Abstract Still Life Paintings With Acrylics - Inspiration You Need For Painting Loose Art | Robert Joyner | Skillshare

Abstract Still Life Paintings With Acrylics - Inspiration You Need For Painting Loose Art

Robert Joyner, Making Art Fun

Abstract Still Life Paintings With Acrylics - Inspiration You Need For Painting Loose Art

Robert Joyner, Making Art Fun

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26 Lessons (3h 28m)
    • 1. Introduction

      1:09
    • 2. Wine & Oranges

      12:55
    • 3. What Makes This Painting Work

      3:27
    • 4. Blueberries & Oranges

      10:00
    • 5. Blueberries & Oranges Continued

      4:38
    • 6. What Makes This Painting Work

      5:53
    • 7. Tea Kettle

      13:27
    • 8. What Makes This Painting Work

      6:17
    • 9. Vase With Coffee Cups

      14:21
    • 10. What Makes This Painting Work

      4:41
    • 11. Vase & Lemons

      17:02
    • 12. Vase & Lemons

      11:40
    • 13. What Makes This Painting Work

      9:20
    • 14. Fish

      13:24
    • 15. What Makes This Painting Work

      2:23
    • 16. Orchids

      8:15
    • 17. Orchids Continued

      6:12
    • 18. Orchids Finishing Touches

      10:22
    • 19. What Makes This Painting Work

      5:29
    • 20. Wine Time

      7:54
    • 21. Wine Time Continued

      7:45
    • 22. Wine Time Continued

      7:03
    • 23. Wine time Continued

      9:25
    • 24. Wine Time Finishing Touches

      4:55
    • 25. What Makes This Painting Work

      9:53
    • 26. Recap& Projects

      0:38
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About This Class

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Welcome To Abstract Still Life Paintings with Acrylics and Mixed Media.

In this class you will learn various techniques for painting loose, expressive still life art. It's recommended for intermediate and advanced artists that want to break away from rigid, tight artwork. However, I've included a 'what makes this painting work' for each demo so you can learn what holds it together even though it's loosely painted.

Behind every successful painting is a good design and composition. That and color harmony which is the icing on the cake. Together these ideas will help support an expressive work of art. Without them it will simply fall apart.

