Embracing Imperfection - Learn To Paint Expressive, Abstract Style Art | Robert Joyner | Skillshare

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Embracing Imperfection - Learn To Paint Expressive, Abstract Style Art

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

23 Lessons (3h 41m)
    • 1. Introduction

    • 2. Materials - Brushes

    • 3. Materials - Paper

    • 4. Materials - Palette

    • 5. Attitude

    • 6. Three Types Of Art

    • 7. Abstract Versus Realism

    • 8. The Art Of Simplifying

    • 9. Hot Sauce - Watercolor Version One

    • 10. Hot Sauce - Watercolor Version Two

    • 11. Hot Sauce - Acrylic Version One

    • 12. Hot Sauce - Acrylic Version Two

    • 13. How to Develop Complex Scene

    • 14. Value Sketch Watercolor Version

    • 15. Value Sketch Acrylic Version

    • 16. Part One Complex Scene With Watercolor

    • 17. Part Two Complex Scene With Watercolor

    • 18. Part Three Complex Scene With Watercolor

    • 19. Part Four Complex Scene With Watercolor

    • 20. Part Five Complex Scene With Watercolor

    • 21. Part One Complex Scene With Acrylic

    • 22. Part Two Complex Scene With Acrylic

    • 23. Part Three Complex Scene With Acrylic

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About This Class


Hi, I'm Robert Joyner, And I've created Embracing Imperfection - The Art Of Painting Loose for people like you that want to loosen up and make art fun!

If you've always wanted to...

  • Learn to break away from unnecessary details that only clutter your artwork.
  • Develop the mindset and skills that will allow you to paint more expressively.
  • Learn why so many artists can paint loosely with ease.

Then this course is for you!

  • Develop the right attitude that allows you to paint quickly without all the fuss.
  • Discover how to select right materials for the job.
  • Techniques for painting quickly.
  • Develop the necessary skills to paint loose complex scenes with confidence.


This fellow could inspire a sweet potato to have some fun at an easel. Very freeing, happy stuff. I am so revved up! - B. Horst

Great advice and inspiration. Fantastic teacher! - Sandra J.

Course Overview

  • 22 details video lessons
  • Demos in acrylic & watercolor
  • Ask questions & get answers

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Add Value To Your Art - Basic Acrylic Painting Fundamentals

5 Stages Of A Painting

Acrylic Seascape Painting - Basic Fundamental Demonstration

Abstract Acrylic Cow Painting

Paint Roosters With Acrylics - From Charcoal To Finished Painting

Tips For Painting Loose With Acrylics

Paint Loose & Expressive With Acrylics - Brushwork

Paint Loose Techniques Using Acrylics And Mixed Media

Expressive Flowers With Acrylics - Learn An Approach That Gets Results

Advanced Acrylic Landscape Techniques - How To Plan Your Painting

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Have Some Fun Creating With Acrylics, Collage And Graphite - Expressive Painting Techniques

Expressive Flower Painting Techniques With Collaging And Acrylics

Contemporary Owl Painting Techniques Using Pattern & Collage

Expressive Still Life Techniques - Secrets To Painting Abstract Style Art With Acrylic

