Acrylic Painting Basics for Beginners | Charlotte Jordan | Skillshare

Acrylic Painting Basics for Beginners

Charlotte Jordan, Artist | Entrepreneur | Teacher

Acrylic Painting Basics for Beginners

Charlotte Jordan, Artist | Entrepreneur | Teacher

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
8 Lessons (58m)
    • 1. Introduction

      3:06
    • 2. Supplies

      1:22
    • 3. Acrylic Fundamentals

      9:39
    • 4. Lesson 1: Blending

      6:57
    • 5. Lesson 2: Washes & Gradients

      9:21
    • 6. Lesson 3: Texturing

      12:17
    • 7. Painting Challenge

      9:27
    • 8. Acrylic Painting Demonstration

      5:36
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

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

86

Students

1

Project

About This Class

This class will run through the fundamentals and basic techniques for painting in acrylic. You will learn simple techniques for blending, shading, washes and textures. Plus we will create a fun cat painting for our challenge piece. I will also demonstrate how I go about painting a sphynx cat at the end of the course.

Acrylic is my main medium of choice and is super easy to grasp. Remember, the only way to really get good at something is to PRACTICE!

And have fun with it.

Meet Your Teacher

Teacher Profile Image

Charlotte Jordan

Artist | Entrepreneur | Teacher

Teacher


 

Charlotte Jordan is a Florida based artist from England. She is also a student of veterinary medicine and a animal enthusiast. In her courses, she will teach a range of artistic skills that she has honed over the years as well as ways to market your pieces.

Her work explores the surreal and the beautiful. The animals she paints are often brought to life with her unique style and perception of the natural world. Felines are one of her most favorite creatures to paint, but she loves to experiment and challenge herself, as well as teach and inspire others to use their creativity.



See full profile

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

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

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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

