Abstract Painting Adventures - Limited Color Palette - Orange, Yellow, and Pink | DENISE LOVE | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Abstract Painting Adventures - Limited Color Palette - Orange, Yellow, and Pink

teacher avatar DENISE LOVE, Artist & Photographer

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

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 4m)
    • 1. Welcome

    • 2. Supplies

    • 3. Project - Blocking out color

    • 4. Project - Adding details

    • 5. Project - Finding small paintings

    • 6. Finishing your pieces

    • 7. Saving your color palette

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Hello, my friend! Welcome to class.

In this class, I will be creating some more fun abstract art. Pressure-free and sure to delight when you are finished. Every time I create one of these mini-workshops - I like to focus on a different aspect each time so I can learn from the experience as well as create something fun. These are perfect for experimenting and learning how to use our papers and supplies, trying out new ideas and color palettes.

In this adventure, I am going to focus on a LIMITED COLOR PALETTE. I am going to focus specifically on Pink, Yellow, and Orange. I like to narrow down the colors I use so I can really push myself outside of my comfort zone. It also helps to narrow your focus so you don't get stuck looking at all of your supplies and then not get to creating. Too many choices simply kills your creativity. You get stuck in all the choices.

Before I get started I will go through my supplies and pull out the ones I am going to use and I will put all the others away. This might include supplies just in my colors, new supplies I'm wanting to try out, my paper choice, and then I tell myself - this is it... let's see what we can create!

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 about 140lb. 
  • 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.
  • 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
  • A few cradled boards if you want to mount your finished pieces to boards.
  • Finishing spray - I show you several I have used to finish my pieces to protect the art.

That is the majority of supplies I am using... 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

