gonna work as well as we'd like. But I think I will do that. Well, I'm just considering that it will get some pure blue. No, just make sure that that blue runs up enough in there, running into a few little challenge of their get a dry brush in and over those scratchy bits. I just want to a small brush, because what's happening is that other brush. It was moving too much point, and there's a lot of water in this point. Still hasn't dried off of disturbing the nicer parts that would already light down there. What I wanted was just get that blue horizon Lana would be high was always trying to achieve, but in doing which I did change. But in doing so, I just lost some of the work I've done with the blue point that's getting a bit better. There we go. Okay, so there's a couple of different approaches we could use. He get a mind wide crushing here, which I think we will. I could put I lost siding flag there or a bucket and sand. How about we just start off with putting in ah wife crushing wife Andi? I asked before. Waker argues that sky, that warm color in the sky we need to tie that in somewhere right important. So I think what we'll do is we'll just use that just by scrapping that off on the brush. Like so and just coming here and for finding where we want this wave today, just rolling some of that in mixing it in with the grain because the ground still quite wet . I started to cry, Deliver wide there. Just strengthen that up a little points. Got a little bit techie, which basically means it's drawing off. It's getting a bit of a skin to it. I won't do much more wide, and not just because it is drawing off. You could do yours bigger, but I'll just run up along the bitch of a war and then baby, because that pants so when it's not coming off very well with my little rigger brush instead around in the part Now I mentioned the, uh, rising sun in the morning coming at the back of the hills. There will. I've now got the setting sun in the afternoon, coming across my evil, as you can probably see. So just about finished this one. That point there's all got a bit Mackey. Let me just clean that off before we finish. Not happy with this part here. Clean that off. Not to be subtle or any way that wide there. Now we got that's looking better a little bit of it there because that pine hasn't dried off every time. My life, some pint Damn. I'm picking up some of that wet pine as well. Say, just need to be mindful of that. We'll be walking my Lauren's. However, I think you get the general idea so from those ones back a bit. And I think we need to live it there just because that lot coming through the window has pretty much said to me, Rod, it's time to finish up. But that you got there is a great little version of variation on a theme of that painting. Taking off their side. The light's not on it. It's a really nice little panning You could dad, little birds and things like that. See, girls. But that's a good little pining, very easy to do. And as you can see, it was just a very ashen on this 1st 1 that we did, which is now pretty dry. Okay, say they're similar principles apply. So this 1st 1 taught you to do that is nice. Big washy brush mocks and then this sick of them we added two more interest. We made the colors of it more vibrant, But you can see that bicycle, the same philosophy. All I've done different. This one's at this walked into the sky, and there's Dark Hedlund in there. Its executive time approach to painting it, though so easy to do great little abstract paintings, heavy Gotham, there a lot of fun and you can fill your walls up. We've really nice, vibrant, colorful paintings that you know pretty much anyone on any level can do and play around with versions off. You'll find a lot of fun, or I'll see you in the next module for the abstract painting course, choose for now. 7. Module 3 Project 1: Okay, Welcome to our next module in the abstract painting course. In this model, we're gonna do a really exciting arsenal landscape traipsing on again. It's not gonna be complete. Obstruction is still gonna be an element of realism there because you've gotta tell it is a mountain in the trees and song. But what we do is move away from trying pine it to realistically. So you know what? I find a lot of beginnings when the trying to paint realistic landscapes and Seascapes there, Very uptight there, very rigid. They're very sort of focusing on the details. And in this planning, what we can do is just little let go and just have some fun with it. Rather gonna use big brought bold colors on big bowl brush strikes across the campus. And we could have fun with it. And we're not looking to represent exactly what we might say the landscape because, you know, we got cameras to do that. Now everyone's got a camera in their pocket these days writing there five. So what, We're under his represent more of a feeling or an emotion. Ah, bad appliance and tell a story through color and feeling an emotion. But most important now is that we want this to be a bit of fun. The end result, if we do it rot, is that we're gonna end up with a nice panning you could frame and put up on the wall on. Maybe we need to have two or three guys that getting just the right pining to be out of do that. But that's what this is all about, isn't It's about loaning. So we're gonna use very simple approach to what we've used in any album or at school project. We got a big canvas here to 16 by 20 so it it's gonna dry at quicks. I've got a lot of paint. Got titanium white, cerulean blue are cool blue and ultramarine blue out warm blue. Okay, I've got a little squirmy bottle and I'm just gonna just put a bit of moisture onto the cameras, just the surface of the campus. You may not need to put as much of what I'm putting up there. It's just what I'm filming under the bridal lives here. It does tend to dry out quickly, so I'm going to use my big one inch brush. I'm gonna use that to, uh, get the well, basically, everything we do here, really? On dso I'm going to just, you know, in the more method of painting those of you have studied my other courses and so on, you know that we started with Step on, we do a drug. In this case, we're not getting really focusing is doing that as much other than to say, Well, let's just run a hill line summer in there and we're gonna have mine tree taking up that space and then maybe a distant one to block out that corner. And the rest of it's going to be a bad atmosphere and getting a nice sky in and, you know, some nice work in the grass Work here can say, Well, have been a breathing room there. But that's about as much drawings I think we need for this exercise. So we're gonna do is in the sky. I'm gonna paint that with cerulean on detainee in what? But I'm also gonna put in a bit of a son sitting maybe a sunset at that wife. Okay, on that old puts a little more hot lots in the trees here, so to get that sunset were put in some A Lutheran, crimson and yellow aka. So these are all colors That should be very familiar to you. If you've done courses before yellow, I can and will make a nice sunset time with guys already. Let us get underway with little trying to be the water on the brush Like to use too much wave acrylics. So big check of the white A lot off campus to have a big chunk of the blue But mission does together That's Doctor. It's all gonna be more What? Okay about the Channel one. And let's just why this in here? Don't worry about your drawing too much because, uh, you can always come back and reform the drawing letter on a lot of pine and quite clunky. It probably could do a bit more thing down. Okay, but push on. Now I want to get a lot of that. So bring that lot turned to their and it was just work some of that in I gave my doctor, which I really want to give the brush clean. Well, that's soaking now. Just give it a little bit over squish with the water suck it up now. This would have done so far is simple and even do And anyone could do this, right? You can do this. Just don't be a Friday, Justo wide of the brush around and put pine up there. That's bicycle of dumb stuff at all. It's getting a bit sort of to Dr