Create Awesome Text & Words - Part Three | Robert Joyner | Skillshare

Create Awesome Text & Words - Part Three

Robert Joyner, Making Art Fun

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3 Lessons (13m)
    • 1. Introduction

      0:57
    • 2. Part One

      4:12
    • 3. Part Two

      8:11

About This Class

In this class I will share some tips & techniques for creating text & words with mixed media. The mediums I will focus on are acrylics and charcoal, but you can use substitutes such as watercolor, oils, crayon, graphite, and/or pen for example - it's up to you. The idea of the class is to get you inspired to try something new to see if will spark your creativity.

Who Is This Class For?

Artists of all levels and anyone that would like to learn more about adding text & words to their artwork. If you enjoy exploring and doodling these lessons will get your juices flowing.

Looking Forward

This is Part Three an ongoing series that started with Part One. I would encourage you to watch the Part One & Two before enrolling in this class. This will enable you to maximize your potential learning and to get the most out of your online experience.

Here are the other classes in this series:

Part One

Part Two

This Is Part Three

Part Four

Here Is The Demo Image

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Transcripts

1. Introduction: This is Part three oven on one Siris on how to create awesome text and words, and in these lessons I will focus on mixed media using a combination of acrylics on charcoal. But feel free to use whichever combination suits you best. Theo idea behind the class is to teach you how to be more creative, perhaps more unconventional with creating an adding text to your artwork. It's well suited for all levels of painters. When you're a beginner, intermediate or advanced artist, I'm sure you will benefit from these tips and techniques and roll. Today I hope to see you on the inside again. I'm Robert Joyner. I love the paint loose. I love the create awesome text and words. Thanks for watching. 2. Part One: just a little bit of compressed charcoal. Got nice point on that and some good old acrylics. All right, Now, the idea here is I'm just going to give you a just a few examples, really? Of what you can do when you start merging mediums, We start working, painting, withdrawing, Um, and there are any really limits toe what he can do. Um, so I can't really cover everything, but I can give you plant some seeds, right? That will help you open up some creativity. Open up some ideas on what you can do with this. Because once you start really understanding how to use layers how to be patient on Ben, you start to incorporate different mediums. Know the sky's the limit that there's really I have no idea of all the options I'm still learning and discovering things myself. Okay, But anyway, in this case, let's just say we can explore the idea of the G so we can that g coming around. And, you know, maybe we had the are Maybe we have part of that. A And that is how once I started drawing here, I'm leaving out bits and pieces. So the G I put in all the way. The are while left out a little bit, and here I left out a little bit. So now in the end, I can come around Same thing with the U. And so so now and not going to get stuck too much with getting in perfect. Like like always. But I'm gonna give you a sense of, of, of using the same idea. So like, let's say I have a clean brush here. My small detail. I'm a dip right into this red and again I'm coming right out of the water here and mixing this up. And let's say I want to kind of merge that idea, blocking the colors and kind of chunky and then coming back with that background, the next layer and chiseling things in a little bit. I also want to use these lines I have down. So you kind of get in here and have some fun putting these down. We just don't see you know, the a lot of this. I say, There there's a A over here. I'm not going to worry about getting that perfect. And then there's a T and this say there's Ah on e and then a D or whatever. Good. So nice and loose and got a little bit more abstract as I went there. Um, so now I've got that feeling of line and then color, right? So but But again, it's nice and loose, right? So now the key is just toe toe. Let that dry. Okay. And while it does, I'll just take a break, and then I'll come back when you know, when this is not tacky anymore. And then we'll kind of chisel things in using that white background and cannot really show you how you can leave and preserve. Ah, lot of those nice loose strokes and nice loose lines. Okay, See back. 3. Part Two: Welcome back. Drive to the touch. No. As I start to use the second layer and start to use the negative space around this, um, keep in mind that I want to I don't want to paint over all of the outline. So, like, where I took the compressed charcoal and made these lines, I mean pain over some of them. Yeah, but don't cover him all up, because the idea is you want to keep some of that stuff. So you kind of get that feeling of mixed media. You get that feeling of line and edges using the charcoal, and then you get that feeling, Of course, the red that helps create the body of it. So if you get in here, you create these lines and then you paint over on, then they don't really have a purpose anymore. Other than maybe if you were just trying to lay out the composition or the letters and you intended to paint over him, that's different. In this case, I want to give you a good example how you can kind of do this a little more loosely, then just simply painting it, um, anyway, And of course, of using the mixed media clean that brush a little more, had some red in it. I want my color is to be really Chris. That's that's important. So you see that red mixture there must. So I'm gonna pull that every here. Nothing. Since we're loosening up, we're having fun. Like that's impression Blue. I'm gonna mix that up over here and just kind of introduce Ah, second color here and something other than just gray. So I'm getting here and just start having fun chiseling out these letters, getting a little bit different. Look, right. And like I say, I don't want to paint over all of those lines, but once in a while, yeah, you know, paint over one so that you don't look like you're trying to paint or keep every single one of them. It's kind of a balance act a little bit, but I try to preserve most of, um, trying to keep a good percentage of just one touch a little red into this, just to get a different mixture. Little different shade of blue. I get that feeling oven a and again, it's not perfection here. For me that works a little bit of water drying up here on the palate, more red will go a little more that Prue shin start looking a little bit darker, maybe than what we had. I'm kind of mix in some of that darker mixture over here just to blend it. And I have my end gotta Why on you start to see how this is getting a little more of a playful look to it, then just using the acrylics. So now, by introducing, um, the line getting this a n I think I had that backwards by introducing that charcoal in the line. Get a little bit thicker mixture here, um, it gave it a total different look now on, that's kind of nice. And that's that's really what I wanted to I present to you is to show you like, once you really start to understand this idea, um, of using layers and painting, getting your foundation down right Then he can really start to explore and have a little more fun by introducing drawing. So I'm introducing drawing basically with charcoal in this, in this case to the concept through these techniques, and it's taking on a different look, a different style and, uh, depending all your mood. Who knows? Maybe you went incorporate this now to stop right here. I don't need to get everything depending on your mood. What you want to do. It can really, really go on and on race. You can really start to have a lot of fun, you know, once you won't understand this. So what? This scale is pretty big. Okay, so what? I mean by that I mean, this is a 2022 by 30 and you can see this. This text is taking up probably 20 20 inches or so, if not mawr of the paper. So if I were tryingto actually pain the bag of sugar there, this may be too big unless I'm dealing with a 60 inch piece of paper so you can always scale this up. Scaling down, I scaled skilled on up. Of course, because I want you guys to see a really, really clean illustration of it. But we're going to small. It would be a cop to really comprehend. So you can do this idea, you know, and get him small to you Just have to work on that scale. If you get too small, then you know you want to drop a medium. So if I were using mixed media and, you know and maybe I was dealing with 1/2 sheet or maybe my sugar bag, it was this big or something, So that made that word here. And maybe mixed media is not the best choice. Maybe you're better off. You need to go in here and just put some red down lead that rest right. Let that dry, and then you can come back with your white and just loosely put in the feeling of text there. So we're going talk a little bit more about scale and stuff later, but I think this gives you Ah, good idea. You know what you can do there in terms of incorporating? Um, seeing grand you late. Delicious would be a e d. Whatever spelling. Great. No. Well, luckily, it's not a spelling lesson, right? Anyway, mixed media incorporating, um are charcoal, and this is compressed charcoal. It's not a line charcoal or anything like that with our acrylics. So, um, I'll leave it at that. And again, you know, I could we could take this idea and doom or more with it, but for now, be getting just of it, and we'll move on to the next one