Teacher Profile Image


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

Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Welcome: Hi, I'm Denise love and I want to welcome you to class. So let me show you what we'll be doing in this workshop. We're gonna do some yummy abstracts focusing on a limited color palette. And every time I do one of these little workshops, I like to focus on a little different aspect. And today I decided that was going to be color. And so I am focusing on yellow, orange, and pink. And I have picked out different shades of pink and orange and yellow. It doesn't have to be the most primary of those colors. And that is what I'm experimenting with today. And if you wanna do it a little nice deep dive into color. Definitely check out the color workshop called a color story. Because we get into working with different color palettes and mixing color and different things that are going to help you along your path in things like, like what we're creating today. So in today's workshop, we're focusing on orange, yellow, and pink. And doing this as the cut-out abstracts where we create a big piece and then we cut pieces out of there that we love. And we'll take a look at some different ways to finish your pieces. And I have one that we have finished on a cradle board that I'm going to hang up in my house and look how beautiful it turned out. I'm pretty excited about that one. And then we'll talk about saving your different color palettes as you create fun things like this, because you always want to be able to come back and visit color palettes that were really successful for you. So I'm very excited about this class. I hope you get some good tips and tricks out of it. I can't wait to see what pieces you create. So definitely come back and share those. So let's get started. 2. Supplies: Let's talk about the supplies that I'm using in this class. So I've decided to do limited color palette here in this class. So I have pulled out of all the supplies that I have a limited range of colors that I want to play with. And this is the perfect time also to experiment with supplies that you've never used before. So I won't eat to get creative with your supplies and think, what if I'm not used that I could experiment with in this project? So you can use any paint, you can use any supplies. The goal is to limit your colors to two or three shades or colors that you're working in. So I chose pink, orange, and yellow because I really love pink and ogre, these two colors here. And this is the Caribbean pink and the yellow ocher. So those are two of my favorite colors to kinda pair together. And I thought, well, I don't want to just do the same thing I've always done because then I'll get what I've always got, right. So I decided, let's add in some brilliant pink. So we're still in the pink family and some orange red. So I've got my pink, orange and my yellow. And this is the whole bean color. And this is that inexpensive Artesia brand, which are really like. So if you just get a box of these like I have. But these in a little Easter basket thing, I found a target for a dollar. You just get a box of those 60 colors. You can pick out three colors that you want to experiment with every time you sit down to do this project. So those are really, really fun. So we're using today those colors in my project and you can use the colors that grab you. I'm also using a few colors. Have pulled out the same colors as I have pulled out my paints. So I'm in the pink, the yellow, and the orange family. And these are these little sharp in pastel, hard pastel sticks. And I like these because that's, that's not very expensive at all. I've got it on Amazon. And they make the most beautiful crisp lines versus the soft pastels that make chalky lines. And so I've got some soft pastels here that I've chose to use in the same pink, yellow, and orange family does not mean that I use all these colors, but I have decided to at least pull myself out some options. And also pulled out this HDR went charcoal set extra-large charcoals, because I don't use these hardly ever. And so not as familiar with them, but they had a pretty ocher color in it. And I thought, let's play with that. Because this is the perfect type of project to experiment with all those supplies that you've never played with or that you want to get more familiar with, or you want to just experiment with and see how they combine with other stuff. Perfect way to just dig into all your supplies, pull out a color range and go for that. I'm also using some gesso. I've got clear and white and mix that in with the paint so that can then layer pastels or wherever on top of it. You certainly don't have to use pastels, but that's not your thing. Experiment with the supplies that you love. I'm using a couple of cheap paint brushes. I've also got my little mechanical pencil because I like to make lines and I like to make marks and draw through wet paint with that. So I have one of those. I've also got some stability pencil. I've got white and black distinct case. And I've got my posca pen and white because I love adding some details at the end, like these little dots. And the Posca pen is the one that does that best. So I love using that white posca pen, got a palette knife to use, and we use that mainly to spread our glue onto our piece. And then I have, I'm going to show you how a mount a piece to cradle boards. So I just have a six-by-six cradle board to go with the six by six piece that I cut out. My favorite glue to glue that day on with is yes, paste. It's nice and thick, dries clear. It's archival. It's got tons of uses and it's perfect for laying heavier watercolor paper on a board. But you can use matte medium. If you've got a heavy matte medium, That's perfect. You can use archival glue sticks. I mean, just kinda whatever you've got handy that you might want to try to use. That's what you go, go ahead and go with. And I've also got some punch Ella, which is the stuff they make stencils out of. And this is the leftover piece of metallic strip that all this didn't, all the sequence got cut out of. And what's left is called punchy della. So I've got some punchy della to make some little dots here in some of the pieces. And I like, I like those the way those come out. So I'm using a piece of that. You can use stencils if you've got well, stencils that you'd like to try out. You could use those kind of keeping the options open there. And that's basically the supplies that I'm using today. I'm also doing this on extra large piece of Canson watercolor paper. This is cold press. And this is the 11 by 15 size. Or if you're in the metric system, the 27.9 by 38.1 centimeters. And I liked this extra large size because I get lots of pieces out of that. When I'm done, I can get easily three or four pieces of art and some extra pieces for collage bits out of that size. So I do like that. I also have a size that's even larger than that. That takes up a gigantic swath of this table, but it's too big to film. So use what you've got. I do like the bigger the paper the better. And I just like making a big mess. And then I have a couple of pieces of watercolor paper that I have taped together in some different sizes to use as my viewfinders. So I've got a five by 56 by 65 by seven that I've created for myself. And these are handy for searching out the sizes of art in your bigger piece. So that's most of the supplies that I'm using through class. I do encourage you to use what you've got on hand. Play with the materials that you already own before you go out and buy lots of materials. That's what this type of project is good for. But I want you to use what you've got in a limited color palette and see what you get. And I'd love it if you did pink, orange, and yellow. And show me your pieces that I can see, you know, what cool designs and things that you came out with different than mine. All right, so I'm pretty excited about this lesson and I'll see you in class. 