in that spot there. So how did we do it? That was gonna be a watt kind of over it. See that? So you don't need to have any few years or concerns that getting this right or wrong because there's no such thing. This is just really about what you think looks placing. So now I'm gonna mix up the what? How much red for this sauce cameras and that much yellow? OK, it's about equal portions of the red and yellow. And that's pretty Doc. That's probably to Dr World. Once I'll get the rest of that. What makes it to one side, and that's better. That's more like what I want to see that. So I got this son sitting out five or in this direction of he, that's what I'm trying to sort of create that feeling off, Okay, but I can't just bring it up to that long like that. That's just not gonna look right. So what we need to do, really is integrate the two sections here. Soldiers spread all of that in that area just to make it workable. And then we'll take this and we're just Let's just bring it to give up, okay? Get some blue down. That lower section will get some of this sun up into that higher section over there, and it would merge the truth together. At the moment, that looks a little bit sort of wild and haphazard, which it's supposed to write. Until it settles down. He's gonna look like that, so we'll just pipe that in and then we'll let that settle and then we'll revisit it will touch touch up. What needs touching up like this part in here, I think getting made some fresher time and neck. We wanna have this. Knauss brought Calif or pining this long so we'll probably have to just rework some of that guy. Well, let that just settle on, do its thing and Wallace doing that. I'll clean the brush off and we'll work on our trees and have full ground area here. Okay. So, again, this is, you know, I really white just toe Have you loosen up and just have fun with your painting. Because often we take it too seriously and we get too up tight with what we're doing. And so what? I'm tryingto get you to focus on here, is there Is otherwise it? Just putting pine up there and having fun Run So ultramarine blue loser and crimson we get much pine. I got up there Don't but too much of that. What? Get in there. A little bit of water in there. Let's just come up here to the tree and I've got to scrub it in. So and you know, a tree isn't around. Object we tend to as Children. We painted them of Lloyd Pops on a stick. When we're adults and we're trying to learn how to point. What do you think? We revert back to a lollipop on a stick. Right. But that's no one of trees. Trees got character. They take their own form and shape do their own thing. They grow towards the sun. Um, and whatever we learnt in childhood is bound to be almost entirely wrong when it comes to planning things like truth, amazing him. And I don't struggle with just being loosen up, just a credit tree in the way I've just done there. They get so into wanting to plant a tree exactly, and unlike will have had. Do you poetry? Exactly. Because Trayvon exactly. There is no two trains out of the same tend to get just a little bit random and do their own things right. That tree's gonna look like it's falling into the pain a little bit, isn't it? You're trying to imagine the rest of Bush truth there. Strengthen up the docks up in here a little bit. It's a good idea to sort of get a variety of one cool now warm over here, so it makes sense to have a bit more warm on that side of the tree. What color is a tree to? That's the other quick question. How do you work at the color of a tree? Well, there is not color tree. Every object is going to be caliber by the force of law hitting it for a stop, and there were gonna be there set a little bit different you know, when that sky settles down and it drives out of it, it'll take the shine off that moment, sort of glowing a little bit because lots reflecting on it from the lots here. But when that draws off, it's gonna look pretty good, especially against this nice dark here on this dark here. That Dr Reason what we got this tree here, like this is a design concept dropped. Andi, I'll probably do a course on design and composition at some point in the future. But if we didn't have a tree there because I got this line that runs down this hill, your I would just run straight down the pain. So this tree here is designed to block you from running out and sort of runners back up into this warm sky here and back around into this area. That's why we use that sort of device. Now it good always land here. We need to make that interesting without detailing it. So there's a challenge for you right there. So what? I don't get by a lizard Crimson, he and I'll just run a baby of losing crimson through there like that just for something different, Um, and don't get the yellow ICA and I'll run a beta that through there as well. It's just beated that they're now than ever good enough paint there or not. But what we're going to do is do the under painting here for this landmass area, and I found that if I use enough ready orange time as the Earth turn, I have found that wouldn't stop putting north greens on there for grasses and so that it looks terrific. Just harmonize or, it seems toe crack, this vibrant energy grains against the red. The reason is, of course, is because red and green a compliments one another over the calla. Well, if you've done our kala mix and course, you know that to be true read in our Grana compliments, and therefore they just work really an offer to give us whenever I'm doing a landscape. Now I tend to put down a north earthy red. So this is what I would call on Earth you read because I put that yellow I Korean there a nice, earthy red in there as well on the knife. And when I start to put lights and greens on there a bit later. It'll just bothersome will make only Syrian he not brought ground. And then we'll dull at the rest. So it's not all the same energy there will do the same here. Now, docking adapter on this side here. I've been a blue. I want to bring the I in the painting here. So if we make those corners a bit darker and cooler and just along the bottom here, it will step the I up into the painting. Okay. Running down the hill. Look, sir, very good. That is gonna work nicely. I could just see it already, and maybe you haven't got the vision I had because you manner of enough paintings of this type of nature. But I can see already that's going to work we need to do now is little let dry off on bond when it's dry, will come back. And we'll put in these nice, bright, really vibrant bright greens and yellows into the grass work here, um, and been a detail in the tree on. We'll have ourselves a great little abstract landscape pining. It's gonna look right. Hang on the wall and you could do this at high maize Lee. So a pause a video there, and I'll come back in a moment when that's dried off and we will do the next step in a great little abstract painting projects. I'll see the next step. Okay, welcome back. Well, given it's a good half out of dry off also, and for the most part, the tops dry. This ground area here is still a little wet to touch, but it should be workable with a light touch of pain over the top of it. So couple of things here, this in this guy or maybe 20 minutes blew down into here and a bit more of this rid, uh, sort of sky pretty cool. Sunrise Kela. Um, just a couple of touches here and there into the blues. I don't have any of this is usable little bit. It's still a little bit soft, so it does get a little bit of paint. I'll just pull some of it off on the towel. So I just got a little hint of it in the brush. There is what I'm looking for, and I'll just grab some of that in and in here. It's got a little bit washed out as well. Just be careful of brushes and dirty, which is a bit there. If it's dirty that in order to get some clean Keller, just look at that. Be worse. Gonna be daddy a little bit too much of that red in the brush coming through sudden. What I really need to do is mix up that color again. I'll get back to that. I will get a little bit of blue, the just get some of that in there, brushes