phone

Transcripts

1. Introduction: Hi. My name is Charlotte Jordan. I have a surreal animal office that lives in Florida. Time growing up, Gothic, English, my style that I kind of definitely started to explore my artwork school, I guess. Really developed a taste Mediums. Obviously, Krulik is my main interest comedian. Now it's what I'm going to be using today way. I think this class is gonna be a really easy beginners basics class. You learn a couple of basic techniques shading, radiance, washes and even a couple of textures just to challenge you. We will then be doing a challenge piece. And then I will also include a demo for this painting. Bevis to my right. So I hope you enjoy on and let's get into the classes then. 2. Supplies: So for the supplies of this clause, I'm just gonna run through the real quickly. You're gonna need a selection of rushes to use a, preferably a general brush that you re comfortable using for me. My personal preference is a angle brush with a medium length bristle. And I also like to have a detail brush on me of some kind as well as a flat brush for covering larger areas. But I would recommend also having a month brush and a raked brush of some kind as well. Now, obviously, this is an acrylic painting lawsuit. Girls needs some paint. I will run through the different brands in the next video on. We're also gonna be needing some water. I would also recommend having a spray bottle just filled with regular water as well. Now, the painting service you wouldn't choose to work on is completely up to you. I'm just using regular acrylic paper for this Adebola spare sheets. So I will use those. Andi, you may or may not prefer to have a bit of ah, certain brush cleaner just to help keep your bristles clean. That'll be everything for the supplies of this class. And I will see you in the first little list 3. Acrylic Fundamentals: So for this, a first class, I'm just gonna be running through the absolute very basics and fundamentals of acrylic. Now, many of you, I'm sure of asking, what is the Krulik? Acrylic is basically a pigment or a paint that is suspended in a ha Lima emotion. And then it becomes water resistant when dried. That is basically what a critic is. There are many, many different types of pain, as you can see here, the paints that I mainly use now acrylic has many different types of thickness. The thickest that I use is this ar tez. A brand here have great colors of great pigments, but I find the pain to be very thick and heavy bodied. Eso. Sometimes it could be a little tough to mix, and it doesn't always dry as nicely. But it does take longer to dry, so that is sort of a benefit can keep on mixing it a little bit more, blending the colors and tell it does finally dry. The next brand that I have is castle or costal, the pain when I pronounce it and this is a cheaper brand hate. I often find that this drives rather quickly but it is a thinner paint, so it's a bit more fluid on and it just drives a lot faster. But they do have some interesting colors that I like to keep these around four. Now on my favorite paint brands to uses Thesis Imp, a Windsor and Newton ones, I find that this is a perfect blend between the heavy body and the lucid body. It's sort of a nice mixture. They have a great selection of colors on. You can get a lot of colors that you couldn't get in these as well, such as orange and such as even purple if you wanted to go for that. Um, so I really prefer this brand. I do believe for this size bottle, and this is a 2.0 us fluid outs. It goes for about $4 possibly bit more, but they are really nice. Quality brand again, no is thick and heavy, but no as then and fast drying as cost. Ellis and then the lost little brand that I have. I only have a few little tubes of Graham Backer or Graham Bacha on this is Academy Pain again. It comes with a few really nice colors that I like to use very similar to Windsor Newton on a bit cheaper as well, so that more affordable. So those are pretty much the pains that I use on a regular basis. Onda again. Whatever you have available and whatever you're comfortable using now, it should be noted that acrylic paint does dry at least two shades darker than what it originally comes out of the tube, as on the cheaper the paint, the darker it drives, so do better in mind. It won't affect your paintings too much because it'll dry a little bit darker, and you could always boost the color with other products such as mediums and Glazers. And I have a map medium here that I like to use, and you can get so many different kinds of mediums. Glazers, etcetera, etcetera. Mediums are more used for boosting the body of the paint without sitting it out too much. It does make the paint translucent Theun more so than it is, but it helps boost that body. It makes the paint dry slower on. It could be used for a little bit of glazing effect as well. That is also really useful and you can get glazing as well. Glazing is used for and intense, boosting the colors on etcetera, etcetera. So to keep that in mind, one of the things I suggested in the Supplies video was having a spray bottle. When you're thinning out paints because they are water based paint, you can use water with them on thin them out using water. No chemicals needed just regular tap water on, and this is a really easy way to thin. Now it paints. It helps with blending on keeping your paint wet in your palate or on the canvas as well. Now I did say we would need a job for water as well said, You keep that in mind now. I have a lot of brushes here, but I'm gonna run through really quickly. I'll get more into depth about the better uses for them in the classes, but just a quick breakdown. This is a palette knife. It's mainly used for mixing paints, but I actually like to use it a lot of the time for creating textured backgrounds for my pieces as well as creating different effects. So this is a very interesting tool to use. We will use too much events, but we will use in the laser class. As I said before, the angle brush is kind of my favorite brush to use as a general. Does everything sort of brush? You could do thin lions, flatlines, um, all sorts of different