Abstract Painting Adventures - Focus on larger color blocking | DENISE LOVE | Skillshare

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Abstract Painting Adventures - Focus on larger color blocking

teacher avatar DENISE LOVE, Artist & Photographer

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

7 Lessons (1h 29m)
    • 1. Welcome

    • 2. Supplies for our class

    • 3. Blocking out color

    • 4. Adding layers and marks

    • 5. Cutting out abstracts

    • 6. Finishing your pieces for display

    • 7. Saving our color palette

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About This Class

Hello, my friend! Welcome to class.

In this class, I will show you another of my very favorite ways to create some abstract art without the pressure we put on ourselves when we sit down to create. I used to get so frustrated when I sat down at my table to create art and I was staring at a blank paper. I wanted to paint a masterpiece without all the work and practice. I expected great things to just appear on my paper and I'd go away mad without anything decent to show for my time... and it was so discouraging that it would be months before I'd go back and try again.

This technique I'm going to share with you isn't new, but it truly changed my relationship with my art and my expectations when I sit down to paint. It doesn't really matter what level you are at, this is a great technique for all of us. Perfect for experimenting and learning our papers and supplies, trying out new ideas and color palettes.

This class is for you if:

  • You love learning new techniques for your art

  • You are interested in abstract painting

  • You love experimenting with art supplies

  • You love watching how others approach their painting practice

Supplies: I encourage you to use your supplies you have on hand to do your projects. You do not have to purchase any specific supplies for this class. It is all about experimenting with the supplies you have and learning to let loose.

  • Watercolor paper - I Iike cold press and hot press at least 140lb.

  • Ceramic paint palette - I show you 2 in class if you are interested in checking them out - I show you one from Sylvan Clayworks and one from Sugarhouse Ceramic Co. You don't need one for class - you can use anything for your paints like paint palette paper or paper plates, etc...

  • Various paintbrushes and mark making tools

  • Various paints in your favorite colors. I'm using a variety of acrylic paints in this class, but feel free to use watercolors, oil paints, inks, etc... the sky is the limit on the supplies you could choose to use and experiment with.

  • I'm using some soft pastels in class - pick some out in your favorite colors if you choose to use any at all.

  • Various Neocolor II Crayons - I love using these and they are water-soluble.

  • Disposable gloves if you are using any toxic art supplies

  • I love using a Stabilo black pencil and the Posca Pen to make marks in my work.

  • Finishing spray - I show you several I have used to finish my pieces to protect the art.

This is most of the supplies I chose to experiment with in this project... but as I mentioned above - don't think you need to go out and buy tons of new supplies (unless you just want to...). Try this project with some of the supplies you have on hand and grow from there.



