Contemporary Owl Painting Techniques Using Pattern & Collage | Robert Joyner | Skillshare

Contemporary Owl Painting Techniques Using Pattern & Collage

Robert Joyner, Making Art Fun

Contemporary Owl Painting Techniques Using Pattern & Collage

Robert Joyner, Making Art Fun

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6 Lessons (49m)
    • 1. Introduction

      1:09
    • 2. Let's Explore The Owl

      3:54
    • 3. Patterns

      7:40
    • 4. Accuracy & Gestural Sketches

      10:42
    • 5. Demo One

      11:31
    • 6. Demo Two

      14:00
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About This Class

EXPLORE PATTERN & COLLAGE

It's easy, fun and approachable for all levels. Learn new methods for creating expressive animal art.

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Demonstration OneThis version uses the following techniques and mediums;

  • acrylics
  • collaging
  • smudging
  • layering
  • compressed charcoal
  • expressive mark making
  • patterns

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Demo TwoThis version uses the following techniques and mediums;

  • acrylics
  • negative space painting
  • patterns
  • smudging
  • mark making with liner brush
  • scratching and scribing

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Explore Patterns

This course will explore incorporating patterns. Discover some tips and tricks that will make this exciting and fun to experiment with.

The ultimate goal here is to branch out! Try new ideas so that you are constantly adding more techniques to your expressive painting tool box.

