Easy Acrylic Painting Projects - Loosen Up & Bend Some Rules | Robert Joyner | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Easy Acrylic Painting Projects - Loosen Up & Bend Some Rules

teacher avatar Robert Joyner, Make Art Fun

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

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

40 Lessons (4h 28m)
    • 1. Class Overview

    • 2. Materials

    • 3. Projects

    • 4. Blue Vase

    • 5. Blue Vase Continued

    • 6. Checkerboard

    • 7. Sunflowers

    • 8. Sunflowers Continued

    • 9. Sunflowers Finishing Touches

    • 10. Hollyhocks

    • 11. Hollyhocks Continued

    • 12. Hollyhocks Continued Again

    • 13. Hollyhocks Finishing Touches

    • 14. Yellow Flowers In White Vase

    • 15. Yellow Flowers Continued

    • 16. Yellow Flowers Finish

    • 17. Adjustable Wrench

    • 18. Adjustable Continued

    • 19. Pipe Wrench

    • 20. Yellow Tablecloth

    • 21. Yellow Tablecloth Continued

    • 22. Warm Palette Still Life

    • 23. Warm Palette Still Life Continued

    • 24. Interior Still Life

    • 25. Interior Still Life Continued

    • 26. Sailboats

    • 27. Sailboats Continued

    • 28. Sailboats Finishing Touches

    • 29. Distant Boats

    • 30. Distant Boats Continued

    • 31. Fishermen

    • 32. Fishermen Continued

    • 33. Through The Trees

    • 34. Through The Trees Continued

    • 35. Through The Trees Finishing Touches

    • 36. Surprise Demo - High School Yearbook

    • 37. 5 Minute Portrait Continued

    • 38. Class Portrait Female

    • 39. Final 5 Minute Portrait

    • 40. Recap

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class


In this intermediate acrylic painting class you will loosen up and have fun painting;

  • expressive flowers
  • still life
  • landscapes
  • 5 minute portraits

If you are tired of painting tight, rigid art this class will certainly inspire you on many levels with easy but challenging projects.

Each painting includes detailed narration and complete step-by-step video footage.

Who should take this class?

Any artist that has been painting for a little while and wants to loosen up and have some fun at the easel. 

Are you new to painting with acrylics?

Then I highly recommend you take the beginner class first, link is below.

View Acrylic painting for beginners

What you will need?

Basic acrylic painting supplies. Be sure to watch the materials demo so you have an idea which materials I use but know you don't have to have every single color.

I hope to see you on the inside and don't hesitate to get in touch if you get stuck :)