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Robert Joyner

Making Art Fun

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Transcripts

1. Introduction: If you are tired of painting tight, stiff artwork, then this is the class for you. I have put together several step-by-step demonstrations where I will paint some lovely still-life artwork using acrylics and mixed media. I have also included the templates so that if you want to give these paintings a try, you can easily transfer the drawing and compositions to your canvas when each demonstration is finished, I have included a why this painting works lecture. This will teach you a lot about the design and composition, as well as the color harmony and so on. This way, you are not only left with a lovely painting, but you understand a lot more about what goes on behind the scenes. Understanding design and composition and how to use colors is the gateway to freedom so that you can take any subject and pain it freely and loosely as you wish. So if you are ready to paint some expressive abstract style still life paintings, let's get started right now. We will kick it off with materials. 2. Wine & Oranges: Welcome to the demo. You can see we have some wine, oranges, a little saucer, maybe even a sliced pair in the background. This gets started here. This again is roughly about a ten by ten layout here. Using a for B to lay, am I drawing? Again? Keep it nice and loose. But at the same time it's got some good qualities to it. Pull in that table top, lower and the lower third, I got the main star there, the wine bottle, the nice strong vertical. It is off-center to the right. Got one saucer that is off the paper a little bit, and I've got the oranges. But if you think about it, this piece is all about cool colors and those oranges give it a pop of warm. So this is a dominant cool palette with a touch of warm colors in there. So again, no style. Sometimes I think people misconstrue. They think, oh well, you know, it's done really quick and sloppy as not really thought out. And it's not neat or whatever. But you're going to find that if you want to paint loose, you still have to have some good fundamentals in there. Because that's key color. Palette has to, you know, have some harmony. The composition has to be there, etcetera. Alright, so I cut out a piece of white paper here. I'm going to use that as my table top. As you can see, it's got some marks on there, but it should do just fine. Now I had pristine some blue paper, so I will cut out some stripes. And you can see I cut the length these and then I can start to piece them in there here. So we've got our stripes coming down on the tablecloth there. So I've got another little swatch of blue. I did. A lot of this collage paper too, is made by using leftover paint. So that my paint session, I'll have certain colors that are on my palette. I will always use those. And it's either put it on a blank piece of paper or put it on some scrap paper, which is what I did there. That's just that was just cheap drawing paper and buy that stuff probably 1000 sheets at a time. Super cheap. And it works great for making your own collage paper. And of course I do a lot of drawing demos on it as well. All right, there you go. So I've got the tablecloth rock and here I want to put one more little corner stripe in. So I will get that cut out and then I will paste it on. So right there we got things going. I'm using the collage paper just to press things down. Keep it from. Peeling up on the corners and stuff. And now I'm going to work directly on to the surface, not pre mixing my paint. Obviously. This is cobalt blue. And again, just taken that directly onto the surface using my roiling nickel square. This is all pretty monotonous stuff, so I'm going to go two times the speed. And I'm just taking titanium white now and working directly into the paint. So again, mixing on the surface as opposed to mixing on the palette. So you can kind of mix it however you want to mix it. I thought this was such a wide open area like this. Mixing on the surface would be just fine. Again, using that same blue going to add that to the wine bottle obviously. And using a small pointed round for that again, that's a roiling Nicole. Great brushes, very affordable. And they're durable too. I've had mine for a couple of years now and I'm very, very hard on him. I take care of them, wash them when I'm done and and all that stuff. But when I'm painting with them there, they're going to take a little bit of a beaten. So they they again, they're a good quality that tends to, in my opinion, hold up really well. So I know I have some a saucer over in there. So what I'm doing now is just adding the cast shadow. I mixed a little bit of bone black with that blue. I did I do have a piece of scrap foam core over there now. And I use that for my mixing palette. I didn't over mix it. I just kinda slap them near each other, grabbed a little bit at each on my brush and then just slapped it down on the paper. So I've got a shape of the saucer cut out now. And once I glue that over top, you're going to see how that layers nicely. We've, I've already got the cast shadow down cells kind of thinking forward. They're a little bit thinking, well, I've got the blue on my brush. What, why don't I go ahead and add the shadow? And that way when I pop the plate on there, it's already anchored to the table with the cast shadow. So that's kind of a fun way to do out. I'll do that occasionally where I'll do cast shadows first and then it come back and actually paint the object. I'll always do it, but every now and then I'd like to shake and bake, mix it up a little bit. And you see just a scrap drawing there and cutting out another saucer in terms of scale. This is another design thing that's going on with this piece, is going to be a little bit smaller. Then the one on the left. So I'm going to try to make sure that shape is smaller in size than the one on the left. Because if you have few of them the same size and it's going to start to look a little bit amateurish. So. Again, getting a variety is important. That's one of the subtle things I think amateurs, beginners mix or miss, I should say. So always, I would highly recommend you spend time on composition and design if you haven't done so, is really well worth the investment. Now just a blank piece of paper there, that's just some collage paper or some pattern paper. Pressing the corners down on the saucer As I was like, oh well, hold on a second. I flipped it over and I like that kind of brownish color. I thought that would work nice as a base for some oranges. So it was kind of a spontaneous thing. So I went with it, putting a little bit of glue down. Now, I will go ahead and put those towards the back of the saucer. I think I'm going to have, if I remember right, three total oranges on this plate on the saucer. So I'll pop those near the back. And then I will press it down and then grab a little bit of orange here. This is cadmium orange. Again, these are Matt acrylics. The brand is golden, although I am switching over to Holbein. I'm Matt acrylics, but I've been using acrylics alot. I like that. They don't have a lot of that shiny look to it when they're dry. They dry very similar, similarly to guage. So I like that kind of flat look. So mixed a little bit of that orange with the blues and brown, I guess, blue and black that were on the phone core there. And I've got that nice kinda muddy green looking color, and I use that for some cast shadows. So now pre mixing a little bit of green does something nice and pale that would do for the pairs and the background. And now mixing a little bit of white and a little touch of blue with that. And I'm going to try that again. And that should work pretty good. I didn't want it to be too off-white, but I didn't want it to be Bone by either like the plates. Alright, so we are cracking right along. I'm going to a blend that color into the painting. So just using that color in a few different areas will help harmonize. Now I'll have some light gray here. I will sprinkle in a few places to indicate some shadows. And now maybe I'll work on this label a little bit on the wine bottle. Got plenty of white on that. That's an old signature brush off got there at thing has been around. I think I've always had it. I'm trying to think when I haven't had it. But it's kind of stiff but it's still got some bristles. They're still has a little bit of life in it. But I like using it, especially for linear interests because it's a little bit unpredictable. Tends to put down some stroke center that I like. I mean, again, it's hard to control and to know exactly what is going to do, but that's what I really like about it. Alright, again, touching those browns and that color into a few different places is all I'm Dawn looking for opportunities to use it. I think a little shadow there on the white label at the top would be good. So you can see you in a very short period of time, about ten minutes or so, this thing is starting to come together. I'll add a little bit of that creamy white color to some of the stripes. Although I liked the white of the paper, I think just kind of tying that color N is always a good option and a good thing to do. Alright, so things are shaken and bacon here mixing up a little bit of a light blue, I just want to create a little bit of light reflecting on the front of that bottle. And that's all looking pretty good. And, and again, you know this, the beauty of these paintings is that you don't have to spend a tremendous amount of time near. The main thing is always making sure you think about that composition and design beforehand. Think about your palate harmony. And that way once you start getting into it, you, you have that to fall back on. So knowing where you want to go for colors and things like that as important. So I cleaned up my workspace there and I'm grabbing a hairdryer and I am just want to dry this off a little bit. And once I get it to a point where it's pretty dry, kind of like my throat is right now, excuse me. I'm I'm going to use my 4B pencil to scribe in a few lines. I think that's a good way to kinda tie things together to create a little bit of harmony, add a few details, that sort of thing. And that's good. So now I can put my signature on it. Again using my signature brush, the old stuff process I've had forever. And now let's have a look at the piece. Again. Image taken a natural light so you get a better feel for the colors. I'll bring you in a little bit closer so you can appreciate some of the details and finer points of the piece. And there it is. So thanks for watching, I'll see you in the next one. 3. What Makes This Painting Work: Alright, looking that the design here, we've got another square layout. So moving like this. On this, go ahead and slice it down here. So we've got an angle that is moving like so. So you can see you've got more up here and just a little bit down there. So a symmetrical and the main division of foreground background. And then here's your lead in this, these diagonals that act as a pathway into the piece, we get a strong vertical, which I think we need especially with are still life painting. So we've got a strong vertical. You didn't landscapes to, so there's your strong vertical that's not in the center. So it's off to the right a little bit. And then you have these strong lines of here and these diagonals, we have a strong vertical line here, shape. So then we start to break that up with some circles or ovals. So we have oval, oval. And then of course we have little circles within that. And then just something back here to, to break up and make that background a little more interesting. Because right now the only thing cut into it as this and right in here. So that just kinda, I think, adds a little bit of interest. So that that's your design. So again, the pathway of the diagonals leading you end through the piece. And then almost just takes you right up into this. No, back down, maybe around the saucer and back around to the oranges. And then we would just have a little bit of interests back there to keep you from moving off the page. Like, Oh, we've got low something here. And that kinda brings you back down into the stripes and two diagonals and to our saucer and then back around. In terms of a palate is dominant. Cools. And with a touch, a warm. You go so easy peasy man, don't, don't ever stress out and get and over-complicate colors. Think about your color palette. Hey, do I want it to be dominant warm? Do I wanted to be dominant Cool. And then go for it. Don't get sucked into trying to match colors you see in nature, you're not ever going to be able to do that effectively. That's going to drive you nuts. Simplify your color schemes the way I'm trying to show you in this course. So hopefully this one helps you out in terms of design and composition and also in terms of, you know, just thinking about simplifying pallets. All right. So I'll see you guys in the next one. 4. Blueberries & Oranges: Welcome to blueberries and oranges. So a nice colorful piece here, some lovely contrast. Let's get into how this one was created using some Bristol paper there. This roughly ten by ten inches. I've got some collage paper again, this is just drawing paper, student grade drawing paper. And I use leftover paint to paint over it. And that gives me all this lovely texture looking paper to work with. And that's how I'm going to begin this piece. So I lay that over my drawing and I put my pencil and I gave it a rough outline of where I wanted to cut it. If it gets cut a little bit too big, too short, it's not a big deal. We can always patched things in. And now exact though knife to cut the top of it and I should be ready to go. You can see that little corner was already pre-cut, but I can just get the main piece gluten and then I can dispatch it in C. When I flip that over, you can see it's just a drawing. Actually, I taught a course on drawing the human head. And that is just one of the drawings from that class. So if you took that class, maybe you recognize as little eyeballs. Alright, so I will press that into the Bristol paper. I've got a little bit of leftover glue there on the brush. And we'll get this little corner patch then. And voila, we've got a great start to the painting. And we can get that to be a done deal here by just precedent, nice and firm and to the cardboard. And that should do it. So now I will use my 2B pencil, sorry for the bump there. And I will draw out the plate or saucer and indicate some of the small blueberries that will be in that saucer. And then I have a smaller saucer here on the left-hand side. And then I'm just drawing out a few oranges, even though I really can't see those over the dark blue is still makes an indentation in the paper. And that's all I really need in terms of cutting the shapes that I want. So again, it just gives me a guideline versus kind of being in the dark and I start to cut things. So that's getting there. So just kinda going around that, filling out the edges and I think I'm ready to roll. So before I get into any of that, I need a background. I just so happened to have some of this kinda dark brown rust color looking stuff. And now I can cut out the top of the plate and see how that looks. And you can see right away, this is starting to come together. It is so much fun to create like this. Have to emit, is becoming an addiction. Kinda Hutu overdoes pure painting, started collaging maybe a year or so ago. Just to try something different. Break up the monotony and I am really glad to it because it's really given me a little extra boost at times when I needed it. And so easy to fall into that trap of doing the same thing over and over again. And, and when art becomes boring, I'm out, you know, I really, I'll go read the newspaper if I want to be bored or something like that. So anyway, now I've got a piece of blank paper here I'm going to use for the bottom of the plate. And I opted for the scissors over the exact O naive. And you can see it's very much a scrap piece of paper there. I think has been hacked on quite a bit. But it'll do the job. So I'll kinda get that in there. China feel it I can see now that probably cut a little bit too small. But no big deal. I've got a bigger one that happened to be there. And then I'll just use that one to patch things in. So there you go. That's why I love this approach so much because pretty much anything goes. And if you don't get it perfect, well, you know what, it's not really intended to be. So you can always find a way to fix the errors. And believe me, I have plenty of those to fix. Alright, we'll get those edges Press Nice and firmly, and we're ready to move on to the next saucer. So you can see again that there's a, that was an old drawing. And I don't mind those lines shown at all. I actually feel like it gives it the extra quality. A little extra Like whom I wonder what that little line was all about or what, you know, I wonder what that drawing was about. So when we really start to look at the finished art, you start to, first you see the oranges and the blueberries and the saucer is and stuff. But then take a closer look at it. You start to realize that it was done with collage. And then you realize, well, it was done over these old drawings. And then you start to ask yourself, I wonder what those old drawings were all about. So I kinda like that. That extra bonus that you get from viewing these Alright, hairdryer time. So I'll just get this to a point where everything is a 100% dry. And that will give me complete control over the next layer that I'll go on top of this. So when you have no web glue. And the paper slide and everywhere. Sometimes that can be a little bit difficult environment to paint on. Getting a dry like this. Well, this is a different story now I have control. That is cadmium orange, so I'm working directly out of the container there, which is a big no-no. I always teach people. Always premix your colors don't work out of the tube. But again, this is all about expressive painting. The tend to, I like to break the rules occasionally. So that's what I'm doing. Now. I'm using a little bit of ultramarine blue into that orange while it's wet and that's just blending it. And while I've gotten the blew out, I decided to do some very dark saturated shadows by using that, that blue again directly out of the tube. So again, breaking some rules and having fun doing it. And now I'm using the same blue and my little signature brush there to add some detail. And just doing that to one, I just open a new jar of this is buf white. So kind of a creamy, sort of white color. There was a little bit of paint leftover on the seal. So I don't like to waste that saw the smudged it directly onto the painting. Right? A little bit of gray here for the bottom of the cup. And that's just going to anchor a little bit. Mixed that little bit of blue was well, I've got a little bit on my brush, so I went ahead and added the cache shadows for the blueberries. I now want to put a shape inside this coffee cup to indicate the opening. So I've got a little collage paper there. So I will start here. Not a 100% sure if I like that, but I went ahead and went with it this time. And now I'm going to use a crayon. So that is a current dos artists, gray crayon. And I'm going right into that dry paint and paper. And the current asha, the grape crayon. To use, it's wonderful to draw with their highly pigmented. It's not like you're using Crayola crayons. These things are, again, artist's great crayons. So that's looking pretty good. So I added some nice scribble quality to the artwork. You can see outlook that little collage off the coffee cup. I really wasn't that happy with it. Now, a hairdryer, again, to put the control back in my corner. And now, once this is a 100% dry, we can move on to the next stage, which will be in the next video. So I will see you there. 