Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class | Robert Joyner | Skillshare

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Robert Joyner, Making Art Fun

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Robert Joyner, Making Art Fun

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14 Lessons (1h 13m)
    • 1. Introduction

    • 2. Special Materials Needed

    • 3. Angles And Curves

    • 4. Design And Composition

    • 5. Crayon Mark Making Tips

    • 6. Final Project Part 1

    • 7. Final Project Part 2

    • 8. Final Project Part 3

    • 9. Final Project Part 4

    • 10. Final Project Part 5

    • 11. Final Project Part 6

    • 12. Final Project Part 7

    • 13. Final Project Part 8

    • 14. Final Project Part 9

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About This Class

Have you ever wanted to let loose and create bold, expressive style animal art?

You are in luck! This workshop will teach you various techniques for painting dynamic artwork using acrylics, crayon and collaging.

What you will learn

  • Expressive mark making with crayons.
  • How to use an outliner brushes for beautiful linear strokes.
  • Collage techniques for visual interest and patterns.
  • Unconventional brushwork methods with the fan brush.
  • Why angles are more dramatic and impactful.
  • Different ideas for composition and design.
  • Much more...


What you get

  • 14 detailed video demonstrations
  • Ideas for powerful design and compositions
  • Ask questions and get answers
  • Gallery of hand-selected images to use for inspiration (See attached images.zip file)

Materials Used In This Class

22" x 15" 140lb. Cold press Blick/Fabriano watercolor paper
Gator board for firm backing
Masking tape
Two collapsable reservoirs for water
16" x 12" Paper palette
Palette knife
Heavy body acrylics
titanium white, yellow ochre, ultramarine blue, alizarin crimson, cadmium red deep, cerulean blue, burnt Sienna, raw umber, Venetian red, cadmium yellow
Medium Flat - Medium synthetic bristle brush
Medium Fan - synthetic brush
Large Round - softer variety
Small pointed round
#6 Blick outliner brush (extremely long bristles)
Artist grade crayons
Caran d'Ache brand - Periwinkle blue, Prussian blue and pale yellow
Pattern Collage Paper
Shizen Handmade Paper by the Pound (or use what you have is fine)
Liquitex ultra matte gel

Note About Special Materials Required

Below is a list of the special supplied needed. Be sure to look these over very good and purchase what you need.

Blick Outliner Brush

Caran d'Ache artist grade crayons (feel free to chose your own colors)



Robert is always a wonderful teacher. - Pamela Gatens

Very informative. I learned a lot! Thank you! - Doug Gazlay

The tutorials and workshops are helping immensely. My work started drifting and your lessons are reminding me to concentrate and plan properly. - G. France

More Acrylic Courses By Robert Joyner

Landscape Painting Fundamentals Part 1

Landscape Painting Part 2; Sunrise, Sunset, Cloudy, Back And Front Lit Scenes + Composition & Color

