Add Value To Your Art - Basic Acrylic Painting Fundamentals | Robert Joyner | Skillshare

Add Value To Your Art - Basic Acrylic Painting Fundamentals

Robert Joyner, Making Art Fun

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10 Lessons (1h 8m)
    • 1. Introduction

      3:20
    • 2. Intro To Grayscale

      4:44
    • 3. Value Range Example

      2:12
    • 4. Basic Shapes

      12:50
    • 5. Grayscale Demo With House

      9:45
    • 6. Capturing Depth With Grayscale

      6:19
    • 7. Quick Look Art Color

      3:02
    • 8. Capturing Depth With Color

      6:27
    • 9. Introduction To Tone

      3:25
    • 10. Grayscale VS Color Demo

      15:57
17 students are watching this class

About This Class

In this class you will learn the art adding value to paintings and why it's so important even for expressive artists. Value will help you create more believable subjects by infusing the sense of shape using light & shadow. Once you understand and master value then you will have a better understanding of what makes your subjects work and most importantly how to deconstruct them.

There are currently fourteen lessons that span over 105 minutes. Each lesson includes high def video, supporting text & images. You can also ask questions and get answers.

A quick look at just a few lessons covered:

  • Working with grayscale
  • Creating basic forms
  • How to add three dimensional feel to your subjects
  • Understanding the range of value & how it creates intense and subtle artworks
  • Value will help you paint loose - give you more options
  • Using mixed media to add value
  • Much more...

Who is this class for?

Any artist that wants to build a solid foundation for painting no matter what style you desire. But for expressive artists it's a necessity simply because you need a solid base of how to construct your subjects before you start deconstructing.