to duty so I'll come back and reapply that clean brush. But for the moment, the moment want to get in here? Okay, this is the next exciting Stepping out development is pining socio Thilo grain so not brought greens and yellows in this central pot. In here is what we're I'm yet Kenyan yellow. This is a Kevin Millar a lot, but cadmium yellow medium would safa us and that's a really in blue, a little bit more yellow. OK, so that with those Keller's, we'll get ourselves a bit of a variety in a bit of interest in the times you know, just just different times that we can crack with those folk and again this one's brushes are deal for this. I should be cleaning than what it waas get. Now this yellow Kevin Miller is running down the page. It obviously wants to be used first. We'll put a chunk of that there and then we'll get a good helping of fail. I greening to that. Okay. Whoa, that is not the cholera was hoping for. Pull some of that off the brush. We'll get some more of this kid yellow, and we'll pop it. There were conceived Regret those 22 given this is gonna be out brightest color on the pipe . Okay? And for doing a contemporary modern abstract for the pining. This is quite a juicy Keller to be using. I would just run along that chile where it's gonna be getting the most lot. Now, the key with this this point on the pine this a little bit wet still. But you can see that hills developing beautifully. Look at that. The Pinal Nexabit whip. So I don't want to be back and forward back and forth in the same spot because it'll just all turned over big mud. So what, I wonder is load the brush up, make a mark and then Paul brush off and not revisit that mark. Okay? What? So what? That means you have to think about what? My gonna make eso. Sometimes we're gonna hold way. We want to constantly shift the time. So see, I've got the yellow I could their fucking a little bit is blue just to talk back. So what I can do is just do marks that look like that, Okay. And see how, as I pulled down the truth of the canvas is pulling that pine off. But it's breaking out because I'm using a nice little mark, you know, rather than pretty much pressure on its breaking off. And it's leading that red tone to come through. That nice, earthy tone is coming through that I could get a little bit is yellow bright yellow. OK, and if I wanted to, I could just highlight along there as well, just in a few spots around. So we're gonna do is I'm just going to vary up my marks on my terms in here to try and create some interest. So get this broader yellow here and all full of that green line. We've a line of yellow guy. I remember. I don't have a work. A spot. Get a bit of green on that. That's quite wet there. So you trying to tell you to do more than one Mark, don't. If you pipe on the knife, sweat. If you've left it long enough, um, then you could be fine. August didn't quite leave it low enough, but that's not a problem. Let me find my watch. Just gone where narratives get some or what? Up there, Andi More. That yellow got for cadmium yellow medium. This tongue felt that a little touch brought They're not a lot of difference. Okay, so we'll get some of that pop that there were gonna be the yellow Iker into it just to turn it back. A little touch of that grain. Okay. And let's just integrate some of that into there. Okay? Here and then a little bit along that edge, push up some grasses around the vice of that tree there, and then we could probably push up some in through there as well. Just finish running that long there and again. You want to try and let some of that red breakthrough because it's going to create some interesting times. Now get some or that silo green. But this time I'll have some blew into it on a little touch of the red and the yellow eca. With that, I'll get a little touch of what? So that's a Della cruel version off that growing that we had before. And that will be ideal to run that in parting up in here. Big brush mock There you struck up a bit. Look, sir, so we don't want to have the whole thing brought. We want to pick out some spots where it's going to be a bit more muted. Okay, time that you're right back there and then let's run that down into there. Just blend some of that rating to the green and through there, and you can see a hillside starting to develop. But one that has a nice little interest points happening in it. Rather just being one big, bland color, which are so easy just to turn it quite blend. Mix up variation again of that grain and some variety off that struck that brush, striking the bottom there August. Merge that in a little, and then we might have some warmer times clipping through this section as well. So I get that. Hello, cad Yellow ICA. Been a what? Little peanut red. Let's see what happens with that. Not bad. A little bit more wide in there. Touch more red. Okay, now just run the brush. Just pushing that edge of the brush up in there. And let's just see if we can correct some interesting affects their and come back into our blues and greens here, read on. Don't just get a bit looser in a bit. Make a few more interesting marks here and there. If we come down towards that red section, step back and have a look. Andi, I think I started off with his North, brought grain but didn't really continue with it. So just pick it up in a few more spots through here, run into their There's some interesting things happening in there. I'll just get some broader greens to break this pot up here. Can you see that? There's not really a rule of thumb here, is there? It's just whatever you think. Looks good. Okay, but and that really is really coming through. It's a powerful force in there, and it's making some interesting times and things in there. White up some grasses. Look, sir, and what do we do? That and hey, I think what we probably need to do is just get a little bit doctor again. We blue red time, something along those lines. And we just work that in to this bottom section again. If you got your red doc enough down here, you can leave plenty of that showing through as well. Finish that off with some lot touches, don't it? For too much interest down the bottom corner. So I think that's looking pretty good. Um, let me just clean the brush and I'm gonna mix up some yellow. He rids to just ah harlot on this tree. So excuse this loser and crimson here on a little bit of Cielo ica. Well, what? It'll be the kids yellow in there as well, just to broaden it up a bit and see how push the heads of the brush up in like so And I just pull some playing out. So I don't want too much pain to do this just a little bit and then I'm just going to find the edge of he just roll is pressure around just using that edge. If you have too much point when you're on when you're doing this, it'll come off under the canvas. Just always check how large it is. The brush you stop through that second night you're out. You've been pining a wall. You start to think a little bit of looking brush and see just how much points on the and those earthy, ready chance You know, the highlights coming off from the setting sun of he that I really got nicely against the purple e time that we'd already put in this one old garbage greener. More of that great in here as well. A bit too much pine on the brush, you know, winning. Then silence died to get some interesting things happening in there. Just a little bit that purple, and I'll just push back in the wear off. I've adopt there that's in that problem. Put some interesting little shops out there. Why? Because it's just what we're doing in this point, having fun with it and just adding some interesting callus and times that maybe you don't normally using your pining. But it's a nice brought big, colorful Lanschot pining. Even that's not the traditional sort of stall that we know. We do it more at school, Certainly Stall it will jump off the wall and people will notice Ago. Wow. Did you do that? And you'll be on a site yet or by my self? Absolutely interesting. What a rewarding thing. High to be on our side that high. I panicked. I had some good teaching, but I into the dye on the one who wielded