Meet Your Teacher

Teacher Profile Image

Robert Joyner

Make Art Fun


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Class Overview: Hey there and welcome to simple but challenging acrylic painting projects. This is an intermediate class for you, acrylic painters that want to loosen up and have some fun painting florals, still life, landscapes, and five-minute portraits. He, yes, you heard that, right? We're going to do some spontaneous five-minute phase paintings that are going to rock your world, I promise. Now one great thing about this class is that I've done some heavy lifting for you, so you don't have to sit there sweat about design and composition, value planning, and things of that nature. I did it so that you can only focus on painting expressive artwork. Now, as the title suggests, some projects are easy and fun, while others are going to challenge your creative skills. With each project, you'll find more and more inspiration that will then inspire you for years to come. So what do you say? Are you interested in learning more tips and tricks on how to paint loose with acrylics, you want to challenge your creative skills, bring some excitement to your easel. Maybe you want to try something new. You're in a rut, you want to get out of it. This class is perfect for you. So sign up and let's get started right now. Hi. 2. Materials: All right. Let's cover some materials for my brushes. I've got some large flats. I've got some medium flats as well. I've got a few old poignant around. You can see the tips are pretty mangled there, but once is wet and it has paint on it, it gets a decent little point on it. Have some small detail brushes. This is actually a watercolor brush. This is just as old signature or liner brush. So it will be done with some little details, stems and things like that. So it's good to have a smaller brush around. As far as paints, I'm using mat, heavy body acrylics, so the mat, we'll give it a less glossy finish. But if you have whatever acrylics you have will do fine. So don't feel as though you have to have everything that I'm using. As far as colors, I'll be using. As far as colors, I'll be using titanium white. As far as colors go, I'll be as far as Hughes go, I'll be using dairy live Yellow, Hansa yellow, quinacridone, crimson, cobalt turquoise, cobalt green. Jenkins green, yellow ocher, ultramarine blue, cobalt blue, cadmium orange, and titanium white, if I haven't mentioned that. So that'll do it for my paints. It's good to have a little bit of tape around. So if you would need to tape your edges of your paper or your canvas down to a board or something. That'll come in handy. I'm going to be painting on paper. This is like 90 pound artists grade drawing paper. I get it in a role, a big role. And I just cut it down to size. The average size I'm going to be painting in this class will be 14 by 10. I will do a couple of square pieces too, and this is 10 by 10. So again, as far as, as far as sizes go, this is 14 by 11. So the majority of my pieces will be that size. I will do a few square pieces and when I do those there'll be 10 by 10. So again, that's what I'm painting on. If you have Canvas, if you have a canvas paper or whatever you know, you surface you like, then use it. If you have old scrap watercolor paintings or acrylic paintings and you want to primer over it with like a gray or whatever. And use that then feel free again to use whatever surface you have and can afford. Good to have a rag around or some paper towels. And that's gonna do it, you guys. Well, I guess there's one last thing, a little bit of water. So this is a water reservoir. This is a one quart size. That's the size I prefer when I'm doing acrylics. And that usually will get me through several paintings before I had to change the water. So yeah, that's gonna do it. So I hope you guys are excited and let's get started. 3. Projects: Our just a quick note about the projects. Each lesson is going to be a demo. I'm going to basically every weekday share a new painting and I'm with somebody, a step-by-step demo, start to finish. I'm going to furnish a template if you need one or if I feel the project requires one. I have images, resource images. I will furnish those two. But just know that your project should consist of whatever pieces inspire you. So if you'd like the florals and you want to give them a go, then do it. I'm going to cover florals, some still-life, some landscapes. And then the last week is a mystery week. And please post your work is important that you share your work. And probably once or twice throughout this workshop, I'll be offering a little bit of critique and feedback on your work as well. So it's a good opportunity to get a free critique. So anyway, that's, that. 4. Blue Vase: I'm going to start with some navy blue. So I've got a little bit of Cerulean, some ultra marine. I'm a work directly onto the paper. Here you go. So we'll go with something like that. Again, nice and loose with the strokes. Not trying to be particular about anything here. Bellow bit of white on my brush. What I'll do is put a little bit more down on the paper here. And let's go with a little bit of alizarin crimson and maybe a touch more of the blue. That's probably a little too blue, will push it back to the red. I think we can work with that. And I'll do our little table top here. Not work in this way is a lot of fun, just very direct. And a lot of freedom with what your Dawn think art sometimes can be a little bit tight. That was yellow ocher. And this is a little bit of turquoise. And getting a sort of a warm green, I'll put a little bit of water on this as well. Maybe I'll put a little more turquoise into that. And maybe a little bit lighter in value. So again, maybe I'll carve out a little spout there. I think I'm going to put a handle on it too. So we'll put a little handle like that. You are. So right away we've got background foreground. We've got our little picture in there. And at this point I think we can keep the party going here. I've got a small this is an outliner brush. If you don't have one of these, then you can use any small brush you have. We can even use a marker or something like that. We're gonna do some thin lines here. That's kinda what I'm after. So this is a thing Jenkins green. I'll mix that with a little bit of alizarin, crimson, little bit of blue, plenty of water. And went on to kinda roll my brush. Try good, decent point on it. But if it doesn't, that's fine. And we'll do some stems. Go with more of a brown on a couple of these stems so that they don't all look the same. You may not be able to pick up on that, but that's kind of a dark blue. This is a Brown who's subtle little changes. Sometimes it can make all the difference. And maybe we'll do something else would have it coming off over here. And let's see, maybe one sort of curling up in here like that. Work. Let's keep at it. So I've got a little bit of blue on that still from previous. And I'm gonna take a little bit of my yellow. That was just a Hansa yellow. So that should give me a decent green here. I'll drag a little bit of that violet into it, just a gray it out. So we can do some leave. Leaves. They don't all have to be the same green obviously. That can get go a little bit darker because of that background color. You may opt to do more of a pointed brush for your leaves. That's fine. I'm mixing some dark end to that. Again, just for variation purposes. Maybe even some leaves are no push him more towards the yellow. That's fine too. You do definitely want some variety. That's going to be the key to kinda making those work. Nothing that's okay. So at a small brush here, and let's do some flowers. Again, we don't have to make these too precise here. Obviously. This kind of indicating flowers, not necessarily painting flowers. There's a difference. So that one kind of looks like his behind the stem. Important to get some variation there of some in front and behind objects and different stuff. Some touching each other. And I'll go with some pinkish centers. So I've got a little bit of cad red there. The widest alone, the brush. I'm gonna put a little bit of crimson into that to Crimson make some lovely pinks. So we'll go right into it here. You don't want all of them the same color. So let's put some a little bit darker and maybe even a couple a little bit lighter. Alright, so I have another small brush, signature brush. Not much white left than this. So I'm going to just do a little bit of water in here. And we'll make this handle completely white. Okay, let's go a little ram, little edge around our pot here. And then we can do some lines on the pot as well. Vase, I should say. So that's look in. Okay. I think what we can do now is hit it with a hairdryer, will get everything nice and dry. And then we'll have a look. 5. Blue Vase Continued: All right, not too bad, a little flat so we can bring a little more excitement to it. To do that. I've got a little bit of white left in here. I'll kind of get back into these colors where I'm mixed my grays out. I'll want it the same exact same color. But similar enough. Maybe a little more on the blue side. And a little bit lighter in value. I'll think. Think this will work. So what we're gonna do now is add another layer. And the layers are what makes it exciting. I think that's going to be a little bit to lighten value. So I'm gonna go a little bit darker here. So that either layers or was going to give it a little bit richer finish, if you will. Sometimes one layer doesn't quite do it. So we have to get this second layer on it to give it a little more depth. And as you do it, you know, we can carve out some edges, some details, different things that the painting may need. So maybe carving out a leaf there. Notice that not everything is painted. Maybe this one can be a little bit smaller. This one kinda moving more up. I think I'll add a nice stem to this one when I get there. So a little bit of water here. And again, keep it in a loose as possible. Now what do the same thing down here. So that was ultra marine, a little crimson and got a new thing of white here. There's always a little bit of paint on the lid, so perfect. It'll be easier to do this foreground. All right, I'll get another small brush. We'll go right into the ultramarine blue. So down here, just working directly on my palette. I'm actually going to put a little bit of turquoise into that and some water. So it's turquoise was sort of muted out a little bit. And then again right into. Painting here. So I think I'm going to bring the pitcher in front of that flower like that. And maybe we'll have a dark leaf. Let's tie in that color in to get my brush here, going right into the white. And we'll do some pops of color on this. Not all of them. I think we need some, maybe some more down in here to sort of touching each other. So we get that little cluster, you know, I've got a little bit of white left on the brush. So I can kind of go and do our vase. Now, these details, again, white on the brush, mixing that with my Jenkins green. So Jenkins is fairly dark right into these different colors to maybe get a, a brownish color here. And we'll take a little bit of red mixin to the greens. Dark leaf there. Think this flower maybe needs a little stem. Alizarin, crimson, white. Maybe some more white. Maybe sell more. And we'll get our little centers back. And we'll get some of these ochres. Touch a red and green this in gray it out and make it a little bit darker. And we'll do a couple. And we'll finish it off with a couple of dark red centers. Mix it up a little bit. All right, So I'll just use a little bit of this peak here. And we're done. 6. Checkerboard: All right, so fresh sheet of paper here, and I'm going to go with just a very pale white, kind of a greenish almost. So I've got a little bit of turquoise here. And I'll kinda pull that color down in here to give us something like that happening. Again, don't play saw that beautiful paint. So this brush is really dirty, but I don't want to waste the paints. Always had this paper down instead of a palette. And I use this stuff for future collage, paper, paintings, whatever. Alright, now I can rents it a lot I do since this is really blue, I can put a little bit of white down like this. And I have some quinacridone crimson. So think Alizarin crimson and touch of cadmium red medium. So a little more white into that. So back and forth up and down. And maybe we will push it towards the top like that. Again. No waste in the stuff. Okay, So this will be a square layout and I think we'll do sort of a white vase may be favoring the right-hand side. So I'll go right into it here. Really thick. Maybe give it some shape. So little swell maybe. How here towards the top. And we can do a little handle on the vase. So something like that, uh, work. And now I just want a bunch of nonsense here, and I want it to be fairly dark in value. So I'm going to dry this and there'll be bad. So a little tacky, but that's not going to hurt us. I've got a brush that already has some green going somehow use some turquoise, a little bit of ocher. And I think that's good for a start. So a short choppy strokes and saw a solemn after here. To get that going. And the skill was some reds, some blues. So I'm going to try to work in some grays. So we can sort of do something like this. I think that I'll go well with those pinks. And then we'll go with just blue here. We touch more of that blue and probably needs to be a little bit darker. So I'll maybe in front of that. That's good. And maybe we can even go more saturated blue or something like that. And then mix some of these colors together, all three of these and kind of get a, another color out of it. Looks good. So I'll have these darks, a few darks here, red, green. Want to add a little kind of a pattern to this thing that I'll give it a little more interest. All right, let's see what we got here on the palette. There was some yellows into these reds as dairy lied yellow. And let's do some small splashes of that color. Keep sliding down on yeah. And we'll do some white flowers so my brushes still dirty. I haven't cleaned it and that's good. That's that color is going to help blend. You can even drag some of these other colors, blues and whatnot into it. And that'll create some nice, interesting cuz maybe one with a little more punch of red here. All right, This is compressed charcoal. So maybe some stems, flowers, different things in here. Be nice and loose with, you know, your lines. That's got a lot of hard pressure and Q it. And then some light pressure. So you get an interesting variation of line quality. Want some short choppy lines and some kind of bold sweeping lines. You know, things that create balance, okay? And it's easy to go too far. So we'll, I'll stop right there. And you get a dry. I think at this point I want to get a dry. So I will take a hair dryer to it and be right back. So one thing I notice, I've got this kinda straight line going across. You see that? Boom, boom, boom, boom, boom, boom, boom. So I want to get rid of that. So I've got a lot of these colors still on my palette. Maybe a little more green here. Like I use ocher and maybe a little more white. And so I'll start right here. And I'll bring this up a little bit. So that helps you some of that color. Homo tablecloth. Maybe a little more white. I guess we're at a time colors in now. Let's go with that pink, more crimson there. And we're gonna be a lot more white. Slot that over. So let's go with put in some of this in here. Again, notice how I'm kind of letting a trickle over here too, but not too much. So with a clean brush now, some of my Jenkins green, you can see that. So a pretty rich or dark green there. Now just touch a little bit of that in a few places. Kinda over towards the left here. Take that into the white. I can pull some green over in here. So I'll get into these pinks again. Yeah. I think that I'll do it. I think that looks pretty good. I think maybe I can find my small liner brush here. We'll get some of this Jenkins green, cad red, plenty of water, so the paint comes off the brush nice and fluid here. We've tried to do a few splashes in there. And maybe just a little bit smaller dots to kind of balance things out a little bit. And maybe a little bit stronger on the right-hand side. Kinda pull on that energy towards this side. So think that Oh, but I'll do it. And maybe even make a little more at some of these marks air. All right. 