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Transcripts

1. Introduction: Hi, I'm Robert. With paint loose, I'm excited to share value. Value is the key to making subjects and paintings work. I like to paint loose just as much or more than the next person. But I can tell you certain elements need to be in place. And value is very important because value is the relative lightness and darkness of an object or painting, and they create a three dimensional look to the art. Okay, so they make things believable. We can create intensity, wants me, understand, so we can have a range of very very lights to very dark. We can also make things a little bit right. Subtle by understanding the lightest light doesn't have to be as writers will be here in the darkest dark doesn't have to be a dark way. Range of value is upto bucks, depending on the look we want Now. This is important because objects, whether it's still like landscape Portrait's, they're made up of shapes, and we're gonna discuss basic shapes and once we talk about value, were to break that down into understanding some very, very basic shapes and then apply this to them, and then we're gonna move into some real life painting. We're gonna take this value scale and apply it to a still life, maybe a city escape to show you where to use these, where we can kind of play and have fun with these mid tones. But then we want to get these lights and darks in the right place so that the painting becomes war. Really? So we look at it has convention death. Okay, Now, why is this so important? I mean, this is paint loose, right? We want to just let things go, right, OK, But in order to break things down and let go when they have freedom, you have to be able to dial it in and understand it on a very basic level came and I say basic. I mean understanding what makes the shapes work. Well, what do we need to make that building believable? And that's all about understanding value. Okay, so once you understand this Utkan tighten your art off and bring it here to a very realistic not doesn't have to be super tight, but but a very almost precise way. Then we can open up. Okay, that is going to give you a tremendous amount of freedom because you gotta know where these values need to be placed. Okay, so that's what this class is all about. I'm ready to get started, and we're gonna jump right into talking a lot more about this grayscale, then moving the basic shapes. Then apply that to some real life examples on how this would apply when we're painting. Okay, let's get started. 2. Intro To Grayscale: gray scale taking titanium white. This is pure Probably kidding to see it just probably looks like a square to you, but that's just a block of titanium white and mars black. Okay? And then adding white to the black or vice versa. Have you won't look at it to get the different values? OK, working in this gray scale is relatively easy. And because all you need is two colors and then achieve these now recommend, of course, that you do this, that you create these blocks. Now you can do five across for this example. Like I did weaken do 10 make make them a little bit tighter. Aziz, you go so you would have war colors in between. Right? Um or you could just do this. That's fine. But the key is that you you mix the pain. You go through the process so that you you create these values. OK, very important. This next example is similar, but I didn't start with the pure white. Okay, so over here, with pure white and the really intense dark you're creating, um, or intense range, they're of value. Okay. Over here I started with more of a light color, but actually, I'm sorry. It's a little bit darker than this, so I started a little bit darker. The first color and then the darkest color isn't as intense or as doesn't have the same value or darkness of this one. So the range here IHS subtle. You can create beautiful artwork with just this subtle range and has a very elegant look to it. We're like, over here we create a painting, and this range is great is nice too. But I mean, it's more intense, Right? Has a more dramatic look to it. I understand that. So a painting doesn't have to be had this pure white or light color. I mean, this could be a very light yellow or orange or whatever to a very extreme dark on, Just like over here doesn't weaken, do a subtle or we you know it doesn't matter. But I understand that a painting has arranged to it. The range will effect the overall feel, the atmosphere of the mood right. We use these values to represent shapes and like this example here that the little building you have no cube with a triangle and a rectangle on this side So with coffee cup, you're dealing with a cylinder. All of this. These values will apply to our shapes, and we want to get these values in the right place. And why is this important? Because it makes the the object three dimensional. If this were in a landscape, it would make the landscape more believable. And once you understand where some of these darkest darks and these mid values go, then you can really start to have more freedom with your expression. So it's always get things and the general place where they belong, then your good where, like this coffee cup, it's the same idea. You want to make sure the darkest darks are kind of where they belong, and then the lightest lights and so on so that the object is believable. And then, once you get things where they belong, then we can have some fun that concludes this breakdown of grayscale value by it's important. And on the next lesson, I'm going to show you some examples of how I use these intense methods and the subtle method on a very basic coffee company. So you have a good visual, the impact of that range ah, value, and then we'll move on into some more advanced lessons 3. Value Range Example: All right, here we go. A couple of coffee cups. I'm not gonna bore you with painting them, cause that's