Construct & Deconstruct - Tips For Painting Expressively | Robert Joyner | Skillshare

Construct & Deconstruct - Tips For Painting Expressively

Robert Joyner, Making Art Fun

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8 Lessons (33m)
    • 1. Introduction

      0:45
    • 2. Part One

      6:23
    • 3. Part Two

      4:37
    • 4. Part Three

      7:11
    • 5. Part Four

      6:18
    • 6. Bonus Video

      5:38
    • 7. Project

      1:12
    • 8. Recap & Conclusion

      0:50

About This Class

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In this class you will learn important technique to painting unique, expressive & abstract style artwork. This is an easy an easy exercise that will help you develop your style & subjects. If you want to create exceptional art than you need tools that will help you get there - this is certainly one of them.

Who Is This For?

Anyone that desires to create paintings that aren't boring & trite. Break away from traditional techniques & start painting art that's infused with your personality & energy. It's suited for all levels of artists from beginner to advanced.

Class Breakdown

I will demonstrate two methods of how to construct & deconstruct a simple composition using charcoal and acrylics. I've also included a bonus video on how I really deconstruct my subjects using mixed media.

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Transcripts

1. Introduction: Hi there, Robert Joyner Here. I here in the beautiful outdoors in Virginia. But this lesson will focus on construct and deconstruct. I will give you two examples. This will be simply using compressed charcoal. And I will do a drawing of how I want to construct or how I feel this subject is constructed and I'll do a drawing worth deconstructing. Okay. And then I'll do a sketch with a acrylics and perhaps mixed media haven't really decided, but it will give you an idea from how we can interpret that through color and painting as well. Okay, I'm excited to share this with you. I think it's a very, very important lesson, and so we're gonna get started in the next lesson. 2. Part One: All right, so we're ready. Get started here. I'm going to bring you in a little bit closer. So you have a little bit a better view of what I'm drawing. And speaking of what I'm drawing, I'm just going to use a very simple subject as a chair. And I picked it because I've never painted this chair before. I paid a few interiors. I would say it's the subject I'm still trying to construct and get to know, Um, but I haven't really spent a lot of time in that subject. I can honestly tell you, I've never painted this chair. And, um, And for you, you could pick any image out of a magazine. Maybe you want to try a chair and go for okay with The idea is I want you to really think about picking something that suits you. Something that interests you and then break it down. How? I'm going to a break this down. Okay, Someone zoom you in. All right. So again, Ah, compressed charcoal here and I'm looking at you know, the first thing I like to do when I'm looking at any subject, there's just trying to find some proportions or something within the subject that that I can start to relate to in this case, Um, you know that this chair has a little bit of perspective, Um, and then that that perspective pretty much as consistent throughout so it. So I can kind of start to put these little lines here that represent to say, the back of the chair, um, or the rest. And then we have, like, the base of the chair where maybe the cushions are. And then maybe we have some legs and so on. And so now I can start to find these angles, and we have ah, cushion right here like that. And then about almost 1/3 of the way up is the arm rest. So that comes down. We had this angle that's coming down like this, and that's looking pretty good. And now, this, um, arm rest here breaks about 2/3 of the way over here. Eso I can I want to match the angles, Of course. And then it comes down and there's our cushion, and we're starting to already. See how this how I'm interpreting the construction of this chair and we have a leg here it's pretty short. So I'm I will put it about right there. And I'm based in that awful What I see Someone see the length of that chair. It's roughly about the size of the with the height of this particular section where the cushion is. So I just kind of rough at in there. This leg is hidden because of the perspective, and then we have, ah, another leg here and because this is a little bit lower back here, that drops down, These are a little bit longer, so that that gives me the kind of the proportions that I need. So now I can go in here if I want And, um, and just kind of worked this out, and I'm just going to do that. I'm just going to make these lines a little bit darker. Just so you kind of see how that works. You okay? And that's good. And, um, I think for for the most part, you know, that kind of gets the job done there. Um and I can kind of look at this now. I can kind of go ahead, maybe even start putting in a few darks where I know they're gonna be. Of course, we have a shadow under this, and, um, and so one. But, um, I really won't get into that. I think I'll save that for the painting part. But that pretty much gives you an idea on how I feel for my interpretation on how this, um, chair is constructed. Now I'm going to back you up. All right, so there you go, get a little bit different perspective and kind of see outfits in to this. Okay, so what does that do? Right? Um, that basically will give me the freedom now to do something more creative, you know? And the