7. Sunflowers: All right, this one's going to be a square layout. So it's gonna look something like that. I'm going to do some sunflowers and we're gonna do this sort of very graphic style. And hopefully you'll start to see that emerge once I get into it. So the composition will be fairly simple. We'll have a kind of a wall back there, another one here. And then you had this sort of thing. Do a table and here. And then I'll have little legs like so. Then we'll do a little simple vase here. And then all of our flowers in here. So the sunflowers are basically kind of like this coffee cup shape, okay? So we have this sort of thing. And you can even make him more shallow, like a bowl of cereal bowl or something like that. Now we don't, we don't want some of the cereal bowls to be pointed this way. Some that way. Some of the bowls kind of more towards you, like, like this. Okay. So maybe some like that. So there are kind of pointing in different directions, right? So let's get that. This does do that idea. Let's put a bunch of little coffee bowls and here, and let's make sure our coffee bowl some, some a little bit smaller, some a little bit bigger. So we have different size bowls. Some pointed down this way. Some sort of hanging down this way. Maybe some more to the side. Okay, so like this. So that's the idea. Maybe this one facing us a little bit underneath there on this one going out that way. So I think when you start to see things and the more abstract way like this, it takes on a little bit different feeling than trying to actually paint sunflowers, right? All right. So there's the drawing. I'll take a picture of that. So we have our template. I noticed I've been getting a little bit of a glare, some going to angle my board a little bit here, like so. So that should give you a little bit better look at it. This is really all we need for drawing. I'm going to keep a little edge around everything. Just the white of the paper is fine. All right, so a little bit of Titanium white, quinacridone, crimson, yellow ocher. I'll do a little bit of dairy LOD yellow, little push these more towards a reddish orange. And I'm going to need a little bit of kind of a dark color. So this is raw umber and then some ultramarine blue. And that should give us what we need. Someone do the background first, actually we wanna do is the flowers first. And to do that, I'm going to paint dark to light. I'm just going to focus on the pedals first. So I have a small flat here, so we'll square and off-camera. Of course, I've gotten on water, a little towel there. Now I'll just use my paper for my palette. So a little bit of dairy live there. Little bit of ocher. Touch a red, and we'll get a little bit of blue over here. I'm going a little bit of white as well. So that way I can pull a little bit of gray into that. So I'll just start whacking away at it here. Whenever I'm doing this, I tried to always remind myself to change my colors. So don't just keep using the same color. So you see I've got a variation of grays, reds, yellows, more of a brownish color here, ochres. And I kind of go back and forth between those. I can even get more of a red here. And we'll do a little bit of white into that and get more of a crimson there. And notice my strokes are sort of doing this just short choppy strokes. If your brush gets too dry and they start getting little bit tacky looking. Just put a little bit of water on your brush and you should be fine. Again, I'm starting sort of dark here. I may go darker later, but for now I think this will be okay. As I get to the top here. These flowers and general kinda over and here will be a little bit lighter in value. And the one sort of down below here will be a little bit darker. 8. Sunflowers Continued: So everything will do some more like that. And now I'm going to start going a little bit lighter. So here's some ocher. I'll pop a little dairy LOD yellow into that little bit of white and not really cleaning my brush. This point, I don't think I really need to. Again, still using those sort of choppy strokes. I'll go just yellow with white. Again, always aware of trying to change that color. And then maybe underneath. We get that. So I'll go darker. Now I'm going to take a little bit of green. So the green and the red maybe. So this is quinacridone, Simpson and green. I'll put more green into it. So that's going to gray it out. So complimentary colors. So I'll go darker on these. But not too dark. I don't wanna go black at this point. So that's pretty good. I'm going to take this excess paint and just smear it on a piece of blank paper underneath here. So if you've never taken my other courses, I do a lot of collaging. And that sort of makes my collage paper right there. And it doesn't waste the paint as much. Must switch brushes. I'm going to go to my small round. So crimson, ultra marine and green, maybe a touch of the yellow ocher. So now it's time to get some centers. And these so I'm going to, I know some of these aren't painted yet and that's fine. I'm just sort of bouncing around a little bit here just to even see if I need all of them. But once I get these in here, the ones I've got golan, then I'll know. I'll think I will put one up there. Maybe a center there. Well, maybe we'll do a center here. All right, back to a square here. And I'm going to get into some more petals. So I'm thinking in here, we'll do something like that. Maybe a little more white. We'll do some really pale ones like this. So now it's starting to kinda come alive a little bit. So quinacridone, little dairy lied. And I'll push these pedals up like that. And we'll go more brown. So you see I'll work now we're starting to get a variation. Now. Things are, they all look too flat, stiff. I'm actually going to put a little bit of orange. And this too, this is just straight cadmium orange. Pull a little bit of yellow and white and do that. So maybe Something like that. I don't want too much of that color. So we'll sort of keep that over in here. Okay. So again, a lot of leftover, lot of extra, extra paint on these. So again for collage measures and then he won that doesn't like to waste that paint and put it right now water. Keep that paper onto your palette. And I'll use that in some other course. So I'm going to clean my brushes off here. And that way, I've got more control over my hues. This brush is dirty two, this is my dark. So I'll clean that. Now some of these are competing with the dark centers. So what I'll do is get a little bit of red here. Touch the orange, touch a white, more orange, and more yellow here. And that's still a little bit too light. So I just want to make sure they don't compete too much with that dark center. Fellows. Good. So just a really small pointed around here. I'll go back into my greens ultra marine. Read. This starts to look to read which it is use put green in it, put its compliment and there. So now I'll do, the stems, will do kind of a bottom of it like that. They have those sort of cups that hold it. And maybe while I got that, I can touch up a few of the centers, I'm going to make a dark shade and pull some blue into that. So again, that blue is slightly different than what I've used. So that's going to have a very subtle shift. So that's good. I'll take it needs to be any more than that. 9. Sunflowers Finishing Touches: Now ultra marine, a touch of orange and alizarin crimson. That should give me kind of a navy blue. And I'll use that for our table top here. And then underneath it'll be a little bit darker. I'm going to leave a child, leave a little bit of a white gap there. Most of the places. So you kinda see that white gap. And that'll be sort of a theme throughout this piece. And we get down to the legs, like so. Okay. Now for this wall, I'm gonna go with a green. So I'll go dairy lied. I'm just mix right on the paper here. A little bit of ultramarine, which doesn't ultimate Rene's got red in it and that's probably not the best color to mix green with. So this is cerulean blue. And then I'll take a little bit of white. Like so. Now what I'm more of a yellow, green. So I'll just take a little bit of the yellow and push into that. So that'll work. Now again, sort of leaving a playful white outline around most of this. And if we have to cover up some, that's fine. You want to you don't want to all to have a white outline. Just most of it. Move this. Actually, I went too far there. This is going to be tan, so I'll just stop. I'm not going to try to wipe it all. So that corner comes down and about here. Now white. And why do a kind of a tan background here? And a little bit of blue into that, this to cool it off here. So orange, yellow ocher and lots of white. So the line goes about here. So I'm going to get some thick paint there. So that line is coming up. And we'll go right over this. 10. Hollyhocks: All right, so here's another one that's really easy and approachable here. So if I draw out my area to look something like that, and we're gonna do some holly hawks. So holly hawks are fairly easy. I mean, there's not really a difficult shape. So basically if you were to draw a circle and then, but not a perfect circle, so sort of an oval and kind of play with the shape some mena. So they're sort of like this and then really you just kinda go around it and then pull out these petals like that. And then you just, you know, though a center and there. And then they have these little kind of things gone. So in this, there are some sideways. So like if they're facing you is like this. So we have these centers again. I'll do one more. And what does kinda turn these into petals now? So and then when we get into like sideways, we're just going to do this sort of thing, almost like that coffee cup. A little bit longer, little bit longer like this, maybe. And like this one is maybe kind of looking like that for the stem like this. Different sizes. Then we have buds that are kinda have that sort of thing gone. So again, fairly simple stuff here. We're going to leave this all the white of the paper. So you're going to have these kind of stems coming up like this. And again, up here they're just going to look like the top of a holly Hawke stem. And then start drawing some circles right hand don't make all your circles the same. So I'll start some down here and a bunch sum together and then have some small ones. Some sort of going off the page here and then smaller as they get to the top. And now let's turn these into kind of abstract pedal. So the idea we talked about earlier, yeah, this is nice and loose painting here. So we're not sweating it out here. Maybe one turned off to the side like we talked about, like this. One sort of maybe smaller in this way. Maybe one more here. So we'll center. You don't want the center of the flowers in the center all the time. So psalm, you know, push up in here. This one pool down in here. And this May 1 become down in here. Okay, So you're just putting some variety and do that. 11. Hollyhocks Continued: So I'm going to start with my flowers. So I'm going to work directly from the paint jars here and then I'll add to it. So I'm going to basically use my surface here as my mixing palette. So here I'll put a little bit of orange into it. And here I'll do an orange beginning and then mix up the red. So this is cad red, this was crud acronym. So the cad red is more vibrant. And then I can take a little dairy light yellow, maybe a touch, a white. And if I didn't get all the shapes perfect, it's not a big deal. I can always come back and switch it. Carve carve it out later with split I call negative space painting. Hopefully you've heard of it. If not, I'll go over it a little bit here. So maybe Alizarin, crimson, white on my brush. I'll do another pink one here. And then I'll do a pink center for that one, pink center for these. Let's get into some yellows. So all dairy light yellow, white. So both colors are all my brush. So we'll try to paint without a care in the world. Don't make things too valuable. I don't care about them too much. Orange. So I'll go right off the page here. Maybe orange centers for those. We'll do some light ones here. So I'll get that paint off my brush. Clean it. So right into the white paint. And maybe we'll do some yellow mixed with white on my brush and do a couple of yellows centers and little bit of ultramarine blue, white, whatever's on my brush here. Alizarin crimson. And I feel like we need maybe a dark one in here. So I'll just kinda make this one up like that. And I kinda like that and kinda squeeze one over in here. Maybe something like that. 12. Hollyhocks Continued Again: So I'll do some light greens here. So dairy lied and some cerulean blue. Touch a white. That's probably a little bit too brown. I don't like that. Let me try to mix out again. So dairy lied, I've already got the green on my brush. Touches cerulean here. I think that'll be okay. So this kinda dotting some leaves. And do this. Again, just sort of different size strokes, but now we're going to change that color up a little bit. I actually have some turquoise here. So cobalt turquoise. And my bass, good. I'm gonna grab my skinny brush here. So cobalt dairy lied. So we'll do a stem and here little bit of white into this. And we'll go touch that a little bit lighter on this one. Maybe a short one, couple of short ones here. And one like that. So ultra marine, crimson touch a dairy lied. So give us a nice rich green work. So at this point and probably looks like a hot mess and that's fine. So finger and want to smear some of these colors. As I do, want to sort of do some hard edges around some of these flowers. Kinda just shaped some of this. The idea here is we're just gonna do a little red on my finger. It just kinda blending things and then we're going to come back and shape it. So let us dry. Now, I'm going to dry, so I'm gonna come back and add another layer to it. But before I do that, let me get a little bit of white here. Touch of ocher. And we'll just put a little bit here into the background. I'm going to go now I'll let her drive. All right, draw to the touch. And now we can layer, so now we can add layers on top of this and they won't blend with each other. So layering is something really useful for painting. And I'm gonna go with a center here. And we'll go with some cad red. And I'm going to carve some edges here for some of these holly hawks. So I'll kinda getting, getting them shaped a little bit more like what they should be. So we can sort of work on this, these edges and make him Purdy. So now some of this And maybe we'll do a nice center here. Maybe a small red one there. Let's get into some oranges. Touch a dairy lied. And now a little bit of white into that. I think I had too much red on my brush. So let me try it again. So orange, white. And now I'll carve out this one. So kinda making those edges a little more believable. So I'll get rid of this. So dairy lied with lots of white. And now we'll define a few of these edges and skill with a little more white here. We'll do one more kind of behind this one. And we can use a color kinda n a center for that one. Maybe this one too. So we'll get a little more yellow and then let's put a center here. And then here we've got a couple of them. Now I'm going to switch brushes because it's important to do that. You don't want to work with the same brush all the time. So now I'll fix up a couple of these edges here and think, well, something like that. Maybe one more small one up in here. And maybe one more small one there. So this pink one that maybe has a dark center that 13. Hollyhocks Finishing Touches: I'll go into my white and we'll drop a few of these. Maybe put it in front of that red one. So white, touch of ocher. While more coat on this background. As I do the background, I can carve out a few better edges. Maybe a little bit showing through on here. And I'll find a little bit of gray in here maybe. And do something like this. Now at this point I'm not really looking at the image. I'm just sort of having fun with what I see. Crimson, ultra blue, and maybe a darker center there. Maybe white center there. So on the left there's drop one more time. Okay, I'm abstract painting going on there. So cobalt, turquoise under this white. I'm going to go with a little bit of cad yellow light, maybe a touch a dairy lot into that just a little bit. And let's bring a little bit of life to some of these light greens strokes going in different directions. You don't want to just do it in one direction. So we'll try to do them in various ways. So now, if you light ones in here, maybe carving out an edge there. Alright. So turquoise, dairy lied. Get a few of these stems back. Kinda get lost in the layers. And speaking of layers, layers are kinda where it's at. I think for acrylics, if you're not painting in layers, you're sort of missing out on the beauty of, of acrylics because acrylics dry fast. And that makes them wonderful. Well for painting in layers. So a little bit darker green here. And again, carving out edges, dropping some darker values here and there. Just kinda sprinkling it around but not getting too fussy. What stuff? Maybe a few stems. All right. I think that'll do it. 14. Yellow Flowers In White Vase: All right, So with this one very minimalistic palette, a little bit of yellow, a little bit of blue. So I'm going to use some dairy live yellow. I will also use a little bit of Hansa yellow. You should be familiar with some of these colors already. And then a little bit of cadmium red medium have a little bit of white in there. Some ultramarine blue. Actually I'm going to change that to cobalt blue. All right, so some cobol there. And really that's about all the colors we're going to need because we can mix our greens here. And I want to do this super fun and loose, of course. And we're going to be a square layout. Not sure if I said that. So let me go ahead and get our layout in there. So rural, pale blue, little red here. I'm totally not on the page. There we go. We're on the screen. So something like that. And we know have maybe a wall coming in like this or an edge, a table top or something. Very plain. We're not going to have a lot of contrast with the background and the foreground here. And then maybe a little small pitcher their leaves. So sort of a, the design of the flowers is basically like this. So we have almost an arrow pointing down. Always look for stuff like that. You tend to see more. Then what's there? See it, try to see it in a different way. So if something like that, so you see that arrow pointing down. I like to put a little blue bowl and this one, so I'm going to drop the blue bowl. Maybe in here. It's going to have a design on it. So I can sort of just make just some marks like