3. Project - Blocking out color: In today's workshop, I'd like to work on a limited color palette. So I've already got some colors out here on my palette. And I'm working in orange, pink, and yellow. So I've just pulled out some random colors in that range from the brands that I happen to have some kind of brilliant pink that I've pulled out by whole being. I've got this orange RED by our TAs. And then I've got yellow ocher and Caribbean pink Sharman. So I'm going to work in those. You definitely work in whatever brand you happen to have. But I think that this color palette is really fun and one of my favorites. And I have a couple other supplies. I've got a Marx all pin in the black. This is a step below marks all. I've got a white posca pen. I have a goal posca pen over here. So I thought, well we're in yellow, maybe that would be okay. I've got a white stuff below pencil and I've got just a regular mechanical pencil that I use sometimes to draw and sometimes to make marks and wet paint. It's just a nice handy little thing. I've also got over here some pastels, hard and soft. Know what I'll end up using. And then I've also got out here, this underwent charcoal package and I just put charcoal on my paper, but that's okay because we're on the base layer and it had this yummy yellow, kinda like an oak or color in here that I thought I might try out. And I might use that on this base. And then I've got a big white piece of paper. And I'm just using a large 11 by 15 extra large Canson watercolor cold press paper. Oh, because it's nice and big and easy to work on. And I'm probably going to just take a paper towel and wipe off the charcoal that I just put on my paper. And it doesn't even bother me if it smears. Because when I get to the very first layer here, my goal is to just put marks on the paper so I don't get paralyzed with that white paper. Paralysis that I tend to get. I'll sit here and I'll be looking at this white page. And I want to create some kind of masterpiece and then I just get stuck. So the way you can get unstuck is to just start scribbling on that bottom layer. And now you're no longer worried about messing it up because technically it's already messed up. And the goal here isn't to make something beautiful. It's just to make some marks. Practice some technique with some mark making, maybe experiment with some color. If you want to make it as ugly as possible, that's fine. The goal here is just to cover the paper was some scribble. Then I'm going to get into paint. So I'm going to cover this whole page with random paint, not going to get stuck on where things are and creating some beautiful composition at this point. Because my favorite way to create abstracts is to create a big mess. And then stretch out little pieces that I love, which if you've taken any of my other abstract it ventures classes, that's kind of the technique that's my favorite for making abstracts. So you'll have seen me do this several times. That just happens to be what I love. And every time I sit down to create with that method, I get something that I really, really love. And I'm just right now laying paint on here kinda randomly. There's no order to it. And I am mixing it with the clear just so, just so that I get enough texture in that paint to be able to lay things on top of it, like the charcoal or the pastels. Because if you're painting with acrylic paint solid without mixing anything in it, It's real shiny and it's not really conducive to adding layers on top of it unless you coat the whole thing with just 000 later, which you can do if you prefer. And you can tell here too, these are kind of transparent paints and I, and I'm getting a lot of the underneath charcoal that smearing with the paint and you're seeing through it. And that's okay. My goal here is to just get a base layer and then we'll add some other layers. And we'll keep just adding onto here until I think I'm at a point where ready to search out some yummy compositions. And at this point I haven't been changing out my paintbrush because these colors are all kind of similar and bland, really pretty. And I am using the ocher with a little bit of white in there now, just look how pretty that color blended there from what's on my paintbrush. And I might this dry a little bit so I can then come on top of this with another layer of paint. I don't necessarily want all this dirty blackness being my final layer on. I'd rather that kinda just keep painting on top of it. I'd rather than just be a show through here and there, but not necessarily everywhere. And then if you're getting stuff that looks to brush marquee like these look to brush mark you to me. If you're using a non-toxic paint, you know, get in there with your fingers. If you're using paints that are got some toxic stuff in it. Put some gloves on and don't be afraid to get on here and do a little finger paint. I'm using the three colors, but I do consider white and black MAN neutrals. So even though I've said a limited color palette of just the pink and the yellow and the orange. I am using white and black as my neutrals because they are the things that you would mix them with paints to get tints and shades and use them as my lights and darks to some of this look up pretty these colors are. If you're ready to really dive deep into color and experiment with color palettes. Definitely check out the color story class that I have. Because we really take a deep dive into colors and how to make psalm and interesting color palettes and ways that we can get things like that Caribbean pink without having to go buy all the most expensive paints out there. So I love this. I'm gonna take my pencil. This is just my mechanical pencil. And I'm going to start doing some mark making long. We've got some wet paint here. These are just so pretty for this color palette. I've just picked out stuff that I like. There's no rhyme or reason, but if you're looking on the color wheel, pink and red, orange, those are all kind of colors that sit near each other on the color wheel. So we could pull that into an analogous color scheme, colors that sit together, which is something that we cover in that color class. So just kind of doing some marks all over the board here. Nothing, no thought going into this. I'm just trying to create with our pressure. Which is why I like this technique so much because, you know, when I sit down to create an abstract from scratch on a piece of paper and say it's a definite size. I get stuck in the composition and where to put things. And I just kinda paralyzed