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

Create Awesome Text & Words - Part Two

Robert Joyner, Making Art Fun

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5 Lessons (24m)
    • 1. What You Will Learn

      0:49
    • 2. Impatient Wet-In-Wet Version

      8:22
    • 3. Layers Part 1

      4:08
    • 4. Layers Part 2

      6:22
    • 5. Layers Part 3

      4:35

About This Class

Creating Awesome Text & Words Part Two

In this class you will learn about layers & why it's important for creating crisp text and words. When you are finished with these lessons you will have some fabulous tips for adding text to your artwork.

Have You Taken Part One?

This is Part Two of an ongoing series so I encourage you to watch Part One before you take this class. This will help you keep up with what's going on in addition to building a solid foundation for painting awesome text & words.

I've added the links to all the other classes in this series below:

Part One

Part Two - This is Part Two

Part Three

Part Four

Who Is This Class For?

This is an easy class that is well suited for any level artist & you can use whatever painting medium you prefer.

What's Next?

This is Part Two of an ongoing series. In the next lessons (Part Three) I will cover using mixed media when painting text & words. This will give the art a loose feel & allow for more personal interpretations.

Here is the demo image:

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Transcripts

1. What You Will Learn: Hi there. I'm Robert Joyner. I'm excited to share this class with you here on Scotia. Now, if you enjoy paying still life or cityscapes where there's a lot of sign edge or you simply enjoy being creative and adding words to your art this is a fabulous class for you. This is part two of an ongoing series were creating awesome text and words. I will focus on layers and why they're important for creating crisp letters and texts. Once you understand why being patient is so important thing, you will dramatically improve your art for and roll. Today I hope to see you on the inside again. I'm Robert Joyner. I love the paint loose and I love the create awesome text and words. Thanks for watching. 2. Impatient Wet-In-Wet Version: Welcome back. A fresh sheet of paper here, Still dealing with £140 cold press two sides. All right. Not good. You know what that means? Good. Get the smiley face there. So we all know what that means to palate. Still have my titanium white. And now I have some red. And I will deal with that. Um, the a little bit different aspect of adding words now because we're in deal with, of course, with acrylic paint. And I'm gonna show you basically the difference between the patient artist, good and the impatient artist. Okay. And what that translates to is basically understanding that layers are important and be impatient is important, because when you're when you're dealing with words like in this sense, but we have and pretty much in any sense or in any case, you have a background color, and then you have the color of the words. And, you know, you have to consider that when you're painting, all right. Because if you start to work too much, why didn't wet? So in this case, that would be impatient. You try to get the background, you're trying to get the tech you try and do everything at once, then what? You're left with our color or text and words that are mushy. And they don't have very crisp no clean edges to him over here, the patient artists that you know we know better, right? We've done that before. We made these mistakes. We know what it looks like. So we're going to do things a little bit differently, were more patient. And we know that by being patient, we can create much better text in words and the artwork. Okay, So, um, I will go ahead and forge with this example ahead with this example first. And even though I'm dealing with white paper, I'm just going to go ahead and pretend it kind of used Mormon off white as my example. So I'm gonna keep it real simple here. I'm not trying to match exactly what I see. It's just to give you an example being patient and in patient. So I mixed a little bit of the Mars black with the white. I'm just going to go ahead and put down this off white mixture. I'll go a little bit more, A little more water, more water and There you go. I got this little kind of, ah white spot there. Go back into my detail nice and clean. I'll going to my red, mixing that up and not try to get the paint on the brush where it belongs. I'm trying to get roll it and really get in on that tip, but not too much, OK? And then I go ahead and start painting or really writing the words okay. And of course, is that this is a problem as we talked about before, because you're basically gonna end up with a lot of pinks and a little bit different font and basically the edges. Um, you know the colors. Everything is just completely drained from this. And when I'm working, But in the wet like this, of course, Now you have problems. Um, with all these colors and it just starts to look really, really weak. And so not only are you getting soft edges, but you can see how that text just kind of looks. And now I can kind of, you know, do this in a different way to so this say Okay, well, that's fine. Let's say this is basically writing the text, but you're just writing it, you know, wet and wet. Okay. And this example, it