that. And though, put a little blue inside of that bolus or bowls already done. And maybe a bottom to that bowl like that. I'll get some of that blue off the brush. I'll go into my white here and I'll do a white vase or pitcher or whatever this is. And when do something white here as well, like a really small pitcher, like this little handle. And then a very pale, this is dairy lied yellow mixed with white would do a touch of red into that just to sort of mute that yellow. And maybe one more little object. Kinda over. And here come maybe like another little vase or something. So kind of more of a still life. Again, this is kinda long. The theme of kind of floral arrangements. So kind of letting that be the star. And now I'll get some dairy lied, a little yellow, more dairy lied. Touch your red. And maybe I'll start with things that are a little bit darker here. And I've got my arrow here. So I'm just going to make some flowers here in a very quick splashy splash way. And now I'll take the light yellow or the hansa yellow. Add a little bit of white into that. And we'll baby all sort of keep keep it like that. I think that's really all we need for now. We can see how it progresses. To see if we need more. And I'll clean my brush. This point, I think we need to start thinking about the background. So the background, lots of grays. So ultra marine, I'll pull some of these yellows into it, so that will be more of a warm gray. So maybe I can start with that color over here. And I'll make that real skinny like that. Again, we have another picture in here. I'm just the one, some negative space painting. Now, at this point, you know, we're not looking for details. You don't want to get fussy with things. You just keep it super simple here. So now I'm putting some reds into this and keeping that background interesting by infusing warm grays, cool grays. And maybe towards the edge over here. We can kinda do more of a blue-gray and maybe add a little bit of red into it and or yellow. This is sort of gray it out a little bit more. Let me add actually a little bit of kinda cool gray to this table top for a second here. I just want to start to fuel this out here as well. Sorry, get a visual of how everything is kinda relating to each other. And maybe a little bit on the light value side here. As we get around our flowers, just so we get really good contrast. I'm back into our blues. Touch of red, maybe a little more blue. And I'll pull some of that. Those blues and stuff. I'm going to do a little bit darker foreground there. In Luke. Keep it loose, people keep it loose, okay. And we don't want to blend it to death. You see how choppy everything looks. And let me get that and more of an angle for you so you get off the glare. Alright, so hopefully that's a little bit better. So again, the boards at an angle and now I'm going okay, so I've got this down. Got a hard gator board there, but everything else is still pretty much the same. And I'll just do a little bit more work here. Just adding some strokes to keep these keep that background kind of interesting because once I leave it, I don't really think I want to come back to it. So I think that'll work pretty good. 15. Yellow Flowers Continued: And now I want to add another layer to the flowers. So I'll go in with the dairy lied. Get the same colors, maybe a little bit of red over here. And maybe the flowers that are on the right side over here. Maybe some of these have a little more of that reddish look to him. And maybe one right in there and allow those flowers will disappear once we start adding the foliage and the green and what not in there. Hi, so now dairy lied white. And kinda adding a few more little pops here. And now we'll go Hansa yellow, mainly with whatever's on my brush and a little more white. And we'll sort of do this. Now I'm losing my V, my arrow. So a lot to get that back. Someone take that yellow into these grays, though, a little blue in there. And then we'll get some white. So all of this is pretty good. And here I just think I need a little more about background color there. So now we're starting to feel that V a little bit better. And it's not a big deal. I probably shouldn't fuss about that too much, but I kind of like the way that was working. It's getting a little chunky in there. So I'll take some scrap paper here, press and then pull it across the paper. And that will just kind of blend it a little bit and smooth it out. So I could have maybe done it with a brush, but I just like working with different materials. I think what I'll do now is let's get into some greens. Cobalt, I've already got some yellows here. You may have had a little bit too much gray still on my brush, but we'll see. I'm not sure that's going to be green enough. I'll start with that. So I'll do some greens in here. And maybe a big chunk in here. And maybe a little stem or something floating in here. Again, rule subtle and how I'm trying to represent everything. So that's pretty good. So I'll take a dryer to it. It's still wet and quite a few places. And if you've been around acrylic painting long enough, you know, it dries darker. So I want to get a better visual of how these colors are going to look when it's dry. So when it's dry, I'll come back and add the next layer will go. So I think it's working pretty good. I think also, while I dried it, I decided to introduce another color I haven't used yet in this class. And that is a phthalo green. This is a blue shade. Very, this is, this color is opaque, but as you probably know, there's always a level of transparent quality to this stuff. So I'm going to mix and failures of very intense colors you can see. So I'll take some like a little bit of red. Okay, That's cadmium bread. Maybe a touch of these yellows and go into that. Maybe a little Hansa yellow just to lighten it a smidge, but I really wanted that punctured green. I didn't really feel like I was getting it with what I had. So let's do this and think. That'll give me what I'm after here. So again, some little light branches and here. And something like that I think will work good. Also using a small brush there for that little bit of detail work. So while all of this green is drying, I'm going to bounce over here. And we'll start adding some grays to the vase. Again, I've got this palette over here. I'm, I've got grays already mixed and I'm just moving that gray around and different places, adding a little red there. Just so we get a nice variety there. I can sprinkle some of those grays and the background too. So it's a little unclear at that bowl was in front of this or is it off to the side? So I'm going to take my blue here, put it on the palate, and want to make that bowl a little bit bigger. So it appears to be more in front of the vase or the pot, whatever you wanna call them. And now we have the white vase there. So again, grabbing some of these grays. And maybe I can add a little detail there where we can kinda see and to that. And that's pretty good. I don't think we need much more than that, but I'll add a little bit of white to the palette here and just kind of go into these yellows and add just another layer maybe to that. I have a little liner brush, their signature brush sort of thing. So we can get these a little bit smaller strokes and think I'll add a little somethin to the bowl here. Just some details. Little design maybe might be kind of interesting to look at. There. 16. Yellow Flowers Finish: I think this one's not really important. But just for giggles, maybe I'll make it a little bit rounder, something like that. Let's go back into these grays. Maybe a touch, a red just to make it a little bit darker. If I too much red. So I'll find some blue on my palette there. Do a little pocket, a dark gray here. I'll go a little bit darker on this gray. And I've still got some white on this brush. And now we'll go a little bit paler. So now, and I guess Bob Taylor, I mean, well, take some lighter values and splash around towards the center here. Maybe even some light blue would look good. So I'll get really pale light blue here. Okay, We can pull that color down on here. Slightly bigger brush now, carving out a few details. I'll get more of a red gray. And here now I'll kind of little bit of water on my finger and I'll sort of touch. And to some of these strokes there. Same thing, it's just smoothing things out a little bit. And we're going to revisit our little star of the show here. And again, just dots, right? So all we're doing is just kinda putting the brush down and let me go. Not trying to paint flowers, we're just trying to indicate flowers. I think we pretty much have our little arrow design is not too bad. Take some of these graze on my small brush again and maybe make it a little pocket there. And graze. Hello, little dairy lot into that. Maybe a little red. And let's just get a few more green marks there. I'll make this a little bit shorter. Someone to lose some of those flowers there. And then take mod tip of the brush and a sort of draw. A few details here. Scratched into some of this paint. And I'll go with some blue-gray, some cool grays here. I really liked how that blue was working in there. I kinda lost it. But I can get it back. We'll pop a white vase here. Your little handle lost our handle two. And maybe just some of that blue-gray coming down from the top there. But a yellow into this. Kinda like how those darks we're working over this. So I think that works pretty good. I think I'll just use a light gray here. Design it. So still a little bit of a glare for you guys. But I'll put the final image up on the screen right now. I hope you enjoyed it. 17. Adjustable Wrench: All right, so I'm going to do a very simple subject today, and we're going to make the still life a little more complex as we go. If you don't have black as a color, and you can always mix the three primary, so you can mix red, blue. If you have ultra marine, It's a little bit darker. I think I've mixes a little bit better and then a yellow like yellow ocher. If you mix those, you'll get a nice gray. But for me I'm going to, I've got some black gesso. So I'm going to start with that as my base. So I'm just going to put down a little swatch there and then I've got my titanium white. So I'm going to go below that and do another swatch here. And we'll sort of blend these in. Go a little more white here. So basically working with this gray scale is what we're after. And it's good to do this once in a while. That's why I've put it in this course. And you don't always have to blast color. We, we got plenty of time to do that. We're gonna do some really colorful landscapes in this course. But for now, let's focus on this. So I'll do my little study like so. Okay, so we have our handle kinda tapering so as wider here and it kind of tapers as it gets to the and here. And then it flares out. And then we have our adjustable in here. So this is the side that moves right here. And this is our main handle. So a little hole there and then, and here we have our little threads. Like so. So pretty simple composition there. Obviously it's not really much of a composition because everything is, we're just gonna do one object. But we want to have fun with it. You know, we don't want to get to tighten everything. Now think what I'll do is I'll start in a kind of a mid-tone. So I want to start with a color right in here. So it's not going to be too dark. And it's not going to be too light. And that's probably enough on my brush right here to get a Golan. And I'll just put down a kind of a base for all of it. And I'm gonna go ahead and do all of this too. So kinda thinking about this as a, a block in and that's it. So from there, we can probably just work wet into wet, so we can sort of use that as a lesson 2. So all kinda clean my brush here off to the side. And then I'm going to go a little bit lighter now. So I'll take a little bit of my white little bit of water here. And anywhere where I feel like there's a lighter tone there or hue, I can add that in. So I feel like there's a light going around this little design and then a light one around this. Okay, so again, clean the brush off really good. Now I'll use all this paper here for collaging later on. So I'll probably cut this out and sell it as a demo. And all of this hall cut out and use later on for some art. So are now just taking some black into this and look at the, look at the art or the image. And just try to see a pattern. So maybe what I'll do it so I can get control of this is I'll take a dryer to it and dry it off. And then once it's dry, I'll come back and add the next layer. All right, so back where I started here. So I can probably take a little bit of water into this and sort of activate it. And again, just kinda looking at my image now and looking for a pattern. So really that dark sort of does this. And maybe we can go a little bit in there like that. And we've got a little bit of dark coming around this design and here. And then it sort of fades off about right there. And we'll go a little bit lighter and then touch a little bit of this. And here. And then maybe we can take a little bit on the inside of that. And then may be a little bit lighter here. So it is pulling some of that white into it. Probably to light. I'll make this, give it a little bit of color in here as well. We can see a little sliver of that wrench there and then maybe a little sliver there. Alright, so now I'm just grabbing a little bit lighter tone. And I'm just going to touch that in here in a few places just to give it a little more life. And then we've got some writing. And here, not, obviously not going to do all of that writing for this demo. So I'll clean my brush off really good. And now we'll get into these lights. Now notice I'm not gone white, so I'm not using pure white here. This is still a gray. I'm actually going to take a little bit of white into this. Now we can add some of these lighter notes here. And we've got some lighter notes and here we've got those like little t thing gears in there. So this indicating that that's all I'm doing. Maybe a little light note there on the tip. Well enlightened note in there. 18. Adjustable Continued: Now we'll go back into that. And we'll do our kind of a light note in here. And then maybe like that. So I'm going to clean my brush really good. Now I'm going to get a pure white right out of the jar here. And we want to add these highlights. And we all need every single one of them. The goal is to make the art look good. What we're looking at here, and not necessarily copy what we see. That's pretty good. Now I'm going to go pure black. So you want to go with the darkest sort of, you can get almost, you don't have to go 100% bomb. Wanna go really dark. And do some negative space painting here. And keep, keep it loose. Don't, don't tighten up here. You know, just kinda keep that carefree attitude gone. Beauty is to me and the imperfections. Think sometimes having those actually adds character. And almost a layer of confidence. You know, like, you know, I don't want to get it perfect. So no big deal, you know. Well, perfect. Go somewhere else. So that's my wrench. And that's the way that is, right. I probably could have gone to a bigger brush here. I'll work in a few of these kinda lighter notes, maybe near the edges. A little bit of water on my brush. And then we'll kinda come around or edge here. Not too bad. Now I'm going to go back into these lighter notes here that are kinda scattered around. And we'll make that a little bit bigger. Like it was a little bit of yellow and white. Not a big deal though. We'll make these jaws a little bit smaller. It's not too bad. Let me clean my brush off. And I'll just take a few lighter notes in here. And we can just kinda touch, view those just along the jaws here. I think the rest of it is really good, so I don't think we need to do a whole lot there. And then maybe a little highlight right there. Go back into these darks and kinda regroup and read chisel some of this in here. And I'll maybe just loosen it up and give it some little bit of that so I don't do it. 19. Pipe Wrench: All right, we're going to stick to this grayscale thing. So all sort of define my working area here for you. So something like that. And what I wanna do is just splashdown some loose strokes that indicate my subject. And I'll do that with some grays here as I mentioned, we're going to keep it the same. So start and fairly, you know, lightened value, you know, not, not too light, not too dark. I'll sort of put in, you know, what I feel represents what I'm seeing. But again, a very, very loose and playful way. So hit miss you. Now, that's all, all we wanna do. So I'll take some blacks into this now, and I'll start adding some darker notes. May know, glance them back at the image once in a while. But for the most part, it was an easy subject and I'm familiar with what it is. So I can sort of make up things a little bit. So now right into the white, but I've got that gray on my brush. Adding a few highlights. Feeling of some details. But again, not not even remotely close to trying to think about details, just indicating things again. And now that's about it. So again, this is going to be very simple. Take him a small liner brush here. This is the lid to the Jess, so I'll put plenty of water in there. So it's very, very thin. I'm just coming off like ink. And now I'll just sort of draw, you know, So what kind of getting this little feeling of details, but don't want it in a real sketchy manner there. So almost has that playful cartoon feel to it. And again, don't try to do all