stuff. With that, you can get into tiny corners with the very tip of it, or you can create very thick brushstrokes with the Flasher edge of the brush. Now, if you have a large space, you can get a flat, wide brush. This is a medium. What I'd say, It's a cover on the small, and I do have very big flat brushes, but I won't be needing them for size that we're gonna be working on today. But again, these are great for putting in or covering large areas of surface in a short amount of time or just really thickly spreading on the paint. Um, so that's really good. Full backs and then detail brushes are excellent for like it says in the 10 the details. So getting into those really tiny crevices or little tiny, tiny dots of detail great for that creating really thin controlled lines is another good thing for detail brushes. I would recommend at least having these three brushes, at the very least, in your artist box or whatever you carry around with you. Now these brushes here orbits Specialist. I have really got into using them in the last recent months, and I fall in love with them. So the 1st 1 is a rake brush on. Excuse the paint on my fingers, but as you can see that brushes splayed out like a rake, much, if you can see that very well on. This is a fantastic brush for painting in for textures for animals, and I paint a lot of animals myself. So this is a really, really fantastic brush beginning that more wispy for like texture and the same with the fan brush. Fam brush is a really good brush to use for for textures and delicate things such as that theory. Only down side of the family is what it's wet. It tends to sort of like the rate brush clump together but off. See, that helps with the text, a ring of that brush and then the final one that I have here I call a mop brush on actually , a blush makeup brush can work just as well, and perhaps better. So if you have an old blush makeup brush, then that will work just as nicely. On this is a really, really excellent tool for blending and really soft blending, especially on the smooth surfaces if you're working on like a smooth would or ultra smooth canvas than using a um up brushes I liked Coolum is is a really nice technique to use that now. If you do make a mistake with acrylic paints that are some choices that you can use to erase it or quickly change it. As I said before, water can easily thin out paint, and then you could rub it away or erase it away. If you make a minor mistake to make a big mistake, there are some other things you can scrape off any. Perhaps you've dropped a giant globe of paint on the canvas. Scrape it off with that, spray it down with this on, then, ah, wiping away. If the canvas of the layer beneath is dry enough, if it isn't dry enough, then chronic is. So is a thick paint, so it's such a thick paint that you can just paint back over it, give it a couple of days, maybe if it's really dark mistake, but you should be able to cover it up. And yes, it's a little bit of extra work. But if it's a mistake, you want to hide that right? Um, if not, it's our turn it into a piece of the artwork. There's really no no wrongdoing with artwork, really. So that should be everything of the very basics Overy fundamentals about acrylic paint. So I'm going to start moving on to the little lessons that I have planned for you, and I will see you in that. 4. Lesson 1: Blending: So for best class, we're gonna actually be working on a couple of blending techniques, just two of them. For now, these are really, really simple. First will be using our finger on. I've got some paint here that we're gonna use, which is gonna blend. Let's say we'll blend some green on blue together. I'm just using a mid green for this. This is the heavy body paints, palette off cameras in case you want her. And putting that and blue and pain could be blended either outside on the parrot or on the actual paper or the canvas or whatever you're working on its self. So I'm using just a regular angle brush just to get this onto my canvas. But I'm not worried too much about how it looks right now. I'm just gonna lay on the blue. I'm putting a decent layer of it on. You don't want the paper or the canvas or whatever is to show through underneath too much Sorry on putting on quantities in the mountains. And I stick Leia that it kind of the brush glides over it, wash it brush, you know, it doesn't really matter too much. Things were are blending the colors. Get the green, you know. Then put that on, and then you consume to take your finger and just blend it into each other. I'm not worried too much about going over the edges of my circle, either. It's just so demonstrated lending to you. Smooth out the edges if you want. Sometimes it helps to move in circular motions as well, and you can leave it as textured as you want it to be. Perhaps you're going for more painted. Look on. You would leave in all these textures that you'll see if you want to smooth the blend to keep on going. You might want to rub off any excess paint that's on your finger and just keep on going until you are happy with the blend and tickle phoenixes paint. Just keep bomb London, and you can also add a tiny drop of water to your finger and use that to smooth out the paint as well. But you can see how you can create a nice blend. Using just your finger for the tool is health. Now, another way you can use blending is like I mentioned before using a mock brush and this typically works. But if the surface is incredibly smooth by paper, is ever so slightly textured, so we don't come out as good as it should do. But we will give it a go anyway. So I'm getting some of that blue again. I'm getting some of what's its use. Let's use a poeple this time titties in the ground back tro one Right Then we have a rough circle here for us to blend with. Let's say you aren't getting quite a smooth The blend is you hope to would with the brush. So what you could do You take a month brush, which is generally a pretty soft brush to use. You want to keep this incredibly light When you do this, you don't want to push down too hard. Otherwise you're gonna get streak mocks, and you gotta always like the very tip