myself in the creative process by thinking too hard and not wanting to mess up and not wanting to end up with something ugly. And when you create in that way, you just kinda, Then you just don't come back to your art table very frequently. Like I'd go months without coming back in here because by the time line, donald, whatever I was doing, I'd be so mad I wouldn't come back for awhile. Whereas NAOH, do in this right here. Every single time I sit down to create. Gotta relaxed mind, maybe I've got some music going. Just kind of practicing with my different supplies. This is the perfect thing to experiment with supplies because, you know, I got a lot of things that when I had a sketch box subscription, lots of pins and pencils and markers and different paints to experiment with, and I didn't do anything with them. I stuck them in a box and I was like, ooh, look at these supplies. So I think collecting art supplies is just as much a hobbyist doing the art with the supplies. So it's like two separate hobbies. And for a long time I've collected the supplies and i've, I've used them in making textures for my photography business. But I haven't played with all the different supplies that I get. Other than that, I wouldn't, you know, sit and create and have fun. Mr. table makes them different things but art, other than the textures and now, you know, creating these, I end up with pieces that I want to frame and hang up in my art room and It's a root Julie going to go back and add some more paint, I think now. Got some other sized paint brushes here that I might get into disciplines, just my cheap, bigger paintbrush that I've got. But I do have some smaller ones. Then I might go back in here and just do some marking in throwing in some more intense color. I don't know if this will end up in the painting or not, but, you know, applying here with all the different areas, we're going to hunt out interesting things when we're done. So my goal here is not to do anything specific anywhere, just playing. Another thing I've got over here, I might get out here. I've got some stencils with some big round spots and some punch. Ella. And I like the punchy law because I like the little round circles. So I could actually go ahead and do some little round circles in here maybe with this brighter orange. Hey, look at that. Just made me very happy. And I'm kind of dry brushing it on here. I'm just using a little bit of paint, not in any water on the brush. Just so that I don't have so much paint that I'm showing the paint underneath my pencil. You could do this with a rubber sponge to if you've got not a rubber spines but like a makeup sponge, you could do that with those. There's lots you can do with like little punch ELA, or a little stencil. Can do a little stencil work. To love that. Another thing that I like to do is take my catalyst and pick a color and do some line work. And a lot of times I'll do that in white. And I'll just pick an area and do some lines I like that lot. And then sometimes where that ends up in the piece is what makes the piece to me. Yeah, like that. So get all your tools and all your stuff. Another thing I like to do too is I've got some stamps then some of these rubbery look in stamps. And sometimes on the wet paint, I will go through and do a little dab of some stamping and add a little texture in there. Get creative with the things that you're using to mark, make, and do different lines and stuff. Sharp tool is just a clay tool that we could make some marks. Yeah. I'm trying to lay paint and make marks kinda at the same time because I don't want the paint to dry before I get a mark in there. I could even do some very purposeful strokes. Doesn't all have to be like completely random. I abstract like we could make some different lines with our brush head in a particular color. That's really fun. So my two, I've got a couple of these that I've just kinda put together. This five by five. This is five by seven. And I've just taken watercolor paper, two inch strips and tape them together to kind of give me a window, like a viewer's Windows so I can look and see what am I getting already and what else do I need to add? So if I'm looking at any of these, is there a composition that's already starting to grab me? But as I'm looking at this, I'm already thinking that maybe there's not enough white in there. So I might go back and start adding some white stuff here. And I could do that with a palette knife, or I could do that with my finger. And I'm just using the white just so for now. But I might start going on here and fitting some light areas. Because really, you know, when you're, when you're looking at painting, you want light and dark contrast. So that as you get into a particular area, you've now got the range of things that are going to be interesting. And the paper bows a little as your work in it. This is a 140 pound, which is a really nice weight. And as it's wet, it will kind of buckle and bow. But then when you go to cut it out, those flat now when they get dry or you can set them under heavy both later. 4. Project - Adding details: So that's kinda fun well, with the white and, oh, look at those. See, now you start seeing areas that get exciting because they've got that contrast and some of those differences. And you can do that these marks and streets in a color, it doesn't have to be always in white. If you need that contrasts to be black. Black. If you need that contrast to be some bright color, pick that color. We're just going to go in here and add some additional lines and stuff and other colors like look how pretty that turned out with the orange and the pink kinda mixed up on my palette knife. I like that. That's pretty fun and we haven't even gotten into our pastels or anything. So I'm actually going to put these paint brushes in water so they don't dry out and see what else can we use? I need this to dry a little bit, so I'm gonna take my heat gun and dry it. That's mostly dry. I think I'm going to get into these charcoals and these little pastels and just see if we add any details. And I like that. I don't use these hardly ever. I got it and thought, oh, I love it but I haven't tried them, but I do like this ocher. So I might just come through and see if I do some lines or some just different marks. This really is kind of like the pastels and they're water-soluble. So I could come back and add water to that if I wanted to. And I just want to try it just to see too alike own they're big, they're Block08 are chunky. And it's fun to work with great big chunky art supplies. The drawbacks to using something like the charcoal and the pastels on top of your piece is that they're chalky. And people always think, well, how am I going to finish that later so that I'm not ruining my piece. But to be honest, there's not really any way that you're ever going to fully secure a pastel or a charcoal to the page where it's a 100 percent never going to move or smudge simply because of the nature of the product. I mean, this is just a really chalky substance that I've drawn onto a paper. And there's no way to adhere all those little bits of chalk to your surface. I use finishing spray and I'll show you that how I finish the pieces. In the next video. I do use finishing