of the edges and details that you see on it because it's going to drive you mad. And really this piece is about not doing all that stuff. So now taken that again. But this time, as I go around it, I'll leave a little bit of whitespace there. And if this looks too dark when I'm done, I may go behind it or may do a second coat and just make it a little bit lighter. But we'll see, we'll see what it looks like. Alright. So I'll let that dry. All right, not too shabby. So I think maybe thinking a little bit bigger deal out of this. I'll do it. 20. Yellow Tablecloth: In this one we're going to exploit some yellow and think it's a color that can be rough on the eye sometimes on, but I think it's also an exciting color. I think a lot of times we see reds and blues and seascape, some stuff like that, grounds, khaki color. So it's good to really push those intense colors, but it has to be done in a way that you've got something there to contrast it, something to kinda steal some of the intensity. So the composition is going to be fairly simple. We'll just have a table kinda like this coming out. Maybe coming down in here. Maybe we'll do like a little a chair. A chair or something like this here. And then maybe another chair, something like that. Maybe actually two of them will kinda push this one off the page. So again, I'm just sort of a table and just those him dishes on there so we can have a little bowl or something here. Maybe we'll have kind of a kettle, something like this. Maybe I'll shorten that handle to here. And over in here, we'll have another little saucer or maybe tea cup. And we'll put a little saucer here. Maybe in the corner. Let's just do a sort of maybe some sort of vertical bottle here, vertical element. And what is run some little flowers or something like that. So that's good. So it's a fairly simple composition. Maybe we can put a little for naive. Maybe a little spoon or something there. That's all it needs to be. Then again, the table is going to be yellow. So what I'll do first, let's just take some of these blues and I'll add a little bit of white to it. And I'm going to just put a little bit of color down around the table. Is going to be fairly dark. So the blues going to come in handy because it's going to help to give that dark color, something to bounce off of, a cooler color. Sort of balance off of. And that'll all kinda makes sense as we, as we get into it. So let's go ahead and get some off whites go on here. So I'll just use a little bit of orange, a little bit of blue, and a little bit of white. And we'll get it looks like a cooler color here. To start with our saucers and whatnot. And that'll be fine. Now I'm going to get into my yellows. So some dairy lied. And then this is just Hansa yellow. So the hansa yellow has a little more green into it. And the theory LOD has a little bit more of a red to it. So together I think they give you a really nice punch of yellow. Now I want to dial that back a little bit. So I'm gonna take a little bit of ocher into that. And maybe even a touch of that turquoise. So that's cobalt turquoise. You don't need much to, maybe a little more red. You don't need much of that to dial it back. But the key is, we don't want to start out with the color that we want to finish with. We want to leave a little bit of wiggle room so that we can come back and add that punch of more saturated color. So just a little block in here. Kind of getting things chunk then. Notice how it's broken too. So not every single area of the surface is painted. So I'm leaving some of that space white. And on the bottle here, let's just make that green. So I'll again sort of doubling the same idea there. And I'll touch a little bit of that green and different places just to tie that in, maybe into the chair. All right. 21. Yellow Tablecloth Continued: At this point, we've got some cools on the cup. So let's add some warm someone takes on white and just mix into the yellow that's as warm as it needs to be. And so I'll just get in here and we'll say the light source is coming from the left. Um, so I can start to add a feeling of some light hitting the surfaces here. Maybe a little light hit in that bottle. Now a little bit of blue, a little bit of red. And we'll kind of get that silverware and they are a little bit better. Maybe a little something there. Trade too, and maybe get a little spout like that. So does adding some shadows now. So taking a little bit of this gray into the yellow and blue and adding some shadows on the cups and whatnot. Now I can go a little bit darker. A little green into that. Just a green just going to knock it back a little bit. And we'll make that a little bit lighter or something like that. So we can make some of these shadows a little more intense. So maybe that's our handle. Cups, probably a little bit too big. So I'll fix that on the on the next pass. So let's go ahead and do that. So same yellows Hansa dairy lied. And then a little more saturated this time. So I'll go with this more of a butter color on the left-hand side. So I'll make this a little bit smaller cup there. And then maybe we can add a little bit of that there. Now I'll take some of these grays and knock it back a little bit. Good. So I think we know what it is, right? So let's go ahead and chisel out that background. I'm going to add a little bit of Brown's to that background. So a little bit of orange, a little bit of green, and maybe some wood paneling or something back here like that. And now I can get into more, a little bit more of a darker hue here. So lots of red, ultramarine blue. I wanted to be more of a blue. So that will contrast nicely with the yellow. And we'll kinda go around certain things there. Lost my chair but can scratch that backend with my nail. So we've got the chair that's closest to us here. Good. I think that blue's a little too intense. So I want to agree that out a little bit. So that way it doesn't compete well with our star here. Good. Now I think just some details, maybe a little design or something on the cups. Now think to do that. Actually I'm going to put a little bit of dark ended that green. So just some dark green maybe anchoring the bottle. Something like that. Maybe it has some water, maybe it's like some olive oil or something who knows? So little yellow, more white maybe. So make us they're not touching. So I don't want any confusion there. And go a little more shadow there. So I'll shadows cutlery spoons. All right. Take a little bit of this dark here and my small brush. Maybe just on this chair. Add a little something there. Now I'll take a dryer to it. All right, so we've got some reds here, maybe some orange and green into it, maybe even a touch of dark here. So maybe on this cup, we get a little red design or something on that one. And maybe on this one we've got more of a blue. Yeah, I'll touch a little bit of white into that. Just so we get that feeling of light and shadow. Maybe they're the blue little around on that. So little dark there for the handle, maybe. We will not silverware, they are just sort of tie in that blue in now. And some white touch of ocher. Little bit of water. And and we'll add a little pop. Maybe a handle on the cup there. Being that we don't want a ton of details on it. I mean, that's not really what this one's about. This cup. It's got a little bit too dark. That's good right there. Now, we'll mix a little bit of my yellow into that. Maybe a little more white. And we can just kinda get in here and so I'll know what that was. Her some dark on I'm thinking with a bigger brush here for a second. Cover that up. Good. And now I'll get my little shadow back here. I like that little touch a read I had gone on kind of burgundy color. See if I can bring that back here. Maybe a little signature over here. And it's Putin's a few little dots and there. I'll do it. 22. Warm Palette Still Life: Ma, something a little more colorful today. And it's going to be a square layout will do something like this. And I'm going to use a large brush first. I'm going to mix down below here, so a little bit of orange. And I'll have a little bit of blue over here. We'll get a green. Let's want that color to be diode back little bit. So I'm referring to the intensity of it. And what that's going to do is allow me to come back and use a slightly more intense layer to finish. So in other words, I don't want to start with the intensity that I want to finish with. And once you take that Q actually and just take it right on down. So I'll sort of mix some of those in there with it. I think it's important when you're painting to always kinda just had this playful approach and not take things too serious. So easy to kinda cramp up and psych yourself out and to make it a bigger deal than it is. But as long as you have some direction on where you're going, generally, you're going to be pretty fine. So what's going to happen here is mix up a little bit of just kind of a medium tone color here. We're going to have a saucer that all kinda do this sort of thing. And then the, OH, have a base on it. Sort of like that. I'm going to put a maybe a couple of little oranges or something on it like that. And then we have a another vessel here. I'll drop it down the bottom here. And it'll taper. And then maybe go up. And then maybe it'll have like a little spout or something or somehow where you can pour it. Like that. I'll probably make a little more sense. But if you really wanted to see it, compa, what's going on, it will look something like this. So again, very simple. Light source, maybe coming from the right-hand side over here. So we'll have some sort of shadow like so, or maybe a little shadow like so. And there may be some leaves or something on the oranges or lemons or wherever they end up being there. So let's go to, actually I'm going to go ahead and paint the objects first and then finish with the background and foreground. So I've got some blue down already. So you guys so sit as something like that and notice or let me explain that when I'm putting the paint down, I'm using a light touch. So as getting this little bit of a hit and miss on the subject, the object there. I'll put a little bit of orange and red and this blue. So again, sort of dawn kind of just dragging it so that, that underpainting, that orange sort of peaks through. So if I press too hard into it and I blend too much, it's going to look flat. So if I drag it, it's going to get that kinda splotchy look to it. And I'll use some of these gray. So maybe there's a little bit of gray here, here. And then we'll go a little more saturated and in warmer. So I got a little bit of ocher here. So that was just orange and blue with a little bit of ocher. And obviously this is white, and now I'll go with a warmer white. So maybe a little bit of light hitting this and still a sort of using that drag method on it. So I'll maybe hitting a little bit of light here. Something like that. Yeah, very sort of naive look in, you know, casual, minimalistic however you want to think about it. So now some orange, a little bit of the cad red. So this is just cad red medium. And then I'll dial that back a little bit with a touch of green. If I can get some on my brush. And again, sort of kinda just blocking it in. And now I'll take a little more red here. Touch the green. And we can kind of get, it's probably a little too red. So I mix a little bit of green into that. So back into the orange and then maybe again, sort of adding a little sense of light and shadow there. Cleaning my brush, I'll take a little bit of a yellow and a touch, a white end of this. Maybe you've got can push that more towards a peak here. That can easily go lighter. And then maybe some light hitting it here it's us, we're shows that tapering feeling, something like that. If you want to tie that color in. We can touch a little bit of that. A few areas on this. So that's sort of ties like color into this. So that brings a little more harmony to the piece. So oranges. So let's go with something like this and then something like that. I got a little bit of these grays. That's all that needs to be. And now I'll sort of mix all of this up. And then take a little bit of ultramarine blue into it. Probably a little too dark. Go a little bit of white here. I don't work. So again, kind of just dragging this along the edges here or along the surface, I should say. Thank keeping that vibration gone. Where I'm not covering up everything. 23. Warm Palette Still Life Continued: That's going to dry a little, little bit darker because we're dealing with acrylics. I wanted to touch a little bit of light in there, so we'll just add a little bit of white to that. Cleaning my brush off. So blue touch of the warming probably get away with orange. And now maybe a little shadow and I'm pushing back in there. We could even put a little indicators shadow in there as well. And now we'll go to a little bit bigger brush just because I haven't used it in a sit in there. So orange, a little bit of ocher just to knock it back a smidge. And then maybe as we get over to the left-hand side here, I'll make it a little more red and gray. So a little bit of my green here mixed with some yellow, little more green, and a little more yellow here. So does some stems. And now you've seen this before. So some of this is still wet. And just giving it a little bit of texture here. I'll say the only thing that needs to be done is that table or the surface. Just a little bit too dark. So I think this will read better. I'll add a little something to the base here or a little server platter, whatever it is. And maybe we can pop it with some white. And then again, this sort of muddy it up a little bit. So a little bit of orange into these whites and grays. And now I'll add a little pop. Does make it a more of a brown. I'm going to just get our little kinda warm dark color here. So pushing them more towards the red. I can take my finger tip of my brush, scratching into a little bit. And let's good. So that kinda has that nice loose feel to it for still life. That's all we wanted to do was just have a little bit of fun and not try to take it too serious. And it's touching up that shadow. I'll grab one of these colors down here. And you go little simple still life. 24. Interior Still Life: All right, with this one, we're gonna do a vertical layout, something like that. And I'll go and sketch out the composition. So while the table, excuse me, that kinda comes in here, kicks back. And then maybe you will see something like that. I want to do a little chair here, chair their chair there. And then maybe one more here. And then, you know, kind of a similar thing. But I wanted to do a little funky pattern on the table. Maybe a little table cloth or whatever in the air. And then we'll do maybe a vertical here with a bottle or something and some cups. Maybe we'll do a little platter there, something like that, and then go back in here, maybe there is a window and something back in there. So we'll see. So that's kind of the main design. That's what I'm after. And I would start with some grays, so ultra marine white. And I'll start going around these chairs and mix it up. So here you can see I'm pushing the blue. So I'll get some orange. And then maybe back in here, I'll push it more towards the orange first one around the bottle. So again, another chair and their chair in there. Then as we look out the windows there, I'll change the color to more of a yellow. And then maybe pull that yellow. Imagine that light kinda coming in, dispersing and sort of spreading onto our table. Again, very splotchy and me, I'm not too concerned with trying to get things perfect. This is more of a playful study. Some quinacridone crimson into the blues here. So that should give me a decent violet. So I'll put a little bit of a little bit of white into that. If you run that into our chair. And then back in here, where the light is only good that at the illusion of count is lighter and contrast. So it's going to be a little bit darker here. And the foreground, and then lighter back in there, but we'll push a few darks in there. I'll grab my small liner here. And we'll do a little bit detail there for the window. And I can go a little more, a little bit lighter even so. Really push that light coming in the window. And again, kinda hit in the table. Balanced and on the chairs. All right, so start getting some things on the table here. So we'll do something in here. And this will be our vertical, big vertical here. And let's do some sort of bowl saucer there. Try to get most of that paint off my brush. I use the stuff we're collage papers I've mentioned. And I'll go to a smaller brush here, pulling it around. I'll switch yellow. So this is a yellow ocher and white. And let's get a little bit of light hidden. Some of these things, whatever they are. And I like that feeling of green again. So maybe a bottle there. I'll push a little bit of crimson into that as well. I'll go right into the blue, red. Just to knock that back, orange is a good color to mix with those blues to just to neutralize it and, you know, knock it back a little bit. We can see the legs of the table here. So just something to indicate that. 25. Interior Still Life Continued: I'll think I'm going to keep this quiet over here so I'm gonna get rid of that. Whatever was there. I have some scrap paper here and so rub it and touch it into some of this wet paint and then sort of smear some of those edges so we get the kinda blended look. Now, a little bit of light blue in here. And maybe a little bit the background there, a little bit in the foreground