How To Paint Loose With Acrylics And Mixed Media

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

Acrylic Painting Essentials For Beginners With Easy Step-By-Step Project

Acrylic & Mixed Media Essentials Part Two

Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: Hi. I'm Robert Joyner, and welcome to Embracing Imperfection. Congratulations on making the decision to try something new, especially painting loose. Abstract style art is my passion, and there is nothing as exciting as finding freedom in how you express yourself. I know that once you understand how to develop the right attitude, techniques, and approach, you will be on your way to making art fun. The lessons are broken down into three parts. The first part is Materials. I will tell you everything you need to know about selecting the right paint, brushes, surface, and more. Part 2 is all about attitude. This is a very important step on your road to success. We will explore having the right mindset, the three types of art, and the key differences between abstract and realism. You will join in on the fun by participating in an easy drawing exercise that will help you develop and understand the common characteristics of expressive art-making. In section 3, we will apply these techniques to a simple and complex subject. Each lesson includes a video tutorial along with a detailed description and demonstration images. If you have questions about what you are learning, simply ask. I will respond within 24 hours. Each lesson is prerecorded and you can watch it at your own convenience and on any device. The class is suited for intermediate through advanced artists. The demonstrations are completed with both acrylic and watercolor, but the techniques you learn can be used with any medium. I hope that you enroll today and start your new journey. For those of you that do, we will kick things off with selecting the right materials to do the job. Thanks for watching. Again, I'm Robert Joyner. Let's make art fun. 2. Materials - Brushes: Let's look at these brushes and I'm going to go over some of the things you want to know about each one, and then we're going to make some decisions on which are conducive to painting loose, which are more conducive to painting tight. Let's start right here with the hake brush. Now, these come in various sizes. A hake brush is designed for watercolor, very soft bristles and when you're dealing with a large brush like this obviously, you can load it up, and put down a large area of paint with few strokes. Very important and I'm going to say that again, you load a large brush-up, when I say you load it up, I mean you are saturating it with pigment, and you can create and cover a lot of ground with one stroke. This brush and this one would be fine for painting loose. Also, if I wet it, you're going to see that it comes to a point. But so if you wanted to get any you could do this and create these finer lines or very vertical type strokes, but once this thing gets wet, it's going to loose that form pretty quick because that much snap back to it and I'm going to talk about that with another brush. But for the most part, these are fine. We can keep these for painting loose. Now we have the Mach brush, also known as the quill. These come in various sizes as well. I have a number 8, 5, and 2. The number 8, is designed to hold a lot of water and pigment. You can load it up, and cover a lot of ground with one stroke. Very very good for painting loose. Next up is the five Mach brush designed to do the same thing as eight, but to do it on a smaller scale. We loaded up and is built for that very very dense, very thick, large belly so we can put a lot of pigment, and it can cover a lot of ground with one stroke. It can cover as much as this one but for the right size painting. If we were working on a smaller scale, this would be great. If I'm working on a larger scale, it may be okay for let's say certain areas of the painting, but it wouldn't be wise to use this for a wash. If I'm trying to cover the entire surface or large part of the painting. I will take this and put it aside. The two, we are talking about a smaller brush designed to do the same thing as the eight but to do it on a smaller scale. We're going to take this and put it aside. Now let's look at the pointed rounds. I have a number 12 and then I have a number 10. The 12 is great. The pointed around is a watercolor brush, is not designed to hold as much pigment is this. It's designed. I'm going to wet it for that point, and you can create a certain amount of detail, and it can use apply this to the paper, and because it has a good snap back to it, it's going to get that point right back. I will show you another pointed round that doesn't do that in a second. This particular brush is good for one thing and that's detail and refining edges. We can use that for painting loose. But it would be done in a very certain areas of the painting. We're going to use it wisely but we're not going to use our brush like this for the entire painting because you're going to have to create a lot of strokes and we start to create a lot of strokes, things come in and we start to get here. We're no longer working here. The number 10, same thing. It's smaller, it holds less paint. We can compare those bristles there. This one is fatter so going to hold more. This one is smaller, obviously, it's going to hold less. I mean it's the same idea is going to be good for certain areas of the painting, but we're going to use it sparingly. Let's take these and put them aside. Here's the kolinsky. The kolinsky is just softer. It doesn't have the snap-back, the other one had. As you can see I wet it, I do this and it's not going to get that point back. That's because of the type of bristles it is. This is okay for painting loose, but one way to think, Well, uses fairly as in the appointed rounds towards the maybe the middle-end of a painting to apply certain details. But for the most part, it's not really conducive to painting loose. Can you paint loose with it? Yes. But you wouldn't want it again, paint an entire painting, medium-sized painting with a brush like this. Now let's get into some other types of brushes. I have two I want to talk about. These are flats or round in this particular one, I'm going to go with a small one first. It has a very short bristles. We compare the length of the bristles. We're looking from the end of the [inaudible] to the end of the bristles. This one is obviously very short, and this was a little bit longer. Consequently, this was going to hold less water, less pigment, and paint. It's good for short choppy strokes. You can paint loose with it, of course, but is it conducive to painting? loose? No. Its conducive to more details and probably putting in certain amount of details, maybe towards the end of a painting. But if you wanted to paint tight, you want a bunch of strokes, that's the way to go. I'm going to put that aside. Now we go to the different type, longer bristles. Obviously, it can hold more pigment and paint. I can create a larger area. Is a conducive to painting loose on a medium to large scale? No. Because it's too small for the same reasons, we get that loaded up a bunch of times back and forth, back and forth, back and forth, chop, chop, chop, chop, chop and we start to get tight. We'll put that aside. A larger flat. This is a synthetic hogs bristle brush. Very, very firm, very stiff. We can load it with paint and cover a much larger area than this and obviously, this conducive depending loose. I think so. Working on a medium scale, I would say something like this would be wise. Working with watercolor. I mean, maybe you can use an unconventional brush like this. It paint loose with it. But that left for a second. Now we have some liner brushes.This is suited for watercolor. This is called a needle brush. You can see it has a belly to it and it goes to a point. The belly is designed just like this one to hold water and pigment. We can load this up and create a really long line in one stroke. We can go all over the place with one stroke and this compared to this [inaudible] similar brush. But it doesn't have to belly. Its not going to be able to hold the same amount of pigment. It's going to hold maybe a fifth or less of the pigment. You'll get a little stroke, but you're going to have to keep going back and forth. Can you paint loose with this? Yes. Is it conducive to painting loose? Is it designed for that? No. Can you use it unconventionally to paint loose strokes? Probably, but for now, let's put it aside. This was not bad, and again, because it's very very small in terms of its size, stroke it creates, I wouldn't say is conducive to painting loose but you can add certain loose details with it, and if I wanted to do that, which I do about paintings, I would use this, but let's just put it aside for now. The last brush I want to show you is the fan brush. I use a fan brush all the time to paint loops because it's very versatile. You can load it up. It holds a good amount of paint as it holds this? No. As it would this No. But it can hold a good amount of paint loaded up and be used the broadside to create long strokes. You can use this side to create vertical thin lines, that thing and it's an unconventional brush and that is in the middle of everything. It's like it's not really designed to put a big large flats stroke is not really designed to put up organic round type of calligraphy stroke. It's own little thing. But you can do some interesting strokes with this, and I think you can paint loose with it. I think it's a good brush to paint with because it's unconventional, and you can load it up and create and put down a nice amount of paint at one time. Let's put that over there. What did we really learn here? What is important? What's the takeaway? Is that the larger the brushes, the more chance you have to paint loose. The smaller the brushes, the less chance you have a painting loose. Because when we start to work with brushes like this, the dependency isn't to hold it back here. Most people would choke up in here, and we started on this thing. We started on this. But when I use a brush like this, I hold it back here. Every once in a while, I'll do a detail or a highlight but for the most part, I chug back on it. But when you're using something like this and it doesn't hold a lot of paint the point is, you have to load it up, you come back here, and that's action creates tight, finicky art, becomes very, very fussy quick. If you don't know how to use these strokes sparingly. That's what I want you to understand about these brushes. The next thing I want to talk about before I go is something I alluded to just a moment ago, and that's the handling how you hold your brush. If I wanted to create detail and get into an area where I want some definition obviously we go in here. If I wanted to do a little bit detail, but keep that detailed loose, and obviously I'd go back on the brush. Keep that in mind as you paint. There's a reason brushes, certain brushes have a very long-handled. If they're designed to hold here, then they would all be about this long. But they tend to all have a longer handle, and if you come back and when I'm some, you're going to find your strokes are looser because when you're up here you're working from the fingers and the wrist, and this action when you're working here, the actions coming more from the elbow and shoulder. Their stroke in general is looser. That covers everything you need to know about brushes for now. Let's move into paper. 3. Materials - Paper: Let's look at paper. This is a half sheet, so we are looking at a full sheet which is 22 by 30, divide it in half, and now you have 22 by 15. For me this is an excellent size for painting loose, and the reason why, is I can use my larger brushes, and I have plenty of room to create nice expressive brush strokes. Working on a sheet this size I can easily find the freedom that I need with brushes, and also with balancing the amount of brush strokes that I use when I paint with the brushes that are light, which are things like this. Let's look at something a little bit different. This is 15 by 11, all right, so half the size as the previous sheet, and this is about the smallest I can go for painting loose. You're going to be a little bit different. Each of us has to understand that we have our sweet spot when it comes to size. But a quarter sheet such as this is fine because I can still use perhaps not this brush, but I can start to break out my number 5. I can also use maybe a Hake brush, and of course start to use things like these, because these are better suited for something that size. Again, quarter sheet is fine with me, is it good for you? I don't know. Of the type of subject matter I'll paint and the style I'll like to do, and the freedom I'll like find in terms of painting loose, this is again about how small I would go. Now look at this one. We're talking eight by five, postcard size. In terms of painting loose, I just can't do it. This lends itself to getting this grip and doing these sort of strokes. If I absolutely had to paint on this as all I had in the studio and I just wanted to do something, then maybe I would do it but I would opt for this little brush, or maybe this one. The scale of the brushes really, I should say, goes down proportionally with the paper, right. Something like this, well we may be able to use that. I put down a tone or an initial wash, but you can pretty much put that aside. Same thing here. But maybe we can use something like this, the number 5. But then once we actually get into a painting, or subject or smaller shapes, we're going to have to go here. Then that's when brushes like this are useful, and that's when I like of course having the freedom to choose. If I didn't have different sizes, then I would be stuck painting on one size paper all the time. I like to go back and forth from a half sheet to a quarter sheet. The smaller the paper, the smaller your brushes, the more you have to load the brushes, the more confined you are with your brushstrokes, the tendency is to paint tighter as it comes in, and of course, looser as we go big. Now I can get too big. If I take this sheet and go to a full sheet, which is probably can't even fit in the camera right now. I can paint loose on this scale. It's about as far as I like to go. Some artists can paint a 72 inch painting and do it very loose. I think if I were to do that, I would need some massive brushes. I don't have that kind of materials. Plus I've found working on a 22 by 30, 24 by 30, maybe 30 by 40 is about as big as I like to go. There is a maximum for my sweet spot in terms of painting loose and staying in a style that I like to paint in. Things that are natural to me. Again, these things you'll have to workout. I do think there is a little bit of consistency that we may all be able to agree on is that, of course here we're thinking tight small brushes, very choppy. Bigger, we're getting looser. We have a chance to use bigger brushes, and of course the bigger we go, the more of a chance we have to paint an entire painting, sometimes even with larger brush. That means less strokes, less detail, more freedom to paint back here, versus painting here. That is pretty much all you need to know about paper. You could apply this to canvas too. I Paint on paper 98 percent of the time, so that's my desired surface, but this was certainly applied to painting on canvas, board, whatever is you'd like to paint on. 4. Materials - Palette: Now let's look at palette. Your palette simply needs to be large enough where you can use your larger brushes to mix. I am going to load this up with water, come over here, gets some pigment and start mixing. I need an area this size. I may even want to use my largest brush, which is my large 2-inch Hake brush. I can mix right here. With this brush, i can mix here and I can mix here. Now, I don't own a smaller palette. But they make palettes and little travel kits that are pocket size and everything else. If you go the smaller palette, the wells, the mixing wells and things like that are going to be very, very small, probably half this size if you're lucky. You can't get a bigger brush in there and mix without making a big mess or destroying your other colors. If you get a smaller brush in there, but that's what they're designed for. A pocket size pallet, for pocket sized brushes to create pocket size paintings. This is all about embracing imperfection painting loose. A small palette isn't going to give that to you. I would consider this a small to medium size palette, but the way it's designed, you do have a larger mixing area. You have two medium mixing areas. For the size brushes I use, I can get the things, mix, get the right amount of wash put down so that I can paint on quarter sheets and half sheets. Be wise in terms of your palette. If you're someone that likes to paint outdoors, if you travel with your paint supplies often. Was there a reason why you can't travel with something like this, or bigger? They make oblivious of the brand its pick, but they're much larger than this and they have a lid. You can close them, put it in a little plastic sleeve or whatever, and put it in your suitcase or travel bag. Go out and paint, travel with it, get on the plane, whatever it is you need to do. The point is if you go to a little small palette, you can't use your bigger brushes, means you have to use smaller and you'd have to paint type. That's all you need to know about palettes. 