sprays and it does do a really good job of tacking it down. But when I'm doing paper pieces like this, my goal is probably going to be to frame it. And so under glass, those chalky products that I used on top of a painting are going to be secure. This is something where just picking different little pastels here to draw with. But if this is something where you're gonna put it on board and you're thinking that maybe you want to just hang it, however it is on that board without coding it with a piece of glass, it's likely that somebody came up at some point and smeared it with their finger that it's going to smear possibly. There's just not a 100 percent way to fully secure any kind of chalky substance you're putting on top of a painting? That makes sense. I use them because I like them and I have them. And it's a reason to experiment with another supply. If you think that that's bothering you and you don't want to have something that's going to ultimately have the ability to be smeared by somebody, then maybe the past fills as something on top is not for you. Maybe you want to stick to acrylic paints. Maybe the oil pastels, which kind of actually never dry if you're using like those oily pastels and I have some of those. But those basically never dry. They're kind of creamy and smudgy for a reason. I'll do like these. These give you a nice crisp line, whereas these give you a nice smudgy line. And you can see the smudgy lines. This is a little bit finer. These harder pastels, I really liked this set. This is the set of little pastels that I got off of Amazon. And it's actually, they're not very expensive. It's this little sit here. And they're not very expensive and they come in the most wonderful colors. And I like the way that they draw on things. And I did drop them at some point and break the break them in half. But you know what that kind of doesn't even matter because it doesn't matter how big or small these are to use them. And I'm still sticking within my color palette. We've got lots of different shades of yellow, pink, and orange. So I pulled out just the yellow, pink and orange in all of that. Then I was using and we can't allow ourselves some black if we feel like we need to go with black because black and white or our neutrals. But I kinda wanted to see if I just did these in these lighter colors. What I have enough in there. And I'm still kinda fill in like I might need some more white. In some of this. I'm going to go and strategically do some yummy white in here. And I'm just using Jess over that. And because I've got the chalk on here now I'm definitely going to be new and some chalks mirrors. That's okay. I'm just kind of eyeballing. And so maybe part of these I'll have a little extra white in it and part of my wound and then we'll see, you know, what do I end up liking the best? And maybe I like the bigger size if there's something in here that I love. Do you like the five-by-five size or six by six or seven by seven or eight by eight. And why fat being able to more JSON like that being able to do in squares, I like squares. So if I have like some six-by-six boards that I wanted to mount these two, then I would cut six by six pieces out. That would be great. I do have some six by six bull words. So maybe what I need to do is create us six Bus 6 view finder window and get those boards out in this set. That might be how we finish these. Now that I've thought of it, creating and thinking as I'm going because then you get ideas that you're like, oh, I love that idea. Glad I thought of it. All right, so I'm loving this. I think what I'm gonna do, let this dry a little bit and I'm going to think about it for a bit. And I'm going to make us a six by six little window. I'm just going to cut out strips a water paper from a watercolor pad and tape them together. So I have six minus six hole to then search around and see what we've got. So I've got us a six by six cutout nail and you can see I just took strips and taped it together. And I've got some of these six bus six cradle boards by Blick. And this is the exact size of the board. And so I kinda cheated not kind of use this board is my, my measure guide layer instead of trying to measure out the size. But what I wanna do is go ahead and remove the paint out of the way. Since I always paint on everything, I want to go ahead and pull the tape off of this and search out some pieces that I love. And then we will have an opportunity after we find a few compositions that we like. Before we're finished, we'll be able to then add some additional marks and things that we'd like to use. So let's just pull the tape off of this. And I do have a cutting board back here and got a utility knife. And I've got a board that I'm going to use as my cutting board because I like to use a little cheap forward or animal flat panel. This is the five-by-five and use that as my cutout surface. But you can just find something that you love. Draw a line around it and cut it out with a pair scissors either way works just fine. And so I just want to search out. I want at least 16 by six and then the others I can have smaller and I'm okay with that. Kind of love in this area right here for some reason. If I go all the way to the edge. And sometimes they easier to if you'll stand back as you're looking. I'm kinda looking up at my cameras screens so that I it's kind of like looking further back for me. So which piece do you think I should cut out? I need you to vote. And then we'll cut that one. I do like that there. This has in don't be afraid either to turn it around. Maybe if we look at it from a different direction, Let's look at it from the other way. I'll see I still like this area right here for some reason. So let's go ahead and take this as our six months six. So I'm just going to cheat a little bit. Use my board is my thing. I cut around. But you could draw that with pencil and just cut it with a pair of scissors. Look how beautiful that is when you cut it out. I think I like doing this so much because in photography, which is what I've done for more than a decade and my regular business. I'm always searching out compositions and framing things out in camera that look beautiful and taking that photo. So I'm not creating a composition from scratch. For some reason. I love this right here. Like I love, love it. Almost want that to be like a four-by-four piece. And I think I've got a four-by-four board. So let me run and grab that. Here we go. So I've got a four-by-four board. I'm going to just eyeball it. But for some reason, this piece right here is kind of speaking to me. So I'm going to cut it out. Yeah, I could probably do that with seizures too. But look at that one. This one is speaking to me. I love that. And this one now and I walked away and came back, oh my goodness, so beautiful. So let's look at the rest of this and see if there's anything in here that we love. Think I'll go back down to the five-by-five because this right here in the corner is kinda speak into me too. Yeah, I think I love this right here. And then here's the other way that we can do this. I could take a pencil and I could just mark this with a pencil. And then we can come back. Let's go ahead and mark another one. Like do we love that one right there? I kinda