of the brush that you're using. I use we go in circular motions because this makes it much more smooth up using the very tip of the officials. Just lend and smooth that out. This works much better if the paint is wet. So do keep that in mind, and you could see how smooth it really blends that it really works a treat when it is on a smoother surface, just really worried. In nights you see how it creates that super super smooth, radiant on the paper that so those also really easy and simple blending techniques that you can use. For one. It was just where your finger I mean, don't be afraid to get paint on your hands. It's fine. It comes off pretty easily on another with the mop brush. Or you could, like I said before, use a old makeup brush. Just make sure its super clean. Um, because I do think that makeup brushes shed a little less so you might actually prefer to use one of those big old blush brushes. Um, for your lending. If you do really smooth blending, it's fantastic. Fourth backgrounds and doing like the Bow K backgrounds as well is a great way to use that technique. So that'll be everything for the blending. Closet should be pretty much everything that you need it for. Just starting out in acrylic. The next class will be working on some washes and radiance 5. Lesson 2: Washes & Gradients: so for this class will be focusing on three little things washes, Grady INTs and a little bit of shading as well. On this is all gonna be mostly involving quite a bit of water. Eso If you are working on paper just to be aware, your paper made buckle a little bits. If you are working on any different types of paper like a watercolor or finna papers, then it will probably buckle quiet. So washes are really, really easy to use. I like to use washes for though my backgrounds as well as well as washing down or taking down the tone of certain color. So a lot of the time if I have a background that I want to be really pale. But I still wanted to be a color. I love to do a whitewash over something, Um, but just play around with this. You need a lot of water, so that's choose a color of that. Say we'll do a green in the blue mix here asserts I'm gonna really like green on. I'm keeping it fairly watered down. Ah, and you can pretty much get your wash is similar to that how a water color pigment would look, We'll paint, I should say, Just be aware that when your pay dries, it's not going to be free activated because it is acrylic. Acrylic doesn't reactivate in the same away, so you can make your quote paints look a little bit like water color if you work very quickly with, um, and then if you click incredibly watered down, you can create a nice soft blend with that as well, so you can see how you can create some washes if you heavily watered down. Now, if I was to let that dry and I wanted to pale it down even more, I would get some heavily washed out white and do entire wash over the the whole thing, and that way it pales it down. But it still keeps the color that if you wanted to darken it down, you'd use maybe a black wash the black pain in a lot of water. If you wanted to do a glaze as well, you could use a medium or a glaze to glaze or tent a color over its to also help bind the paint as well. Now, radiance are pretty easy to do with a brush, you'd take two colors. There's two ways you can do this. It's the easiest way is taking your brush and dipping it into both colors so that it kind of has a little, uh, flak system going on that and simply blending it on the paper. Like I mentioned before, I go back and forth a lot of contaminate too much you can create. Great. Thanks with this. Now, you can also put 1/3 color in there, say purple, maybe the rest, and just blend up well down into each other. And you see how this creates really easy ingredient on the paper without having to blend anything on the palate first. Um, and you could do this as many times you like. Blenders make colors in as you like. Um, it's completely up to you how you do this so you could do this for a background just really , really easy to do as well. You just lay on the paint very thickly on, and it will look really nice and smooth when blended. Now, shading shading is really easy to do. What I normally do is I use black for a lot of my shadows So let's get a particular color. Let's say let's get a nice, helpful going. You see if we can cover the whole circle with this Quite a dark purple already and now shading and highlighting is basically your best friend when it comes to acrylics and painting in general because it doesn't necessarily matter what colors you use. Well, how accurate your colors. Ah, it just matters about the values and the shadows and highlights that you really get into your paintings. So I painted a simple purple circle, so I'm gonna let this dry completely before we do anything else to it. It shouldn't take too long simply because it's quite a thin layer. Um, and it is using quite a bit of water in it, I guess So it will dry a bit quick up, just washing out my brush here and then I'm going to use a black, just a regular ivory black hair. I'm also gonna put down a tiny bit of white so that we can add some highlighting, too. It's so you can kind of see how that works as well. And so this should be fairly dry by now. So what, we're gonna do is going to take a tiny bit of black. We're gonna make a spear out of this, bringing it along the washing path. And just like before, I have really liked to use my finger a lot for shading and blending just because it's so easy to use. And again, you can use the mop brush a little bit for this if you find the paint dries too quickly. When you, um, started blend it. You just spray on wall show. Add washer to your fingertip on, and it will really help to smooth out that area. Just gonna keep on going until we have somewhat of a smoother blend. And you could also use the mop brush to get that really smooth finish. If that's what you're looking for, would you use the brush in this scenario to create a really smooth sort of shaded area? And I would recommend, if you do use your mop brush washing out every time that you use it because you want to keep this brush soft