Acrylic Still Life Demonstration - Focus On Words & Text | Robert Joyner | Skillshare

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Acrylic Still Life Demonstration - Focus On Words & Text

teacher avatar Robert Joyner, Making Art Fun

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

2 Lessons (15m)
    • 1. Introduction

    • 2. StillLifeAgave HD 720p

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About This Class

In this class you will learn how to paint better words and text using acrylics. If you enjoy painting still life with text/branding then this is a great class to check out.

Who Is This Class For?

Anyone that wants to create paintings that incorporate words & text. It's well suited for all levels of painters from beginning to advanced.

The Final Painting

Have a look at the final still life that was painted using the techniques taught in this series.


Parting Thoughts

Text & Words are a fabulous addition to any artists arsenal of tools. You can easily create fabulous still life paintings, cityscapes with signage & add interesting quotes & text to your art.

Hope you enjoyed the series & Thanks for supporting my teaching endeavors.

Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: Hi, I'm Robert Joyner. And this is part for the final chapter of how to create awesome text and words. And these lessons also do a final still life painting using mixed media and I will incorporate all of the techniques have demonstrated throughout parts 12 and three. So you will see everything come together as I create simple but expressive still life painting. I'm excited. Get started. I know you're excited to and roll today I hope to see you on the inside again. I'm Robert Joyner. I love the paint loose. I love the create awesome text and words. Thanks for watching. 2. StillLifeAgave HD 720p: so I'm gonna go right into my green gold a little bit. This yellow iron oxide will go push a little more to the green. I'm working pretty thin and transparent here. I'm not trying to go too thick. Pushed that little more brown. And I do that really? Because I want to see these kind of layout lines for a little bit longer. Now we're raw is I can kind of get in here and just kind of play with. I'll leave some of that whiteness in there. That's pretty good. Maybe I want to Sprinkle some of that around and tie that color in. And again. I'm not gonna worry about trying to make a complete painting here, so I'm going to go ahead now and work with those Deep Blue's so little pruzan I drag a little red in there just so I get some variation of blue. Now I'm gonna drag a little bit this green over here, not mixing it all together. Notice how I'm getting a few different piles going here because I want to be able to quickly access these different shades of blue when I need them. I kind of start writing here. Going on display with these color is a little bit and just again that not trying to stick entirely perfect to the farm and going outside those lines a little bit. That's okay. We kind of thin this out a little bit more. So I just dipped in water there. Now I'm gonna push this to some browns, and it's not really in the image or anything like that. It's just it's just me playing with color. So I'll push this to the Reds. Good. Push this to the greens a little bit, and maybe we can can whatever color that is, and that's working. And we have come this little emblem here, I can play with that. So now we have this other fought, but really small, really thin. I'm a switch to my signature brush here and and I'm going outside the lines. I'm not trying to be perfect with it. Under spreading some color around, There's some writing down in here, kind of, you know, went in there and loosely put that stuff in there. No. Has that feeling of this going on and all that stuff too. So now I'm gonna let that area dry And while it does, I'll just add a few marks here and just just saying, Gonna feel for the rest of this quickly Gonna indicate this stuff. And we have some white different shades of whites in here just to kind of make this Ah, transparent looking bottle. And that's why I'm not again get too fussy with all this stuff I kind of forgot about in this. Ah, we'll detail there. That's good. I think for now I will let that rest. When it dries, I'll come back to it. And what a little bit more. So we're nice and close here, and based on this scale, I'm gonna focus more on maybe the raw, organic blue agave A. If I can get some of that sweetener to make sense, that's fine. But it's not gonna be a huge focus. Now I've taken my Prue Shin blue a little bit of my white. Actually, a lot of my wife have a nice mixture there of light blue. Also, add a touch of this green over here. I think it be nice. Just a mix that up a little bit. Just so everything is not that one shade of blue and I've also got little bit of Ah, this Brown and yes, I'm gonna count. Just play with that. Don't want again everything One color. Now I'm using my small round here. I'm just going to get in here first and just indicate some of these shapes and kind of get to that text. So here's my Trader Joe's again. I am not going to get too fussy with Trader Joe's, because that may be something that it's just not scaled up enough to bring that end. I'm gonna start getting here working with this organic and I don't want too much. I'm actually gonna clean that off and then just get a little bit on the tip and now kind of have you know it is moving around with this. So I want to get that feeling of moving around this shape and we can get the little oh started. We got a C or G or are whatever that is on a kind of lost that that's okay. I'm gonna go right into this G. We haven't a and I. I see. So that's working pretty good for me. Knows how. I'm not getting it perfect. There's a lot of little pockets of white in there, So now we have