Meet Your Teacher

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Artist & Photographer



Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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1. Welcome: I'm Denise love and I want to welcome you to class. I am a full-time working artist. My main business is too low owl studio where I make workshops and digital art tools for photographers. And the art workshops or something new for me. I wanted to add a new creative outlet for myself. I love the art just as much as I love the photography. And this gives me a way to get a break from one to the other. So I really hope you're gonna enjoy these. Can't wait to see you in class. So let me show you what we'll be doing. In this class. We are going to take a look at making some beautiful pieces where I focus on creating bigger splotches of color. So it's, you know, a lot of the things that I do is real tight with the color. And you have a lot going on. And they're not real big. Swaths of one color. They're very tight with all the colors kinda mixed in, which tends to be my style, apparently because I'm usually real close up and I'm doing little brushes. And when you're doing a little brushes, you're doing little bits of color. And so with this one, I wanted to push outside that range. I wanted to push outside my comfort zone and experiment with a new color palette and experiment with larger blocks of color. So in this case, I used some bigger tools, bigger brushes to get bigger colour areas. And I questioned myself all the way through it, you know, did I make a mistake? And I'm going to like this. I'm kind of uncomfortable as I'm doing it. I don't know if I love any of it. And then when I put my little viewfinder around the bigger piece and found little pieces within the big piece that I loved, like this one right here just was like, I love it so much, you know, when, when I get that feeling. And as I'm searching out compositions and color ways and mark making and things that I love. When I get that. That kind of takes my breath away. Feel I know that I have done the right thing and I always get pieces. I love doing this technique. This is the similar technique that I did in the abstract. It Ventures one and I love it so much that it's the perfect way to experiment and get outside your comfort zone with your products, with your techniques. On this one, I was really big color blocking and so it ended up the pieces are completely different than anything else I've created. And I love all of them so much as a series like, I feel like I need to take all four of these to the framer and have him framed. And then the leftover pieces like this one right here. I love this so much. That could be a little painting by itself or a feature as a collage elements. So all these little collage elements I love. And even as I was done with the great big painting and I thought, I'm not sure I really like this as I pulled the pieces out. So in love. So thrilled with each one of these, even the compositions, I can now look at how color looks with this composition and where I might put light and dark and a punch of color. I even kind of was questioning my color away with that kind of over the top pink. But as a little tiny touch in here, that pink really pulls the whole thing together. It's a little punch that pulls the eye. And I don't have like a little hard in here that I just noticed. How fun is that? I wonder if it'll focus if I come closer, but it's like a little heart would just told appropriate because I loved this piece of the most. So this class, I'm actually super excited to show you the colors that I used and the pieces, how I searched out, out of the big piece to come out with these. And I really hope you're gonna enjoy pushing outside your comfort zone. And in this one maybe thinking in large blocks of color rather than real tight, chaotic color. So I'm pretty excited about this particular class. I hope you love it. I can't wait to see what pieces you create from these techniques. So let's get started. 2. Supplies for our class: In this video, I want to talk about the supplies that I used and then it kind of backwards. And I have created the little pieces of art that I wanted to create. And let me tell you these really makes my heart happy today. Look how gorgeous these little pieces are. And, you know, my goal was to do larger blocks of color instead of real tight in like I normally do. And I questioned myself all through there whether I was going to get something that I liked and kinda questioned. Did I even like any of it? But then I started to, you know, come around my drawing with my little viewfinder that I made out of water color strips. And all of a sudden I was like, oh, look at this one and look at that one. And I got so excited that I'm going to leave my table today and just be had the rest of the day is going to be a great day. I got so excited. So I'm gonna tell you some of the stuff that I experimented with today. I did limit the, the color palette pretty significantly. I went with this Caribbean pink Bashar Vin, which just happens to be one of my favorite paint colors. This yellow ochre by sharpen. Now these are more expensive in the acrylic paints. So don't feel you need to buy expensive paints to do these projects with a really like the Artesia set that's pretty inexpensive and I get them on Amazon. And it averages $0.50 or 50, or a dollar a tube. Because you can buy a box of it for like 60 bucks and sometimes they run half price for like $30 and you get 60 different colors. And I love playing with all of these and these have gone super long way. I've been able to pull colors and paint all kinds of fun things. And, you know, you can create something like this Caribbean pink with a brighter pink and white and just tone it down. Yellow-green can get an any brand. So I did play with those colors. This rose matter is just that little pops of paint that I did because I thought it was really fun to do some kind of muted colors and a pop of something. And let me tell you that as a pop of something that stands out like neon here on my paint palette and even questioning that decision. Because I thought, well, I don't know, I'm not going to like that. Why did I pick that, you know, and then I did some of it on my pieces and it's just the right amount of pop. It's not like I used it so much that it's overwhelming. It's just tiny touches, which is what I want to encourage you to do. Do some your color palette and then a pop of something. And if you are looking at, you know, your color wheel, I kind of stayed in the pink, yellow, orange kind of category. And the POP that would've said if I wanted to come over here would have been blue. But because I was in, you know, the pink area, the yellow area, I kind of stayed in the pink area. So I kind of stayed in colors right here on the same side of the color wheel to play with these, rather than pull a color opposite and playing on that same side of the color wheel sometimes gives you very dramatic results. Look how beautiful that is. Also put down. This brown is just the burnt umber which you can get in a brown any, in any brand really. And then I. A little bit of this milky white paint, which I don't know that I love that or not, but I liked that. It wasn't white, white and this is a cheap paint that I got it. I think maybe Michaels or Dick Blick maybe. I don't know if it's a less expensive pain. It's not as nice equality as the sharpen. But you know, when you're doing a project like this where you experimenting and coming up with fun stuff. It doesn't really matter. The, the difference there in the really nice paints versus the student grade paints are the amount of pigment that comes in that package versus filler. These are gonna be very pigment heavy, very little filler. And that's why they're more expensive. This is going to be very filler, heavy and not as much pigment, which is why it's more say like a student grades. So they are cheaper and they just didn't cost as much to make because they didn't have as much of that pigment in it. So that's your main difference. Their quality was in what, why you would pick one versus the other. These are teases, I'd say is a really nice middle ground. I wouldn't say it's like the highest finest quality paint like the Marvin's. But man, these are very early saturated. I've liked everyone that I've squeezed out. They, they really work well. I love those. So that's why I'm using there. I do encourage you to use the paint you have you don't have to go out, buy lots of supplies to do this project. Because you're experimenting with color palette. Maybe your goal is big swatches of color instead of real tight color. Make yourself some little goals you're trying to work really fast and experiment with different materials and then come up when you're done with compositions that you love out of the big piece. So you can do this with any art supplies you have. You can do it with watercolor, you can do it with crayons, you can do it with oil paint, you can do it with, of course, the old pint won't dry. So this is a much longer project if you try it with oil paints. But acrylic paint, you can do it with acrylic inks, you can do it with Pan pastel. She can do this with any thing you can imagine. Um, I also used this big graphite thing that I have, which is basically a gigantic thing of pencil lead, because it's something I was randomly sent in my sketch botch subscription that I used to have. And I thought, well, I need to use some of these things that I've never tried before, sars playing with that. And I had decided in the past couple of projects, it's kind of a fun tool to work with. So I pulled that out a couple of times. I am using some of the Neo two colors because I like to mark make. So I do have one or two that I've used of that and then my little mechanical pencil, excellent for market-making. I use that quite a bit. And I've used a couple of catalysts, wedges. I tried to do some mark making with this, which is where like these fun lines came from. They didn't quite give me the exact effect I wanted, but actually I love it here now that they're done. But these weren't really better in my opinion, if you've got a strip of wet paint and you're dragging it through it and then you get this pattern on it. So I was experimenting with putting paint on this and putting it on there. And it wouldn't quite as quite what I wanted, but I do love it in the finished piece, so maybe it was quite what I wanted. But as I was painting, I was questioning that decision. And I use my catalyst wedge here. I made big marks with that. So I did like having that too. And then I've got the paints here on a paint palette, which I've shared a couple times. It's just a ceramic paint palette. You can use a disposable paint palette. You can use a ceramic plate from your