5. Attitude: Now let's look at attitude. This is a biggie. Alright? This is a lesson you want to go back, look at it a few times because there's something there for everyone in terms of how we approach our art. Many of these ideas are ingrained in us from very early childhood. Let me explain. Now, we were probably three, four years old. We were given a coloring book and some crayons, we were told to sit over in the corner at the table or wherever and start coloring. Now being oblivious to all the rules, we had a good time. We went all over the paper. We didn't care. Right? Well, a few minutes later, the teacher, your mom, older sibling, someone came over and said, oh, wait, wait, wait, wait, wait, wait, you are all over the place. You need to color inside the lines. Okay. It was at that moment in time that we were told to be perfect and neat, and unfortunately those habits are hard to break. Another way to think about it is, let's say we going out for dinner. Alright, we have a fine dining experience and we have the casual pizza parlor. When we're gone for fine dining, okay, and we're going to put on a nice pair of dress pants, a button up shirt, a dinner jacket, maybe even a tie, a little gel on the hair or something, catch a shave, dressed to the nines, right? We want to look our best so that we fit in with this atmosphere. Now the food may be good, but truthfully in the back of my mind, I kind of wish we would have opted for pizza. Because here's the deal, you can offer pizza with the family, comfy jeans, a t-shirt, a pair of tennis shoes. Don't even worry about shave and right, you're good to go. You're feeling casual and you're comfortable. Now this relates to painting in a few different ways, right? When you are painting tight, everything has to be perfect. We had to stay within the lines, we want to be neat and tidy. More at the pizza joint bought almost anything goes. You can be casual, relaxed, and not worry too much if your hairs are out of place. Now, I don't really have that problem, but some of you, I'm sure do. Now to reinforce some of these ideas and to give you some examples on how this relates to your art, we're going to switch over to the art table. And I think after I show you these examples, you'll start to have a good idea of how attitude plays a role in your painting style. And more importantly, how a casual attitude can loosen you up. Alright, two examples. We have a tight and we have a loose. So over here, I have a fine dining experience. Over here. I'm eating pizza. So using a pen and I would typically use a pencil if I were doing something like this. But I want you to see the lines. We're going to draw a rectangle. Okay, so even how you draw it, right, real tight, that's not perfect. So let me straighten it up and try to get this thing spot on. Over here. There you go. That's my rectangle. We move on to the next stage, and that's painting. Alright, so this process at the top, I've got a paint that rectangle, so let me do this as best I can. We come over here, we mix the paint and we get knuckle down, right way down, death grip on the brush, hold it very close to the bristles. We try to get this thing absolutely perfect. Just like the teacher wanted when they came over and corrected us when we were using that coloring book. So of course I'm using a lot of paint, a lot of brush's strokes, so you can see all the brush strokes that are going on. A lot of over correcting. So if it's not right, you know what, I'm going to go over it get this thing just right. Well, that's a crooked line there, so let me fix that. They'll all this, that's not perfect. So let me slew that line out, because this thing has to be absolutely spot on. All right. Now go back and look at this video again and try to count how many strokes I had to make to create that. All right. Now in this example, I'm told to do the same thing. Hey, paint that rectangle blue. Well, great, I'm going to use my hake brush. I could use this brush too, and there you go. And you may say, look how I'm perfect, that is, I mean, your over the edges, this thing's coming in. Well, I don't care. That's my rectangle. But look, your corners aren't right. They don't meet up and then it's just not perpendicular on the corners. I don't care. That's my rectangle. Get over it. One brush stroke. The attitude. Let it go. It's not perfect. So what, that's my rectangle today. Okay, big difference between what's happening there. The same can be said for negative space painting. So if I did another rectangle here, and I'll draw another rectangle there, right? Every rectangle. So this person, of course, may be that they're going to use a big brush. Okay, it's just switch things up a little bit and we'll give it this time will give that person a little benefit of the doubt. And they're going to use a hake brush, but they're going to get way down here on the hake brush and get everything just right. My hand may be in the way on some of this, so I apologize and I'm like, let me load that brush up again. I'll even switch hands here just don't I don't get in your way. Like there you go. There's my negative shape rectangle. This person says, okay, great, there you go. Well, let me look at that thing if it's not even it's not, whatever. I don't care. That's my negative space rectangle. Get over it. So the attitude, right? The two have a very sharp contrast to them. They're totally different. The casual painter is fast loose. Let the imperfections go. It's not that big of a deal. Okay. The tight artist, not what up on with a death grip to the very tip of the brush and doing this. That's what loose is all about. That's what painting tight is all about. Okay. And I'm sure this person's like, oh, well, you got to go back and fix that and I don't. I mean, that's my results and I'm happy with that. Okay. I know it's not perfect, but I don't care. If you like this, if this looks better to you and it's more appealing, and that's what you want to do then go for, you paint tight all you want. I don't care. But if you're trying to paint loose, then this is the attitude you need to have. So just remember a few things there that I probably didn't mention while I was demonstrating is the always think about your grip, a nice relaxed, casual grip on your brush, back off the ends and let it go. Okay. It's okay to be imperfect and you can't expect to be perfect and paint loose. Okay, so this is a really good exercise, I think for everyone to try. As simple as it seems. I think there's a lot to learn from it by going through the motions and doing it. Hopefully this gives you an example of attitude where perhaps even some of this originates, which is way back from childhood, physical examples of where one could easily get lost in painting tight when really they're trying to loosen up, and then show you that example of let it go. Yeah, its you're happy too. Let's go have stake and Quail and grits. Okay, casual, find that. So that concludes this lesson and I'll see you in the next one. 6. Three Types Of Art: In this lesson, we're going to break down the three different types of art. So nonobjective, abstraction and then photorealism. We'll define what each one is and then how they are very different from one another. I hope by the end of this lesson, you will have a good idea of what painting loose is and what it entails. Let's head over to the art table and talk about what your subjects really are. The things we paint, are two-dimensional. This piece of paper has no depth. I can only create an illusion of three-dimension. That's all I can do. We were very limited and how we can represent our subjects on paper. Also understand that subjects are really symbols, just like this cube is not really a cube. A cube is something that has six sides and I can move it around and play with it and do that sort of thing. It's three-dimensional. I can draw a symbol of a cube. The same can be said for a house, a vase with flowers or whatever. Very important to know that. In a sense, everything you do is abstract. It's an abstraction from reality, from real life. It doesn't matter again, what style you paint in, whether it's loose or photo representational, it's an abstract. You're not really painting the real thing because the real thing only exist in life, and in art, they are simply symbols. Just know that from no Rembrandt to Picasso or everything in between they're all abstract. But, there is a big difference between the different styles and that's what we're going to go over now. Now, let's look at the three types of art. Again, there's a lot of things in-between here. But for the sake of this course and understanding, painting loose and we're going to break things down into three. Nonobjective, as you can see, is highlighted over here by itself. Not-objective is pure abstract, so we're not doing anything literal, two-dimensional or anything like that. We're not trying to paint a vase with flowers. That's a style of its own. Now, the other two styles are representational and these are the things we're going to focus on in this lesson. Representational, obviously we're trying to create something on our paper that represents an object or thing or place or whatever on one end, we have abstraction. You can also think about that as painting loops. Over here, the complete opposite, we have photorealism, very tight. The two styles had their own distinct characteristics and certain things that are synonymous with creating something within that style. For example, if you're painting a loose, chances are you're simplifying things, and when you're are simplifying things, that means you're eliminating or not representing, a certain amount of the detail. Now, when you're painting tight, it's more technical. You are putting those details in. You are trying to look deep into your subject and put them down on the canvas. Another thing you can think about when you're looking at this is time. With abstract, loose art you spend less time doing it because it's simplified. Photorealism, it requires more time. You got to be more patient. There are more layers, there are more details, there are more brushstrokes that go into a photorealistic paintings. Now, of course, we have all types of things in between. There's different grades of painting loose. There's different grades of painting tight art. Everything in the middle here, as you remember from what I said right here, and I'm going to use this so we keep it somewhat neat, it's a symbol. It's a two-dimensional object. That's one thing we have in common with different styles. No matter if you paint loose or tight, the fact of the matter is you're painting symbols and what degree of detail or lack of detail determines how much time we spend on our symbols. Very important to know that and it may be common sense for a lot of you, but having it broken down and a very black and white really manner and spelling it out for you, I think is a good way to see it, and it's very raw form. So you can start to digest what painting loose means and then what your job is as an artist to create it. Now, there are some things that both of these have in common and I want to talk about that right here. They're common in that they both require good design and composition. You can spend just as much time on design and composition right here, and you should, as you can here. The preparation for the painting can be the same. I mean, this person can spend more time designing and composing and this person may spend less. But it's the execution of that design that matters. That's where we started to separate what's going on right here, the styles, but make no mistake. Abstraction and painting loose requires good design and composition skills, good technique. With painting loose, you may have to a really good brush skills, you've to know which brushes to use, you have to be very good and very efficient with how you apply your media. If you're careless, and if you think "Dwell on this, I don't need to spend much time on this," then your art is not going to have any depth and it's going to lack quality. Obviously photorealism, you have to have a good technique. There's no way to pull this off unless you know your technique, unless you can do it very well. Now, the last thing is just your intent. Before you even start a painting, you have to remind yourself what it is you're trying to do. If you're trying to paint loose, then go back to here and know that, this is where you need to be. If you go over here and you say, "Well, my intent is to paint the absolute, most beautiful, perfect pair that's ever been painted." Then you have to know that the technical skills and the time involved will be greater and you're going to have to know what you're doing. Knowing your intent is important. Sometimes artists will decide, "Yeah, I want to paint loose and do this awesome wild cityscape," then they end up putting too much detail in and spending five hours painting a taxi cab. They're very hard to pull this off if your intent is skilled. Now, I'm going to put up just some paintings I've done, and I can tell you everything I do is over and here. I've never painted here and never even taken time to draw photorealism because honestly, I don't enjoy it. It's not anything I've ever wanted to do. I'm not naturally inclined to do so. This art just bores me. I had no interest in it. Over here I'm more emotional, I'm more passionate, I have a lot of energy when I'm painting, so I tend to put all my heart over here. But again,there are different levels of abstraction and looseness. Let's just put some up for the sake of just having a good visual. Then you can determine like, is it really loose or is it like semi loose? Because again, everything is on this scale. But I can tell you the thing that you will find interesting is the amount of simplification and lack of detail that is put into each painting in the how that determines the looseness of it, the abstraction of it, the abstract qualities or I should say, of it. Let's go ahead and flash those images. Okay, well, hopefully you can see that there is a great deal of wiggle room there when we're talking about painting in any style. I mean, the same can be said for here, but we're going to focus on painting loose. You can push abstraction in a lot of different ways. It can come in a very minor form where you're almost splitting down the middle. Or, of course you can be way over here pushing into this nonobjective area. But just know that as we move forward with painting loose, that you're going to need to understand the art of simplifying and then being able to put your two-dimensional objects down, less time and detail. 7. Abstract Versus Realism: In this lesson, we're going to explore this idea of abstract and realism. To do it, I've put together a little sketch of a taxi cab. Now, I've done it three different ways. You will soon see that one version has very few details, while another version has more details, thus being a more representational painting. But the thing is they will all three say taxi cab. Now, before I get into showing you the sketch, I'm going to first put my image up on the screen. Now when you look at that image, it's natural to look at all the details. There's a lot happening there. Even though it was just a taxi cab with a person driving it, there's a lot of information. We have the writing on the cab, we have the glares all the details, that headlights, tail lights, the sign, and so on. Your eye is going to automatically go for those details. We're going to get in there and get absorbed by all that information. Of course, if you're trying to paint loose, you've got to be careful. How much of that information and detail you include in your drawing or painting will determine how loose your art is. Part of the problem with painting looses, you're going against what you see naturally. Like I alluded to you earlier, it's your eyes. Your eyes are going to be immersed in details. I mean, it's just what we see, that's what we absorb through our eyes. Part of the struggle with painting loose is our eyes and we can't really turn that off. I mean, maybe there are some special glasses out there that eliminate details. But for the most part, when we view things, we're going to see all of that information. What we will do is go over to the art table and put together the sketch so that we can then have a good visual of how this works. But keep in mind all the while, the image of that taxi cab. I'll put it up one more time just so you see it. Then we're going to look at my drawings. Now here's my little drawing of the three taxi cabs. Obviously, over here, more abstract, looser with the drawing, less details, less time. Over here, more details, a little more accurate, a little more precision involved, so a little more time invested and we have a little more shading and things like that. That says, "Hey, this is a taxicab." Over here, more details. This is about as tight as I'd like to get. The mirror, the writing, the signage on the taxi cab and more shading accuracy. This is realism, more realism than here. But remember what I said earlier, everything's abstract that we do. All of these are symbols, but I've put less detail, less time, more detail, more time. But at the end of the day they're taxi cabs. If you throw a little yellow or yellow-orange, whatever on this vehicle. And he put the tires some from color. That's going to be just as much of a taxi cab as this one in my artwork. Here's a thing that I feel is very, very important and I want you to understand. Painting, abstract and loose art, doesn't mean you can just slosh paint and take your brush anywhere you want to go. It's just not going to work that way. It's a misconception many artists have. There's a certain amount of skill and fundamental and technique that's involved with painting loose. I find when I'm teaching others that are tight. If you're probably looking at this video, chances are you want to loosen up. You probably more over here. That's good. Because I've had some artists that don't understand drawing on this technical level and they can't do it and they tried to go here. But truthfully, if you want to loosen up, it's a good idea to start with something more realistic in details. Then simplify it as you go. You can start here. There's a sign here. I've got the proportions right. I've got the signs right. I've got all the information there that makes this thing really a nice little sketch of a taxi cab. Now, go over here and do it again. Because you already know you are familiar with your subject now. You understand it better and what it means to draw it and to make it. Then you pull over here and you eliminate some of those details and you work more quickly, but because you physically done it here, it's easier to do it here. Then you take that same idea and go here. Whenever you're working with trying to loosen up, the best way to do it, is right here. You can take a simple object and get this range. You start with the scale that I have like this and do three examples. You have to understand how to draw a loose. You have to understand the mentality and that's key. Whenever you put a paintbrush and color down and you break out paper and all the other tools and materials that takes to paint, things become more complicated. Now we're dealing with color, we're dealing with values and all of these other things, I make it more complicated. Piece of compressed charcoal and cheap drawing paper can teach me a lot about painting loose. That concludes this lesson right here. Hopefully, it gives you even better idea of understanding the differences between the level of abstraction and realism. Again, understanding that your eye is going to see all the information, but you have to eliminate some of it. Then to get it to a point where it holds together just enough. When you look at it, it's still says "taxi cab". 