the brush and painted that painting. People will be advised that I think that you're a natural born talent on, uh, that you're a genius on. Could you do one for them? I guarantee you do nice obstructing one like this or any of the paintings out of this. Of course, on, as your family and friends see it on your wall, they're gonna be asking, Can you do one of those for May? And of course, you'll say yes, because I can. Do you want for Christmas present? I'm just having a little interesting grassy shapes working down the natural lawn of the slope of the hill here, bring out some of that red. There's a lot of interesting things going on in this pining now, Not all of which is gonna be picked up by the camera. That's one of the downsides of, um, filming things on video. But there's trust me. There's some really nice little things happening here, and it's just shapes of grasses and bushes. It's just different times, different values in there. So I think I'm not gonna do much more than that. Except for so I work back into the sky because I'm acting up a little bit before make sure . Really clean brushes, ton. Okay, so we need the crimson ultramarine blue is are losing crimson tide, not ultra member. We need silver early and blue and we go, What Cerulean, Blue and yellow. Yeah, that's a mix you like, So we'll stop with the walk. The furthest son line. I got the red. Listen, crimson at the yellow Ica doesn't make stars together. And I don't care if it's not exactly the same time. Is all of you know, not exactly sign mix. I'm not gonna pine Ivor completely a little bit yellow of that mix, so get a bit more red and a bit more wide in there. Keep it on the pinky sought, I think. And I've got a lot of pining there. Now I want to get back out of this with a lot of piney. That was a blank canvas. No problem. Right. But I don't want to completely obliterate everything that up there. So I'm gonna pull out most of that pine out of the brush, like so I've got a little bit of pain in there, and I'll just light up a tip off on where I want to be heavy before with Does we've that DACA Keller? Let's just working. But I'm not gonna completely lose everything that's already there because that what's already there will come through and showing through what I'm doing now. It'll just add liasson interest and that's what we want, isn't it? Crites, um, interesting intrigue in the lives of pine on. Really see how I'm doing it? I'm not doing anything. Two remarkable here. You can think it's remarkable if you want, but it's not really that remarkable. I'm just scrubbing pine around, Okay, you could do that to a lot of things happening. It that looks pretty good, actually standing back and having a look from distance and It really looks pretty good, but I'll do it. I'll just take a little bit of that and I'll just run some of that here and there. Just drop it into the foreground Hill A little, Not much, but a little. Okay, And I'll do the same with this through in a lot of the month Panto getting a bit chunky and drawing parts and starting to get the danger zone. So I'm not gonna do too much here danger zone because whatever is on my brush, if I would ever pick out, he's gonna end up on a pellet on my camera's right. So you just give you mindful of that? That's too Doc. Damn it mixed that lot of their That's two lot. You really gonna think about what you're putting up there? And I kind of knew that that was not gonna work out well, when I said that's too a bit chunky and its dangers, I But I persisted. Want show you the next step. Now I'm gonna have to work a little bit just to Mike this look rock. That's two lot up there that left 10 flies not looking too bad. So what destroyed that Hopefully. Okay, now what I can do is I'll just pull that pine off, tap it into the red, and then let me just it's a thicker rid into it game . Getting some interesting liars happening. You now on. And I think I'm gonna stop right there, Actually, um, to May that he's looking at battles. Interesting as it probably is. Gang to now. Matt Moore fiddling. It's probably gonna improve, and I'll lock it. I think it's turned out to be a great little pining and, um, Russians down. I want to do any more to it because I think it's turned out a nice little painting. At some, it's different what we know with more at school. It's definitely abstract in nature, but not totally still Representational tree on a hill. And you can tell that, but has some really nice elements to it. It's loose, fresh, got a lot of air and energy. It's bright and colorful. Settle G O on the wall with pretty much any hime, right? So it's a great little painting you've seen. How done it just waved the brush around a lot, right? There's but there's baby steps to put it together. And this is why, if somebody who's never done any training at all and thinks all that abstract panel say, zero and I stopped trying put pint down, it never quite works out because there's still order on a sequence in a process and an understanding of color temperatures and how they work together. All those things still can't even that abstract painting. Now again, this is not completely abstract. We're taking a step into a obstruction in these courses, an introduction to abstraction. But there's still an element of realism there, but I think you'll agree. Gradual planning, good little project ever gala. When you finish, it will be one that you'll be glad to have done and do couple of versions of it. I'm gonna do to more versions of it for you very quickly on smaller canvases just so you can see some ways you can alter it up on Barry it up. So I'll say the next video. But, you know, I think this one's turned out pretty good high for the next video 8. Module 3 Project 2: okay, Do a couple of variations on that main pining for this module go to Amman. Small campus is just, like a new a bit quicker. I'm not gonna talk as much because everything you know is in that main video for this particular project. There's gonna be done almost identically, just with a few variations. But we'll do some mix ups of the, you know, all the thing. Basically. So get some touching. What? And some surly a blue just spritz the canvas there and it doesn't said I won't talk too much because I'll just be repeating myself. But this will be a pretty much the same pining. So I'm going to do horizon line through he. And while you'll say I'll do this one has a slightly simpler version so that if you want to start with this one first, watch the main video first. But this will be an easier one to actually complete. We're gonna do is just get this scar time. Um, in first, great thing about there's little one inch pastry brush. Jesse brushes and wind them around, and it creates a nice, interesting details in the sky. Don't make it old bland No, but you did some horizontal struck's. But get some interesting box in there as well. Sure. Like what? Campuses covered. I'm coming down. I'm coming down to about 2/3 of the way down the cameras, but I'm actually coming over that, okay? And we'll just work back up into the painting without any problems and just need a little touch of yellow. OK, so I looked even bothering with a drawing on this one because really, just the one line at a tree, another tree, So I didn't really warrant during mostly red, half of again of yellow. OK, just don't make a too bright red, So it's gonna be an earth you time, and that's just from this into the ground. I'm not even wired. If that is not completely horizontal, that line, because we got a highlight over it anyway, that when I do the highlight, that gives me a chance then to making corrections that I might need to get a little bit of blue down that bottom section. Yes. So you can utilize the highlighting part of it to really correct drawing errors. Not that there can be any eras, given that we're making this up as we go. So what would be an error on what would be a happy accident that seem to find line? Okay, so good night. Little bit of a land mass happening there. And a nice, big, bright sky. So what we really need now is to get some doc shapes. And again we're doing this