Acrylic & Mixed Media Essentials Part Two | Robert Joyner | Skillshare

Acrylic & Mixed Media Essentials Part Two

Robert Joyner, Making Art Fun

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14 Lessons (1h 23m)
    • 1. What You Will Learn

    • 2. Introduction

    • 3. Overpainting 101

    • 4. Dirty Water

    • 5. Dirty Brushes

    • 6. Size Matters

    • 7. Basic Palette Ideas

    • 8. Palette Control

    • 9. Clean Your Palette

    • 10. Don t Throw Away

    • 11. Color & Charcoal

    • 12. Good Mud

    • 13. Explore Color

    • 14. Overthinking


About This Class

In Essential Skills Part Two you will learn how to eliminate muddy artwork. To create crisp & colorful art you need to stop bad habitls and master the art of how to handle your palette and medium(s). The tips you will learn seem simple but I can ensure you it takes discipline to make the necessary changes. I've taught many live workshops and have seen new & experienced artists make these common mistakes.

Note - This is the final series of lessons for Essential Skills. In Essential Skills Part One I shared many techniques for applying mediums to your surface(s). In Part Two you will learn to eliminate bad habits that result in gray, muddy art. If you haven't watched Essential Skills Part One I encourage you to do so.

I've included a PDF with important reminders & demo images from all lessons. This can be found in the Project section of the class.

Moving Forward - Once you have mastered the Essential Skills it's time to explote the wonderful world of painting loose with acrylics & mixed media. I have several classes already here on SkillShare and will post many more. I look forward to sharing my passion and many lessons learned for painting loose.