not really about this particular lesson is all about, Yes, we will paint some together. But for now, I wanted to illustrate how Ah, very kind of extreme or intense scale of ICT to dark looks. So the lightest light is very light on the darkest dark. Very, very dark. Then how a subtle version looks. You can see the impact these two have from where you are. So we hear on this version. Excuse me. Oh, you know, it doesn't look as intense as this one, but it works has formed. So the light is light is has a darker value. Then this example Excuse me Over here. Same thing with the darks. The painting is more subtle, but the key is the lightest lights. So let's say the light is coming from the left hand side here, Okay? Catching the side of the cup. Maybe over here, catching maybe the handle. Same thing over here. Okay, so the the shape of the cup cylinder works simply because the values are in the right place . Okay. Very important to know this and to really understand that the difference between how dramatic these look. Okay, so this again, a little more dramatic, because the range is a little bit greater. Okay, a little more subtle because we doubt it in. And we used value to do that. All right, we jump to the next lesson. I hope you understand the importance of value, the importance of the range, and that's what this lesson was all about. 4. Basic Shapes: All right, this lesson. I want to do some painting or I will. Hopefully you'll follow along at home. Just using the two basic colors. Mars, black, titanium, white, five basic shapes I'll be working with here. Cylinder, cone, sphere, Paris so similar to a circle, but is missing the inside there. This shape will pop up more than you think. And the good old cube, The light source will be coming from this side on all of them. Okay, Now, if the light is coming from this side and make sense that our lightest lights are on the side as well. Okay, so I'm gonna start with the cylinder. Are the cylinder whenever you're you're thinking about painting that and and working with it, you want your brush strokes to kind of go in this direction, OK, in a very vertical way. So I'm gonna go ahead and just mix up, um, quite a bit of just a basic medium value. And the reason I do that is once I know where my medium value is there, not engage how where my life this light will be or where what it will be. And then dark is dark as Well, now with this cone, Okay, again, light coming from this direction. I'm just couldn't go ahead, but and paint this, but notice how working it and bit mostly in these very vertical strokes. Okay, Now I can take some light. Well, say pure white and just kind of dab that. And now I can kind of put my life this light here now, because the sun is the lights coming from this direction, we're gonna have a light area on the inside here, also on the top, and then I'm gonna mix up a darker and I'm not. I'm not going to get to perfect with these. The idea is I just want to give you the gist of X. That's all we're doing with painting loose, because the lights coming from this way on the inside of that shape will be dark. And then over here we have a dark as well. Okay, the cash shadow will go over and here somewhere. So that makes that shape believable. That's all you need to know. Doesn't need to be any more perfect than that. The cone is kind of a triangle triangular shape, OK, and we're going to stay within those triangles. So, like, how about painted straight lines? There were gonna think triangle shapes here. I'm just going to rinse my brush off. I'm going to start again with this middle range. Get that down. Now. I can get into a lighter range, and again, I'm gonna think vertical but basically moving within that triangular shape. OK, take a little bit of that off, going to my darks and think triangular shaped there as well. Cash shadow course goes over here, and good. So that gets three dimensional. Look to that shape. The sphere is basically I like to think of it as, like, uh, me have a circular sheet. Look, to make it three dimensional. You have these kind of crescents on one side where the shade is. They had this almost oval look over here. So I kind of go in here and just fill in some color. No, that's not a perfect Hoebel, but that's okay. That's pain looses all about. We get adjusted things and we're good. Now I want to get in here to my darks. And I had this crescent shape here to make that work rents I will use a little bit lighter color here. I'm gonna blend into this and create this almost oval shape here. And then we'll do a little highlight. Maybe where the light is catching it and so on, Not gonna get into reflected light. And all of that sometimes all include that, But other times I don't fool much with it. So reflected light based, basically, is how the light will bounce off the surface and back up. So a lot of traditional painters, and they put some how reflected light right there. Underneath. So it is hitting the ground, bouncing back up, and they're getting a little light there. Um, cast shadow over here. Okay, so that gives form to that. Okay, you can see how getting that oval that little crescent in there helps bring some believability to that shape. Now, with our tourists here, it's kind of the same thing you have, Crescent's. And then, you know, these kind of oval shapes in crescents and the shadows in the light area. So I'm just going to actually let me rent my brush off. Do this, do him all the same way. I kind of start with his mid value. I'll go here and creating this feeling. Think of a doughnut. OK? That's basically what we're dealing with here and now going here to my darks and kind of create this crescent shape where the shadow would be on. And I got my dark stat. I could go ahead, maybe kind of get that feeling of a shadow there, I could get my lights, and it's gonna be a little bit much lighter on this side and just going to blend that a smidge