is an abstract. So we're not going for realism is such but just ultramarine blue losing crimson touch of the yellow ica. And let's just do now if you wanted to, because this is going to be wet. And if you're just starting out painting them, that could pose a challenge for you to apply. Wet pine over what? Pine special acrylics, even with boils. But you get a check of paper towel like so and so I'm gonna have my mind tree, you know, Right about here, pull some of that pine out a little bit of red up into that. Okay, Just so it's not gonna disappear completely, but just going to pull it out. A bit of pint size, not as much packed cover there. And then I give give me a bit of ah, easier. See how we're getting near. It lightens off a bit because I didn't get that pack there. That's OK. Okay. So again, we're gonna do a similar sort of trace. Kept cool is but abstracted. Okay, a lot. Getting some interesting shapes into them. Um, because I think by doing so, it really does free your mind from the constraints that we abnormally put on ourselves when we're painting. I'm sure if you've done in the pining, you know exactly what I'm talking about When you get up taught and fearful, putting the pint down and not sure if it's gonna be right about it. Just a pint. Can't make any mistakes. You can correct everything. Okay, you know that. Read more, that blue. And that's really the truth of it. Can correct everything. Nothing's in the steak. Everything's just something you've tried. Maybe you locked it or you didn't part of it up there with that. That's where the birds can set up in the top. There. Watch what's going on down below. Okay, we got some interesting shuts happening in there. Now, make it'll block. Even put a few bits sticking out. And then what I'm gonna do is I'm going to offset that We have a smaller, true black site. A pretty classic sort of compositional. He's on big shape, offset bar little shot cooler blues into the base around there. Okay, now I think what we need to do You claim the brush, and we're just this time I won't go as much with the son Kala. But I'll pop some in, You know, just we don't wanna have that big, massive sky. They're just sitting around doing a time thing. Get four. All right. I would like to add a little bit interesting. What I've found is the combination of cerulean blue on watch sky and a loser and crimson yellow ICA mixed to make a little orangey time as we did before. Works really well, So I get a little bit the using crimson little bit the yellow ica swap It is what, except together Okay, on that peaky orangey turn just seems to get nicely in the sky. We just pulled my step pine out of the brush. Okay. You know, just run that in on the horizon. Okay? Now I'll auto, I'll just let that sit. It's not looking quite right, but I'll let it sit until I get some other colors. And to this point you're full. Assisted at that point. Probably need to be adjusted. Okay, Beautiful. Now then, let's go back and will use same basic color scheme here. Is that satellite grain? We'll use this cad yellow on. No, it won't for a yellow AKA there, and I'll start off with this kid yellow. Add just a little pinhead there of the fellow. It's quite a strong color. The fellow will dominate. Okay, I'll just run that along. They like to have that brightest turn right on the horizon line because it creates a really know sort of separation effect, tells the viewer. We main business with this point. A little bit docket. It's OK now. I haven't let this drop it'll. You might want to let the underpinning dry. It would be a smart choice to do so because you know when the pints with especially acrylics, it's really wet. Then you can work back indoors usually and crap blends and things. If it's, um, tacky wit, that's starting to drive and you can feel it, it's a bit sticky that it's not good to work into it. That's pretty much where it is right now. It's sort of in that sticky techie faves, so it's not necessarily a good thing to work with it at this point. However, you know, when you got a bit of experience, it gets easier to do. Get some docker into that corner so you do get used to it. But if you're just starting out of acrylics we haven't been playing that long. I always recommend just gone over capital. All right. Afternoon. Nap. That sounds good. Afternoon. Nap. Well, in about year. But I never seem to get time for an afternoon that, but the idea of it sounds good. Okay, so this is a simple pain in the 1st 1 is the same concept. Just want to show you a different sort of composition. Just say, Well, there is why, during a second version of it here and showing you the different composition as we did with one of the other modules. So I want you to think OK, well, if I can do it that painting, what variations could I do with? Because, really, with this pipe unlimited number of variations really out there just limited only by your imagination. with I want you to There from north to red piping through that there's a little interesting because I put those little bushes and things flicked into those corners. So it makes your eye coming through here, and it winds its way around up into this bright area here. And you got this rising sort of hate in the sky so, you know, sort of wander up around, you know that it's an interesting little composition. This one. Let us now address Piper telling Pull some of that pineapple and take from yellow acca, Cima liver and Cruzan from CAD Yellow Mixed ties to give up. Not too much point in the brush. I'm just do what we did before. A lot of wet pine. This is getting a little bit tricky at them without lock, but I'll persist just so you can feel of it. And then you got into your own version of it. Just getting a little bit of that DACA time back, and I'm no need to leave it there because that points just to wet. But you get the idea. I'll let that drive. Then I can work back into this tree. Ah, a lot better at the moment. That's going just a little bit too wet to be any good to me, so we'll leave it there, - he says. I'll leave it there. But hard to believe him when he keeps keeps going with it. Yeah, I'll leave it there. But again, you can see that the nice little variation on nothing of what we've been doing here and I definitely want to have a go out with that sort of star in the next video show. You one. Well, we do it as a portrait size, so I'll see you in the next video. See there. 9. Module 3 Project 3: Okay, Welcome back. Now we'll do 1/3 little example this time will do it. Importunate and process is going to be exactly the same as what we've already done. What I'll do is I'll just do a little bit of our drawing here a little bit, this ultramarine blue. And I think this one we will have a have a horizon line that runs slightly downhill like sudden. And I think feeling I wanna have a tree that runs there and this time we'll have a trade that runs or a bush rather that runs like So. Okay, so we'll have another tree down here a bit lower. We'll just cradle nice little sort of view through there. And, well, maybe with lot of turns through there will have shadow here, Bill, Like catching up there. So just a very rational theme. And again, it's Aled designed to help you see how many possibilities there are. Just with one stall off painting rough. That's what where I am in to achieve here just to give you some ideas as to what you couldn't could be doing. Okay, now, this time just going Teoh okay. For a bit more. Moved in the sky. I would get this point quickly. Like so. Okay, So I just using this early and blue with white again. And we will then introduce some of the sky turns within using to get guys the Eliza in crimson. Now you could if you wanted to for experiment, experimentation site. Try using cadmium red and kept me in my life. I'll stick with the two times that we've been using The loser in two. Hughes Robert, listen crimson and yellow, ICA, I'll stick with dies just for consistency So you can see how we just basically doing the same painting different ways each time. But why not try using cadmium red and cadmium yellow and credit a bride a stronger, uh, orange