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Robert Joyner

Making Art Fun

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Transcripts

1. Introduction: welcome to the expressive out painting course. In this class, you will learn various methods for creating abstract contemporary al paintings. To do this, we will use some good old fashioned brush slinging techniques, some expressive mark making with graphite or compressed charcoal and collage ing. These tutorials are intended for anyone that needs to loosen up and wants toe have some fun while being creative. The lessons include to complete demonstrations. I will furnish some images, and you will create a lovely owl painting based on some of the techniques you learned in the tutorials. And when you are finished with your owl painting, you can show it off by completing the project. It's a great way to learn, and I know you'll have a good time doing it. So sign up today and I hope to see you on the inside. 2. Let's Explore The Owl: Hey, you guys, Robert Joyner here and welcome to my studio before we dive into the finished our work two things we're going to do to find the freedom and to find the abstract qualities. And they are exploring some patterns and then exploring abstract qualities. So basically, what we want to do is paint an owl. But we want to infuse the feeling of some patterns, however simple or complex you want them to be. And then we want to tweet the bird a little bit, you know, make things bigger, make things smaller, abstract the shapes somewhat so that it still looks like the bird. But we had some fun pushing it out a little bit. Okay, so those two things were going to begin with. So for me, you know, you can start to see the patterns here where I used some negative space painting to get these little shapes. I've got some very light patterns here with the feathers. I've got a little or pattern developing here with this one, so I kind of took things to a point where I was comfortable. But I know if I will continue to explore patterns, I can put a lot more into in terms of creativity, different takes of patterns because, you know, there's really no limits to what you can do. OK, But anyway, in the abstraction part of it, where were are going to just explore the owl? You're gonna see where I just take some would I consider maybe accurate drawing so trying to, you know, draw the bird proportions kind of what they are really life and then quickly flip to a gestural drawing. Okay, But I think doing these back to back is good, because with the kind of accurate drawing you start to see details, features, proportions and things like that that are important for the birds. You may be happen and then we automatically flip to a gestural drawing and trying to push those boundaries. It kind of will help you find the freedom, but there will. Also having that accurate drawing behind you will keep things somewhat intact so that we don't push it too far. But I don't care how far you push it. You can push it as far as you want. You can make it as accurate as you want. But the theme of the workshop is just simply to create some out paintings and incorporate a sense of pattern. And then we do it in a very fun, creative way. Okay, that's our goal. So now you have a feel for where we're going and we're going to again kick things off with pattern. I'll give you some tips on how you can discover patterns very easy. And then, of course, I will show you on exercise. I did for this workshop to incorporate patterns in my final pieces. Okay, So anyway, I look forward to sharing this stuff with you. I think it's an exciting class that they get so something a little bit different that we haven't tried yet. So I can't wait to see what you do. And I can't wait to share these ideas with you and have some fun painting owls. Okay, let's get started. 3. Patterns: it's time to explore patterns. No better way to do this than good old Google. So I head there, type in patterns, click on images, and now we can start to explore patterns. Um, you know, the best way to do is just to look around for a little bit. Try to find things that interest you a certain style. It could be a shape, could be something. Ah, color even. But if you spend some time, you'll find some images. And when you do, be sure to save, um, I have a little file that I'll put on my desktop. I'll save the ones that intrigued me. And, of course, I encourage you to do the same thing. And that way, when you get to putting some lead to the paper, you have something there toe work with. And this is pretty much what I did. Another thing you can do is you can search organic patterns, so if you want things to be less geometric, you can find some things like that as well. Of course, you can do animal patterns, whatever, but the key here is to do a little bit of research. Find a handful or so of patterns you like. Save them. And that way you'll you can bring them to your desk. Wherever it is you create, you have something there to go by now, using a number two pencil to some really cheap drawing paper here, I'm going to explore a little bit, and I'm using this image here is you can see in the top right hand corner for inspiration, and there's a lot of patterns to choose from there, from dots to zigzags and, you know, little things like that negative space dots and vertical horizontal. So there's a lot you can draw from to get the herringbone. Ah, pattern thing happened in There s o the goal here. And I guess the point is to use pencil on paper first because it's approachable. It's easy to do, and you could start to take patterns and explore, um, and find the ones that you like. Something's air kind of may be synonymous with owls with those exact patterns and the things that could be feathers or textures that resemble feathers or kind of obvious. But you know you want to make things your own so you can start to explore with it. And as you do, be creative and find different ways to do it and mix things up a little bit. Here, you can see I'm just doing ah drew a couple of lines and then some squares, and now I am creating the idea of that triangular pattern. But now I'm just using, you know, the negative space shading in around it to create it that threw in a few different types of patterns. So