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1. What You Will Learn: Hi there. I'm Robert Joyner with paint loose, and this course is all about how to manage your colors and how it now one of the common questions I get from online workshops and working in live settings is why are paying so money? How come I don't create colorful paintings? How come I struggle with color? The lessons, tips and techniques I shared with you to this point to me arm or important than giving you a bunch of rules about how to mix colors. This is exactly why I put these lessons together. Because I know they will benefit you and cancer. Ah, lot of these issues for you, okay? 2. Introduction: Hi there. I'm Robert Joyner with paint loose, and this course is all about how to main injure colors and palate. Now, one of the common questions I get from online workshops and working in live settings is why are my painting so muddy? How come I don't create colorful paintings? How come I struggle with color? And this is exactly why I put these lessons together? Because I know they'll benefit you and answer ah lot of these issues for you. Okay. The common mistakes. What you learned right here in this series of lessons will improve your colors tremendously . They're simple. They're easy. But I see them all the time, and we want to cover these mistakes when to stop and clean. Okay, that's a common problem. But there's something that we have to do when we're painting. We have to be aware of our palate. We have to know when things are to a point. We're no matter what we do, how much pure paint we pile on. We got too much mud there, and we need to stop what we're doing. Size matters. Pallet size. I see a lot of this painting on small paper plates. things like that and we're gonna talk about the size of your palate and why you need to go bigger. One reason your colors are money. This is a big one. I'm not even going to give this away. I want you to watch this course. This is a very interesting one. And I'm sure all of us are guilty of this from time the time. Many of you, many of you probably do it more often than you think. Um, when money is good, right. Mud colors, gray colors, overworked colors. They can work to your advantage if you know how to use them. Now, we don't want to create them, um, as a habit. But there are times when we can use this and really create some colorful artwork. So I'll show you how you can turn situations around and take control of your paintings. Ah, simple palette for beginners. Some of you I know are Well, you're beginners were all in different levels, different stages of our skills. And sometimes it's good to lay out a simple palette and then that kind of grow from there. OK, so we're going to go kind of discuss where to start if you're just beginning, and then how you can Eventually you have a manage amore rounded palette with more more options there mixing with charcoal. I know a lot of my students. A lot of you are mixed media artists. I am. I love painting and being creative with mixed media. I use it all the time with my acrylics, charcoal and also used crayon. But charcoal is typically the problem for many of us. So we'll talk a little bit about mixing and critics with charcoal how that can present its own set of problems and how we can manage those exploring colors. Okay, color there are awesome. I me. I am so inspired by color. Sometimes I get in here and I start painting. That's all I care about. Just the colors that are unfolding in front of me they were coming off of my brush are exciting. And we're gonna talk about how we could explore colors to grow, to evolve and to make our paintings more interesting. And then the last one is Are you overthinking? Okay, Um, there are a lot of rules, and, um and I think some of those are valid, but also feel like near the artists. We have our own vision and we need to take control of that. We are all individuals. We see things differently, and we need to express ourselves uniquely individually. Okay? And we're going to kind of go over this because I feel like once you understand a lot of these, you're gonna figure out that you know what colors aren't that big of a deal trying to create. And, um, remember all of these rules about color they're not that important. OK, so we want to simplify the process by eliminating some of these common problems and issues and then use our own eyes. OK, that will kind of conclude this overview of the course. I can't wait to get started. I'm excited. I love talking about color, and, um, we're going to kick things off right here with common mistakes. See with the next lesson 3. Overpainting 101: Welcome back in this video. I just want to talk a little bit about over painting. Now, there are a lot of reasons. While paintings aren't successful, I have a long list of my own. But there are certain common problems that can be avoided. And in this video, we'll talk about one of them, and that is over. Painting over painting happens all the time. And for all the wrong reasons, I'm teaching live workshops. Typically, what I see is artist will the same. Um, one of paint would have say, a building were some sort of block here. Um, starting out. I'm like, Oh, you know, I really don't like the shape of that. Um, I want that to be a little more red, and so they mix it up and they go into it. Ah, you know, that's just a little bit too light. I want that a little bit darker, so I'm gonna mix, mix, mix, get my color is going here. I just want to put that down, and oh, you know, I think the buildings a little bit taller, So let me go up here, make it taller and way. Have no this windows shadows and basically what they've done have these mixed 23 layers at once and all the brushwork, all the colors, everything starting to become Bush all blend together and becomes very heavy. And then in the end, they're gonna like it a lot less than when they initially started. All right, so one way to avoid over painting, Mrs simply put a layer down if you're not satisfied with it, even if you are, are you going to do something else to a next? But even if you're not satisfied, whether just leave it alone and let it dry and that is one of the great qualities of acrylics is they drive very quick, so you don't have to wait around for two or three days to get back to it. So say, if I draw a line here to divide ah, the paper and I give you another example, So all use. I'll just use my fan brush here. I see. I mix a little red, little yellow. I want to paint a building to like my fellow artists over here. That's putting something down. Ah, you know, that shape is all I got whenever the edge of the air and let me fix that. You think now what's gonna put it down? You go. You know, I don't like that. It's a little bit to read. I wish I would have pushed him Or to, you know, a brownish color or whatever. I know now to not fudge with it too much. Okay? Because this will be driving in two or three minutes, and then I can come back with another layer and go on top of it. Okay? So you come not happy with the shape of it, okay? And I will go ahead and put that down while I'm thinking about so say I did that, you know, maybe the cat, you know, but my leg or something startled me in. Maybe take a crazy brushstrokes here. I'm not gonna try Fix that now. So, like this say, if there were a blue building beside, I go Oh, just you go ahead, paint that blue building and cover all that stuff up. Yeah, is a bad idea, because that blue's gonna mix with the red, and then we got the color we don't want, and then we try to fix that. Just going create a lot of problems. Okay, so I'm gonna stop part one of this video here, Let this dry and we'll come back. I'll show you how we can add a layer to that and get a much better result than what the impatient artist the over painter did on Exhibit A. All right, welcome back Now dry, dry. Thank you. I'll include an image, of course, in the lesson, but you can see how thick that's become and kind of muddy looking. All those colors have dried together, and they kind of mingled and just doesn't have a very crisp look about it. Now there are ways to resurrect something like this. But if we can avoid it in general, just because over painting is a bad practice, then you're better off. Um, now on this side, it's crisp. So I've got that one layer down. Say, for example, I wasn't happy with it. Um, and I can make some changes now. Haven't taken this so far. That is ruined. Now let's