more and good. So you see how that the understanding that was basic shapes that crescent helped out Cube keeps kind of interesting me because it is a little more three dimensional. So way had this look to it where we have sides and all that stuff on the lights were going to start with that mid range and a cubes has a little more detail to it than you think. I'm gonna go a little bit lighter on top, but not my latest. Late someone, The light coming more from the side. All right, Chris. Mom, Brush. Really good. And now I'll put my latest light here Now where This corner right here meets. Okay, is where you want. Ah, little more contrast. So typically it will be a It would be ah, little bit darker here where the sun is meeting that corner and the Cuba's closer to you and it can feed to a little bit lighter value over here and same thing here. It's a little bit darker, furthest away from this point. And the light is light. We can save right here for that. Okay, Now we can throw a little cash shadow down here, and we're good. Okay, So, uh, understanding the pullup Al Adel. So understanding these basic shapes, uhm And then how we want to paint them So understanding the vertical this blending that a little bit as I talk the vertical movement of the brushwork understanding that the word the darks will be same thing with this triangular shaped the cone. This fear the crescents with these ovals of the Taurus. The doughnut, right? Getting those crescents in there will make give the object shape the Cuba's. Well, okay, a little cash shadow there. Now. I didn't get into my new details. I didn't paint this and such a representational way. I spent two hours on the cone or on the cylinder. It was quick. It was loose. Okay, But it's important t get these elements in the right place. Because if you don't, then you're the the shapes or the say your subjects become so they're not very believable. And they don't have form. They don't have structure to him. And so the painting is Ah, hole just tends. Tiu, miss the mark. Okay, So I encourage you to practice these basic shapes. The basic shapes are important. And then as you break him down and you start to understand them, then then he can start to do it a little more loosely. And you'll be surprised at how that's going to change how you look your subjects. You start to find these shapes all over the place and break him down and go well, Yeah, yeah, I know what that is. Now I know how to make that unbelievable. And so long as you understand where the lightest lights and darkest darks are the dependent and put them in the right place, then then they become believable. And then you can start again. The have fun with breaking things down. Okay, so, basically, once you understand what the lightest light is the darkest dark ISS, then everything in between that your mid range, your mid values you can really play with, and you can get your darkest darks by a variety of ways. In this case, of course, I used acrylics. Now use Mars black, but your darkest darks can be laid in with charcoal that could be laid in with crayon so long as you have the values right, OK, very important. And the same thing to go with lights. I mean, the lights can be painted in. We can use crayon to get him. We can use a variety of mediums to express it, but needs again fall into the right place. That's that's the most important part here. Eso practice these shapes as much as you can, and then you'll be ready to tackle your subjects. One. Once you understand how to represent these 5. Grayscale Demo With House: in this lesson, I will give you a bad example and a good example of values now, looking at the shape here or the subject Basic cute, right? So we have Kim shape, and this would be more of a rectangle and then near the little triangle there. But we're gonna focus more on getting the Q and then understanding that we need to get certain values in the right place. Okay, Now, had the light source coming from the top right on both of these. And I'm going to start with the bad example. Okay, So to make my point here, I'm kind of approach it the same way I'm gonna do it. And gray scale. I'm gonna start with these mid values, OK? So with the mid values, I can come in here and just kind of start to chisel in or just were kind of rough in some of this here. And I know, um should be darker over here, but I'm gonna be stubborn. I'm going to put this mid value, and you go now for the shadow. I'm gonna go even later. So I'm gonna put this kind of lighter value here. Then the the building. And ah, now I'm gonna start to work with the darks. So I'm gonna go mix in some of my dark here and maybe put a really dark here dark here, maybe a dark where this door is, There's a little awning. Maybe underneath. We'll put the really dark dark on the roof, and good. I'm gonna go back into these mid values. Maybe I need to go a little bit lighter and, uh, do this number and so one so real quickly you can see that my light source is coming from over here. That doesn't work too well. I can even maybe get this feeling of the awning right here, Um, and all that. But there's not much believability there. And I could even, like, take a dark and put in some windows. In any case, I'm struggling because things aren't in the right place. Now come over here to the good example. Start with my mid range. I can pop that down. I can even go mid range on the backside just to get some sort of base down. And now I'll move into my lighter values. So I'm gonna get a little bit of white here. The sun's coming down this side. So this awning will be very light The side of the building, uh, light underneath the awning. There's a cash shadow there, so I'm gonna get a value that works. And we're good there. There could be some windows there. So there'll be a cash shadow, like on the inside of those. So we can just indicate that without going too dark and that we don't want to