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

Acrylic & Mixed Media Essentials Part Two

How To Blend Traditional And Contemporary Color Theories With Acrylics

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

Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: welcome to the expressive Cal painting Workshop. You will learn various methods for creating abstract style Cal paintings. To do this, we will use some good old fashioned brush sling techniques, expressive mark making with crayons, lovely line making marks with the outline er and, lastly, some collage ing with pattern paper. The techniques you will learn can be applied to any animal or subject matter. This class is intended for anyone that wants to learn how to loosen up and have some fun creating powerful, evocative artworks. If any of this sounds interesting to you to sign up now, I hope to see you in class suit and thank you for considering expressive Cal pings with mixed media and acrylic Onley at pain. 2. Special Materials Needed: I just want to cover some specialty materials that you would need for this class. The first thing I'll cover is the artist Greed, crayon And again, these are artists. Great. So they're highly pigmented and these air water soluble And there may about Karan dosh. How are these through Blick Online? So I will leave a link for these. They sell them individually so you can cherry pick whatever colors you want to try. They also sell them in sets again, leave a link for the colors I'm using in this class. And then there's also a few sets I'll leave the link to if you want a sample, a variety. But again, these air essential because if they make some lovely marks and they're highly saturated and their one or four to use on on many subjects, But I will use them in this class for the cow. The next thing I want to cover is the out liner brush. Okay. As you can see, it has a very long bristles and these air wonderful for making ah, linear strokes so you can really load it up and then get a lot of coverage out of it again . mark making tool. So once is loaded with paint, you can create incredible lines, and that's what I'll be using it for in this workshop. This is by Blick. It's their brand and had this home for probably four or five years. I've used it quite a bit. It's so in great shape. So this is a number six, which is the size I will be using in the class. They have a variety of sizes a number two, obviously for, you know, thinner lines. Number 10 if you want a bigger, longer bristles and to create a wider line, so I will be using this in the class. The next thing will be this gel medium. This is about liquid Tex. So it's otra matt gel. I'm so I will use this on the back of my collage papers, and that will again act is a glue, and it will adhere to the paper or canvas. If that's what you decide to use. The next thing I'll talk about is the collage paper. Feel free to use wherever you want. Thes air. Just some interesting papers on the main thing I want to point out. Here is the pattern I will get something that has a nice, strong pattern to it. Solid colors will work. Okay, But if you get something with pattern like this, I think it would make a bigger impact than just a solid color. So again, for this workshop, I would highly recommend getting some sort of collection of random Ah, clause paper that you can use for your finished pain. So that covers these specialty materials. And I will leave again links, swallow the stuff and then the exact Hughes I have as well. 3. Angles And Curves: and the next thing in terms of this overall design is angles versus curves. And again, the reason I bring this up is because I see this a lot with artists, especially with cows and animals, but 10 like for landscapes and cityscapes. Things tend to b'more perpendicular and angular. Geometric type shapes were in nature and animals and stuff things. People tend to read them more on a software curved line. So the idea is with angles is your your your interpreting curves and two more of a line. All right, so it again, this all has to do with the frame, right? There are four main corners, so we have these four edges. Okay, we can't get rid of that. Every piece of art we make interacts with these four edges. That's it. You have to understand that. So when you put angles into your are and you do them in a way that you're using these edges to your strength in your design, then you're going to enhance ah, your shape. So in other words, that this shape comes down, it comes this way, comes off and into it, right then these edges, thes angles, all play against these street perpendicular edges of the frame and the same goes for the shapes with them. Okay, so we have these markings of a whole steam, then those shapes are all interacting. And again, these are things that you you may not consciously think about, but your eyes are registering that. Okay, these things are all interacting with this kind of interesting. Really. You know this sort of thing because you can take simple designs and shapes and make them compelling to the viewer if you understand how to play it against the four main edges. So over here we've got this cow. It just doesn't have the same strength. All right, All of these curves, they really don't interact and play against these lines as well. And the overall read is this very kind of slow. And, you know, it's just not this this week looking alright, visually. So whenever you're you're designing in your drawing, if you're doing a coffee cup or something, try to break things down and angles. Theo doesn't mean you can't have a curve once in a while, but I can tell you from experience. You know these things that if you're the majority of your design is curves, then it's just gonna have, Ah, very soft appearance to it. Just won't be is dynamic within the frame. Okay, So if I really highlighted the spring here, you really start to see that edge That just appears not quite as interesting. Is this one all right? So that's kind of my last little tip about design and kind of composing, if you will. And now you can take these ideas and run with it on your own. 4. Design And Composition: So let's talk a little bit about composition. And in this class again, we're dealing with a cow portrait. So we're going to eliminate a cow landscape. OK, so basically, we don't want the barn defense and the