kitchen that works great. And when these paints, I usually try to have a trash painting so that I can use the paints up rather than wasted. But basically when the paints dry, I just scraped the paint off. And if it's too dry, I can soak it in water for a bit and this defiled to scrape right off. I don't like to wash the paint off in the sink because if you're using any toxic supplies, you don't want any of those toxins in the water supply. And then also used a couple of brushes for this. And to start off with the big color blocking, I used a bigger brush because I wanted to thought in my mind, I'm usually using smaller brushes and that's why I get tighter patterns and our thought maybe the size of your supplies would affect the size of your pattern and for things that really worked out good for me. So just think of that. If you want a tighter pattern, use smaller brushes and if you want a bigger pattern, use bigger brushes and then that might help you'd lay color in big blocks and little easier. Also found if I stood back a bit from the piece, I could get great big splotches of color. Whereas when I'm sitting on my table looking real close, I get little splashes of color. So keep in mind how far or close you are from your piece as to, you know, the size of the pattern you're trying to create. Because these were dramatically different than some of the really tight patterns that I've done before. This has got just a lot more going on. Tighter color, there's not great big splotches of color like this great big thing of yellow here. This is much tighter. So I liked both ways and I'm going to experiment more with the big color blocking Now that I've cut these up and super-happy because even on the big piece of thought, do I like things do not like these, I don't know. But now that they're done, they can be my very favorite. That's what I like about this technique when you're, when you're doing this too, because I end up with something I like every time I leave. Happy camper also used a couple of soft pastels. And I kinda used a rule, pretty color that was an ochre color. And I just kind of played with a few of those. So I have some Eliade or several different brands out there. I've got some Rembrandt, think those might have came from Dick Blick. So you want to experiment with just a few colors. You can get the Sunil EA, you'd get half pan, a whole set of half pan, half, half stick pain. And I like that because then I started off with cerebral colors, but then as I use them, I can figure out what my favorite colors are like. This is one of my favorite. So as I get down and have a little bit smaller stick, then I go to the clinic and I'm like, okay, I need a bigger stick of that and I'll buy a bigger piece of that color if I knew that was my favorite. So these little half stick pans are really fun way to experiment with those, to figure out what colors you like. Because when they say, go to the art store and just pick your favorite colors. Well, there's like 200 colors. And when you're standing there and looking at that display, it's kinda overwhelming. Trust me, I have done that. And then I come home with 50 because I couldn't narrow it down to my five favorites. And when I'm working in here, you know, as I work with the different colors and I can see what's in my box and what I've used and what I'm almost out of, then I can pick. Okay. That was my favorite or I haven't even touched something. There's my white postcard pen that I was just looking for are also used the white postcard pin in this project to make some dots and lines. So I'm gonna open that box because I was like going, where is that postcard pin at? So this is a paint pin. You can do this with any brand of paint pins probably. And it's how I made a few extra marks and dots. I'm in my piece, which I like adding that, that's a feature that I like. So do like my post Japan. And then I also had white just so and clear just o and I have big containers of that because I like using it every time. And the Jeff Bezos I used with my paint to give the paints and grit because, you know, we're working in this project. I'm working with acrylic paints. And acrylic paints are basically plastic and they're shining. And you know, if I wanted to do all this fun stuff on top like pastels and, and NEO color crayons and the charcoal. If I just use the acrylic spot of sales, you can't put stuff on top of that. It's shiny, it's plastic, it's too hard and none of these other things stick to it. So I do mix the paint in with the Jeff Bezos. I used the white gesso was white paint 2t and I use it to light and colors. I used the clear just though if I just need some JSON with that color, and then that allows that paint to then have enough grit for me to layer on top of it. If you did, the whole thing would just acrylic paints. And you thought later, I want just so I wish I'd put the JSON. You can't paint the whole top would gesso. And that would give you that grit too. But I dislike work in it in as I'm going so that I can just keep on going and being creative as I'm working on it. So that is basically a do recommend one last thing, gloves, if you're working with any materials that could be toxic or you don't want it on your hands. Because you do want to be careful with art supplies. A lot of the art supplies are toxic. So definitely consider some gloves if you're working with anything that has any toxic properties. One thing I like about these little r teases is they are non-toxic and they tell you on the tube that they're non-toxic. But you know, I worked with enough little supplies, especially these pastels, that you could be working with a few toxic materials. So definitely keep safety in mind and have some gloves, maybe an apron on to keep your clothes clean. I wear an apron because I get messy and sometimes I just drop stuff on the table and it bounces on my lap in them. Then I'm glad I had that apron on. Alright. So this is basically all the supplies I'm using just in general on the art table also like to have a little thing of baby wipes. That is something I use to clean my fingers and my supplies off a lot of times. And if I get something on my painting, like dabs of paint that I accidentally got this bright pink on the back of some of my pieces and then it stuck to another piece. If you get something on one of these that you didn't intend while it's wet, you can get it off with the baby white. So that worked out kinda nice that I had the sitting over here. So that's all the supplies I use. So I do encourage you to play with what she got. Don't go to the art store and buy tons of stuff. Experiment with this technique and then add to your supplies as you can. Alright, so I will see you in class. 3. Blocking out color: In this project, I'm gonna do one of these larger pieces of paper and cut pieces out of it that I love. And what I usually do these, I get real tied in with my paint. And I'll show you some of my samples that I've saved that I get real tied in with the paint and I have rural kinda close and clustered, like here's the previous one. And it's real tight and in that, there's lots of color and movement and pattern go in there. And that seems to be a lot of what I do. I get in real tight with the pattern. But this time I'm going to have a different goal. And I'm going to try to do great big splotches of color rather than little tiny splotches of color. And some of this probably happens because, you know, I get in there with little tiny paint brushes and expect to make, you know, a very big blob of color and little brush is not gonna make a big blob of color. A little brush is gonna make a little blob of color. And so I'm going to work on using some bigger paint brushes. I even have a great big one here that maybe I could start with and just see if I can lay out bigger blocks of color to start with. And then we might come in with the smaller brushes for more details. And then I won't mark making. And I want to be able to end up with some finished pieces that I love when I'm done. But I'm not going to be thinking about those as I'm going, as I'm going, I'm just thinking about laying color and just playing and kind of freeing up my mind from any expectations. Because when I'm done, I'll still might end up with a little tiny pattern that just maybe my style. But every time I sit to do these and applying with color palette sets or I'm playing on the big piece of paper that I want to cut pieces out of. I do kind of sit and think, what do I want to try today? What I want to focus on, maybe I want to focus on Mark's, maybe I want to focus on color, maybe I want to focus on bigger pattern or smaller pattern. So you can have a goal and you sit down even in, even though you're kinda playing and you're experimenting and you're not sitting to create an entire large masterpiece. So I'm starting with is 11 by 14 piece of paper. You can use watercolor paper, acrylic oil paper. And I do like watercolor paper because it's nice and sturdy. I like the, a 140 pound weight for this project. So hot press will be smoother. Cold press will have a little bit of watercolor pattern to it, so it doesn't matter which paper, but I do encourage you to maybe try both papers because they do react differently to the paint in the materials that you put on them. And today, implying with some acrylic colors. You can do this type of project with any kind of paint that you have, any colors, that you have, any supplies that you have a like this because it's a chance to experiment and play with your supplies. So I'm using acrylic colors today, so I'm going to use master's touch. Milky white and this is one of those that I think came from Michael's are Hobby Lobby. It's not a very high quality paint and I've had it for awhile and when I squeezed it out, it was not as super smooth and creamy as the sharpen, higher-quality paint or even the Artesia colors which are, I think kind of a medium grade paint, but they're really, really smooth and they have great colors. So I'm trend milky white because I wanted this color. I didn't want it to be white, white. I didn't want it to be like titanium white. I need to go get a higher-quality in the whites, but I didn't have it. So Museum, this milky white, I'm using Artesia rose matter just maybe for that pop of color in the sea of neutral kinda colors that I have go in here as I get paint on my finger. I've got baby wipes, so we're here to clean off anything like paint like that. I'm also using yellow ochre by sharpen that pink Caribbean, which I just love by sharpen. And then here's a whole Bain acrylic and that's a burnt umber and burnt amber comes in any brains. So you don't really need to, to boss specific brands for that. And I've already put these out on my paint palette. And with some white just so and some clear just so so that I didn't need white paint. And then the clear can