Abstract Art | Learn to Paint a Modern Abstract in Acrylic | BONUS Demo | Avery Rose | Skillshare

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Abstract Art | Learn to Paint a Modern Abstract in Acrylic | BONUS Demo

teacher avatar Avery Rose, Visual Artist + Creative Director

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 6m)
    • 1. Class Overview

    • 2. Gathering Inspiration

    • 3. Gathering Materials

    • 4. Building Up Layers

    • 5. Creating Depth

    • 6. Adding Areas of Interest

    • 7. Defining Focal Points

    • 8. Refinement

    • 9. Adding Gold Leaf

    • 10. BONUS | Modern Abstract Acrylic Demo

    • 11. Project + Thank You!

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About This Class

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Create an Abstract Acrylic Painting | Inspired by Nature” class is broken down step by step where you’l will learn how to make an intuitive acrylic painting inspired by nature!  I want to show you how to create create an abstract acrylic painting inspired by nature with feminine energy.  I will guide you through the whole process of finding inspiration to adding gold leaf!

We will explore gathering inspiration, using a reference image to sketch from, harmonious color combinations, adding accent colors to make your design pop and in the final stage adding fine details such as gold leaf. 

This class is for all levels, but some basic knowledge of color blending will be helpful.  If you haven’t painted before, that’s okay.  This style is natural and intuitive, if you follow along with the class, I have broken it down into a step by step process for you.

You can follow me on Skillshare or Pinterest to see some of my favourite color palettes, and art inspiration.  I’d love to connect and see your project results.

We Will Explore:

  • Gathering Nature Inspiration
  • Harmonious Color Combinations
  • Building Layers
  • Creating Depth
  • Defining Areas of Interest
  • Adding Accent Colours
  • Focal Point
  • Refinement
  • Gold Leaf





Ready to start painting intuitively with this guided class .  Let’s get started!

You can find the Class Guide in the Project Section.  

Music Credit: Bensound Acoustic Breeze and Soundstripe Emorie for Intro Video
Inspirational Pinterest Board
Color Pinterest Board
3 Easy to Use Color Palette Resources

Thank you for watching!

Meet Your Teacher

Teacher Profile Image

Avery Rose

Visual Artist + Creative Director



I'm Avery Rose.  {Creative Director + Visual Artist}

I'm founder of an award winning Creative Agency having the privilege of working with br ands of various sizes and at differing stages in their brand life to solve their holistic marketing challenges.  Working with brands and media publications such as: WPP’s Mindshare Worldwide, Ray-Ban, French Connection, LVMH, Macy’s,  Miami Fashion Week, Vogue and Grazia. 

I found my love for teaching Art when I taught children at the Miami Children's Museum in 2008.  I'm inspired by my students and the amazing work they create.  This is why I love teaching what I know...

