Create Awesome Text & Letters With Acrylics - Part One | Robert Joyner | Skillshare

Create Awesome Text & Letters With Acrylics - Part One

Robert Joyner, Making Art Fun

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4 Lessons (23m)
    • 1. What You Will Learn

      1:31
    • 2. Introduction

      3:30
    • 3. Common Mistakes

      8:07
    • 4. Negative Space Demo With Acrylics

      10:17

About This Class

In this class you will start to learn easy to apply techniques for painting text & letters with acrylics. This is Part One of an extensive course for those interested in adding words to their artwork. This particular class will focus on negative space and why it's so important. I will also cover a few common mistakes most artists make & how to easily avoid them.

Why Is This Class Important?

Because words & text pop up often in subjects. If you enjoy painting cityscapes and still life for example then you know text is part of the subject(s). If you don't have the proper techniques these subjects will look amateurish.

Ready To Get Started?

All you need is a writing utensil, some paint (any color or medium will do), paper and any object with words & text.

FYI, I've attached the demo image in case you would like to use the same one as I did in the class. You can find that in the Class Project downloads.

Here is a list of the other related classes in this series:

Part Two

Part Three

Part Four

In Part Two I will share the next stage in developing awesome text & words. This is an important layer to understanding how to take control of your medium by simply being patient.