5. Blueberries & Oranges Continued: All right, so again, a reminder, everything is dry using some surly in blue and a little bit that quinacridone magenta. I'll mix that up a directly onto my cardboard there. And it come up with a nice color for blueberries. That is a small pointed round brush I'm using. You can see I'm just kinda making a few dots. And this anything that any sort of shape that will indicate the feeling of blueberries. And I use the same color for the coffee opening there. And I think that should work pretty good. Alright, so now I would too dark in that corner her with that hue. So I'll just use the crayon right into that. Now I will mark some centers for the oranges. And again, the pencil is fine for now. And now working directly at the jar of white, I will shape the saucer and maybe a little touch of highlight on the cup as well. And while I have it amazed book, clean up a few of the shadow shapes on the blueberries. So all that's looking pretty good. So I've got a little bit of white on my brush. I'm going to just highlight a few of the shadows here. And that should work pretty good. So clean them up, brush-off. I'll go back into those blues. So here adding a little bit of titanium white to that. And again, I'm just going to clean up a few of these edges. And once I do, we can get back into maybe some of the blueberry, some kinda really buying time here, there's blueberries need to dry. I could always go to the hairdryer, but I figured touching up a few of these edges right now is a good option. So here, a little bit lighter color on the left-hand side of the blueberries. Kinda setting up the future here again, where I'm going to add some little dark centers to the blueberries. Time that color into the foreground. Back to my crayon here, and a few scribbles. And moving along pretty nicely here we are. We'll be bringing this to a close here soon. So plane a little clean up here. Again, shapen the sorcerers or the saucer. Now I can say saucer because I'm doing both of them. And adding. Yes. And some of those nice loose strokes here in there, maybe a little highlight. Two of a blueberry, the orange. And now I can clean that off really good. I'm adding a little bit of bone black to that purple. And here I'll add a few dark centers to the blueberries and kinda bring those to life a little bit. So not this little circles. They're actually blueberries now because you can see the center, right? Pretty cool how that works. How you can trick people into seeing details when really all you did was just slap it down in a couple of strokes, but, alright, so a pencil here to bring back a few of the edges and just you ask them expressive quality to it, a little crayon stroke and basically get rid of that handle altogether. I feel like the piece really didn't need it. So let's have a look at this image here that was sacred and natural light so you can see it in better detail there. And now let's have a look at some of the details. I'll bring you in a little bit closer and we'll kinda scan down the image here. So not too shabby. So that's it. So I hope you enjoyed it and I'll see you in the next one. By. 6. What Makes This Painting Work: Alright, let's look at this one. So right away, we can hopefully start to see. And hopefully you can start to see some of these design elements. Can. Alright, let's start with this one here. We've got, I did a terrible job of that. By the way, let's go with more, almost a square layout here. And the main shape is going to be the blue table there. So and that breaks up in here. So you've got roughly a third, maybe even a quarter up here and here. So we've got more and more happening here and less happening there. And then to break up that strong horizontal, we've got a lovely saucer here That's really giving us a medium shape. So this would be the large, this would be, these two are about even the background here and the saucer. But because we have another saucer down here. And we, we tend to visually join these and we've got some will say, okay, well we have a big saucer and then we've got another one. So this becomes the medium. And then this becomes the small. Now we need a vertical, don't we? We've got all this horizontal stuff. So you have a little coffee cup here that plays the role in breaking up all this horizontal flow. Now this could have been a tea cup, this could have been some makeup that's standing up in a maybe like this, you know, any any sort of vertical a candle, maybe. I want a little stand would have worked, but anything that would give it a sense of a vertical interests is all we need. So then we've got some smaller shapes here. So this would actually be more of a medium shape and the oranges. And then we've got this other little round back here. And then of course we've got all, all these little blueberries that make up the small shapes. Ok, so in terms of the vertical, again, I'll highlight that or just make it a little bit darker here. And we've got the medium round and we have a small round. And I'll color that again. See here if it'll let me try. Okay. I'm just gonna kinda go into here. So we've got our medium round and we have all do this slightly different color. And that didn't quite give me enough contrast. Small round. And then we have our super small rounds. And here. And some of these are join. So some of these super small shapes are joined because they are touching each other. But that's your composition right there. So again, we've got these round, this kinda dominant oval here of the plates. And then we have our round objects here. We have our nice vertical breaking things up in here. And we have our super small shapes, excuse me, in here. And that's it, so that it's a pretty easy composition, but I kinda like it. You have 3s, two, So you've got 12, then three oranges and a two are touching each other. So you have variety and one is off here, one is even cropped off. Two or in front, or are you can see him so you can see the entire orange. And one is kind of hiding out back there. So again, that's a variety. Look how this orange here is a little bit higher than this one. So this one comes down lower and this one's up here. So they're not starting at the same level. Ok, so you had this sort of up, down, up feelin. And that again creates variety. So in terms of color palette, you have dominant cools. So you have a dominant cools with the big blue cloth, all the blueberries, a blue inside the coffee cup. And then you have a touch, a warm with the background and mainly the oranges. So in terms of color harmony, that's it. So as dominant, cool, with a touch of one. 7. Tea Kettle: All right, welcome to t time again, acrylics and mixed media. This is Matt heavy body acrylics. You can see nice earthy colors mixed with a little bit of green. So browns, greens. You can't go wrong with that. So little bit of glue directly onto my surface here again, roughly ten by ten on the artwork size. And right away, I'm going to take some collage paper and cover that background up. I think that was an old rooster drawing. And now I'm going to use that. I'll put a little bit of just different colors layers as even some crayon, some orange crayon scribbled in there. So that's probably got through or three layers of GIS leftover paint, different things on it, some crayons, scribbles. And so it's just a great, great piece of art material to work with here. You can see I'm just piecing it together. That was just a piece that had been cut on several times. And I got the most out of it with the first initial one. And then now I'm just cutting it down to make pieces that are going to fill in the gaps here. So I've got even more here. So careful of course when I'm cut down or they artwork, it's gone too deep sometimes and Mason boo-boos. So you gotta be careful, there's probably a bad example to show you, but all right, so just kinda painted directly over the paper there, making sure the edges stay down. And now there's a little bit of excess there. So I can easily just trim off the ends and give it a good pressing their good all that pressed into the glue, nice and firmly into the artwork paper. And that should be good to go. So there it is. Amin, that bottom left-hand corner is going to be a white table anyway. So I just left that out. And here just taking my white directly, titanium white directly onto the paper again using heavy body Matt acrylics. And now I'll remind myself where everything is. So I'll use my pencil and draw right into the wet paint. So getting that tea kettle, the star of the show, placed in there nicely against that nice white tabletop. And I've got my handle. There was probably a little too big of a handle, all that catalog go back at some point, I think, and make that smaller, kind of a quirky little coffee cup there or tea cup and made that a little bit too big. So I just kinda smudged out with my fingers are hairdryer time. So removing all the small scrap pieces of paper that were around so they don't blow all over my studio. And then I can kick it into high gear here and dry all that off. Really good. And that'll again put control back in my corner. And now that it's pretty much almost dry there, I can just turn it over, flip it and press everything down so we're ready to roll. Because that white table top is impure white as off-white. I can use a nice crisp piece of white paper here for my key card o. You can see I'm holding it over the area that is going to be used in and kinda redrawing the kettle. And now that's going to help me, of course, get the scale that I need. And here I can just start cutting it out. I can use an exact DO ninth. You can use scissors. Whatever you prefer to cut with is fine. And there you go. So get those scraps out of the way. So again, they don't blow all over my studio and I crank the dryer up again. And right away we're rock and then we've got the background going. We've got the table top in there and no time flat for minutes. And here we've got our tea kettle. Breda poor, so working pretty good so far. Again, design composition is always good. So you've got the tea kettle, which is off-center and to the right. And we have our little handle, which I'm Dawn here in green saw thought that green would flow nice with the browns. So again, this tea kettle handle is huge. I don't know what I was thinking there, but clearly, I was a little bit too old or too loose with the size, but it's no big deal. I can I'll go back later and fix that. But for now I'm just going to glue it. We'll get that up there. And while rock and enrolling, I have a saucer and a teacup here. And my thought is to cut out something that would work for both of them. So basically cut out a shape that can begin to use for a tea cup and saucer. And then I can divide those by simply drawing with my pencil into it. So with this one, I really wanted to showcase some drawing techniques. Being able to use a pencil, charcoal, crayon, whatever it is you want to draw with. And to your work. And I found this little scrap yellow piece. And I had an idea, just kinda put it in there and maybe tie in the background. And again, a little more pencil work here. So adding some details to the lid, the top of the tea kettle there. And now I need a Spout for it. So I'll cut out this sort of triangle looking shape and get this feeling of of a round hollow shape or tube basically. And that should work pretty good. So again, that gluten in place. Now I can use my pencil too. Make that where it's more hollow on the inside and good to go. So drawing a bottom to the tea kettle now, and then the tea cup and then our opening to the tea cup. So I need a handle, so I'll just draw that in with now without making a big fuss about it. And this a few scribbles there for the bottom of the saucer and so on. And this is a really viewed, enjoyed drawing. And you'd like to just be playful with it. This is a great technique to try. Just making sure you allow room to end the piece, to draw. You know, it's so easy to paint over everything. So if you just kinda start to designate certain things for drawing, then a lot of fun to do. But it's just kinda thinking about where you want to leave, what you want to leave out or what you wanna do. What I did here is I just use the white paper. So by using that white paper over top of the collaged and I was able to easily draw over that paper and use the scribbles that I'd like to do. A little bit of brown here, titanium white that was actually yellow ochre. And mixing that, getting a little bit of that kind of earthy yellow, greenish hue for the t. And now going in with my liner brush, I'll add a feeling of some details to the pot. So maybe some little green leaves. Green birds, you know, news what they really are. It's just something to add some entrust. You can see I'm mixing a little bit a yellow into that green. So making sure that it's not all the same green. Maybe a little red, green rim around the saucer. Maybe it's a little matching set. So just kind of tying that in and making that happen with the green. So going back in, I guess you can see here with my pencil anchoring the shadow or the bottom of that tea kettle. And now a few maybe dots or lines on the lid. And we again, just time that green in here in there. Just to give you something to someone else to look at so that it's not too boring. We want enough detail there to holes are entrust. And, and if you don't have that then allows Homs just not enough to really grab you and hold you. So, alright, so working with some grays here, I'm going to make that table top a little bit darker and a few places and value. Going over some of the edges just to this to create a little more energy, a little more edge quality, I guess, to some of the shapes. And that's all working pretty good. And now I'm going to do the same thing to the background. So I'll, we'll mix up a color that is in the ballpark of that background. Obviously, there's a bunch of colors happening there. So I'm gonna go with that kinda brick red, clean up the corner here. But at the same time, I'm not painting over everything. Very important to note that there'll be easy just to start slap in that color everywhere. And the next thing you know, you've covered up the entire collage paper and what a shame that would be just touching that color into the tea, into a few areas of the painting to so it no, it looks good and ties them well. And now to some darker greys. There's you see. And getting a feel for now and took a moment there to step back from the work this to see how things were harmonizing together and adding some white highlights. A few shapes that are, we're just kinda lost in the painting process and the collaging process here. And you can see dorsum negative space painting there with a gray is a good way to bring some shapes back. And yep, so here just using my towel to smooth things out, again, a pencil to scribe into the wet paint, which is a lot of fun to do. But yeah, everything is really wet here. So again, background, tabletop, teacup, there's probably wet paint on everything so important to dry it off. Again, that's going to give you control over the colors. I really didn't like that. A bright yellow, orangeish color was gone, the cup, so I just paint over that. So as I'm drawing it, you can see I'm making changes. Drawing into it a little bit, a little white paint here and there. And just kinda bringing things together a little detail on the handle. And finally, I think it's time to make that handle a little bit smaller. So I just went over that with some of the brick red that I had pre-mixed. A little bit of bone black and a little bit of that green I had. And just a little bit smaller thing makes that a little more believable there. And yeah, now touch in that dark green black into a few places. And again, using just whatever paint is on my palette there that I've already mixed up to clean up a few edges. And that's about it. So hit it really good with the hair dryer here. Get it completely dry. And now let's have a look at the piece so you can appreciate the colors. I'll bring you in now and show you some details you can see it's got some lovely texture. This piece, great line quality with the pencil drawing and so on. So I hope you enjoyed the demo and I will see you guys in the next one. 8. What Makes This Painting Work: Alright, let's look at the design dealing with an L shape again. So we have this sort of square layout. So this comes up and a slight angle. And then over k, So there is the upside down L kinda flipped as well. Then we have large, medium, small shapes, will do this with some purple or lilac. So we've got a large shape in here with little spout. We've got a medium shape here, all one color. So the saucer, that cup, all of that is one shape. And then we have our small like that. The handle would be included here. The handle is a good way to connect the table. So if I did this sort of greenish yellow here of the table, and how does kinda do it right here? And I know again, this is Asana yellow table. But let's say we had this shape that's isolated here. And now this handle, which is kind of part of the pot, which is part of the table here, goes up into that background. So that is a way to connect the background with the table. And of course, this key pot over and here. Actually I'll do that in blue here. That is kinda cut in up in to that. L shapes are L shape isn't just a plain L shape. It's the top is pretty clean and then it comes down, it gets cut up into a little bit. It gets cut into again. But it's kind of interesting to have that shape there. Like so. So let's cut into just enough to make it work. So again, you're dealing with a very basic design. Again, large, medium, small verticals. And you've got this kind of upside down U that cuts, that connects again the table to the background, breaks up that L a little bit. And then in terms of a color palettes, you've got this dominant kinda warm background. With really neutrals. So you have this sort of warm color and I'll do this in a more exaggerated, it's kinda similar. But this background is like this. And really this is all neutrals. So when we look at this shape here, that's neutral. And even the white coffee pot here, That's a neutral. This is neutral, and then this is a neutral. Then we start introducing a cooler color, which is the green. That kinda cuts up into here. We got some green splashed around in terms of details. But that's, that's about it. So it's really a dominant, dominant warm. And the neutrals are really in the middle. But I could have made that more of a yellow neutral if I wanted. But it's it's kinda right in the middle. It's not really warm, not really cool. So with just a touch of cool. So that is the pout. Keller harmony. In this piece. I liked to how the warm Hugh isn't just isolated and the background AMI C, a little bit of that speckled through. You see it here, and you see it here, and you see it here. And we have those specs here. So again, that connects, that connects and creates harmony throughout so that this sort of shape of the neutral tabletop isn't just isolated by itself, it actually blends because we had these little pieces here showing through. It creates harmony in a connection between the two of them. It's very subtle, but it, but it works. And then of course we see these little specs here and they're two of the warm as well. And then you see some neutrals here and kinda working over in here. We'll see that right there. We see a little neutral there and a few specks of neutral kinda throughout that background to that helps connect to the tabletop. So there it is. 9. Vase With Coffee Cups: Alright, let's have a look at what is going on here. We've got a vase with some coffee cups, nice and loose. Let's go ahead and get started starting with a ten by ten piece of Bristol paper. So if you're not familiar with Bristol, I believe there are two finishes. This one's very, very smooth. There may be a vellum or something else that has a little more texture to it. But again, this one's very smooth, great for collaging. Although I like a little bit of rough texture to sometimes. But anyway, so we've got our vase, few flowers. I'm a coffee cup here, and then one in the background. Using my little 2B pencil there to knock that out, get in my initial drawing, thinking I'll put a little spoon or something right there. We'll see, sometimes I'll throw these ideas around. The main thing is the base with flowers and the two cups. You know, if the rest of it doesn't get in there, then that's fine. But again, sometimes I'll toy around with some ideas when I'm, when I'm at this stage. Alright, so there it is. Again, kinda rough around the edges, but so was my art. Now, I've got some clause paper here. It's got a couple of layers on it. So I've got the initial kinda earth tones, they're Bayes green. And