whole field and everything. Okay? We're thinking Mawr. Ah, Portrait. So we're dealing with mainly the bust. I had that sort of thing. I'm just gonna give you some ideas on what to use, and they kind of what toe watch out for. So start with the good. So let's say we have a traditional portrait Lay out there so the head will go in here. We have the ear way. We have a nose, right body lip down there. Couple of nostrils, that sort of thing. Another year here. Good. So that worked fine. And I'm going to go over these and just a second. But for now, just say that's okay. Another idea you can do is to switch this thio more of a landscape layout, and then we can do a profile. So profile would be mawr off a little bit more of the body, and then you would have your head coming out the nose. Um maybe an ear in here. And then the body will go off in there and the other ear over in this area, side of the news. And then, of course, you can have the markings and all that stuff of a cow. Okay, so that's not a bad example. Um, so for a kind of a landscape layout, this is a pretty good design. Watch the tangent. So don't crop it too close to the top. Some. I'm assuming my top is in here, so leave a little bit of gap there, and this is done loosely, but you'll get the point and make the frame. Okay. The frame would be the four edges combined. Make it so has more cow than background. Okay, so basically, you want the body of that cow to cover mawr positive space than the negative space. OK, so don't balance. Um, you don't want equal negative space. And a lot of times that could happen where you create account, portrait, and the next thing you know, you've got this equal amount a negative space to the cow. Okay. So just make sure your your subject, which in this case is a cow, is more dominant. All right. And then you're good to go. Another thing? Maybe. Is it that consider square? So I'll do my best to free hand a square where the cow with Similar to this Where is coming in from one side, Um, kind of goes over the year down and then out like that. Okay, so we have all negative space from here over. So something like that. So that works pretty good, too. All right. I think that's a design that works well again. Similar to this one. You just have to make sure that you have mawr cow the negative space. All right. Don't again. Don't balance. Um, so these are all kind of your basic ideas and step work things I've used in the past and had success with it. So now let's look a, um maybe a few things that you want to avoid. So let's start right here with our portrait. And so in this case, what I'll do is add the head maybe in here years and basically doing a similar layout as I did over in there. Yeah, something like this. So what's happening here is the cow. There's only touching one part of the frame. Okay, So here. So if I shaded the cow as my positive space, I'll just do the whole thing so you can see it. So my edges. Here, here, here, Here. So it's only touching one side. Okay, that this doesn't looks a little bit kind of lonely in there and and the space around it it's just is not broken up. Okay, so you get this one big, continuous, that sort of thing. This whole works better. This actually hitting three sides. Okay, so we have I shaded the negative space in here, and maybe I would want to bring this one down a little bit different will change the angles . Okay. She had just like that that So I've got no 1 to 3. And that's a much more interesting dynamic going on within the frame and everything you do . An art. Whatever subject to paint, it doesn't matter. You always have to design within the frame. You'll find that this these angles that are coming off the edge here visually, you may not see them or notice them right away. But your I sees the spaces and then here there's no interaction there, So it's not really dynamic going on like this one. So in terms of a strong composition and something that's interesting and engaging, this one would probably work a little bit better. Okay, the next thing I will talk about is very common. I mean, I see it all the time. And pretty much every subject you can imagine is when we get tangents. So here I have the cow. So I'm looking here, and the year comes in and breaks right there. Okay, So what happens is we get what? You even take the top of the head up and do the same thing. So these tangents, where you have an edge, A dominant edge right near the frame, like this. There's no good. Okay, it looks uncomfortable. It looks squeezed inside, so you always have to air it out. Okay? You always have to make rooms. Four your edges and let them breathe a little bit, okay? And in that way, you don't feel like something's getting squeezed. All right, so I tried to avoid this sort of things. Okay? The cropping in the tangents, uh, on the edges. All right. If you can avoid like these, too. Common scenarios right here. You have a good chance and developing the basics of a good composition. All right, 5. Crayon Mark Making Tips: in this lesson. I wanted to discuss some of the finer points about crayons and some of the things we will talk about our mark intensity. Well, look a contrast. And then we'll look at setting the table. So basically planning to use them. So that's more about strategy type of thing. And then we'll look a kind of some subtle ways. We can use it as well. So let's go ahead and look at mark intensity. So I will use something with contrast to the blue. All right, this is just a scrap piece of paper. And this is £140 cold press. And, um, what I would do first is just use a little bit of pressure, OK? So when I go into the surface, I'm not bearing into it hard. This is very light pressure. Okay, So barely stroking the paper. OK, now I can go a little bit stronger, and as you can see, it gets pretty intense. And then, of course, waken dio even stronger. Now what I just did there was I broke it because of the intensity and that's going to happen. So we really get these bold lines they had to expect it. You can try to go straight down, or if you go on an angle, you know, you're probably gonna snap him. But this is really what you need. Okay? If you're going to use it for to create mark making, then we want the marks to show up. Okay, This barely registers. And as a viewer, when you see marks like this to me, it looks indecisive. So there's not much