say I want this a little bit a little bit darker, Okay, so I could just simply take the red, maybe with a little bit of crimson, have it on my brush here and all right, you see how that layers on their nicely and the layer beneath it doesn't get mixed with this lays on top the wet layer, the one just added, lays on top of that dry layer without ruing ruining. Excuse me, and that's a really good tip for you. Because oftentimes I see this and then this just causes you to paint in circles where this is a little methodical being patient with an understanding your medium for the same over here, where the cat bumped into my leg, right? Oh, God. That kind of crazy stroke there. I didn't get fussy with it and try to fix it. But now that is dry. I can go ahead and put my blue building in there. I'm okay. So I haven't that if I were trying to put that blew over into that red while it was wet, we're trying to fix it. Then that would have mixed with the blue. And then we were to get that little muddy pocket here were in this case, I can put that blew over really nice and doesn't mix. So that's just being really, really patient understanding that. You know, I don't have to sit there and fuss and fuss and fuss it with something I can. I actually put something down really loose and no one that I can come back later. Okay, so that's a really good tip for you to think about, Uh, you know, when when you're painting and to try not to fall into the trap of working too much wet into wet. I mean, it's OK to blend in to do things, but, like, let's say, for example, I want to put this awning anointing on this building, but I can go ahead and do that, but I know this is still wet right here, so if I do it, I'm glad I got one shot at it, Right. So I'm gonna mix up this little saying so white a white awning So I can say, Ok, well, I'm gonna put it down, but I gotta leave it alone so I can kind of put it down and leave her alone. Okay. If I start getting there fussing and cussing and fussing with it, then it's time to start to blend and to that red. So this will become peak and then Then we've got We've got some problems, right? Because then we've lost that kind of crisp feeling of that awning. Okay, so they think about that a little bit when you're painting your practice with layers, put some layers down and to go over it. Um, now, conversely, you just kind of thinking about layers. I do occasionally put a big dark blob down like this intentionally. Now, I don't want to do this as a habit, OK? So I don't want to over paint over paint. Oh, I don't like I'm getting fussy. So the reason I did that was because of, you know, I just didn't know when to stop. But there are times when I will create this kind of muddy mess on purpose because when these money message dry, they can create a nice background Teoh to put something on. So, like, for example, if this this is dry, I would take a crayon. So excuse me. So I have Ah, yellow crayon here. I know I can go back over this now that is dry and create a nice, um, backdrop, if you will, for this light color. Um, so that's kind of setting things up, but again is a practice. We don't want to paint, paint, paint and circles because we'll end up with the money Mets mess. Excuse me. You're better off to think methodically, patiently and to let things dry and then come back later. Tweak it if you need to, and you'll get much better results. Much more of a fresh look to your artwork. All right, Hope that helps you. That's a little bit of acrylic. One on one for you, of course. Painting in layers of very, very deep subject. I love talking about painting in layers Have, ah whole segment a whole course just on that. Well, this is just kind of tapping into it, but more importantly, it's about trying to avoid the trap of over painting and getting too fussy and just not being patient and understanding your medium. They could come back, tweet things later. All right, here I am, talking in circles, trying to get you not to paint in circles. But there you go. Have fun, happy painting to you, and I'll see you next time 4. Dirty Water: guys don't use dirty water. I'm gonna make this lesson short and simple. If your water looks like this, change it. Replace it. Okay? One of things I've talked about. Another lesson is if you have long sessions, you need a lot of water. And if you paint like me, you're a momentum painter. You don't like to stop. I tend to paint for like, three or four hours straight, and then I need to take a break out. I'm contact out at that point. And I know for session like that. I mean, I probably need about 12. The 15 reservoirs. Andan, this is even small. This is the smallest I have. But I would need most of my hair about this tall and And I have actually ah, like a big five gallon bucket that taking a fill up with clean water and I bring it in, not take these. I just dip, amend the air ruphylin, and I'll use at least 15 to 20 in a session like that. Easy. I mean, it's not uncommon for me to have to stop. Take all of those down, um, clean him out and then start over again. I mean, I've gone through 2 30 40 of those in a session before before. Now, if you're be paint a little more like conservative leave or your slow slower, you tend not paint as rapidly and cover as much ground as others. Then you don't need as many, but you still need some. Okay, if you only have one that gets to be a problem, okay? Because it's always gonna be dirty. And you don't want to keep having to stop and change it. So you at least have 45 reservoirs of water, even for an hour, a session having there. And if you don't use them for this one, then you can use it for the next one. But please, people, please, Please, please, please don't do this. And again, I don't make these lessons because I'm making up these situations. I make them because I see these problems all the time. And I promise you creating colorful, vibrant artwork has nothing to do with very little to do with your knowledge of color, how to mix colors and all that stuff. Okay, has to do with how you manage the colors you have, how you manage your water how you manage your palate, how you manage your attitude when you're painting over painting that sort of thing. Those things are more of a culprit, then becoming a master at knowing what colors blend well with with each other. I mean that we're gonna talk about that later. But anyway, change your water, people. That's it. By 5. Dirty Brushes: All right, This is the third common mistake I see a lot. And, um, and what I have behind me here is a a little chart. We're going to use these gonna be little color swatches, and this will be the beginning, the start, and then this will be the finish. And the common mistake I'm going to talk about is you're not changing your brush frequently enough, okay? And near this can be avoided pretty easily. But let's just say this artist starts out and we're gonna mix, maybe start with some yellow, a little bit of the screen, and we kind of start here the Boks file. I want to kind of think I want to kind of mix in, get some pigs working over here so they get some color going here. Well, you know, now I want to work with these kind of darker blue colors and they come over here and they start painting in some blues. Yeah, you know that. That's kind of nice. I'm gonna kind of work with some of these great colors. And we get here and they go, Oh, that's cool. I'm gonna go back to my blues, put down some blues. Oh, let me kind of get back to these yellows And here and then ultimately, what's going to happen is let me get back to these pinks. These things start to gray out just like that. Um, you go. I really want to get these pinks. And the colors aren't crisp anymore. Okay? So cleaning your brush in between with help, right? Changing brushes is what I like to do. Um, I'll clean too. So I mean, I think you can hit a color, and they may be hit another one. But once you start getting in here, you've kind of gone through 43 or four color families there. Things were gonna start to gray out for you, and these colors will drive very gray and flying. But if you can wash the brush and start fresh or you can. So I know some artists will will. Even they'll have a brush they used for their blues. We'll have a brush they used for their peaks or reds or whatever, and they like to use a combination. Or you can just, you know, mix. And then when one starts to look dirty or you know is dirty I know if I go to it, you