use our darkest dark right here. Okay, I could go a little more intense with the darkness is closest to the awning that starts to work. You know, this is this roof. It could be the shingles. It could be anything but I'm going may. I don't want to make that to light. I may have a little shadow underneath this, and that's good for now. If I wanted to make a little more of an impact on that light heading that awning that works now I'm gonna move to my darker side and because the light source again is coming from here . I want this side to be a little bit darker. The lightest light on the building would go here on that side get that darkest dark. And here and then I can fade that dark a little bit as it moves away from us, huh? About putting that intensity right there. Okay, Cash shadow. What kind of mission? I want to go to dark. I'm a good, pretty dark here. Run that out. I can lighten that shadow up a little bit and right there and good. And come back in here with my windows. Maybe is catching some light? Um, And you get the point. If I wanted to emphasize this, I could put a little chimney here. That's the back half is. And the shade that's catching a little war like, Okay, so you start to see, we'll put my palate down. The difference here. This version, it's more believable. Okay? It has shape and dimension to it. This it's there. You can see the building, but but it's there certain elements that aren't in place, so it, you know, it tends to not be is realistic. And we're not really trying to be realistic, so to speak. But but way want the darkest darks and lightest lights in. Ah, General, the general right place. Right. But, you know, and then the mid range is is where we have our fun. But if you don't get the right values in the right place, sometimes in the painting will become flat. If I did the whole painting like this, it will become very, very flat. Okay. So again, I would encourage you to try this play with this example some and and see for yourself the difference. And then once you understand these, you know where things need to be. Then you could start toe, have a lot of fun with color and medium and things like that. So in the next example, with the next lesson, I want to start to introduce that to you a little bit. I'm show you how once we get the right value in the right place, then we can explore color as long as we understand. Um, colors have values to, so we can have a light red and become a dark red. Become a light yellow, a dark yellow and so one. Okay. We want to use those accordingly, to represent shapes and to get them, you know, to make our subjects believable. Okay, And that's gonna again the the ideas once you start to see your subjects on this level. It's going to open up freedom. Teoh, you kind of have to dial things in and know it on a very kind of, um, representational level. And then once you know it here, then then you can start to exploit it and to break it down. Okay. And to express it more freely. Okay. All right. I'll see you the next lesson. 6. Capturing Depth With Grayscale: and this lesson, I won't cover creating depth. The reason this is important is I know many of you paint landscapes or you may pain even a still life or whatever. But it's a Siris of objects, a Siris of shapes, and especially in landscapes and cityscapes and stuff. Some objects are closer to you and others received. They move away from the viewer. Now, this is important because things that are closer to you, we'll have more contrast. So the safe, for example, the value I'm thinking about here would be that and and they say we go to a light which a really light light. And here. Okay, so the contrast between these two are pretty extreme, okay? And that would belong to the object that's closest to you. As things move away, they become war gradual or subtle. So let's say our darkest dark, maybe, and there somewhere. OK, so when you were here, at the value of what we just had, and then the lightest light on that subject or that object maybe in there. Okay, this one. Okay, this one's really moving away from us, so that may have something. So this could be the darkest dark, and then this could be the lightest lengths. So it's a very subtle and in gradual difference between the lightest light and dark dark. And what that's going to do is create depth in your painting. So if I start right here with this one and again, the light source is coming from this side, I'm not gonna worry about the ground and all that stuff. I'm just going to kind of focus on the building. So you get the gist of it. In case of the darkest dark we know Se is in here somewhere, and then the lightest light is very gradual. So we may want to push that. And there somewhere now, in this building, we want that lightest like the lights coming from here. So let's say is catching this side. We want that to be, And there the darkest dark. We may want to be in this range. So you start to see that there's war contrast here between this and this, then that in that Okay, that's a subtle change. And I'll make that a little more obvious just so you can see it on camera. Okay. And then I'm gonna increase the darkness over here. So the lightest light with is lighter than this. The darker dark is darker than this, and that's important because it makes this object seem closer. Now, over here, I'll start with the mid range just to get something down here. And then I'm a dark in that mid range up a little bit. You can see this dark is much darker, then what I've used to this point, and it should be because this object is closer to the viewer. And now the dark isn't dark is going to go right on this corner of the building or close to it, and then it can kind of feed as we go away. I'm going to clean my brush so I can get a really nice, intense like color here. And the lightest light of the building will go here and then, as it moves away from the viewer, can fade a little bit and so on. So you can see how this building comes forward has the lightest light and also has the most contrast. So as I moved to the cash shadow when this building won't be his light or dark, is this again you could be painting a Siris of, of still life objects. We could be painting landscapes, building cityscapes or whatever the idea and understanding value is getting the right ones in the right places. Okay, this class is all about understanding those basic elements of design and painting in general and knowing that this stuff has to play a key role. Even if you're painting loose, let's get into some color, but stick on the same theme value. 