then it looks like a decent crayon scribbles. And then that blue is probably where I had it sitting off to the side. I had some leftover paint on my brush. I'm just kind of like wiped it on it. And that's kinda nice. I mean, if you have leftover paint on your brush and you don't want to just get rid of it in the water when you clean it because then you don't get a chance to use it. You can always pad that scrap paper around and just slap it down some scrap paper and then you've got some cool abstract strokes happen in there, right? So you can see I covered a lot with that sheet and I've got a little bit of that leftover again. So I will put that down. And then right away I've got this nice, interesting background to work off of. And again, this is very, very hard to do to create this sort of look. If you just set out with a blank piece of paper, your brushes and paint, and just start a painted directly on to the artwork? Yes. Well, I like to use collaging so much is because you can really get some effects and some looks that are just so far out there from what you would normally do. And that's just kinda the excitement of it. I guess. I have a corner there that's a little bit off. A came up a little bit short. So I will patch that in there. And it's kind of nice again to get these little kinda strips of slightly darker colors, slightly lighter colors and so on. And put them down because then it looks even more interesting to me. So I didn't really like that little strips. I got a bigger one there and yeah, I'm like and how that plays with the others, it kinda covers up a little bit of blue, but leaves some of it too. So that's kinda cool. But yeah, right, moving right along here again, this background is important, needs to be very, very neutral. And it's going to set the tone for everything else, of course, that goes on top of it. So I use a piece of foam core there. This is smash it down. And now I will take a hair dryer to it. And I think as good at this stage, especially if you cover a huge area like this, about huge, it's not something like a ten by ten roughly, but basically I've got the whole surface covered, so get that nice and dries important that way I can work over it without messing it up too much. Now using a little bit of light blue there. So probably cobalt blue, a little bit at titanium white, maybe even a little Titanium buff kind of off-white into that as well. And now I will put my little handle on there. So just using some white right out of the jar for the handle, the UCI is a little bit crooked, is not perfect. That's alright. See probably you've seen my little liner brush here. I've got several of these liner brush as I probably have, actually four or five floating around. So I will use this one for a little while and then once it I feel lucky to worn out or fraud or just get tired of it. I'll just switch it around. But it's nice having these little liner brush. As I mean, I've done entire paintings with a liner brush before on. Definitely not what it's intended to do, but they're fun to paint with. It can get a little choppy. But again, I like to kind of, I guess put too much impact on brushes. I mean, you have I'm covering a large area when a large brush, but, you know, I tend to just grab whatever is near me and use it for, for most cases anyway. I so a little collaging there for the coffee cup, again, working directly out of that jar for the handle. And were rock. And so we've got the vase gone, we've got a coffee cup gone. And the background looks really good. So here I can mix up a little bit of white, a little bit of Alizarin crimson, a little bit of that blue, and this coming up with a beige or some sort of grey that will work for the opening of the cup. And that is fine. Obviously in real life or nature, I mean, the shadow wouldn't the inside of that cup may not be a solid like that. Like this one color, but in a style like this, it doesn't really matter. You can get away with not doing the same thing. So perfect. So they're a little bit of Alizarin crimson and a little bit of white. And it's kinda again, mixing and painting directly on the surface. And now comes the dark background. So a little bit of cobalt blue. And with the dark green I have my palate. So getting that hue that is leaning towards a green right now, and it's hit or miss. And a few areas of the background though, there'll be some white flowers coming out of that vase. So I didn't put as much where I want the flowers to go. I just put a little bit. Now, speaking of flowers, I can get my liner again. I'm sorry, I thought I was going to go for the flowers. I went for the handle on the cup there. That little cut back there even though it's, you know, so you wouldn't think is a big deal. It really adds a little bit of scale. So you have a larger cup that's closer to you. And in the one that's farther away as, as a little bit smaller. And she's kind of a nice thing to have some times to similar objects but in different areas of the painting. So one's larger, ones, smaller in size. So you get a little bit of scale going on there. So that's kind of interesting. Alright, so you again, sticking with my liner brush here, going into some of the details, trying to come up with a color dark enough for the inside of that cup. So a little bit of yellow for now that may change. Alright, so this is pretty dry but not a 100% dry. And I'm using my exactly o naive to scribe into the paint and got to be careful not to tear the paper and cut the artwork. But sometimes that works pretty good. That way I can create the illusion of stems without actually having a painted, just kinda scratching him into the wet paint. So now, again, sticking with the liner as you can see there, coming up with this kind of a light value green. And I don't want to cover all of the little scratches I put in with the exact TO knife, but I'll just hit and miss a few stems in there. This is my appointed round by roiling Nicole and this getting some dots really just touching the bristles to the paper and then pull them back. Sometimes I'll press a little bit harder so the dots will be a little bit bigger and other ones are barely touch the paper, so there'll be a little bit smaller. I'd broken out the hair dryer here. I'll go ahead and dry this off. On that. I'll put the control back in my corner. When you start to get a bunch of wet paint everywhere. Oftentimes, it's good to stop, dry everything off. And then that way you can layer over top of those colors versus trying to paint over top of them when they're wet and then you'll get a bunch of smudges. And now that has dried to, I can use my 4B, which is dark enough to really give me some good line work. It'll really stand out. Sometimes if you try to use a lead that's two light, like a HB or something. It just doesn't quite give you, give had the impact, doesn't give it enough punch. But I find that for B6, bees work really well for drawing into paint like that. And I use it quite a bit and my artwork. Alright, so now we're gonna go around some edges here, clean some things up, and a little bit darker in value. This is probably the darkest value I've used so far. And again, just kinda breaking things up a little bit. I don't want to paint the entire thing. I just kinda want to again hit and miss a few edges. And that's about it. So now bouncing around with a pencil and I've got the idea to put a lower logo or some sort of symbol on the coffee cup there. So I use a little bit of finger painting to do a little blue dot. And now I'll use my little liner to add a little green burst or something there. Who knows where it is. It's just something that kinda distracts you and give you a little something to look at. Could be a, looks like a star, maybe. Dallas Cowboys copper, some thing anyway. Now it has made it into an Avengers logo. But anyway, I think again, it's working pretty good here. At this stage. It's easy to over paint things. In this kind of middle to the last stage is when the brain starts to kick in. And, you know, I think it's common to think more details, more details and more details. And then next thing you know, you've ruined the freshness of all of the loose qualities. So I'll have to learn and of course remind myself all the time like put the brush down, robert. We're good. You don't need to make the coffee cup, but like a coffee cup, it already looks like a coffee cup. Good enough anyway. So here again, just working on that corner of the table obviously, and then getting that little shape pop and out of the cup going above the outer edge there. And that's it. So I'll scribe again into the wet paint with my pencil, hitting a few details. And now I'm going to take a hairdryer while I'm drawing it, I'm going to beef up that blue just a little bit dismayed that a little bit darker. I thought that this needed a little something there just to kinda anchor the painting. The other blue was just a little bit too pale. And now I'll gum limb with some nice clean white here that paints dry. I can just dab that white and to the flowers pretty much wherever I touch it. And it'll come off nice, crisp and clean. And little bit of green here. Just touching on a few of those stems. Little bit of green edge in there just to bring that thing to life a little bit. And I'll know not too bad. So I'll just use my 4B to sign it. And I think all in all for a quick 15 minute painting. You know, it turned out pretty good. I was pretty happy with it. Nice, simple color palette. Green's, a little bit of Brown's whites and some neutral. So let's have a look at this image taken a natural light so you can appreciate those colors a little bit better. And here again, I'll bring you in for some details. You can see some of the texture of the paper. Some of that brush work as well, and that's it. So thanks for watching. I'll see you guys in the next one. 10. What Makes This Painting Work: All right, let's start with the design. So an L-shaped, pretty easy here. So if you studied and design and composition enough, and by the way, if you want to study that, you can check out my complete guide to design a composition. I've got that linked in the description, but an L shape that looks, that's flipped upside down. So here is your L. And I'll shade that in like so. Okay, so you can kinda see that inaction. And then on top of that, we've got knew that good old small, medium, large. So you've got a I'll do your large and here so your large vertical of your vase. And here you have your medium. I mean, give us a little bit of contrast here. You get your medium coffee cup. And here. And then you have your small COP. Okay. And look how they are distributed. So if you look at this one is behind. Okay, so what's here? And then this brings you forward, okay? And they're overlapping obviously. And then they go, so it goes 12 and then three. So you have one isolated back there. And that's, that's a really nice arrangement. We can get this sort of like big shape and back there and then bring it forward with something medium and then something really small back there. And this little coffee cup, this little pink one up drawn paint back. They're really does a good job of kinda breaking up the L shape a little bit. So it kind of cuts into that shape psalms, which is good. I mean, you know, you don't need things to be literal. All atom's, we don't need that l. Every single bit of that l to be visible. So we've got the vase cutting into it and then we had this little cup cutting into it. You know, as far as these little white flowers, I mean, these are just details. So these things come up and again they break up the L, But as done in an, a very airy way, so it's not dense. So all of this is light. So that this sort of flow, the L is intact. So it stays there. And now had that been a cluster of flowers that were very dense, then perhaps it would have thrown it off a little bit. But I think for the most part, mean that covers the designing composition really well. In terms of a pallet. You're really dealing with very neutrals on case of, but at the same time in Alvin had to save, you know, you had this sort of greenish background. And then a blue vertical vase and then a touch of pink on the little cup back here. It's, it's really a palette that I feel is a more neutral. So colors are based on no greys cans, CAC keys. And then we have a little splash, a little splash here of blue that breaks it up. So you get this kinda like blue shape surrounded by all these neutrals. And then you get this little bit of a, kind of a pink color back there. And that's about it. I mean, we've got some greens. 11. Vase & Lemons: Welcome to the demo. You can see where this is gone. We have some blue flowers and a few lemon slices. Let's get Rock. And here I will be doing this with titanium white. These are heavy body acrylics, matte finish, quinacridone, magenta, cobalt blue, Sir William blue, that is green, Gold, Key Jante, yellow. And then cad yellow medium. That is just a piece of foam core I use for a palette. My paper I'm using is Bristol. I believe that as roughly 11 by 14. And I'm using a 4B here to lay in my drawing. The style, as you could see from the initial introduction, is very loose. So my drawing will represent that quality. So it would be pointless to put in a detail drawing if in fact I wish to do something very expressive. So when you want to paint loose, I highly recommend you draw loose. So if you start drawing in a bunch of details and you're, you start worrying and biting your nails over accuracy. At this stage, then you probably aren't really geared up to paint loose. So with the style I like to capture, I like to have some representational qualities. So there are some drawing aspects or some drawing quality there that is good enough for understanding or showing what I'm drawing. And then of course, there's a lot of loose drawing as well so that, you know, has that playful look to it. Alright, so again, heavy body acrylics, This is my blue. So cobalt blue mixed with titanium white. That is a piece of scrap drawing paper. I will I have boxes and boxes of this scrap paper. Some of it is old practice, drawing studies, some of it is teaching demonstrations. But I have a ton of it and then I always use it for collaging and basically recycle it. That is just a really cheap house brush that I'm using to spread the paint just large enough. It's going to get the job done quick. And that's the only reason I'm selecting that. Now I'm trying to find the right value. I want something that's fairly new, light blue. So I'm trying to mix directly onto the paper here. Now also want IT. Pretty opaque, so I don't want any of that initial color to really show through. So I'm just mixing it, mixing the pink thick enough to get rid of that. Now I've got some leftover paint there on the brush. I'll just go ahead and throw that down on a few scraps and I have off to the side. That way it doesn't go to waste. Alright, switching gears to some green, using my green gold, a little bit of the quinacridone magenta. And that's going to give it a little more body, a little more darker, darker hue and Dawn. The same idea as I did with the blue, but this time the paper is blank. And I'm going to just basically tone it and this is all for future everything I'm doing now. I have a goal in mind that I will use this for later on. So I'm just kinda, I could easily paint that directly onto my paper, but doing it through collaging is just a different approach, is a different experience altogether. I like the playfulness, I liked the idea of collaging and you know, I like the physicality of it and that's why I opted to do it. Again. I had some leftover green on the pallet, so I am going to use that as well. Now, taking my hairdryer, I will completely dry All of this paper that includes both the blue or the green and the blue. So before I start glutenin dispassionate onto my artwork, I just want to make sure that's dry so I don't have any complications when I don't have too much paint on my hands. Now, if you've been around acrylics long enough, you probably know they dry a little bit darker. Sometimes is hard to gauge exactly how dark it's going to dry. So obviously, this dry a little bit darker than I wanted. So I will go over here again, getting a light blue that I am somewhat satisfied with. So just adding Using the same hues by mainly using a little more white into that. And once I have that where I want it, then I'll be able to take a hair dryer to it and we will be able to get started. So anyway, if you don't always get the hues you want at first always be particular and, and get that color that you want. And then that way once you get into the artwork. You don't have to scratch your head or making any changes. Using my executive knife, I am going to hold the collage paper up to the area that I'm going to use it on. And then take my pencil and get a rough idea of where my edges are. And that way I can start to cut that out. If you don't have an exact there knife, obviously you can use scissors. I like the exact code knife because I feel it can get into the nooks and crannies a little bit better than some of the bullet, the scissors can do. So little more versatile. Although there are times when I think a pair of scissors may get the job done a little bit quicker. Because you can see I've got a nice little table top there in blue, and now I'll want a patch of green. And behind that, so there I am with the scissors. I will get my The right side cut out. I will hold it again up to the artwork, figure out where that left-hand edges. And then I can make my cut. So that's working out pretty good. You know, of course. And he sort of scrap that I have left over. We'll go back into my box of collage paper for a later date. Alright, so I've got the blue, the green, and now before I put that on to my surface, I'm going to mix up a grey using some of the blue that's on my palate. A little bit of the crud acronym, and then also a touch of yellow. And of course with that, I am also using titanium white. From there I will tone the background. And you can see that's just going to be a great, it's a little bit too dark. So I am going to take a little bit of titanium white and work that directly into the wet gray paint. So I've got a little bit of yellow Mixin to that now. So I've got a yellowish gray that starts to the right. And then it works to a more cooler red gray or shall I say a cooler gray as it gets to the left. But eventually, like I'm doing now, once you blend that, but there's a little bit of patches of each. And now it's, you give it a little bit of texture. And to get rid of some of the brush marks, I used a, an old rag to lift some of that. And then as you can clearly see, a hairdryer to get that dried off. So that's looking pretty good. I still think that's a little bit too dark for what I'm after right now. So I'm going to again take a little bit of white into those grays. And mixed with it. And then I can even take a little bit of pure white off the pallet and work directly in to that wet gray. Hidden it with the hair dryer one more time. I will get that dropped off nice and dry and then I will be ready to move into the collage. So I'm starting with the green, which will be in the very, I guess the Middleground. I'll, we'll get that sized up trying to get a good feel for how that's going to look. And then I can break out the mod podge, a larger brush here, and then start getting my fingers sticky. So whenever I'm putting this glue down is pretty self-explanatory. If you've glued a piece of paper, you can do it, but I would just recommend you get those edges really good so that it doesn't curl up. But then again, you may like that little bit of texture that gives you. So who am I to? To say you have to paint the edges, so I'll decide to keep all my edges down. So I've got the green rockin. Now, I've got a little bit of an area there where I came up short. So I've got my scrap and I can start to do a little blue on that as well. But that's scrap, didn't quite do it for me. I decided to go with something that was a little bit lighter and value. I just thought it would kind of give me a little bit of a range and maybe add a little bit of entrust to it. So you can see putting that down there just as nice Had that light green patch perhaps. And then using a clean piece of foam core and is smashed in that down. This way I am ready to