go in if I don't need a colour because I like to mix that into my acrylic paint so that I can then layer stuff on top of it because acrylic paint is it's plastic basically. So when it dries, it's very shiny and things don't stick to the top of it. And so if you mix in, adjusts, so then you can layer things on top of the acrylic paint very easily. It does make the paint not shiny. So it's very, it's a matte finish, which is what I really love personally. So I love doing that. But if you don't want to mix it in with the paint, you just wanna do the paint itself. You could put Jess o on top of it later if you changed your mind and wanted to then put more things on top and it went to work in. And I've got some little neo color, color, two crayons over here. And I like these because they're water-soluble and I'd like to make marks getting started. And I just have a random selection here. There's nothing special about them. I might just make marks on here with one of these. I like market making with these. And then you can put water on them to do other things and maybe using some of that. And I also have this graphite gigantic piece, which I'm only using it because I got it in a sketchbook box sketch box subscription and would have never bought it. It's a 2B, I guess you use it with withdrawing. But I do use I used it in one of the other projects and I really like how big I can hold it kinda loose. And it, and it makes great marks. Not all know what I'm gonna do when I don't have a point anymore, I guess I'll shave it with a knife maybe because I've spent will fit in my pencil sharpener, but it's basically a great big piece of pencil lead. And I'm only using it because I got it. I can do this with. One of these crayons, I can do it with my stuff below pencil, which I really love must've below pencil, it's a completely different look and feel. Then the lid is always use it for something. So let's just get started on. My goal here. Trying to keep it in my mind is bigger areas of color and, you know, some of that to maybe because I'm sitting and real close to the palette here and I might need to stand up and back up a little bit so that I can then see it from further back and make larger decisions. This you basically is starting you off. It's getting rid of that blank page. It gets rid of that fear of messing up the white page because you've already drew blood drawn and scribbled all over it. So you don't have to do this. I do this because it does just kinda helped me mentally get passed using that white blank paging and getting stuck. And you might see some of these lines underneath and you might not, we might be just covered it all up, but now we've scribbled on the paper and we can attack it with paint and not be so precious about it. And I will try one of these big paint brushes because, you know, I never use these. And we'll just see what, what we end up with. And maybe I'll start with this yellow ochre. I need a bigger paint palette for bigger paint brushes. I don't know. She can see underneath this on some of these, you know, when you're doing this, you can see our pencils underneath it so that you may end up seeing what you scribbled under there. So I do want it to be really cool and kinda organic and something that I'm going to like if I do see it. So I'm just experimenting here, just laying some large pieces of color. I might experiment with mixing the yellow ochre with the white just so so that I get a lighter yellow rather than that darker yellow or even a combination of color if I don't mix it completely as well. And mixing the widen it makes it a little more opaque to so is more likely to cover whatever you're painting on top of if you if you do that. And I might just kinda go right into the brown, the raw number that I've got here. And then what I'm going to be doing, you know, like I did in that abstract adventures one, I'm gonna take my little viewfinder that I made out of just paper and I'm going to go through and see if there's anything, you know, when I'm done that I like and maybe there will be and maybe there won't be. This is not the time to worry about, am I going to get something or love or not? This is the time to just clear your mind and lay down some color. And because it's paint, you know, if you're going along in your thinking on that love in it yet, you can always layer more paint on top. You're not stuck with whatever you've got there because we can keep on adding if we need to. And really the layers are what make it so interesting. So as we go and we're definitely going to be layering things on top and adding that interest in getting those, those different things, those different elements go in that we love like Marx and shapes and color and all right, I'm going to go with that. If you have some bigger paint brushes here, let's use, let's use this one here. And maybe I'll play in this Caribbean pink for a minute. And you can just, you can just tell I'm not being real precious with my paper, not being real precious with my paint. And just trying to get out of my own comfort zone and try something that I don't normally do. And I don't normally do it like this. If you watch that abstract adventures 14, I'm putting paint on with smaller brushes. That's generally how I approached this project. I'm cutting out smaller pieces out of it. Doing smaller brushes. The pattern is a lot tighter. And so for me that's more mn norm. And when I sit down to do things like color palette studies and things like this on big pieces of paper. You know, sometimes you just want to do something different and try new techniques and get, really just get out of your own way when you're creating. Let's go for some of this milky white here. I am almost kinda going for a very QB rubbish kinda look here cubed in the way that I'm laying colors down because that kinda seems in my mind easier to block out color in, in great big cubes than it is to be more organic. And that's, you know, that's a skill that I might work on. Two, I might work on being more organic, you know, as I do more and more of these. So now I've got some great big bits of color. Now I'm going to just kinda go in. And, you know, I have limited my color palette very deliberately. I have, you know, the pink and the yellow and the brown and the white, and then maybe just a pop of this brighter color after I get in there. But I've been very purposeful about that. I did that on purpose. I just want to loosen up. I don't want to worry about having too many color choices. And generally your work turns out better if you limit those choices anyway. So that's kinda where I'm coming from there. I like limiting my color palette. I like pulling out a few supplies. I don't want to pull out all my supplies because I have a cold cabinet full of them. And I just don't want to get paralyzed with all the choices. And you might, could even say, as I'm doing this and I'm fallen back into my tiny pattern that I like. So you can't overwork these. It's almost better if you give yourself a timer and say, I'm going to spend 30 minutes on this. That's my timer. And then, you know, you're more likely to work faster and more frantic and really get in there and do things that you might not have done before because you're like, oh my timer, I gotta go real quick, like looky here, if we go real fast, if almost, almost kinda put that frantic feel and I kinda put that in my voice and I'll put that in my paint strokes. And then we got big splashes of color, but they're a little looser. That's kinda fun. So kinda work yourself up excitedly. I mean, I do kinda like these big bits of color, but not just solid blocks of the same color. So I do like going back through maybe even in the same area that have already done and adding this little bit of frantic to it because that feels better to me. 4. Adding layers and marks: All right. So this is mostly dry. There's maybe one or two spots that aren't completely dry, but it's mostly dry. And I've not used any of this really bright pink. And I thought maybe we could try to paint some random shapes and lines. And this is a catalyst wedge and it's just got some little v's on it. I've got several of these. You can get these at the art store. And it may work, it may not work. And so I got a straight one. I've got several. But I thought maybe we could put a little paint on that and see if we can drag normally, you would have wet paint there and drag it through it, but I didn't do that. So let's just see if this is even going to work for us. I may end up doing this with neo color crayon instead. But maybe we will just try and put a little paint on here and see if this'll give us like a stripe. Not quite what I was hoping for. But it's okay. Pillow more paint on there. See it's not as consistent as I would like, but now that I've done it, we're going to make it part of the pattern. I might put some over here. Alright, so definitely works better. Dragging lines through wet paint. So kinda interesting to figure that out. And I do have some other, like maybe I want a little bit of that same color in the crayon that I could do. And I could maybe make this bigger, it come back in if I wanted to fill that in, I could just kind of go through and add some, some lines and Marx, maybe that are so heavy that they're going to show up far back. But there'll be a nice detail when you're kind of looking close up. Because some of these details, you know, you want to be able to when you get close up to be like, oh, look at this little area or whatever, you want to be able to have fun surprises in there. So I like things that give me fun surprises, so like that. And then I might want, I like using my post go paint pins. I might definitely be using that at some point. I liked the White usually. And this might be like a final touch where I add little white bits or dots or splattered or something. And that's another thing that might really love here with this is some sliders maybe in this bright color. So I'm just putting that in the water. And then seeing Can I splat or some of this on here to get that pop than I was thinking because I didn't want this color to be on there as a paint color necessarily. I wanted it to be a pop of something interesting. A super fun. It's very fun. And I'm just sitting all my little paint brushes and a thing of water until I take him away to wash them. So we'll actually need to let that dry a little bit. Let's just think what else do we want to do? I might want to have some more bits of color, maybe with a smaller paintbrush. You know, we can go through and make marks and patterns with some color and dots and things like that just by painting them in there. So you will have that this is very tiny and it's not gonna be standing out so much that you're like, what is that? But as you get close, you'll see some kind of detail in here in a slight color that