Entry & Exit Points - Tips For Drawing Into Your Paintings | Robert Joyner | Skillshare

Entry & Exit Points - Tips For Drawing Into Your Paintings

Robert Joyner, Making Art Fun

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
2 Lessons (12m)
    • 1. Intro

      1:24
    • 2. Entry & Exit Points Demo

      10:24

About This Class

Avoid The Coloring Book Mistake

This is probably the most common mistake I see with artists when combining drawing with their painting process. In this demo I used charcoal with acrylics to help you understand how this works. Instead of using the drawing creatively it's applied in a coloring book manner. Basically outlining the edges & prominent details. This is predictable and pretty boring in my opinion.

I included some of the painting footage just to strengthen the lesson & entertainment purposes. It doesn't necessarily have a significant role in the core lesson.

What you will see is a side-by-side demo in order to give you a good visual on how two versions look so different even though they were painted very similar. In the 'coloring book' version you will see how the drawing is simply nothing more than an outline of the basic shapes and features. While the creative version has much more impact on the overall finish because it's more expressive and creative. 

Who Is This Class for?

Anyone that wants to incorporate drawing with their painting process. Great for all levels and you are guaranteed to create better art once you understand how to effectively combine drawing and painting.

Transcripts

1. Intro: Hi, Robert Joyner here. I'm excited to give you another fantastic class here on skill share things particular class will focus on mixed media now will combine charcoal with acrylics. The main purpose of the class has to teach you how to avoid one. The common mistakes many artists make when combining que me and drawing charcoal is a fantastic wave that energy and excitement to your paintings. But it's also very easy to fall into the trap of the coloring book. This is what many artists do when they begin to draw. They simply outline their subjects and all the details as if you are creating your own personal coloring book. After you're finished with this class, you will understand how to not only avoid this mistake, but, more importantly, how to create a more exciting painting by establishing your entry and exit points. So if you're ready to ask some excitement and energy to your artwork and then roll today now see you on the inside again. I'm Robert Joyner. I love the paint loose. I love the ad charcoal to my paintings. Thanks for watching 2. Entry & Exit Points Demo: an experienced artist will often use their drawing material whether it be in this case, I'll use the compressed charcoal, but you may be drawn with crayon. You may be drawn with your paintbrush, but what typically see is artist start to paint something they've. So I get a little bit of a base down and then they go on a drawing. I'm really inspired to put that really cool but linear interest in my work, I start to see the coloring book, and what that is is basically tracing the entire object. So in this case, I will be doing a building and then also tracing the major details and features that's very predictable is very boring, and it's not very creative. If you want to merge or no mix drawing with painting that, then we need to think a little more organically. And and that's what I hope to demonstrate here in this first particular demonstration. Okay, I'm just also do two of these and not going to get too picky with colors and trying to get it exact. I'm just really going to do it in a way that will make the drawing prominent okay and just get kind of a thin mixture going at first and again. I'm going to do this in a way that it will really, really illustrate and show this color and book type of issue I see all the time. So I'm not trying to represent the colors I see or anything like that in the local color. I'm gonna try to keep, you know, the painting somewhat loose. Dip in some water right there. And it's going to get our little shrub in here. They just get a feeling of a background or something here, and I'll grab a small detail brush here, and this is a shadow side. So maybe I want to even just at that feeling of shock. All right, we pretty much have are no base building here. Yeah, for most part, for most purposes, I think that's that's pretty loose. But I'm gonna let that dry now, okay? Because when I use charcoal typically, like toe, let this base layer dry a little bit, and then I'll come back and introduce the charcoal. Okay? And then while this is drying, I'm going to sneak in another one. Okay? I'll leave the camera running while I paint this one. How do it even the same method here? So all right. Says you probably witnessed there. I added a few details. Just a feeling of, ah, sky there. Um I just simplified it going to take the camera and really zoom in on this area as I draw it, and then I will simply talk you through it as I dio. So again, this is the tight side. And this is the common mistake. Nasty. So the artist come in here and they basically get caught up and tracing, or in this case, I'll just say the coloring book effect. And they go around all of these prominent edges, um, and details. Okay, so you kind of get the point there. How this lost my shrub. This would be, um ah, problem, because it's very, very, very predictable. Now, this is our loose side. So over here, I want to do it a little more organically, So I want to make these lines, maybe hit a few edges. But I also wanted to flow better. So get away from doing every single ledge and a really good way to do that. Sometimes it's a simply look at your dark. So let's say I have a cash shadow here. So the lights coming in and so this area, it would be a little bit darker and also have a dark side of the house. So I like to do is look for entry points and a good entry point. Sometimes it's simply getting into these darks. Also, keep in mind whenever I talked about using charcoal about using pressure pressure into the surface, also taking the charcoal and turning it on his broadside and using this part as opposed to just the point. So just the point sometimes is okay, but it's nice to mix in some really thick lines as well. So what I want to avoid is getting all of my lines the same thickness. Okay, and I'll go back after I do this and show you the charcoal sketch I did in the beginning. She kind of reminded of what I'm talking about. So here's my entry point when I kind of go right into here, so I kind of get a little bit looser with it. And so I've got some nice, expressive lines there, and and there is no fear in that. Okay, So now I can come in here and say Okay, well, that was fun. Maybe I want to throw some feeling of some trees or something. They use this as an entry point and to my chimney. All right, so now let's say this is all working good. And I just wanna maybe feel a feeling of any old thing there and tie that little thing into the bush. Okay, so now a pause right here and we're gonna take a zoom back and look now, even through a little bit of energy into that window, but didn't trace the window. I didn't go around it. I just threw some energy in there. And then, you know, we'll see how that looks. So now we've got a better perspective on how both of these look together and notice how this the lines here Probably grab your attention a little bit more, cause that this sort of energy and getting that intensity, then also being somewhat unpredictable and fearless Ah, more of a carefree, ah, way of adding linear interest to your hurt. Grabs your attention much more so than this. I didn't go around every single detail, and I was really loose with how are represented things over here. Even though this is loose these chimney stacks. By law standards, this is much looser. I mean, these squiggles are you really say scribbles. These air simply scribbles. And this is a scribble over here. This artist got locked into the windows, Write a composition. Okay, so if I were just to just draw that window, basically, the artist did this over here. We got something like that, right? The chimney stack. You know, we got this sort of action going on over here. We have a right, that sort of action going on. Okay, so this has a little more personality to it. But I also want to bring to your attention something I did there. That's very, very important. It's really as critical as just being fearless, which is what I did here. I wouldn't care if I ruin the painting. I just like, Hey, let's just put some line in there and let's be carefree about it. But what I did those I found that entry point. Okay? And that is so, so important. Because if you don't, if you can't find an interesting way toe, introduce the drawing It just doesn't blend. Well, doesn't flow well with the painting. And because char cold is so dark for me, I like to introduce it from a dark. Okay, so I try to find values and tones that would no look good. Um, And then that way, like I did there, I can kind of get in there, scribble around a little bit and then work my way into the painting. So I consider something like that, An entry point. I'm here. I just simply didn't even think about that. I just went in there and started tracing the outlines of my subject. And then that's kind of what you want to think about. We start incorporating, drawing, in this case, charcoal into your paintings. I think this will go a really long way for you and will certainly help you create more interesting lines and mawr. Interesting paintings. Okay. Hope you enjoy this lesson. See you in the next one.