move into the blue. It's already pre-cut, again, going around the edges, making sure I get plenty of glue there. And of course I'm in the middle as well, but a nice I I don't I'm not stingy with my blue here. I don't mind using a little extra. That's a much better option than not using enough. And then a curling up on yeah. Alright. So you can see that came up a little short. Again. I don't like that little tab of maroon on top, so I'm going to slice that off. Give it a good smashing. And then I can patch in the little bit to the right where I came up short, but I've got plenty of little scraps were out cutoff. And again. Not can just piece that together. So you can see I'm really having a piece of together have been nicer to get that in there and a couple of an won pop, but oh, well, those little pieces are just cut off. So though harmed and cost me anything. And now I can get the last piece here and a little bit of glue off camera. And of course, that piece was too small. So I'm gonna go with something a little bit bigger here. And I probably would be a good idea at this point to use a piece of foam core or perhaps move the artwork because I'm running out of table space. And then we can pop that in there. And now I think we're ready to go to the next stage. So in a short period of time, I believe we've done well. We've got the background, we've got a middle ground, and we have a foreground. So the table is set pun intended there. And now we can move into the vase. I just wanna make sure this vase is kind of the star. So I really want that shape to be subtle, but it needs to be big enough. And it needs to have a few interesting edges on the mountain. Again, looking for accuracy, i'm looking for something that's interesting to look at in. So I've got my scissors here, I've got the paper and I'm just kinda working around the perimeter and then I've got the little handle that needs to be cut out for that. I'm using my executive naive. That is the beauty of the exact o. It can really get inside those little areas of very well, if you don't have an exact, Of course you can always do it with scissors. And whatever you have is perfectly fine. Alright, so you know, there's drill a little bit of glue here. And once we have that, a good layer or codon there, I kid. Position it. And I'm ready to Rome, so that's looking pretty good. I had to keep in mind that I have some blue flowers that will be taking up a lot of the top of the painting. So I wanted to keep me Nim always leave enough room for that. I don't want to smash them in their so much so that maybe they didn't spill, scrunched or something. Alright, mixing up a little bit of a green here. Using the same colors as before, stain the collage paper, and it's touching a little bit of that in there. Clean up a few edges, that sort of thing, and then I'm going to lift some of it as well. I got a little bit on the handle there so I can come back now with my little pointed around. And while I'll have a little bit of that white on the brush, I can go ahead and slap some of that down the vase. So starting to come together here little bit. I can now focus on the foreground. So working directly out of the, basically of a pure color here. So the cad Red light of touch of the living yellow and then a little bit of white into that as well. I think I said that. I'm not sure if I said that or not. That gives me a nice clean yellow. And then I've mixed in a little bit of red with that to give it a little bit of a darker yellow hue. Now those lemon slices are probably a little too big. I'll take care of that in part two. I will see you there. 12. Vase & Lemons: As I use my hair dryer here, I'm going to use a little bit of the yellows and work into the paint, making small adjustments. You can see here I want something a little bit, a little bit darker for the inside of the lemons. And that's because I'm kinda painting for the future as they say. And I'm going to go over that with a wider color to indicate those little wedges and the details that are on the inside of a lemon. Now a little bit of blue into that green, a little bit of white. So coming up with a, a lighter blue hue here. And again, still my hairdryer still going some kinda multitask and here, so I'm getting the painting dry all the while, you know, trying to get things dried off as well. So I have a blue that is roughly the same hue as I started with. You can see I'm goin around those lemons and the yellow is still a little bit wet. So it's going to look a little bit green when they blend. But that's OK. And a style like this, we can, we can bend those rules and we can get away with a little nuance like that. New big deals. Here I'm going to scribe into the wet paint with my number two pencil, just kinda marking that edge, marking that shape. And now I can go back again and to that blue tabletop. Oh, and actually that's that's really isn't a table top. I guess that will be some sort of a tablecloth or something goes down and again, just clean up the edges and that sort of thing. So right now we're in the hairdryer little bit more here trying to get things dried off so I can have a clean slate and a little more freedom with my, my painting. So when things are wet, you have to be a little more careful and concerned about colors mixing with each other if you don't want them, well, we get everything nice and dry. Then you've got complete control. Now that brings us to the flowers. I've got plenty of that blue leftover. I'm holding that in different areas of the painting, trying to see how the Look. I'm not going to collage every single flower, but I thought it would be good to use some of this construction paper or some of this collage paper as a starting point for the flowers. And then I can come back and paint the other flowers. So a good way to use the blue and a good way to. Get a bunch of flowers down without having to do a lot of work. And again, these are very abstract shapes. Are there not really the finished shape, but I will just use it again as a starting point. Alright, so I've got those smashed down pretty good. So I can kinda move into some blues. I don't want to use the exact same blue that's on the paper. So I'm going to make that this a touch darker. And now I can go around with my small pointed round and create some sort of petals, some nice soft organic edges that would be conducive to flowers. And again, you can see everything's still very loose. I've got some darker blues in there. I've got some lighter blues. So I'm trying to get a variety of blues versus one hue. So if you have, I just use one hue of blue than the flowers, but start to look a little bit flat. Here I'm going to switch brushes. I've got a signature brush. There's really old. It has a curl to it. But it's still got some life in it. And I like the kind of unpredictable witness of it. Seeming kind of stiff. Ignatius lost that soft bristle feeling. But you can still do some interesting line work with it. And again, it's a little less predictable than using, let's say, a new pointed around or liner brush. Where though the bristles are in great shape and kinda know before you paint, you know what you're going to end up with. So a little design there on the vase does, brings it to life. Nothing too ornate, nothing too fancy. Just a little something to pop it. And know it's such a big shape. You want to make sure that, you know, it's got something going for it. And here you can see I'm using that same lemon yellow to throw some details in the flowers. So just some yellow centers. You can see I use a piece of paper there to do a little bit of smudging. Judges really China rough things up so they're, you know, things don't become too stiff. Using a piece of paper like that as a good way to smooth out hard edges and the kind of blend things. Now I'm moving into some bread, so I have a little bit of cad Red medium. How I'll touch a little bit of yellow in that distant, knock it back a little bit. And then I'll throw some little red dots into some of the centers on the flowers. And you know, we don't want everything to be the same. So some of the centers will be yellow without the read, some would just be read. Again, it's variety is important. And trying to get away from monotonous sort of rhythms where. Everything is the same. Kinda one of those roles I abide by an art. And that again is just looking for variety and avoiding shapes that are similar and colors that are too similar. Always looking to new, had those subtle differences. Alright, so I'd mentioned the White centers, the detail kinda wedges that are, that make up the inside of a lemon. Again, you can see I'm kinda dancing around that sort of idea, are not getting every single a shape in there. Just kinda hit and listen and just suggesting, rather than painting that they are there. Alright, so a little bit of a cool white here. And I'm going to go around the top of the flowers and the background just to pop that a little bit. And the background still a little bit too dark for my liking. So I will use my little signature brush there to chisel out some petals, sunflower puddles. And too quickly in, put in some of these small shapes and saw the flowers. And then that will hopefully bring it to a value that I'm happy with a descend want it too dark. We've got a blue tablecloth That's a medium value. The greens fairly dark. And I really wanted that very background to be lighter than those two. See you have a medium, dark and light. Alright, so here, using the larger brush now, I can kinda start to smooth out some of those short choppy strokes I did with a signature brush and then cover that left-hand side. So that's looks a little more like it. I'm happier with that value. I think it pops of flowers a little bit more. And that should work fine. So just touching that color and a few other places and the painting is good to kinda tie in your colors. So whatever background Hugh, you have. No, it's nice to touch that in the vase and the lemons just a little bit here and there. Again just to create harmony. So now gone him with my green covering up that lovely lime green that I had on the left-hand side. But, you know, and again, you can see I'm touching that green in the vase and the flowers and just a few other places again too, create that harmony. An exact DO knife. Obviously the blade is retracted. I am just kinda ascribing into the wet paint at this point, kind of a good way to draw without being too invasive. And just kind of getting a subtle line quality versus a hard line quality. Speaking of lines here I'm adding some stems for the flowers. Kinda one of those little details. I thought it would be nice to have just a few. Need many if you just do two or three, the rest will kinda draw themselves and that'll just kinda keep the flowers from floating out there without anything holding them up. Alright, so a few more little yellow centers again, this balancing things out. A little bit of finger-painting here, I've got some dark blue on my fingers. And I am just putting a little bit of that dark blue and various places and getting down to the finishing touch here, I'll just again indicate little bit better edge quality on a few of the flowers that are out on the left-hand side there. On that I will just again frame it a little better, bring in a little more believability to those flowers. And that's it. So I think that I will do it. Let's have a look at the piece again, this image was taken a natural light like I always tried to do. And now let's give you a little bit closer look at it so you can see some of the details, some of the texture of the collage paper and so on. So again, there it is. I hope you enjoyed the demo, hope and inspires you to give it a shot and I'll see you in the next one. 13. What Makes This Painting Work: Alright, let's have a look at this one. So we will start with the design. Fairly simple design here, kind of a tried and true sort of techniques. We're dealing with some really nice angles to begin with. But what's interesting about this one is you sort of have this line that goes across the middle of the piece. And that's typically a no-no because you had to equal parts. Typically, you would want to break that up here or down below. But it works in this case because we had this rule dominant angular triangle that breaks everything up. And it breaks it up nicely into what is a large, medium, and small. So this is your largest shape up and here, this would be your next and then this would be your small. And they're so that kind of is interesting how that works because again, typically, typically wouldn't wanna do that. But again, and the other thing that really throws it off is as strong white vase and we're just going to call it a vertical look. It could be anything. It could be a house, it could be a barn. Could be a big old stump. If you're dealing with a landscape. But you have this strong vertical that's cutting through it right here. And that strong shape, again, is a great component to the design in the success of the design. And you'll see now as I move those lines away, how that really adds this really strong sense of of, of, of, of that vertical presence. So before it was all horizontal, you know, we're dealing with this little tablecloth agreeing table and then we had this vertical backdrop of the wall or whatever that is. But it was pretty much flat. So everything reeds flat and then you get this vase that does slices through everything. And that's really your main component from there. You've got your flowers that are basically like an umbrella coming down in here and notice it kind of breaks into the vase a little bit in here. And then we kind of get up around and attaches to the edge. So we had this sort of umbrella shape at the top. And then down below here you have these little lemon wedges are, that are really just adding shape to it. And I'm not talking about shape, I'm really talking about small shapes. So when we look at this cluster of flowers. Really reads as one. They're all the same hue. And that's just one shape. Dislike this vases one shape just like this tablecloth, is one shape. And then you had these little small wedges here that are breaking it all up. So if I were to take my eraser here and just kinda does, and I'm going to join these. I'll just kinda do that. So you can see now how that shape of the wedges breaks up the composition like that. So you've got this large shape, vertical presence of the vase. You got this umbrella action here of the blue flowers. And then you've got this really lovely contrast of this blue tablecloth that's highlighting and silhouetted almost these lovely yellow lemon wedges. So that's, that's kind of the nuts and bolts of the design. So really it's just that one strong vertical slice. And up through these the horizontals, you've got the, the big cluster of flowers and then the small shapes. So again, large vase, medium-size flowers, medium-size tablecloth. And then you've got these smaller shapes and very important to have large, medium and small. And having those, that kinda combination is what makes the painting interesting. And now if you start to toss in a little, a few details on new the vase that kinda make up some small shapes. And you start to put in these little shapes of the centers and the flowers. And then you start through that starts to read as shapes too, even though they're just details. But that's, that's an important part because if all the flowers were, the flowers and had these little yellow and red centers, they would, they would beats you bulky. So all those little Center's job is Dawn the yellows and the reds are just you break up the big blue mass into by adding smaller shapes. And of course we need those smaller shapes. So we've got the limit wedges, which are fairly small, but these are even smaller. So they kinda help balance out these really large masses of the background. And then we've got, and I'm just going to use random colors here. We got the table. And then of course, we've got this. And those, those are massive shapes. And then of course we even have our vase, which is a massive shape. So again, you want, you want those smaller shapes in it. Because we really look at this. You'll start to see how things are very big and bulky. And again, the lemon wedges, a little few details and the flowers and even the few details and the vase are what makes this painting work in terms of a design. It gives it balance. Alright? So in terms of color is pretty obvious, right? We gotta dominant, cool, right? Blues, greens, blues. And we have a touch of warm. So again, dominant, cool, with a touch of warm, and that's your color harmony. I mean, you gotta, you gotta keep it very, very simple when you start thinking about color. Because that's, that's the key to putting the icing on the cake, so to speak. So if I were to take the, let's say the green cable and outward to turn that into this sort of warm hue. And then it's going to start with though it off now because now we're losing that dominant. Cool. Now we've got this kinda big yellow tablecloth that screaming at us as a warm hue. And things are starting to look a little more balanced now they're looking even so again, we want asymmetry. We want something that is dominant, that is balanced by something else. Just like in the design, we have dominant big shapes, a dominant vertical, a dominant umbrella shape. Excuse me. And it's all balanced by these small details and the vase, these small, medium wedges and then the small details in the flowers. Okay, so that's that I'll see you in the next one. 14. Fish: Fish on a nice and simple, very, very fun piece to paint this. Go ahead and get started on how this is going to work. And the first thing I will do is add my drawing. And this is really just to give me a feel for spacing how big the fish need to be. And to give me an idea on, you know, just making sure I got room to do what it is. I think I want here, I'm thinking five fish. And they're all going to be similar, but from one to the next is going to be, they're going to be slightly different because I'm not going to do cookie cutter stuff. Everything will be done nice and free. So once I get the first one drone in there, that's good enough. I can kinda envision how the other ones will fit in there. For those of you that took my head drawing course. Here you'll see some of my drawings I did for that class. These should make a great beginning for my fish. So I'm using inks, that is just a calligraphy ink. And go on using my small liner brush, signature brush. To add some horizontal lines. You'll see I'll make a few verticals as well. Angular lines, sometimes all crisscross, awesome. Some lines are watered-down. Song using disk. I'll dip my brush and water to get it a really pale look. And other ones go directly from the jar onto the paper, so they end up a lot darker. Not worried about drips and splattered. The more the merrier. Now I'm going to need some dark areas. For the fish heads. I probably could have switched to a bigger brush here and done this a little bit quicker, but I didn't let that dry. And now I'm going to go over that big dark mass one more time because I want that to be dark, darker than it was. Alright, so I'll go ahead and get all of this dried off really well. And that's going to be important because I'll be handling this paper quite a bit cut in it. I've got some lowest splattered on the paper. You can see I'm kind of blown that in a certain direction just to get that to run. And that's it. So once this is dry, we can get to the next step. And that will be using my cheap house brush here, a little bit of yellow ochre and I'm gone again directly onto my surface. I'll go ahead and paint edge to edge. I'm not going to leave a border. If you curious about the size, this is 11 by 14 inches. So it's a fairly small painting. The beauty of this once you as it can, you can scale this up really easy. And so if you know someone that enjoys fishing or maybe you have a house that's on a lake or something. It will be a lot of fun for that. And again, mixing directly onto the paper, I'm using a little bit of raw number there, SaaS giving it a little bit of a green field to it. So titanium, white or yellow ochre, raw number and then I use dairy lied yellow. So adding some texture to it, I'm going to opt to press a cloth and Old Rag there. Into the surface you can see that creates a