glow in the sky. I think they could work quite easily. But as I said, I'll stick with a consistent look and feel for these so that when you see them all together , you go. Wow. Yeah, I can see what Rob was talking about their day. All variations on a theme, but they will look great. Okay. North pink. Get a little more yellow in there just to make it a bit Orangina. Okay, Let's just stop to work it up all. I'd like to bring it across the horizon line there. I've been progressively working up into the blue on the hara forget because I imagine it was ever a rising or setting sun Doesn't matter which one, but it's closer to the horizon line sitting off behind a mountain somewhere. Maybe so it's gonna be a lot more a lot down the bottom there it will be less higher up something about that that will settle down nicely and then we can get in without docks. Now getting now Ultramarine blue was on crimson mix. Okay, last purple's coming out there. It is exactly the same process that I've done with the other two and what I recommend And there is what I'm showing you A few different variations of it. I recommend that you just get some campuses, get some student quality pints just to experiment and just go for, you know, like don't hold back. Just cried as many variations on the thing that you can think off that you can come to mind and do what I'm doing here. Just put pine around, have fun. That way you get toe, Learn the point. And you You might do half a dozen of these and two of them alternate, right? The others. Maybe not so great. But that's OK. You know, like, just wait until the ones that aren't so great. Just like for those too dry. Just point. We what? Pine over them. Start again. Let the what point? Drop. So you got a basically a fresh canvas, you can start again, and eventually we'll end up with half a dozen of these that, um, I got 10. Act right. Going for cooler time of this main bush here down the bottom. Okay, so I haven't left much of a gap. They'll have toe cut that gap backing, which are easy to do. Easy, easy. And let us continue doing the same approach that we've done along. We're going to go over. Well, read there, Yellow Erica. Probably too much pain for that little spice. Actually, you know, I could have In fact, it is. So what I'll do if I take my knife here? That means to a lot to that utilize that is actually more pointed than what I had realized . That put out. Just do that okay. And touch of water on the end of the brush. My water parts getting a bit dirty at the moment. Pushed up a little bit higher because I hadn't quite got that glowing time down. Far off. And you can tell it this full ground, earthy time that were blocking in with here. Tell that to stronger value darker, more saturated than the sky. Right, Because you put a lot of water in that sky mix can be up into that corner there, Blow that all together. I don't want that any that to be a focal point in there, so it just blew it in, okay? And then we've got the beginnings of something good happening here, as we had in the previous Landra. Clean the brush off. We'll get rid of that killer because now we're going to go for broader punchier. Keller's again. Kevin Millar medium. Okay on fella green. Okay, so we'll gather that broadest spot on that horizon again. You got have Teoh. I just like to make that spot right there on the horizon. Just Google are the most five point. Very wet. I'm going to be pining into Quat, a wet puddle upon you should. If you listen to what I said, you'd probably let that old dry off first. Or if you want to get some practice and some experience in pining into quite wet pint, then having got it and you'll quickly understand what I'm talking about. It can merge into Give us so you keep it nice and light touch crimson up another. What's quite Doc? It's obviously meant to down in the bottom corner on something. That bottom corner there work at backing me. I might a couple of blocks in there, which I wasn't happy with. Some just for thine eyes is that you could do a lot of that red coming through because it is quite whip that proving a little bit difficult. Teoh manage. So I'm gonna just do a more of a muted, less dramatic gown ground there. Such a savings, a just big wiping marks and perhaps on its trial. Come back and really look at it. But for the mammals want to get in some work into the trees themselves. So yellow ICA from crazy. She brought a yellow just get a little bit of invention to the edge. The brush. Let's just okay , - starting to get their start to look good. It's just a matter of just pushing pine er and until we find something that we think he's going to work for us and that we think's interesting enoughto hi how you know what time are ? Just stop at that point. Read into that they're not putting ready there just to separate from the ground area that I felt like it too close in Hugh and in value, this one is getting is well brought. Only the time that back a bit would just get some 10 of the sort of green work happening in there down the bottom there, I can pretty well lead that in shed. I really cannot. In the bottom pop. In fact, I had to push more shadow back up into the whole thing. So let me do that now about ultramarine blue losing Cruzan, Shadow Doc and we just work that in That's better. So now that the attention is not on that bottom treat on this one up here that where the eye goes and then let's just get in some doc in this corner here and I think that's all we need to do with this one paints quite wet. It's gonna be jiggle to make any big gains. And I think really, it's actually not looking too bad. When that settles down, we'll be looking. The skies settle down. Sometimes it doesn't need to just dry off before you can really assist where it that and you get better at judging that, of course on . And a couple little things that made doing. I think up in here we'll lose some off follow Jin Man because I want to get a little bit more shadow into it. Good. I Well, I think it will leave it there. He says that he gets more penalties brush just because I think I went to ourselves just to But this side showing a bit more looks I Where are you? That is the rap. Have you enjoyed that variation on a theme? Three great little paintings. Easy to do. Have fun with them. Semi photos. Lebanon Here you go. Sit in the next module, Chief. For now, 10. Module 4: Okay, Welcome to the fourth module. Now, in our abstract painting course in this one, we're gonna do something that's probably a little bit for me to most of us. And that's going to be Monet's water Lilies, whole Deron version of Monet's water lilies, a subject that I love to paint. And we're doing abstract. So it's still gonna have a degree of realism as we've done all through this course. But we're going, you know, even Mawr obstruction as we progress through the course. So we will do a little bit abstract a lot of the way Monica panties. What always was fairly abstract anyway. And I think you'll find this a fun little project. So again, I've got a 16 by 20 Canvas, I've got a little square flat. Brush it, and for this, I'm going to start out with mas black. Just something little bit different Will at line waterlilies using a little bit of black Keller. Now, this is gonna wrap himself have toe. Just be careful with this mouth Black. Amazing how the different colors will have different consistencies, which you really find out when you put them up on a board like that Okay, so I'm gonna take my one inch flat brush. I'll just get into some of those black here. Just a little touch of water, just losing it up, but not too much. And what I wanna do is have my mind waterlily pads down in this section here. And I want credit s curb through the pets. So the Eiken work its way through. Not naturally. The water leaves that are going to be closest to us. They gained. We're going to see more of the surface of the US, so they're going to be bigger, and we'll see a lot more of the open surface off them. We might put a little one in the corner there, like so. And then we need to leave a little bit of gap. So maybe with the I want the art of that