confidence behind the artwork, so keep that in mind whenever you using crayon. All right, pressure into the surface is important. You want your marks to stand out, okay, If you're going to create these light lines that all you're doing is really just making the painting fussy. Okay, so that's the one thing I want to cover. All right? So, intensity now contrast, obviously the yellow and the blue. We have contrast there. So you have no problem seeing these marks. However, if I choose a color such as this and hold this up through a piece of white paper here, I start to go in here. You know, you really can't see it that well. And now I pick something like this. You can barely see it all. Contrast is something you have to consider. We're using crayon. The kind of gets back to this point. I made up here with intensity. If you don't have good contrast that it's not gonna be visible, it's not really going to register. It's going to read as indecisive and not much confidence there. So if this is what you're dealing with, then don't even bother. It's not going to make an impact. If you go a little bit later, then Yeah, OK, this is blue on blue. But obviously we have a little bit of contrast. And I go even light yellow here. Yeah, we have a good contrast there. So the light blue and the yellow would obviously be a better choice for this set up. Okay. Ah, lot of times you just have to consider, um, where you're going to apply a stroke. All right, So what? We're going to apply it right here on this shape. I'm like, OK, I want to make a nice, strong line here that can use the light blue that I could probably use the yellow I could use. Okay, so I'm good to go here with all of this stuff so I can get in here and create a lot new problem. And the contrast is good and and jumps out. So just kind of knowing what the scenario is and where the bulk of the mark is going to be is important because it's OK if you start over here with that line. It's not gonna show Oppa's much, but I know I'm gonna bring it up in here. Then that's okay, all right, cause the bulk of this line is used over a much darker value. All right, so again, contrast. It's something you have to consider with selecting your crayon. All right, The next thing I will talk about this setting the table. So for setting the table. Basically, we're looking at planning. All right, So if I were painting, let's say a cow since this is a cow workshop. Now go straight out of the jar here and just a touch of water off camera there. And I want to create a dark value because I want to use this lovely yellow light, yellow or pale yellow. They call it Hugh so I can go with something like this. Say OK, I'm going to create this big mass of color in here so that I can utilise this lovely create and probably a better scenario than using it on let pain or in Cuba, paint will be to let it dry. So if I just did a wet wet though, you'll get a mark in there and that's okay. You may want a subtle shift or a blending off the line. That's fine. But as I let, if I let this dry and I go over with the same color, you're going to see a much different line. But again, the purpose of this piece right here was to say, You're gonna planet All right, so basically, when you're designing your paintings or you're visualizing what's gonna happen, you can often times create a light value area or a dark value area purposely. And then that is done for. The one reason is that you're going to come back and apply crayon over top of it to create an edge or some sort of outline. All right, so I'll let this dry row quick and I'll come back and just show you what that looks like when it's dry so you can see how Planning this brown to show a pop of the pale yellow woodwork Now that we're dry. Okay, pretty much see what's gonna happen right there. So again, planning on area for crayon is fine again. You could do this all the time. You don't necessarily have to do it in the very beginning of your painting. But as a painting develops, you may see an opportunity to use these beautiful marks the okay, But I need to splash a dark, a splash of light value, but a dry and then pop you can have. All right, So, setting the table, the one thing you really want to be careful of if you use stretch canvas and you enjoy painting with crayons is as I demonstrated, you need pressure into the surface to make a mark that's going to be visible and impactful . But you have to watch out for that. All right, it's so easy. The puncture, your canvas. And that's exactly what happened right here. So if you enjoy painting on campus, ah, few options I can give you is hang on unstructured canvas. And that could be 1/2. So I know because then you have to turn around a stretch it if you don't want to do that, but you still want to paint on traditional canvas, then our recommend taking cardboard or foam core. If you have a size that you use often, let's say you like painting on a 16 by 20. If you could take foam core, and what you would do is measure it to the insides. You want to fit within here, and you could cut it down to where would fit in. This speaks. Obviously, you would probably need about three of these to make that happen, and then you could you could basically stack them in there, turn it over, and then that would give you, ah firm surface and you'll be less likely Puncture the other option. I will give you just simply use a pain board. All right, This is very firm. I can put pressure into the surface here like I did with these crayons, and you should be in really good shape. So you're not gonna end up in this situation, all right, so just some words of caution there for those of you that like to paint on canvas and hopefully you won't end up with a bunch of these 6. Final Project Part 1: All right, let me go over the materials. This is a piece of £140 cold press paper Blick Fabbiano blend A really good kind of high end student greed piece of paper, Great for curly painting. I would not use it for finished watercolor art, but again, for what we're doing today hurt. I prefer paper over campus for many reasons. But that's another video in another time. I'm just using a drawing board here so I could tell the painting if I need to. Gives me a nice firm surface a little bit and masking tape to hold it down in case of buckles on over here. I've got a couple of reservoirs of water, one for clean my brush