7. Quick Look Art Color: all right. And this lesson, we don't go into color keeping value in the forefront. So that's our focus. We want to get those values right with color. Okay, So now, But before we dive in here, we're going to look at color that we've all probably have seen a color wheel. I'm gonna break this down for you pretending that you have it. So, um, you know, we have our yellow. Then we have our red in a course, last but not least, good old blue. All right. Primary colors. You cannot mix these colors by blending any other colors. Okay, so we mix the secondary colors by mixing these the blue and the red. Okay, we get a violet, and again, I mean, I know all of you realize this, but we're going to break this down to get orange, going to mix our yellow and red, And then, of course, to get our green, yellow and blue. Okay, so those are secondary colors. And of course, there's colors in between these So you can go yellow, orange, red, orange of red, violet. And so one. Okay, But knowing these colors here and where they fall According to each other is important when you start thinking about color, okay? Because there's ways we can decrease the value of a color, depending on which one it is by using colors opposite on the wheel. Okay, so too dark in my yellow. Okay. To make that a darker value, I can use violent and so one. So we're going to kind of look at that and keep all this in mind as we move forward. So that's just a quick just of color here again. I mean, it's not end up. Look at it, but again, But we're gonna apply that basic color wheel to this particular, uh, what's where? I'm looking for administration. All right, let's do that. 8. Capturing Depth With Color: Okay, So for this example here, I'm going to put paint all of these buildings and a blue and also give you an example of how we can do that in a yellow. I think from there you're going to get the gist of it. Here's my blue complementary, colorless sea of blue as orange. So if I want to put a blue building in the distance, I'm gonna want to push that orange into that blue. Because here is the blue building this closest to me. And I want this. Remember to have them the most intense value change. Okay, so I don't want to push this building too much, too. The blue orange, if his closest to me. Okay, now, again, this is all hypothetical painting here. I'm making all this up, but its toe distressed the point of value when dealing with color. So I'm going to start with this one in the distance here. I'm gonna go with my blue, and I'm going to take some of this orange mixing up with the red and the yellow. I'm gonna mix end with this blue. Of course, that's gonna push that to almost ah greenish color. Okay, now my add just a hint of white there, the tone it down. Andi, the light is still coming from this side. Okay, so this side is catching more like So I'm just going to push put my yellow here and now I'm gonna push a little more orange into that, and so that will create that blue building in a distance. Okay, Now, if you find that is too dark, you know, for your painting, you can always coming hit. Coming here makes a little bit of white into this and make this a little more of a subtle change. And that's fine. That will push it back a little bit for you. But but be careful with the white because we go to extreme or too heavy on the white. You can really lighten up that value, and it's gonna bring that building forward. I'm gonna focus on this one. Now mix up my orange. I'm not gonna go Was heavy on the orange with this one. Okay? Just a little touch. And now a smidge of that way Just to lighten that up a hair. We don't want to go too much, and now I will on uh, here. You can see that went down pretty dark there. So I'm gonna put a little bit of white into that touch of that orange spinach more here. So we have our light side, and we have our dark side. I will push a little more orange. Okay, So more of a value change than here. This is very subtle. And this is also pushing war to the orange. So with the blue, you can imagine someone go a little more green, right? And now we have our lightest building here, someone get with my blue. And because this is the corner that's closest to us really want that dark side to be really intense. And then I can fade that intensity of that blue as it goes away from us. I can do that by using a little bit of orange. Sometimes if that complementary color doesn't work, you can always add a little bit of white tube. But again, you have to be really careful with that white not to, um, used too much where it'll really lighten it up. I'm gonna get a little more My orange, the my brush. And I'm going to use a little bit of light or white and in my blue, and we go really light on the corner here. And then it can go a little bit darker as it moves away from us. Yeah. I mean, when it doesn't have to be perfect, we just want it close. All right, Now I'm gonna get that dark roof in there, and that's going to bring this building much closer to us. Okay? So I can put my shadow in there, all that spine. It's going to decrease the intensity over here, and it's going to get a lot later over there. Okay, So using blue as an example and then also keeping in mind, we put my palate down of keeping in mind