makes just some interest. Well, I love that. You can do this with all kinds of stuff. You could do it with like the bottom of a pencil and maybe make some dots. You could do it with really any argument, any art supply that we've got here, we could kinda come in with some mark making and some paint stencils if you like, distance, all you kids, tensile things on top. That might be fun if you've got some really cool patterns that you want to incorporate just randomly, that would be really cool. And I do have a lot of stencils, but some of this stuff you think of as your painting on the fly and I just thought of them as I was painting, so I thought I'd throw that out there. That idea out there. And that may be something that I pull out or it may be something I used in a later project. Just kind of make all your supplies, work for you and experiment with them and see what, what do these do? How can I use them, and how far can I push them? And how can I make them work for me in an art project? Just things that you never even thought. You know, what would I do with this? I want you to use this time to experiment with those and just see what can you do with it. Alright, I like that. I might do a little white paint pen work here. Let's see. And we can come in with dots. I like dots. Like sure. I got enough paint out there so that we get a dot. Oh yeah. See, I love that little area of dots. That's pretty. And does make it easier if you will steady your hand with something like a finger are on another hand. Maybe because if you're just out there in free air, kind of winging it, you end up with weird wonky lines and you might not get the pattern you were thinking of. And even though my goal here was bigger blocks of color, you know, I still want plenty of interest in pattern and texture on top of that color so that as I cut out small little pieces that I love, I'll get some interesting elements in there. And that was real fun. What I just did right there in the middle of my dots, it was like a dot, long dash dot. So, you know, very up your little dots and dashes to it doesn't have to be all little dots. You can have a dot dash, dot, dash, dash, dash. As you're doing stuff that would be a lot of fun. Just as AKA different line to make in your piece. Let's just do that. Just to see, you know, that might be something interesting on the edge of something that we like, who knows, might not get used at all. But that's what I like about doing this. I'm not thinking really, really hard about my finished pattern. I'm just thinking, what can I do right now that's going to make this just a little area interesting. And maybe in the end I really love what it was I created. Maybe I won't. I do find when you do like this, if you don't like the whole piece, you've definitely love Part of it somehow. So I love that part of it. And I'm gonna take a palette knife, I think, and come in maybe with some color that i can kind of add some texture on there in the same colors but maybe break up. Like it's almost when I'm back from it, it's almost too splotchy for me. So I don't know if I'm going to end up loving that or not, but I might come back with some of the same colours on top, top and just try to then pull some of that splotchy separation back out. We can do that. You know, if you think, oh, I've made it too rigid, maybe this is a way to pull some of that rigidity back out. Again, some more of that bar. It's cold in my art room today, so I think my paints at all. And I'm just pulling us across the paper very, very lightly just so that, you know, I'm kind of skimming it, trying to make that paint spread out and give me a bit of texture. I'm not pressing down really hard. And that does get to be a little bit challenging in your paper is kinda wavy, so you're just real careful on where you set that palette knife down. And this is part of my mark making two going on here. This is creating more texture and pattern. We're building things up and I like that buildup. Mixed in L'Oreal with my white and I don't love that, but it's okay. And I do have an apron on. So if you drop your paint brushes or something onto yourself, if you'll have like a little apron on, you'll save your clothes from random paint mishaps. Those are very fun and love all that. Now I also have my little pastels that I like to add to things. So do have some pastels out. I might go back into my box and pick other colors. These alike because they're very pigmented and they will make any kind of marks on top of things. And I can also kinda color in areas that I want to emphasize a color that maybe had disappeared. So just different things. I might just use this for a moment to make some lines and more interest here. Some of the goal on my paintings is to not be so tight and precious with some of the things that I'm doing. This has got green all over, but it's actually like an ivory color. So the white pastels just kinda, I'm just wiping it on a baby wipe to pull the color back out. Actually looks kind of green when I draw that on there. So maybe I don't want too much of this one out there and I'll see if I've got a more white one. And move this one box out of the way. And that keep, that definitely reminds me here on my little color palette. Let's just add, keep adding to our color palette as we're going. And I've used some different things in there, but I'm just going to continue adding to this as we paint. And I do talk about that in the color palettes section. So you know what I'm talking about? Also have some charcoal pencils, you know, those are worlds going to experimental. Charcoal comes in lots of different colors and different sizes. But this is another random things I got in one of those sketch boxes that I thought, what would I ever do with that? And now I know it's good for making marks and, you know, it's really works almost as good as a, as a past tail, but it's got a nice tip on it. And so I can make definite marks. And like here I'm making a little cross hatches and you can very clearly see those on top of the paint. So I do like charcoal things and there's actually like a set of colored charcoal pencils. This happens to be a white and a black that they sent me in that sketch box thing. But if we just go through, these are great for mark making. And on top of the acrylic that's been mixed with that just so, just sticks right to a beautifully. So I might do that same pattern maybe up here. I do have to wait for the paint to be dry before you can add these on top because with the wet paint, you won't see it at all. It doesn't do anything. Super fun. I like that. I'm also wanted the white, So here's the white. We just rub that off in my but I have Watts other white in here. So then I got to ask myself, Why did I want the white? So maybe I don't want the light. And I do have like a bunch of yummy yellow ochre kinda colors, so we might play in the ochre. So maybe I like, I like this color instead. I've got some, you know, I just dropped it. These will break very easily. But even if you break one, don't worry about it. You can use every little inch of it pretty easily. Oh, yeah, that's the color. I wanted to see. What we can do here. Just a few lines. Mark making here, just adding some pattern, maybe some dots in between the lines. These are a lot less precise than the little charcoal pencils. We've got some fun stuff going on there. We just have to decide, is there anything else that we want to do with this before we decide to chop it up. So I'm going to study this for a minute more and see if there's any other marks Ernie thing that I want to add. Now that I just said that though I think I do want to add some marks. I'm gonna use my catalyst wedge because the edge is a little bit bigger than these little hard wedges. And I want to maybe do some big, big lines with this creamy white color. So I'm just going to put some of that white on the edge of that and just see if I can get some of these lines exactly like that. That's what I want. And I could have done that with the white just so I'm doing it with this creamy paint because that's what I've got here on my paint palette. But I just want some of those yummy lines to maybe show up later. Yeah, I love that, that's fun. Cut our pieces out. There's nothing saying that has to be done if you think, oh, this needs one more thing once you find a composite in here that you like and you think, oh, I need one more thing. You can add to that even after you cut your little piece out. So I'm going to let this dry. And then we will see about finding some compositions that we love and cutting them out and then seeing Are we done or do we need to add a little bit more? I'll be back. 5. Cutting out abstracts: Right. This is mostly dry and let me say if you get into a hurry wanting it dry faster, you can you can dry it with a heat gun if you need that to go a little faster. You don't want to use a blow dryer usually, but you could try it if that's what you've got. A heat gun puts out a lot of heat, but not a lot of air. And with art supplies and stuff, it'll then let it dry without blowing it around basically. And if you're not worried about that and you just want a lot of air than a blow dryer is just fine. It blows on a lot of air with a little heat through kinda wondering the differences. They're so. And now you're looking at this because I'm looking at this thinking, how are we going to come up with something that we love out of this mess? And I'm going to peel the tape. And if you end up painting one like this and you think, I love it, this is my piece. I'm not cutting anything out of it. Then that's fantastic because I'll be honest as I look at this without the tape, the tape is really what makes it turn into like a piece of art. It just is that reveal that creates something that you're like, oh, now it looks like finished piece. That's why I like to tape everything off. And then when you're done, that could be your finished piece. I mean, actually now that I've pulled the typeof, I think, oh, I really like that. And we could change the direction. We don't have to look at it in the way that we painted it. We could say, you know, I like this better or I don't like it at all. I mean, there's just different things that we can do there. But there's a lot that I love, there's areas that I love. So basically what I've done is I have created my own little kinda viewfinder that will allow me to then view different areas without all of the chaos around it. And this is just strips of watercolor paper that I've taped together in a specific size. So this size is five by five. It matches the five-by-five wood panels that I like to sometimes mount things on because I'll mount stuff on a panel when I'm done sometimes. So if I'm going for say five by five, I'll take strips of watercolor paper and tape them together. And this is a five by five whole. And then