Drapery - Beginner Acrylic Painting | Linda Celestian | Skillshare

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Drapery - Beginner Acrylic Painting

teacher avatar Linda Celestian, Learning to paint is fun

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (35m)
    • 1. 1 Intro

    • 2. 2 Set Up and Supplies

    • 3. 3 Sketching and Mixing Colors

    • 4. 4 Painting Part One

    • 5. 4 Painting Part Two

    • 6. 5 Wrap Up

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About This Class

Learn how to paint drapery with confidence. This class is great for beginner and intermediate painters. The class covers drapery set-up, supplies and painting techniques.

Meet Your Teacher

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Linda Celestian

Learning to paint is fun


I'm a fine artist and a teacher. I've been painting for 30 years and teaching for 15 years. Life is short but you can keep it fun by trying new things.

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Related Skills

Fine Art Creative Drapery

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1. 1 Intro: Hi, I'm Linda Celestine. Welcome to my class on painting drapery. The most important concept, I believe, is understanding how to see different values, the lights and darks. So I'm going to show you how to set up a still life using drapery and strong lighting. This creates the situation to be able to see these different values in the fabric. After you have your set up, I'll explain how to mix the colors to match the values that you're seeing and also how to create smooth transitions when you're painting. I have two other classes that are great for beginners. If you want to check them out a swell, how to paint a green apple and understanding value. So I hope you'll join me in learning how to paint drapery. 2. 2 Set Up and Supplies: I always like to set something up to paint from versus using a photograph that might not have good lighting or when you go to print it, it might not print out great. So here I'm using a box and a piece of fabric, and that allows me to arrange the fabric into something that I think I would like to paint . And then I'm gonna add one direct light source. This is what my set up looks like, and creating this situation with a direct light source will allow you to see shadows and lights and darks. At this point, I like to take some photographs of my set up a swell. It's great to have these photographs as reference. I use my cell phone, and I also can even paint from my cell phone because it allows you to zoom in on certain areas. Now we can talk about supplies. I'm using palette paper here. They're going to mix my paint on. I have different brands, and some of them are open, which is a paint that keeps workable longer. If you don't use that, you can use a retard er that I'm showing here and a few different brushes. I also use a little bit of Matt Medium to mix in with my paints when they get a little bit tacky, and I'm using a palette knife to mix all my colors. 3. 3 Sketching and Mixing Colors: So I'm going to be painting on a piece of Jess owed watercolor paper. I just have that tape to a piece of foam core, and I'm using a pencil to sketch out my drapery. The paper is probably 11 by 14. So I don't like to make my studies. If I'm considering this, a study or painting too small because I don't like to use really tiny brushes, Um, or too big. If you're making a really large painting on canvas, you have to mix a lot of pain. So I suggest making this a manageable size nine by 12 or 14 by 11. So now I'm going to mix my paints. And the colors I'm using are ultra marine blue, burnt sienna, Eliza ring, crimson and white. I start by putting out a lot of the ultra marine blue because first, I'm gonna mix the color of the fabric, which is called the hue I learned over time. That helps to keep your palate organized. So I put all the colors across the top. If you're not using open paint, you can mix some of the retard er in right in the beginning so that you don't have to mix it into each color after you've mixed them to mix the color of the fabric. I'm using a little bit of burnt sienna mixed in with the ultra Marine just to dull it and then a little bit of the A listener and crimson to make it a little more purple. The fabric is a little bit lighter than this, like a dusty or color, but I'm gonna go ahead and save some of this for my darks. Then I'll add some white to bring it down to the color of the fabric. When I'm mixing colors, I always test them on a piece of paper. Here. I'm painting it on the edge so I can put it up against my little snippet of fabric here. Looks like it needs to be a little bit dollar. - I end up incorporating that dark that I had saved out back into the mixture because I had altered it too much, and then I save some again. The reason for that is because I don't want my darks to have too much white in them. So if my fabric is a lighter color, I'll save some of the pure Hugh to be used in my darks before I add white to it. Here, I decide to save some of this new version for my first dark. So now I have to darks and I will mix