like that right there. Maybe we should just cut that out. Oh, see, I now kinda like you're right there. Let's do that one. C, The only reason I don't like to draw on these with pencil is then I might not get the pencil cutoff, but then we can pretend it's a mark that we made, but I just don't like the Edge wood pencil mark around it. But I just want to show you different ways to do this. I got a pair of scissors here. And we will just cut this out as evenly as we can. Look at that one. Who ha, I love that. My most favorite part. I mean, you might want to wonder why on these little abstract classes, this is the technique I choose to do, but I'm telling you, this brings me joy. Every time I sit at my table, just seeing what I get as I cut these out. It's like when you're doing a bigger piece or another piece where you've got a taped off and you peel the tape and you reveal your finished piece. It's like opening a Christmas present, something that you always want it and it's so exciting. Yeah. Who look at that one? I like it this way. I think that we could do it this way. We could do it this way. I like it this way. I think this is the fun way. I'm going. I'm like a kid in a candy store when I start painting these off. And then look at these beautiful leftover pieces. Now, these pieces could be tags or collaged pieces, or micro pieces of art. If we wanted to do some little micro pieces, you could mount these to a cradle board that you painted white and have this as the little centerpiece like look at this one right here and really digging that cut this white off. We could make this a bookmark. Look how pretty this would be as a bookmark. Look how pretty that would be as gift tags. That piece, right? There's like a pretty piece of art. This one's really pretty too. I just love all of these. Or any of these former get another form. I know a slightly too small or slightly too small. So these could be three by threes are some smaller, but they can, they are extra little collage elements or pieces. I love this little area right there on that. This little piece is a nice collage piece. This one I might actually use in my color palette boat perhaps, or maybe I'll put this one in my color palette. Look, Ooh, I don't know. But when we're all done, look at what we've ended up with, and then we'll decide, do we need any extra marks or anything on these. And I'm really careful when I'm not on camera and I'm moving a little slower to make sure all my stuff is straight because I almost feel like maybe these are not perfectly square. But if you're going to frame them, it's not a big deal. If you're going to melt them to a cradle board, like we're going to do one of these. Then you might make it slightly bigger than your board. And then we could trim that to the board size piece are just so beautiful. So I'm going to get my posca pen out. Oh my goodness, I'm so excited how beautiful this color palette is. This is definitely a color palette. I will visit again. So I'm gonna take my Posca paint pen and maybe do a few marks on here. I like white dots. So I might do some dots on fill in over here. Maybe a few dots would be pretty. It just to me adds a little bit of whimsy. 5. Project - Finding small paintings: And I love it. So I always like to have a few little dots that's, you know, once you do enough mark-making and playing with your supplies, you'll start getting into a feel for different elements that seal kept pretty that little, just a little bit of dots. Did you kind of get into a feel for some elements that you love and you might want to replicate in all your different art pieces. And that's going to change over time. But those are going to be the defining elements that say work was done by Denise love. I recognize it a recognized these elements that she adds pretty that is, oh my goodness. You know, people are going to start to recognize some of these things that you do in your artwork and look forward to them. That's how you figure out what your style is. You figure out what you like, what you don't like. And you start using all those elements that you like over and over again. And it gets to be a defining thing for your art. And people then recognize, it's just deciding what you like and don't like. That's your style. You know, when I was in photography early on, I kept thinking, what is my style to finally have my style? How do I get to my style? Just didn't occur to me or anybody else that I was in the photo clubs with that your style is basically the preferences that you choose to shoot with. Like I like shooting with vintage lenses and Lensbaby lenses and unconventional antique lenses. And I like shooting for the blur and I like shooting specific elements and highlight particular moodiness and colorways. And, you know, early on you don't know that when you're shooting everything under the sun, that I just love that little tiny little detail with the dots. Early on when you're shooting and when you're creating with your art, you're still experimenting and exploring and figuring out your supplies and what do you like to use or what do you not like to use, and what colors do you love? And you get frustrated because you're like, I don't have a style, I can't figure this out. But this is how you get that style and doing these little abstract pieces like this where you're just experimenting with all your supplies. Just pull out a particular set of things that you want to work with today, just like I did, like I thought I wanted to experiment with this charcoal to play with just these colors in the soft pastels and the hard pastels. And I wanted to just use these three paint colors, pink and orange and yellow. And so that's what I pulled out of all the supplies that I have because part of art work paralysis like white page paralysis, part of that is too many choices. When you have too many choices, it's really hard to figure out what do you want to create because you have too many things. You're like, I don't know what to do. I'm stuck. I've got too much, too much to look at, too many choices now I'm just getting mad because nothing's coming to me. Trust me, I've been there many times and I have found if I'll just pull out a selection of supplies to work with today, things that I might not have worked with before. And say, This is what I'm using today. Let's let's make it work. Let's see what we can get that I've been end up with fun, things like this that I've never been able to create before. Without getting mad and leaving my workspace before, I probably would have if I had been doing something fun. So look at these yummy pieces that we ended up with here today. All right, it just a few dots with the Posca pen. I just wanted that little tiny extra element of detail in there. Look at that. These are so pretty. And this one, I'm actually going to amount to a board because I made it the right size. And I'll show you how I finish that off. And these might use to frame my frame him up under a piece of mat. I'm definitely going to do a finishing spray on them for some reason. This one really appeals to me. I love it so much. And I actually have a space downstairs on my gallery wall where I'm waiting on three little four by fours. So may end up cutting these two down a four by four. So I have my set of three. I don't know because man, I love these colors. That's another fun thing about limiting your color palette is so fun to be like, okay, I love these colors, not use them again. Or I hate these colors and they're never coming out again. So this is kinda fun way to figure some of that out. So I hope you have fun with this colorway, pink, orange, and yellow. I'd love to see how you do this, what supplies that you pull together, how it is that, you know, your projects end up looking. So please come back and share those. Hope you love doing this limited color palette. And in the next video, I'm going to show you how we're going to finish these off. So I will see you back in class. 