know, mixed one or two combinations and then I change it. Oropesa Hey, I have mixed two or three colors. I know it's time to put it down or wash it or just get something fresh. Okay, that's a much better deal. OK, so now what I'll do is I'm gonna do another chart down here, and we're used fresh colors and kind of go with the same idea. I have a little chart up there. Some kind of started Say, I wanna go into some yellows. I don't have to do these exactly the same. But the idea is when Whenever you see these, we see this. I'll think, of course. Ah, picture of this and will be included in the lesson. Um, you're going to see how much better these colors look now. Mixed a little bit of the fail agreeing with that yellow. And because I'm mixing yellow and green, I'm trying to go to agree. That's okay. I mean, I can go there Now let's say I want to do 1/3 1 I'm gonna go, OK, well, I want to kind of push this to a bluish color. That's alright. I couldn't do that. I'm a dip. A little bit of water in here. My great that I've gone to this brush three times out. I know. Hey, new, um, we're gonna We're gonna go to a fresh brush here. Someone makes a little bit of the green. A little bit of the white. It doesn't really matter. The color combination. Okay, It's really that the rhythm you get on with your with your brushes and mixing your colors. That's what's important. Now I mix the green. So let's say I want to kind of go to a light yellow. That's okay. I can probably do that. We'll get with this color. That's all right. Let's say I'm ready to do some reds. I just mixed that with white. You know, that was yellow and white. So I know unless I want Tokyo like a muddy pink, that brush needs to go or I need to clean it. I'm just going to switch it. Goto a new brush with my red. Hey, we'll get with that idea doing some some peaks. I've got pink on my brush. Maybe I wanna push that to ah, say a Some sort of violent color here that's OK. Or dark blue. That's all right. I've gone to it now I don't want to mess with anymore. Let's say I want to end, you know, with a little bit of that kind of reddish color run out of red. But now look at the difference. And then look how crisp these colors look. And then look how these air starting. They kind of fade Now that these guys are on stage, right, that's something very interesting to know. Okay. And again, this is just one technique. One idea, one simple change you can make to your your painting habits that will improve your colors. Promise you. Okay. And again, the these air things I've noticed about my art, my struggles with color and the habits that noticed I had changed. I developed better habits. Ah, rhythm. Like I said before of changing your brushes Boom, Put it down, get another one, put it down, get another one, or wash Go, wash, go. I do both. I mean, sometimes it just depends on my mood and whatever the moment takes. But But I know if I if I go down and I'm mixing certain colors I mixed bite with it. I know that if I go to any other, like, darker color, if I want something crisp I gotta wash. And I know without do it without even really thinking about it now. But anyway, um, hope this lesson helps you. This is really a come of Ah, big deal. If you just do swatches like this and just do some, like, bad case scenarios, and then do this, you're gonna see a big change in your colors. Okay. See you the next lesson. 6. Size Matters: we're gonna talk about size matters. Okay? You know what I'm talking about, of course, is palette. The size of your palate is very important. And I find more often than not, that the palate is just too small. So an example of that would be something like this. A little pan. Now, this is OK in some scenarios. Okay, So if our forced to use something like this and I have, I'm going out several. It was a few years ago, and dis implant air painting. I don't want to take a big pallet. I couldn't take what's in my studio. Have a humongous glass palette that I use, and I'll show you that in just a moment. Um, so I didn't want to take anything large, so I didn't know how much walking and all that stuff I will be doing. So I brought I would bring this with me a times, and I found like the paper pallets were too flimsy and they would fold, and I would just mix too rough with him, and they would just end up dripping everywhere. And I found them to be a little bit frustrating. But I use one like this. I just reduced the amount of colors because what I mix I like to use the middle for my mixing area. I put a lot of paint down and I found that put too many colors in here. They would just merge too quickly. That would lose the everything will become, I guess, contaminated with each other. And then all my colors were just kind of green and greyish. So if I use one like this, OK, And if you use one like this, it just reduce your colors to maybe four or five and try not to put too much in here so that maybe if you keep your colors in one corner or one side to use the rest of it for your mixing and you'll be OK. But, you know, in general, this would be too small. Of course, this isn't probably no bigger in size and surface area, then, like a paper plates and paper plates and things like that are okay, can throw him away, and and maybe they're good for if you're going to do a workshop or something. But if you have to use something like this, they had to travel or and a good to a workshop. And you can't. You don't wanna You wanna travel as lightly as possible, Try take six for seven plates and then use three of them at once so that you have a good amount of mixing area. This is what I use when I'm working with the recording. So doing the live workshops and this is a lot bigger. So I put him side by side. You can see there's, ah much more of ah mixing area and this is OK. Hey, I mean, this will get the job done. Typically, try to keep about six colors on here. And when I do that, though, typically I'll start in the very corner because if you start parliament right here you go miss a lot of space. You want to take advantage of all of the space and don't put to bigger piles. But put a nice little bit and just kind of start in the corner, like over here, and I use a lot of white now, typically use this larger corner what I'm setting up for white and then lima other colors up along the edge and maybe here and that way I've got all of this area for my mixing. So this this is okay? I mean, I only use it because I'm filming. I don't It's inconvenient for me to go over here too, Where my palate is I use when I'm not recording and just simply painting in my studio. So now I'm gonna show you an alternative palette, and this is what I prefer. And to do that, I'm gonna take you over and show you my MySpace in my glass palette. Here is my glass palette. And this is where I do all of my mixing when I'm doing studio painting. And the beauty of a glass palate is and this one is very large, and glass is typically easy to clean up. And you see, I have to pretty large pains, um, side by side. And this measures for foot across. And it's about close to think three deep. So I have a really large mixing mixing area for all of my pains and one thing to mention there about glass palaces, Plexi is a really good option. And Plexi, of course, doesn't break his easy. It's is lighter. Its's easier to probably move around if if you tend to move around in your workspace, and also you can get him usually inexpensively at your local framer. People make mistakes all the time. They cut things the wrong size. Maybe it has a chip corner, something like that. So you can go in there and ask them if they have any scrap, plexi or glass. If you don't mind using glass, and um, probably get it for next to nothing. But it's a really good surface. I find it just works a lot better than anything else. And I like it, too, just because, you know I can get him in a really large size and then I have a massive mixing area. And this is what I used to clean my glass palette. I believe it's like a little sheep rock putty knife for something Dr Waller's use. So the end of the session. If I have some left over a lot of times, I'll just scraping along the glass. I'll have a blank sheet of paper like this and just smeared on a blank canvas or blank sheet of paper so I don't waste anything and then, you know, is clean. Take a little napkin wipe it down and I'm ready to go again. So, uh, I guess the idea behind this particular lesson, what was just too get you