Acrylic ABSTRACT and COLOUR MIXING with a Palette Knife - Section 1 | Gerald Ashcroft | Skillshare

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Acrylic ABSTRACT and COLOUR MIXING with a Palette Knife - Section 1

teacher avatar Gerald Ashcroft, Acrylic Paintings with a Palette Knife

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Topics include illustration, design, photography, and more

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

Lessons in This Class

19 Lessons (32m)
    • 1. Wecome to Acrylic Abstract Course

    • 2. 02 Painting Materials

    • 3. 3A Introduction

    • 4. 3B Palette Layout

    • 5. 3C Lemon & Crimson

    • 6. 3D Burnt Orange

    • 7. 3E Lemon Orange

    • 8. 3F Crimson Orange

    • 9. 3G Orange Tint 1

    • 10. 3H Orange Tint 2

    • 11. 3I Lemon Orange Tint 1

    • 12. 3J Lemon Orange Tint 2

    • 13. 3K Crimson Orange Tint 1

    • 14. 3L Crimson Orange Tint 2

    • 15. 3M Lemon Tint 1

    • 16. 3N Lemon Tint 2

    • 17. 3O Crimson Tint 1

    • 18. 3P Crimson Tint 2

    • 19. 3Q Conclusion

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About This Class



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Gerald Ashcroft

Acrylic Paintings with a Palette Knife


Hello, I'm Gerald a West Australian artist originally from the UK specialising in Landscapes and Abstracts using oils acrylics and pastels.

My journey into painting Australian landscapes began in the late 80's. The rich colours dynamic shadows and brilliant light triggered my enthusiasm and an urgency to start painting out in the open air known as 'en plein air'

I was a lecturer for 6 years at the School of Art Design and Media with the West Australian Department of Training and been painting landscapes and abstracts in oils acrylics and pastels for over 25 years.

During the last 10 years I have run many landscape and abstract workshops for groups couples and individuals and have a passion for helping people break through their self limitations. ... See full profile