In 2012, I pursued the creative arts fu... See full profile

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1. Class Overview: Hi, I'm Avi raise and I'm a visual artist and a creative director from sunny South Florida. I just love bringing nature into my abstract acrylic paintings. I've been painting now since 2012 and teaching art to children for over 15 years. If you're looking to create an abstract acrylic painting inspired by nature with feminine energy and this engaging classes for you. In this class, I have broken down the painting process and easy to follow step, where you will learn how to create a nature inspired abstract art piece. Whether you're a first-time painter or a seasoned creative dabbling in acrylics. This class is self-expressive and relaxing. You will find it as self-paced and broken down with a bonus inspiration lesson. I will share with you my Pinterest inspiration boards for botanical line drawing and color that I created, especially for the class. So you won't be short for inspiration. I have also made a detailed blog post highlighting frequency to use free resources for generating oligopolies. Each lesson has actually steps and tips at the end to support you throughout the class. I love painting with acrylics and I believe with the right mindset and one can learn the skills that were things. I will be using a range of materials highlighted in the lesson and clearly listed on the class guide. But you can also create this project in any other mediums such as watercolor or gouache. I will bite you through the whole process from finding inspiration to adding opaque to final painting. This class is for all levels, but some basic knowledge of color blending will be helpful if you haven't painted before. That's okay. This style is natural and intuitive. If you follow along with the class, I have broken it down into step-by-step. For your first, we will look at how to gather nature and color inspiration. Then move on to creating our first layers using a contrast, a warm and cool colors, and then adding desk and creating areas of interest. We will then refer back to our inspiration bugs and create multiple focal point and add finishing details to pull the painting together. People follow me on Skillshare or Pinterest to see some of my favorite color palettes and art inspiration. And I'd love to connect into your final project results. 2. Gathering Inspiration: So before we get started today, I just want to go through the color palettes and also where you can find botanical inspiration. I've pulled together on Pinterest, a color board, and also botanical inspiration board. So you won't be stuck for inspiration if you look there. But I also want to show you a few analog ways that we can get some inspiration. So for color, I've also written an article where you can find three easy resources to pull color palettes together for free. So I'll add that link into the class guide. But first I want to show you the color well, and this is the demo that is in the last video. If you want to. You can watch that first if you'd like, or you can go through the class and then watch at the end. So I've demoed two paintings for you. And as you can see with this one, you've got the green and the magenta, purple. They're really nice, complimentary colors. So if you have a look here, you've got like the red, violet and yellow, green, and they're complimentary. So that's the color palette that I've gone for on this one. And I'm going to use a similar one on the one that we're going to walk through today. So there's a few books that I highly recommend to take a peek through four color palette inspiration. And one of them is this Lauren Winger by palette perfect. She's also the author of the blog color collected. And what she does it, she breaks out the book into sections, and she also gives you a really good guideline of color theory. So the book is broken out into steams. Each chapter's a different theme. And for me I love anything magical crystals, man's anything metaphysics. So if you're not ready to make the purchase of the books, go and have a look at her blog. Really interesting one I have to say. So again, you've got solitude. So if you're stuck, it's just a really good starting point. You might know that you want your painting to be bold or calm. And again, she gives you the four, which I think it's just a great starting point. Another one is the pattern source book, which again this is more patterns, but I have to say the colors are fantastic. So here again, you've got the pink and the green, the complimentary. And it's just a sparking interests are like days when I just don't feel like actually painting. Which is not that often, but when it is, I still want to feel productive. So I'll go ahead and I might just sketch something like this out and just maybe do a little color play in my notebook. Like pink and yellow. That's one of my favorite combinations that now I'll probably pulls further into this painting that we're gonna do today. And I had the privilege of seeing the David Hockney exhibition in London last year. And I bought the book thankfully, as a little bit on the fence at the time, but I bought it and it's a book that I referenced quite often because his colors are amazing in there. So now for botanical inspiration, every Friday or at least once a week, I sit down with my mood boards and I just cut out pieces for magazines that I love. I've gone ahead and done is I've created here a little book, so I'll cut them out as I see them. So maybe something like this pink flower I maybe cut out two months ago, but I won't use it for a later date. And then when I go back in and do again, I'm days, I don't feel overly creative. I'll come in and I'll just maybe just stick a few pieces down just to get the creative juices flowing. So specifically for this painting, what I've gone ahead and done is how to look through all of my little cutouts. And I put together this little example here. So I know I want it to be quite bold and an almost tropical with some eucalyptus leaves and almost like a dried flower look. So you don't specifically have to do this for this project. It's just me giving you a few ideas if you are not sure where you want to start, this is a great place. 