to, just to tie that in. So I'll go with a darker tone now for that bottle. And think before I do anything else, I'm going to hit this with a drier and that way I can put a layer on top without everything blending. All right, so now, Okay, a little control back. So I'm gonna go a little bit lighter with that window. And now go with some yellow orange here. So a little bit of orange, a little bit of my Hansa, yellow, maybe even a touch of red, maybe even a little more red. And let's go with some red stripes on the table. Like that. Maybe we got a little checkerboard thing happening here. Not too busy though. So I'm kinda hit, hit myths on that. And I can even take a cloth here and remove just a little bit in there. Now and we'll go a little bit on the yellow and pull some of these reds in there. Maybe even get some pinks. Mix that with a yellow, this sort of blend that in. All right. I think at this point I want to start establishing the lights on the cup. So white here. And we'll go with a larger or smaller cup there. This one's sort of back lit. So not much we can do there. And then maybe what this one and maybe you got something like that. I'll go with some of these greens with some yellows, more white into that. For me, we have that and maybe even not touching a few highlights in there. I've got some blues reds. Now we'll do some shadows. It's good. Green, red, little bit of orange, maybe a little more green. And I'll do a I'll get our chairs gone here. Maybe something dark back in here. Could be a little piece of art or something on the wall. The dark frame. We can live that a little bit. Pretty good. I think this chair needs to go, so we'll do that. And we'll push that chair off a little bit. Lonely. We know if we've that chair needs to be that big either. So on. So when take that off. So you can work like this when they'll make some quick decisions and, you know, if something's working well, we leave it alone. If you feel like something needs to change, That's you can change it. We don't want to be in fear of it all the time. And now some breeze here with some of these blues. So saturated here and just maybe a few details on the cups. And we get our window back in there. Nothing that chair can probably started over a little bit. Alright, little bit of gray here. And maybe we'll get a low table leg there. I'm mixing some blues and with that little green or red. Let's good. And so that's nice. Loose abstract still live there and that'll do it. 26. Sailboats: All right, super easy. Painting here. Kinda stain on that kind of water theme there, coastal theme. But this will be pretty much all coastal. So I'm just going to put in my space there. So what we will have is a very simple composition, which will be maybe like this little island or Jedi or whatever that comes out there. And then maybe something else. Can I cut in often here? And this is like a little strip of land and then maybe something like this. So 123. And then we'd have a bunch of boats in there. So what I will do since we have so many, is take a pencil here and just draw them out. Now this is sort of a top view, so we're looking down on it. So you're going to see kinda n to the boat a little bit. And again, they're going to be different. There's different types of boats, you know, a lot of different maybe some fishing boats, sailboats, and just a ton of them though. Maybe some up on the land like this. So maybe you have a rule, tiny Robo. That's what I'll do. So I'll just go in here and put a ton of these in here. And then I'll start the fun stuff. So I'll queue up maybe a little bit of music here, something. And then when I'm done adding these, we'll come back and do the next layer. Like I said, a ton of boats. He can put your factory you want in there. And now the fun begins of putting in this blue water and going to use a little bit of my cobalts, lots of white, cobalt, turquoise. Push that more to a blue. A little more saturated than what that was. Maybe a little more saturated. I want that blue to have some good volume to it. If it gets a little bit too washed out. I think that painting will sort of fall apart there, but that's looking pretty good. So it's got some good volume and I'll go around these boats. But again, not trying to be perfect with it. Well, I can always I'll be coming back with the white anyway to paint the boat. So whatever I paint over or need cover up, whatever I can get back. If you need more boats and what you have, you can always just leave a little white space and then make that into a boat like I did right there. If you really didn't wanted to wing it, you could almost not even paint right over the island enough. Sorry, I'll get it back. You could almost just not draw the boats and and just start painting. And just leave some whites of the paper. And I think you'll be fine that way too. And that'll be done in a very kinda crude and minimalistic manner. So either one island, so I have a little more blue to paint here. And then I've got to fall back and add my little island, that little strip of land anyway. So I want that strip of land to be on the warm green side. So I'll do a little bit of orange or Turks, turquoise, orange, very light yellow. And lots of white. Pulling in some of these grays just to kind of muted out a little bit. So again, going around some of these areas that are boats. And our other one I believe was right in here, sort of hooking down. And this area. Let me have another one up in here. And now I'll go with some numbers and cobol here. And then I'll go with more blue. And it's adding a little variation here on the blue. And a few spots. 27. Sailboats Continued: Switching to my smaller brush here. I'll get into some of these blues. Touch your red in here and start doing some shadows. Like law, the boats that were on this little island here, we're covered up. So I gotta get those back. And maybe we'll put one more in here. Rats will go to one of my smaller brushes here. And then we'll put some reds into these darks here. Probably a little too red, so I'll just add a little bit of blue into that little bit of water to thin it out. Maybe a little bit of white. And don't need to do it on all of them. But maybe on a few of them, we can do a little bit of dark mass, you know, and there. And once you get two or three boats painted, the rest was sort of paint themselves because then people will know what you're up to and they'll fill in the blanks with everything else. So something like that. Switch to my really small brush here. Something a little bit lighter in value. And we can kinda continued to add some illusion of some detail here. So I'm going to need, now, I think, well, let me add just a few more little suggestions here. We can add a little stripe on this boat. Maybe that one. Again, don't want don't try and do every single one the same. And we'll go right into my whites here. And we'll add some mass, some sales, some whites on the boats of course. And really just kind of dominant in there, you know, disorder. Pop in that brush down and let it do all the work for me. I'm not trying to force anything. So again, it's where it gets down to what I said before. And that's once you paint one or two boats and people can see it, you don't really have to do a lot of other ones. All right, so back into our blues here. Touch a red. Wanted to be a blue. So I don't wanna go too much red. Let me go with a little bit bigger brush here to touch of that brown. Grays does not mean that color back a little bit, making it a little bit lighter. And now we can do some shadows. Go a little bit darker. Perhaps even more red in some places. See you now just really touched on that brush to the paper and that's it. Let that do its thing there. It was some burnt umber or some raw umber into that. And getting maybe even a little more yellow. There we go. So something like this for the boat on the square, a docked on the land there. 28. Sailboats Finishing Touches: So now we just need a little touch of color there. And bring this down a little bit. Touch of these grays were white. And I'll push them more to an orange. So then we know how these boats have little buoys and different things on them. I make some a little more on the orange side. So a dairy lied a little bit. These grays and whites that are already on the palette. All right, At this point, I want to take a dryer to it. And That's going to give me know a lot of control back for what I wanna do for the finishing touches. So let me do that. All right, I'm going to take a small point around here and we're going to clean things up a little bit. So lots of blue, lot, so white. I shouldn't say a lot of blue, but we'll just say blue by some green. And you don't want it to be the same exact color as the first round. It can be a little bit lighter depending on what you got. Or it can be a little bit darker. It can be a push to the green side if we want. So I'm trying to give this one a little more on the green side, I think that our work, and now going back around it and clean up a few edges, few details there. There's any boats that you feel you don't want need. Clearly you can take them out. Don't think I need this one. Clean up edges or needs to be done. Shaping boats were up, again, feel it needs to be done. Some of these little things we can try to make into buoys, you know, like what I just did there. Maybe get rid of that, make that into a smaller boat. Maybe a buoy there, something small and round. Maybe a little more blue into this. And I'll just do one more shapes. We've got that dark blue. So now I'll just sort of do a lighter blue, just a transition that into the color. What we have there. So now maybe on a few of the sales. So I'll take some of this, mix it with yellow. Maybe with some of these grays buy me a little bit of white into that. So maybe on a few of the sales, we've got some shadows on them. Again, very minimalistic, not trying to paint shadows, obviously. Like that's pretty good. Well now I'll do it so nice and clean and minimalistic. I think unapproachable painting for any level. You know, whether you're just start now or maybe my dorm for a little while. Great gift idea for anyone that is. And to nautical themes of you have any boaters and your family or whatever. I think they would they would dig it. So one more grays here on a few, few of these to some dots. I can even put them in the water. And that'll do it. 29. Distant Boats: All right, putting out some colors here. This is just a little bit of cobalt, turquoise. And I've got some cobalt blue. This is hansa yellow light, pretty much the same color as you been. I've been using it anyway. This course, dairy law, yellow though a touch of orange here, cat orange. This is pyrrole red. Have a little bit of raw umber here. I'll try to squeeze everything, all my palette. I'm see you can see what's going on. Some titanium white. So is it some more titanium white? And that should get me there. Let me tell you a little bit about the image and design here we have a little landscape and the goal is to put the focus right here. So there's gonna be a lot of contrast and I'll do that through color and value, of course. Now all of this stuff, the house, the bushes, the bank, distant mountains, and the downplay that through edges. So making the edges really soft and very little contrast. So let's go ahead and get started here. I'm going to use this is a round Royal and link nickel, fairly inexpensive brush here. So this is just a little bit of white. Titanium white is kind of touch of ocher in it. I'm going to put a little bit of that cobalt turquoise and they're a little bit of green to it, which I kinda like in the skies. So I'll put a little bit of that towards the top and then just go right into my white there. And just sort of little gradation maybe as we get down towards the sky or the land. From here, I've got some leftover paint on my brush. So always, again, sort of have a scrap piece of paper around. Now, try to get that off the brush instead of wasting it. So a little bit of cobol here, a touch of my red. And I'll pull some of these whites into it and maybe a little bit of water there. And just some sort of distant hill there. Some nonsense really, just something to sort of bring your eye here, sort of getting lost up in the sky. Kind of like a fence or something, a block you I guess. Another hill here, a little bit closer to us. So we're going to go a little more saturated. We'll do that red little bit though, orange too, and some of that white. And will push this more towards a warm gray by adding a little bit of yellow to it and a little bit of red. I think I'll put a little too much white into that. So something like that'll work. And I'm going to keep it nice and loose here. Try not to control too much, you know. And now just sort of softening those edges. So I'm just really running my brush very lightly across the top edge where it meets the sky. You can see that's a very soft edge. And you want to get in and get out, okay. You don't want to sit there and fuss with it and just get in and get out and get on down the road. I'll do the bank next. So I'm thinking some yellow here, a little bit of my blue. And I'll put a little bit of white into that. And a little bit of this number. So the umber just going to neutralize it a little bit and kind of knock it back. So we don't deal with an intense color. Again. I don't want to make this foreground too much of a big deal. Here does adding a little bit of blue to it. So maybe as sort of goes down in to the bank there, it cools off a little bit as it recedes into the distance. And then maybe even a little bit yet more yellow and gray. And I'm dong gray into that yellow. So again, we don't end up with Too much saturation here in the foreground. So adding some yellow or white to this. See I'm adding grays. Like so. Okay. I have a few vertical bushes in there, so I'll will use similar colors. So blue, turquoise. Touch a yellow there and pull a little bit of this orange and yellow into it. And maybe a little shadow. Like so. A woman, I'm going to do a little shadow here, so cool that off a little bit with some blue. And I'll throw a little cache shadow. And maybe just a little bit of some down in there. Maybe you another little shadow sort of coming across the foreground there. So white mixed them with these grays. And it's maybe a little path or something taken us down in there. And we'll go with a little bit of yellow. There's some white on my brush to from when I just used on the path. And just maybe sprinkle a little bit of light there on bushes. I can even take a little bit of blue into this. And maybe too much water on my brush there. Maybe some a little shadow or something kinda coming across the porch there. And maybe we can indicate some steps real loosely there. A little bit of my dairy live. And with these grays and yellows, I'm going to indicate maybe a little bit of sand, something down in there. And maybe I'm just going to sprinkle that color into a few different places here. Maybe there's a little chimney or something like that. And a little more of these grays and of that color. And maybe we've got something like that happening back here. Alright, I'm gonna go ahead and get the house in there. So some whites, right? And with these grays, I'm going to cool this off a little bit here. And we'll just kinda go with a White House here. And again, nothing too fancy. Some raw umber. So maybe the roof top there, and I'll throw a little bit of this yellow into that. So maybe we can kinda see is catching a little bit of light there or something. Go with a little bit of cool here, a little bit of blue into that little window there. And go with some some of these yellows. Oh, maybe a little yellow door. And again, just maybe if you few windows just to dress it up. So again, you don't see that there's a big fuss over here, and that's what we're after. 