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1. Wecome to Acrylic Abstract Course: Hello, I'm Gerald Ashcroft. Welcome to this Krilic abstract course. This course is part one in a series of three where each abstract will have a different color theme. In this first course, I'm going to show you step by step out of paint, this rich, dynamic abstract. Using just two primary colors on Dwight, you'll be using pieces of rag on the painting knife to apply on. Blend the colors on your canvas If you're just starting your journey into painting abstract , it's really important to have a good, basic understanding of how to mix colors and also create a color theme that's going to work your painting. As a full time artist and teacher, I've conducted abstract and landscape workshops for groups, couples and individuals. Andi I was also a lecturer for six years with the West Australian Department of Training. I want to ensure, first of all, that you can learn to mix colors intense, effectively using just the primary colors on Dwight. It's going to be more cost effective. You will learn farm or and gain so much satisfaction, knowing that you can mix a variety of colors without having to go and buy a lot of pains. At the beginning of this course, I've created a color mixing exercise that will introduce you to the colors that you're going to use to paint this abstract. I would highly recommend that you do this color exercise first. You will find it extremely beneficial, and it will prepare you. But when you come to paint your abstract, I know that you're going to really enjoy doing the color mixing exercise on also painting this rich, dynamic abstract. So if you're ready to have some fun mixing colors, painting with bits of rag and a painting night and enroll now I look forward to helping you get started on your abstract. 2. 02 Painting Materials: Now I'm going to cover the basic materials that you'll need for both the color mixing exercise on and for painting this abstract For the color mixing exercise, you can simply use a canvas panel like this one. It measures 20 centimeters by 20 centimeters. You really don't need anything larger than this for the purpose of the exercise. For your main abstract painting, you'll need a stretched canvas just like this one. It measures 50 centimeters by 40 centimeters. Using a stretch canvas provides you with the luxury off a texture and flexible painting surface. It's also a more professional way to present your painting, especially if you want to frame it and hang it. Once your paintings complete, you'll need some way to support your canvas. And a desktop easel similar to this is ideal. If you don't have uneasily, you can simply work with your campus flat on a kitchen or dining room table. You need three acrylic paints for both the color mixing exercise. And for this main abstract, the colors are crimson, lemon, yellow and white. Judith acrylics are okay, but they contend to be quite runny because they don't have the amount of pigment in them that artists quality acrylics contain to lay out and mix your paints. Using a flat plastic trade just like this could work really well. But make sure that it's really smooth because you need to mix on. Also scrape up the paint easily so that you can apply it to your canvas. You'll need a pencil to divide and mark up your canvas intersections for your killer exercise on Also feel main canvas during the blocking in state, you're going to use pieces of cotton rag toe. Apply the various killer mixtures to build up the layers in your painting. Cotton rag is absolutely ideal because it will soak up the paint far more easily than anything synthetic, so use cotton rank. If that's available to you, you'll need a water container for keeping your rags wet and for rinsing them out during the various color applications. The reason I've chosen to work with a painting knife for this abstract rather than using brushes, is to help you to develop a broad painting technique to keep your painting loose for this abstract, I used a medium sized painting knife that allowed me to mix a good quantity of paint and apply it broadly to the canvas. For your color mixing exercise, you'll need a slightly smaller knife Similar to this one is ideal because you'll only be working on a smaller canvas to start with. Once you start mixing your colors, make sure that you have a handy supply of tissues ready so that you can constantly keep wiping a knife to keep it clean. You want to ensure that you keep your colors fresh, clean and bright Well, that covers all the materials that you're going to need. In this course, there is a list of all the materials in both the color mixing on the abstract pdf documents that you'll find at the end of this course. So now let's get into the color mixing exercise. 3. 3A Introduction: Hello, I'm Gerald Ashcroft. And welcome to this color mixing exercise. The purpose of this exercise is simply to introduce you to the colors that you're going to be using for your main abstract on. It's also an opportunity for you to have a go, actually mixing the colors and the tints before you actually do your painting. But the first thing you need to do is to prepare your canvas. Now I did mention in the materials video that this canvas panel is 20 centimeters by 20 centimeters. If your panel slightly bigger, it doesn't really matter. The thing is, you need to create 15 sections, and the easiest way to do that with your pencil is mark across the top intervals of four centimeters 4444 and then draw your vertical lines. And then on the left hand side, you go 1/3 2 3rd and draw to horizontal lines as long as you ended with 15 sections, that'll be fine, even if your canvases larger now, the next thing I want to do I want to show you how I've laid out the colors on my palette, and I want to talk about how I'm going to mix the colors and where I'm going to place them , so let's have a look at the palate. 