to understand that having the proper mixing area is important were abroad different. We have different habits. I like to use a lot of variety of colors on my palette. Typically, when I started session, I'll probably take out 12 to 15 colors and just scoop, um, and pile, um, throw him around on my palette and I don't really have any particular orders. I don't go light to dark blue, green, yellow, warm, cool. All that stuff. I just simply look at the colors of my options. So I have, ah, alive jars and whatever colors were speaking to me, I take some out scoop, id, polit down and and then just work from there. But ah, and you may have a reduced palette. Maybe you like working with five or six colors. You, In that case, you could try No smaller palate may do fine for you, but I would encourage you to get a bigger palette that you think you need as large as possible because that that really eliminates having the stop in the middle of a heated session. So if you're really got the flow going there, we don't. I don't like to stop, and I've got to clean my palette. But sometimes you have to do that. So anyway, just some ideas on palette. If you're working with a small pallet, reduce your colors so you can mix the ones you have better, more cleanly crisp, that sort of thing. If you have a larger palette, good for you, keep it and even try a larger palette and see how that gives you more options and also gives you more mixing area. And we have find if I have more mixing area more surface than I tend to create. Ah, cleaner looking painting. And again, I don't have to stop what I'm doing. Teoh, manage my palate. Clean it and start all over again. Okay. All right. I'll see you. The next list 7. Basic Palette Ideas: No. If you try the other tips about fixing the common mistakes and cleaning your palate, managing that aspect of your your painting and you're just still at a loss for creating colors that you like that work well, um, I've got a basic palette here on and then maybe a slightly more advanced palette as you get comfortable. Okay, so for starter palette, okay. Ultra marine blue cannula light a lizard, crimson, burnt number and titanium white. All these colors here mix well together. You can get your darks, your light, your greens, everything. And I guess that the beauty of this is is it's a simple palette. Okay? And by if you struggle with color, um, and mixing you better off to just minimalize your options in the beginning and get comfortable with these, and then you can then go to adding other colors. I've got a list here of other colors. You can start toe ad as you become more comfortable. So fellow blue, This is a great color. I love fellow Blue makes some beautiful greens and Les Bleus great for 10 teen colors, but you didn't have to be careful with it. It is very strong, and it can invade your palate if you're not cautious with it. But again, if you're once you get comfortable here, it's a great colored add on Lars Black. Some artists like to use ivory black, too, but this is a good color to add raw number, yellow Oakar and then cad, medium red or cad red. All good colors, Teoh kind of advance and move into as you become more comfortable. So I think in the beginning, um, you can start here. But I do feel that color is such a personal thing, especially when you're talking about expressive artists like I'll just talk about me. But if this relates to you, then then think about it for a little bit. I don't like to represent colors that I see. I may get a piece of it or hint of it, but I like things doing. I like to just simply put a color down that that that looks good on the palate or something I see in my head or and just start there and then react to that. Okay, but, um, if you start a viewer painter that you absolutely just have to match the color that you see perfectly on the image or in real life. Then you're gonna have to work a little bit harder understanding how to mix your colors and to get that perfect combination to give the color that you need. OK, but anyway, um although include this and maybe a few other notes about choosing some basic colors and maybe add a few notes about colors that air can be difficult to work with. I don't mingle well with each other. All these colors mingle pretty well together. You can still create money art if you don't manage the colors correctly and take into consideration the other lessons you've learned in this course. Okay, hold. This helps you see the next one. 8. Palette Control: All right, let's talk a little bit about palette. How to manage your palate, and I'm gonna use what I feel is a common size. So this particular size I see all the time when I'm teaching, and even when I travel and teach these workshops online, I use it there convenient. And they're just they're a good size. I mean, we we can work with this, okay? For a short period of time, and then we have toe. We have to take care of business, right? But the thing I want to point out in this lesson is how I put my pain on the palate. Okay? And notice how I'm using the edges. Okay, So if you look at that close up, you'll see how they're right along the edge. Didn't come even in so much is like an inch and 1/2 you know, which doesn't seem like a lot of space. But imagine if I put the white here and I put the yellow there And green, green or red, blue and so on. You know, you think about the space I would lose by putting it on the edge. A maximize the available space, which I need unless you're painting Ah, little ah, two inch campus or something, A piece of paper you need to a new area to mix for a little while So we can kind of work for a little bit and not have to stop and clean it. Okay, so that's that's very, very important to It's a very simple tip that all of you can use, but it will go a long way now. I'm not saying you have to do it like this, but and I've seen artists like take this and put their paints along the middle like this and then work the sides and put him along here and work Besides, but something like this, I think, works pretty good. Just keep in mind that you need toe, you need mixing space. And that's very important. Also when since we're talking about mixing there, right, I started mixing. I want to say I want Oh, I've got a painting I'm gonna be working with that has a lot of blues. I'll take ah blue and start mixing here. Let's see. I want to push that Teoh Ah, Violet or something like that. Great to say I want to push that to more of a greenish color. But I want the dominant blue to be there that could take my yellow and mix here. So I kind of make this area for my blues and I would do the same thing with my greens. I would take my greens, maybe put it out here in front and and mix my greens in here yellows and then maybe some other colors here trying to keep my whites separate. So let's say I wanted light blue. Yeah, I would try to mix out up over here and keep these color separate because once you start mixing white with your colors, then then they become very opaque. And I like to keep these colors crisp, clean and free of white. Now I do make exceptions. I mean, I'm not saying I do this. I've got to do it this way. But I mean, this is typically how start? Try to go into my session and work into it, and then when things kind of unravel and just gets to be very, very busy mixing area that see their time the clean or or I may just kind of mix like I need a little bit of light green. There's nowhere to mix my my greens with the white so I may take a little bit of my white and go here just cause I know I'm about to clean it, right? So that's just something again, this easy to apply, easy to do. And I can't tell you how often walk, walk up on artists when I'm teaching live in person, and I looked at their palate and it's just it's a mess and and then they will complain to me or winding me about their colors or whatever I'm like, OK, this look A Let's look at your surface area this look, let's look at where you're mixing and and it's just identify the problem. And I think your colors will be just fine. I don't think anyone is terrible and mixing colors, Um, and just about any color combination works. And but if your if your work areas a mess, then you got your work cut out for you because your paintings are going to suffer and your colors or course and will suffer. Okay. All right. That concludes this lesson. See you the next 9. Clean Your Palette: All right. Look what we have here. His palette is a mess. All