one more later. You'll see. So let's just see how close I'm getting to the color of that fabric there. Okay, now that I have the color of the fabric, the hue, I move some of it and mix my first tent by adding white to it. Then I move it again and add more weight to it. This way, I know each color is a lighter version of the last color. So now I need to make my darks, which is our I'm using the dark that I moved earlier and mixing it with burnt sienna. This is called a tone tones air mixed by two complementary colors. So since the fabric color is blue or the hue is blue, amusing burnt sienna as its complement because it's a very orange brown. Now I'm gonna test all my colors here on this scrap piece of paper and see if I have some a smooth transition from light to dark. It's always a good idea to do this step in case you have to mix your colors again. For instance, if you don't finish your painting in one city. 4. 4 Painting Part One: Hi. Welcome back. So I I'm starting here with the Dark's my photographs that I'm showing you here looks a little bit washed out from what I'm actually working on and what my I was seeing. But I'm starting with the darks Justus away to get my bearings into correct or work on the drawing that I laid down with pencil. As I'm working on these darks, I want to look specifically to see if there is a smooth transition from the values from dark to light or if there is a shadow being cast that has more of a clean line. So right here I'm working on a shadow that is being cast by that fold of fabric. So the far line is clean and crisp, so I want to paint it that way. Now, when I go to work on where it's describing a fold, the values change gradually and make smooth transitions. So when I'm starting, I'm looking for all the areas that might have crisp line. So I could just really put them in there and be sure that they're going to stay that way - now starting to work on this area that has some light on it. My pain is acrylic open and also has some retard or mixed in. So it allows me to work kind of wet into wet technique where I'm blending my values to get these smooth transitions. So first I'm just laying down the first tint, and then I can go back in and add On top of that, the lighter tint to like I said, create the smooth transitions. So I'm gonna go ahead and wash my breath just to have a clean start to go into these lighter values. So now I'm grabbing the next 10 and I can work right on top of the first value that I laid down. And this is how I create thes smooth transitions. I use the word value to describe the lightness or darkness of a color. Some people use the word tone, so that's what I mean by value. So now I'm adding the lightest light that I have mixed here andare looking at the set up to notice where that highlight ISS and it's at the peak of the fold for definitely towards the light source. But at the top of that fold and on either side of the peak of the fold. It will make it a subtle transition to that medium value. But because I'm working this way, just putting that wet into wet like color on top of the medium color is kind of creating that those transitions. Now I'm starting to look at where, um, where these values are matched. So once I haven't area going and I think it's working, I will look at the value that I've placed somewhere and think about where else I see that value so starting to work now in these lights on the side of the set up that it's facing the light. 5. 4 Painting Part Two: right here. I'm working on a shadow, the shadows being cast by that fold. So along there there is a clean line versus a smooth transition. So you noticed these places in the set up where you're going to see dark shadows and there's clean lines and differentiate between areas that might have smooth transitions. So here's an area where you will add the highlight in the middle of the middle value. So you're trying to with this wet into wet technique, make a smooth transition from the medium value to the highlight. I actually could have mixed even a lighter value to put on top of here in some areas. I go back in rework areas all the time, and if you're paint gets too tacky, it's best to let an area dry. And even if you have to go back and mix these colors again, you kind of have an idea of how to do that. And then you can lay that those highlights on there as long as your value is correct and not too far different from what's already there, that underneath layer that's dry, you could do these highlights on a wet onto dry ping a swell. Now I'm gonna work on this area as well. And I'm just applying the same principles over again, looking for areas that are sharp edges or that our shadows versus areas that are going over a fold that will have smooth transition. 6. 5 Wrap Up: Draper is just a fancy word for folded fabric. Draper is used in still life painting and also closed figures. I hope this class helps you to paint drapery with confidence. It does take a little practice for sure. Here are some examples of paintings I did while filming this class. Please upload your projects. I'd love to see your work and, as always, happy painting.