reality. I may want to, um, work with this a few more times, and I would. So this is a subject that was really, really keen to something I wanted to exploit. Um, then I would do some more of these and try to really constructed, get inside the little nooks and crannies and and the details on and then I would be constructive. I think for this demonstration, How stick Right here. But I promise you again, the more you know how it's constructed. Okay? The more time we spend to understand Ah, your subjects, the more you can be constructed. So I want to make sure you understand that because that's a very, very important point. And again, I'm not gonna bore you with doing 15 of these construction sketches because I feel like that, You know, you were probably tune out and maybe not even come back to see me again. So, um, I worked a lot here and now I'm gonna have some fun deconstructing it. Okay, So in this lesson right now and then I'll bring you back, and then we're gonna go to the next phase. 3. Part Two: time to deconstruct. Okay, I'll bring you in closer. You see what's going on? But the idea with deconstructing now is to have a little more fun, have a little more freedom, a lot more freedom, in some cases to your drawing, Teoh and how you represent your subject through the drawing. Um, And now that kind of a feeling on what makes this share work the shapes of it, the proportions, the things like that. I can really start to have a little bit of fun and on. And that's what I want to do here. I just want to do a nice, loose, playful sketch, um, and and make it a lot more represent a lot more. Um, I guess representational into how I interpret it. Okay, How? I want to represent it myself versus what I'm actually seen. This is OK, but I feel art should be Ah, direct reflection of your personality, your passion, your emotions, your sensitivity to your subjects, OK, being capture all those things in your art. Do you have a much better chance and creating something interesting, right? I'm gonna zoom you in. All right. So get you up close here. I'm going to use all types of pressure. So I'll use hard pressure, light pressure, maybe a little smudging in between. Somebody use a variety of techniques to make this happen. Okay, So I'm gonna maybe start out something like this and just can't you see, I'm just bouncing around here and believe me that ah, that time I just spent having fun with that construction phase has really are already paying off. Yeah, and good. I don't think it needs to be any more than that. I'm gonna back you up, and maybe before I do, though, I'll just throw some legs well, shadowing here and, uh, will be done. All right, so now you can see a little bit of difference here. Right? So, you see, I really started to get loose and playful here. You can see how this is a little bit tighter, but and in essence, though, you basically have to chairs, right? One is ah, bit looser, because I had a little more fun with it. I was able to deconstruct it because I was familiar with it. And, um, where the other is a little bit tighter because I was just simply getting to know it. And I believe me, the more I I understand this part, and the more I start to deconstructed toe have some fun really, really making this my own. Then it will get a lot more. We'll get looser than what you're seeing now, this is just the beginning. I mean, you saw all of this. Take, um, for my first try. So I did not have any experience like I mentioned before with this chair. So But I'll do a few more examples off the camera, because again, I just wanted to demonstrate how how it was done and how I like to work with my subjects. And then you, um, can see how much playfulness I start to infuse in this chair. Okay, so I'll include those images for you, so you see. But it's all done the same way, and I'll use the same materials and everything. And then then you can again kind of see how far I take that, Um and hopefully you'll into, in turn, rather do the same thing with your subjects. Okay, so now this pretty much ends the drawing aspect of the lessons. Now I want to get into some color some paint, so we can kind of do the same thing we did here, but a little little bit different way. Okay, see that? 4. Part Three: Alright. It's time to use a little bit of color now and I'm not going to, um I tried to do it. An exact representation of the colors. I see. I'm gonna work more with tone value and just tried to represent a little bit of light and shadow on the chair using titanium white Ah, little ah, kind of eggplant rich purple there burn number and a little bit of cad yellow light. And ah, And again, it's about trying to capture the shapes in a sense of light and shadow and on the 1st 1 So the idea is I want to construct it through tone and value, okay, Mainly value trying to get those colors and things like that. Right. So to do that, I'm gonna bring with a little bit closer. All right, So, um, just goto now, just try to find ah, medium value here, So I'm gonna go a little bit of the purple, a little bit of the number. You've been touched that yellow and just kind of mix up a little bit of, ah, neutral, grayish color and that that works in there. And this is going again represented kind of the mid tones, um, mid values of everything. And then from here I will add my darks, lights and so on. All right, so I got a little shadow Wonder need, That's all I want to do. Okay? And again, I mean, this is I know very, very loose by many artists standards, but for me, it's actually pretty tight. So you have to decide what makes sense to you. How how constructed you want this to be. You are many artists