8. The Art Of Simplifying: In this lesson, we're going to look at simplification and we'll do it both with pencil and paper and with paint and I hope by now you understand that printing loose is all about suggesting things and not exhaustively rendering them and this will be more difficult for some of you depending on your background. If you're an engineer, a doctor, perhaps you're an architect and you're used to detail, then you may be more challenges someone like me who's always painted a little bit loose. We all need one thing in common and that's the ability, the tools, and technique to reduce our subjects down to very simple shapes and objects. Now what we would do is start with a pencil and paper and I will show you how you can easily take a complex scene and reduce it. We're going to simplify it so that we have an approachable subject. Then we're going to look at paint. We're going to take that subject and then visualize which brushes we can use to paint it more easily. It's an exciting lesson and I can't wait to share it with you. Let's head over to the art table and get things cooking with charcoal and paper. To simplify, we're going to simplify our subject first, taking a very, very simple object and trying to understand and connect to some of the characteristics that define what it is. As I mentioned before, we all have different skill sets, different talents that we're bringing to the table, now I can't address every single one of you and try to correct exactly what it is you're doing or cater this lesson to one particular type of artists that has a certain skill set. You may have excellent drawing skills, you may not. In any case, I'm going to show you a method that you can use no matter what your skills are to draw loosely. Now, practice drawing paper and this is just compressed charcoal. Now, this particular subject is a little still like that has a bottle, some tomatoes in the background and some other stuff going on. I'm not going to worry about the background or anything, I'm going to focus just on the bottle. That bottle has certain shapes and characteristics to it. Also, a lot of people are familiar with this so that they can see a bottle like that and look at, let's say the diamond that's on the front of it, the colors of it and they know right away that's Tabasco sauce. They've seen it before. Our eyes have processed all of those details many times over. Having said that, what we need to do, again is simplify what characteristics and shapes do we need to put down to say, Tabasco sauce? We know what's a bottle and we know was basically shaped like a cylinder. The bottom is a little bit wider so we have this going on, the top is skinnier so we have that going on. That right there gives us our bottle and then the next biggest shape is going to be the diamond and I'm talking about the label that's in front of it. The label comes in here about the top of it, right in there and the bottom is right along in here. You can't see the corners because there are wrapped around the bottle. Let's just go ahead and put the diamond in there. Nice and loose. Don't try to overcorrect things and make it perfect. That's imperfect, but that's what we want. That's part of understanding the loose mentality. You're not going to get it right every time because we're not knuckle down on the pencil and doing this thing. What were backed off of it making quick decisions, quick strokes and we know doing this, things are going to be imperfect. Fine. That's what we want. Now I can look at the other thing that's got a little label up here. I can just make a little line right there that says that's what it is. Maybe the next thing I can look at is this little decoration on the label. That's again getting into detail. We got to be careful or we can look at the shape of that top, it has like these little lines that make that thing. That's nice. I think that's a detail we can probably add and then right here we have some writing, we know what it says, Tabasco, that's no big deal. We know we have this little thing going on. That's basically circle and that's good. We can add a little this and maybe we can now define, just a few more letters that says Tabasco. We want people to be able to see that maybe not all of them, just a few and that's good. That to me says Tabasco. Now I can come in here and maybe just refine things a little bit. Brill loosely. I'm staying loose to get what I mean. Again imperfect but effective. This is a really good exercise you can do to understand how to draw loops. Now you may say, well, I don't know that there's a bunch of writing here and a lot of things that aren't really included and that's fine. I wouldn't say you're wrong, but for the most part, I'm trying to put the least amount of detail into this that would define what it is and we haven't really added color yet. Color is going to give it another level of information that people can connect to. In other words, once I add the sauce color, let's say a brownish red, once the label is white and I've got some green or red little pieces in there. Once I have a green label here going up the top, and once I have a red top, that's going to look more like the Tabasco sauce. It's going to be more characteristic of this particular object and of course, when we're not doing that now I'm not really worried about shading. I'm adding maybe touches of it. But the idea is we're working quickly with a pencil to achieve simplicity. Now I'm going to get it over here and let's say maybe for me that's still tight. I'll want that looser, but here's the thing we've already done at once and now you're not going to get in here and do it even quicker and try to get even more of that nice loose feeling of a bottle. Start along the way. I'm keeping some of those details that I liked and then need and then letting the other ones go. You can do this over and over again and you can't really just do it once. You can't take an object like this, try it one time, and then get on down the road because you're really just scratching the surface of what this exercise can do for you. You want to do these things over and over again with the same map object, repeating the same shapes because you're going to take more and more from this each time you do it because, along the way, you're going to find that you can easily break things down. Find even more freedoms, more looseness each time you do it if that's exactly what you're focused on. Again, this exercise is all about working with a simple object, simple materials, understand the necessary details that you want to include and then move down the line, see if you can create it looser and it still says Tabasco sauce. Again, once I add color a few highlights. That things are going to hold together more than you realize. That concludes this part of the lesson and now in the next one, we're going to take this idea and then work with paint. 9. Hot Sauce - Watercolor Version One: Back to our brushes, and now we're going to revisit the idea of making decisions on our brushes based on what we're about to paint. Some of these will be conducive to painting loose because we can use them to create a broad area of color with less strokes. Others may not be suited for what we're about to do. First of all, my paper is 15 by 11. I'm going to do two versions of this Tabasco sauce. My painting will only be 5.5 by 11, and truthfully the subject will be even smaller. Something like this will probably be too big, something like this is about right. Again, I'm using a watercolor, so I'm going to select the right watercolor brushes for the job. I'll put that aside. I don't really need these although I could use probably this one, because truthfully I think both of these will probably do about the same. I'm going to opt for the mopped over the hape. I don't really need this. But if our painting is smaller and doing the same subject, I will probably go for something like that. The Kolinsky, I could probably use. I think it's small enough, and I have enough shapes in that to merit a brush like this. But I'm going to opt for the number 12 pointed round instead, because it has a point. I can probably get a similar size stroke, but I have the option of the point. So I'm going to go with this. I don't really need the number 10 pointed round, because I already had the number 12, and I think it will do just fine. But, because I have these details that I'll want to include but I'm not obviously going to paint every single letter, I'm just going to suggest them. I think something like this may be useful for that. These are the brushes I'm going to select for the job based on size, and based on subjects. For my layout, I'm going to opt for graphite. This is just a large graphite pencil versus the charcoal, and I'm going to start by just dividing my paper in half. First of all, notice where I'm holding my pencil. I'm not down here with a type [inaudible]. This is going to make me draw details, I don't want to do that. Back here, nice and loose, relaxed, mark the top, mark the bottom, mark the rectangle. It's a big rectangle, I can do a little curve there for the bottom, maybe a little curve here. I know my neck is about a third, so I can come down here and say, "There's my neck," make it out. Good. Now, I get down to the next shape and that's my triangle, and here. I have the label or the little green, I guess it would be a label on the neck of it. It comes out, and I'm good. I've got these little things happening, and I'm not going to worry about the writing on that because I don't really want to put the pencil marks in there. I want to keep that nice and crisp. That's my layout people, that's my drawing. You may say, "Well, you don't have this, you don't have the highlights, you don't have the writing. How are you going to do all that?" Well, I'm not going to do it. I don't want to include those details in the drawing, because it's conducive to painting type. Again, suggest. That's it. Eliminate details. On my palette, I have a fallow blue. I'm not sure I'll use that, but this is Rose Madder, burnt sienna. Actually, I'll will use the fallow blue to mix my green but burnt sienna, cad yellow, and then this is scarlet red. Let's talk about another topic we discussed with brushes. How can we use as few strokes as possible to create this? That's the key. Before I even load the brush with paint, I need to decide and plan how can I execute this painting with 1, 2, 3, type of strokes. I'm not going to do is find myself in a position where I'm doing this. I'm going to hold the brush back here, load it up and 1, 2, 3, 4, that's it. Maybe five. What I'm thinking is 1, 2 to get around the white, 3, 4 maybe one more. If I can pull that all in six strokes, then awesome. A little bit of sienna from our base. A little touch of red in there and we're going to go four. So 1, 2, 3, 4. Just to add a little purple color, I'm going to touch a little bit of these reds in there, and do a stroke, and a stroke. That's it. You may say, "Well, hold on a second." You are missing a lot of detail there. There's a lot of shapes and things that are in that picture that you are drawing and you're right. I don't care. I don't want them. This is about painting loose, so I'm going to suggest the bottle and the shape. Leave it alone. Now, I will switch to this one. My number 12 pointed round. I'm going to in one stroke try to do the neck of the bottle. A little bit of fallow, a little bit of green or yellow rather, and just get something in the ballpark. So one, now I have the red. A little bit of scarlet, and maybe a touch of the yellow. I don't want to get that yellow arrow out there. I want to make them usually more to sure really light red. For now, I'm just going to do one stroke. Something like that. I want to work with the label. Again, we have loads of detail here. Easy to get sucked in and get caught painting type. All I want to do is to suggest Tabasco sauce. I'm using my liner because I think it's really good for creating letters. I'm just going to suggest Tabasco. You may say, "Oh, where are your layout lines? You need to put all that stuff in there." Well, I really don't because if I do, things are going to get tight. Look where I'm holding the brush. Everything we talked about there is going on. I'm not going to worry about the writing here, I'm just going to make these little scribbles for that. Dry the brush off really good. I can now get in here and create that thing. You can do this, this. Good. Now that this is about dry, I can take a little bit of this green and mix it with my red, and just create this feeling of light shadow. We have this little detail and it's really a shape of this neck going like that. I can just loosely indicate that. I will take a little bit of this fallow blue, maybe some of the greens, and some of these browns that I have. Guess what? There's my shadow. I can just hint at the bottom of the bottle there, and I'm good. For a quick sketch, playful little study of trying to understand losing details, painting with a minimalistic attitude. So a few strokes, plan it, do it, and get with it. I've created this quick little study of the Tabasco sauce. Again, that's just one idea and one way to paint loose. With watercolor of course we can tip it, and let these colors run a little bit. Maybe I can even smudge that a little. I can just lift some of this with a dry brush. Don't fudge with it too much to create a feeling of a highlight there. I can wet the brush and is still damp there and not too wet, because too wet your going to get a cauliflower. I'm going to draw it off a little bit. I fill in a little highlight there on that one, and I'll lift that a little bit more. We can even take this and lift if we wanted to, while it's wet. But again, the more you go back into it, you start messing with it. You're sooner start to get tight. My suggestion would be to put it down as spontaneously as you can like I did here, and then leave it alone. That wraps up this version of it, and now we will do one more. 10. Hot Sauce - Watercolor Version Two: In this version, I'm going to do the same thing, but instead of doing wet and wet, I'm going to do it in layers. I'm going to add just a touch more detail than what I did here. But, I can tell you I've already thought out my plan. My plan is to do it very similar to here. Get down this base and then let it dry. Once it's dry, I'm going to add a filling of a darker value coming down the bottle right in here. Then a little bit darker value going up the label on the neck. Then that's going to be a dark value. I'm going to take that dark value and then make that filing of letters on the neck of the bottle. I'm kind of connecting that shape, simplifying it. Then I'll add a little bit darker value on the top. I'm going to do it without a drawing. You will say,"Oh, we'll we've got to have a drawing or we're going to it mess it up." Really because I'm familiar with it and have done some sketches, I have painted it. I've got some familiarity with it. Often times, you can create looseness and expressive qualities by not putting a drawing in. There's nothing here that says we have to do a drawing. This is easy enough that it lends itself to paint, not having a drawing. Whenever you can get away with it, why not do it. Again, minimal strokes. That's what I'm after. So similar colors. I will mix it. Notice that the grip, once again no more broken record there, but I fill it goes without saying and then what I need to say it, I need to remind you because these are the things I take for granted. One,two, and then we'll give the neck. I can rinse that off. Now I will go with a little bit of green and got that in there. I'll just stick with this brush to create this filing of the top. Something like that. Without a drawing you can see it's a little bit looser. Naturally whenever you put a drawing in you're going to go around those lines. Again sometimes we need a drawing because the subject isn't as simple as this. We may be dealing with more complex landscape, still live, and so on. Certain things, maybe we need a layout, but I encourage you to paint without lines whenever you can. For the reason I just explained, it's going to lend itself to loose qualities. We have the writing. Don't worry about it if you run out of a room and you mess up a letter, you misspell something, don't worry about it. Just let it go. Don't over correct it. I guess is really what I should say. Sometimes it's those imperfections that make things interesting. Those are the things that amaze people because you can make things imperfect yet still pulled off. They're like, "Wow. This thing looks like child's play, but for some reason it sticks. It works." Now that you are learning how some of this is done. You'll understand a little bit more about it. Now for this particular layer, that's enough. What I will do now is let it dry. When it does, we'll come back and add the second layer to it. Nice and dry as you can see, loaded with imperfections. We've got the color creeping up in here. We get all of these little wobbling sides. There's red mingling with the green. Out of whack big-time. We don't care, because this is all about painting loose, suggesting things, get known down the road. I want to put a little bit darker value coming down, as I mentioned before, a little bit darker value going up. Since I will push the light to come from this side, it will make a little bit darker value over here. I'm going to put a little bit of sense of shading and shape on that, but I'm going to do it with pop pop. That's it. I will start with a bottle. If you look closely, there are hundreds of shades of brown and everything in between and highlights all on this bottle. We can't get lost in that stuff. That's the thing that will bring you back to painting tight. I've got my brush loaded up. This mixing of value here, that will be dark enough. Back on the brushstroke brush handle, load it up. Before I start painting, I'm going to think to myself, how can I do this? As few strokes as possible. One, two. Now I can go a little more, let's say red and do that. Just blend on it a little bit and then take this just water and soften that edge. Now I can take a little more red and just pull that down in here to create the shape and I'm done. I don't want to mess with that anymore. Now come over here to these greens, mixes more to a very very dark shade here. Something like that will work. I'm only concerned about value. I'm not color matching. I'm not trying to get everything the way that image shows. I liked how that was creeping up in there. I'm just going to block that out. We leave a little bit of that. Here, think about what I want to do, one, and then I can just pop pop pop, create that feeling of writing there. People know it's ready they've seen the bottle before, we've talked about that. Now I can take a darker value and go down here and create the shadow. We pretty much had this thing wrapped up except for this area. That's going to be done in two layer. I'm just going to put one layer here. I'm going to let that dry. When it does, I'll come back and add that next little pop, a dark color. Nice and dry. Now a little bit darker. I'm just getting something that's darker than what I use. Again not color matching here. Put it down and leave it alone. I can get a little bit of this value there to indicate that little notch on the top here. I'm done. That says Tabasco bottle. If I were to see that anywhere walking past it, I would be able to glance at that and go, "Oh yeah, that's a bottle or that a Tabasco bottle. " and I'll move on down the road. Real quick and easy subject here an exercise you can do to paint loose. Approachable for anyone. Your object can be an apple, it can be anything in your art studio, a paintbrush. The idea is, you keep it simple and focus on the core of what we're teaching here, and what we're learning. That's to put it down with this few strokes as possible, with as larger brush as you possibly can, indicate as few details as possible that your brain will allow. That will say this is what it is. That's what we're trying to do here. I hope that doing an exercise like this will lead you to more complex scenes and that's what we're after. We don't want to paint one object all the time, you may be a landscape painter. You may be a portrait artist. I don't know. The methods I teach you here though, can be applied to any subject. But I'm saying is we want to move on to the next level. That's what we'll do. In the next stage we're going to take a scene and then approach it in the same manner. I will see you next time. 11. Hot Sauce - Acrylic Version One: All right. So I am right or go here. I'm