3. Gathering Materials: So now on to materials. I worked with these little Montessori trays. Actually my son went to Montessori nursery and I used some of his old trays that we had in the house. But I think they work fantastic. So what it does is it limits me to using only these tools. And also if I don't really feel like being in the studio and I want to work from home. I can just take this little tray and I've got everything that I need on it. Once I gather all my tools, I like to see what I'm going to work on for this project. So I'm going to work on this wood panel. It's an eight by eight. And as you can see, it's really grain. This is an ampersand artists panel. So if you don't want to use wood panel, a few other substrates that you can use it. So this Arches watercolor paper is 300 GSM, which means it's really thick. So you can use a lot of pain, a lot of layers. So I'm not sure if you can see the texture, but it's very thick and it won't rub down while you're painting on it. If you do a few layers and we are going to build up in layers so you can use something like that. Or you could use, I like this daily Romney mixed media paper. So again, what mixed media you're going to be using JSON and lots of layers, so it's really thick. You'll also need a water bottle and a palettes. So I like to use these tear-off palette for acrylic or oil. As you can see here, I've used one. But they won. They turn out really pretty and they've got a waxy feel to them. So I kinda like the way that the paint list off of them versus some people use Paper Planes. So ceramic, this is my preferred mode. But again, nothing on this list is set in stone. It's all really optional. I'm just kinda walking you through a few different choices. So paid for phase, you'll definitely need a variety. Here. I've got some flat one-inch brushes and then I've got some rounds. And then also it's just a few little ones just for some fine details. So again, don't be too particular on it. I do like to have a few of the same ones so that when I'm using warm colors and cool colors, I can paint and I want to say quickly, but I can paint without worrying about the blue is going to get into the pain core, vice-versa, and make some colors that I don't necessarily want. And now for the juicy part, the paints. So again, in my tray, I've kinda given myself a selection of tools here. I've got a few fluid ones. So these are going to be great for the base coat and just adding some finishing touches. So I am using this Liquitex acrylic ink, the yellow, and then also in black, carbon black. And then I love these Doctor Martin's radiant concentrated watercolors. So this one is ice blue. You'll see I'll use this on the first layer. They're just there so fluid that it just gives like a really natural look. And you can see the wood grain throughout it. It's a very pretty. And then again, you do not need any of these because Golden are quite expensive, but these are, in my opinion, the best fluid paints that you can buy. There's just something about the texture and the hue is just very strong. So I'm going to use this magenta. The green gold and the iridescent copper at the end. And I like fine tune with the gold leaf. So just so you notice on these two, they have lines through them. So this means that it's a transparent paints. So again, when we're building up the layers and adding that debt, if you put these on top, you can still see the underneath layer. Some people like that look some done. Again, you really have to play around with them. So just maybe, but just by a 30 milliliter one ounce bottle and Wang in one color and see if you like it before you go ahead and purchase of youth. So now on to heavy body paints. This fluorescent pink by system three. This is, I would say use it pretty much in every painting at some point. It's just got a really nice pop to it. I can't explain it, but you'll see when we do the demos. And then what I'm gonna do is pull out these Liquitex heavy body. So this is brilliant blue, bright aqua green, and brilliant yellow green. So these are analogous on the color wheel. So if you see here, you've got blue, blue, green, and green. So these three, they're going to be the cool colors that I start with on the first layer. And then on the top layer for the, for the warm colors, I'm going to this pink that's going to be included because it's a warm color. And then I've got the heavy body acrylic. This is a portrait, pink. This is a really pretty color. It, it's also actually great for portraits. But I like to blend these two together. It gives it a really nice pink. And then this basic liquid acts, this is, sorry. This is a KTM orange. So again, these are the Reddy pink ready orange. They sit on the warm colors. So then what I do is ask goal that golden is relatively expensive. I use this on the top layer for the majority of the time. Again, this