out. There are a lot of you are probably much better at painting representational than I am. But I just get the justice stuff. Okay, Now it's kinda has a light coming in this way, almost like a backlit, but But it's coming down in this direction. So I'm going to work with the lights now. Someone take a little bit of my white little touch of the yellows and I don't want this is stand out too much. I don't want to scream over top of that, so I'm just going to tone these down a little bit. It's a little bit of the browns and purples, and that works some that's going to kind of get that feeling of light here. And we have this sort of light coming on, and this is ah, rounded shape right there. Eso has that going on. And then the cushion is catching quite a bit of light right here and then this chair, this arm rest here is catching quite a bit of light and little bit of Ah, kind of Ah, lake is touching that. And I think that's that's pretty good for for that particular tone or value. And now I'm going to go a little bit darker now and kind of get in here and ah, I want to work. I'm exaggerating a lot of this to you from the image. What I see just to really, um, help you guys understand? Basically, what's going on here as a little shadow there? Something like that little shadow where that crease is there. Good. And I got my darkest darks now saved for for these legs. Okay? And now I can blend this if I want. I want to get back into these kind of mid tones and, uh, do do a little blending, that sort of thing. I can do all of that. Um, I want to do just a smidge of it here and just kind of getting some mid tones here. And that's good. I think for now, that kind of gets the gist of it. And, um, it doesn't need to be so I can see the chair here. My interpretation of how that's that color is ah, you know, represented were constructed in this particular image, and I couldn't even take this further. Um, you know, just just add some little line work, grassy, like some of these seams and and things like that. They allowed this just based on my style and the kind of painting I like to do. I like to work with this little liner brushes and, you know, and put these little kind of details there, but for the most part, are trying to do a good job there of putting those colors and, um that represent what I feel, um is value the correct, um, valued color wise. Okay, so now I've constructed it right, and again that the more time I spend here getting the no how these colors and and values and how everything works. And of course, I could take this even further and get into the pattern. This on the chair, we'll get into the true colors and that sort of thing, too. But again, I don't want That's not really what this is about. I just want to give you the overview of constructing deconstruct, But there's no end to how well you can know something. So, um, this could go on for a while. Okay. So anyway, um, now we're gonna go over here to deconstruct. And now that I've done this, I can have a little bit of fun and let things rip a little bit. Okay? I'm gonna zoom you in. 5. Part Four: already. And I want to give this sense of light and shadow here because I feel like having that makes the subject work. Um, And without it, I feel things get subjects become a little bit flat. So, um, so have a little bit that these kind of darker tones Ah, values on my brush here and just going Teoh put some put some of this down and a very playful a lot. As you can see, it's just a little bit looser here, uh, with my brushwork, but back and do this now because I know this subject a little bit better. Okay, phenomena go a little bit darker and kind of slap these, um, darker values down. Now go back in here to some mids and this gets something going on the back of this chair. Now, we'll go over here to some lights and go a little bit lighter here. We'll bounce into some Ah, a little bit later. Values on. And that's looking good. It's kind of interesting what you'll learn. You can get away with what? Once you really start to have some fun with really, really understanding what makes your subjects work, and then Once you know how they're constructed, you're gonna have a blast. Um, really letting it rip someone grab a little bit more of, ah, darker color here. I'm not even cleaning my brush. Really. I'm just really going right into these paints and whatever color is on my brush, I just let it kind of stay in there and, um, this one of a kind of pop this edge a little bit, and that's good. And, you know, if I were really having fun, I couldn't take, but hey, brush and tip of it and just scratching to all of this. I can use my paintbrush, Add some fun highlights. But for the most part, I mean this, it gets the job done, and, um and it's really all this. Ah, all the work. You know, the preparation, I guess. Getting to know the subject a little bit. That helps. And now I'm just, like, really having fun with color. And there you go. So that, to me, is just so much Justus much of a chair as this one. Um, someone back you up. All right. So big and chunky. A little bit tighter. And, you know, the more I play with this, the more I deconstructed the looser will become. But I promise you that looseness Hentges on how well I know this thing is constructed. Okay, so that was the purpose of this lesson. You must understand how your subjects are constructed. For the most part, it doesn't have to be perfect. I mean, if you saw my sketches, by most standards, I think there will probably say it's my constructed part. It's still very, very loose. And it wouldn't pass the tests for many of you. But that's okay. That's what makes