I've got some triangles there with just some rectangles here. I'm doing Ah, very hard edge triangle with some kind of a scallop looking pattern just to see how they work together. So as you start to explore and have fun with this, you know, things will start to open up and you'll start to make these little connections. Um, that appeal to you that you enjoy doing here, you can see I'm using that same idea of negative space shading. But instead of doing triangles, I just did little teardrops and ovals and things like that. So now that I've spent some time with pencil and paper, I'm going to use some ivory black. This is ah, acrylic paint and thinning that out quite a bit with water, and I'm using a number 10 pointed round. You can use whatever brush you like, but since I'm doing lying work and things like that, I'll just use appointed around for this exercise. And basically what I'm doing now is using that idea of triangles and feathers. And now, seeing how my brush, how I can apply that and create it with my brush. So of course, we can draw into our artwork. We can paint into it to create lines and pattern. So experimenting with brush and pain is the next step. So that way, when I go to create my owl, I have all of these kind of resource is and experience experiments. Excuse me to draw from. As you do this, I would recommend you label the brush you use because, like for me, I did it. Probably a handful of these. I'm only going to show you one of them, but you're going to probably go through quite a few different brushes, so just label him So you know which ones are you used for? Certain projects. So you can see here. I'm using that same pointed around. I'm getting that negative space painting to create those shapes, turning the brush upside down, turning the drawing upside down, different things to use different parts of the brush. Um, you know, the idea here is you know, the key word I should say is Explorer. So we're not trying to copy things. We're trying to simply get inspiration from these patterns. And then we're trying to take it back to the studio, back to the table to see you know which ones we connect with which ones being we enjoy doing. And then how how do we do it? How do we pull this off with our brush, pencil and that sort of thing? So now I'm switching to my liner brush, and this is just a standard like signature brush. And don't with herringbone creating these little zigzags, you can see I'm mixing it with some sharp edges and then some scallop type edges kind around it, just to see how those patterns work together and not really like that. I like How has the jagged points? And then you had those real round edges. I kind of think that the complement each other and they aren't as predictable is the one things the same way. But now you can see I'm using that same pattern with the negative space painting. But I'm doing it with a different brush. So is leaving a little bit more white space things like that. So you'll make note of these things as you go. And now you can see this new experimenting with some lines and just making dots really with that particular brush. Um, And now, using the pulling of it to create the dots is another way and want some circular patterns air just to see where that goes. If that's something that interests me for this project. But again, exploring, experimenting, having fun, and finding the patterns that intrigued me is all I'm doing here. And this is a very again approachable way to do it. And this is how you want to get started. Okay, so here is a look at it. So this is my graphite version, and I want you to do the same thing, and then you can see here. This is the one version I showed you in this demo where I use my brush. OK, so those are my recommendations for exploring patterns 4. Accuracy & Gestural Sketches: Now it's time to explore drawing. So the two types of drawing we're going to look at will be accuracy. Now I'm not talking about photo representational accuracy here. It's just drawing the owl and a quick way. But in a way that I feel represents the owl as it is, but I like to do is use a number two pencil, some cheap drawing paper here that would mark the top in the bottom. And then I'm Mark where the bottom of the head is, or the bottom of that beak. And then that gives me a good idea of how to proportion everything. So again, mark the top mark, the bottom marked the next key division. And then, you know, you can start to add a few details. Now, what I'm seeing there is this kind of distinct triangle, basically between the eyes to the top of the head. So I kind of put those lines in there, got a feeling for how those ears or kind of flopped one straight up on one's out. That left. Maybe the owl is right and and just trying to get a feel for how that body is, I mean again I doubt I will represent it this way. But just spending this time and getting the no, the creature how was constructed is valuable. And you know, the things I may incorporate and my finish painting, um may have some of this in there. And you know what I keep doing abstract owls. All the little things I'm doing right here will eventually pop up. But it's important, I think, to start this way versus drawing, trying to express the owl in a very loose way because I think if you start to gestural and too abstract, then I think you don't really understand how the owl is constructed, so this again will give me that information. So now switching of varieties here on if a variety is really the way I should say it. But I think this is a barn owl, the one I'm drawing now. Eso a little bit different type of Abbell. Um, you can see it looks like an owl with a big smiley face. Um, that's what I'm doing. So again, marking the top bottom of the head, this one has more of the legs and the claws. So, um, again, I'm not and I will expert. You may tell me there's a talent or whatever, but I'm just going to do my best to describe what I'm doing. But again, I just laid out the same way top bottom and to try to find the head in the proportion, the length of it, and then the body and leave enough space there for the legs. And that's just a really good way to draw and kind of loosely put things in before you start adding, you know, details and features and stuff. But so now just