is raining the text. Well, then say you've overcome that problem, okay? And say, Well, you know, Robert, I don't write text anymore. That's not who I am, Right. All right, fine. So but let's say you're still not a patient artist. Okay, so this say Okay, well, I'm gonna think about this and just start, you know, using my negative space. Okay, so I start. Maybe I just put some colors down and something that represents some of these letters. So I'm starting to. Okay, well, you know, I've got my g. I've got that. I've got those letters. But Robert taught me about negative space. So I'm gonna go right in here to my white. I will get a little bit of a great mixture there. So we get a little bit of a contrast from on that white paper you go. I've got ah, I know all about this negative space. And then you start painting around that red while it's still wet. I will admit it looks better than this, because it at least at least the body of the letter has some nice deep reds in it, and it looks a little a lot better than here. We can see. Were you working that red over white, wet white? You know, you don't have that deep, rich red. So at least in this case, you're like you tackle the idea, but you're still you still have the same issue working what, in the wet. And then ultimately, what happens is we get those two colors, blend right, so they start to merge together. You're still dealing. You're dealing with some pinks and all that. So basically these peaks and these colors that Aaron, the letters here end up in the background because again, working, but in the wet white red thinks pink. Right. So this is a much better solution than this. So this is using the idea of negative space. But you're still impatient, right? You're still not allowing that to dry, and you're missing out on creating nice chris letters. Okay, some deposit right here. And then we'll go to the next example, which is hopefully creating good text. Right. See you back 3. Layers Part 1: All right, Welcome back. So have a brush is nice and clean here and with this side. I kind of give you both examples there. Okay, so I'll go ahead and put the white down first. And then, um and then I'll put the red down. I know you like. Oh, well, hold on. If you put the red down, aren't you writing? Well, yes and no. Because as I put this down, you will see is very chunky. And then I'll come back when it's dry and use negative space again. So it's kind of three layers happening there. Okay. And then I'll give you another example of putting the red down first and then coming back with the white to polish it off. So this will be kind of using two layers. So to make this happen, I'll go into my white and get a little bit of this great mixture here and again. I'm not trying to create a beautiful representation of the coffee bag. I'm just simply getting colors that will illustrate my point. Okay, So have my graze here. Ah, there we go. So we have, um, some whites down, and now I wouldn't put that red down for Schramm. Really? Get this white off the brush here. Probably should grab another one. Um, so this is kind of interesting right here. Okay, I think you're really gonna like this one instead, off putting the red down with the feeling off those letters. So writing the letter. So like, Oh, what's he going to do? Is he going to write the G and the R and a. No, I'm gonna go ahead because I know those letters Air red, And then I'm gonna go right into this red, really? Load my brush up. And now I know the red will go in here. I'm not going. Try to fit in every single letter again. It's just about kind of taking that example of the red and the white and is giving you a feel for how you could dear these things in just a couple of different ways. I know what you're saying. My, uh What? So what I'm doing there is I'm putting a big block of red down, okay? And that's kind of interesting, right? Because I can come back now when that's dry and use white negative space as my negative space and use a negative space and white paint to chisel out those letters to shape it. All right, so that's kind of an interesting way to do it. And whenever you do it this way, you get away from having to paint the letters, right? Because because you're or draw the letters or write the letters even because now you're just going to kind of come in here and use that white in the negative space to make your letters. Okay. The key here. Be the good guy. Be the good artist, and be patient. See, back when this dries 100% know what's kind of tacky. I think we could go. No, we're gonna let this dry, so I'm gonna take a little nap and come on back. 4. Layers Part 2: Welcome back. Drive to the touch. Very, very patient. And very, very important for you to understand that you have to wait to make this good and to really get the maximum added this, of course. And then also added this lesson. You have to let it dry 100%. That's where we're at now. This example. Remember, this is gonna be a three layer. Okay, so let me go ahead and write that. So dealing with three layers and before I get ahead of myself, a layer is just putting. Ah, a layer of pain down. So in this case, you know, the white and letting it dry, the layer on putting on now will be layer to and then so on. And this will be an example of a two layer. All right, so, um, dealing with this one, I'll go ahead or I'll crack for with this one first. So I want that