the value. You can see how this building here jumps forward. So that concludes this lesson. See the next 9. Introduction To Tone: we are going to discuss tongue now. Previously talked about value and how that's important for your artwork. And hopefully you were able to grasp how to shift lights and darks a little bit. To perhaps create a sinner adventurous to create depth in our landscape and so long. The idea is to understand it, experiment with it and then you use it right with tone. It's really about the saturation of your colors. Okay, so, for example, if I just for to take variety and green, this is a already in green hue and just go straight onto my surface here undiluted, you can see the intensity of that color. Now I have a little bit of Mars gray. Now I will take that same Hugh saw use at Meridian. I'm going to add a little bit of that Mars gray to it, and if you can't see it on camera, sometimes I get glare from the lates. I'll get a close up for you, but hopefully you can see the difference there. I'll take a little more my Mars great and go a little bit here, so it's a little bit here, and I'll continue that process right on down. I'll just do one more to the point where we have lost a lot of that feeling of green. Okay, so with Meridian, with the original color here, I was going to intensify that you could see how saturated that green is. And then, as I've added Mars gray to it, the color began to tone down. OK, so this is very intense. And over here on this scale of that Meridian has almost disappeared from the color. The idea behind this is we have to know how to manipulate your colors. I would, I would normally see his artists will Discontent ain't a pound their their canvas and their surface with very, very intense colors. For those artists, I don't understand how to effectively tone down their colors. They their art is very loud, but also that they lose the ability to really put to accentuate or put a focal point on their artwork or to perhaps make abstract style or expressive paintings work. I'm so this is the just of tone. And now I will do a demonstration where a couple of them, actually where I used tone to create a certain look. Okay, so this is the overview. I will see you in the demos 10. Grayscale VS Color Demo: and this less I'm going to give you a few examples of creating depth and using value in a city escape a number. I think 10 round is pretty beat up. This is a number eight. Don't have an outline. Er my palate is a titanium white fellow Blue. I get some premixed gray here. Cobalt violet cad Red, yellow, iron oxide, cat orange. So ruling in blue. And then I have some radiant on this side I'm going to get Give me that feeling of death. I'm going to do it in a gray scale over here. I'll do it in color. I'm just gonna crack forward with the gray scale version. So I've got a little bit of white here. I'll take some of that premixed grey a few shades here of gray. I'm putting a little bit of saru lian in this gray and putting that blue in the air will Really I'm darken it a little bit and in the violet, but also move those buildings towards the distance. Okay, so now I've got that kind of darker gray mixture here. I want to start over here with the buildings furthest from us, and, uh, I'm gonna go a little bit lighter and catch the front of this building and maybe catched that building. And now I've got a little more white over here. I've still got that gray on my brush, a little bit of water there. And now I can catch this building here, and, um, I'll get the one beside it, So getting a little bit lighter now, I'm gonna push thes darks a little bit darker. I add a little bit of this orange and yellow to it just to start to warm these up a little bit. And that will pull these buildings visually on the campus here, closer to us. Okay, so I have my dark there on that building. And now, last but not least, I'm going to switch here. I might take a little bit of yellow with this white, and it's going to be a grayscale, but I'm just gonna warm this gray up a little bit with that yellow, and then I'll use that here to create this building front. And now I'll switch to my other brush here will go a lot darker, Grey Here, do some reds with those blues and we can push that one over there and we have a little shadow, probably since the sun is coming from this side. And, uh, now with the sky, I'm just going to just put my brush right in that white yellow mixture. Just create that feeling of a nice light sky. Generally speaking of the sky, unless it's a really murky day, it's pretty light value. Now we have the the sidewalk, which it's gonna be pretty light. Is this the ground? So it's gonna catch a lot of light. So I'm gonna get well, these mixtures here and do you know that for the street? But I'm gonna push the street a little more towards these blues and reds causes gray. It's a very dark color there, and good. Uh, now I can make some adjustments if I like coming here with these blues, violets, reds. I'm just going to just emphasize some of these darks back here. Maybe we have, you know, some darks on the building from from the there is an awning and some windows and things like that. We have some darks from the shadow of the curve, and we'll pretend there's a car right here, something like that you can pretend we're making some wheels through a little window, some wheels there and good. And I know we just put it in there some details in the building, if you want. Okay. And we'll pretend there's an awning there, someone in this catching some good light. And even though this awning is dark and the image we had the license Teoh portray that however we like Okay, I was gonna go with a little bit darker color here, get that sense of maybe some windows and good. No, I think that's pretty good for the great scale. You can kind of see how this has that feeling of depth getting the highest contrast of light. You