and clean. Um, so just don't forget to do that because paint dries. Obviously, don't leave your brushes too long in the water. I mean I I leave Roberta's foot in the water. Quarter bets, but try not to leave, um, soaking overnight in the water. Just making sure this brush is clean. Casino paint is coming off on my hand here, sir. NYSE. And now what we can do is we can actually add a little bit of a highlight. So it looks like an actual sphere that we're making here, getting a tiny bit of white and putting that on on a cross between each layer, we blend that out, you can see how much this brush actually softens something like this. It really, really makes it super soft and super blended looking. And you could keep on adding more whites until you were happy with how the highlights and the shadows you look. But you can see how this was a really good and simple technique or ah lesson to learn how to shade in acrylic Mott brushes are excellent brushes to use for blending really, really smooth. Obviously, if you want a bit more texture coming through your pieces, then use your finger or perhaps use an actual flat brush full that, um but what brushes are a really game changer. when it comes to slew the blending and transitions in your pieces. Just remember to always wash them out after each layer and make sure they are dry or Higman free afterwards. So no paints cut off my hand there and be nice and ready for the next two years. So there's this really simple techniques for using acrylic. We have really nicely shaded sphere here on. If you look at it now, you might think that well, all of the purple pigment is kind of gone. It's got a hint of it, but it's very, very soon faded looking. This is a good example of when you would want to use glazing. Ah, you would put a launch amount of glazing or big dollop of glazing and a tiny bit of like purple pigment. And you would just glace that over maybe this area here, the dock area to bring back back cola of purple, um, glazing a great for tenting color back into pieces without having to put more layers of paint on top of everything that you've just done. So that would be everything for this class on it, and the next one we're gonna be doing a couple of different textures 6. Lesson 3: Texturing: So for this next class, we'll be focusing on a couple of different textures on. I've done the base coats for all three of these circles here on. I would just recommend if you're following along to do that in advance. That way we can sort of speed along with the class here. So the 1st 1 I've done is ah, green base coat on. We're just gonna be doing some difference with holes. If you like a za texture, we can make our little mood going. So the different craters and difference holds what you're gonna do first. Doesn't want to take a little bit of black and mixed in with my green, and I should not shade one side. So going back to those shading, uh, fundamentals that I should do in the previous class. Andi Also some of those blending skills or something, using my finger here to just smooth out that rough edge right there just wanted to not to look like there's a shadow on that side. And I'm sorry if the glare from my life is a bit too much. I will try to show you here as we go through each speck. Now I'm taking my detail brush, and I'm also taking that same dark green. I would start to create the creators of the holes. Within this circle, access will draw, which is just off by putting on basic holes, not too fancy. Try vary some of the shapes and the distance between each one. All right, then. So that's sort of all basic creases in the moon area. Just really basic holes. We're gonna let those little holes dry for the most part because we do anything to be fairly dry ice, we can lay on top of it with the highlights. So whilst it's drying would put the white in my power to I'm going to be mixing a little bit of white with back green. We're gonna gradually working our way lighter with these highlights here. Make sure some of these a dry to start on. Now I'm going to be pushing some highlights on sort of one side of the moon. So if let's say we have shadows on the bottom here, what we do now you want to think how the light affects a severe a bowl shape with holes in . So if you think about it, the craters are gonna be costing a shadow on this side if the light is here, Sure, you can see that. So that means the little bit of the light is gonna be in this sort of edge of the craziest . I'm gonna put a little bit of the lighter green there, and whilst I'm gonna I'm gonna leave. The little centers of the crate is too dry. And so while the drying, I'm actually gonna put a little bit the same light green around the edges whether light would be bouncing off the hose. And this is also gonna really help accentuate those crazies that we're making a home movie just on one side, if you can and keep it fairly blended out. Don't want too many harsh lines here. And obviously, where the light is hitting the top of the moon just like around with the shadows the light is gonna be eyes will be a lot of my stroke here, and you can see how it's really starting to show the three d effect. With that, I need a couple of little marks and highlights down there the shadows. And so it's really starting to look like a proper moon. And so now you want to add a bit, will white to your dream, and you're just gonna go a nicer and nicer with this on as before and went highlights. You want to be more and more sparing whether, as you go lighter and lighter with, um so obviously want your lightest part of this little moon here to be the very top of the moon and the very edges here of each creator. Just on one side, you want to do the same inside each crater. Just add a tiny, tiny bit of that sort of yellowy, generally the white green just only very inside of the furthest corner of the circles. We'll see if I could get that. Therefore, you should on each corner here of the circles where the highlights would be showing very small amounts and just keep walking and going those lights you'd like until you all happy and we'll do a final layoff for this little moon here with this lightest color. You