really lovely sort of texture look about it and now I can smear it and a few places. So yeah, right away, that's looking pretty good. I'm going to take my hairdryer and start drying that off. But while I do it, I'm going to dip. That brush is clean now. Now I'm dip in that and water. And I'm going to lift some of that pain. And that's going to create a really nice effect, a nice layered look. When I'm done. Now notice when IVR I'd put that water on the surface here. I'm letting it sit there. And the longer you let that water sit there, the more schooling to penetrate the wet paint. So you can see now I'm certainly give watermarks and drip marks and some of that paint is getting removed here I'm taking my exact DO naive and scratching into the wet paint a little bit just to, again, get something that's nice and interesting look in and that way that's going to set up really nicely for my backdrop for the fish. But it's important to get this nice and dry. And that way when I start to glue onto it, it should work really well. So anyway, we'll go ahead and get to the next part, which is cutting out some fish. So this all this is nice and dry. Now I'm using my exact DO knife. I do have a piece of foam core down, so I'm not cut now over top of my surface the hair. So the foam core is protecting the artwork there. So you'll see when I lifted it up. So yeah, there you go. So we've got one fish there. And place. Now again, we cut these dependant on the look you're after. You may want it. You may want your fish Chu look all similar. But I'll kind of mind to be a little bit different from the next, but maybe BY this same species, you know. But again, they are very loose and how it's interpreted. So look at that, that's all looking pretty good. And then, you know, do some maybe a little bit chubby layer, a little bit skinnier, and you just see how that appeals to you. You may or may not like it, but I just think, you know, having a little bit of variety there is useful. I think it's more, makes it more interesting to look at them because of all this was done over a drawing, some sketches of the face, then, you know, it's going to have they're all going to be different anyway because I didn't start with a blank white piece of paper. All right, so now we can size everything up, really get a feel for how these are going to work. I've got one that's probably a little bit too big. So I will trim a few pounds off that one, and then perhaps one more here. And then we can start to maneuver them a little bit, a space them out. To where we know they're going to fit nicely. So I could have gone four, could they go on three? I thought five was the number I was after. They're so and he go so right away the fish bodies are in there. Obviously, we still have the heads. Some of the fish bodies were a little bit too weak. They, they just didn't have enough of the horizontal strokes to it. So I'm going to take a little bit of bone black acrylic and add that to it. And so I'll drag that into a few other ones here. And that should do it. So yeah, it already, this is looking really good and can start to break out the glue now and get started with the next step, which is putting these guys and they're permanent literals home here. And again, this is a great piece for many reasons. I think it's really cool to look at, but I loved things that you can do that are really fun. Was so while you're creating this awesome art, it's actually just a lot of funny, a lot of freedom. Know, to let things rip a little bit. And it's so enjoyable to do that once in a while. Art can be very rigid at times. And I think it needs to be, you know, there are moments when you have to work on those fundamentals and we had to get the brain involved a little bit more. But then there are other times where we just need to loosen up. Find some things that are expressive and that allow for some expressive mark making. And that's what this is all about. Sorry, so I've got my black here that I did earlier. I'm going to draw a few fish heads here, just really getting familiar with the overall size that I need. And once I do one or two, I'll start to get a feel for exactly how, how big these need to be. Although the each fish is not the same exact size, close enough to where I can get him gone. And a rhythm and then trim off a little bit if I need to. So right now you get the feel for what's happening here. So I'm going to work a little bit quicker here. So I'll use my scissors to do some of them and then to cut some of it. And then I'll use my exact O night to cut other parts. So the main thing is getting them their size well and get the mouth opening so they don't all look the same. So I'm not looking for repetition so much. And from fish to fish, maybe again they're the same species and they have similar markings but now won't want to have its mouth open more than the other and less than the other and so on. So that way, again, from fish to fish, they're all a little bit different. And they each had their own little thing happen in there. So there you go. So we've got the heads cut out. I was probably the tedious part of this project. But now it should come together pretty quick. So Lacan start glue on that. Given those heads glued down, which I've done, pressed them all in there. And now I'm just wiping off a little bit of the excess glue. At this stage. I'm just going to clean, clean up a little bit, but I just need to press these down a little bit more. And then we'll be ready to tidy up in terms of bringing them to a close. So now I want some little fish eyes. So just a few dots here, five to be exact. Again, some eyes are bigger than the other or some are more smudge, some are whiter and so on. So hairdryer before I put the centers and now I think it's a good idea at this point to get everything nice and dry anyway. And then we're ready to rock and roll for the eyeballs. So that's using a little bit of bone black here and using that little liner brush. And there you go. So now we have some legitimate eyes. And now I'll add a few fins to the fish, just to give them again, the little bit of detail, a little bit of believability there. And that is getting us one step closer to the finish. But you have to admit this is a really easy piece to take on. You don't have to again, get fussy with everything and let things rip a little bit. You can use whatever color palette you wish to do. So the background can be blue, green, purple, it doesn't matter. Your fish can be more cartoonish, they can be more realistic. But I think if you stick with the collaging and kinda Dona in a playful way, you should really get some, a similar result, but again, do it with your own sort of take. So here you can flip this any way you want, doesn't really matter. But here it is. The piece on a little bit cleaner background. And again, the image taken a natural light here. And I'll bring you in closer. It'll appreciate some of the details that may be easily overlooked or missed. But yeah, a fun, fun stuff here a lot. I know I had fun doing it and I hope you enjoyed the demo and I'll see you guys in the next one. 15. What Makes This Painting Work: Alright, this one is pretty basic. I'm not going to elaborate too much on it because it's more of a contemporary sort of abstract design. And it's really just based on a vertical layout. Okay, so very strong movement up and down did a terrible job on those arrows. And then we break that up with these horizontals in there. But apart from that, you know, you have dominant neutrals. So you got a lot of black, white, and gray. But that sort of neutral is kinda pop on that yellowish background K. So you have this nice warm, but it's not overbearing. So, you know, it's not a I'll warm background that screams at, you know, it's played down a little bit. And then you had these neutral shapes and hues that are on top of that. And of course, the fish really pop because the bodies of the fish are this sort of white color. So it really jumps off of that yellow nicely because of that. But yeah, that's pretty much it. I wasn't going to cover this one, but I thought would be interesting just to talk about the, the vertical feeling of the layout. Then you've got this horizontal shapes that break it up. Of course you could do that here as well. So if you went with this sort of landscape layout that was a little bit longer than he could do. These sort of vertical things to see could do. This, could be kitchen utensils, anything that has this as they could be tree branches, trunks, and anything that has this really strong vertical feel in this horizontal layout. So anyway, that's that. 16. Orchids: Welcome to the demo. You can see where this is going. This is orchids. This is actually a large-scale painting, roughly 20 by 25 inches. Let's get started here. I'm working on acrylic mixed media paper by Strathmore. Links are in the description also covered this in the Materials section. And even though this will be a lot of collaging later on, I'm going to begin this painting with mostly painting just to block things in and to help me with the block in, I'm going to lay out the drawing, the composition using my 4B. Again, as I've mentioned many times, keeping that drawing and nice and loose kind of setting the tone for the overall styled SON about details and every little looking crazy, it's just kinda getting the big picture on the page are working directly on the paper here using some cobalt blue and a large brush just to get some color down. And I am working straight out of the jar here. This is unmixed paint. And now I'm taking some quinacridone, crimson and blending that right into the wet blue. So again working wet into wet here. And lastly, titanium white, again working wet into wet directly onto the page. And again, not pre mixing any of these colors on a pallet. So that is the background here. I'm using green, gold and the same large brush, obviously clean that off and getting some color down there. And here is some raw lumber. And putting that over top just to knock it back a little bit and a little bit of orange on top of that. And so as cadmium orange, again, working wet into wet, not letting anything dry, that's going to basically just let the colors blend on the paper vs. blending on the palette. I didn't really like the tone of that lavender, so I'll put a little bit of white on to that. Here are just taking a small paper towel here and wiping off any excess and smoothen out some of the brushstrokes. There's going to be a frame here like a little piece of art hanging on the wall. So I'm going to turn that using titanium buff to sin off white, a little bit of green, gold, a little bit of umber into that as well, and a little bit of Crimson to boot. So just kinda again, knock-in that color back a little bit so it's not so pale initially is all I'm after that was a little bit too dark, so I am going to add a touch of white. And as with the other areas, everything is getting blended on the paper. Alright, at this point, pretty boring stuff here, but I think it's important to know that everything is completely dry once I begin the next layer. So we'll using my hairdryer there to get that ready. All right, so I've got some collage paper there that's handmade and using some cobalt blue cad yellow lemon into that and getting a nice kind of a Polish green. And then I'll add some blue into that, subring, a little bit of blue into that color. This will be used for the table top. As you can see, I've got a piece of gator board down and also have a piece of paper on top of that. And that just keeps it from getting the paint on my artwork which is kind of buried down there. But once I get this color the way I want it, I will go ahead and get that positioned where it's going to go roughly and starts you cut that out. So a lot of collaging coming up here. So there's a lot of toning going on with the paper and a lot of gluings. So allow this stuff. I'm going to go a little bit faster. You can always slow it down if you want to see it a little bit slower by using your gear icon in the video settings. So that was glue. So I use the mod podge directly on the paper. And I just basically put the glue down and the shape that I want the table. And I wasn't worried about going over the edges. Actually, I wanted to paint over the edges a little bit so that the paper edges get a glue down pretty well. So I've got some scraps leftover from the green, So I'm just kind of piecing things together here. So with the leg and there's like a couple of drawers or a drawer down below here. So I'm just kind of getting that roughed in. And using a very, very light touch, I will carve out a nice straight edge for the table top. And I really just needed that to patch in a little area there that I came up a little bit light. So there you go. So the table top is starting to work here. And now I'm going to move in to the frame. So the artwork, again, that's going to be hanging on the wall, That's just going to have some trees and stuff kinda moving in it. But that was a little bit too dark. So I want to, I want that to pop a little bit more. So acrylics will typically dry a little bit darker. And depending on how muddy your water your brushes would depend on how much change you have. So I probably had a little bit of a dirty brush and that's why the contamination probably made that a little bit darker. Alright, so a white frame around the artwork here. So I found some scrap paper and I will get that roughly in the size and needs to be. And then of course the mod podge will go on that. And then right away I can start to bring that frame and that area of the painting a little bit closer there. So that's a really interesting part of the piece, is going to be a lot of fun to do it, but I've got some other work to do before we take it any further. So for now I'm going to put in the pot. So I've got a small pot. Here in the foreground area. Just found some strips of paper that I use for the frame. And I just cut some pieces that were roughly the height that I needed for the pot. So at this point, I will press down the edges of the frame, makes sure all of that is glued nicely, and then take a hair dryer to it as I dry it. I notice there are some edges here and they're also a little bit of excess glue on the paper. So I'll go around with a paper towel, wipe that off any edges that need gluing. I will just a little bit of glue down and get that up. You can see that was flapping in the wind there. So gluon that down and had a little bit of excess there. I needed that for the corner, saw it as rip that off and patched in the table again, drying this off completely and once it's a 100% dry, I will see you guys and part two. 17. Orchids Continued: This brings us to cutting out the tops of the flowerpot. So since there's probably some dark soil or something in there, I've got some black collage paper, so I will piece together a few pieces of that here. So I've got one and get another one there. And really I just cut the first one a little bit too small, then want to waste it. So I just cut out a little moon-shaped To add to that. And it should be big enough. So for the next flowerpot, I decided, instead of collaging, to paint this one just for variety sake. Good to mix it up a little bit and using titanium white, again straight out of the jar. I will add the shape there. I will also add a little bit of white around the edge or the rim. The smaller pot as you can see there. And it is refracted in. It's a little bit chunky and rough around the edges and that's fine. That's the look I'm after. And now I can move in to the artwork that is hanging on the wall here. I've got some of these brown and black scraps. This would make a lovely tree trunk, our tree trunks, I should say. So just cutting out some random shapes that look like stalks and branches. And we'll eventually start to glue these down so I'll get a few of them going. And then this kinda mix and match the pieces. This is, this is a lot of, this part of the painting was a lot of fun to do. And you know, it just any old scrap paper you have that's dark enough to let like trees should work just fine. And here, having to glue not only the art, but also the collage paper because I've got their little weird branch that was going off of it. So yeah. Now cut off the tops that are hanging over there and we are moving right along. So I found some green strips here. So I'll kinda dot in a few leaves are a symbol of some leaves. And just a little bit here and there, just to indicate it is all I need. And again, there's a very kind of loosely done. And now just using raw umber MI, liner brush, their little signature brush. And again, working straight out of the jar there to put in a few other branches. And now I will add the dark volume there to the second pot, again, working straight out of the tube that is bone black mixed with a little bit of raw number. And that should be fun. So that'll give me the, the tone I need. And now I'm going to go back and do a few more leaves on the trees here. Happens to have some more little green scraps sitting around the table. So I thought before I break away from it, I would just use those up. Alright, now, I need a really dark green. So using green gold raw number, a little bit of yellow ochre, and this is cobalt or green. I've got a really deep shade here for the leaves. It'll be coming out of the main coffee, coffee pot, flowerpot. And here I'm just getting a shape that I think will work. All right, before I cut it, I will need to dry that off a little bit. So taking the hair dryer to it, getting that dry and then this is a great job for the exact O naive. So I will go around some of these edges again, this is all sped up. As, you know, it's monotonous stuff and there's really nothing technical that I'm Dawn here other than drawing out the shape that I want to use. And then just basically putting in a little bit of labor here and cutting that out. So these things I'm pretty sure you can do without a lot of detail, but again, he can always slow that down if you want to. Have a look. So there you go. We've got our quirky little leaves there. I'm going to add few little patches of lighter green to it. I had a little bit of green on that brush and I thought that would just kinda break up some of the dark areas. Now it is time for the glue. So I'll make sure I get the edges really good. There's a bunch of edges on this one. And once I've got plenty of glue on that, and we can go ahead and put that in place. So there you go. So we've got the orchid leaves there that are ready to roll. I still think I need a little bit of variation of green on the leaves. So taking my liner brush there and dropping in a little bit of yellow ochre, which I mix a little bit with green. And now I can use my raw number here to put in a nice thin stalk, which will eventually be home for there are three orchids. And keeping that fairly simple, fairly area, I think that'll do okay. And a little bit of green here for the apples in the foreground. And that'll do it for part two. I'll see you guys in part three. 