kind of getting down to the legs, claws and where that is getting the little band and, um, things like that in the air. And, you know, and I will tell you I use this method all the time. There are some days in the studio. I don't feel like painting. I don't have the energy or I don't have the time. And drawing is a great way to, you know, get motivated. It's a good way to use or maximize maybe 30 or 40 minutes of time. So I know some of you probably worked full time in the paint part time. Um, so you know, don't ever underestimate the power of drawing. Because I can tell you if you want to be, ah, proficient and good at painting. Drawing is at the heart of it, and I don't care what style you do. This is where a lot of my ideas and a lot of my freedom happened. But anyway, so doing my best to capture this owl, uh, probably should have made it more, um, a little bit more of a flat along the left hand side. I think it's popping out too much. I didn't quite get the way the bird was sitting, but these are the things I learned along the way. Um, so if I didn't do this exercise and you know, I wouldn't have learned it, But for the most part, I'm just getting the proportions and the different things in there. And trying to learn is as best I can about how Teoh represent owls. So again, mark you top market bottom mark. Any key divisions by there is the head or the the legs, the body, the bottom of the body on Denmark, your left and your right based on that. And that'll help you scale your your drawings, no matter what you're drawing. Really? But help me with my birds. All right, so now I'm going to get into some gestural drawing. All right, So now, um, I can kind of take the things I just learned and put them to use. And, um, this is kind of where the abstract quality start to come out. This is where my freedom starts to come out. And I could tell you the more you draw things representational E you get to know him. Like in step one, the more freedom you're going to start to have it. It's kind of, you know, you wouldn't think it would work that way. But I can tell you the more you understand how things are constructed, the more freedom you have to deconstruct them. That's basically what I'm doing now. I'm just having fun, uh, loosely representing the owl. I feel more confident about owls now, and I'm starting to, you know, find the freedom and I'm pushing. See the size of the legs and the proportions and all that stuff that the eyes, everything is starting to get tweaked now. And I'll add some little wings out there and maybe make this one a little bit smaller to see. Well, can I have a small wink and I have a big wing. How does that look? Of course you can. But as the artists, you have to visually see your art that way and then decided that something you can live with and work with. We all have certain points or enough in terms of how far we wanna push things were willing to go. So we always trying to find those things. And this is a game. What drawing can teach you Eso now going to my the barn out War there. I think that's what it is. If it's not one of you bird experts can, uh, educate me a little bit more on these, but trying to get this one be there, I'm a smiley face in there. I can't get past that. So I'm not sure if I'm connecting to it cause it's finally faces Fill me off. But I don't know the sec. I start of ah, snowman or something there. But anyway, I'm having fun with it and just letting things rip, and I would probably have to work on this particular type of out a little bit more to get more comfortable with it. But I thought I would give it a shot here with my gestural drawing, just to see how well I objected to it and and my little tail feathers there. And all the while, hopefully But you see, is things were getting loose and hopefully you condone starting to pull my personality and that you can see here. I'm putting some of those patterns in there now and just having fun, experimenting with with the patterns that I had learned and in that particular stage, So, um, kind of a good way to approach it. Good way to kind of get your feet wet with all this stuff without, you know, breaking out the paint, the brushes and and all that stuff. You know, number two pencil and paper can teach you a lot. So I think I'll do one more here and maybe reconnect with, um, the first type of gestural ally was doing with the pointed ears and maybe work with these kind of claws and legs, dangling air and space and, um, and just just again and find ideas and ways to express myself. That's all this is really about and getting to know the animal warming owls aren't something I'm that familiar with. So this is all fairly fairly new subject matter, and, uh, what I'm teaching here is how I approached those things. And hopefully you can learn from some of these ideas and take them along with you and on your creative journey. But now, just adding some wings and different little shapes there that would represent the owl on and now just adding So with those little patterns, I'm familiar with now seeing how they look where they fit in, where I could use them. And of course, the obvious place would be the wings and the texture of the wings and things like that. And now, working with some of those scalloped edges and some hair and bones herring bones. Excuse me. And you've seen how that pattern works with it. But again, um, drawing for accuracy, understanding how the subject is put together, then flip the switch and do some gestural drawing. So there is my number First, Siri's or first sketch there. And now I'll give you a look at the gestural stuff. So you get a feel for how that looks. So have fun exploring. Try this out for yourself and hold on to your work. Photograph it and keep it for the files. Thanks for watching. 