ones like the cleaner for leader mixtures. Pala is ultra marine blue. These air you tricked paintings are blend or brand rather. Oh, it's very blue. Cerulean blue lizard crimson. This is a Venetian red. I don't use this color a lot, but I like to use it. My cows is really rich browns and make some really good Creamy pinks to cad Yellow. This is burnt Sienna number. Have some white over here. This is a paper palette 16 by 12 in. Apart from that have these are mostly bristle and synthetic and bristle brushes. This is a bristle flat. I may use it. This is my fan bristle again. Synthetic very firm. Probably the most underappreciated brush out there. Most people think you can just do grass with it. But I tell you, this thing is very versatile. You'll see me use that I've got around here. Medium, uh, you see is very worn and mushroom, But I'll use that. This is my small pointed around getting in some detail a palette knife. I'll probably scratch into the paint a little bit. The This is just my small, thin lighter may or may not use that the last one I not least I know I use This is my blick out liner brush. Eso very long bristles on this and does some gorgeous line work. So this is a number of six. I've got smaller ones. I've got thicker ones, too, and they're just a little bit thicker than breasts a little bit longer. But if you like to align work, you like Mark making. I would highly recommend this and I'll try to use it for his demo 7. Final Project Part 2: the name of the game now is just getting some color down. So I just start right here. But before I do, I'll Prewett the paper. Do not use any mediums on my paper. So I asked that quite a bit. If I Jess Oh, or anything like that No, I don't. Not just a paper towel here to spread that around and they get off in the excess. So now I just want to get some huge going on. I mean, I have some pain Mixture is here from a previous demo, and I could just clean allow that all a lot of this year's drive anyway. But for what still wet, We'll clean that all and then go with my large flat. And what I want to do is get a little bit of a few different color. So a little bit of my number, a little bit of crimson little bit of my blue just kind of put that down first and mixing it up now. So yellow on that one. Back to mice, truly in crimson Ah, little water. Uh, now spray it again, right back into this yellow clean paper. Cowell's. But now, as I'm doing this. I don't want toe mix it too much, but what I'm trying to do is just cover most of the paper for this one. I don't always do that. I have been left the way. The paper too. But I think for this one I will keep it kind of saying everything. Okay, that's not that. Now I will let this dry. But before I do, if you feel like things air to too much color or value one section, you can go ahead, change that. I could do it a few different ways. I could spray it. This paper's already stained because are you play Hugh on it and lift? Of course, you can always, uh, just take a lighter value color and put on a swell and again touching beautiful places in there to just get that threw that out and to get some of the excess off. Now I'll take a hair dryer, too. It off camera. But one thing I mentioned, I try to say this in all my videos to this important, get this really water down stuff off the edges so it doesn't drip back into your paintings . Later on, Ledra 8. Final Project Part 3: All right. Nice and draw. At this point in my head, I just use my fan for this one and kind of layout where I want things to be and just really about getting the main features in there. There you go. Nice and loose. Okay. You mean where this is? Ah, expressive painting course. So way don't need are you don't need our outlines and our shapes to be perfect. Okay, so have a little bit of fun with it Now you can see I'm just using different colors. Now I'm thinking drawing. I'm just trying to do find the edges of everything. But all the while I'm mixing in different colors, and these off course won't won't stay in there. But for now, this is giving me ideas on color combinations, things I could do in terms of the palate. I have. So this kind of letting things work and blend a little bit. And if these things make it in their fine if not, I don't really care of the stage, because this is nothing more getting start and I kind of sets the tone, though sets the tone for for what's gonna happen. So I've got a nice loose, gestural type layout going there kind of caught some of the key edges and just want to practice and scraping, scraping to a here to. But at this stage, a lot of those scrapes will be painted over. We've used one experiment play. This is a good time to do it. But for the most part, I think just keeping it right right here is pretty much all I need. So I'll let this drive you. That's the key. Let it dry. And then we can come back and lay over top of it without creating, risking the possibility of creating money art. Okay, so I'll see you back in this dress. 9. Final Project Part 4: Hi. Nice and dry. And I definitely want to incorporate some mark making here. So I've got some crayons. So these air again? Crandall quality crayons. They were talking on it. Artist greed. And typically, what happens when you use them? You'll get paint on the ends off. Um, So what I like to do is just dip them in water, take a nap in here and this, get all that crowd off of it. Eso that when I use it, I get a nice Crist, Hugh, and this was pretty clean, so I don't have to worry about that. I always try to look at the colors I have. So I got a lot of these browns and hookers in there. Greens, dark blues, yellows. But I like these yellow strokes a lot. At this point, I don't want to compete with him. So in other words, I don't think the same intense yellow and start putting everywhere else because I feel like it made the track from that. Now, later on, as I add other layers of acrylic over top of this, this may disappear. Faith. Okay. I don't know. I can't see that far ahead. Try to keep things like strokes. And I see that like I'll kind of preserved them but expressive payment. You have to let things work themselves out. And for now, I just don't want to compete with it. So I feel like I could do the same thing. Do some mark making with another value that's a little bit lighter or darker, and this doesn't compete as much. I think