all of us different and unique is how we interpret things on our tolerance for looseness and being a representational came and what our vision likes, You know, it's all about the vision when it boils down to it. What appeals to the artist? Okay, Sorry for the tangent there. If I were really, really interested in this subject, I was like, Oh, my gosh. I mean, interiors, chairs. I mean, that is just blows my mind. I've got to dive into this. Then I would and I would go back and forth right here. Construct deconstruct, boom, boom, boom, boom Because they work together. You know, they really You The loose painters are so or Russia s a beginner and intermediate painters that that want to pay loosely that they tend to want to go lose too fast and, uh and then when they're done, they're their subjects. And the things they're paying just don't hold together because they don't have enough of that believability that makes them work. Okay, that's why I created this quick class is to really, really pound home. The idea is that you have to have to really spend time getting to know your subject through drawing, which is Ah, very easy way to do it. Um, charcoal pencil, graphite, whatever it is you like and then have fun exploiting that once you know what makes a click and then move into color? I mean, that that's your next phase is introduced color and brushwork, because that's a whole other animal. And then he had to deal a lot with not just lines and shapes yet to deal with value and relative. How did they relate to each other and that sort of thing? Ok, um, so that is will conclude the lesson. See you in the next one 6. Bonus Video: all right. A little bonus video here. I'm just gonna have fun deconstructing the chair. And I have a very similar palette. Pretty much the same color that shifted a little bit. I still had the yellow have ultra marine blue burnt sienna have a little bit of crimson on my palette and titanium white and whatever other gray mixtures or were there before, um, blank sheet of paper here. £140 cold press. And that's going to really talk a lot. I'm just going to paint. I just saw it be fun for you just to kind of watch a little bit, um, of how live and playful with my subjects once I understand and get to know him a little bit . So I thought I would just share it with you. And of course, I'll share the images as well, but you get any additional learning and inspiration from watching me paint then great. I know this video was worthwhile. Something zoom in and just have some fun. - If it's how much fun was that right? Really getting playfully kind of See that chair starting to become my own started to see my personality come into it and stuff, so that's kind of exciting to see that. I think, you know, it was exciting to feel that as an artist, to be able to interpret things and in my own way, that's where your art becomes original. That's where it becomes a unique. And I feel that's where you become passionate, too. Um, you art. My art is really driven off, a passionate at the act of creating that excites me and what I do all this stuff I get so excited about my art, that passion just starts to who's out of me. But if I didn't really go here, if I didn't really understand how to construct and deconstruct, yeah, I could see where my heart would just become so stale and boring and the process of making art wouldn't even be fun. You know, I would miss that certain element that makes a click, and that is the passion and the passion comes from, you know, putting yourself into it. And I think you can't really put yourself into your art If you don't really know how to interpret your subjects. OK, I hope you enjoy this little bonus video 7. Project: are you guys? Your class project is very simple. You can do a side by side painting like this. Using a simple palette, you can use a more elaborate palette whatever you feel best. Or you could simply create a drawing side by side drawing and then show how you were able to construct and then deconstruct your subject. And once you're finished with that posted in the project library is very, very important to follow through with this because it's the only way I know that you have absorbed the information and that can see how you interpret that. I would love to, of course. See that as a teacher, Um, especially online. I don't get the interaction with you would in a live setting, so that is discouraging a little bit for me. But if I can just get you to show your results that I can certainly help you and then give any feedback, answer any questions or whatever, that may help you take it to another level. Okay, So be sure to posted a drawing or painting whatever subject you like. Okay, I look forward to seeing it. Do it. That's the only way you're gonna learn. And I can learn watching me do it. You learn by doing it. Okay, 8. Recap & Conclusion: are you guys? I hope you enjoy the class. Um, please, please. A spend quality time creating and constructing your subjects. Um And then believe me, you will have so much freedom and how you interpret them once you understand what makes them. I spent a lot of fun sharing this with you. Azaz. A teacher. The reward I get is knowing that I was able to connect with some of you to make a difference in your artworks a lot. Um, of what drives me. My passion is a teacher. Thanks for enrolling things for taking the class. It was a pleasure sharing this information and technique with you and have fun with you guys. And if you have any questions or comments, don't hesitate. That's what I'm here for, to help you and to answer any questions are you may have. All right. Thanks for watching