5. Demo One: Hello and welcome to the demo. Let's get started with the palate. I have some raw number yellow Oakar, cad, orange cad, red light, ultra marine, cadmium yellow and a little bit of titanium white There. Now I will start with a small fan brush. And if you curious about the surface, that is a piece of 11 by 14. Ah, £140 cold press paper. Um, so now the goal is just to get a loose, gestural drawing really of the owl, and I'm not really worried It obviously that will hurt about trying to get this thing perfect. I just want to lay down some color that I will serve as a base. Now what I'm doing their smudging on what smudging does is it takes the brush strokes and the hues and everything that you have, and it blends them. And that's a really important technique that I'm using in this particular demo. You'll see me go to it a lot, but what that does that sets the table because whenever you have a lot of different hues and a lot of different brush strokes, things get choppy. So we take that smudging and you use it. It softens everything up. It blends it and it Smoothes it out. And so that will help showcase brushwork and different things later on. So now that I've got a little bit of color down, I'm gonna work with a little bit of collage ing. And now I will basically put a little bit of glue on this. I'm using mod podge there. I showed you earlier, and I'll place a little but a collage in that general area for the beak Where the bill I don't really know what hours have amount of our expert, but feel free to comment and let me know what that waas And now using basically the same collage paper, I'll just add a little bit to the wing and that she's really for harmony more than anything . So generally, when I start to use ah paper, I will try to use it in a few different places so that there's a little bit of cohesiveness throughout. And now I just put that little bit of pattern paper there near the I. I thought that would work Kind of nice for for The OC has already has, like, a little dot there and everything. So all loosely paid around that you can see that I looks kind of neat, kind of contemporary, little abstract going on there. But it works now. I'm using white gua sh and I'll no painting directly from the tube, obviously, to just giving a little bit of color down for the body. In a lot of that, the previous layer or what I'd put on originally, it's still slightly damp. But also, one thing about smudging is whenever you're using it on paint like that, it's gonna help dry it quickly too. So, uh, I mean, if you like to layer over things, um and you like to work quickly like that smudging will sometimes allow you to do that. All right, so now working with a little more collage paper, I'm just tried to kind of set the table here for some negative space painting. I'm just trying color. So I tried that darker kind of grayish green there. I liked it, but it was a little bit to Dole. So now I'm using more of ah, purple and something a little more vibrant that that would go well with the red, and I think that's a nice contrast. I think it Ah, it worked a little bit better. So don't always go for what your first choices. Sometimes you know, with Clausing and just even picking colors. In general, it was good to test a few. And, you know, second guess your initial instinct sometimes, and you may find something that'll work a little bit better. So I'm a little bit happier with that. And now just trying to see where that color and that pattern could possibly work in a few different areas. And so now you can see I'm balancing that out by adding a little bit of that to the right hand side. So now, just adding a little bit of glued to the back of it and should be ready toe to stick that on. And we are getting this owl underway, and it's happening pretty quickly. All right, so now it is tidy up a little bit here, and I'll start to move into ah, different areas. And I'm looking, you know, at towards the the feet and the claws and stuff and trying to figure out how that tan and kind of khaki ish choker color would look with some of the red hues down there. I liked it, so I'll go ahead and pop that in there. And then I'll start to again balance things out, adding some paint strokes there with acrylics and then adding some collage ing there. And this is a slightly different pattern paper you can see the 1st 1 had those little dots on it, and this one has more of an organic shape, and it is good. And that all came from the same book of collage paper. So it's a lot of times it is fun to work with a book like that that has a lot of options because you can take things that are similar to each other but slightly different and mix him. So now, just adding a little bit of a reddish orange there and you'll see here is I start to use the fan brush. I'm using it on its side, and that's all about exploring brushwork. I'll be several tutorials about exploring brushwork, knowing your brushes and things like that, and one thing I like to do all the time is I use different sides and angles of the brush. I really try to maximize the power and the flexibility of the especially the fan brush. So now you see, I'm using the side again, and that's going to create these nice little feathery type of edges. So it's doing the work for me, and that's that's good, good smart painting. So ah, always explore your brushes. They all work slightly different than the results are always a little bit different. So you can see how that purple paper, too, help the negative space around that so kind of set the table for all that. As I mentioned before, with that purple known, I was gonna come back with a lighter hue and, um, exploit that. Okay, so now just leaving a little bit of that purple up into the feather area, so that just creates like, an interlocking shape. So having that color feed up into the wing a little bit versus covering it all up, that's s interlocking shapes. So that's all about design and letting things Ah, work in harmony. Okay, so now, So now I'm switching to my liner brush here and adding some textures, adding some more pattern, right? So this was all about incorporating patterns and and that little bit of, ah, work that I showed you there in the first series of lessons about discovering patterns, trying to, I just know, find ways, Teoh. Paint them, draw them. That's what I'm doing here. So now moving over to my compressed charcoal and you see, I'm mixing that hard, angular edge, a few hearing bones and a few scallop type, um, triangles to with a rounded edge. Because I like that if you remember back, you know, I liked how those angles worked with curves. I thought it, you know, they worked really well together. So I'm mixing those up, and now you can see I'm describing into that wet paint