this Oakar will be good, so I can kind of test that and then go right into it. And maybe we'll do some zigzagging in here. That's good. E come off the edge. And in terms of using these strokes, I recommend you go bold. Okay, So in other words, don't come here and go rule light. Okay? If you do it like that, it's not come across Tenet. So the person looking at it will say, Oh, well, they really weren't convinced. So we're talking bold, loose abstract art. Put some pressure into it, go into that paint, go into the surface and don't go too far. I mean, you're better off with two or three bold strokes. Then you are to do 50 little Keeney strokes case so one or two strokes make a nice, big impact. And sometimes if you go to many, then they kind of loses its impact. Now, will these strokes make it in the final painting? I don't know. I like the way it's so look already. Well, I can guarantee you they're gonna make it. So the paint still dry so I can start to bring things forward a little bit and maybe I'll start right with no. Someone give Venetian and yellow and maybe a touch of crimson and sienna. There's my correction. Missed it. Try to get something in here. Maybe a nice pink. But I think what the colors I have I don't want it to be too cheery. Don't cotton candy at this point. So maybe do something like that for the nose right now, they're going to go ahead and go with my way. So I touch a little Saru Lian, and with this, they would touch that pink. Basically a little blue, a little pink. Can't push it towards Violet. That's looking pretty good. I know all of this is kind of dark and value at this point, so something like this work pretty good. And now just trying to find some of these shapes in here. Now, just what makes that white up next? I don't want everything to be the same, Hugh. And, oh, just getting something going on here and we could take a napkin, our blend things out, softening a few edges. I could go right back into that yellow like that scribble and news there. So, I mean, a lot of changes. So now I can cake and work into that white paint a little bit. I'm gonna go lighter and value. Okay, so I just had it wait to the mixtures already had Blend that right on up. It's fine. I don't like that. We haven't looked like that softening of the edges there. I like how it kind of revealed that crayon to do that. Let it dry, Then we'll come back and do it again. 10. Final Project Part 5: going Gramma liner. Here I will go right into these cerulean, cerulean and ultra and get what's left of this yellow touch A little bit of red. And this may be a little Venetian, too. It's touch. It may work pretty good. Well, let my brush a little bit more. I think I need a little more yellow. Just I'm giving me what I'm looking for. Now over here, where it's clean on the palate. I think that I will do it. Actually. Go a little bit of a low. You see, that halo has got a little more punch to it. This intense, though. So you gotta be careful with it. Some mix it in with what? I have just to tone it down. And now complex. A little bit of that crimson in there. Venetian. All right. So kind of getting back into drawing here and finding some of these agents. It's all I'm doing Pretty good. We'll pull that blew down here and get a little bit of white in there and see how it mixes . And there? Yeah, a little more whitening. That blue. There we go now. Kind of mix it up slash I like this mark, but it's just competing too much with that yellow. So I need to dissolve that somehow. So I am going to switch brushes here with my round, and actually, I go with my flat to. So what I'll do is I'll hold both of them at the same time. Maybe a touch of crimson in there. So a little green love blue Will Crimson would do something like that. We'll get a dark year going. Yeah, something like this. Okay. All right. Now, Dad, that to reveal some of what was there? Crimson little Venetian. Um, now go with some lighter values in here. Now, taking that right into these yellows, Apparently I have some bloom on brush. It's okay. I really like this yellow. Actually, I think it would look good in here again. Take a little bit off smudging that out a little bit. Now grab a touch more that Venetian. I really like how that was looking in there. And it's gonna find a few edges here that's looking good. Go into these weights, see if I can pop it in a few places. Take some of that white right into these greens on scratch. into it a little bit. See how that limeys start to work. Leave a little bit of that A little bit of like value in here for the Libby, well, smudging. Let's let that dry and then we'll come back and check it out. 11. Final Project Part 6: all right. Nice and dry. And although he's got some really nice abstract qualities going there, um but you always kind of had to assess where you're at. What does it be and then kind of go from there and try? No, Let some of these really nice spaces breathe a little bits you don't want toe do too much, Mom. So I'm going to you go with a little bit of crayon. So these air Karan dosh artists. Great crayon. Very, very rich and pigment as you can see. Beautiful mark making device Here s so if you like drawing you want pops of color in your work. I couldn't recommend these enough of Jozy since probably a month into my career back and 2000. And, um, I get through pick, go through periods where I don't use them for a while, but I always come back. I just want to do so mark making and here and maybe define an edge in there, I think Oh, this is working pretty good. But sometimes just seeing that color right there, how it's me, envision what it will look like here. I think this will work good. So something like that on this defining that year that edge in a very subtle way. So that little mark right there helps to find that shake kind of running up into here. I can come back with that yellow, which I wasn't too crazy about right there. I think that looks a lot better. Those those marks are nice. I don't want to compete with him too much, and then that's where it gets a little bit tricky. Kind of put a little marked down, trying to envision what that color will look like in there. But I've got, you know, Mark, Mark. I feel like I need something I mark down in here. That's not bad. Like I need something in here just to kind of balance on out a little bit. That's pretty good. 