yellow ocher, if you look at how the lines throw. So this is going to be a transparent, really low opacity. So I loved blending this color actually with one of these tills. It just gives a really nice look you'll see in the demo. And these are two of my new favorite colors. Actually, the light path flow blue and the light path light green from Golden. And then this is the light ultramarine blue. Again, I can't stress enough that you do not need all these colors. You do not need these brands you can paint with anything craft paint. You'll still get the same look and feel. This is just my chosen for this project. And I have linked everything up in the class guide. So for adding some final details and some motifs, I'm going to be using a Reeves white crown, a favorite castle, pesto. And this is an oil pastel. So this goes on the top because it will resist the pain. And then this current dash, neo color crowns, these are water-soluble. I have to say I love these, especially when I'm doing watercolor, they just blend in really nice. So if you are not sure about your motif and you want to play around and know that potentially want to cover it up. These are great ones to do because you can just blend them straight back into the pain. Versus when you once you put the oil pastel and the paint will resist trauma, it you're not really going to get around that. So I always have a little spray bottle just to the paints getting a little too dry or if I want to make a few drips. So I, for big paintings, I actually use this big bottle. But if you use it on an eight by eight, will probably spray all over the place and potentially the whole painting. So I go ahead and I have this small deer went one. Then for final details, a selection of paint pens. So I like these posca pens. They just have a really good feel to them. They're not scratchy and they don't want the paint doesn't overflow. Sometimes some of the paints you'll be painting like this. And the pen just kinda like leaks everywhere but the thieves, they get like a really fine tip. So you can purchase deeds. So this is a very fine tip one. And then let me quickly show you I think are one. So and that can be a thick one. So again, if you're new to painting, don't go out and buy all these materials as phi 11 of each and colors that you absolutely love. And a cheaper brand is these one-click essentials, acrylic paint markers. These work really well to a few other basics just before we talk about gold leaf and then get started, you may want to pay for a towel or a sponge so that if when we spray the water, it gets a little bit too fluid. You can dab some up or to make some little texture marks. So if you don't like getting messy hands, there's this product by Winsor Newton and there are a few other ones called invisible glove. This one's called Art guard. And you can just rub a little bit onto your hands. And it will just protect where the paint doesn't go through to your skin. It generally works quite well. So if you don't have any of these fluid paints, you can go ahead and buy a glazing medium. And if there's a color that you love in a heavy body, you can add a little bit of this to the heavy body paint and it will liquefy it. So again, play with what you have. Don't rush out and buy everything. Can take your time with this project and do a few test runs in a sketchbook first. Now for the juicy cold thing, you can buy this in any art store or arts and crafts store up and it's very fine so you have to be really careful with it. So what I use is just a little bit of this Golden gel, medium soft gel in maps. Scrape it down with this palette knife. And I'm pointing triangle one just to get into some little small areas. So now that I'm looking at all my art materials and I've gotten some examples here, my demo, I'm getting really excited to paint, so I hope you are too, and I'll see you in the next lesson. 4. Building Up Layers: First I'm going to spray some water on the wood panel to allow the paint to move with fluidity. I'm going to be working directly on the wood panel with acrylics and concentrated watercolor and acrylic ink while using a flat one-inch brush. So right now, I'm using analogous warm colors on either side of the panel to create a contrast. Go ahead and you can either start with warm colors, cool colors, but just pick one or the other. I'm using right now assistance three fluorescent pink and Liquitex, heavy body, orange, yellow, and portrait pink. I will list all the colors in the class guide so that you can refer to them at a later stage. Right now I call this loose painting as I want you to maintain a sense of freedom within your work. I also want you to make sure that this process is very childlike and simple because most of this layer is going to get covered up at some point during the process. So now I'm adding some cool colors and opposite areas of where I put the warm colors while those dry. And this is really pretty at this stage as you can see the wood grain throughout. I'm using a liquid x heavy body, brilliant yellow, green, brilliant blue, and bright aqua green. And at the end, a little bit of Dr. Martin's concentrated watercolor, which gives it a really pretty fluid look. Blending it with water and allowing the paint and water to merge and take forum, I'm pulling the paint protocol and horizontal to get a nice rhythm and movement within the underlayer. So while using a contrast of warm and dark colors and adding in different shapes and creating a real level of variation in this layer. And painting gracefully around all the quadrants. At this stage on the wood panel, I'm repeating certain marks. And this is going to create a really nice repetition and the harmonious fill to the underlayer the right now and painting completely intuitively at the moment and just enjoying the process without overthinking the piece by any means. Don't be afraid to use your fingers and glide the pain into the position you feel the painting is calling for. It's really important at this stage to just let loose and get methane. So a few tips for this initial layer that I suggest is to separate warm colors and cool colors. Give yourself permission to enjoy the process, tap into your creative flow state, and really stay lives. 