18. Orchids Finishing Touches: All right, third and final part. So I've got the apples there, and now I'm going to use the same raw umber and a little bit of bone black there to make some small short stocks on the other plant, I'll add some that dark value to the apples. And now I'll add some yellow centers to the orchids. We can see just a little bit of finger painting there for no particular reason other than that, I felt impulse to do it. And now here come the orchids. Nothing in terms of a photo reference or anything I'm using here, just kinda gone loose and abstract with it. And now pre mixing a little bit of a warm yellow, so that's titanium white. A little bit of lemon yellow or cad yellow medium, I'm sorry, little bit of Alizarin crimson, a little bit of blue. So that's given me this kinda warmish tan color. And I'll use a little bit of that as well into the other pot that put a little more yellow. And to double on this closer to us just sold again, we have variety. So we have one pot that is white but has a little more warm. Where are the other pot as white with a little bit less of a punch to it. So cobalt blue, a little bit of the greys and I had around on the pallet and a little bit of titanium white for the shadows. And that's all working good. Now, I like to scribble a little bit here, so I'll go on with my 4B pencil and just scratching into some of the wet paint and drawing around some of the edges, adding a few details. And I think that is kind of gives it a loose quality. Drawing into the artwork at kinda get in and out of that. Sometimes, sometimes I will. I'm just in the mood to draw and scratched into the paint. You know, there are times when I'm just not in the mood to do it. So I kinda go with the flow. But I do like to draw into my art work quite a bit. So I guess I'm in that flow right now. And that's all starting to come together here, Tom, for some details. So again, back in using my liner brush there, a little bit of bone black and raw number. And you can see the paint, the texture of the paper, and especially with the collaging. It's not allowing me to do smooth lines or they're very broken because of the texture of the paper. And that's good. So it doesn't look too stuff. So adding some white, small white flowers here to the pot in the foreground, little closer to us. A little bit of green gold here for some leaf. Action. And I'll go and smeared a little bit that onto our apples or wherever they are, limes, who knows? And here I'm going to clean up the pot using that bone black and just getting some little bit better edges on some of that stuff. So I've got low more that shadow color. So I need to add some shadows to these fruit or whatever here in the foreground. And now moving in with some yellow ochre, titanium white touch of raw umber and blue. And Alizarin crimson, they are crimson, quinacridone, crimson and titanium white. And just want to now go put a second coat on this floor. So you remember, I started with a really thin coat, knowing eventually I would want to come back over that later on with a more opaque and thicker coat. So there it is. So that should take care that you can see it's very loose. I'm not trying to hit every single edge. And now I want to save some of that color and give myself a little clean mixing area here. So I'll just using my palette knife to scrape a little bit of that paint off to the corner. And once I do that, I'll be ready to mix my kinda lilac color. So cobalt blue, Alizarin crimson, a little bit of white. And do that using a really large brush there and getting plenty of paint down. I rather had too much than not enough. Now before I put that second codon, I want to be sure the flowers and everything that I've done pretty much as dry, that way it doesn't interfere with what I have on the page. So see the original layer of the background. Some of that area is showing. But for the most part, I'm covering up a lot of it. And you're going around the edges nice and loose, trying to stay loose as I move through the painting that oftentimes can be challenging. I think the common scenario for most people is to start loose and then as you get into it, mommy tend to tighten up. So kinda, kinda have to keep that flow gone. Wow, so pretty obvious here what's happening. So I'll get this dry and then I can start to make some additional changes. So getting a nice pop of lime green here and then mixing a little bit of blue into it, a little more white. And ultimately I want that kind of bluish green for the tabletop. So I will go back over that again and clean up some of the edges, you know, and some of the original color will be showing through. I don't completely cover everything, but Now I want to make sure I get this nice and clean look in and not to splotchy, but at the same time again, I'm going to leave some of that original showing there. And then one thing that camera doesn't pick up on is the texture of the paper and the collaging. So when I'm done, I'll bring you guys in a little bit closer and I can check that out. So I'm gonna go a little bit lighter for this table, for this floor. I'm using a smaller brush here, trying to make it look a little bit sketchy, I guess, with the brushwork. And so you can see I'm not covering everything and just kinda pretending. I'm doing this with a pencil is when I'm torn. And again, not trying to cover everything. Alright, so now bouncing around here with my white on the flowerpot and kind of bringing those edges back a little bit to the top. How will do the same thing here? For the small one? Sort of getting the rim of it more visible. And I start to look a little bit better. So you can see backing up a little bit here to give you a kind of a bird's eye view. Now, I can add some graze underneath that. Now I want to use a little bit of cad yellow, a little bit of titanium white, and it gets a little bit of light hitting our little shapes. They're in the foreground. So that kinda really brings them to life a little bit, makes them a little bit believable. I like that green, So I'm going to dot a few more leaves here and there. And now going back to my dark green, a little bit of bone black, a little bit of raw umber. And I'll get a nice dark center to the leaves. So try to make it feel like it's, you know, nice and dark in there. And yeah, I'll do the same thing for my stem, just going back over it here in the air just to make that a little more substantial. And few details on the table here. Now going back into my white, I'll clean up the edge of the frame there, then add maybe a little cash shadow. They're very subtle. I don't want that to be too obvious, so I'll just kinda do that very, very loosely and starting to come together. So now I'll add a little bit of quinacridone, Crimson, a little bit of the blue, and make that just a smidge darker. So, alright, so few finishing details here. So I'll go over some of the, under the bottoms of the flower pots, make make sure they've got a nice dark area where they're contacting the table. And a few details and a few dots here in there just to tie it up. So that's going to pretty much do it. We're going to now have a look at the image. So again, taken a natural light, a little bit better accuracy for colors. Here is the close up that I promised you so we can check out some of the textures and some of the more subtle details. And then I will finish it up by showing you the peaceful more time. So I hope you enjoyed it and I'll see you in the next one. 19. What Makes This Painting Work: Alright, let's look at the design real quick here, we've got a portrait layout. And right away we can break it down into these the biggest shapes. So it will be the background. So we've got a background. And here, so this would be your dominant shape. This would be a little bit less. Okay, so we've got roughly and maybe this is a touch higher and here, OK, but again, it's still the same. I, then from there we've got a nice break up here. So you have this feeling of this large shape that's intruding on this horizontal line. And then we have these little vertical shapes here as well. So that again is breaking up this line that's going across. And it's also connecting the foreground or the floor into this. So this shape intersecting with this line right here, connects this to this. Ok, so now they're kinda like interlocking, like a piece of puzzle or something joining each other. Then we have a dominant shape back in here as well. And that's played off. So this one, this one right here, kind of fits within this space where this one is cropped off. So as kind of a similar shape but is different because we don't really know how big that shape is at painting could go way over here or whatever. But in terms of a design, that's kinda where we're at in turn, like with the big shapes and then now we start adding the details. So you've got this strong, these verticals here and another vertical here. And then this kinda shoots up in there. And then this one has a long one that really is very airy and not too heavy, right? And that kind of breaks up that top left hand corner. And I'll just get rid of some of this real quick. And that is an interesting designed to look at. Because again, we've got these verticals of the vase, the short vertical here, so varieties and we've got a large vase here. And a small vase. We've got a long stalk here, kind of very skinny with a couple of flowers here. We've got short. Now do this in yellow, short and kinda this umbrella looking shape. And again, this is very lengthy. This and was kinda like only reach a out over in here. So that's a good variety. And then of course we have some more strong verticals playing a role back in the background. But that's, that's my take on the design. And then in terms of pallet, we've got a lot of blue. So that blue background, we've got the green tabletop, we've got green and the foliage. We've got these kind of green apples, lemons wherever they are. And then we've got a bunch of neutrals back there. So really, this is a dominant cool with some warm hues. And they're not really balanced. You know, you've got a good chunk of warm here, but it leans so much towards a neutral that it doesn't scream at you. So let, let me kinda break it down. What what if this were more of a red? So if you did it, did it like that. And now that it takes on a different the ground, the floor, it takes on a different role and it becomes a very dominant warm. And then, then it starts to compete a little bit. So having that kind of more of a neutral that leans towards a warm, I think, is important because it really makes a cooler colors jump a little bit. And then you get these little touches of orange and yellow and the flowers. And then it kind of has that cooler feeling to it. So that's my take on this piece. 20. Wine Time: Alright, here we are with wine time. So super fun piece acrylic and collage happened in here. Let's get started. So again, this is a large painting. So this one will be 20 by 25 inches. I've got a piece of scrap collage paper here. I've started. It had some greens on it, but I'm using bone black now. And what I'm doing is getting a darker hue for the stripes on the painting. So there is a tablecloth and want some dark stripes down on that. So I figure collaged and will be a fun way to do it. So once I get a little bit, a couple of pieces painted, and I'm using a hair dryer here. And I'll dry everything off so where I can start to work with it and cut everything out. So obviously, obviously drying the paper isn't anything to details. So there's a lot of things in here, lot of collaging, so I'm not going to show you everything in real time. So here I've got another piece of scrap paper. And you can see is kinda some earthy tones, some bread, some oranges. And now I have some a Karen dash crayon, and that is yellow ochre. If I can ever get the paper off of that, will continue adding some scribbles over top of that. So my thought is I would use this for like the tabletop area and I've just got to make it light enough and value that it will work. I had a little bit of a struggle with that tabletop, but we'll get into that as we move forward. I, so another piece of paper here I need now a piece of dark blue. So I've got some indigo blue and I'm just going to go right over, right over this little green that's already on the page. Again, this is just all scrap collage paper I have sitting around. You can make your own collage paper with whatever colors you see fit. But basically I'm just thinking about value here and what I need. So just looking around at what I have and just kinda using it, I'll just kinda blend that a little bit. That was actually an oil pastel. So you can see that that didn't blend very well. So now I need to dry that off. So just getting that a 100% dry. And that way when we're ready to start to collage This thing, it's ready to go. So we are ready to roll now. So here is the paper again, 20 by 25 inches. I will use a 2B pencil here, will actually 4B to lay out my drawing. So I'm getting the main shapes. I've got my tablecloth coming in at an angle. And then I've got, I'm not a 100% sure if I'm going to use all these shapes and the foreground, Bob wants something that kind of cuts up into the foreground and little bit. So I'm going to draw on for now. And then as I move forward, ought to see if it's going to clutter the piece. Just kinda get a feel for how busy it is. The main elements I want to include. What be the plate that I just drew with a little pair, maybe a lemon. I'm drawing a few more lemons here. There is another pair or a plate rather on that's cropped off towards the top there, Scott, another lemon or something in it, and maybe a little pair there. And then the big vertical is going to kind of be the star. I guess this is a big wine bottle. This will really show very well. There'll be a few wine glasses to their nice strong verticals. That will kind of be the, the highlight there. And here I gotta have a few oranges. So already those little shapes in the foreground are kinda get lost. I'll move that one down a little bit. So I'm not even sure what that is. It's just some sort of jar with a lid on it. But the orange is, I want to use that kinda pop of color and I think is important. And then I've got the two wine glasses, a sitting off to the right hand side there. So the main thing is making sure that wine bottle doesn't end up in the center. You can see is it's kind of getting there a little bit too close to the centre. So I'm going to go over that now. I'm actually going to draw it with a crayon because it's very saturated. And that way you can kind of see what I'm talking about. So I slid that over an inch or so and that feels a little bit better now that nice strong vertical is more towards the top right versus being stuck in the center of the piece. So I'll try to get away from anything in the center like that. That's really strong. Alright? Now this kinda, whenever this again and again, kinda getting a visual here, if, if I think I'm going to need these little foreground elements. Here, I'm drawing a couple of salt and pepper shakers, thinking that may be a better alternative than trying to do a big shape. And that's it. So now you kind of see where the drawing is. Golan. And I've got a little demo I did where I was drawing the human head. So that is a practice study there. That piece of paper is, I think is a 20 by 24 inches. I've got some other ones lying around, so I'll I'll pick one of them and we'll start to get into some collaging. So I went with this nice white one. This will be the main tablecloth. So the goal here is to put down a large area of white. I'll glue it down and then I'll come back over it with the dark stripes that I created earlier. Some hone that over the artwork obviously, and then just rough drawing, the shape of what that needs to be. So I've got the angles kinda where I want them and now not as Hold that up and then I'll need to cut the left edge and then the bottom edge as well. So I'll get that marked off. And then we'll make quick work of it. We'll slice it off with some scissors here. And then we will be ready to really start diving into this painting. And it kind of takes a little while to bring this together. There are a lot of elements involved. So we're gonna break it down nice and slow here. And again, when we get to things that are a little more monotonous and you kinda have to take for granted, you know what's happening? We'll speed things up buffer now, putting some glue down. And then once I'm done, getting that on the paper, will flip it over and press it down. And that should conclude part one. So I will see you guys in part two. 21. Wine Time Continued: Okay, so here we are with the dry black collage paper I created earlier. I'm going to start with this one. I like how that black is over that punch of orange and yellow. Now I've got the other piece too, where it's over the green, so I'll mix and match these. And you can see I'm just cutting out some strips at this point there are roughly the same width. They're not perfect obviously, and I don't want them to be. And again, we'll start to speed up some of this stuff that had to take for granted. Now you understand what's going on. Alright, so I'll start right here with the first strip. Um, you'll see just cut known balloon, piece them together. And no really rhyme or reason other than just making it the right length, and so on. So I'm going to queue a little music and then I will see you guys when there's something else, you need to know. Four. Okay, so you can see now that part is done and I can press that into my cardboard really good, making sure all those edges are down. And then we can have a look at it. But before I move on, I just want to make sure everything is nice and dry and he's sort of excess glue. I'll wipe away as well. And then we'll get started adding some other little small shapes here. This will just be the dark blue shapes which will go in the lower right-hand corner. And then there will be another little strip and the upper left-hand corner saw cut these out and the shape I need and then glue them. And when I'm done, I will see you back. Right? Alright, so that was pretty easy. I've got one other area to do. That would be the brown are earthy looking colors for the rest of the table. And again, using that piece of paper created earlier, I'll what chisel around the white tablecloth and then also using my pencil there to get a rough idea where to cut it. And also once I cut it, you'll see I've got a little strip moving off to the left there. I'm going to take a crayon and fill that in and then again, piece it together. And then once this is pieced together, I'll see you guys back for the next step. Okay. There. Right. You can see that upside down here and cutting out some little squares on strips to patch in the top of it. And I kinda like this. I didn't plan it this way. But I like how, you know, things aren't too uniform. And it's nice and loose lookin. So I'm kinda glad it ended up this way, but I'll get this press down really good. That way all the edges are flat and starting to come around. So that's a big bulk of it is getting that tablecloth, you know, the the table itself and then those other areas collaged down. And now that that's finished, I can go back and add some of the key players here, which will be the wine bottle. And that'll give me a feel for how everything is lining up with the collage paper and what I've done to add to this stage. But I've got some black leftover here from the stripes. So I'm going to draw a loose wine bottle there and then quickly cut that out. And that's going to give me the main element. I decided to start with the wine bottle just because everything that has to be placed just right. And then everything else will be placed in situated around that. So I wanted to make sure this one was exactly where it needed to be. So that's looking good. I think that's going to do it for this part. I will see you in Part three in the next one. 22. Wine Time Continued: Okay, so a wine bottle is in. I think I'm going to go ahead and add a label on the front of that. You can see I've got the little bit of that black leftover, that collage paper, but there is a section that I can use if you flip that the other way is basically a drawing of an ear for one of my courses, but will give that ir, new home here. And there you go. So we've got our label, rock and here for the wine bottle. And again, important to give that one in place. And now I can start to get my next key elements, and that'll be the two sorcerers. So I've got one and on the top here. And the next one will be on the left. And again, getting a very rough cut here. You know, if your style is a little more exact, I mean, you can cut that out with a little more precision. And you can see, i don't really work with a lot of accuracy, does kinda ballpark it, and that's good enough for me. Alright, so now glue. And while we are rock and roll in on that one, I've got one other one. This one will be larger in scale, is kinda closer to us. But also it's just going to be a larger plate important to get that scale working. So that again, all your sauces aren't the same size. So again, that's the reason this one's bigger as done for design and for variety. You know, if we looked at the same size, saw servers all the time, then the piece, but it starts to become a little bit stiff and boring to look at here. Alright, so you see I happen to do this in two pieces of, got a second one here and again, a little collage on that. And our I did that on the wrong size, so I glued the wrong side of that so that was my bad. So there we go. No harm wiped out off. Good is new. So here back in up so you can see it, give it a good press and make sure the edges are down and we're rolling. So this is starting to take shape here. And eventually we can get, make sure all this is press down and get into some other smaller shapes. So in this one I've got a pair. I'll draw out a loose pear shape there. And you know, the drill. Once I get that drawn out, I'll cut it, glue it, and there'll be some other little shapes I'm gonna cut out, glue and paint silk or something important you need to know, will chime in. You can see I've got my green pairs and shape there. I've got a full one on the one saucer and the other one just a piece of one. Now working directly out of the jars and we'll mix up a little bit of orange. So that's cad Orange, a little bit Dairy lied yellow and a touch a blue into that as well, just to kinda gray it out a little bit. So working also with my boiled link, Nicole says my, believe us a number ten, flat. And quickly it loosely get these orange symbols onto the paper. Getting a little bit of that as well, that's cobalt blue. I will get a nice dark color. This will be used for a shadow, so that's probably a little bit too dark. So I'll add a little bit of titanium white to that. So again, a little shadow there to our pair. And starting to kinda work with bringing some more dimension into the piece. So now we'll go to the next element, which are these kinda of lemon shapes. So I'll add a few of those in here. And again, mainly working with directly added to my brush isn't a 100% clean. So it's going to get a little bit of contamination with what's leftover from the oranges and also the shadow of the pair. But trying to keep it a nice crispy yellow, but nothing too crazy in terms of intensity. And that's looking good. So we know right away we've got some key players here. We've got the pears and oranges, that lemons. Here I'm mixing up a reddish gray. And that'll be used for some of the shadows and the oranges. And we're starting to kinda bring those to life a little bit. I'll even add some of that to the lemons should be fine. And kinda getting away from having those look a little bit too stiff. So adding shadow to it. The crayon up put down initially on the paper as a collage is water soluble. So I'm taking a clean brush there on the Scott, plenty of water in it. And I'm just smoothen out some of those strokes and kinda blending that color around the edges of some of the elements. And that'll pretty much do it for this part. I will see you in the next one. So zoom on over and I will see you there. 