gonna start with that simple still life with Tabasco sauce and the first decisions we have to think about. And this is a little bit of a reminder to Is the size we're working on so that we can start to select the right brushes for the job. So for me, that's about having a nice medium. So this is a medium round, and this one is gonna do the bulk of the pain. Also, a fan brush is very useful because with one brush, we can create a broad area we can create, use the side, the brush and create a little bit smaller area painting. So this would work fine. And then I will use appointed around just for some of the writing on the label and things like that. So these brushes would work fine. Now, when I wouldn't want to do a course is to introduce brushes. They're just too small, so you can see there's just not much there and a brush like this and just has really sure bristles. I know all that could do is just short, choppy strokes. I don't really need that for the style of painting. Now I'm going to do two versions. Okay, so if you're looking at this paper, this is 15 by 11 and you're thinking, Well, I guess I could flip it like this and do a bigger version of the bottle. If I were gonna do that, I would select bigger brushes. Okay, but because I'm doing two versions, I'm using this paper to do both. So be one too. Then these brushes will do fine. All right. Now, whenever I'm laying out the subject, I'm going to look at it in a way that I will go top bottom. All right, Then I can create the next biggest shape, which is the base of the bottle, and they have the neck, and that's it. From here, we can get a couple of curves when one we can start to define the very top. And now go to the next biggest shape, which is this triangle. So it starts about here. It goes up about here, and then we have this not still a little shadow on it. That's always gonna be so Think of this more as a sketch. So we're breaking the ice with the whole idea paying. So we don't want to tackle things there too complex, too early. All right. If you start to take on too much, then the exercise becomes too overwhelming. Okay, so we take baby steps and this is baby step number one. Now you may say, Well, what about the legal in the writing? That's fine. I can lay out a little lines right here that will help me with the writing, So that will be Tabasco. And then we have kind of a circle. And here for some writing, we have some other little things going on. And, of course, a lot of that's going to be excluded. So I say that there's a lot of detail that will be left out on the label on Lee going to paying what I feel is necessary to convey the subject. Can we have a couple of highlights? There's another little label going up the neck there, and that's it. Okay, I only really anything more than that. Because if I get in here and knuckle down on my pencil and start writing every single letter, then I feel that's gonna make me a little bit too tight. Now you can, of course, get more detailed with the lettering. But for now and for But for this example as well. I'm going to let it pass just simply because I want to make sure you understand how to do this in a minimal manner. OK, so I've got my layout down. The drawing is ready to go, and I'm ready to crack forward with the painting. All right? Now, I would take the largest brush. OK, This is all I need. And I want to think to myself How can I start to paint this and use very few strokes? Okay, that's the key. If you remember, right, Painting loose is all about getting it down with less time invested and trying to envision how we can do this on his little time as possible and is with a few strokes as possible. Have a loose handle here. This Farrell is starting to spend on me. Let the little tape on it. So little repair on the fly Here, I will choose a color that's close to this kind of catch up. Brownish looking color. I can start with my CNN. Let me go over my colors. real quick. Sorry I didn't do that earlier. Birds sea, you know, Scarlet, red, yellow, ochre or ultra marine blue. Cerulean blue. This is titanium white. It's got a little bit of red mixed in it. I guess I put the wrong cap on the white, so But it's fine. We'll go with it. Cad yellow. And then this is a light green. So again, I'm gonna mix up enough colors here to get my base down. And for this I'm just using a little bit of my CNN and Oakar to get my base. And now I'm just gonna touch a little bit of this scarlet in there, and the resident changes quite a bit. And then what I'll do is just dap a few pockets of colors in there, so you can see that's not over mixed. I've got little pockets of red ogre Sienna, and even on my brush, it's the same thing. So I haven't overmix the pain. And what that's going to do is is create a little bit of variety in here. Okay, So, again, minimum was drunks. Get it down and leave it alone, all right? And I touch a little bit in here, too. And that's gonna be fine. Now, while this is what I can say, OK, I've got a little bit of light hitting the left hand side, so I go right to this poker, which is a lighter value and just kind of touch a little bit of that in there. One thing I will tell you is I'm not a slave to the colors on the image, So I'm not trying to color match either. Okay? I'm not gonna get deep into that right now, but just so you know, I don't ever try to copy everything that the image gives me simply because, you know, that kind of breeds being tight again. So you start to come in. What you want to think about really is values. Values are more important so you can get your values right. The chances are the painting will be fine. Now, just have a little bit of that brownish red on my brush. I want to touch a little bit, uh, on that bottle cap, and that's good. So for this one, I'm pretty much done. I'm just going to clean my brush off a little bit, and it's still got some water on it, okay? And this point, you lightly shape that label. And what that does is that creates have a transparent layer, almost like a watercolor look. So what I did basically is take clean water and diluted it and or just touched the paper. And what that pigment will do is kind of run down into that water. And that's a really nice way, Teoh. Create some shape there and kind of refined those edges without going too far. Okay, now I need to get some green down here, so I'll go with a base green, maybe a touch of the blue in there. Maybe so Ruli in and get my neck of the bottle in there and you may say, Oh, my gosh, it doesn't look anything like the picture about a block and whatever. I don't care. Remember, attitude is important, okay? We don't We're not looking for perfection. And for now, I think I'm done with this brush. Think about around brushes. It's hard to get too tight of a line, things that tend to be very, very bulky with that sort of I'm shape. So now I can get to my fan and start, you add just a touch more depth to this. Okay, So what I can do is take this red catch a little bit of this Sienna and ultra Marine blue again not trying to color match. I'm simply trying to convey light and shadow, so that gives me a little dark on that shape. I can clean that off, goes a little more light, touch your poker, and we have a little shape there. Now we're moving right alone. I can take a little bit of yo into this green touch. A little light on that. Okay, Now I have a shadow moving across to the right. It's always take a little bit of my blue and push into these dark Already have my palate, maybe touch a little more Sienna into that. And I can kind of start to get my shadow. When there I'm just going to push that I'm or to a blue there. And that's fun. So so far so good. Now I can take a little bit of that dark mixture put on that label, and we are moving right along. Now I'm going to switch to my pointed and go right into some greens, and I'm gonna put plenty of water into this. And what that's going to do is allow that pain to come off my brush more easily. So what I mean by that is straight out of the tube. Uh, heavy body acrylics tend to be thick, obviously heavy body, and they tend to be sticky. Okay, so we put a little water in there. It's kind of like a lubricant. OK, is going to loosen it up a little bit so that it flows off of your brush more easily. All right, so Tabasco key A B A s c 07 letters. Right? So if you go to number four, that's gonna be the middle, so Well, ta be a Do you see that a is right in the middle. So what I can do is go ahead loosely put that a m, and then I have Of course, um, I can start to put the other letters in there. So the sea and the O and then I have a t a b b a t on this side. Well, because it's kind of running away from me. We just lost, right? So we don't need to get that? Perfect. We have seen enough information there to let people know what that IHS. Now, when I get this to a point, So I got that nice point on the brush and we have some writing and here, which, honestly, I don't care about in terms of trying to tell everyone exactly what that says. And now I can clean that off. And now I'm gonna do with my paper or mine. New Iraq here is just block that off a little bit. Okay, now, well, create an illusion. The shadow. So I've got a little bit of that slightly darker value here. I'm using all these greys and browns that are used, and that's just going to create that light and shadow. Clean my brush. Same trick. Soften that with a nice wet bristle. And I'm done. Now, come back and go with a little bit darker green here and just kind of touch some of these letters in here. And that's gonna get that illusion off like shadow. That's all we want now, coming here with some nice whites. Looks like that Red is in there. So one of balance that move in a blue and now, I'm just kind of touching here, right? No, I have those highlights in touch. A little bit of this poker in here, just so you get a nice warm color and we can go here and here and maybe on the bottom of the bottle, I will add also a few highlights there, just shining through the base of the glass there. So I get the left hand side with the light's hitting it, and then on the right hand side, where shining through. And that's good. So now I've been coming here. I can see some went anchor that bottom of the bottle just a little bit. That's it. You're gonna get this little bit of, ah, touch in there, and that's all you need. So, for a quick Tabasco bottle, that's not too bad. If I wanted to take it a step further, you get a little bit darker brown mixture going in here and now kind of touch, um, a little bit darker value on the right hand side. Okay, So the last thing I want to do now I do it because acrylics dry so fast, it's just touched. Some read into that lead. Same idea would put a put a little bit out, and I won't take the tip of my Russian with it so that the heavy body a cruel it's become a little work fluid. Now that it's not looking my brush, I will just rotate that brush. You can see me spend it and what that does. It brings that brush to a point. And now, real quick, the one It's a few little pops in there of that. So for a quick sketch, a quick study off, trying to understand the attitude and looseness off any loose this is all you need, okay? And this is why you always want to start simple so that you don't overwhelm yourself in the beginning. And this has a little bit more about a lighter value on that side, just catching light. And I just want to catch that. But apart from that, if you want to come in here and take a little more white and it's got, you know, a few highlights right there and around the bottom, and that's good, so you see in perfect, you can look at the shape of it. This has got this big old bump over here. And, you know, if he really dissect it, there's a lot of imperfections there. But this is all about embracing the imperfections. If you've never painted this style and your eyes and your brain tell you Oh, we've got to get this straight. I don't know if I can let that go. Then that's no. Okay, well, that is is you meeting to adjust to embrace be imperfections. Okay. And you haven't come to the point where you can let that happen yet. Okay, so what? I'm advises, Take these quick studies. Even if you look at it. Go, man, that is just a complete train wreck. I can't let that go. Let it go and then take home and tape up so you can see him in overtime. What will happen is you will begin to see the beauty in the imperfections. You'll begin to see in a just to those in perfect qualities. Okay, so at first, your brain is not going to tell you it's okay because your brain is used to telling you that is not okay. So that's the kind of investment of time that you're gonna have to take on your own Okay, a lot of that just depends on your background. And you know how far over to the representational and put a representational society are depending or if you're in the middle or if you're already paint. Lucy, you want more ideas to paint boots? OK, but anyway, if you were me, I would take this off, tape it up on the wall, and just leave it there for a while. Don't Don't try to judge it right now. OK, then. This is not the time to do it. You want to just let it sit there and then, you know, over time you walk past that, you'll look at it. Maybe you won't think twice about it, and then, you know, eventually going to start to look at it a little differently. Promise you're going to start to see how those spontaneous loose marks become more engaging and more appealing to you. Okay, Now I'm going to do one more version on the right hand side. But the difference is I'm going to do it without lines. Okay, so we'll do that next 12. Hot Sauce - Acrylic Version Two: With this version, everything's the same. I will approach it with the same idea of using the right brushes, same pallet, same size. The only difference is, I'm not going to use a pre-drawing. By not using a drawing, it will help me loosen up even more. Now I can get away with this for two reasons. First of all, it's a simple subject. We're talking about a bottle with no background, really nothing else in terms of shapes and things like that that we need to incorporate. Then number two is, I'm familiar with the subject. I've taken time to draw this many times. You've seen quite a bit of that in this course so far. I've done them before. Is this the subject that I like doing, these very simple still like paintings where you bring the excitement of the subject out by the how you do it, the execution. Not so much by trying to overwhelm or impress somebody with a awesome composition. Anyway, no drawing. I'm going to approach it the same way. I'll start with my bigger brush here and grab a color that works and see if I can go one, two get the top of that label in there. Already we're good to go. We got the neck of the bottle there, which I will eventually make green. Just going to dry that off. Now I'll go with a little bit darker value here. Putting some ultramarine and bred into this. I'm going to go ahead and put this dark area down for the bottom. Now I can take blue and put in that shadow, so I have my shadow down. I'll clean my brush cause I'm pretty much done with that. Now just some water there to soften that edge, dah, dah, dah a little bit. Now I can get into the top. Just put a little something there. Now I can get into some yellows and some lighter browns. Now it is touching what could be some highlights in there on that side of the bottle. Now I'm already moving into the labels, so I can get my shadow side down and smudge that out a little bit with my finger. I'm finished with that brush I can move them with this one. Go into a little bit sharper red, touch that into some green and blue. That works fine. Already we're moving along. Now to get this shape on the bottle, probably I'm a little too vague but I'll shape that off later. Now get a little bit lighter value here. A little bit different hues. I'm going to work a little bit of white into that. I'll get this side of the bottle end. Now I'm going to go nice and thick with this green and yellow and get the neck of the bottle there. I can curve that out with my finger. That's all working pretty good. Go with my red. I'm rolling the brush that's a technique there, is hard to see. You can see I'm rolling that in the pallet. It's pretty wet already in here, so I don't need to put any more. Now, adding that feeling of some decorations and different details on this bottle. I'll go back into this. We have our A in here. I'm just going to change that color up a little bit. We have our B. Now I can change it up again, maybe get a little bit darker red. Works but maybe a little bit. Excuse me. Some more writing in there. Now I'll have a little bit darker green. Wasn't quite dark enough. That works better. Clean my brush. I'm just going to light side on that. That's fine. I think from here, I'll put this brush down, move into my fan. I can just come in here and use the background as a way to shape some of these areas. Good. As you can see no pre-drawing, nothing like that. You can pull it off. It gets back to that coloring book theory. If you have your lines already in place your brain automatically locks into those edges and you start to use those lines in a very tight way. You don't want to go over the lines, that sort of thing. Approaching it this way helps eliminate some of that and it's fun. It's nice to let go and do it this way once in a while and see what you can get away with. It doesn't hurt to try these things. Of course, you always want to try them in a very easy manner. We don't want to tackle something like this whenever you are dealing with a complicated subject or if you're not familiar with painting in this style. If you try to take a complex scene and go, "Oh, I saw the way Robert was painting that thing with no drawings, almost going to knock it out right here doing this awesome landscape." Of course you got a lot more elements involved when you're dealing with a complicated subject. Therefore, it's much easier to fail. Always approach new ideas and new techniques and certainly things like this with the idea that you're going to start small and then grow into more complex ideas and try painting those, of course, without the lines. But again, this is just a quick demo here to show you it's all possible people, you can pull these things off. This tutorial, this demonstration here, is simply to show you that you don't always have to have a pre-drawing. If you can get away without having one then it's going to be a little bit looser. You're not going to have the luxury of those layout lines in the beginning. It's going to lend itself to more accidents, more imperfections, and let them go. Don't try and get it perfect, don't always try to dial it in. Have your plan in place, have your brushes, think about how you're going to pull it off, and then do it and leave it alone. If you're not familiar, if you haven't seen your work this loose before, then you're going to have to give your brain and your eyes a chance to adjust to it. A lot of times artists will try things like this and then they go, "Well, it's not what I'm used to seeing." You automatically discard it as junk. Then they paint over it, they throw it away, they get rid of it because they don't want the evidence. They don't want to remind themselves they did it. I used to do that sort of thing. But then I started keeping all my rejects and then I eventually started