blue agave, so that's moving down and up and the bottom is pretty flat. It's just got this angle that moves along with the label in the perspective. So I kind of establish this be Maybe that Oh, we can get that you pretty nice. That's looking pretty good. We have our job A and again on this scale. I don't want to get too fussy with everything you know. It's just really about capturing that likeness. Hey, there's some fonts in here. It doesn't really need to be any more than that. And we had this little It's like the U. S and D A. And that's good. I got that blue one. I can kind of play color around and the painting a little bit, and that's good. I'll go ahead and use some of this white and we'll see if we can kind of get this feeling of raw now. In this sense, you know, I am basically writing the text, Um, but that's okay, because when I'm doing that in my back pocket, I know I'm coming. That's not a finished product. And the problem with when people write as they leave that as a finished product. And for me, I know it's just simply getting some color now because I will come back and go over that and then that's good. And I think for now I can kind of new, let that rest and then we'll zoom back a little bit. Of course, so you can kind of get a feel for what's going on. Your Bakri belong and hope we can see that the feeling of text, you know, it doesn't look bad. Some some things were somewhat of illegible. Other letters are, and that's really the feeling that I wanted. We get the gist of some things and the other stuff can simply fall apart. Notice how under the sweetener and all of this, I didn't have room to put net weight 11.75 palaces and and all that stuff, and it just wasn't going to happen. Of course, I left it out simply because of scale may be again. If I scaled that up, it wouldn't be a problem. I'm just gonna go into some of these darks, and while this is dry in, I'm just going to play with anchoring this baby with a shadow and that's good. And this it's adding a few details here. So you kind of get us almost a full scope for, you know, a complete demo again. It wasn't in the card to do that, but at least get a feel for it here. I've got my big brush here. I only think I've used that. I could go into this green and some of these white blue mixtures and maybe toned that down a little bit with weight around and be a little bit of this here and kind of capture these shapes a little bit that were lost coming here with some drawing loose it up, right. A lot of fun to create like this. And I can have a lot of freedom here. It's not my focus, right? My focus was, Hey, I'm gonna kind of play with that text play with that fun and let that be my focus on the rest of that. I just don't care about and it works. It works. Fine. Works perfectly good now that labels popping a little bit, starting to dry, and when that dries, I'll come back at another layer here. Maybe pop those letters and maybe pop that raw. Maybe that raw will be like the boom. You know, for all the vegans and healthy eaters out there, that will be a piece of art that they would latch on to write anyway. Well, let that rest when it dries, I'll see you back. Dry to the touch. Doesn't need much more just in terms of bringing the label together. I'm going to start right there with raw so little red load, a little bit of the yellow mixed into these browns, maybe a touch of the green. And then that is how I'm rolling my brush like that. But I do that that gets a lot of the paint out of the belly and at the top. But it also gets my paint, my brush to somewhat of a decent point, using the negative space here. I just want to capture a feeling of that fought lightened that up a smidge toe, add some variation that not too much again. I think that's good. It's easy for me to go too far, too, sometimes getting here to these yellows and greens. That's why ah, slightly different color than this just to kind of pop it. I'm just gonna on a little touch here to this detail, and that's good. I kind of even play with just adding a feeling of that. Here, too. I'm not worried about Trader Joe's anymore. I just realized I was painting. That doesn't work with this scale and pretty thin mixture, but not so much where I put it down and and drips and then and then. And that kind of stuff just comes from experience. You have when you're painting on diesel like this long enough, you realize a certain consistency will cause it to drip. In this case, I just don't want that. It's one of feeling of that are maybe kind of playing with outlines and then playing with the body of it, too. And that's good. I think that kind of gets that word to pop a little bit. Now I'm looking at blue a gob A and this kind of head mess here, hidden miss. All the while, I want to be cognizant of you know what? What does this look like from a distance but would be believable and so on? We have some interesting thoughts. You know in this a gobby to some, lightly trying to capture that, too. And that's good. We get the sweetener thing happening here, and that's good. We'll get with a really dark and just establish. This is a little bit different color over here. I kind of play with this a little bit and fine. We have, ah, really dark top here, kind of getting that into. And that's good. I think it gets the point across. If I wanted to do all that kind of yellowish color and there's dry, maybe I want to pop this a little bit more, gets that feeling of texts. And that's, you know, for something like this, it's really all you need. There's another little the label behind. It's like this, and it's really kind of lighter than that. That's okay. Really, What, All you want to do? You know, you kind of come in here and capture likeness of things, play with a little bit, too. You find that balance, but anyway, I think this concludes this demo. I'll see you the next one