of these areas have been used now, and it's starting to get crowded right now. Maybe if I were painting, you know, And I was like, towards the end of recession, I could make this work. But if I'm kind of getting going, I don't want to paint some more. No, I need to manage this a little bit better. Okay, So when when your palate gets crowded like this and everything's been used all those spaces and that and the the colors that, like, where I started with blues and I wanted to use yellows and eventually things they're going to merge and you'll go around so much that they all start to mingle. All right, Time to clean it. All right, Now, this is a very simple thing. But again, um, I see artist force their palate like this. The force painting when they're in a situation like this, I'm gonna Visually, I'm gonna do it. So you get a visual. Um, lesson Here, uh, something that will stick out hope of cleaning this and every time your power it looks like this, I want you to remember this moment. So let's see how long this takes. All right, so I've got a couple of paper towels here. Did thing clean water. Wipe this down. And that outside is used. But what I like to do, I'm kind of resourceful. I like to use every little square into these things. I don't even like using paper towels like it shoot out for it sometimes because wasting paper, but they work. All right, so now I've got a pretty much clean. Now, let me do step. Be couple more dry. No water at all going here. I don't like that. Color is nice and crisp. No sense in wasting that. And you're done. So if you're keeping score home on how long that took But maybe 45 seconds to a minute and you're back. Teoh having the option to make beautiful, crisp colors 10. Don t Throw Away: At some point, the session has toe and we have a palate with paint, some of its probably contaminated with other colors. Maybe have been mixing. But don't throw this stuff away, okay? This is all gold right here. And a good thing to do with it is take a blank sheet of paper like this or canvas whatever you like to use and then put down some random stuff. You ever have ever been Curious what it's like, Teoh, use your opposite hand. I'm break handed Now I'm going to use my left. This is a good time. Try. And, um it's a lot of fun to do this. And what I like to do is kind of start there. Right there. Now, some charcoal with it. Come back to the pain. A nice wad of fate. Lo green Right there. Going here with these darks are over here. Got some greens and yellows. Get all of it much as I can. Look, Now you have a nice abstract beginning to another painting. Um, a lot of fun. And I've learned a lot by this. Believe it or not, um, painting like this, these big strokes and doing things I mean, that that all increases your range of motion, the ability to put things down, the ability to not get tight with your colors, too. Put charcoal strokes down. He wouldn't ordinarily do. Um, and that's all part of learning. It's all part of growing. And this is great because we don't waste anything. And this is not a waste that this will be part of a landscape, a cityscape, a cow. A worst case scenario. If it's really bad, they all in a cow for me. That's okay. But go right here. And then this is a lot easier to clean up to. Okay? I hope you enjoy it. Seeing the next. 11. Color & Charcoal: charcoal presents a problem. A lot of times for many artists that mix with their critics, and it can be charged. Charcoal is a messy medium, and you know that when you get into it. But we have to deal with it. We have to manage it if we like to use it. I love it. I mean, and it is, It's you pick it up, right, and it's all over you, and but that's OK. Um, but now what we want to focus on here is how to to get good colors to to create crisp colors, Chris paintings mixing the two. Okay. And the problem really boils down to this. And I've got two scenarios here over painted, and then ah, good mud. And basically, what this is is when we start to use it. I'm not gonna, like paint a subject or anything, but just this can apply to anything that would be painting. Right, Um, so I start to put the charcoal down. All right? And then let's say this is a middle layer, okay? They're over here. I'll do the same thing. So I come down here and put some charcoal down. Okay, Now I'm grabbed my brush and palette and we'll paint into this, okay? And just so you know, something I didn't mention these were dry. So I put these little swatches down just some Indian yellow or Naples yellow rather, and let them dry. And I put that charcoal over top of it. So let's say, you know, these were even smudged a little bit. Whatever. And now I want to put another layer on this because I'm painting something and I need to kind of blend this in or make it look better. So this is where the problem happens, right? So I could take some of that yellow, maybe a little bit of white and come up. And if I were, like, really mixing for myself and not for for the class, I would probably push that mixture over here towards my whites. Mr. What kind do things on the fly here? So I kind of started to paint over that. So right away you see that that beautiful, crisp color that I just mix right there, look at look at what happens when it hits that charcoal. And this artist course gets much fussy. And they're like dagg going it. You know, I've got a money painting again. And notice how, as I'm painting, I haven't washed from brush yet, so I'm still going Here. Here, here, here, here, here. I haven't once taken this. I have a water right here. Not seen here. I want to rent it out. Okay? And you really need to do that. Okay? So if you want crisp colors and you just keep painting and painting and painting their lifetimes, you end up with that kind of money. Look. And of course, this artist could say, Well, they're still not what I want. And they just keep, you know, hammer in this and until they end up with kind of a mess, OK, well, let's say over here this artist that say you get the same situation. Okay, so they started painting like, Oh, Dad going it. Uh oh. I got myself into a little buying here and now My painting looks terrible. My colors look terrible. OK, over here. This was just done at a kind of frustration and mix mix mix, but this color, this artist, well, I'll put it down. It got muddier than I hoped it would be. That I envisioned. But you know what? I still like it. I can work with that. Me, because I've seen him before I've been taught. Had knowledge that you know what? I can create good mud. This is, Ah, a situation. That is it was a negative. Now it's a positive. Now I'm going to take this and turn around and make this situation good. And to do that, I'm going to let a dry Okay? See when it does shortly. All right. Drive to the touch. I'm not really gonna go over this again, but I just wanted you to see that. And just to remind you what happened here that this artist panned over it and they kept going to their colors painting over a painting over trying to fix it. They're not rinsing their brush, and they're not letting things dry. So, like, basically, when you're dealing with charcoal, unless you're trying to create a money situation intentionally, so you can come back later and do something over top of that too. Showcase a technique. Um, Then you want to know overhead it and then leave her alone, rent your brush, get it clean, or just get a different brush on and then go back into some clean colors and do that in that way. The charcoal doesn't invade your palate because the more you do this and the more you dip, take that charcoal brush and mix it all into your colors. When it gets into your brush, he's going to contaminate everything. And then everything will start to look gray and lucky and not not good. So anyway, that's what happened there. So I want to make sure you understand that we don't We don't want that because that's that's not a healthy place to be. Um, I can't really control that, you know. Now, before I even get to this one, this is clean water. Okay, Fresh, fresh, fresh. Whenever you're dealing with this, you're dealing with charcoal. I don't care. Even if you're trying to set it up or use it to your advantage, you get on your brush, you and you start to clean it. Okay, that mutter mutter Interesting little combination of I was trying to say Muddy water mutter that water becomes very dirty, very contaminated, and you don't get many shots when you're dealing with the