5. Creating Depth: Once the paint is dry, you can go ahead and sketch some of these motifs and start thinking about areas of interests that you'd like to build up. I'm taking a white, nice water soluble Chrome at the moment to lightly add in a simple motif in the upper left-hand corner. I'm looking at my inspiration sketchbooks. I always like to have a few motifs coming from the top of the painting. I just love how was your eye upward still keeping a very least at this stage and exploring where the organic shapes can be represented on the substrate. Now taking some Dr. Martin's concentrated watercolor ink and ice blue to create some shape variation and to start creating a focal point. And the lower right quadrant, I always pull my inspiration from everything I love, such as news, nature and birds. And you can generally always see one of these motifs peeking through and my art. Now I'm adding some heavy body golden till acrylic to start creating some areas of interest and blending it with a slight bit of yellow ocher. This is a color combination. I just absolutely love. And you can see a multiple projects in mine. It just has a nice hue to it, which combines nicely with almost any other color combination. Now adding some black to create contrast, I absolutely love black in general, but specifically in my art. I think it's just such a great statement with just a little touch of it. It goes such a long way. Now I blame the eye around a substrate and creating some horizontal lines to oppose the vertical lines at the top. All these little details, they create a really visually interesting piece. Now adding some golden high-flow magenta, which is Eric decison. These types of paints given natural depth to the painting at the opacity is minimal and you can virtually see the underlayer directly through the high-flow and pulling the magenta to the top to pull the eye from the bottom to the top and vice versa. Don't be hesitant to blot out with paper towel if you feel it's necessary, use every tool possible to achieve the look at Bill that the paintings asking for. I've gone ahead and switch from a flat brush term round brush here. And using a golden fluid acrylic, a green gold, which is translucent so you can see the light or peeking through. And again, this is all about depth building. So here I'm just dancing around the canvas and pulling colors from the lower half to the upper half. And from right to left. That way you're creating the eye to move around the Canvas versus only being stuck in one place. So that black orbits are standing out a little bit too much. It almost seemed like it was painted on top of the canvas. So I just wanted to blend in a little bit. So I'm pulling that blue from underneath and just shading on top. So that way it's really starting to blend in with the, with the whole canvas. 6. Adding Areas of Interest: It's time to really start looking at all the elements and the overall composition while creating a focal point or multiple focal points if you want. I've taken a step back and looked at my painting. And I know that I want a rather overpowering image on the lower left quadrant, just about the black circle. So that's where I'm going to focus on. Now adding some heavy body goals until acrylic with that yellow ocher again, just to make the upper left-hand corner really pop and kind of finalized that area. And again, pulling it from the top left to the bottom right, keeps your eye moving around the campus and the colors consistent. So using my fingers again to get that role blending mode. So it's just not looking like heavy body paint stuck on top of the canvas. And by creating this horizontal line, I'm also creating some unifying elements that kinda tie the two areas together. I loved the metaphor for bridges, so I use these quite a bit in my paintings. So now I'm taking a golden heavy body light, ultramarine blue. And I'm still feathering that top left-hand section. So I'm adding another layer to make it flattens. So that again is not to stop on top of the canvas. And just taking the tail blue with the yellow ocher, I just kind of blending it into the right. Now I'm starting to let that green gold pops through and just again, creating different areas of interest. Adding the horizontal line and blending with my finger again. So you've got the vertical lines at the top and then the horizontal and the lower right. So the color I'm using now It's actually a new one that I just added to my materials recently. It's a Liquitex acrylic ink and it's a yellow orange. I love the color combination of fluorescent pink and orange together. And when you put it on top with the pain, it just hasn't really nice fluid look to it. It does the yellow doesn't overpower the pain, get just kind of sits right on top. It's one of those things that you really want to play around with and experiment to get the look that you're, that you