want to keep this quiet rough because you do want to give a bit of texture to the moon surface, Ari, and there is our mood surface that allowed the little craters in the holes and the texture in that. And that's just a really fun way as well of doing a planet. If you are into doing all of Galaxies and stuff like that, it's not gonna move on to another really simple sort of texture that you can do, which is for textures. And I would highly recommend you have a rake brush full Bess, because these are just excellent for doing for textures. However, if you don't have a rig brush than using an angle brush that is sort of laid more, you just wait. And so for you little moron, it's flat side rather than for its thin side rather than its fat side. Um, in that way, you can get those thin strands of, uh, you can also kind of make your own rake brush if you haven't old flat brush that you don't use. What I do is I get a comb and sort of splay those bristles out, and then I'd cut with some really small scissors and for my rake brush that way. So that's just a couple of ways you can make your own the right brush or have something else that is a bit more alternative. So with for it's really again about layering on I've got a dark base here and we're going to work all way up into the lighter colors. So I'm gonna mix a little bit of white with my brown on again just using the rate brush you're gonna go. And so downward strokes here. If you were doing an animal, you'd want to refocus on the direction that the father is pointing. Obviously, this is just a demonstration, so we can only really a point it down. But when you are doing for, you want to try and clump it because fell will naturally clumped you gonna leaves a little gaps, maybe alternate the direction slightly on this health. It look a little more natural. And now we've got some basic for texture. Bad. We're gonna keep on building up the layers of adding a bit well, white to my brown and then just going back over and you see how the rig brush release plays out that for and makes it look natural and wispy, just kind of a goal. You're going cool with, uh, if your pain gets too thick. Remember, you can send it down with washer, and it will really help to give you that a little more translucent. Look, just keep on lightening up the fun until you reach a point where you're pretty happy with it on because this is acrylic paint. This is a pick up eight. You could always go back over there with shadows or darker color. If you feel you're getting too light, when your paints and you can leave certain areas slightly untouched, it'll give a bit more of a nyssa color tone to it and again mixing Leister and Lissa. Same principle applies with the highlights. You want to get a little more sparing as you go, Liza. Um, just using small upper strokes, less paint, you know, just a little bit here in the until you get to your lightest layers, where you really only want to hint of those highlights. And if you find that you're losing some of your for a bet or the color, you can always add a bit of a glaze or a tint of color back over so you take your brow also it down quite a bit, and then you can just go back over certain areas, Adan that color again and then do the same with the highlights just to really get back about texture. And that's just a really, really simple way of doing for or hair textures. And it's just super fun as well. So, for the final texture, I figured we would try a bark texture. Awesome. Would you paying a lot of nature than sometimes this could come in handy for when you're doing, like, detail details, sort of images. I've got a dock background of brown and I'm gonna take a slightly lighter color of that, and we're gonna create some random sort of shapes to start with. So bark tends to be quite vertical and chunky, so trying create something a little bit along those lines and it doesn't have to be perfect , but almost like you're creating scales for a tree. That's a what ISS I don't know where it to or if I go outside my circle a little, and so again, you're gonna be going in with your shadows. You're gonna add a little bit of black to that brown, and you're gonna shade one side of it. You might want to blend it slightly out. So it's not so harsh one side of each of those little random shapes. And then you're gonna do the upset with the highlights using the lice A colors on one side on the opposite side of the shadow want to keep it fairly rough because Bach is quite a rough texture. Naturally, anyway, so doesn't matter if it's too overly blended. You just want to create that subtle effect that it is a rough yet, um, somewhat smooth surface. It's It's tricky to explain, because Bach does have a so the mixture of surfaces all right, depending on the type of tree. Of course, we're just going for a general texture right here. You can see each of the little flakes of Bach Ah, starting to look a little three d show you without the glare of my lights on the raid against a bit flourish. One thing I you also want to do is don't forget in between each of the box because it's no old deep cracks, and there is some raised areas, so you do want to add a little bit of highlighting In between. Don't go too overly crazy with it because we do want to keep it somewhat, doc. And then finally adding in more more highlights or more whites to your pigments. Just keep on going until you are happy with the way the texture looks, keeping it somewhat rough. But a few launches of the highlights in the dark areas smudging amounts that gives more texture and less so. It is pretty much all done, and that is just a really simple way to create bark texture. Obviously, it would all depend on the perception of your piece, whether the tree or bark is particularly close or further away. Eso those three little textures are just really fun ways to create some unique and interesting, you know, textures and diversity into your peace. Ah, they're really easy and quick to do so. For the next class, we will be doing a little bit of a challenge. Piece will be using a couple more techniques when using the palette knife as well. So I will see you all that 7. Painting