small reservoir like this you can typically work in area, rinse it maybe two or three times, and that would take that water. Don't use it anymore, and then get some fresh water. Okay? So that that fresh water is key to fresh colors, K keeping things vibrant, having control over how your colors look that that's that's what's important. Anyway, this artist is like, Yeah, I like this. I want to come back and maybe work with some of these shades. Someone take this color and mix it with my whites. Maybe push that to a green and like that. Okay, so again, I mean, I wouldn't fuss with that too much, you know? So we start cutting into this again your your money, things up. But but look how powerful and how interesting that brushstroke is. Okay? And I'm going to clean it. Let me actually put my palate down and so you can see it. The visual thing is that it was important for learning Clean it. Why? Because even though this is already painted over the charcoal with one layer, there's still a lot of contamination there. Okay? And I know that I woman Teoh Sorry. I just feel a little bit of water down there stepping in a puddle there. Big deal. Hope they don't slip If I go down, call. It's my call. The ambulance for me. He's down. Man down. Um, I see. I want to go into another color. Um, I've got a clean brush, right? Got another shot here to throw some some crisp color down. And we go into this. Ah, lizard in crimson. A little bit of white and so on and again Put it down, Leave it alone. And then, most importantly, clean it. Okay, so I'm not going to go back to my palate after that brushstroke with this contaminated brush. And again, I would have about two or three more shots at cleaning my brush with this size reservoir. And then I would not use that water again. I was simply Put it aside, have another one and very important to note here. And And look at the results. You know, you look at what I've done here. Understand that the two situations trying to avoid this mentality, this way of thinking when you're dealing with charcoal and if for some reason you're painting and you dip it in here you're things. Get riel muddy and messy and darker than you want. Back away from him turning around and think Good mud. Okay, let it dry. Change your water. Change your brushes. Make sure you have area to mix fresh colors on your palate. When it dries. Comes back. Come, come, come back. I'm really problems talking in this video. Know why? Come back and put some fresh colors down over top of it and say good mud. Gotcha. All right, Now you've got control. Okay, You've got a situation now that used to be a problem to you, and you know how to deal with it. Now that puts you in the driver's seat and makes you a better artist. You're much closer to mastering mixed media. Congratulations. I am happy for you. See you in the next lesson. 12. Good Mud: good mud. All right, sometimes money, colors or Okay, I will admit, Aziz, contradicting as this may be through this course, um, I do purposely sometimes create mud. Now, I do it in a different state of mind, though, so I'm not working my subject in my painting. The death. Uh, I just simply go. Hey, you know what? I see an opportunity here to create this murky, ugly, muddy looking color to showcase something else, okay? And part of being let me back up the difference between a beginner and the say, a novice, the difference for you to see a novice and intermediate the difference for intermediate to advance advance to the CIA master is understanding how to fix problems, also understanding that they can present problems in order to show another technique. Okay. And that's what separates many artists. Is that right there? And that comes with experience that come with knowledge, that the things you know, hopefully that I'm teaching you here. I'm still learning. I don't consider myself a master because if I ever think that I feel like I'll stop learning. Okay. Anyway, so pretty nasty color here. Not nothing exciting about it, but Let's say you're like me. You enjoy using crayon. All right, Guess what. How? Look at that. That sets this money color this good, mud. Help me there. Didn't it allowed me to show off my ability to draw with crayon? Of course. I went with the dark blue crayon or something, You know, in this color range that it wouldn't be that exciting. But since I picked this one, and of course, I can use blue or whatever, and you can see that mud set it up. Okay, So that and it's the contrast, right? It's the contrast between this nasty color to these really crisp pigments is kind of popping color that makes it nice. And the strokes look interesting to zigzag. And this were thing the energy of the strokes and all that. But that interesting contrast, you know, and this really sets the mood and sets gives it a nice backdrop, you know? Hey, I put this over a nice clean color. Maybe was still look good, too, but it can certainly make mud look good. Now, another situation here. This say, I'm dealing with this and this is no unattached to this part. This is just another idea here. So this say, um but I'm just going to use acrylic paint. So I've got a little bit of white here, and like I mentioned before, or just it's something about colors and palate is then notice how I got em all up towards the edges. So really using my edges. So how do I put the colors right here? Something in the white up here. I eliminate 1/3 of my palette. So I mixed this with some. They will get with some of this yellow, and there you go. So that really sets the tone for that color. And again, it's the same thing you're You're dealing with the contrast of that murky, nasty color and you're putting that crisp color over top of that. And again, um, this is this is actually a technique I use all the time, and I'm exploring it a lot. It's one of my goals, right, And I like it because I do think art a lot of times, especially when we were dealing with abstract art. That's probably true for any style, for that matter. You know, if you can create scenarios where you can showcase what you do best, and for me brushwork creating the these interesting lines. All of that stuff is what I like to do. I feel like that's That's my strength. And plus I like the way it looks. So I'm constantly looking for things like this. And of course I happened on this and it appealed to me by accident by exploring, doodling, playing, working with my technique. And I noticed it. I was like, Man, that is really cool. I love that look. I love that contrast of, you know, that murky and crisp and that sort of thing, And I made it a point to pursue it, and I use this in a lot of other ways, but we will come back to this kind of India and another lesson to But anyway, think about this a little bit. Um, if you get challenged by mud, how about embracing it right now? I'm not saying beat your paintings a death like I mentioned before. That's not what we want to do, but get to know it a little bit. Aan den. See if you can develop a different relationship with it and but just don't don't beat your paintings up. As long as you don't do that, you're okay. But But I think if you kind of develop this state of mind with it and say, Hey, my colors, like money or whatever. Well, great. You know what? Let him dry, then come back and pop. Um, with some color. It's a hate. Who's the boss now, Right? Who's who's leading this thing? Right. That's the deal. Okay, this is what separates many artists like I mentioned in the beginning of the lesson. Okay, Is being able to recognize situations, knowing what to do? But it's also being able to set these things up purposely to manipulate the situation and so that you can showcase the things, your strength of things you do best. All right, See you the next. 13. Explore Color: all right. Exploring color. I mean, this is I can't possibly even tap into a sliver of what you can do, um, with exploring color. But I can tell you, the more you spend time exploring, the more you learn about yourself. I do feel if you're trying to paint expressively and develop your style, things like that and we're not trying to represent every single color we see our our subjects and images on our inspiration. Then we were thinking arbitrary colors and and to me, part of even developing a unique style for yourself is developing a certain colors that appeal to you. And even though I do feel like explore a lot and I'm constantly adding new colors to my palette when I'm buying new materials