I've got this nice little visual separator from the rest of the painting. So I can definitely Single stuff out that I think I'll love. And look at that right there. I love that right there. And you know, what I love might be completely different than what you love. And as we move it around, that's pretty awesome right there too. So, Oh my goodness. Now that's kind of a dilemma. If I like this section and I pulled over and I like this section, I'll it's almost a shame because I can't have both level. Well, I love that though, home, my goodness. We can change directions and see if there's something in it. Oh, look at that. Now that I've changed the direction, I really like what this stuff is doing. And at this point I am kinda thinking of composition. I don't wanna cut something out, say in the center, if pulling this more towards the rule of thirds would look better. And so you've gotta look all around it and say, this almost looks like there's a ghost with red eyes in the middle of my composition. How funny is that? You don't want to, oh, look at that. Ah, this looks totally rule of thirds. I like all the pattern going. You don't want to cut out too early though. What if you cut out one thing that had part of it that you really loved in something else, but oh my goodness, that one got me so excited with this big yummy yellow area. I just wanna make sure that I get it like rule of thirds where I want it, I want this kinda in that upper quadrant right there. Alright, I'm feeling like you've not loved this, will come back to that in a second. I'm going to use this right here. Now you can do this in a couple of different ways. I'm on a cutting mat and I haven't exact DO knife that I use to cut and are like the exact don't I have to have a nice sharp blade. But you can also draw that square, do some little marks and cut it with some scissors. You can also take the marked each corner and take a ruler. And then you can take a ruler and cut it with your exact DO knife. So there's, there's a lot of things that you can do. You don't have to do it the way that I'm doing it. We can cut it with a ruler, we can cut it with scissors. We can cut it. I like doing this because I don't know, it makes it easier. So let me grab my exact tone. I if I have a couple and there was one that's out, but it's hard for me, so I'll just grab this other one here. I like having multiples of my tools because I had things for myself. I do like a nice sharp blade. This is just an exact oh, and I felt you can get the art store or the hobby store. And I like the blade needs to be sharp because as it gets dull, it will rip the paper. And I'm just kinda, kinda make sure that i like exactly where it's at. Like because I moved it didn't like it. Oh, was it right there? Right there. Okay. I like this splotch of Brown that I did on top. A question to myself. When I started going back with the palette knife, put and paint, am I going to like it? But now that I've got some dark and some light and some nice contrast, and now I have Composition. I actually really love it. So I'm going to just kind of eyeball it and then set this down. And then I will cut this one out and see how nice and easy that makes it to cut. But you can do this anyway that you feel comfortable doing it. It also kinda makes it nice and ready to mount to the board because now I've already used a board to, to kinda measure it out. And n being careful not to go too far past the edges that don't want great big cuts in it going past in case I want to use that piece for something else. And look at that. Only goodness. Oh my goodness. That just is exactly the feeling that I want when I cut it out and I'm standing back from it just a little bit. And it just takes my breath away. And this happens to me every time I get the little bit of chaos going. And I think, how am I going to get anything out of this? And then I get to this point and I cut something out and I'm like, wow, that's what I wanted. And I really like that I have great big splashes of color. Whereas with these older pieces that I've done, they're really tight color. So for instance, if I'm looking at this piece, you know, you can tell is really tight color, much more chaotic. If I'm looking at one of these finished pieces, I can tell that, you know, I worked in great big color splotches and got something really cool and kind of pushed past my comfort zone using different brushes and different kind of goals when I was painting this than I was having on the other earlier pieces. But I just love everything about this. Like I feel like this one is going to make itself into a frame. Okay, so let's continue on. Let's see. A really liked this over here. So before I cut anything else where I can't get that, let's see. I liked this one. And if we put that one next to this one, that would be a pretty pair. It's not the same exact pattern, but it's got all the similar elements. It's got the colors that go with it. And the finished piece. I think I would love hanging as a pair there. So let me just make sure that's exactly where I want it. Like maybe I want it right there instead, like that composition better. This is more rule of thirds. You know, another thing I really like about finding compositions after the fact that really inspire you is you can make a whole art journal or sketchbook of just these pieces that can then be your inspiration for larger pieces and compositions because you've already identified something that you love. And now you can kinda replicate that on a larger scale. Alright, so let's cut this one out. This this set has really so excited. I'm judge can't even sometimes I don't get even this excited, but man, these colors inspire me, like the pink and the ogre. And the brown are like the little pop of the red. Like the pop of the dark with the dark brown. This is why you want to make sure your paints dry. You don't want to pull your pain off the whole time you're doing that. But look at those. Oh my goodness, oh my goodness. Count beautiful. Those are truly exciting. Don't even feel like I need to go back after the fact and add anymore. Except maybe right here. I'll put that charcoal right there and it's almost not vivid enough or maybe there's not enough of those little cross hatches. So as I'm going might decide, let me get that little piece of charcoal black out. This is where I could decide, let me just work that a little better. Maybe those cross hatches could have gone a little further. And maybe that would be the finishing touch that unlike even better, like look at that. That even made that kinda spread that out and worked at a little better for me. And then, you know, this is charcoal, so you gotta keep in mind that you could smudge this very easily with your fingers. So you're definitely going to have to put some type of finish on top of this so that it's protected and you're not rubbing off those pretty marks that we just put on there with a material that's not stuck on there like the acrylic paint. Voters, so beautiful, I can't even stand it. Alright, so let's just look and see if there's one more because sometimes I like it to be a set of three. Is there anything else that we like? And this is a very interesting composition. I like that the stripes are going this way a little bit different like on this one, I had striped coming on one side at the rule of thirds, I had something kinda separating that and then you've got the other third going this way. You can also turn it in any direction. And I still love this in like any direction. But I'm thinking third, two-thirds. So on this I'm thinking third, third here, third here, and then you've got that wide open, which is almost exactly opposite what I had done all this one or a head, kind of this third, third, and two-thirds kinda out here. It's kind of exactly opposite that. So do I love that though? I want to cut that out. I don't know. Kinda like this one better. Let's just see what's left over here. And we don't have to cut them out of five by five. I could have done four by six. I could've done half the sheet. I could've done through a four by four is even smaller if I want to smaller pieces, this one's okay, but it's not as exciting. We'll cut this one out just to see, you know, if you, if you end up and you say you have to, that you love more than anything. And some that you're like, okay, I love it but I don't know if I want to do anything with it right now. You could save all these for collage pieces like this piece right here. Crazy beautiful. I love every bit of that right there. So if I go ahead and cut that off, that could be the piece I put in my sketchbook as my sample. Or that could be a collage piece that I use in something else because that right there, crazy beautiful. The cutout is where I get so excited. Oh look at this may become in this direction. Now do kinda like that. And this is, I'm kinda breaking the rules kind of centered, you know, we're half and half. And that might be a nice little contrast and difference if we like something centered. But let's see if we like this one. Go in this direction, that's fine too. But let's just cut both these out. I like both those because we don't have to we don't have to do anything with it other than enjoy it. I do tend to want to frame stuff though. So if I find something, I really love it and I'm going on the wall and enjoy it. And it looks like I got a little bit of paint here on my fingers. So let me cut this out. I've got it just on the edge here, but I still got enough paint to make that work. I do this with my photography to, I'm working with textures and my photos. And soon as I put a texture on there that just grabs me, I just get so excited. Not Xu and I on people loved laugh enemy for some of that. But look how pretty that is now that we change that direction. I like this on the angle i like that is kind of centered and centered rather than rule of thirds, but we still kinda have rule of thirds up here with this little bit of pink marking. Very interesting. Let's go ahead and cut this. Well, somehow I've managed to put pink all over everything on the back of this look at that. I'll just be careful that I don't get that on everything else. And that's one thing about keeping your paints kinda handy over here. You might make some big messes. Ooh, that is a bigness. Pink everywhere. Maybe I'll wipe some of this off the bucket here while we're in here, just so that we don't keep spreading it. I don't really care if there's anything on the back of the piece. You know, if you're doing these to sail like paper pieces and you're going to sell these. Be super careful about the backside because you don't normally want to sell it looking like that. Or at least I wouldn't let if I'm going to use it for myself and I'm framing it and I'm not so precious about the back. No worry about it. Was this what we liked? It? I