4. 3B Palette Layout: in the top left hand corner. I've placed the crimson and then to the right, the lemon yellow, and then the far right, I've got some white. The first thing I'm going to do is to take up some lemon and place that in the section here on the right and then take up the crimson and place that in this section here on the left. And then the three panels on the top are going to be mixtures off the secondary killers in the first secondary color that I'm going to mix is on orange, and that will go in the center, and then the next color is a lemon orange, which is a lighter orange and that will go to the right here and then a deeper orange, which will be a crimson orange and that will go to the left. So along the top we'll have the two primaries the lemon on the crimson, the orange lemon, orange onda, a crimson orange. Now you're probably wondering what are the rest of these sections for? Well, under each of these colors, we're going to use white and create a tint along the bottom. There will be a light tint off each color and then in the middle will be a medium sort of tint off each of the colors. So let's start with the lemon. 5. 3C Lemon & Crimson: now for this, I'm using my smaller knife. So on the right hand underside edge, take it over to the lemon and gather some paint. You can see just how much there is there and take it over to the panel on the right. Andi, just bring the levin down. All in one movement, just like that, you probably have a little bit of the paint left on the knife, so just take it back to your palate, press it onto your palate, and then wipe your knife. Make sure the knife is clean because now we're going to go over to the crimson. So do the same with your knife. The right hand edge into the crimson collected on the underside of the knife. You can see how much you've got there and take it over to the far left hand side. Here we go. Same thing. All one movement. Put it on gently and there we go on. I have quite a bit on the underside of the knife. So going to press that back down on the palate and just want the knife again. Now that I've placed the two primary Callisto Lemon on the right on the crimson on the left , I can now mix the 1st 2nd regular. This is going to be more of what I would say, a burnt orange rather than a brilliant orange. If this crimson happened to be a really brilliant red, then mixed with the lemon, it would create a really brilliant orange. But because this crimson is so deep, when I mix the two together and they'll be obviously farm or of the lemon than there is in the crimson, it will produce a really rich deep what I would say, a burnt orange. So I'm going to mix that and then place that in the center. 6. 3D Burnt Orange: Now I'm going to take some 11 and place it here. Take a little bit more, actually. On Dwight, the knife again. It takes him crimson. I mixed them together. You push the killer's together, pushed the knife left and right, left and right. Then scrape it and push the color. Now you turn the knife, the underside scrape the color off. I'm press it down looking at this now I think I'm just going to put a touch more touch more crimson in it, so I'll give this a really good mix. So you're just pushing the killer left and right and scraping it back up with the knife. Don't spread it out all over the palate. Just keep it fairly contained. Then scrape it up on the underside. Push it down again. So it's really mixed in Well, so let's have a look at that. Let's hold out between the two on the panel here. Is that a fairly good burnt orange? I would say, looking at that, I think I took more crimes and make it slightly deeper, wiping the knife again. This is the great thing about color mixing. You are going to have to judge all the time, just how much or how little color you actually put in there. So I think that's looking pretty good, and I think I'm pretty happy with that. 7. 3E Lemon Orange: this time I'm going to take some more lemon and place it. Yeah, may take a lot, actually placed it there. I'm going over to the Crimson. This is where just need to be careful. That you don't actually put too much in It is again. This color has got to sit between the actual lemon on and the orange that I've just mixed. So let's have a look at that. We're looking at that. It's still this to bias towards the lemon, so it needs more crimson. Just keep the knife clean. So back over to the crimson again. I think you'll have a lot of fun doing this. I really enjoyed killer mixing and just judging how far to take the color, I hope of not going too far with that. Let's just have a let's have a look at that. Actually, this is a This is a good example for you because I think actually it's gone a bit too far to the burnt orange. So now I have to add, took more lemon to it. The whole thing about Kalinic's is there are There are no rules, and it's all it's always trial and error. So Let's just have a look. See how that sitting now? Oh, that's far better. If you have a look at those two. Maybe I'm just going to add the rest of that to it that I had there before. Mix it all in giving a good mix. There you go. I think that's fine. So great. Diesel it on the knife. 8. 3F Crimson Orange: the lemon. Put it over here. See how we go with this. Yes, I can see already. That's going to be quite deep. It really is a burnt orange. When you look at it, let's have a quick look. See where that sits? Well, if you look at that, I think needs more crimson in it because it's quite near to this orange. So let's just out of touch more crimson. Remember to keep your knife clean. Always wipe the tip of the knife. Takes a more crimson here. He was a good mix. I think this will work out really well. 9. 