know, right here on this corner building really helps pull that forward and gives that sense of depth. But yet it's still loose. I mean, you can imagine if you start throwing some charcoal crayon having fun with that. Having this as as kind of bones of the painting is important is I'm going to change the color off that building because I really want £2 home this lesson. I want to make sure you know that I want my biggest contrast here. And then these colors 10 degree out as they move away from us. So I'm gonna go ahead and start with have a neutral gray on this building and all that does . It just kind of gives me something to work off, basically. Okay. And now the second building on they want to go with a red and I can go ahead and just use the cad red. I'll tone that down the little orange, and that's good. Now remember, I don't want the contrast too much. Is that building? Even though it's just hasn't moved much from us, it's still moving away, and I want to capture that feeling that that is moving away from us. I'm gonna make it. Ah, use a little saru Lee and I got a little bit of green mixed up, and I don't want the color too intense. I'm gonna gray that out a little bit. Then we'll go a little bit more on that's kind of MAWR to agreeing. Somebody kind of go with more of a light blue on this one and notice how I'm using these grays and these whites to tone down. These color is a little bit, and we have another kind of brick color building back there. But I'm going to really push some of these greys into that red mixture already have and toned that down a little bit. And I'm just going to get some grays and whatever and move those on coming back to my building here in the foreground. I'm gonna warm up this gray, really gonna pop that gray in that color in that corner right there. And maybe there's some shadow here. Now I'm gonna switch brushes. I'm gonna go to a white. I'm gonna warm up that white. So I really want this color to come forward on this corner. You kind of see how that, uh, that really pops that building and it brings it forward and taken. Tie that in. I'm gonna go with some white, a little bit of this orange and kind of great mixture and go ahead and, um, put that sidewalk in. I can tone that color down with these greys as it moves to a distance. I can take some of this violet to that mixture. I can kind of create that feeling of a shadow right there and with the street. I'm not gonna worry too much about it, but I'm going to get some gray here. That's probably a little too dark. And maybe we have our crosswalk there. And I get that feeling of an awning like a red color here and just see how that looks good . I think that really pulls that color forward. I think that's, um, could be toned down just a smidge. Someone used some of these white ist grayed colors and with that red, making sure I don't get it to pink. And that's pushing that building away from us a little bit. I could do the same with our green building, So just using some of these greys already have and just toning it down without making it tube light. Okay. Hey, good. Nothing. That's fine. I can get that feeling of a car, but I want that dark to compete too much with. The darks already have up here because it is not as close. So I can put something down, and then you some of these white smock pull that white into the grays because again, I don't want to compete too much with this really intense white I'm just gonna find some dark, grayish color mixing around here toe Find the value I want and good. That's fine for now. Last but not least, I can take this Saru lian mix it in with some of these whites Already have likened Warm that up with a little bit of orange. And if I lose my blue, I can always put a little more blue into it. Come in here, slap my sky down. Get a little more of a shadow color here. Kind of mixing. Pull that. I'm gonna warm that shadow up, Emphasize some of these colors, maybe emphasize our car a little bit. I can put some dark windows on this building, but again, I don't want to compete too much with what I have over here. I can put some little detail on that, And as the buildings move away, um, the detail tends to fade too. Okay, so it's important that you think about these things. Um grayscale eso. I created this simple grayscale. Put the lights in the sky, um, put the most impact in the foreground. These buildings can fade, right, But one to go in here and add awesome. You know linear interest. I can add a lot here, and then as it fades, I'm going to pull that pressure off of my drawing. But then as I come forward, I can use more pressure to create that sense of a foreground. You see how that works the same thing here, but this is probably too wet to work with, so I won't even bother but notice how those really intense strokes of and that was graphite . So that, and working still with a little bit of wet there. But look how put those really intense marks towards the foreground and these little drift e marks in the background. So I took pressure off my utensil, but to create that sense of death so I wouldn't want the same impact of these lines back here as I do in the foreground. Because if you do that, you're gonna be competing. And now you're pushing your pulling all of the distance forward. OK, but look how this pushes that back. It's kind of interesting how that works. I mean, working in a simple gray scale like this, it is sometimes the best way to understand it. Then he can work like I did charcoal or graphite into your art. See how that fits in the air and then jump in the color and see how you adjust to color as well. I can assure you, if you work with this over time, not just today and tomorrow in the weekend, make it part of your long term journey to understand these and get better at them. So you never stop learning. We never stopped practicing and understanding this sort of stuff. Okay, See you in the next lesson.