Challenge: So as you can see on the screen here, I have a cat with a cherry on his head and this will be our little challenge piece. So it's gonna be a really simple and easy concept here. Ah, and it's also very cute and fun. Ah, the paints. I'm gonna be using all simply white, black, a little bit of yellow and some red, which we'll use to make the pink and the right on the cherry and eyes. So go ahead and get your supplies ready. I should have the file up and ready for you to use Thebe. Basic concept sketch of this piece on DWI will jump right into it then. So I'm going to start off this painting by filling in the background. And I've mixed some white and red together to make this nice pink tone, and I'm just using my flat, wide brush to just completely fill it in. I'm not too worried about sort of any streaking us because this is gonna be slightly covered with Ah, some texture. I'm then going to take a palette knife. I'm going to just take white paint and I'm gonna really texture the background using this. Ah, this knife and it's going to give us a really interesting texture. Slowed it down just a little bit. So you kind of see what I was doing. That and you can see it gives an interesting look to the whole background. Gives it interest without it being too over the top. You're gonna do that for the whole thing. And then once that layer has completely dried, you're gonna take your flat brush again, heavily watered down some white and wash over the whole piece or the whole background, I should say. And then once that has dried, we can start working on the cat I want to do for the cat is I'm going to actually do a base layer for him in red. And this will call of keeping theme with our our whole pink and red theme going here. And you might notice that I'm actually leaving little white lines open for the features so I can easily find those again on Don't worry about those. We are gonna fill those in later. Now I'm mixing a lighter pink, and I'm starting to add in the for texture. And I'm actually using Justin Angle brush for this. Nothing too fancy. This is again sort of what general brush that I'm really comfortable with, and it's great for adding in for textures. If you don't have anything like a rate brush now I'm going in with even more white, and I'm starting to go layer by layer hair, just adding in lighter and lighter layers to get that white, fluffy cat look that we're going for here and just gradually filling it will win again, trying to clump it a little bit. I'm not going to generous with the clumps. I'm just feeling things in as I go. Obviously the life you go, the more sparing you want to be, as you can see, have filling in with even lighter, and you might lose that red background, which is perfectly fine. It's just a base coat to show through any of the little gaps that are left. So what's This cat is sort of drying on its first few layers. I'm actually going back in with my background, spraying some water on, mixing some red in there, and I'm just used my finger to smudge it out a bet, and this is so the cat will stand out on the background of it better because it is quite a light background and it's gonna be a white cat. So we do want it to stand out. Ah, and if you do have any pools of water, you could just block that off with a paper towel. And now we're gonna go back to our cat and start I'd in more, more layers of white. I'm trying to focus a little more around the features, especially because they all the things that going to be most prominent in the ah highlights . So now finally, how much you're going to add in a bit of yellow and this is going to be used to tent the for. And I'm just watering it down to really watery and loose on. I'm using my finger to smudge and blend it and you'll see it gives him kind of a glow. And it looks a little bit odd because, you know, you know, used to saying, cat, that is basically bright yellow, but we'll change that a little later, so don't worry about that right now, and I'm also going in with my black now, and I am starting to fill in those lines and features that we left earlier on dime also defining ALS the shadows on the cat. So where the Cherries gonna sit on his head, in his ears, under his chin, etcetera, etcetera, maybe a little bit around His body was curved slightly and just really where I think the shadows would look good And again, it looks really scrappy right now, so don't worry about that. So now we're gonna go in with pure white, and we're gonna start to fill in those final layers on our cats and really start to get rid of those harsh lines of the shadows as well. So it looks nice and subtle and just really focusing on dulling down those harsh lines and you'll see how soft it looks now, once you get to the final sort of image and then using my finger to sort of soften out the edges and blended a little bit so it's not so harsh and you'll see the yellow that gives it that really subtle tint on the color of the for without it being too overpowering. Now I'm moving on to the final few things, which is the Cherries and the eyes and nose feeling in the nose of the pink and filling in the base. The cherry with a red as well as starting to add in some color to the nose by adding little tiny bits of red with detail brush. I'm gonna go to the eyes and do a complete base coat of red on that too much the Cherries cherry and then adding in some little highlights to the nose as well as some shadows to it and defining the mouth lines on the little sort of nose holes. And also, I decided to define the ears a little biologist so it would look Ah little nicer now, going back over the eyes with a brighter layer and again doing the same thing that we did with for going from our darkest layer toe are lightest layer, adding in a little bit of texture on a little bit more color and finally lining the eyes with black. You want to use a detail brush for this part simply because it's just so delicate and thin filling in the pupil's and you don't let those dry completely. Um, before you add any highlights, I'm just going in with some shading now because eyes are actually round. So you need to shade it like a bit of a sphere