to see them again and revisit them. Next thing you know, I started to see beauty in the imperfections. That's the whole idea of embracing imperfections. If you're coming from a very, very tight representational style, whether it's art or with your career, whatever your background may be, then you're going to have to embrace it. You're going to have to let your eyes and your brain adjust to some of these imperfections because the beauty and the success of it isn't always going to jump out at you. You're not going to do an award winning, lose painting your first time around. But if you do, congratulations. Make sure you give me a little credit for that. For most of us, normal people, it takes a while. We have to start with it, we have to develop it. We have to take baby steps to get there. That's the normal course of action. But don't throw them away people, there's always something beautiful about these things, these quick sketches. If you're trying again from scratch, trying to develop from a tighter style, then you have to take these things in this very raw form and hold onto them because there's gold here. You just don't see it yet. 13. How to Develop Complex Scene: My image is very complex. A lot of details, very easy to get locked in, and sucked in through all of that information. The first thing you want to do when you tackle a complex scene is to decide what it is that the painting is about. Again, this is getting into composition but I will avoid getting deep into composition and focus more on how to take this specific scene and reduce it to a story, something simple that I can make the painting about. If I want to get locked into the details on the building, on the awnings, and every single person and car that is incorporated in this image, then it's going to be about too much. The idea is to find ways to say, "Okay, this painting is about a car and two figures that are standing near the car." The rest of it can be simplified. It can be reduced to support the story, so whenever you tackle a complex scene, you have to think in terms of how will I create a story from this image. If you want to paint details and the architecture, then make it more about the architecture, don't even worry about painting the whole scene. Just zero in on a door or an awning or a porch with flowers or something and make it about that. Find the story, find the shape that you want to key in on, and the rest of it can be reduced. That's what I am about to do. Painting loose is about finding an easy solution and a lot of that is done in the design process. As you become more familiar with designing and reducing your images and finding your story and things like that, then you can work more intuitively. I'm not saying that every single painting you do for the rest of your life has to be done this way. I recommend it. I think it will benefit you, but over time, you start to develop a style, you start to lock in on certain things, you start to see the subject within a complex scene more easily. If you've never worked along these lines, naturally you're going to have to invest more time. Anyway, so a good way to do it is to think about, what is the end result. For me, I know I want my painting to be portrait layout. I will think, okay, I will make a few options here on this. Now if I were working in my studio and not recording this particular course for you, I would maybe work smaller. I would maybe fit four of these on this piece of paper, but because I want a good resolution for you and I want you to be able to see what's going on, I'm going to work bigger. Now, this image gives me one thing that I really like and I think you will agree, it's the car. We can take that cool car and reduce it to this shape. That's basically a square with a line across. This would be the windshield, this would be the front, and then of course we have a shadow underneath, a lot like this. That's basically a really nice shape to key in on and it's in the middle foreground area, I can push it back and make it in the middle ground. I've got some figures that are walking past it in here, so I can combine a couple of figures. Maybe throw a little car in the background here and we have ourselves a nice little story there. What I will do is mark my horizon in here, maybe add the feeling of the car right in here. Then I can take my figure and do something like this, so we have our figures walking along, I've got my shadow, and then we have some other lower drop shadows or cast shadows coming across so we can connect things. Back in here, I can loosely put maybe a couple of more cars that are going away from us. I had this line coming in here for the buildings. Again, I'm not getting sucked into every single building, I'm reducing this to a very easy, manageable shape. We have the buildings on the left coming down like that. For me, something like this works pretty good. You're not going to even fill another little figure over here but something like that would be easy and manageable. If I had to say, okay, I'll definitely want another image, something else and maybe say, I've gotten the buildings coming in across here. I like the idea where that's going, maybe instead of doing the buildings the way they are in the image, I could reduce it and maybe create a structure like this. Really, it is kind of inventing this kind of a feeling of a building there, so what it is you're looking at it like that and it'll be in perspective. Now we can get back to our car here that I like so much, so I'm using the image for my inspiration. I'm still incorporating these figures that are walking along in here and we can easily do something like that. Then it give that feeling of some more cars over in here with maybe another figure there, something like that. Again the figures, we can do our cool little car here and maybe drop, run the shadows going this way so the light source would be coming from the left-hand side. Something like that would work too. We put the shadows down over here, we'll make this area over here a little bit lighter value. We've put our car in there and little figure there to balance things out, then we have our figures in here. Something like that would work. Here's a look at the final sketches. We have the left-hand side, which is really reduced and inspired by what was there. Just taking the backdrop, which is the buildings, keeping the sky simple, adding the cars, the figures, gave me what I need, and that's an easy, manageable situation to paint loose. The right-hand side, I changed things. I used the inspiration, bits and pieces of it, and added them, and then altered a few of the buildings to get this scene. In any case, the bulk of the finished painting is done right here. I'll say that one more time. The bulk of the finished painting is done right here. Because as you're doing this, not only are you simplifying, eliminating details, but you are envisioning how this can be done based on the things we've already discussed, using big brushes, using minimal strokes, things of that nature. Also you have the ability when you'd take 10 or 15 minutes to do these sketches to create a situation where you're in control and that's so important. Often times, artists will simply become a slave to what they see and they try to copy everything that is in nature and that's a losing battle. You're going to lose that nine times out of ten. Now for painting loose, you have to work very systematically. As I mentioned before, when you think about what goes in through a painting before color hits the Canvas, so the preliminary work, the design, the sketching, the compositions, the thought into how you're going to approach painting it, that thing and that amount of time will save you a lot of heartache. Also, it's going to open up more possibilities for you. When you rush into a painting, then you're going to first of all, end up painting in circles because you don't really understand what it is you're trying to say in the painting. What's the hook? Why are you painting it? Where's your focal point, things like that. Then also, how are you going to pull it off? You're trying to make thousands of decisions when a painting is going on and that is just overwhelming for most. You can get lucky once in a while like that, but for the most part you're going to make painting very challenging. Working more intuitively will come natural and easier as you invest more time here. But if you don't invest time here and you don't approach the finished painting with a plan, then you're guessing a lot and that is just a really bad approach to painting any style. It doesn't matter. Having said that, this is a wrap up of the thought that goes into simplifying a complex scene. I've got it where I want it now, I can approach my painting with a tremendous amount of confidence. I already start to envision how this is going to unfold. But before I do it, we're going to look a little bit deeper into this, we're going to talk about values, connecting shapes and things like that. We'll just go and kick off that lesson right now. 14. Value Sketch Watercolor Version: At this stage is wise to do a value study. A value study we are talking no more than five minutes. The goal is to reduce colors and values to maybe three or four so that you simplify your composition and design. I'm going to talk you through that in this video. Now, another note I want to bring to your attention is the paper. This is 14 by 11. It's cheap paper. This is actually bristle. I would usually do this smaller, so I would usually do this on maybe half the size because the idea is not to create a finished sketch. The goal really is all about doing a quick block study and understand how you're going to organize your light, medium and dark values. What this will do is give you an edge on painting quickly because what happens is when you get into a final painting, you start worrying about colors. You start to over-complicate that whole process. By doing these quick values studies, you'll eliminate a lot of unnecessary decision-making as you get into the final painting. Again, I will walk you through that both in this value study and then into other final painting, but these are really good. They're the great exercises for understanding value, and if you're new value is the relative lightness and darkness of a color. You always have to organize your values to create the focal points and to minimize. That's the goal we want to simplify. A number 2 pencil here. What I'll do is just quickly lay in the blocks. Again, you'll see this is not about, I don't want anything fancy here. I only have the car and then we have other cars and stuff like that, and then we have our figures in here. That's it. You saw how quick that was. Now, I will bump this over. I'm just going to use the color or start with a color that's on my palette. Now, I'll add a little bit of ocher in that. What I'm trying to do is come up with a neutral, something on the light side and then we'll get this in. I have some lighter values around these figures and the cars so I'm going to go something like that. Now I can just use a little bit of water, simple like that in the skies, but it'd be really light. They will have a little bit of value to it, but it's not going to be much there at all. So that gives me my biggest value there. Then from here, what I can do is start adding my darker values. I'm going to go a little bit of neutral attempt into this. Whenever you're working with watercolor and you want to go darker, you can just add more pigment to what you have. There's simply more pigment in the wash. Now, I want some of these darks to run along in here. The base of the building maybe around the car, top of it. We can leave some of that in there and something like that. Now I can run a shadow, cast shadows coming across like this. I'm going to go really nice and thick in here. All the while visually, this is helping me understand how to coordinate my colors. Now lets draw this. What's going on is we'll go a little bit darker in this building, something like that. What I can do is let this dry, come back at the finishing touches the really dark values and then you'll see how that's pointing to reduce and minimize the blocks of color. It's going to connect everything. I'll be back when this dries. So nice and dry. The only thing I really need now is just to add a little bit of the darker darks and then get these bands of cast shadows that will be gone from left to right. So I'll just add a little bit of pigment to what I have already and just strengthen this a little bit. Because it's dry I'll be able to get these nice strong lines and shadows. You see we've some little figures coming in here. This is a little nice dark back in there. Truthfully, doesn't really need to be much more than that. That's pretty much it. If you absolutely wanted to see how the whole thing will work, you can always throw in your verticals and the different things that will be happening in there, but for the most part I know that's all I need. I've done these value studies before and truthfully, I have all the information I need. Let's just talk about that real quick so you fully understand what's happening here. This is not about a finished, wonderful sketch that you can show everybody. It's not that at all. This is about organizing your colors and values. You want to group things, emerge them. We want to simplify the approach for the next stage and that's painting a complex scene. What I have up here are four squares. The sky, I used the white of the paper, even though the sky or reality may be a little bit darker in value than this. For now, I just used the white of the paper so we'll say this is value one. Value two is going to be the street. I'll just go right here and we'll say the street. That's our very light values so we're going to be roughly in here. Our value three is going to be the buildings. In here, it's going to be darker than this street because there are verticals, and we'll say we're roughly in there. Value four is going to be the building's structure right in here. I'll go a little bit darker. We're going to go right in here. Then five will be this band of darks right here behind at the base of the building, and then trickling or behind the car and that thing. That's going to pop that focal point. That's really going to make that sink so we got that. That's all it is as you can see we're not trying to define anything, we're not trying to say, Oh, that's the car it needs to be perfect, everything needs to be perfect. We're just trying to bulk it in there as chunky as you possibly can. Don't get caught up in details or anything like that. This is the opposite of that, it's simplifying. I can simplify this any more but thank for the terms of teaching and conveying what I want you to know. I actually put a little bit more detail than I could, than I would normally would, but for the most part I think it pounds the point home about values studies. Hopefully, you can see now how my colors and even all of these shapes and everything have merged, that they've all locked and joined together and now I know where to put my darks and my lights because if you get into a final painting and you don't have this to go from then you're going to be doing a lot of unnecessary painting. You're going to be probably putting things in different areas in terms of your values and you're going to guess a little bit more. Now, the thing about this study is once you understand the values and you understand how to simplify things, in the future you can work more intuitively. Sometimes you can see the solution without doing value studies, and the value studies are difficult in the beginning. They're going to get easier with time, but you may not understand how to simplify. Some of these things may not come easy to you, but you have to try and you have to get in there and get your feet wet with them. Then over time you start to develop a better vision for it and of course, the skills and all that stuff will get easier and easier for you. But anyway, that's my value study and now I'm ready to move on to the next stage. 15. Value Sketch Acrylic Version: Now a good idea, is to always think about your values. Where are your lightest lights? Where are your darkest darks, and where are your mid tones going to live in the painting? So if you've never worked with value studies, you should, because this has a direct impact, on how you approach the final painting, and more specifically, how you approached on a loosely. Once you understand where your darkest darks are, and everything else in between, then you're going to be miles ahead in terms of creating a final piece, as opposed to if you didn't understand your value structure. So if I were to not even think about my values, and just start doing my final piece right away, then that's going to lead to a lot of mistakes and a lot of painting in circles, a lot of frustration, and waste of time. So by just taking a few moments and a practice piece of paper, and do these small sketches, you can start to organize your blocks of values are really quick. Generally we'll do three to four values, and that's pretty much all you need to do, you can do it as blocky, and as specific as you want or detailed as you want. But again, since we're thinking about painting loose, it's a much better idea to think, chunky, chunky, chunky. On my palette, I just have some random colors, but I have the three primaries, so blue, yellow, red, and if I mix all of those together, I'm going to get a nice base neutral. So I'll just get a little bit these, little bit of everything here, mix all that together, and that's fine. So if I wanted to lighten that a little bit, I can come right below it, and go on to here. So that's going to be my base, neutral. So when I say base neutral, I'm talking about, something in the middle. So you have your lightest light, your darkest dark, and then the base which is, what you would find if you divide those right down the middle. So again, putting that down, and I can take that base neutral and bring it right on down, I'm going to enlighten this a little bit as I go into here. You can see a super, super chunky, but that's what we want. Now my light is light, I will have some pops of light in here, where the cars are or where the car is. So right in here, there will be a couple already here, I want there to be some awnings or something in here. Then apart from that, we've got the sky. So the sky is going to be, more of a lighter value. So that is going to be placed towards the top, and then I'll want a lighter value on the ground, especially on the sidewalk, that's going to lead me into my focal point, which is the figure that is walking there, as you can see, I'm not worried about getting perfect grays and all that stuff, but am just more focused on how light it is and how is it. That's good, I can clean my brush off, and then get into some darker, more saturated neutrals here. I'm going to go into a little bit smaller round here. I didn't mention this, but this is 15 by 11. So in case you're curious about the size, if I were working on my own and not filming this, I would probably cut this in half and do a piece that's roughly seven, eight inches by 11. So that's as big as you really need to go for these things. But I wanted to get a nice quality image for you guys, so I went a