30. Distant Boats Continued: Now this is our pop. So I'm going to take a little bit of these grays and different colors and that blue, even some of the turquoise here, a touch of the white. So maybe as it sort of fades back here, we're getting a little bit washed out blue, leaving a few specks of the white of the paper there, and now getting more saturated in our little sweet spot right here. So you see, I'm sort of dabbing those more intense colors. And here. And I'll break up some of these big blocks of white. So maybe tie in that blue when into the mountains or the little hill here. Sin a very subtle way. Maybe there's a little cache shadow there. Real sketchy role, you know, playful stuff here. And now you a few verticals. Maybe we'll make that one a little bit bigger. And there's our contrast. Okay, So there's that nice pop, a white contrasting against the deep blue of the water. Take my finger and sort of smear that just a little bit. And now we can even make that know a little more, come to life a little bit more by adding some little specks of color, some little dots. So maybe this one's got a little red sale. And that's really all it needs to be. Maybe I can fill the lowest shadow. Maybe on that roof there is to kinda pop that a smidge. Maybe a little shadow on a door. You know, few little dots in here just to sort of, again. And I wanted to yellow though. So reds maybe mixed them with some yellows. And then I'll do it. So nice, easy landscape to try. Again. The main thing I want you to do is just don't, don't sit there and, you know, lick everything to death, you know, put it down, leave it alone. Know where you want that focus and the contrast to be. And don't just sit there and PFOS and blend the paint so much that it just starts to look flat and boring. Keep this vibration gone. And the artwork, you know, where you have kind of broken color bits and pieces of the background, the white of the paper and things like that. Okay. 31. Fishermen: All right, with this one, focus is going to be a right here. We've got a couple of figures and your boat, again, another boat there. I'm going to try to downplay it just through minimal contrast. Soft edges, guess some distant boats and then some homes there. Again, playing a down by soft edges, little contrast, putting the pops of color and deep darks and whatever in this area. So again, I'll start with the sky. So I'll do a sort of warm sky there with a little bit of white. Some dairy lied, a little bit of cobalt, turquoise. And that was a little bit too dark. So I'm going to just take a clean my brush off and put some white on my brush. And now I've got some grays here, some more blue-gray. So I'll use a little bit at cobalt. And with it, so some good color vibration there. So a lot of hopefully you can see, I know you guys get a glare, but if I tilt that a little bit, Hopefully you can see all the different variations of color. So it's not flat. You know, I didn't again sit there and beat the painting to death, the colors. All right, It's still, I'll move into these distant hills. So orange, a little bit of blue, touch a red and then plenty of these whites here. And I'll put a little bit of raw umber in there as well. And sort of get something on the cool side. But it has a little bit of body to it here. So we'll sort of do these brownish hills and now I'm going to push that more towards a bluish color. So again, we don't want that distant hill to become too flat and boring. So just adding a few variations of gray versus one color is all you need to make that area, the hill look interesting. Again, I didn't beat it to death. Someone to say, say like a tan color there, maybe some more of like just regular dirt or earth there and we put a little bit of umber into that just to knock it back a little bit. So some warm, they're like contrast nicely with with what's happening. And we'll bring that down in here. Okay, so we have that sort of look gone. Now I'll take a little bit of umber into this. And again, a few flux here and there. Just to make sure, again, that's not too flat on the homes are just going to be a gray. So I've got plenty agree, they're all my palette. Probably a little too warm. So I'm gonna take a little bit of blue into this so we can carve out a few grays, something like that. Uh, work. I can take that gray. I'll just put it right on that boat there. And just kind of tying that color and a little bit. And here as well, clean my brush. I'll go with just some almost pure white. But again, I want to knock that back just a little bit. I'll do that with a little bit of those greens and grades that are already on my palette. Maybe we'll make that a different shape and there and do some overlapping and different things going on. That'll work. Again, I'll sort of tie that color in. Maybe we'll have a couple of boats and here this go, get some rooftops on these things here. So a little bit of orange, blue, I'm ago some dark, dark reddish roof on some of these. So maybe even towards Libya, that pinkish color. All we need to do is just let people know their homes back there. We don't need to tell them every single detail about the home. So let's get into our water. So I'm gonna go with this green little bit of yellow, little bit dairy lie a little bit of cobalt there. And maybe that's a little bit too green. Sum up, push a little bit of blue into that. So again, maybe a nice rich color there. And again, breaking that up a little bit as we get near the different areas. And as we get away from the focal point, I'm going to decrease the intensity. So by adding some white and just some grays and do that. So that's probably too great. So I'll take a little bit of turquoise. Now as we get back here towards that focal point, I'll push those blue's a little bit. 32. Fishermen Continued: So we got a bank here. So I'm gonna go with this white mix with dairy lied. And as it gets near us, I can again DO that out, play it down with a little bit of that number. And maybe that kind of wraps around in there. All right. So at this point, you could get a boat in there. And I'll say that light is really hitting it right in here. I've got plenty of grays on my palette here. I'm taking also switch into my small little kinda of us. I use it for a signature, signature brush there. So maybe something like that. And then maybe we'll go with a figure here. Maybe wearing sort of a white shirt. Maybe another figure they're wearing a white shirt. I'll go with a little bit of dairy lied. Will sort of get this kinda cream sickle color are there for the faces. And maybe some dark blue there for the shorts. Maybe the boat has a little detail on their little bit of red. I'll go with a little bit of this dark blue. It would these grays. And we'll kinda give it a dark bottom. Thank him. Move the we've got the sun sort of coming from the left there. I'll go with some darker brown. So sort of pop the figures there. So I guess we'll just make that a red boats and so it wants to be red. And I'll switch to a little bit bigger brush, get some of these grays. Takes a little bit of white into that. Maybe texts some grays and do that. And maybe put a little bit of sun hitting that. This. That's looking pretty good. I'm going to change the color on the beach here. Someone take it more and more towards yellowish brown. And then as we get in the distance there, I'm just going to lay this out a little bit. And this takes a little bit of brushwork there, few little dabs. And we can get rid of a lot of that stuff we don't need. So I've got the red boat there. The figures, figures, faces could probably be a little more on the red side since they're probably going to be in shadow. So maybe something like that. And now some blue mixed with the red. And I'll put a little bit of a number in there as well To do the same thing I've been doing. And that's just to knock it back a little bit. So let's go with the lowest shadow here. And we'll do a few, maybe a shadow. And here. Again, I'm going to make this shadow a little bit cooler and maybe even a little bit lighter. They're just saw don't have to compete too much. With our star over there. So some blues into these grays that are on the palette. Let's switch to my medium here. And I'll just some cache shadows and here maybe something coming in off the beach there. Little bit of white. I'll get some of these browns and one again, remap boat, either needs to be darker or lighter. Let's try. Darker here. It looks better. Switching back tomorrow. Little small here. And we'll play with some windows. I don't want all the windows would be the same color, same hue. So I'll switch to my brown there. We know fishermen where there's little orange Snickers. So maybe we can do something like that. Maybe There's something on those to make them look like something. And maybe a post here, no little something that says Don't get too close to the water or whatever. Maybe this one's got a little string to a post. I'll just sort of add a little shadow. I think I'll just sort of make those face is dark. You really can't even tell their figures, but it's good enough. So I'll just sort of dot some of this in here. Little bit of white here. I'm crazy about the red boat will make these figures a little bit taller. And maybe a little, you know, little highlight own home. Maybe they were catching some sun. And we'll emphasize that light hitting the boat. I'll take a little bit of this blue mix with the white on my brush. As little dots in here. And that's good. So it has that feeling of some distant homes. Maybe some figures in ready to take the boat out there. You've got a little foreground interests here with the boat. And take a little bit of yellows and dairy lied. And so I'm like that It's gotta get that shadow, right. So maybe something like that. And then we'll kind of fix front of that foul. And that's good. Hopefully it's a fun little thing you can explore and enjoy. So there it is. 33. Through The Trees: So I'll use a little bit of this umber play out the space. So again, landscape layout. So we have a little line sort of coming in at an angle like this leveling off. So we had this kind of Z gone. And then back in here, just some land with maybe a hill. And our little sweet spots going to be right in here. And for interest and vertical, or SHA say for vertical interests will have a few trees up in here, the foreground area like that. So these two are closer together. Obviously this one's a little bit farther away than the other, so, okay, so something like that. So now we get into the block end. So a little cerulean here, and a little means there's not much in there at all. So really it is actually a pretty intense color. I mean, it's got some pop to it. If you use too much, I think it can really become two strong almost for the piece yet. Again, be careful with it. I tend to kind of knock it back a little bit with some grays or some white, which is what I did there. Now, I'm going to introduce or bring back on the palette here a little bit of quinacridone crimson. So we'll sort of get this lovely violet color gone here. So a little gradation and the sky. Notice how I'm sort of working this zigzag pattern. And then maybe as we get down towards the bottom there, we'll introduce a little yellowish kind of mauve color there, pinkish. Again, trying to avoid blending it to death there. So it just kinda putting it down and trying to leave it alone there. So ultra marine crud acronym crimson. I want a little more blue than red. So I want that violet to be less of a magenta. And I could even take a little orange into that and sort of dole it out a little bit. And that's a little bit to red. It's a little more well, I'm after. So just some hills. And the distance here, something like that. Now back into these pinks, but I want it to be a little more saturated then what we use in the sky, but not too much. Okay? Because again, this stuff is in the distance. I'm going to pull some of these grays and to it. I'm kinda using kind of these strong vertical strokes or horizontal. And a few verticals in there. Now a little bit dairy lied right below that and a little bit of white. And I'll get this sort of kind of sand or beach color in there. Clean the brush. Now a little bit of turquoise, a little bit of silver boolean, some white, just a little bit of white though. And I'll get a little bit of ultramarine in there to think that may work. And again, mixing my strokes up so they're not all one direction. And then maybe as it gets closer to us, you know, the waves start to get a little bit choppy, maybe. Starting to see the effects of the environment, the atmosphere. And I'll even take some of these magenta has in grays and sort of tie that in to this area. And maybe a little bit of turquoise here. So a little bit of green. And that, and that subtle variation of different colors is what keeps it from look into flat. I'm going to go back into this sort of sand BCCI color. But this time I'm going to put a little bit of raw umber into it. Probably cannot see that umber because it's way over here off camera bottom right-hand side. Pull some of these grays into it. And I could probably even take a little bit of green into that. Let's say there is a little bit of grass color. So I've taken a little bit of yellow now and creating that subtle change and color and hue. So that again, we don't end up with something that's too stiff. This is phthalo. So failover is very, very intense. So all mix that with some of these grays and even these magenta is work really well with it. And what does kinda make it a little bit darker as it comes to us? Just sold, the eye goes in there if you put too much color and interests down in here and it's going to take away from the scene. Okay, at this point, I want to get control of my colors back in here and all that magenta is wet. So I'll take a dryer to it and then get this area dry. And then I can put some details. 34. Through The Trees Continued: Very small, pointed around. So a little bit of dairy lied. A little bit of yellow to green. I really want this to be a warm color, so I'm gonna put a little bit of yellow and red off over here. I'll take that into it. So that's more what I'm after there. Okay. So again, our little sweet spot kinda right in here. I'll indicate a few homes and structures that are, could be that could exist. So I'll get a little bit of these blues now and grays. And we can make a roof, maybe a little shady side. I'll take a little bit of ultramarine into this. Something like that. They'll clean my brush really good. We'll take a little bit of this Quinacridone, little bit of pyrrole, red, a little bit of orange. Maybe a little more punch or red there. And maybe we have something red on the surface there. I've got all these little specks of white where I didn't paint and I did that there. And what you can do is sort of put a little red under that, leave a little speckle white and it looks like a little trim or some sort of detail on the boat. So it's kinda nice to have some of those little specks because later on, like I'm doing now, I can make something out of it. I use that technique a lot with watercolor, but we can use it with acrylics too. So trying to get a nice punch of green and we'll go with a little bit of phthalo into this. So maybe this little white speck there could be something. And just getting that illusion of detail, I'll go back into the sand color, put a little bit of red into it, and we'll get a little beach back there. So dairy lied into these reds and whites. So maybe we have a kind of a red roof on this one. And maybe really more intense red roof. And they're so fallow. Mix it with some of these reds that'll come in grays and I'll sort of knock it back a little bit. And kind of give that illusion of some trees, foliage, something like that. And then as we get over here, I'll want it, but I don't want it to compete too much with what we have. And then maybe over in there. So some white. And maybe we have a little bit larger button there. So I'll get some of these brown. So umber. And now I'll just switch to my little curled liner brush, things a mess, and just get something fairly dark enough that it will look like Windows. So I'm just looking for little dots here. And now I'll mix that in with some of these grays and light colors like that. Good. All right, At this point, I think we can start to add the verticals and all of this as sort of a mid-tone. I did that on purpose because I want to put these treason. Fairly lightened value. Okay, so I'll put the one in here, one in there, and there. Now I'll take a little bit of this ultramarine blue end of that color into these grays and then kinda create this illusion of some shadows. And maybe on this one, we'll keep it fairly simple. And it may be in this one like that. So fallow red, orange. Now we have our shadows on the trees like so, so cache shadow, maybe underneath the tree on we're getting that kind of that's a little too. I'll go with more of an ultra. So we're getting that other shadows of the branches, different things. So maybe a little cloud shadow here. So I'll go with a little bit of dairy lied, a little bit of orange into these grays. Quinacridone, a little bit of white, maybe a little more red into that. And just have fun creating some abstract leaves and branches. It's kinda one area of the painting where you don't have to be so fussy with it. And be so tight, so subtle changes and the colors as well. All right, Now dairy lied white dots in there. Take a little bit of our turquoise. Again, a few dots. I think I'm going to use that dairy lied with phthalo and white mix some of these grays in there. I think I can get away with making some of this a little bit lighter. And there 35. Through The Trees Finishing Touches: Yeah, That helped kinda bring it to life a little bit. So at this point, everything's still fairly damp. The second layer, I'm going to spray it. So I have a little Mr. bottle there and then do this. So that's going to smash out some of that paint and kinda make it a little more subtle, you know. And I'll go back into a few of these places. So orange, green and maybe bring back few areas. I'll go back into the sky, for example. I'll get some Cerulean, some white. And we can put some dots in here. Maybe towards the top. Different size shapes. And then take a little bit of quinacridone. We won't do the whole thing like that. And I think overall, the waters on bad, but I think it's just a little bit too dark. So I'm gonna take a little bit of our cerulean, ultra blue low touch it a fellow here. Maybe a little more cerulean. Give me a touch, a ultra, their tenant just a little bit with white thing that I'll work a little bit better. Again, keep your strokes sort of, you know, choppy. Tie that color into a few different places. And I think a little bit of white. And do this. I can kinda com, this area down to those pinks. So we'll just some like they can be anything like some secondary buildings behind the star there. So we'll do it again. Maybe lift. I'm going to start to get these really cool little abstract things going on there. Quinacridone, crimson, ultra white. And now I'll just kinda pad up the distant hill there. Think that could be a little bit darker and more blue. And again, we want that in a few different places. And