6. Finishing your pieces: Let's talk about finishing our pieces. So what I have that I'll do before I do anything else is I have some fixative that I will fix the top of my pieces with. And I'm using the LEA soft pastel fixative. And you could spray fixative as many times on hears you want. And it's not necessarily a permanent finish for the top of this, but it will make it less likely for anybody to smudge things and for you then to be able to maybe out of Ornish on top. So you can easily do 10 layers of fixative spray. It let it dry spray it let it dry spray and let it dry spray, let it dry to really get those soft things to fix. And then as a final finish, I might do something like an archival varnish. This Kumar varnish is an archival one. These you get from the art store. If you get ones, varnish is from the hardware store and they're most likely not archival and created for art. But I do have some that I've gotten from the art store. You want to be real careful. They say non yellowing and preferably archival. And then what I have here is the board that I'm going to mail one of these two. So I'm going to finish this one on a board. And then I've also got just a couple other options to give you. If you wanted to frame your pieces, that is the best way to protect any surfaces on top. I will say though, that this one is framed in my mind upside down. And I had it kind of visually going this way. And I did not tell the framer that. So it is framed upside down. So hanging on the wall. It Haynes this way. So if you're going to frame things and take him to the framer for some pieces deserved to be professionally framed. If you're gonna do that, make sure you tell your Framer which way you think is up or down because with an abstract, you're just going off of however they mounted it. And they may have thought about it and they may not have. And when you get it back, however you thought in your mind was up or down, maybe different than how they framed it. But framing is really nice. Undermine that you wanted to have some mat or some space in between the, the actual artwork and the glass. You don't want your artwork against the glass. So mad, it is perfect. And then, you know, this has got pastel and paint, just like what we did with this piece. And it's one of my favorite and it hangs above my desk on the other side of the room. You could also go a lot less expensive than accustomed framer and go to my goals are Hobby Lobby or anywhere that sells the Blake anywhere in the sales and framing that maybe you could buy off the shelf. This was not very expensive and maybe paid maybe $15 at the most for it. And it's. Eight by eight for a five-by-five print. And I could frame that right in this white piece. And it would be beautiful. And in general to, if I'm making pieces to frame and I cut this out and 5 by 5, maybe I really wanted to cut it out at five and a quarter by five and a quarter. So keep that in mind depending on what you're gonna do with these, allow yourself possibly a little bit of breathing room to do what you're gonna do with it. So if you're going to frame, it may be cut these a quarter-inch bigger so that they can be framed rather easily. So with this one, I'm going to mount it to a cradle board. And this is just a six-by-six wood panel cradled with a three-quarter inch, 78 inch side. And if I'm doing stuff for say like a gallery and I want it to look expensive than I will actually go with the deeper side, more like two inches or an inch and a half. These are what I have here to do little fun art projects with. So I'm going to use it because I have it here. But if I'm doing this for something fancier or for a gallery, I'm definitely going to go for the deeper side. And I have primed it with the JSR on the top. You do need to prompt them. You can't just glue your stuff down to bare wood. It's more likely that the wood will soak up anything that you put on it and release your paper rather than glue your paper down. And I've picked a color for the side, and I've picked one of the colors that we're using today and just painted the sides in that color. And I'm real careful not to paint the top. And with a painting like this, it's less likely to matter. But I've done these before with photographs and I have glued the photo down and I had accidentally had some colored paint on the top or I'd painted the sides black. Color bled through to my photograph. So now I'm super careful not to get any paint on the top no matter what I'm doing, just in case. And then I picked a color from my color palette that I wasn't out of yet and painted that side. So that when I'm mount this on here, it's finished and ready to hang and beautiful. And the side of the paper will be white, possibly. And I could come back in with a nice fun paintbrush, just coat the side of the paper also so that you can't tell I'm mounted paper to poleward, but look how beautiful that is. I'm just giddy at how fun this is going to be. So I'm going to mount this one just to kinda show you how I do this. And then that'll be a finished for that. But I do like, you know, you have an other options and other thing I've done is I have some of these just hanging on a clip on the board in front of me as inspiration. So you could do that too. You could just hang them up. And as long as somebody is not over there, smudge them with their fingers, they look beautiful. I've not had any of these be damaged, but nobody's in here touch on those. So actually going to take the Yes paste and That's what I'm going to glue this down width. So I'm like yes, paste because it's nice and thick. It's easy to work with. It's like working with a really thick frosting. You could also use a thick matte medium, like liquid, liquid techs or golden have Matt mediums. You don't want a thin medium. If the medium is in a container like this, it's probably too thin. If the matte medium isn't a container like this, That's the way to go because these are real thick so that lightweight matte medium is not heavy enough. I like the yes. Pace because it is nice and heavy. It's archival. It dries clear. So easy to get it smeared onto my surface and make sure that I've got everything covered and then smooth my paper down. And then when it dries, I can trim any little piece of paper that's hanging over an edge that I didn't intend to. Like if I cut it just slightly bigger than this or something, I can trim that in. But I just coded nice and thick, not too thick. I mean, it's thick enough where there's no blank spaces like I can see it in the shine of the light. I can see where it