12. Final Project Part 7: so I decided to pause and let everything dry. Have some papers that I'll I'm going to experiment with a little bit on. This is, Ah, a new thing. I'm working. But but I think for abstract helping, really painting any subject. It's something fun. I think. What? That would add a little interest. And I think this painting is in a good stage to do it. No, I'm doing is I'm thinking, looking at the patterns and the colors I have. I'm going to hold it off each one of them up to the painting separately, just to see if there's something that may work. And obviously we have some, you know, papers like this or this lines and kind of some simple colors. Flip it over. We have a solid color on each one. There's some patterns, so it might be kind of interesting catching my eye. I think it would look good with colors, too, and these solids air kind of nice as well, see what I have. I think I already have some blue in there lines. All of these colors are actually do pretty good with what I have never worked with the dots before. Maybe that would be intriguing. So for now, I think that gives me enough to work with. And I'm really liking the dots for some reason and just kind of laying it out. See how maybe that would how I would arrange him. Things I'm looking at are the angles that are already there like this angle. I don't mind that angle, but I don't think I would want to put this in a similar angle. I think I would want to try to play against it a little bit if I decided to use it. Yeah, I think something like this might be interesting. I'm going Shoot. Just create an organic type of shape there that may fit with what I have. Kind of like that may be in there somewhere. Looks like that with it. I'll get back and look at the flip side of this. So I got the dots going on. I'm thinking lines. Maybe we're just a solid color. Might be kind of cool or something either Like this, it's got the texture to it. Or writing. Yeah, Still, with something like this? Yeah, I think placing it in something that sort of arrangement may work. What I do because I have tape on the edges is kind of where I think it would easy to take the table. Something like that. Yeah. And these little scraps like this, I with this, I'm gonna keep those handy. And the same goes for the dots. So I have that as well. Just in case. You know, I want to Sprinkle that in in another area. For now, I think that'll work. Now. I will use some Matt Joe to adhere it to the painting and just selecting this right here to do it. I'm not contented with water or just use a straight out of the jaar, which is what I'm doing. I'm not too concerned about getting this on the painting. If it gets on there, that's fine. I'm not gonna worry about it. Just add a little bit of texture to the finish, Please. Roughly were rewarded and again trying to keep that tape in mind so that when I take that off struggling and now just a little bit around the edges, I think we'll hold that down. And the same goes for this. Make sure you get off the edge is really good, so it doesn't peel up a place that I'll get my head head in the film himself. I'll just pull that down with coming up in here and to do that on the edges. So just a little bit here, just to make sure that stays down. So this point, I won't take a dryer to it. Just Teoh, quickly get this thing to a state where I can take it to the next level. I'll clean my brush in the water, but before I do, I try to always get the excess off. That just keeps my water a little bit fresher longer and trying to a wood using a brush you really care about, so I'll drive us and come right back. 13. Final Project Part 8: All right. So we have this dry now, and I think the next step Well, I'm talking. I'm gonna put little tape on this brush. Carol, starting again. Come off. I think about you is recapture a few edges and then get Get the white on the face. Coming forward a little bit. I'll go and do the white of the face first. Don't pull my white mixtures on this side over here. So, a little cerulean little number, Little Venetian. The colors are all pretty much the same. Um, Eliza ruined Venetian can. Ready cad, yellow cerulean, burn number, raw yellow joker and then ultra the my titanium. So I'll get something in here first. Kind of Get that going. Okay, That'll help. Quite a bit. I try to go with some ultra. Yes, a rule, Ian. And maybe a touch of the red. Well, actually, get Venetian. Remember, the Venetian is a pretty intense color, so use sparingly. That's all looking pretty good. So I can use the same similar dark you. But I wouldn't change it a little bit through. Maybe a brownish Hollier. So some brokers, some Venetian, maybe a touch away, they can see that's pretty much gray out of that. So I push a little bit of red in that and grab a piece of scrap paper here. It's not too bad we'll go a little more Oakar, though I think that's getting me where I want to go are think I want to go and I kind of like that earthy Brown. I think it goes well with the subject, and I'll keep that brown right there. I don't think it's what hurt me a whole lot, and I'm going to work into the side of it a little bit, so I don't want to invade the center of it. I am going to borrow some of that you and get this news back in there now, giving it something's blues and browns and again cut borrowing from that again and this and that. This keeps a little more harmony as I go, and it's important to do that. Just some advice, abstract stuff in there, Maybe this for giggles. Spray that down that just like what color? You can kind of get some soft edges that way and back to my liner brush here and this kind of work into that a little bit and a paper towel. Just just smear that around and now go into these yellows. I think I would turn that down a little bit, or tented with a little bit of white. And where I'm thinking about is just something like this, but just pushing it a little more to a yellow. That's not bad now, plenty of water, and this is still really thick. You know, I used everybody a paint. Heavy body. Acrylics were reason. That's because you can dilute him quite a bit and you'll still keep that thick integrity well without no ruling it, ruining it. And now you can see I put a little circle there, little circle here, and it's playing off of those circles that are in the pattern a little bit, and some of