liked it better this way. Did not cut that out. And then we can decide. There we go. Alright, don't get pink paint yourself. Don't get pink paint on everything. I do the same thing. And I'm like, OK, that's how I know that I did a good one. It's my gut that kinda tells me that's it. You know, I'm a little less deliberate with some things in a little bit more all about the serendipity of the piece. So I kinda let the piece guide me rather than worry about what I might have been thinking in my mind. Alright, let's see. We've got all this out. It would go oh, and I got a big piece of brown. So this is wet paint because I just felt it. I'm just going to wipe that off with a what white? Well, it came right off now because my paint was dry. That worked if my paint was wet but would not have worked. Oh my goodness. Oh my goodness. Look at that. I like it this way and this way. And I live with this one. These kinda match really nicely, had red paint on there. Let's get our nice little lesson to learn right here. It's kinda fun right there in the middle though, but I kinda don't want that there. So I'm gonna take my baby wipe. And oh yeah, good. Aha, don't ruin my beautiful set here that I just created, right? I got that pink stuff everywhere. It's kinda fun to watch other people make mistakes and then when you make your own, you don't feel so bad. So don't feel bad. You move my piece out of the way. They're shouting, Get There, we go. There we go. Oh my goodness. Crazy, beautiful. Look at these. These are so beautiful. And I really questioned in our big piece, was I going to get anything out of here because like I said, I was working a bit out of my comfort zone there. And then, you know, as I get to something like this, I'm just gonna take my scissors and I'm going to save these pieces like this right here. Look how pretty that is as I collaged piece. So I definitely want to save that. Or it could be the piece that I put in my color palette. Look this one here. Again, I really love everything about this. So pretty. And I save the edges because there's enough color here for that to be a collage piece. These have some pink on the back, that blood on the front, but I don't even care. This piece right here. Perfect collage piece or perfect peace to put in my sketchbook there. So that might be my sketchbook piece. I'll just cut the end off of that. Look how pretty that is. So as I cut all these out, oh no, this is the one I loved right here. Here's a collage piece. Because I've got all these out, I'm telling you. So pretty right there. This would actually be a really beautiful micro piece of art if I go ahead and just cut these edges off. And maybe I wanted to do a very interesting slim piece. Now I could cut this with my ruler and my exact to the knife and make it really even. But I'm not being super precious. But look at that. This right here would be the perfect bookmark. It would be really pretty as a micro piece of art framed mattered and then the frame being bigger. I loved this piece. This might be one of my favorite pieces. That can be a really beautiful collage element. This would be a nice standout piece and a collage, so that might make its way in a collage. I love that. I've got one last little piece there and little tiny pieces I may or may not keep. You never know what you could use in collage. And there we go. So, wow, look at how beautiful these turned out. I'm pretty excited with this color way. I definitely encourage you to experiment with the great big patches of color with the different materials and what these colors. And I really hope you loved doing this project. And I'll see you next time. 6. Finishing your pieces for display: Let's talk about finishing our pieces in this segment because these have their own paper. And if you're gonna take it to the framer and have a frame it, you know, you want to be able to protect the software bits that we added on top that pastels that we might have used, the charcoal that we might have used. There's materials that I have laid on top of here that needs to be fixed or they will smudge as people touch him. So if it's something that I'm just taking to the framer, I will use a fixative and are like this and really a soft pastels fixative because it fixes any of those chalky bits down so that, you know, I can't smear him. If you're using oil pastels. You need to use those on the very top last, you don't need to use them first because then nothing else will stick to your painting. You'd use them last. And then Sunil EIA has a oil pastels fixative that you could use and you get this at the art store. And you might could order these online. But this is the one I like. It doesn't tend to change the color when it dries. It does look true to what I had been working in and I love it. So I would just take the Southside spray both ways, let that dry spray both ways. Let that dry and have three to four coats of this on top. And even then, it's not like that permanent, a 100% permanent and you can touch it and rub on it and it wouldn't damage. You could still possibly damage any parts that are that have those pastels are charcoal on it. So a fixative is fixing it so that it's less likely to be damaged, but you still don't want to be touching the piece. So you either need to have like a final finish on it or put it somewhere where fingers aren't rubbing on it and ruining it. So this would be the first step. I would put this under anything else that I added on top. And I like spray fixatives because, you know, you can get brush on varnish and stuff from the art store. They do make brush varnish. But if you're using anything with soft chalky tops like the pastels are chalky. Any chalky kinda stuff or the the charcoal, anything you brush on, you're going to smear any of those chalky bits you added to the top. So I don't like brush more issues on top of pieces like this because of the potential to smear the art. And the other thing that I'll then put on top possibly is a varnish. And I like this u UV archival varnish. And I think this one came from the art store because it doesn't doesn't yellow. In this, in some of the varnish is you get from the hardware store, will turn your artwork yellow as it ages. Terrible, terrible thing to happen when you put all that work in it and then it yellows. So you want to get a UV archival type varnish and I get the mat finished because I don't want it to have a shine. You can get this in gloss also. But this is crime on and it came from, I believe the art store. And then these are some that I had gotten at the hardware store that I've randomly used. This is resto Liam clear, non yellowing. I'd like it to say non yellowing on it. This is resto Williams math __init__ I've also gotten. Men wax, water-based polyacrylic, ultrafast drying, crystal-clear. And then I've also tried the crime on Kumar varnish, which is acid free, non yellowing, and it was made for paints and stuff. Now this might have come from the art store. Don't recall. But that's some of the others that I've tried and had really good luck at least putting a finish on the top and you'd want to use these outside, take them outside, spray him, let them dry before it because they really stink. And if you have any kind of breathing issues, they'll definitely bother you. And then after you finish them with some type of finishing spray, then you're ready to decide how are you going to mount your pieces for finishing it completely. And you know, I take some to Framer and had him trained some of my first pieces that I was just so thrilled that I got anything at all that I liked, that I was like, I'm going to find these and hang them up because they're the first ones. And I like it because they're double mattered. There was afraid that I picked out that I like and they're really elegant, framed. So I do encourage you to frame some of these pieces, even if you don't take them to the custom framer because it really elevates these little color studies into genuine pieces of art that you're going to love hanging in your house. So I do like custom framing, but that's very expensive. I think these might've been a $125 in that range for this frame with two maps. And that's pricey. I only did it once because they were some of the first ones I did and I thought I want to remember this moment. So this is another option. This is a set of little frames that I got at the Michaels and it's a five-by-five frame, and I haven't opened them yet, but this is perfect for these little pieces. And I can double Matt and I like that double Matt. And when I open this up, I can frame these pieces, just kinda tape that in there. And they're ready to go and something like this might, you might spend $10 on lot cheaper. So that's some options for framing. Definitely check out target Michael's Hobby Lobby there, framing area for fun frames. And decide what. When you cut these out, try to pick a size that you can easily do something like frame it on a stock frame or atom to a cradle board. If you use a size that you can buy the board floor, it makes it easier to create your piece of art. Then if you're using an unusual size when you're done. So I did purposely do these five-by-five. It's a nice size that I like and I tend to get little compositions that I love using that size. And what I'll do normally for these, I will glue them to the board. And you could do that with Matt medium if you want. And I have discovered that I love yes paste For this yes paste. And this stuff is kinda thick and so I'll put it on with a pallet knife. And I just spread the glue on. I put this picture on top, will use a piece of wax paper, Delhi paper, something that's not sticky parchment paper. And you can either smooth it out with your hands or you might even take a Breyer and smooth it out with a Breyer. And then you might, when you do that, squeeze some glue out the side. And so I will just take a baby white when I have squeezed the glue out and just wipe any glue off. And now we'll let that dry. And then most of the time your, your art piece is not perfect to the size of the board. And so generally it's even nicer if it's a tiny bit bigger AND hangs over because then I'll just flip it over. And on my cutting mat. I will then take my exact DO knife and I can trim off any edge that's overhanging. And then I get a perfect fit. Usually when I'm doing these cradle boards like this, they're not finished. So I will coat the whole board and Jesu before I get started and kinda bored and asides. And I'll also generally paint the sides of color that I've pulled out of the piece that I like. So the sides are painted in something that complements my art. And then I will glue everything down and then I'll do any touch ups than I want. But I do love the yes paste, but you can also use other glues, matte medium, just kind of experiment with some that you've got. I mean, you might even try Omar's glue, but, you know, some of those are not going to be acid free and archival. And that's what I like about some of the nicer art glues is their archival and they'll last for a long time and they won't Yellow your paper or, you know, I've never had a problem with these lifting up if I used something heavy enough, do like cradle boards to finish this with also, you know, I like some of these little flat boards just to finish it and then not they've gotten a little hook on the back and I'll hang on just like that in my art room. And I've got lots of those that have done. And they come in different thicknesses. And a lot of times I'll paint the side so that it's not unfinished. And they're ready to kinda hang that way too. So just some different ideas for you. And I also just have some of these hanging on a clip on my inspiration board sitting right in front of me. And if I just want to have them up there or I can look at them, that's how I have those hanging up there. I love being able to look up and see pieces that I love inspiring me as I'm, you know, creating here at my art title. So I hope that gives you a good idea on things that you might consider doing to finish your pieces, at the very least, definitely put a fixative spray on it so that you can then handle with less chance of damaging Nim. And I will see you back in class. 