way through the pining perhaps side well, number one there. So putting some some reasonably large pets down the bottom here, okay. And along the bottom of the I'm just gonna strengthen up that doc a little. We'll use that as part of their shadow sort of these pets. So I'm just wrapping it in at this stage. I'm not committing too much 20 one shape or anything on this. Is this a little subject that I keep coming back to? Because it's quite enjoyable? I think the pipe, especially if you love money as we get further back, they're going to get smaller. But the Apertura is going toe close up a swell, so we're not going to see as much of the face of the all these waterlilies. But what it does just cracked some clusters off the blocks. I That's the way I'm just drawing them in. I will live a bit of a gap that way, so leave a little bit of spice breathing room through. There will leave some threw up throughout here as well. And then we'll come up here and they're going to get a little bit smaller again. Look, there's no right or wrong wayto pant days. Of course, it's just whatever you feel looks good for you. That will be the right way now. Monnaie. Obviously, when he was planning them, he was standing in these gardens, which, by the way, if you ever get a chance to go to give any in France highly, highly recommended, it was a spiritual experience walking through the same places that he pine and some of these renowned final pilings. It was, uh, quite breathtaking. Really? Okay, we don't over the clutter it, but I think something like that so you can see there's a natural path up through here for the I I'm toe wonder through. So with that done or pop the brush into the water on Really, that's step one of our more method of we would normally do it. What would I do now is pain in the water and the water is going to have reflections and most of what money? A penalty in his waterlily paintings was actually reflections of the sky and the trees on the embankment like the big willow tree and so on, reflecting in the water. So he didn't try pipe the water kind of what was reflecting in the water. And that was the beauty and the genius off those pining was right. So we'll start off with the sky. Okay, so I've just put some ultramarine blue and some titanium. Watch out on that. I've got my one inch brush, and what we're gonna do is just put it a little bit of sky Keller and Melo. So I put in some greenery for the will. I trades. And so so what? You're start here Remembering that thing is gonna draw a little bit. Dr Them first guys on being acrylics. And the one thing I've noticed about he's pining sees that he did do a lot of up and down strikes in the water reflection there. So we'll replicate that. Don't try. Get this to Nate. Those black lines in there. If I blur into some of those and pull some of that black, they know that Mind that and not just working around here is Well, look, so I'm not gonna have blue sky everywhere. But I think what we'll do is we'll do more blue sky than what we probably will end up with . And then we'll come back in with the green reflections. Imagine is willow trees up on the embankment up here to give you a bit of a feel for what will be pining. - It's a little bit of grind us getting into that because picked up some of the black he which you know where we did the drawing which are not mind that. But I wanted to be all pure, happy, happy, sort of cheap color, as I often say, A little bit of blood on that corner. Be a little bit between that. Just stand back and have a look that's going on pretty well. I think the majority of the rest of this here will put in green for the, um we like trees and so so started with cadmium yellow. And we're just getting mixed up a doctoring to start off with. And I'll put a touch of a littering crimson into this mix as well, just to dock in its It's the now a good rule of thumb off mixed up my sky color here. I don't wanna mix over the top of that. I want to keep that so that I get a reference point. So what I do is mix migraine down here, knocking my comparisons, make sure similar sort of values happening, and when I need to get back to more scar color I've got there. So check some blue, take a little bit of the red there, we'll mix that in. Well, take a good helping of that cabin yellow that Kevin yellow isn't that strong of a color. Why not have a pair it too much? And if it does, we'll get it back in with more blue, which I will stage on a floating dock. A turn in that Dr Greene. Rather. Okay, something like that. Let's just test that. See, it's a similar sort of value in terms of Loch Ness to darkness. If I pull it down into that bit a sky that we've already got happening there, they're not a work. Well, okay, So I kept going broke and color in there as well, which if you don't have a mix, then that will happen. Now this I should've pointed out that this needs to be large enough here, this green, that we've mixed similar value to the sky because the little petrol is going to be a green going to be a dock. Agree a doctor value. We want to make sure we had that separation. The So you got to dock with this reflection Keller. Then the Louis pets probably won't show out of wells what we'd like just soften the edges. Where makes the sky area there look so sure on trek get a little bit more. Read that riddle. Just grab back a little bit. Okay? This stage going along quite nicely have got most of the green. You have a lot of reflection of the green in the body. The waters they tried at this little area here a lot. A little bit more sky color into the edges that blew him. What? There's a tinge of grain in there as well to dock. It's important to get this a lot value. As I explained before, we want Teoh. What painting? They're too much. I want this to be not a lot so that we can Cretz, um, doctrines for the little pets can will get enough Bickmore green in there. Now. - That was not strong yellow. They're just in a few parts. I just need a little bit of 20 up in here is well off you. Good. Now I'm happy with the, uh, the overall for the base work that we're doing there for the reflections. Now we need to get in some docks in for the lily pads themselves. So what is clean this brush off so that it's a little bit more ultramarine blue, A little bit more cadmium, yellow to my palette here. Just good enough paint. And we want to have the foreground ones darkest. And then getting a bit less dark as we head towards the back is that they are a reflection color that we're gonna get darker than that. So I'll mix the paint next to it. There, take a little bit less yellow, buck. You know, by proportion on a bit of red. Probably a bit too much red in there, but not to worry. Mix it around. You can see it's a Knauss, Doc Green there. We've got a little touch more yellow just to lock in it a bit. Okay. But considered a big jump from there, there. And if I apply that in here, then you can say that's going to cause that Teoh sip right from the, uh, separate from the reflection color. Yeah, the order's gone plate those and I'm losing a little bit more dock lines, but I can advise backs. That's not a problem. Big Ron drawing. Keep those doc a lot, especially the ones from the bottom here, because that's the one that the I would see more really than the top. Shut up! Okay for good. I'm happy with that. I think that's just the right time to be working against the, um the reflections. Bring that one in there and wherever possible, a lot to connect them a little. If I can just to crack clusters if you don't want to Money floating on their own life. These two probably aware, but Maurin the foreground but closer up, you want to connect them up into clusters. Okay, so they're all similar value and turning. So So now we'll just come and would try and make that just a little bit. Lot of you can see that's already a little bit a lot of a little bit in the yellow side at this stage. Get a little bit more read into that. Okay, let's just try that. It's still docket in that reflection, but not a lot. However, before I re establish the shed I line, then that should be far. You probably