a little bit. And whenever you are using charcoal over wet paint, you may leave a little bit of that charcoal mark. But for the most part, it's just going to scratch into the wet pain and reveal whatever Hugh is underneath. So that's all I did there and now just working with those little feathers and that pattern , and now I'll come back and start to shape the tail area and start to get something interesting going. You can see I'm using that edge of the paper, too. to capture that to Soto. Give it a nice, interesting edge there. And now just curving that wing a little bit And, yeah, getting rid of some of this, the paint splotches in the background and a little splash there with some wet paint. And now it's important to know that I let everything dry. Okay, so at this point, I'm a move in with my liner brush and some dark values, but what you're looking at on the owl right now is dry 100%. Okay, so very, very important to understand that now I'm basically layering over top of that first Siris of Marx and collage ing that I did. So now just throwing in the claws and doing it with the brush. I decided to use the brush because with the brush things going to be a little bit chunkier , then when you're drawing, when you're drawing with charcoal, a lot of times you can get things to smooth out Pretty good in your drawing tends to be a little more accurate. What? When you're drawing with a liner brush, Ah, thing is gonna be a little bit rough around the edges. So you're not gonna be ableto handle it as good so but I like that. I wanted to add the drawing, obviously, but I didn't want to use the Char Cokes. I wanted a different type of drawing, so that's the reason I picked the liner brush over everything else. So now, just working with negative space and the edges and cleaning things up a little bit as I go , adding some darker lines patterns there as well into that near those feathers. And now that's all dry. Okay, so again you can see those marks are coming off a little bit darker. Then if I were drawing over wet paint, so just important to know these things, I mean, that's all about understanding your medium and knowing where you're at, how things were going to respond. A lot of times that comes with experience, but it also comes with knowledge, knowing how things work and mingle. OK, so the thing is looking pretty good. I'll take you for a tour of what we have here. I like it. I think I exploited the pattern, some collage ings, a nice expressive mark making, and there it is, taking a natural light. There's the image, and that concludes a demo one. Thanks for watching now, seeing the next one 6. Demo Two: hello and welcome to the second demo. As you can see, I start out with using my fame brushes, and I'll go ahead and use two of them in a time here and just talking to get the paint down a little bit faster. So the Hughes I'm using is just a little bit of ultra marine blue and some burnt umber mixed with titanium white. So now I'm just pushing three Hughes more to the ultra marine blue, but also clean those brushes off Really good. So I have some water there off camera. But any time you mix white with Hugh, you get paid qualities. But if you take that white out and use just the acrylic by itself is you can see towards the top. There you get a lot more transparent quality. So using that paper towel there, I just simply did a little bit of smudging to smear that around a little bit. If you're curious about what I started with, that was just a little sketch I started doing. And I I like painting over these, using them as a beginning, so that was my beginning. But whether or not you use a reject or start with a clean piece of paper that's up to you. So now just putting in some dark values a little bit of poker's and mixing that with a little bit of my blues and greys. I just I like to Sprinkle a little bit of color around once in a while, and then again, we're gonna do a little bit of smudging here. I use it in the paper towel and and that's a good wayto as I mentioned before that. Take the brush strokes and you know different colors and smear him a little bit and smooth them out. Eso now clean brush using painting directly into that ultra marine blue. Put put down a little bit more so all right. At this point, everything is dry, so I'll move right back into my whites there. So titanium white, ah, medium to large fan brush there and again, everything is completely dry. That's very important to note, because now have the ability to paint over previous layers without ah blending so working wet into drive. So now this particular owl will have a white head, and I'm just going around some of these previous colors there to get the shapes I'm looking for all the while leaving a few little spaces here in there. Eso that the white doesn't become too flat really important to do that. You know, whenever you're you're painting your layering to leave a little gaps like that because it really does create some really good harmony and consistency throughout the painting. All right, so now I will do a little bit of smudging and painting with my fingers, adding some lengths vivid blue there and working back into these whites a warm value there . So a touch of orange touch of cad yellow and getting trying to get it the way I want it. And once I do, this will basically be my background color. So using a little bit of burnt number, their distant neutralize some of that yellow because I don't want it to be kind of a khaki color. So not nothing too intense. Okay, I don't want to compete with the blue. I just want a contrast or a subtle tone in the back. Okay. So loaded that brush up now and starting to hit the edges and you can think about this is negative space painting too. So even though I'm putting a background and mindful of my edges and basically carving the edge is the way I want now because as you can see the original layer, they were just put on their smudged and smeared, and everything's really loose eso now that they're dry, I have the ability to come back with this background ah value and negative space paint and then get those edges the way I want him. So it's a really fun way to paint. And because it gives you the the option to paint really expressively in the beginning and kind of go for it and