Demonstration Image

909e8f2e

Transcripts

1. What You Will Learn: Hi there. I'm Robert Joyner. I'm excited to share this class with you here on Scotia. This class is all about creating exciting text and words. Now, if you enjoy paying still life or cityscapes, there is a lot of sign edge for you Simply enjoy being creative and adding words to your art. This is a fabulous class for you. In part one, I will cover a few of the mistakes artists make and then also show you how you can avoid them by simply using negative space, creating text in words of this fun. But you want to be sure that you don't fall into the trap of writing once you understand how to avoid these mistakes and then, most importantly, how to move forward by using your negative space that you will have a much better understanding on creating awesome, crisp and clean text and words. The beauty of text in words is, once you understand how to do them correctly, you will start to look for opportunities to add them to your artwork. And what better way to open up your creative flow than the ad of brand new twist to your art? So if you're ready to get started and take the plunge into making awesome text in words and roll today. And I hope to see you on the inside again. I'm Robert Joyner. I love the paint loose and I love to create awesome text and words. Thanks for watching. 2. Introduction: Hi there. I'm Robert Joyner. I'm excited to share this course with you. If you paint it long enough, you know words, text letters, they come up, It could be on a shirt. It could be in a still life painting. It could be a landscape or cityscape. Where there's on Sign Egx, in any case, is something that you know that that could be very interesting. And you can really create art around words, texts and letters. So that's that's basically why I created this course. And quite frankly, I love it. I mean, I do a lot of simple, still life paintings. I try to use objects and things that people recognize. You may have seen some of my Starbucks cups, things like that. So you have a brand that people are familiar with, and on that you typically have their logo, a little bit of wording or whatever on their packaging. And also, I do quite a few city escapes, storefronts, things of that nature, and you're dealing with signs, and I just love it. I mean, we're not gonna kick with still life paintings and doing that kind of ah theme where I'm dealing with a coffee cop or, you know, other things. I tend to kind of really getting gross in it. And the the object itself. It's a coffee cup. I mean, that becomes second. You know, it's not as important as really diving into the text and the words and making that that the interesting part of the artwork. So what? Anyway, um, you know, when I see other artist and workshops to and things like that and then they're painting words and they're trying to put that, you know, in their art it I see a lot of common mistakes. So I was certainly cover a lot of those in these lessons. And also I will come up. You start very simple. OK, so all kind of just work with paper drawing paper, charcoal little pencil. And we'll just have fun just examining words and then probably introduce you to a couple of the common mistakes here dealing with charcoal and graphite. And then we'll move into acrylic as the base medium dealing with color. You know how to use negative space, things like that to chisel out your words, and then we'll get a little more advanced as we move into some mixed media techniques will get, find a little more freedom with using words and text. And then ultimately, I will give you on example or two of how that would look in a painting. So how attacks would look and words and letters and a couple of maybe still like paintings . And I'll do you give you a couple of versions, like maybe acrylic version and then also ah, more expressive mixed media version where I'm incorporating some lines, a little bit of painting and that sort of thing. So you have have some examples there to take with you on. Ben, you can kind of start Teoh incorporate these ideas into your own paintings. All right, I'm excited. I can't wait to get started, so let's go ahead and do just that. 3. Common Mistakes: I welcome to the lesson. So £90 drawing paper and just a piece of graphite. This is an on HB so not too dark in the middle. But, you know, it's got a decent enough lad that I think you'll be able to see it. And I'm just going toe work with still life painting here, which will probably be the bulk of the subject matter I use. Okay, because there's a lot of words and texts and things like that, and we get a lot of color variations. So I think we can pretty much stress allow the points here, but I'll give you some examples of, like, a sign it or something like that as well as we move forward. So on this particular images that sugar a bag of sugar So we have a little bit of white with red text, a little bit of dark text. We also have some kind of dark background with light text. Okay, so I'm looking at this, that the the fun is fairly normal. There's not anything too interesting about it. But this is, say, for example, what we can do here. So right here, I'm just gonna put um, writing. Um and then I'm gonna say drawing. Okay. So I'll give you two examples of kind of what I see or how people artists, typically in a very generic sense, handle text. Okay, so what happens is they see, you know, the text. Here they go. OK, yeah. I see this, and they start drawing tech. So I'm drawing the market. And this is what What we typically see is this interpretation. Okay, so though basically draw or write rather, um, the text. So if I were to go on and say Do pantry here, you will start to get the point that hey, I'm simply writing the text, okay? No, it's OK. All right. Now, I think maybe for just playing around with something, it's okay. But I think it's more suited for a letter or writing your friend drawing, making some quick notes about directions where you're going or something. Right. But for art, I really think it's any good. Okay, So if I were thinking about a painting, Yeah, I would say, Well, you probably don't want to write it, because that could come across a little bit boring. Okay, Now, instead of of kind of writing. I'm gonna think more about drawing it and I think a little bit about, um, the thickness of it. Right. So basically, when I look at that marketplace or market, I could look at and just so you know, you'll see me glancing over to my right quite a bit. If I'm facing the paper, I'll look to my left. And that's where my images on my computer and have it enlarged so that I can kind of have a reference here. Um, I don't like having images and stuff by the easels. I think it's distracting a little bit, but anyway, uncle ahead and draw the tech. So I'm gonna think more about not really worrying worrying about the body of the fun. Okay, so if you look at the body of the fine, I'm talking about the inside. I'm gonna focus more on the edges. Okay, So when I start to do this, it's gonna look more like this, and this, of course, takes a little more time. But I think you'll find pretty quickly that, um it makes a big difference right away. And it doesn't have to be perfect. I mean, everything I do and these courses is loose. So you and this is this course will be no, no different. Um, you know, work with text and teach you a lot about working with, um, signs and things like that. But it won't do it in an expressive way, because that's how we do things here paint loose. But you can see now I'm giving it more, more body, and then a captures a little more feeling of the fun you can see right away the impact that would have. Okay, um, so I'm not gonna go into writing pantry here, so I think you get the point. Um, the idea here is I'm working with the edges off the tech. So instead of working again with the body of the text, I'm working with the edges, okay? And that's really, really important, because as we move forward and to painting, this is the issue