the finishing details will be taking this small liner, a little bit of warm color here. Lots of white. Some of these grays into it. And make these trees just pop a little bit more against the darker values of the background. And we can kinda get in here and it'll be touched that a little bit more. So white. So now a little pop of white. There may be a mast. Few mass for some sailboats to send that little sweet spot. Dairy lied. And that's good. So hopefully you noticed something he can explore and think about. What I've tried to do in this course is give you easy projects. But all the while, trying to encourage you to simplify. Experiment, have fun, and paint some cool art. 36. Surprise Demo - High School Yearbook: So the next four lessons was going to be a surprise, but it's no longer a surprise because you can see where we're going with this. Now. These are five minute demos are not intended to be finished work. They're not intended to be a complete portrait. They are intended to be quick, spontaneous. Have fun, See what you can do. Hopefully this will get you outside your comfort zone and maybe even interested in painting faces. Anyhow, this is my inspiration image, just something I found online. Just, I think it's from a high school yearbook and I thought it'd be interesting to use it. So let's go for here. We'll set my timer that way you can see in real-time here. And I'll start out with just adding a basic shape of the head. Now if you've never drawn portraits or painted faces, then this may be a little bit foreign to you. However you're in luck, because if you want to learn more about this, maybe really sparks your interest. Then be sure to check out my portrait drawing class, how to draw the human head. There's also a part B to that part too, which I go into. The eyes, the nose, the mouth, and much greater detail, the ears. So great courses for learning to draw the head, but basically, you know, that's something you can do outside of this class obviously. But for now, just know that as I'm painting this, I'm using some of those ideas and drawing skills. So what I did is I just laid out the basic shape for the face, added the line for the eyes. A little shadow there on the left side of the nose are left, has the gentleman's right hello area for the mouth there line. And that's it. So from now, from here I can just use a hue that represents a base tone. This doesn't represent the lightest light, the darkest dark. Just something in the middle that I feel would work well with the entire face. And as I move through it, I'm adding a little extra yellow, a little titanium white to get a lighter value. So for this piece, I'm also using my small flat roiling nicotine, also a fairly small brush. I'm also working on a fairly small scale. I think that's roughly eight by five or six inches, but and you can work on whatever scale you enjoy. So at this point, things are looking pretty quirky. Looks like a little Smiley face that we do in high-school or in grade school. But certainly adding dark shadows now into the eye sockets. Around the nose. Some nice white teeth. Their gentleman's got a lovely little smile, ready to get on with his senior year and probably the rest of his life, but happy there to I think be in this position it looks like and to be getting his photo taken, adding a hairline, their hair line, the hair in general is a great way to really add the character to the subject. You know, it's so easy to get fussy with eyes and the nose and the mouth. And you just sit there and just needle it and no pain it to death. But really navigate a general shape of the face or the head. You get a decent layout of where the eyes and the nose and the mouth, and that looks halfway decent. Then the hair line sort of brings it all together. You know, it's like okay, yeah, that, that really makes a difference. So really anchors that piece and just brings in this sort of relatable feature that it really makes it obvious what you want your Dawn. So so now you can see I'm working darks out of the jacket and I'll add a little more or add the little bowtie there. So a light blue bow tie. And remember, this is a very short period of time. So don't get flustered there and try to do too much. Just get the Balkan in chunking in their rural, rural chunky. And don't worry about it. Again, have fun with it. Don't stress and judge yourself about the results, okay, that's why I did five minutes instead of making a 20 or 30 minute video. Because I wanted you guys just to loosen up and have fun and hopefully, like I said, Do something, then it gets you outside your comfort zone a little bit and hopefully inspires you to do other things. I mean, you can do cow portraits, draft portraits, anything in this nature. But it's just, I think, a good exercise to do a time and do it Alla prima like this, so that you don't get too fussy with all the details. Soon as you can see, my time is winding down, adding a little corner to the mouth. They're little shadow there under the CEN and maybe a little bit darker shadow on the left-hand side of the face. So there you go. There's my first shot. I'm going to add a little bit of a red background there just to sort of tie this thing together and that's it. So here's a look at the finished piece, and I'll see you in the next one. 37. 5 Minute Portrait Continued: Well, you know the drill, same things. So here's a piece I'll do. So we got another mail and then we'll do some females in the next round. But I've got my figure in the lower right this time. So you can check that out as I paint and just talking, get the clock and a little bit of the pain and all that stuff in the picture, this demo, I won't zoom in as much on the work, but just starting out with some ochres, little bit of white. And now just some kinda really just neutrals there for shadow. I wouldn't consider that warm or cool. So it doesn't really favor any of those at this point. I'm putting a little more of a lean on the figure here. So sort of kinda head tilted. Just for the font is kind of changing a little bit. So I'll start out with the basics are a sort of a circle, oval for the face, maybe a little bit wider. A gentleman has a little bit extra weight there and the face area. And we can see more of the left-hand side of the face. So we can see that left ear can't really see the right ear. And so we can see the left hand side of that skull a little bit more too. So hopefully in the end I'll be able to get that idea to ring true. Little bit of flesh tone here and then added some white to my brush. And really just starting out with some of the lighter areas of the face. And then I'll circle back and get the darker shadows. So you can mark however you like. Some people have a system, you know, they'll start with why does laying out the basic shapes and then they'll move him with the darks and then paint dark to light. Some people paint medium first, mid-tone, and then go dark and then light. So I tend to not really care. So she's whatever I feel like I think would work best. So in this case, just some I use yellow ocher as a base to get the shape in with more than lighter tones. After I kinda put the hairline and there, and here you can see I'm still working with the lighter tones. In general, the head, the skull has certain cavities. I'm sure you've seen the skull before, so the forehead or the eyebrows up to the forehead tend to sort of protrude a little bit. So that bone, we have a bone structure. I won't get too technical here, but the bone structure around the eyes create this sort of whole or cavity for the eyes. And that's a protective sort of feature we have built into our head and skull area. And so we tend to we have sort of dark sockets, you know, for the eyes because they're again receding and side so they tend to be in shadow and most lighting conditions. And then the nose area sort of protrudes out. So there's a perspective to it so that it knows if the face is looking at you or towards you. Then the nose is going to have perspective. And so there tends to be a shadow on the left for the right-hand side of the nose. And we generally can see underneath that nostril too, unless the figure is looking down. So again, you can see I got a little more of a tilt. They're like This person is going well, kind of like little tilt to the side, but again, just wanted to add a little something different there. So this figure also has these sort of squint t beady eyes. So I just wanted to acknowledge that with the little bit of time I have. And now just adding the jacket area and then I'll run those darks up into the left-hand side of the head. Maybe shape things a little bit, a little dark under that lip. So the top lip tends to have be a little bit darker in value, especially as it folds down under. And that's always a good thing to put in there. That shadow. And now working there's dark surround the face there to get the jacket and some negative space painting basically. And again, using those darks into the hair. So very dark hair on this gentleman here. And I can see my bowtie is just a bunch of squiggles, which is fun. I mean, that's what this is all this exercise is supposed to be about. Just let loose. Don't put a lot of pressure on yourself and just have fun with a little bit of time you have here, okay? So there's a finished piece. Hope you enjoyed it. And I look forward to seeing what you do. 38. Class Portrait Female: All right. You know the drill. This is a female here and he can see where it's going. So this go ahead and get started, set the timer, and move in with some Payne's gray. So again, Payne's gray is a cool gray. A little bit of red, a little bit of Hooker's green there. And get a nice chocolate color and look at the face. You know, it all starts with the basic shape of the face. Faces can be long, they can look square. It can be an oval egg shape. So just a matter of looking at it, getting it down and then going off from there. And again, this particular setup as the left ear, sort of left hand side of the head showing more. So we get a little bit of perspective there. So the figure is looking off over her left shoulder, getting this hairline, which again adds a lot of character to it. I think it really tells you a lot about the person that is being painted male, female, whatever, their personality. So on a little orange, a little yellow ochre there, and I'll add a base color to the face again, I'm all over the place. I don't often or rarely should I say, do I paint with a ABC cookie cutter methodology? I tend to either put down a base tone. Sometimes I will again start very dark and then work light. Sometimes like it I like the dark. It just depends on my mood. What I feel is maybe on the palette already or what my gut says, you know, this is Go for it, just do it this way this time. So I like doing it that way versus being too predictable. But again, that's just sort of my approach and know what works for me isn't always going to work for other people. But I'll share what I can about my process. And then you can take what works and what you connect with and apply it and other things you can disregard and move on with your own sort of approach. Okay. So lovely smile there. So I wanted to make sure I got that in. And you can see I added that mid-tone and then went into some darks, lovely cherry red color there for the lips. And again, I would highly encourage you to, when you paint eyes and lips, mouth, leave them open and don't don't do like a red ring around the mouth so it's a closed shape. So paint some of the areas and they lead the other areas unfinished on painted and it just tends to have that open look about it, that it just reads in my opinion a little bit better. I'll talk about that a lot when I talk about drawing lips and things like that in my portrait drawing class. So that's a portrait drawing part two where I talk about a lot of those details. But anyway, I think open shapes is really a little bit stronger and more interesting than closed shapes. But again, that's what works for me. So here just working with some of the mid-tones, still getting some variation in there of lights, darks and things in between. And here moving in with some darks all sort of get that socket their eyebrows, maybe the, you know, the darker the eyes of pupils and stuff like that. Little shadow under the lip. So that's typically common where we get that shadow under the bottom lip and then you'll get a shadow under the upper lip, but it's underneath the bottom plane of that, the lip itself. So so a little bit of red here, reddish orange. So I'll add that dress so that all sort of bring it to life a little bit in terms of perspective, really enhance how the figure is turned. And the image. Don't get fussy. You know, five minutes again is a very, very little bit of time at certain areas of the face go unfinished and others tend to have more detail. That's fine. Whatever happens, happens, you know, put the stroke down, leave it alone and let led the finished result. Just be this lovely little kinda moment in time, you know? And I just think there's just such a charm in a quality that these quick paintings have. That's hard to achieve with those longer studies and paintings. So I think the common problems just to beat the paintings to death and they just look so tired and worn out by the time you're done and we lose that spontaneous quality. So there you go. So you can see the nose is unfinished, certain areas or unfinished, but that's what it's supposed to be. All right. I'll see you in the last one. 39. Final 5 Minute Portrait: Welcome to the final portrait demo. This is a picture of where we're going and let's get started. You can see the subject and the lower left-hand corner. The timer has been started, so we are on the clock. So I will start out with just a simple shape there that represents what I feel. Is the subject kinda long lean face. And now just getting the feeling right, putting down my reaction to the hair. So that's as key. So I'm not really a painting. What I see so much, it's just sort of trying to capture the movement of the hair. And that is, you know, it's an interpretation thing and that's good. I mean, that's what viewers respond to. I've mentioned that before, but art can be many things. It can be Footer, representational, can be abstract, it can be semi abstract, non-representational. I mean, you name it. He can't really, no one can define what art is and, and, or should I say what it should be? Because it's all really up to the creator. And it's up to the viewer in terms of getting satisfaction out of it. So, anyhow, so whenever I'm doing this, I'm basically looking at shapes. As I mentioned with the face. Looking at values a little bit in the values will help, you know, sort of guide me into getting the volume of the face down. So faces aren't flat. So we're not dealing with a pancake or something that doesn't have any form or structure to it. It's actually a very sophisticated subject. And if you've never taken Tom to learn how to draw portraits, I've got two classes that are pretty awesome. And they go into great detail about drawing the human face. And the first one is, you know, the basics of it. Drawn it in different angles, proportions and tons of great exercises. And in the second one goes into the details, the mouth, eyes, nose, things like that, and the ears, and much greater detail. So we sort of break those down even more so you get a little more of the structure of the face. But two great classes. And even though my style is loose like this, I mean, that's sort of what I do. I'm not do it this way because it feels good to me. And I'll like, you know, when I'm painting to do things that, you know, that I respond to not connect with on a more of a feeling level. And then visually it excites me to, but I just liked the idea of painting quickly, loosely, getting a feeling of my subject, the essence of it, and then that's it, hang and moving on down the road. But anyway, the courses are put together in the study and the amount of research I put into drawing the face and the human body and things like that is pretty is in great detail. And so I've spent a lot of time on trying to understand those things on a very fundamental technical level. And even though a lot of those things may not appear to be in my work, would argue that they very much are, they are a huge part of what I do. And actually having that sort of knowledge and that sort of background allows me the freedom, it gives me freedom and a sort of right to payment in this way. So in other words, I like, I think it's important to learn how things are constructed before you deconstruct them. And I think the more you understand about the subject and the more you learn about it technically, then you start, you get this very in depth or knowledge that it really disservice to give you a tremendous amount of freedom to say, okay, well, understand how it's supposed to or how it should be constructed, but I'm going to do it this way. And as long as you sort of have that background, it, it tends to hold things together even when they're very loose. Okay. So anyway, that's it. So a quick five minute portrait. Again, this is the last demo for this class. And hopefully you got some good information there to loosen up and have a little bit of fun with acrylic painting. 40. Recap: All right, You guys, that's a wrap. I want to thank you guys for checking out using a font acrylic painting projects. I hope you've gained some knowledge and inspiration from these lessons, and hopefully I'll see you in the next one. Okay, Take care. Bye bye.