3G Orange Tint 1: Now we have our 1st 5 segments. Complete the two primaries, the lemon yellow and the crimson and with mixed and orange in the center, then mixed a lemon orange, which is lighter and now a darker crimson orange in place that here, with each of these killers underneath, in the bottom row, I'm going to mix a light tint. So using mostly white on ad, adding a touch off that color to it here. So we have a row of light tints and then a row of medium tins. I'm going to start with the orange that I mixed in the middle, so I'm going to take some white and place it down here. And then this is the original orange that I placed in the middle, so I'm going to just take a small amount of that. Give it a good mix. See, it's really quite light. Remember, used the underside of your knife all the time to scrape it up. Push the paint back down onto the surface, scrape it up again, push it around, and that's how you'll give the paint really good mix and place it in the bottom section here might as well use all of it. Now you can see now how light this is because the majority of that killer had mostly white in it, with a small amount of the orange. Now, in this section here, I'm going to mix tint that slightly deeper between this color on the original orange. 10. 3H Orange Tint 2: so it takes a more white and taking the original orange. Given a good again. It's all about mixing, pushing the color around, making sure it's all mixed together. Well, I'm going to use that. They arrested the orange that I had on Mix it in there. Use all that orange. I think that will just right. 11. 3I Lemon Orange Tint 1: The next thing I'm going to do now is work in this column with the lemon orange light lemon orange tint and then amid lemon orange tint here. So going over to the original mixture that I had, I'm going to take good amount of white. Place it down here for more wiping the knife, small amount of this lemon orange that I mixed. This makes quite a quite a brilliant lemon tent. Let's compare it. Yes, it's light enough placing it here. 12. 3J Lemon Orange Tint 2: Now I'm going to finish off by making this the mid lemon orange tint, a small amount of white this time. And I think Maura of that lemon orange again giving it a good mix, making sure colors combined. I think it needs a touch more the original color. And I'm going to use all that original color that was there. Why not? 13. 3K Crimson Orange Tint 1: I'm really quite happy with that, the way it's looking at the moment, looking quite colorful. So now it's over to this column to this crimson orange tint, which is the much deeper one. So Notimex the lighter one first so over and takes, and six and white a small amount of this deeper crimson orange. You can have such a lot of fun mixing colors. I mean the the actual combinations, a really endless. That's what you're going to find once you start mixing your own colors for this exercise and also for your abstract. 14. 3L Crimson Orange Tint 2: taking some more white, more of that crimson orange and go slightly deeper this time. How does that sit? Well, in actual fact, it could be Yes, it could be deeper. Let's put a touch more crimson into it. You have, You know. Okay. 15. 3M Lemon Tint 1: let's start with the lemon and going to take good amount of white. Put that here. Just a small amount of the lemon because the lemon is really strong, as you can see in your main abstract, you won't actually be using this particular Kalim mix, but it's really just to show you what happens when you take white and you add a small amount of color to it. Because it's called attend. Anything that has a large proportion of white in is called a tent. 16. 3N Lemon Tint 2: takes in white place that here, I'm going to take away that white. Actually, I had a good amount of lemon. This time you can see it's really strong, so I wanted to be somewhere between the lightened on the this full strength needs to have more lemon in it, lights spreading butter. 17. 3O Crimson Tint 1: I'm gonna take some white, Place it down here. This is the lightest tint just going to, Ah, a small amount of crimson to it. 18. 3P Crimson Tint 2: I'm going to use the same The same patch. Yeah. Sexual white trying to hit somewhere between 1/2 way mark. But it doesn't have to be okay. Exact. It's only a color sample anyway, so I think this will do for the purpose. 19. 3Q Conclusion: Well, that's the end of the killer mixing exercise Really simple. But as you can see, the actual process is really interesting on. Above all, making those judgments of is the color to light. Or have I put too much of the the stronger color in it? Where should it be? And that's a matter of judgment. So I really hope you enjoy that process when you come to do it. Now, when you look at the the A range of colors here, the colors that you're going to be using inhumane abstract, they sort of sit within this range here. I mean, apart from the crimson, you're going to be using the pure crimson, and you're going to be using color accent off the full strength of the lemon, but you're not going to be using these two as much. I just wanted to show you what it was like to mix these two tents with proportion of white on a small amount of color, so it really looks quite colorful that I'm really pleased the way that's worked out. So I hope that when you come to temple, yours mix the color, make sure you mix your colors well, test it and then take a good amount of color with the knife and just put it on just like butter.