as well as take into consideration the, um the eyelids as well. Now I'm doing the same thing with the cherry, except I'm keeping this very one sided keeping the dark layers to one side more so it looks a bit more of a rounded spear. Also, don't forget the top of the cherry has a little dip where the stem comes out of, and then doing the same thing with the highlights, putting them down and blending them into the Cherries. It's been more smoother, and then just switching back and forth between dark and light just to get it right until you pretty much happy with it. And, of course, don't forget to add a little stem in, and if you want to, you can add a little leaf. Aziz. Well, I chose not to simply because I wanted to keep it very, very simple piece. And obviously don't forget to add the final highlights into the eyes as well. Just using pure white Andi. Also, don't forget to shade the stem because it's not just a brown stamps. That's what I'm doing right there. When you're doing highlights on the eyes, you want to put a main focal highlights somewhere in the middle of the eyes and then highlight the eyelids around the eye, and it really make it look alive. And that is how you do a really simple cat with a cherry on its head. I thought this piece would be simple enough and also really fun and cute. And you can see how all the different colors come out in him, even though you hardly use, like, a few simple colors. So that will be everything for this little tutorial. Andi, I will see you in the next little demonstration. 8. Acrylic Painting Demonstration: So for this little demonstration here, I'm gonna show you how I painted this cat in a sped up process. I want good in too much detail to it, but I just wanted to show you how I went about blending and using the acrylic and using sort of my finger to blend a lot of these layers. Here you can see him as she putting a base coach just like everything before we didn't the classes on doll now, little challenge piece. I'm just putting a base coat on the cat covering him entirely, leaving those little gaps. So I confined his features later. And you always want to try and do your base layer darker obviously than your other piece of that way. The lighter layers will show up better on it. So just completely coating it in a dark grey at only use a complete black yet because I want to save my black for my darkest shadows on the cat later on. So now how much you're gonna go in with a bit of white and mix that into my dark ray and I'm using that to then start to shade or even highlight some of the areas on, and I'm choosing areas that would seem more in the open or highlighted than others. On this way, you will create a better rounded effect like your cat is actually three D or whatever you're working on his three D s. So you're just gonna go lighter and lighter, adding little bits of white to your paint as you go, and then I'm just smudging it with my finger, just as you can see here. And don't worry too much about leaving those lines because you can go back over once you've got your highlights in and you can define them better, just highlighting. And then you're going with the black to find those lines to cover up that white that has been left that and it will look perfectly natural. You can see how much you filling in those lines that we left alone earlier. And now to bring my cat to life, I want to add some color into skin so he looks like he's got blood running through his veins. So now I am rubbing in some water down pink. To make that happen. You can see it looks a bit mishmash of colors right now, and he looks a bit too pink to really be left at this stage, also adding in some brown to give some undertones to his skin. Color gray Spinks cats often have browns and yellows and even a bit of blue, and there sometimes, so you want to think about the color as well. Doesn't have to be to accurate. Just put it way you think perhaps the darkest areas might show the Browns, and maybe the pink areas might show up in the highlighted areas. And then I'm adding some yellow to add a glowed his body out of liver glowed whose face and make him look like he's got the light hitting him in certain areas. This just warms him up, so he's not such a stock gray color. Then, after that, I go back in with a light gray just to fill in those areas that look a bit too colored by the pink in the brown on the yellow. I'm going back everywhere where I think it needs it, but leaving just enough being trans lucid enough to to really show those colors through. So you want again. Like I have said many times, before. Subtlety is key in a lot of painting and then giving in with uneven light a gray and starting to pick out those highlights again. You're just gonna keep working your paintings until you're really happy with it on. That's all painting is, you know, if you feel like you've gotten to a point in a painting where perhaps you've made a mistake or something just doesn't look right, Or maybe you're on really ugly layer. Still, just keep going until you're happy with it. Remember, acrylic is a thick paint. It can cover layers beneath it. So if you make a mistake, just pain over it and start again. If that's really really what you feel you need to do. I've done that for some of my paintings where there's a particular portion that I just cover and start again on, and sometimes that's the best thing to do. That's everything for this little demonstration. I just wanted to show you my little painting process for blending and how I sort of went about creating the three D look in the smooth texture on the skin, as well as treating that subtle hint of color. I'm just finishing up with the details such as the eyes and the mouth parts and the nose and all That on the cat is pretty much complete. So I want to thank you for sticking around the end of this clause. I hope you enjoy it. I will be doing a lot more credit classes in the future. And if you want to check out my other sites that maybe murder welcome to always happy for that stuff on. Please do leave review. And any constructive criticism is always welcome. So thank you so much. And I will see you all next time you