little bit bigger, and of course it shows up better on film and all that stuff. So now you can see I'm placing my darker darks where I'll want them, and now I can neutralize that a little bit, maybe we have some windows, some few dark solvent here, and that all blends, right on over into what's happening over here, and truthfully, that's all I need to do, and what that tells me is I've got lightest lights, okay. So I can probably want to punch that even a little bit lighter in here, I could do something like this, those lighter lights trickle down and do these focal points, different things that could be happening right in there, but that's it, and then from there, I've got my mid tones, which is the building structure, a little bit lighter mid tones are in here where the side walk will be. So if I lighten that up just a little bit more, and just take you to see it right in there, and then of course I've got the street which will be a little bit lighter in there. That's my mid tone value, and then my darker darks are right in there. So that they're situated, you can think of a band of darks right in here, that's what's happening, but my darker, dark is dark I know I'll want, right in the heart, now probably run out of my blue here, but I want that roughly right in here. Then my car will be in there, and so really that's all I need to know, because that's going to give me a much better chance at pull this painting off, and if I wanted to, I could start to add my poles. The different street elements and details, that would probably be synonymous with a painting like this. I've got my chimneys, all that sort of stuff. But those things really don't know matter a whole lot, because the purpose of it really is to just organize, how those values are going to be chunked in there. So again, I don't know how much time it took, but I can tell you if I were doing this on my own, it would have been a much quicker or had been smaller, and then if I didn't get it right the first time, then I would tweak things a little bit until I feel like I was comfortable with how these values are going to be organized, because what happens is, when you're dealing with complex subjects, you have darks all over the place, you have mid tones all over the place, and we have to simplify that. We have to make the buildings a mid tone, then put your darks here, put your lights there and trickle down, and that way it has structure to it, and it's much easier to tackle a finished painting, once you wrap your head around how things are organized. Now this particular class is about embracing imperfection and getting you to get into the right attitude, and teach you techniques on how to do that. So I'm not going to spend a ton of time, on composition and design, but I'm going to show you my process and show you some things that work here. But if you want to learn more about it then be sure to check out my composition and design course, where I go over a lot of these sort of things and much greater detail. But simple quick study like this will save you a lot of heartache, a lot of time, and the whole goal here is to simplify it, organize the main values, if you had to move values around, which you will so that they make more sense and they're easier to paint, then that's the goal, that's what you're after. 16. Part One Complex Scene With Watercolor: All right. Welcome to the final painting. Before we get into putting color down, let's go over the materials. A lot of this would just simply be a recap of what we've talked about. But, for the sake of covering all bases, let's talk about brushes first. This is my largest, squirrel mouth brush, a number eight, this is my second largest, number five, and you may ask, well, this is a big piece of paper, how come you're using two brushes? But, I will use this for the big washes or large washes, and then this will go for medium. There is a lot of medium shapes in here but I'll cover that a little bit more as I paint. This is my largest round, pointed round number 12, and then I have my liner. Okay? The liner will, if you remember, just good for putting details of thin lines and things like that. So I may break out this one too, this is my Kolinsky, if I need to soften an edge I'll go to this one. But for now, I'll put it aside because everything I need to do is right here. The paper is 22 by 15. I do have about an inch and a half border all the way around with masking tape, and that's taped to a piece of foam core. I do that simply because, I will eventually need to tilt the board because this is a watercolor, to let my washes run in different directions. Again, 22 by 15, little masking tape, to a piece of, actually this is gator board, it's a little bit thicker than foam core. I'll go over my colors. This is ultramarine blue, cobalt blue, surreal blue, alizarin crimson, pyrrole red, cat orange, yellow ocher, burnt sienna, this is neutral tent and lavender. The only color I've not mentioned here is white wash, and I may use that for highlights towards the end. This is just a sponge that will be used to remove excess water. Then I have some clean water here. I also have a backup water reservoir. This will get dirty pretty quick, especially in the beginning. Instead of stopping what I'm doing, getting more water, I'll put that aside and bring the fresh one in. I mixture bottle, which I don't know if I'll use, but we'll see, I will lay it out with the number two pencil, so I'll leave that here. You've seen my palette before, I have adequate mixing areas for the desired size. If I were painting a 22 by 30, a full sheet of paper, twice as big as this, I would probably want a larger palette than what I have. This can handle a half sheet. I don't paint on four sheets. I jointly do half sheets and quarter sheets. That pretty much covers all of my materials. Now, I will use the pencil, put in my design -- 17. Part Two Complex Scene With Watercolor: Now, before I start to put my composition and design in, I want to remind you that I'm not holding the pencil tight and I'm not holding it towards the end. It'll be relaxed. Backed off a little bit and I'd gently will do it overhand like this. That will afford me a chance to keep it loose, which is what I wanted to do. If you remember right, these were my designs and I'm going to go with this one. I think it's more interesting and I like the shape of that against the sky and I think it will work good. I think both of them would be fine, but I like this one more. Without any further ado. Let's do it. Now, the first thing you want to do so that you don't start to go right into details, is start with your longest line or your biggest shape. In this case, we have some verticals that go up. But for the most part, this horizon line right in there to me is probably the longest and the most important. I could lay that in,in that area and I'm just going to stand that up there so I can use it as a reference. Now, the top of that building is going to be right in there, so we'll go here and down, and then as for have a perspective to it so that over on in there. Then, we have some other shapes in here which I'm not going to be too concerned with. I'm going to bump that horizon down just a little bit in here, so moving that down, making minor adjustments as I go. Now we have these buildings which are basically relevant, but, as you know, they don't need to be a whole lot. I can just make up some chimney stacks and we'll do some windows in here and so on. This could be roughly the base of the building there. Then this perspective that will come in there, so that'll kind of leaves you when you have, maybe a sidewalk, something happening in here, and we have our figures. We'll wrap them in here. You see now. Relax, put it in. Keep it simple, so everything we talked about is coming to fruition here. You just got to stick to the plan and know that in the end, it works. That works good. Now for the car, easy to tighten up here. That's our main reason why we even wanted to paint this thing to begin with, but you know now, you're not going to fall for that trap of getting sucked into all the details. You're going to keep it nice and loose. We have some other cars back in here, and this is just really for design more than anything, so were not going to make a big fuss about it. It works. Maybe one more figure alone in here, and this'll all be good. That's it. There are some other things like the telephone poles and stuff like that, but there's no sense in trying to put that in right now. Let's just leave that out because we really don't need it. Maybe there's a shadow, cast shadow coming across in here. Something like that. All right, so that, my friends, is the layout. It maybe hard for you to see this with the camera and the lights on it, but I am going to bring you in and give you a little bit closer look. That concludes step 1. 18. Part Three Complex Scene With Watercolor: Nice and dry here, and I'm ready to go to the next stage. In the next stage I'm going to be working with much larger shapes. As I work towards the end of a painting, things tend to get smaller as I go, but basically, the idea is I'm going to go with the background first, so we have this large shape and I'll get my drawing here, which was this, so we have that. Then that's basically going to blend in and merge with the buildings on the right. Basically I can use a really large brush to put that wash on. I just want to remind you also that we're not going to choke down the brush and do all of this stuff, I'm going to look at my shape, I understand I have a very light outline, I can still see all of that, but that's a rough idea of what I want and I'm not going to get fussy with it, I'm going to put it down and leave it alone. Its just like the rectangle that we started with, you put the rectangle down, that's going to be imperfect and you move on using the same attitude. I'll just keep my colors like that. I do have a towel over here on the edge that I'll use to dry off. I also have this and I have some clean paper towels handy. I also have some scrap paper here that I'll use to test my colors as I go. I'm set out, I'm ready to go. I'm just going to put a little bit of water down my palette here. Since this is a pretty large area, I'm going to start on the left-hand side over here and this is burnt sienna, and a little bit of ocher, I think I will even touch a little bit of this red in there, alizarin crimson, a little more sienna. I'm giving this background, a pretty warm look to it, and that's not too bad. I've got plenty of paint on my brush, I've got the right size brush and think about what I wanted to do, which I've already done and then we go for it. Though since we are marking about, trying to be perfect, because as we know now that's just not what we're going to do. Now I have some white areas over in here that I'll leave in the paintings so I just want to be a bit careful around some of those. That's pretty good. I will just continue working that same idea, same attitude, right on down and to the background here. Now I'm going to change the dominant hue. Here I've got that nice red glow going on primarily because of the burnt sienna, so the dominant color in that mixture there is burnt sienna, so very warm and that's okay. I do want a warm background but just to change things up and add interest, I'm going to change it and I'm going to push it more to the ochres and a touch of this pinkish color. Now getting this thing down, not getting fussy, you can see things are working quickly and they're not perfect and I know they are not, but we're going to let it roll. I'm just going to soften that up a little bit in here and I've got some areas in here that I will keep nice and light too. That's pretty good. I can run maybe just a little something in here just to give that building a little more shape and that's all pretty good. Now can take the same mixture I have and I think what I'll do is add a touch of lemon yellow [inaudible] feeling a little bit of a yellow on this. I'm just going to take that right into that mixture though I don't want it to be too obvious and to stiff looking, so maybe something like that will look good. It's hard to see now, but I think that's going to look pretty good once we get down into the rest of the painting here and it starts to blend. Now, I'm just running some of these colors down and now I can get into this side over here. I think I will use a little bit of these blues with that same yellow and we test it,not quite green enough. What I'll do is I'll speed things along a little bit here. I'm going to use a little bit of, this is a bamboo green and we'll get a little of it here on the side, on the small areas because it is not a very big bosch. Loaded up. Probably needs to be a little more saturated so something like that will work pretty good and just let that mingle a little bit. That looks good. I'm just cleaning my brush really good. Soften the edge right there and then we're going to move my palette to the side, take my napkin, if you're familiar with watercolor you know, this paint, this over spill on the edges can be a problem sometimes so getting that cleaned is imperative. Now I can just let these colors mingle a little bit. I went right into my yellow, but no big deal we're going to dry that up a little bit [inaudible] run down or uphill rather in this manner. You can see it's a good example so we've got that little dot there, no big deal. We're going to let that roll because I know I can come back, I'll have telephone wires and different things happening in there and all of that can be used as same thing there, we're not going to panic about it. You come in here, dry it off a little bit and I'll use a clean part of my napkin and do that and that's as fine. Those little imperfections are actually really nice. I think at this stage though there's a lot of options I can go with, I can continue to drop paint into this but I think for this stage its pretty good. I think the best bet here is to take a hairdryer to it and dry it off and then come back and add the next layer. 19. Part Four Complex Scene With Watercolor: I moving right along. What I would do, since I am done with the green, I'm going to draw this area up on my palette, and do that for the left-hand side. What that's doing is it's freeing up my work area, and I'm going to prepare new colors. If you leave all of these paints and these reservoirs with the pigment is there, and you end up having to change, use different hues, then you have to stop what you're doing, you've got to do all this and it disturbs your workflow. But I know I'm done with those colors, so get your pallet ready so that you can work quickly and you're working quickly is the key, especially with watercolor, things are drying and the medium requires that now you blend things. The next thing I wanted to talk about is, I'm pretty much done with this. The number 8 can take a break. I'm now going to move to the number 5, and I know what I'm going to do. I'm going to work with the dark areas and here, and then I bring things down to this car and the figures and I'll be good. But this dark area in here is very important, is it's going to anchor the painting, and that layer is going to tie in a lot of different shapes and really make this painting come together. A lot of that comes with experience. A lot of that comes with understanding your technique. Knowing what you want to do, having a plan, and then doing it. Putting some thought into it, into how you're going to execute it, and then make it happen. Now, I'll work with the same base. I'm going to come in this little area itself. I don't need a ton of paint, but I needed a little bit. But I think this area right there will do the job. A little bit of neutral tint here, I think will work good, and then a little bit of ultramarine, just to cool things off a little bit in the shadows. Not touched even some ocher, some more sienna into that. I like the way that blue was looking. Test it. That's going to work pretty good. I think for now, what I'm going to do, I have a mister here. I'm just going to put a little bit just towards the top of that building. My lines don't get to hard, and will start putting down some color. I've got like a little awning type shape I want to do here, and we can do one more and there, and then from here that can just do that number and let it dissolve. I'm go a little more blue, little more neutral tint. That right in here, I really get a nice dark value coming across this grass area. Even to touch a crimson, and we'll do something like this, and maybe one more, something like that. We can scratch that, and that's looking pretty good. Little neutral tint. Now, I have the figure. Something like that is good and blend. I am right into that shadow, and now I'm going to just dropping some color, some dark values, right in here. I'll take something like that'll go good, and they're right up into the building, and I can take that right up into this area. There's going to be a shadow side here, and now just playing with his background a little bit, and this car is going to have some light on it. I think I want to keep this nice and clean, right, near, so I'll just dab that, and now we're getting into this side of the building. I'm going to take a little bit of water, a little bit of sienna, I just want to thin this out a little bit. The darks aren't competing with this dark. I want this to be the darkest value on the paper, and so now little more water. Well, it's nice to have all these little areas, and we'll go a little more blue under that too, just to grade out. This side of the building will be in shadow. I can run that down, and you just do some perspective lines like that. Maybe something coming down like this, and you can see just working quick and not letting things get too fussy, and now to some maybe no head as some shadow and here maybe some windows like that. I just connect these so that it's not such as often. I'm making decisions as I go. If I see these brushes, I can continue to use it and get some details and things like that. I'm going to stretch this brush as long as I can. I'm going to use this brush right here as long as I can. I'm going to keep the hues simple. There's no sense in trying to get fancy and cute with my colors. Especially over here where it doesn't matter. I'm going to just keep this color is the same. As I know little by little just adds some detail. Different things happen in maybe another figure over here, and that's good. I think I can use this brush a little bit more. I have my car over here. Little more tint touches sienna, and pretty good. Not as running those shadows over. Maybe one more in here. Something like that is good. Now, pretty much done with that brush. I'm going to go with my kolinsky, nice and soft, if you remember. I think I want to make this car red and we'll go a little bit of orange, a little bit of red, and while it's wet, while this shadow color is wet, I'll put that red right in there, and that keeps that line nice and soft. Now when should this lift that corner right there, just to make it a little bit of interest in that, and that's looking pretty good. Clean my brush really good. Now, I'm just going to lift a little bit of this and here, clean paper towel and just swatch that out, and going back to my kolinsky here, and we'll go with a little