7. Saving our color palette: While we're letting that other, while we're letting our page dry. And I wanna talk about one thing and always do. And so I'll probably show this in every class that I ever make. I make color palettes. And I do this so that later I can refer back to things that I've made. Like this color palette here with the pinks and the ochres and the, I think this is wrong number. These, that's one of my favorite color palettes. I love the collection that came out of that. If this set here that I have kinda hanging behind Myanmar table. And it was, I did this in the technique of the abstract. One class that I did where I did the whole paper with little pattern everywhere. But I use these colors and then I put a piece of that big sheet that was left over on my color palette piece here. And I love this. This is so beautiful to me. I think I could play in this pink and amber color palette over and over. And because I like it so much, I want to be able to remember what colors that I use. And even though I don't write the colors on here, I can get close, you know, like I can pick a light pink and I can, I can pick a bright pink and I can pick up an ivory and I can pick an ochre because I know that's ochre and I can pick an umber and I can get close. It may not be exactly every time, but I don't want everyone to be exact. I want to experiment, but I want to be able to revisit color palettes that I fall in love with. And I also want to remember color palettes that are found more difficult. And you know, you might day thes if you want to kind of keep up with when you did it, you can put a date on it. You could write what each of those colors are and the brand if you think you're not going to remember it or you want to be real specific for a project. And then I'll know, you know, how did I get to this finished painting, like this color palette right here is actually one that was inspired by this paintbrush. The colors here on the paintbrush. And I thought, oh my goodness, I loved the handle of this paint brush so much that I wanna do a painting inspired on the handle of that brush. And so that's what I did not picked out. What I thought looked like this lavender color and this green color and this pink in this kinda burgundy thats kinda chaning them to there. And I thought that would be beautiful. And then when I was painting these, unlike Hmm, I'm not sure if I love this. You're not as I was painting and I was getting a little disgusted with myself. And then when I finished I was like, oh my goodness, I really loved this. It was a day or two after I was done that I was like, okay, wait a minute. I do actually really love these. I can actually show that to you. It's this little set here that I did. And I kind of didn't like it when I was painting them. But look how pretty that little collection is now that it's done. And if I hadn't seen that on the paintbrush and experimented with it and pushed through. My mental reservations about men, I'm not liking this as I've painted. And I got to the end and then cut some out. Now, I love this color palette and I never would have thought that. And I would have got disgusted and stopped right in the middle of it. And here's some others that have done. This one. Not one of my favorites, but it is kind of a fun experiment. Blues and greens. You know, I like playing in the blue-green family because I like those colors. So I love doing this over and over, this kind of neon green and blue color palette. Man, I love these so much. I have some of these hanging on a gallery wall in my bedroom. So I love playing with color and experimenting. And then I'll love keeping track of what that was in a little color palette book. So usually, to start this off with, I put clear gesso right here on the page because this is an old book, the stuff will soak in. I don't want to have all the paint soak into the to the book pages I wanted to sit on top. Doesn't have to be real thick just enough to give it a protective layer. It's like a paint primer. It's priming that. It's gonna make it work done to soak into the back side. It's gonna make it where I can see what's underneath it. I think that's what's so fun about using an old book that you've got at the thrift store and the antique store for a couple of dollars, you know, by the specificly to be able to tear him up for collages or to do something like this where I can then save a more artistic, more enjoyable thing like color palette or might work in this as a, as a sketchbook or my where I'm doing paintings and stuff. I mean, I can play into all kinds of fun stuff in here that maybe the white page doesn't do the same thing for me. But if you've just got like a little white sketchbook, No, those are fine too. So I've done several in that, but I just don't like him as much as I do in my little book. And so while the others dried and before I lose all my little paints here, I'm just going to take a paint brush or my finger if I'm if I'm using nontoxic paints. And just kinda Mark a little bit of every color in here that I've used. And then with the big pages like I'm painting, I can always end up with a little sample piece to then staple into this book with this. And I just want to use a little bit of every material that I've tried. And I haven't used that pink yet. And it's kinda questionable as to whether I will. So I might not use that. So I'm not going to put that on here yet. If I use it in the painting, I'll go back and add it to it. And I want to do this while I'm going, or I will forget all the stuff that I use. And I'll even do like my mark making in here just to kind of remind myself, oh yeah, I started off with some mark making. And I'll just keep adding to this as I'm painting. While I have what supplies out to put it on there if you get to the end and you're like, oh, I forgot that. Just opened the tip and get a little piece of paint and market on there. It's not like it's a big deal. Just think it's fun to kinda do it while we go. And so just wanted to remind you to keep a color palette book. You'll really appreciate that later as you're going. And then let's get back to our painting. Alright, so I've actually been painting some more and our painting, and I've added some more just touches here to my color palette thing. And I've already cut out our fun little pieces that we created from this collection. And there were a couple of times that are really questioned, then I make a good choice. Am I going to like these colors when I'm done? And let me tell you now that we are done. I am so thrilled with the way this turned out that I definitely want to revisit this color palette over and over. I, this could be a favorite, it could be a signature color palette for me. This is one of those times, one, it's done and I am so completely thrilled at what I ended up with that I want to take these pieces and framed them. Almost wanna take these to the custom Framer and let them do their magic. Because I do like having things custom framed when I really loved the pieces art. And a lot of times I loved my own art. I don't want to give it away too. Somebody else, you know, it's been all this time creating these. And I just at this point, you know, these totally in love with and can't wait to do something with them. They're so beautiful. And I also have some little pieces left over, like this piece right here is a perfect representation of these. So I wanna pick a piece out, usually that I can just add to my page so I can remember what set that was because sometimes just looking at a thing, it colors your might be thinking, you know, you're from now. What was that? I don't remember. And so I like putting a piece on here if it's a if it's a scenario where I can do that and I'm just looking at all the little collage pieces that I ended up with. And even though this is my very favorite piece, and I could save it here in my book. I kinda wanna not staple this because maybe I want to use it for something other than this right here. So I think I'm going to use this piece in the book. And all I do is, depending on how delicate the pages are, I might take a page or two and stapled two pages together for this and I just staple that right in there. And that is my color palette for today with my sample that very easily lets me remember what piece I did. In this piece I might use as a bookmark. I mean, I just might take this downstairs and stick it in the book and start using it or use it as a collage element. And this is going to be like the feature on the collage, which probably is what I will do with that. Because if I'm collaging on like a five-by-five piece. That's amazing piece to be the collage, to be the element that I want. So that's how finish off my yummy page. I do any mark making, added some little postcard pin. I added my little charcoal pin pencil that we used and I put the piece that I did in with that so that now I have a beautiful color palette to work with. And I can flip through all the beautiful color palettes that I've done. And remember how did I get there? What colors did I use? Different experiments that I did. And this is completely different than a lot of the other things that I've done. So I really love how beautiful these pieces turned out and how fun my color palette is here. So hope this really encourages you to start keeping maybe, maybe an old book from the thrift store and make that be your color palette book and do something like this. Alright, so I'll see you back in class.