then coming back later on knowing you were going to come back later on and do this negative space painting, you really start to get some nice little color combinations and some nice marks and just makes a little more interesting. So now it is changing that Hugh up ever so slightly so that you know the backgrounds not flat, so I just add a little more white to it. And even though it's, ah, maybe you don't notice it on camera, I will say there's little subtle changes in the background color really make a big difference in the end, so I just have a little more work to do here. You can see I'm distorting the wing so they're really small at the stage, giving him the owl little nubs, basically. But we'll, uh, we'll address that a little later on, and now I will test compressed charcoal. So again, that's compressed charcoal. And because that paint is nice and dry and nice and thin. Okay, I put that down very thin. Smudged it, um, it's pretty easy to draw over sometimes. If you get acrylic paint too thick, the compressed charcoal will be. The surface will be a little slick, and it's really hard to use compressed charcoal. You can use a violent charcoal over it, but not really compressed. But the consistency of that original acrylic layer where I put the clause in was like butter color basically really thin, so ideal surface to drawl into, So that worked really well there. So now, as you can see, using a little number little orange and reds to, um, create another hue for the background again, subtle shifts very, very. You know, if I didn't mention it to, you may not even pick up on it. But I can tell you that Ah, there's little small changes make a big difference in the end. So now just carving out the claws a little bit and getting those edges to come. The life make a little more impact on the piece, but as you can see where about seven minutes into this painting or so and things come together quick. So if you have your design down and you kind of know where you're going with it on, these things typically come together fast. The surface is £140 cold press paper. It's about 11 by 15. So it's not that big. Um, and of course, you know larger. You work, Of course, more time it's gonna take. But now this. Using my signature brush or a liner brush there, too. Go around some of the details here. I'll just smooth that out a little bit. So now we I had this thing looking pretty good, and now just going to go around a few other areas with that color has a little more red to it again. Very subtle change in hue, but a change nevertheless, and we're getting that uh, the bird is starting to come around now, So at this point, I just want to beef up the white on the head and this using a fan brush for that. So the fan brush keeps it kind of chunky and in perfect versus using maybe a smaller round or something. But with the fan, you're gonna get to me regular brush marks there because of the shape of it. So pick that little purpose. So now that the background, it's still wet, and I know I have a darker value underneath the most of it, um, I can describe into it and reveal some of that layer underneath again. Working into wet paint is the key here, and knowing that underneath that tan are areas that are darker and value, so that's going to create some nice linear interest. It's now moving into some burnt numbers here and dragging that right into my tan. I will create again another hue, very subtle shift and and now actually moving that more to a white. So I just like not up quite a bit to get around these claws and make that a little more noticeable, He noticed. I left some of that original charcoal marks, too. I didn't completely pain over that. All right now it's time to do some negative space painting and also do some patterns. And so basically combining those two techniques putting some little ovals things like that into this wing. And a lot of this is not planned. Ah, Newell's and do a pattern or of some sort, but not really knowing 100% what I want to do. So this kind of letting things go a little bit, but all the while keeping it somewhat, um, contained and not going crazy or painting completely out of control. But, yeah, he's a little bit of pattern and as that little bit of interest to it. And it was kind of one of the purposes of this workshop Lis, to take a subject like this and fuse patterns do something different. Okay, so there you had those little scalloped pattern going on that indicates the feathers and different textures on the bird. And to create a connection, you could see I drag that down into the background. That's kind of a nice way to connect the two. It's kind of even though this there Is this a subtle? I'll get a subtle thing that those little differences really add to the final piece. So it does. They could always drag little marks like that into the background and create that that little bit of a connection. So a little bit darker blue here and that white is dry now. So I want to make sure you understand that painting over that, creating a yellow ear blue year and now I've got you know, something that's a little boring, interesting to look at as of a few abstract qualities and working on the I. That's just the ultra marine blue going on. There may be a touch your yellow, but not much. So now just some pattern marks with the little stripes. They're basically chicken scratch and add a little bit over to the left hand side as well. And this thing is getting close to the end here. See him doing some negative space there with in kind of turning the little scallop pattern upside down, and I'll go ahead and put my signature on this, and then we can have a closer look at this. And so now dis using that background color there. And it like that. Mark their scribed into it because I really like the angle of that, um, kind of being curved, so I just couldn't got rid of that cleaned up on edge or two here, and that is in touch is really And we're about ready to take a little tour here. So I will do that. We'll take the camera and take you around so you can see the marks a little bit closer. See some of the textures some of describing here, going on into the wet pain. And yeah, so there it is. That picture was taken a natural light. And that concludes the second demo. Thanks for watching.