we want to avoid. And artists do this all the time with their brush, the load, their brush up, and I'll give you two examples, and they'll start writing the words like they're writing a letter. Um, it's like if I went into negative space role quick and started doing this. He can kind of see how something like this would be much more effective. You know, if if I were painting right. So basically, I'm using the space around it. Two basic to capture the shape. And that's really how I look. Um uh, text. I try to think about tape, think of text like anything else, and then they're basically just shapes. And if you can just capture their shape by using the feeling of, like, this negative space, So the space around it, you can start to better indicate how that would look. OK, so that's kind of the the gist, right? The overall, you know, example and issues we're gonna be dealing with in this course, and we can we can do this. And there this is drawing. We're gonna get into painting and dealing with this, but that's the overview, right? These are the things we were going to attack with the most and this course. Okay, so we're gonna learn to draw them, thinking more about the edges, and we're not going to paint them. And by writing the letters. Okay, so, um, I think this will conclude this lesson. Hopefully, kind of get a feel for what I'm after their. And, um, in the next lesson, we're gonna start taking it a little bit further into how we can capture this with some color. Okay, so I'll see you back. 4. Negative Space Demo With Acrylics: Welcome back in this example. I'll use £140 cold press paper and I want to give you the same idea. Okay, as I did in the previous lesson. But I'm just going to use acrylic paint. So this is just Mars black. Very, very limited palette here because I want to pound home the same techniques I see. But then I'll just give you a quick feel for how we can avoid this mistake and then how quickly we can use painting slash drawing to fit more effectively, create that nice feeling of texts fall, give it some body. Right. So I'll quickly go ahead and put in this. And I just have a little bit of water here and also have a This just a small detail brush. Um, I'm just going down. Lewd. This heavy body acrylic with a little bit of water That was just from the brush sitting in there. I'm just going to roll that brush until I get I just don't want too much. I'm blob of paint on there. Okay? Just gonna roll around so I get more of ah, more of the paint on the tip of the brush I'll do the same thing here. Um, I just know for the sake of just giving you the feeling I'm just going to write the words even though in black, even though they're white, Okay. But I think this will still get certainly get the point home so you can see and again I mean, these things happened all the time. What I'm teaching us. See, people pretty much do their text just like that. Okay, so we get the old pantry here and all that stuff. Okay? So you get the point that I want you to worry about it. So writing. And now what? We re even make this worse if he can imagine a white someone put down. Okay, well, the text is white, so they paint this. I'll even give you this example. While we're here, they may come in here and kind of paint this shape. Okay, So say we have that nice kind of rough shape of that. Pretty much a rectangle with round. It does not let that kind of semi dry, and I'll show you a lot of what I see here. Now I'm going to take the same idea, but of you or I'll take the same text. Rather give you a much better example of how that would work. So if I were doing that and again, you know, I'm mixing that thin in that heavy body Acrylic acrylic out with water, rolling that brush around trying to get the point, the paint war on the tip. So now I'm gonna think negative space, okay? And I'm going to basically and draw and work mawr with that feeling. OK, you can see right away how this text this becomes much more interesting. You know, it's a little more believable. It captures more of the body of of the text versus where that is, just roll splotchy and ah, you know, im pretty much as she is kind of Ah, amateurish way, um, putting your text down. I mean, that's pretty much what it boils down to. So sometimes you just have to be exposed to some just better techniques, right? And to how you can create this text in a much more interesting way, which is what you're doing and what I'm doing. I'm giving you much more interesting ways to do that. Kind of see how that capture is mawr of the shape and thinking, Maura, about that negative space around the text, So going to go ahead and bring my brush out. And then, um can I come back and then give you a little bit? Ah, better feeling of how someone would even go as far as, like, painting that black background and then adding that white. Okay, so let me polish right here. A little bit of white paint. Be right back. I'm back. So a little bit of titanium white here have my brush really clean? A little bit. It's dipped in water, thin it out and the sea. This artist comes in here and starts basically writing right the text. And then we can go ahead and put pantry in there, whatever you want to do. But the end result is ah, you pretty much are dealing with the same idea. But it is white on black and the text it's just a little bit right, Andi, even I see this a lot too. And that was being pretty patient. Honestly, ofttimes artists won't even do that, right. They'll just come in here. And though, to slap down that black hair ago yes, is all black. That's cool. I'm just going to do this real quickly here for you. Just so you, in case this is you or in case this is ever at some point, you you know better next time not to do that. Someone clean a brush off. Really good. Now again, that's wet. And this is wet and wet. I'll take that white come in here and then I start painting these two colors, merging these colors together. Um wow. Mess up the letters there. Wow, They're wet. And so now you're dealing with, Ah, whole bunch of problems because now the colors are merging together. So here, at least you have Chris white and black because you allow that black to dry. But now you got more problems because all of those those colors are blending together, okay? And then it looks really, really kind of cheesy. And, um, and again, I'm not knocking it. I mean, there's probably some really good art out there that may have that in there. You know, maybe it's in a different style, some flow card or something like that, but but to me, it's just a little bit lazy. It's a little bit predictable, and I just think there's, ah much more interesting way to do that. Okay, So what I'll do now is actually what I will do, really, before we get out of here. Um, it just kind of outlined, So you kind of know You know what that looks like? So if you remember before that's dealing with the with those outlines and working with that negative space, right? And so what I did there is I focused more on what was happening here versus what was happening in the text itself. So here I'm fucking some focusing on what's happening. You know, in the in the body right here. I'm working with mawr of the negative space and that that's more important than the space around the letters. Okay. And we're gonna talk a lot more about these problems. Okay. About painting wet and wet. Um, and then also about wet and dry. Okay, because I wanted to touch on these here because that that's a very, very important thing to consider when dealing with text. Okay, so now we have this example here very, very similar to the previous lesson of writing the words whether it be dark white or whether we did light on dark. You have the what? This is the wet and dry. And then what? And what example in here, you saw where I did the negative space. Not really painting the word. The body of it is dealing with the space around in the negative space. Okay, the space around the letters. All right, that concludes this lesson and I will see you and the next.