and things like that, I do lean towards having my favorites. I'm not going to cover those here. I don't want to really influence you in any way, but for you, you want to constantly expose yourself to as many combinations and different scenarios as possible and then look at those and decide what what appeals to you. And it will probably change over time. I mean, I go through moods where I love orange And then all of a sudden orange, Just like I just can't fit it into to what? I'm what I'm doing. But anyway, this is just one simple technique you can do, And this is really good exercise for even if you want to explore color, but also if you have a issue with color. So, like we have issue with using cad red like a really intense red, then you need to put it down more. You know, that's a color that maybe intimidate you, or you don't know how to use it. Then what you can do is come in here. Yeah, just make this a little exploration. Like, let's say you put some red down. Now, let me see how that orange mingles with it. All right? That was fun. I've got some green gold. Let me see how this green gold mixes with it. Let me see how this turquoise looks with that red. Okay, so you can really start to see some interesting combinations there. Okay? And that's really fun. Enjoyable way to experience color and to find new combinations. Okay, so let's say I have a blue block. I want to kind of explore blue a little bit. I'm well, great. Let let me go into this. Fail. Oh, see how that works with it. Let's go into this red or orange. Rather see how that works with it. Let's go into the turquoise. Doesn't do much for me there. Let's go into the green, gold and yellow so we can kind of see how those colors mingle. Cama switch to get a new brush. Fresh brush. I could go on and on race. I've got, um, some fail Oh, and a little bit of green gold. So I'll take these, touch them together and put him down. Well, that was fun. Um, let's see how this turquoise. That's probably not a combination I would use normally. See how that, uh, what then does for me? Okay, okay. It's a nice, subtle change. Maybe I want and a painting at some point, maybe I don't have a situation like this where I'm using these kind of intense greens. I'm like, Oh, I need something to tone that down. Or just a mute it out a little bit, but not too much. Maybe I'll go remember that turquoise did the job right. Eso OK, Well, I've got some white having mixed with that yet skill with some yellow and but all is starting to look interesting. So that's color. And sometimes, uh, I would do this. It probably about maybe once every few months. I'll kind of get into a mood where the painting is just not speaking to me. I don't have the energy or the enthusiasm or passion to try pain I don't want to draw. I don't want to mess with any subjects. And, you know, it's just kind of one of those moments in the studio by. So I'm there. I want to be productive and I'll go to these colors, got orange here, and I'll just do a little chart like this because color is so inspiring to me. Um, that sometimes I just started putting these colors down. See those combinations? I get fired up like, Oh, my gosh. So nice. So I got my orange down. Maybe I want to go into this green gold, maybe a touch of the yellow and put some of that down. That's kind of nice. I like that kind of a nice, subtle thing. Maybe I can get right into some white. I see how that turquoise looks with it. Kind of nice. Interesting. Okay, so again, have a fun way to spend on 15 20 minutes, maybe. And put this palette down. I am back. Maybe you can use this to start your sessions. Sometimes knew you need something to get you in the groove. Something to get you fired up and ready to paint. And this is a good exercise to go to. Um so just think about know your strengths and weaknesses. You're colors that may you struggle with in terms of mixing ones you struggle with and putting into your paintings like that. You would like to be able to use cad red, but, oh, it's just too intense for you. So put it out there, put it on paper more so you see it explored a little bit, and then see if you can develop that connection with it develops, um, combinations that make it interesting and more appealing. And but if anything, you'll learn more. You'll find combinations that are striking to you and that resonate more than others. And that's part of the of managing your color and palate is exploring finding the colors you like and then exploiting them. Teoh make you know, go in that direction. And typically, you don't have to consciously think about that stuff once you see it and you understand it and it is kind of ingrained a little bit, you will kind of take that naturally and flow with it. Okay? But never stop learning about color. Never stop exploring color and never stop working on your weaknesses. Trained them. Find how you can eventually crack now, have a breakthrough with it. And then it will become mawr. Part of your of your routine. Okay? Hope you enjoy this lesson. See you in the next. 14. Overthinking: All right, Now we're gonna talk about are you over thinking? Okay? We all had different backgrounds. I'm a self taught artist and always rely on my vision. What's in front of me? I put a color down. I look at it and I decide what will go good with that. What does it need? And of course, in the early stages and still wants it all. Even now, I was guilty of over painting, working it, working and not allowing those layers to dry and then coming back to them and addressing the issue. Okay, I'll saw would just sit there and over painted and that what was probably more of an issue than my lack of knowledge about mixing colors, the lessons, tips and techniques I shared with you to this point. To me arm or important than giving you a bunch of rules about how to mix colors. Okay, Um, I gave you scenarios. Where? Mud Goodman, Right. Remember, that is okay. As long as you recognize it. As long as you don't sit there and overwork it, recognize that situation and make it work for you. Hey, I created a big blob of nothing there. Great I'm not gonna pound at home and try to fix it and paint over it to death. Let's look at the big picture. How does that look with the art, and how can I make that work for me? And it's that mentality. I think that that I think we'll help your growth and we'll put you in situations where, um, you know how to get out of now and that's what to me. Developing your skills is all about becoming better color, becoming better at managing your colors, whether it be through how you mix, um, or how you use them on your palate. Managing your palate, making sure you have clean water and making sure you you're changing your brushes those things to me. The stuff are covered in this course will help you mawr than clouding your your head with a bunch of do's and dont's. Okay, I just want to give you the common things that no, just just avoid this and color will be. You'll be fine with color. You don't don't make don't make it any bigger issue there needs to be. And really don't limit yourself. You know, give yourself freedom to use color And to know that, Hey, if I put myself in this situation, I know how to get out of it. Now I see it. I recognize it. I'm gonna back away from it. And I'm gonna come at it from a different angle, and I'm gonna make it work for me. Okay? Um, so that's really my philosophy about color. I don't really use a lot of rules there. I just simply make sure that I manage my palate. I'm not using muddy water that's going to contaminate my colors and continue to grow and explore and try to find new combinations and colors that work for me. I'll mix any two or three colors together. I feel like that. Those things to me enable me to become better, to become more experience and to put myself and differences situations that I can say, Hey, great. Here I am now what? And I think the more I'm there, the more I learn and the better I'd become. So that way there's not much that can be thrown at me that I can't digest and handle. OK, so don't over think color too much If you want that starting point use that basic palette. Grow from there and make sure you spend time exploring color. You know, um, it's a wonderful thing. T get to know. It's a wonderful thing to be to being good at and to not let it. All right, I hope you enjoy the course. Thanks for watching. I'm Robert Joyner. I love color and I love the paint loose. See in the next one.