that will stay. Some of that will go, um, what is have to see how it evolves and just taking that moment to look at it. I think I'll pull some weights down in here and again, just playing out for that circle. I'm going to just highlight it a little bit or accident by going around it loosely and slash here and there of some weight, we'll probably use it again. So this delayed it right off to the side. You can see I use these paper cows quite a bit to soften things. Now take that white right into these pinks a little bit. I'm a touch of Venetian in there and just get a little will be lighter value in here. It's good because I got these splashes of white in there and I know they're still wet. I really want to a big punch of dark right here. But I don't want to go into that with the dark, so I know it's going to blend and I want the dark could be a kind of a transparent color. So whenever you're dealing with a really dark value, if you can keep it somewhat transparent, it's not as heavy. And that's what I want. What a nice dark I wanted to be have some transparent quality to it so that some of those lighter values and all of these lighter values and strokes glow through it so the light will penetrate through that transparent layer. Touch all of this and come back Okay, this too opaque, then you don't get that same quality. Okay, so I'll let this dry and then we'll come back and add that punch of dark and see how it looks. 14. Final Project Part 9: All right, so we're driving the touch here, and as always, you know, you envision what you want to do next and which remember, I told you, want to put that splash of dark in there, but, you know, as a drives and you look at it longer, you can, too. Um, maybe second guess it a little bit. Any time there's that second guessing, it's a good time just to stop just to clear your head through your thoughts. And just look at the painting for a while, sometimes taking that moment to absorb what's going on in your head. You can see things that, you know, maybe your brain is seeing, but it just hasn't registered yet. So anyway, that's what I've been doing. It is dry, and the more I think about this, I just don't know if I really need a solid color in there. I like all of these different things happen. So I thought, you know, no less is best. You know, we always want toe create a nice painting with less strokes. Impossible. I think for right now I would like to this add a pop, uh, color in there and see if I can make this shape come alive without adding a religious and to do it, I'm thinking more along the lines of crayon. So crayon is Ah, good way to add that pop and basically do the same thing I wanted to do, which was to bring that shape out. If it doesn't go well, then well, can always go back to my original plan. So I've got selected this one. It's a little bit later and value. Um, then you know, the blue or anything I have and thinking lightened fresh, a little touch of yellow. This is like a very light yellow. And, you know, if I can get in here and do this sort of saying, um, I don't think I'll be OK. No. And then I've got a dark one here, come in here and just kind of hit the few of these edges in there and maybe the little circle with their a round sum up in here. I've got some dark already right here, so I can kind of run into that and then do something like that here. So finger blending is legal so we can do that. And a few bold strokes better than a bunch of little jagged strokes. So always keep that in mind. So nice and bold. And then we can come in here and just break that up a little bit about this painting over at this. This Mitch and, as always, a little paper towel blotting. Not too much. Good way to dissolve those lines and get my brush out of the water before ruin it even more . He's just ruined. Nice that time or better. So now a little bit of ultra. That's a red. I just want to make that value when they're little bit darker. Maybe run. Allowing up there they were, the circle a little bit good. I think at this point, soften that one a little bit. Just because they were about the same height like this came up in here that came up in there. Listen, what? There's a compete with each other so you can see how that little mark right there offsets it. All right, so I'm gonna clean my table off, take the tape off, and then we'll get a much better look at it. As you can see, I've started to take some of this tape off and I wanted to just make a few points here when you're taking tape, all like this, Um, go slow. So, you know, especially this is good paper, but it's not great watercolor paper, And it was really, really good quality watercolor paper. It wouldn't here, but because this is common average blend, it is easy to tear. If it cares. It's just simply going to possibly going through the painting and you just don't want that . So, as you can see, I'm going very, very slow. So here's a look at the final piece, and I'm glad I stopped when I did. I'm really glad. Did this punch of yellow over something darker. We've got a dark mass over here. That's all we needed. I love the the mixed media there, the circles and, you know, you can see a little circle there as a little pop to it. Even this, even though this of part right here, this piece of paper we put in isn't as prominent, it still adds, texture enhances the piece. I mean, there's all this light value right here from there. They're down to this corner and it comes across. There is all attributed to that little piece of paper, and so that to as this kind of streak and movement that I didn't have before. So all in all, I think it turned out great. I'm happy with it. Ah, lot happening here a lot. Lot of expressive techniques, I think sheared in this quick demo. And I think these are things that you could taken explore with. But, you know, try any subject. Try a simple coffee cop. Whatever. Vase. You know, the idea really is to keep your subject simple so you can focus on the techniques. Because if you get too much going on, then you're gonna complicate the whole idea of it. And, you know, any time you can simplify, it's a much better approach. And then as you grow with it, maybe you become more experienced. Then you can start to do more complex ideas, but add little increments at a time. Sky's the limit. Okay, Have fun with it. Hope you enjoyed it. And thanks for watching