feeling of red letter. Okay, so but I'm going to kind of write it, but I will do it chunky, So I'm gonna go outside the lines or the edges of the letter, okay? And I'm gonna make this a little bit bigger so I may not get all of these letters in there cause I really want kind of drive this point home. So let's say we start with the G. And again, it's a so much, you know, wider and thicker than I know I need. And we haven't are and and so on. And that that's probably good for now. Now, over here. Wash my brush. Really, really good. I want to get all that read off of it. Excuse me. All right. Nice and clean. And now I'm gonna think negative space, so I'll get in here, and I'll kind of get a little bit of these greys working. Um, and looking at that fault there got a pretty good sense of it, but doesn't hurt to look back at it. And then we have our our Well, I'm not getting too fussy, whether here either. I'm keeping things somewhat loose, but we're going to have a lot more fun with abstracting and kind of getting loose with this stuff later. But it's in my nature to kind of do things loosely anyway, So I'm not getting this 100% perfect. I'm just getting the sense of how that works and and just kind of notice. Take note there how this is all coming together and it's really using negative space. Okay, so I want to clean up some of this. But so really, really note how clean You know how clean these edges are. Like over here. You see how you know you could not get close ups for you can really see how smudgy that is and all that. We're over here nice and crisp and clean, and it's just ah, much better example of texts and letters and how really to do it to where you get really good results. And if you're someone that likes to get things a little more accurate, you can certainly use these techniques. And you may even want to pencil your text out so you can kind of, you know, lay it out with pencil and then, you know, and get get that a little more clean or whatever, but I'll stop right there, just so you get a feeling of it. And, um, and let that rest now, because this is still wet. Uhm, I'm going to do three layers to it. I'm just going Teoh pause right here and, um, and kind of let that dry. And then I'll come back to it when all of this that red is dry and you finish up giving that nice example of how I can kind of chunk things in but just working layers and get it a lot cleaner than and then making these mistakes. Okay, so we'll pause here. I'll pick around on this a little bit, got nothing else to do. And, um, it was all fun anyway, so I'll probably include this footage in the video, so 5. Layers Part 3: All right. Welcome back. Dry to the touch. That's the key, right? Be impatient. I want to be good. We don't want to be the bad artist. Eso again. This is working wet into dry. So the bottom layer is dry and the second layer, which is the red, is dry as well. So now I can just go in here and really just chisel out these letters. I'm no, again. I'm doing a nice and loose that That's just kind of my style. You can use this technique on any style. I feel, you know, that is works for you and ah, and you'll be just fine. You can even see We're have pushed the U and everything over. And then that's okay. I mean, that that all works. I mean, this could be the l or whatever, and we're good to go. So you can see kind of how Chuck and things in works nice to And, um, the end result is you know, the bottom line is you get really crisp colors and then that that's really the key. I think for, um, you know that this particular lesson is really to understand. I can go in here and refine this stuff. I kind of lost that, G. But that's all right. No big deal. Um, I can refine these things and really may come as cleaning. Crispus, I want so, uh, again what? In the wet? We can also look at that as being impatient and just really putting that white down. And you remember putting that red right over it before Dr. You end up with this rule kind of mushy soft. Not good. Um, same thing here. Put the red down first. I was like, Oh, Alaska. You know, I like the red, but I want to go in there and really make those letters, you know, clean and you end up with mush, you know, because all that reddest mixing with the white state result, But it's just This is still better than that, in my opinion, but still not great over here. This was more the patient artists. Right? So we put that gray down, let it dry, put the red down, let it dry and came back and resulted. Is just a lot cleaner than this. And here we put the red down, put that big broad area of red and you can see how much better that looks then doing something like that. I mean, that is just night and day in terms of how crisp the letters come off. And this is typically what happens? Artists Iskan impatient. They just want results right now. Gave me some letters and, you know, bone, you got him. And this artist is just more experience. They have better technique. They know to get that really crisp, clean, finished to the letters and really to the painting. It needs to be done little more methodically. Okay, so anyway, this concludes this lesson, And I hope you kind of really see that the difference there and again, I'll get some really close up footage for you. So you can kind of examining the details and see some of the areas that are maybe not obvious in the video. All right, see you in the next one.