bit of cobalt, little bit cerulean, and this figure here, I'm just going to drop a little bit of blue into that color there. Good. Now, I go to more pointed round uses same colors the same shadow color. Nice and dry though, don't want too much on the brush, and just get a feeling of some legs and some different things happen in there. Now, this brush will work pretty good for what I want to do, which is basically run a couple of perspective lines down in here, and it's all looking pretty good. No sits in that one too much there. That's all fun. While I had that color on my palette though, I can look, it's all nice and dry. I think I'm going to go to my liner brush, which is my needle brush, and just touch a little feeling of maybe some detail or something on that car, and that's good. Back to my kolinsky, and now just mixing that same base shadow colors, same three colors really with the neutral tint, ultra burnt sienna, and now I just want to touch a little bit of this darker value right in there. Something like that. Good. That give a feeling of tires and different things under those cars or wherever they could be. I just want to hit that shape in detail, and now using a little orange, a little bit of ocher, a little bit of red. I can get in here, maybe touch a little bit of that color here. There. The figure is walking. Good. Now I can use my poignant route. Same base for the shadows as I've been using. Maybe a touch weaker though. What I want to do now is add, all of this is wet, get some of these telephone poles and stuff in there. I know where I want the top to be. Something like that. Maybe one a little bit taller in there. We'll make this one a little bit different. Now I won't use this, just water. I know I have pigment on my brush already, so I don't need to put any more in there because I want this to be weak, some of these details. Now I can run a little light source in here and dab in some little dots and different things here. It's all looking pretty good. Maybe we'll put something else in here, something like that. Now that I can push that just a little bit more. Again, something I alluded to earlier about just having experience working with your subjects, familiarity, things like that. These are things that are just painting off a little bit for me here. I've painted quite a few under landscapes and things like that. It's easy to draw from that experience and make things up. Use your imagination a little bit and that's all part of it. Those are things I really can't teach anybody because you have to do these things yourself. But over time you'll find certain subjects, things like that that interest you. As you do, you'll start to build up that experience and that familiarity that I'm talking about. It is pretty easy to do exactly what I'm doing here, which is basically like improvisation. Making things up as I go. Just a little texture there, that's all that was. I'm just using really thin here, lots of water, and getting a few details here and there. It's all it is. Remember, the more details you put in the tighter things can become. You're always trying to balance those things. Now I'm just blending things in, so this house eases over into this side. While that's drying, this red right here, I can get in here and hit at will detail in the car. That car is what caught my eye but as you can see, I didn't try to capture the model of it or anything too specific about it. I may do another painting similar to this and then maybe what I'm interested in doing and in that case, I would bring that out. But for this painting, I really wasn't trying to capture that, so I didn't really force the issue. But it's interesting how that works out sometimes. It's all about the end result. The end result is quick loose painting. That's what we're after. You should never be a slave to the image. The image is just giving you inspiration to paint, that's it, and it doesn't need to be any more than that. Now I'm going to go a little bit thicker here and along those same lines. If you want to get into that sort of painting, then you really want to think more about becoming an illustrator. You don't want things in a way that is for a magazine or an architect or something like that. Those are the type of jobs that probably merit a painting that's a little more realistic. But for creative stuff, personal painting and things, and painting loose in general, we have a lot more freedom. Of course it's all about painting loose anyway. All am doing here is breaking up some of these areas. What that does is it just gives us a sense of detail without getting too fussy with it. That's pretty good. I think at this stage I will let this dry and then we'll come back and add some finishing touches. 20. Part Five Complex Scene With Watercolor: Pretty dry to the touch, and at this stage, you don't want to do too much. I mean, it's so easy right now to ruin it. This painting has a nice feel to it. It's nice and loose, we don't need to ruin it with trying to correct the imperfections. The imperfections, that's what we want. There are certain things I don't like already. I wish the building over here was a little bit darker in value. It's blending too much with this side. I thought it would be nice to anchor this one a little bit more and make this a lighter value. I wish all these shadows were a little lighter value, but you know what? Every painting is going to tell you this, and it's a trick. It's a trick to get you to get lost and trying to fix everything. When you start doing all that stuff, then you're going to mess up exactly what you want, and that's the freedom and the looseness and the carefree attitude about it. Remember the rectangle. There's my rectangle. Done. This is more complex obviously, but the attitude doesn't change. Now, few details, I want to just add a feeling of maybe a stoplight there. The rest of that is fine. So I was going to draw that off, clean it up and now, I could move to a smaller brush. I think I will. This is my smaller pointed round, and you can see just a little bit smaller head there. I think that'll be a little bit better for my highlights whitewash, and now just going to touch a few highlights. This is probably when I would come down, take a little bit closer grip and give these a little bit of detail here. Again, you have to be careful to not go too far on these things because that is the trap. You already get sucked in every single time, and don't let that be you. That's looking pretty good. Just take a little more of this shadow color here. Just get a feeling of post there. Do some anchor or some dark value in here and then run that right over. This is pretty good watercolor paper, but if you're using cheap watercolor paper, rip this tape off very slow because it's easy to rip off the paper too, especially if it's a lesser quality, and then it will rip your paint off as well. Anyway, a little bit of red, a little bit of orange. Done. I'll bring it down and give you a little bit closer look, a tour around everything and you can get a nice feel for some of the brushwork and details and things like that. 21. Part One Complex Scene With Acrylic: Hi and welcome to the demo. This will be my complex scene, and I'm doing it with acrylics. The materials I have selected, and I'm specifically talking about the brushes, is based on the size of the painting I will be doing. I'll say that one more time, because it's very important that you understand this. The brushes that I selected, were chosen because of the size of the paper, I didn't pick these because they are my favorites. This is a 22 by 15, I have a little bit of masking tape around the edges, maybe you can take off an inch, let's say 21 but 14. The palette I'm using, is just cardboard, and this piece of cardboard right here, is big enough to mix all the paint that I'll need for this. I have smaller scrap pieces of cardboard, but I don't think this will be big enough, I wouldn't use something like this. You may think that, well, what's the big deal about that? Well, it gets back to some of the very first lessons we talked about, and that's selecting the right materials, right from the brushes, down to your palate. Important that you choose all of these according to size of your painting. There you go, I've repeated myself a few times, but I'm trying to pound the point home, that you have to get that part right. If you don't have that part right, then nothing else is really going to mesh. There we are with the layout. As far as the palate, I will be using ultramarine blue, cerulean blue, a little bit of cad yellow. These paints are heavy body, if you've taken my courses and worked with me for awhile, you already know that. But, supporting for the new people, and for all of you that don't watch my other courses, that you know the type of paint I use. There's a lot of variety of acrylic paints, there is fluid, heavy body and a lot of stuff in between. I use heavy body, and this is yellow och-re, a little bit of scarlet-red, some burnt-sienna. There will be a lot of earth tones in this particular painting and that should pretty much cover us. I will put a little bit of titanium-white on my palate as well, but I'm going to put it way down here in the corner by itself. That's going to keep it away from the other colors for the time being. That's all good to go, now I can look at my composition, and the composition we talked about, and I'm going to lay it out with my number two pencil. Also important to know that, this is not a layout drawing, where I'm trying to include every detail, and it's not an award-winning pencil drawing. This is a loose sketch, a loose layout, so that I can begin my painting. Don't try to include all the details, because if you do, you're going to get right back to painting type. For me, I try to choke back on my pencil, I'm not up here, nice loose grip. To start, we'll look at big shapes first, and then also, because we're dealing with a landscape, I will identify where the horizon line is. The horizon is right in here, I have a larger building that comes up in that general area, and then it probably breaks about down in here. The point of that is roughly right in this area, I can lay out those lines really quick. Then it comes down, and then it breaks. All of these buildings come down and break about almost in the center, right here. This will come down and we have some other little shapes in here. We have this side, which has basically gone off in perspective like that. I'll put a taller building and I'll put my hand right in that burnt-sienna. We want to clean that off, I don't want it on my paper. Back in business. This building, kind of come up like this. That's all pretty good, from here, I won't need any more detail there. I can start to zero in, almost going on here in the focal point. I'll have a couple of figures in this area and walking and having a little chat there. A little sidewalk maybe, that comes down in here. Then this is where the car will be, the car relative to the people, is slightly shorter, something like this. Then we have a cast shadow maybe in there. That's all good. Then I'll throw another little cast shadow, coming in from the left in here. On the building itself, we could have some awnings, different little things we can do in there. Then on the right-hand side, we can fill a little white-space in here, then I have the other cars that are drifting off in the background, then maybe another little figure in here. That's fun, we have some windows in there and I know I have some telephone poles and different things, that'll be in here, but I don't really need that. What I'll do is, I'll mark a few sections here, where there will be some windows. Yeah. That's fine. For my layout, it doesn't need to be any more than that. I'll get a picture of this so you see how that looks. 22. Part Two Complex Scene With Acrylic: Now I'm getting to what's called the block end stage. I will work for this from the back forward. Basically starting with the sky area, the background buildings, middle ground, foreground. Another thing, I don't really try to color much. Obviously, a lot of these images are made up anyway. It started with an idea, an inspiration and then just took on a life of its own and changed. I'm using a lot of imagination anyway. I have a reference for the car and what I started with. But for the most part, a lot of issues in my head, which is good. but even if it weren't, I would still try to tackle this in an arbitrary way. In other words, and when you come down to like a block end stage like this, you don't need to get sucked in to matching the colors. It's a good idea to maybe create depth, let's say in a landscape painting rather. But you don't necessarily have to match every color you see on your image. But you want to choose colors wisely. Then try to keep your palate minimal. You can see when I have. I have titanium white and then maybe six colors there and that's it. But from those six colors, of course, I can mix and and create a lot of other hues for this painting. Simplifying is something that's always good, its always welcome. Now, another thing about blocking in and painting loose, in the first layer, I'm not going to try to give the colors perfect. That's not what the first layer is about for me. The first layer is really about just getting something down that's in the ballpark. I don't want it to be perfect, I want to be off, so I can come back and then try to dial things in a little bit better as I go. That gives me wiggle room. I'll explain that a little more as I go. But value is important and you're getting things in the ballpark in terms of that. It's important, so getting your lights placed in a general area where it makes sense. It works. The value is intoned and are always a little more important than color matching. Again, I'll go a lot more into that as this painting progresses and we get into it. Now on the right-hand side, I do not want these values a little bit lighter. I'm going to go more ocher and get a little more white into that. That's good. Right now, absolutely chimney stacks up here that I'll probably use some and lay those in. For block end, it doesn't need to be any more than that. I am going to put more of a grass area over on this side. A little old tray, a little yellow and whack that in. Now for the street color, I'll use a lot of these colors I have already. But because we already have a dark blue or Cerulean Blue up here, I'm going to push this more to a gray for now. Maybe as it gets a little bit closer. I can just darken.a little bit just for some different.now I just mix these grays and earth tones here to get my sidewalk in there. maybe I'll test a little bit of a yellow there for the fellow shirt, draw a little blue on this guy. I think I want that car. I'm really seen a red car. I like the idea that so just put that in there for now. Maybe maybe a little more of this green in here.then I'll work. at this stage, I can just let things dry a little bit and then come back with the second layer. That I did a little bit tighter to where I want it in terms of shapes and colors and all that fun stuff. I'll take about a 10-minute break,dry it, and we'll come back and have some more fun. 23. Part Three Complex Scene With Acrylic: All right. Everything is dry, moving right along here, so can use the big brush but I think just for giggles and to try something different, I'll go to my larger fan. Now it's about making some adjustments, but again, I want to remind you of a few things that are important and that's attitude, so I'm not going to get sucked into matching colors, trying to be cute and get every little detail and looking cranny perfect, I want to keep it loose. So I will start right down here with this white and I'll start in the same idea I did last time of working from the back forward. It's going to warm that up a little bit. I want to lighten that sky quite a bit, I think something like this will work and I'm going to make the decision to do it and get it down, leave it alone. To change it up, I'm going to go right into the white here and we can just touch it and I'll go a little bit darker as I get near the top here and that'll work. I've got this blue on my brush here so I can go ahead and maybe indicate a few windows, touch a little bit of that in here and that just helps tie things in a little bit. That blue right there will probably be completely gone as I continue to add more colors and things to it. Yes, something like that will work. All right. Now, with these buildings here, I want to maybe lighten these up a little bit and this is not bad, but I think I want to start adding some darker hues right along in here though. So I'm going to do that. Before I do it, I'm just going to shape this building a little bit more without getting too fussy, something like that. All right. I think I'll start here and go right where I was mixing this before. I can take a little yellow, a little bit of ocher, touch of sienna maybe and they really tone that down with some white and it really tenting it is what I'm doing and just add a little bit of blue into that to neutralize it. I've got my brush loaded up, I know where I want to go with this and just getting that illusion of light and shade on these buildings and things like that. That'll work good, maybe I can tie that in by adding a touch in here and that's all part of keeping the harmony. Now, I'll go with my Sienna, some ultra. I don't want to go too dark yet and I always give myself a little bit of wiggle room to go darker and I can start right here on the dark side, and just start tying that in with some of these shapes in here. Leave the little pockets and now I'm just going to run that right over into this side. I'm just going to wipe that off there and I've kind of touch some highlights. Touch those windows in there, a little bit of detail and I'm just going to clean my brush and they are still pigment on here and then I can just blend those colors just by using the water that's on the brush. So letting that work a little bit for me, basically. Good. I'll just take an old rag here, just going to lift a little bit in here, it's good for now. Now, moving down into the grass, I don't have a problem with that grass. So I'm going to just mix to the hue, change the hue just slightly here, and push it to a blue and then touch a little bit of that red in there just to give it a little bit something different here. So we have maybe a shadow coming in here and we'll go a little bit thicker. I don't want the shadows to be too opaque, but I think just a little more opaque than what they are. Then maybe one more coming down here and now I can change that again to more of a brownish hue and start to, this use of all, I got it on the brush, that's the idea, since I have a dark hue here as those sensing you're not using it. If I have other areas that need some dark value on it and now I'll just kind of getting these little shapes in the background and now just a little bit of water and that water is just going to be diluted just enough where I can get these really light shadows and whatnot going over here, maybe some windows and all this doesn't matter too much. But just hinting ever so slightly your details or something that could be going on in here is all I'm trying to do. Now, I'm just got to thicken these shadows in here so that these