want. Again, I'm using my fingers to get experimental here. Don't be afraid to use any tool to get the look that you're after. And now just adding that fluorescent pink on top again. So you're adding layers and you're taking away layers and then that's why you've got that depth. And now we're creating a real focal plane. So now you can see that pink really coming for to the foreground of the campus. The left is clearly becoming defined with the orange of pain. Upper left has been clearly defined as the green and blue, again, separating the warm and cool colors. But from the first layers you can see that there's multiple colors underneath and that's where you really get that depth. So now with solidifying these areas of interests, you can really see the painting coming to lie. So here I'm combining the fluorescent blue with the light ultramarine and it's making a really nice violet, purple. So this color now is unifying the tools and the warms together. And also you can see ads. It works across the quadrants. It's bridging those two elements together. Now taking that fluorescent pink and just adding a few minor details, so make it a few things pop there. And with the yellow ocher just adding a little subdue move that I may or may not lead them depending where the piece goes at this point. And tightening the piece to create focal points and solidify the areas of interests. But I'm also keeping it where it's malleable. If I want to change things, I still count at that stage. So now it's a compliment of the dark black blue circle below and creating repetition by having the half circle at the top and bringing your eye up to the painting. So now you've got a clear movement between the horizontal and vertical. 7. Defining Focal Points: While the paint has been drying, I've gone ahead and just taken a poke through my inspiration sketch book to get an idea to formalize my motifs here. So now we're going to start really looking at the focal plane of the painting. I'm just fine tuning the final layer hair and now starting to add in my secondary mode T with a blue posca pen. Before you use these posca paint pens on your painting, just make sure that layer is really dry. If you don't have patients, you can go ahead and use a hairdryer to dry it or leave it in the sun. And now I'm painting the leaves with a heavy body paint from golden, light path low green. This color is a really delicate, pretty color to paint on top of the real bold oranges and paint that adds a really good contrast value here. So again, I'm using that technique where I'm using the color in one place and then I'll move it to another and generally three places. So I brought it down now to the lower right just to cover up that gold so you can still see it peeking through it at the bottom, which again, that's what goes back and create this depth layer. That's what makes the painting really interesting. I don't want to paint all the leaves the same colors at this point. This will pull your eye straight to that right quadrant and potentially gets stuck there when I know I want my focal point to be in the middle left. So this is a complimentary focal point. It pulls your eye up. And I just love the contrast between the pink and the blue sitting on top. It just makes that area really pop. So I'm just adding a little bit of blue here to add in a little bit of shading. So again, it just doesn't look like I've just thought pain on top of the Canvas. I'm blending it in. So the position of the two motifs is going to be balanced and the visual weight dispersed evenly through the painting because I've got it going high on the right and then low on the left. Now I'm taking a water soluble yellow Qur'an dash chrome to roughly sketch out the load as I'm loving the location of this focal point with the darkness beneath it. It's really going to add contrast and pop once it's complete. So I'm adding some of that yellow acrylic ink again to the center. And painting in the leaves with a golden high-flow, that green gold. It says that slight opacity. So you can still see that underlayer peeking through. So I've had some time now to figure out what I want the second color of the leaves to be. And I'm going to use the same tone as the loader is to create a harmony between the two motifs. 8. Refinement: So now we're looking at refining the piece and really looking at overall composition and bringing it all together. So I'm just going to start adding a few details in with this yellow posca pen. And again, make sure that the paint is really dry before you start adding in these fine details because it can vary in the pen sometimes. And now we're finding the lotus and adding in that golden heavy body, not like patho blue, to bring the motifs together. So again, to pull the colors throughout the painting, I'm pulling in that fluorescent paint and adding it to the center of the load is and also beneath the bridge. So you can see it in a few places now and it really draws your eye all the way around so that you can see here my motion is definitely getting slower. I'm not doing it like I did the first few layers and that child light mannerism. I'm still fluid and painting intuitively, but I'm definitely being a little bit more mindful of where I'm putting the paint strokes at this point. So this golden metallic, gold, iridescent is an amazing accent color that I almost always add in through her finding my pieces. Especially if I know I'm going to be using golden leaf at the ends. So once again, I'm dancing around the campus and adding this gold color accent piece n. And then