23. Wine time Continued: Alright, once you go with a little bit of a yellow into that green looking for a lighter value there to put on the side this hidden light a little bit earlier too. So getting away from that kinda peo washed out green that was on the collage paper, thought that would work. But now that I see it with all the other colors in there, I feel like it just needs to be a little more saturated. That's all. So again, that placed in there, I'll add a little bit to the other pair. And again, just kinda taken it in here. And at this stage I think it's important to start to ground things a little bit. So a little bit of cobalt, a little bit of the titanium white, and a little bit of orange even. And I'll go with shadows that are hitting the white. So the white tablecloth section, the stripes. We've got the white sorcerers. And again, I'll use a little bit dark, different color for the darker stripes and so on. But yeah, just kinda touched on that in there. That'll ground them sit. It'll start to make it a little more believable. And here I'm adding a little more blue into that just to change it up a little bit. I don't want all the shadows to be the exact same color. So again, just kinda always reminding myself and you to mix it up a little bit. You know, don't know those little subtle color vibrations are important. When all your shadows and different colors begin, all look the same, then it starts to get a little boring. So directly in, out of the tube here. And I did touch a little bit of blue MOM, I brush there but I'm gone with the bone black. And this'll be the darker shadows on the blues, the black stripes and that sort of thing. And I'll add a little bit of that obviously to the wine bottle there. And this shaping things up a little bit on the label, bringing the bottom of the bottle down a little bit, and I started to come together. So I think the shadows make a big difference. You can start to see them anchor a little bit. Starts you kinda way down on the surface. So a little bit of cad Red, medium, little bit of blue. And now I'll add some cast shadows on the orange or the kind of the earth tone there, the tans. And I'll use that color, run it right up into our wine glasses so that all that color will kinda blend with the shadow color, which is kinda nice. It's good to connect things through color. And obviously in reality, those wine glasses wouldn't be that color. But since this is such a loose abstract piece, I can kinda get away with it. Alright, pushing the boundaries. So a little bit of blue, they're just changing up some of the shadow colors. It got a little bit too green AMI. So I just want to make that a little more favoring the blue family. And if this a few places, again, it doesn't have to be that way on all of them, but just a few of them. I'm using a little bit lighter value there as it goes down and touches the white of the paper on those. And you are getting that looking a little bit better there. And again, it's not about precision here. This is kind of a very good IT chunked in part of the painting. There's times to be a little more precise. There's times to be a less cautious and more lot looser with their strokes and the colors and the shapes. So now is the loose time. So just getting things chunked in there is kinda how I envision it and how I tell myself what's going on versus trying to be too accurate with everything. All right, so using the tip of my brush there to scratching into that paint. And now I can add some centers to the oranges. And again, that's just kind of getting into some details now. And the details will kinda start to make random shapes look like objects, things that we can relate to. Using some negative space painting there to shape the wine bottle. And little by little, step by step here, things starting to come together. So it's kind of interesting how that works. You know, they're just, everything is done in a very relaxed, carefree manner. But you kind of follow the same process. You know, it starts with a decent design. Then you just think about how you wanna execute it. Like his watercolor, mixed media acrylic. And once you kind of envision how that's going to look for this one was going to obviously be collage. Then I can start to really dive into the execution and like, how do I wanna do it? Do I want to paint the tablecloth or do I want to collage it? Do I want to paint the pairs? Do I went to collage and painted? So there's just a tremendous amount of freedom into the execution part, which is really what I like. That's why I love mixed media so much because like anything goes and paint loose, which is really more difficult than people give it credit for, comes easy once she, I think you understand and you know, the fundamentals, good composition, color, harmony, et cetera. Drawing skills need to be up there too, but that just gives you more flexibility. We can draw things well then you have more freedom to do them loosely or confidence to do on loosely so that it is just a piece of compressed charcoal. And you can see I'm just kinda making some scribbles going around some of the shapes, scratching into the background, and just having some fun putting some linear interest into it. Most of that paint is wet. You can kinda see what I've been working on there and other areas or dry. So you're going to get some different effects. So when you draw into wet paint, is going to create more of an indentation or a scratching. Like you're almost like removing the paint and where's dry? It's going to get a line. So you get a little bit of variety there when you're drawing into wet and dry paint. So anyway, here adding some highlights, finding the sides of the bottle and now going back over it with some bone black, a little bit of a cobalt blue into that as well. Putting in some darker values. And just kind of bouncing around a little bit and looking at everything as a whole. Now, how does the wiring glasses relate to the bottle? How does a bottle relate to the oranges? And there were things do things look comfortable on the page that they do? They are they looking stiff or forced, that sort of thing? And but now just going back into the shadows and I'll have to touch those shadows up. I know that went to big on some of them and some of those aren't really kinda moving in the right direction of, I'll come back later and patch that up. So remember the little elements in the foreground there. I had a big jar and then I had the idea of doing some salt shaker, salt and pepper shakers. Some thinking the salt and pepper shakers now should, should work pretty good. There's a, there's a nice little space for it there. So I'm going to add just some shapes that would look like salt and pepper shakers. So you see I'm painting directly, they're going for it. I'll use my pencil and now to kinda draw some edges and some few little details into the shaker there, some little holes at the top of it and that sort of thing you would normally see. So yeah, that's all starting to come together. A little bit of line yellow here. We'll just bring out a few highlights and the lemon. So that should do it for this part. We're going to wrap this up and the next one. So I will see you there. 24. Wine Time Finishing Touches: Alright, so a little bit of white. Now, I'll go into areas that need to be shaped up a little bit. I'll actually go to my palette now and rework this shadow. I never really put his shadow, a cast shadow for the plate. I think it'd be good to do that now and then I can get it really get a feel for how everything relates to each other. So pretty much all the elements are on the paper plus the cast shadows. And, and you'll start to see how these things are working with each other. So working with my little liner brush, still adding some dots, some lines, getting some edges that were lost. Redefine this with using line. And that's about it. So this is working pretty good. I'm still not a 100% happy with that background color. It's just, I just think it's a little bit too saturated. So that kinda orange glow to it. To me, it was just a little bit too distracting and a jump forward. I'll really want that area of the painting to be pushed back a little bit so that the stripes are the tablecloth. Pop more. Here you can see I'm drawn into that paint a little bit and with my compressed Charcoal just to get those lines back into the work, so little bit of smudging here, just using some dark values on the wine bottle. And at this stage, you know, it's kinda, again, you're not looking at one element. You're always kind of looking at it. Now, as you know, does it work together? Do all the elements, feel-good to gather that sort of thing. And I just want to take some pure white here and reshape some of the shadows. And I knew I was kinda going to do this all along. So now's the time to to get that done and a few highlights. Maybe the woman on the wine bottle was a little bit too much. So I'll kinda probably have to go back and smudge that just a little bit in a minute, but yeah, just cleaned up these shadows mainly. And, you know, anything that feel would make the piece work. Given those shadows, maybe running in the same direction a little more cleanly. And that's about it. So again, just making sure your things feel good. In all the elements are working in the wine bottle. Is that nice, strong vertical. So that's helping us out. Then everything else is just kinda supporting through color. And that's where things, so there you can see I'm smudge and out that wine bottle, that glow. That was just a little bit too much and not bad. So I'll scratch a little bit here and, you know, it's still not happy with that background color. This is a 100% dry now this is actually the next day and it just dried really muddy. And that's not what I was after. It was a little bit too dark. So like I said before, not kinda had a hard time getting that background the way I wanted it. And I do feel this one is working a lot better. Now that I've got that in there, just to tie it in, I'll use a 2B here. And the 2B is that's all working into wet paint. So it's not really drawing a line. It's just kinda cut into the wet paint. And good. Looks like a line, but there's really no schist grooves in the paint is all you're seeing. So that's it. So let's now have a look at the piece again image taken a natural light here so you can check it out. So yeah, I think it ultimately turned out really well since there are a lot of fun to create this piece. So now you can get a feel for that. The detail, the texture of some of it here. And yeah, I think it turned out really well painted on a larger scale is a little more challenging, but start LU, stay loose, have fun with it. And in the end, if you've got your design, your composition, your color is working for you. It should turn out pretty well. 25. What Makes This Painting Work: Alright, first up, let's talk about the design. So basically, when we look at this and I'll break it down on a small scale here. You've got a one large shape that dominates and that's going to be the tablecloth. And that's coming in roughly about a third, right? So and this would be two-thirds. And then it comes down and breaks about right there. Notice it didn't break in the corner. You want to avoid any, any sort of tangent and that would break there. So again, it kind of comes off the corner. So again, that's your large shape. And then we've got, your know, your lines that come through here on the tablecloth or not. That's not really important, but let's look at these other shapes. So basically, you've got this little section here that's dark blue. And then you have another section here. That's a kind of plays a part. So you've got this kinda one dominant shape here, okay, so that's your large. Then we've got a medium shape now. And I called this one medium because you have a wine bottle and a saucer into some wine glasses that cut into this volume. So when you look at this medium shape here, it almost looks like the same size as our tablecloth, but really the tablecloth, even when you look at the oranges and the saucer, that's really a little bit bigger. Okay, so again, you've got large, medium and then some small shapes there. And that's kind of the main structure of this painting. And then from here, you've got the wine bottle. The wine bottle come is your strong vertical. So that's going to come up here and play an important role in this composition. I'm just going to shave that for a second just so you can see it. Okay. So you've got that going on. And then the other thing that's interesting here are the, you've got these kinda hard lines. So you got a horizontal. I'm going to change colors here for just a second. Just so you can kind of see what I'm talking about here. But it's interesting sometimes to see, we kinda get that to an orange. Actually let me go back to red. So again, you've got the strong perpendicular sorta lines here, right? A very hard edges. And then you have the saucer. So you have one curve here, you have another big curve here. And then of course we've got our little. Circles as well. So we've got some kinda lemon shapes which are kind of an egg shape. And we have our circles. So what those circles do is they contrast. So they make the straight lines a little more interesting that they, they give it tension. So we've got these big sauces here that are play, again, a very important role. So you can see just kind of looking at that already, how that design works. And then on top of that, let's focus on the oranges. The orange is become these small circles. But notice how we have one, and I'm gonna do that green for a second just so it kinda stands out. So we've got one there. We've got two that are joined here. And that's coming down a little bit lower. And then we have one off over here. So the, how these are distributed are kind of interesting. So you've got this sort of flow that starts here. It goes to this one and then down to this one. And then we've got the two joined. Okay. So you got you have variety, so you've got to, they're isolated and then two that are joined. So that's important. You don't want all of them to be isolated. And then of course, we've got these round objects that are placed upon this very hard horizontal and vertical assort of design. Now if we add the, the other verticals here of the wine glasses. So now just kind of make this very blocky look in K. Then we start to see how these sort of a round shapes are start to mingle. I'll human round this and around that with everything else. So, and that's really the main construction right there. On top of that though, you've got these interesting diagonals that almost pull you into the painting. Almost like a path in a landscape. So these things are and here and they kinda like take your eye right up into the painting. And then you can kind of follow them up. And here you get to this saucer that kinda leads you in this direction. You can come down the wine bottle. So I'll do that again. So I'll go on my journey here. So I'll kinda go up into the painting. You can even follow this line up around the saucer. And then we latch onto this nice strong contrast of this dark against a light. And we can come down here and enjoy all of this. And then we get to this little journey here of the oranges that kinda take us back and around this way, and then we kinda complete the journey. So that's kind of an interesting way to look at this one in terms of the overall color palette or dealing with really kinda some darks and cools. But it's really an interesting balance of both. You don't have in any sort of really solid color harmony to deal with. So for example, color harmony can be like a dominant warm hue. So you're dealing with allow yellows, oranges, reds. And he, things that are kinda lean towards that warm. And then he blast it with a little bit of cool. And perhaps we can even make a case for that. So if we, now that I really look at, if we look at this, you need because say this tan is a rather warm because it leans more towards the yellow. We've got these browns and darks that are kind of more of a, of a neutral here. Maybe this tan leans more towards a warm because it's maybe has a little bit of red in it. Obviously the oranges are very warm. Warm, greens are cool, yellows are warms. So maybe you could think of this as kind of leaning more towards a warm pallet. And then that's contract trusted here I'm gonna put some zebra stripes in, kinda little hatching with these cooler Hughes. Rather salt shakers. The greens. The greens. So perhaps, you know, this would be more lean towards a warmer hue, are warmer palette with the touch of cooler. Hughes Now had I put the head, I made this dark blue and the corners red. That would have changed everything. So then you would have been dealing with a palette that perhaps is a little bit too warm. So then you get into things that are it doesn't have enough contrast there. So yeah, I mean, I'll just say for, for the palate, you know, we're dealing with dominant warm with some cool hues. Okay. And then I'll wrap it up. So hopefully you learned a little bit about the design, the composition that goes behind it. And that adds a little bit of extra learning and some extra tools to your arsenal. 26. Recap& Projects: Ok, well, I hope you enjoy the demonstrations. Again, this will be an ongoing class. Look for updates in the future, but there's plenty of here to sink your teeth into. So please get started. Do these projects because I know you'll have fun. You will expand your repertoire and you will create some amazing art. Doing it. Again, if you have suggestions, please let me know. But again, I have plenty of ideas and tricks up my sleeve. So look for updates and then near future, I want to thank you for your interest and support. I couldn't do it without you take care and I'll see you next time.