is. And I can make sure I've got all the way to the corner covered. There we get 1. So now I can see all the edges are covered. I can take a towel just like I do with the paint and I can pull that right off my palette knife so that I cleaned my knife. So a nice, easy clean up. All good. And I have overhears dry wax paper, which is kitchen deli paper. You can use parchment paper from your kitchen, anything like that. We move the paint down the way attended paint everything is I'm no one. And then when you're ready to mount our piece on here. And then I'm going to use the deli paper on top to be able to smooth it down because I don't want to smearing thing. And I would have already taken this outside and coated it with my fixative before I got to this part. And I have a roller. So if you've got one of these rollers, this is really nice for spreading it down. And then we can see if I have covered everything right here, you see we have a white edge up there. So before this dries, I can very carefully move that. That's why I like the yes. Paste. It doesn't dry so fast that you can't get it moved. All right, there we go. And then I'm like common spread that down again. And then once you've got that secured and you're letting it dry, so you let that dry a bit. Then I come back with a real thin, very careful line of the same color. I painted the side and I paint the side of the paper. I don't like there to be a white edge personally. So I'll go ahead and just touch that up as careful as I possibly can be. I don't want there to be pink on the painting itself, like where I painted the side. I wanted just to be finished as you look at the side. And that's how I would finish that. And then if you wanted, you could then do a layer of maybe spray varnish just to give it an extra little bit of finished touch to it and then it's ready to hang. So you wouldn't do really anything else to it. And then I had somebody asked me at some point, could they do resin pour over this or could they do encaustic wax over it? And you're just going to have to experiment. I definitely make sure you had quite a few layers of the fixative before I dared pour anything on top of it, because anything you put on top of it that's wit, could pick up that pigment and spread. So I would do a test piece before I would add anything on top of it that's wet. Or if you're gonna do brushed varnish, do it small test piece, take one of these little pieces that you've cut out that you're not going to use for anything else. Painting wise and test it out and see what's really going to work best for you. Because something that works for me may not end up working as well for you. Just really depends on the supplies you pick. And I don't know at the time of day and if you're holding your tongue right, all these different things that might affect how a finished piece ends up. So if a mounting it to a board, that is how I do that and how beautiful that is. That might even been really pretty with orange side. So I might go back and paint them orange because I'm not really a pink person, but I'm an orange person. But either way, now it's finished and ready to hang on the wall. And then we have these other pieces that we can mount or do something else, frame them or I don't know, this is like my favorite piece with that little bit right there. I love that. So hope you enjoy mounting. These are framing, these are finishing off however you're going to finish it and I can't wait to see what you come up with. All right, so I will see you back in class. 7. Saving your color palette: Let's talk about saving our color palette. So in every one of these classes that I do always talk about saving your color palette because you're going to want to remember later how you got to whatever it is that you created. And I will have a big book of reference, things that I can be like, Oh, I really loved that. Let me go back to that color palette and try something new today. And then I save the color palette in my book. This is a color palette I did in the color workshop where I created custom colors. And so that's really fun too, if you're into mixing and creating some of your own paint colors, look at that color story workshop or a show you how to do this. And then in my color book, I say, what recipes created that color so that I'm in no, how did I get there? So these books have tons of uses. So I'm just going, This is an old well, then I got at thrift store, so it's not something that I paid a lot of money for. And I just go ahead and coat the page with clear Jesse so that it's got a tiny bit of protection for when i then coat the page with the paint. And before I throw this paint palette away and hopefully before it's all dry, I just want to go and spread each color that I used in this color palette onto this page. And then this little book is a piece of art in itself. That's why I like using a vintage book like this, because now it's something that I can't wait to show. Other people. Can't wait to show you in class, but I created, it's just super fun. Get the paint off my fingers here. It just super fun to then share. We've got some white let me put some white on there with others. You know, what did you use and how did you get there? And then I just go ahead and mark on here some of these other little colors that I used with these pastels. And it just looks so beautiful and creative. I just love it. Did I use this color? I think I used this color. Maybe I didn't. Maybe I used to be yellow or one TO idea and that's okay. There we go. And then I will take one of my pieces, have leftover and it might be this bigger one that I love so much. And I will staple this in this book. I actually think I want to do something else with this though. So I might take a piece of one of these and cut it out. I want to make sure I have enough of the colors in here that I can see. Everything I did though. That's fine. I'll just use this here and we'll cut that off. And then I just take my handy dandy stapler. And I'm going to pull two pages together. Because this book is kinda thinner. Staple that right in there. And now I have a record of the color palette that we use today. And I will remember seeing my little piece, what my bigger pieces were. And then I might want to revisit this again. So I do encourage you pick up an inexpensive look at the thrift store, something you don't mind gluing things in. This one's going to have all kinds of stuff in it. Because by the time I finish all this side and we'll come back and then do this side. And then every page you'll just have tons of fun things in it for me to reference for pieces of art later. But I love this book, It's my favorite and there's still tons of pages left. So by the time I'm done, I may not go back and do the other side. It may have enough in it. Look how pretty that is. So I encourage you save your color palettes and take a piece of your leftover pieces and put in there with it. So you remember, how did you get to that? Look, what colors did you use? And if you're really organized, you can take a pen and write in here what each of those colors are, right? It's kinda eyeball it, but I do wish sometimes that some of the colors I had written down, so just keep that in mind. All right, I'll see you back in class.