taking a yellow posca pen and just refining the lotus. So now finalize my accent pop colors, which is going to be the pink, the yellow, and the gold. So they're thread throughout from layer one all the way through to the end. But you can see they're gonna sit quite visible on the top layer. So something about the load is at this stage is bothering me. So I'm gonna go ahead and sit with that for awhile and take a step back to look at the painting. So now I'm adding the Posca pen and white on top of the load is just, again, not make it look like it's sitting directly on top of the painting and just blend it back more into the background. So I'm using my fingers here to blend those posca pens come out quite liquid a, and that's my preferred method of making it blend in. And again, we've used that fluorescent pink beneath the white on the center. And now I'm just putting a tax on top to bring it forward and backwards. I loved the refining process because we've kind of done all the hard work of choosing the colors, laying down the first layers. And now it really is just a dance between bringing the colors forward and backwards. So here I'm looking at using a stencil to put some teardrops in the upper left-hand. And again, if you're not a confidence sketcher, don't be scared to use a stencil or even sketch something on top of the canvas with a transfer paper. So now adding those yellow lines in Japan, I need a finding the right and the left-hand side and pulling in that yellow pop color. Let's now take a blue posca pen to make the center of the lotus really stand out. And then adding some accent pieces on top of that bridge to bring that plays throughout. Now to tie in the elements that we use initially that ink ice blue. So I've got it on the top is a circle and the bottom. And I'm adding it to the center of the lotus again to put it in a few places throughout the campus. So as you can see, the lotus is still bothering me at this point. So I'm just going to play around with is the focal point. So I wanted to take my time and make sure it's exactly what I wanted to look like at the end of the painting. And now I have the upper left dry. I'm going to finalize and add in those yellow teardrop there. So first thing I do with the Posca pen, just to get a really nice defined line underneath. And then I'm gonna go ahead and add some gold on top. Don't be afraid to move your canvas around and look at it from different angles and see if it's working for you. I not just bringing in a little bit more black hair just to make the depth of that really pop. So now I'm adding a blue by all pastel from paper castle. This is another element of texture to it and really make that little area pop-up that take your time with this section because this really now is the painting. 9. Adding Gold Leaf : So once your painting is completely dry and an edge, they can go ahead and add the gold leaf as a finishing touch if you want to. There's multiple ways that you can add Goldie to painting. So my preferred method is using a Golden gel medium, a soft gel Matt. Since depending on the size of the area that you want and boldly, you'll have to find a tool that's appropriate, either small or large depending on the size of the canvas that you're using. And then within the Canvas, since the size of the area of the gold leaf that you want to use. So I've gone ahead and taken one of my palette knives. I got quite a big line and then one that can meet small areas. You'll see it's a triangle one. So just take a little bit of that gel medium and sparingly to slide it onto the canvas where you want the bolt. So eventually ends up you need to put more, then you think you need, because a lot of the goal we're actually going to adjust away once it dry. So go ahead and just put that into the few areas that you want so you can complete the Cold z either area by area. I'm going to go ahead and put the gel medium down on the whole canvas and then just take the gold leaf. It's very fine. You have to be really careful with this. And just place it on top of the area that you've now glade. Okay. Oh, I met mine dry for a while because I want to make sure that it really adheres to the wood panel. So I take a brush that I know I use all the time for boldly thing. It's basically glued together so you know, you can't use it for painting. And then what I do is I just open Bachelet angle and to slightly dust off the gold leaf. And what adheres, adheres, and then what does it gets lifted up. And that's what gives you that nice cold flexible block. Hi. Okay. Okay. 10. BONUS | Modern Abstract Acrylic Demo: Hello, great. In this lesson. Okay. And that takes up space. Hello. All right. The third stage in this process. 11. Project + Thank You!: So for the class project, I would like you to sketch one element of nature and then go ahead and include that into at least one painting with a layered background. I encourage you to share your work in progress. I can give you suggestions and feedback. If you're finding yourself getting stuck in any part of the process, I'll be glad to help, just let me know. I want to thank you for watching the class and I hope you enjoyed it as much as I did. Be sure to upload your works in progress in the project section so your fellow classmates can see all your hard work as well as your final paintings. And if you enjoyed this class, please leave some feedback for others to read. It really helps. If there's anything you would specifically like to learn for the next class, please let me know. I really can't wait to see all your paintings.