just get a little bit darker. It will be dark. It just to make sure just to get that separation from the reflection in the water there. So the key here is when you put that reflection down my shorts, an ocelot value, especially in the reflection of the willow tree. You good. Now, as we come back, a little bit of what a little bit more Rid. Do that, and that's gonna griet lot back a bit. Just just that Such fine out there against the water against the blue sky. Reflection. Remember the pint days horizontally as well. You wanna point them vertically and I think that's working reasonably well. Let me I will do is I'll just bring some of that gray of time and just property in in a few spots just to break up the that Dr Greene that we've got down the bottom here just for a bit of variety. And we could probably even not that we haven't even left. But just take a few of the just a slightly different green turn up into a few lives. Not too much. We are going to put a highlight on there anyway. Okay. Very good. At this stage. I think that's looking reasonably good. I'm reasonably happy with that. So what we'll do pop this one in the water and now will strengthen up those docks again? So this black is probably are not still quite list. I was gonna say, probably drying off. But it's not entirely. And let's just get in some dark shadow in here. No way. I wouldn't use black, but it's, I thought, given those that were doing him when I, one of his contemporary fascism, would at lawn a lot in black and he was sort of, you know, it was an Impressionist, but he was a post Impressionist as well, which was the beginning of the sort abstraction period. I thought, Let's introduce just a little bit of shoes on into what we're doing. Um, there was a relationship between man I and shoes on, and she's on an abstraction. I thought. It makes sense for us to just use a heavier blackout lawn, give you another option when you want. Doc, If you fall out my work for some time, you'll know that a lot prefer to mix my dark out of ultramarine blue and crimson nicely as we come back. Just thin the law and add a little bit that make it is strong, he said, that just by re establishing that docket, it ah crafts that separation that we needed from the reflection to the lily pad. I'm quite loose with my lines there. You probably couldn't tell, But I'm not really trying too hard to get the Zach you're looking. I'm holding the brush down the bottom. He so I don't have a lot of control. And I'm just very my strikes up trying to crowd in effect, you know, an impression, Robert, Then trying to pipe water lilies. And I'm sure that that was what When I was doing values trying to crack the lot effects the reflection I could see how pretty nice, heavy a dock shut eyes in there. Now the, uh, the reflections in the water there how they're pushing rot back crowding dipped automatically in the we're good. So the next step is we'll put some highlights over these loop heads. We've, ah, bright yellow, we agree. And then we'll come to put the little flower buds that sit up on the top of the these lily pads here, and there's probably a lot more to it than that. You could have a lot of other little details in here, but I, like, keep it fairly simple, given this is a beginner level abstract panning class, but basically used the same colors and what I tend to do What I'm doing. The world. Ah, Louis pilings. You switched to my ah Pelin off at this point because it can correct some interesting effects. So if I tackle that yellow there and puppet there just a little bit of blue, Okay? The exact quote, We'll just scrape off a little bit of that DACA just so you know, have true broad. Okay? And I contest this, and if I want to make a broader, I can. But I do now is literally trail on the pants. I get some nice texture in to these would lose as well. Now I get the same principles. Apply the one closest to us. They're gonna have a lot more detail on work. And as I get back left fiber and color and unless working there so I could see what I've done. I've just scraped the knife through the point bigger favorite on the back. I was going to come and find me. Now you don't color all these in completely. What we do is just add a sort of a highlight area like son. Don't make them all look the same. Try and get a bit of brought in the okay. Now, I'm not sure with him on a used Helen off 40. Probably didn't. Um and you don't have to. It's just the way I have enjoyed a enjoy doing. You know those things, so you can do them quite rapidly when you get the feel for it. And then as I got back, will just take a bit more of that gray and just turn that greenback and, you know, obviously is going to be less surface area. It's gonna have this high lot. Okay? Something along those lines. Step that could have a look. I think that's working reasonably well. So clean off, appellate. Enough. And now using appellate off, I'm just going to use the tip. Now we're gonna flick up little bushes and things. The little flowers, some used mostly white for this, and we just come down here and just flick the mountain. So it was doing this over wet pants. So you do need to be careful that you about how you move the pendant existing set when the yellow didn't want to give up their and just crept from random sort of. Clary shuts. It's not right or wrong with this, Aziz said. This is, Ah, abstract realism, pining. I just do it the way you are. You want us to look basically and signed principles As we head towards the back. We're going to get smaller with everything that we do. There are a lot more pronounced class attitudes and just taught up wherever you feel. It needs that look, sir. Now the next step is within tech. Some of these Eliza and Crimson Fonda claims spot on the palate protects him. Claim Vartanian waters on this is not dry off. Mixed that in Listen crimson, a parrot way, one of my trig it enough of the water in there and in this pink that's created because there's another P come back of the knife. There we can not coming here and just add in touches of these pink, a little bit more vibrant color in places. - Well , that's pretty much where I would leave this pain. It's a pretty fun, easy to do a little abstract to realism painting of Manet's Waterlilies. There's lots of other things you could do. You could flick up, some reads, coming over the top here to crap more death, but I kinda like it. The white is you could put more work into the reflection area. Or you could do tell up the water pads a little bit more if you like. For me when it comes out structure like really simple shapes and simple color schemes. And that's pretty much what we've crowded here. The one thing you might consider doing is just dragging some reflection down underneath the water pads here. But again, I like to keep it pretty simple. Start up to you. How you want to do it may be doing two or three variations were shown you in previous modules. Hagen. Take the one painting on Do two or three variations off the thing, so I'll leave it to you to do that with this particular pining. But I think you know, if you have a practice and have a few guys that this money water we've seen, then you'll end up doing some ruin ours paintings with it. And if you didn't really big ones, you know, with double thick edges and you painted them black that looked right on the wall, you know you'd be really proud to have him on the wall that talk a little bit of practice, a little bit of not technical while flicking the flowers. But when you want to get it, it's a pretty easy pain to do. Two. Great. Why do paintings off his gifts for family and friends, or even to sell? You know, they're always popular. Always. Just call it waterlilies after money so that you're acknowledging the fact that you you're replicating on my own. I stole Penny were not directly copy. I mean, there was no copy of anyone particular Waterloo pining that he did, but we're copying the I. D. So that's why you wanna references that after money. Ah, fun, little pounding. Have a go at it. I would love to see how your yours turns out and I'll see you next time. Choose for now