Expressive Flower Painting Techniques With Collaging And Acrylics | Robert Joyner | Skillshare

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Expressive Flower Painting Techniques With Collaging And Acrylics

teacher avatar Robert Joyner, Make 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

3 Lessons (17m)
    • 1. Introduction

    • 2. Part One

    • 3. Part Two

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About This Class


In this class you will learn a variety of tips and methods for painting dynamic flower artwork. To do this we will use acrylics and collage along with some expressive painting techniques.

Who is this class for?

Intermediate and experienced acrylic artists that want to branch out from painting stiff, predictable artwork.

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Meet Your Teacher

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Robert Joyner

Make Art Fun


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1. Introduction: welcome to express of flowers with acrylics and collage. This is the final piece, and this is but we will paint in this class to do so. I will teach you a few tips about working with collage. Also, we will discuss layers and how to work with acrylics to create depth. An interesting artwork. I will share a variety of tips about color brushwork and how to create dynamic, interesting shapes. This class is intended for intermediate and experienced artists that want to loosen up and create some exciting, evocative floral paintings. So if this sounds like you sign up today and I'll see you on the inside, Thanks for watching. 2. Part One: welcome to the demonstration, and here I will be creating a lovely flower painting using acrylics and collage, So I'm going to start right into it. I am using an 11 by 15 reject painting, so that is a regular watercolor paper, but more of a student grade. And as you can see, they're just has a bunch of smears on it and allow those smears that were on the paper are just from a leftover paint. So the end of a paint session stuff in my palette. I take it, smash it on a piece of paper and smear and then let it dry. So now what I did there was, I added some collage paper to it, and it's still slightly wet and just using a liner brush just to add a few key edges there to locate the top of the table on the left side of the vase. And that sort of thing now just loosely adding in some very thin layers of acrylic and just knew, adding a draw shadow. What will eventually be, ah, cash shadow and just so changing up some of those values in the background do the VAT background is it's fairly flat. So this adding thin layers like I'm doing now of different values will make that background interesting without having to do or work a whole lot for it. Now the key to this flower arrangement is in this nice, bright red flower, and that'll be shadowed and contrast ID with a lab or purple flower and then eventually a yellow flower to. But I won't like toe. I want to add that right away because I felt like that's going to Everything else works around that. So it's kind of a key element. And for a very simple, still life painting, I feel like that's kind of like my focal point. So everything else will be sized and, um, added according to that intense red in that particular shape. As you can see, the everything's loose. Nothing is defined on dis splashing shapes and splashing color. Um, just to get this thing going to give me a base toe, work off off. In the beginning, I try not to be any anywhere close to painting accurately. You know, it's just about loosely adding certain shapes and details and kind of bouncing around a little bit, so trying not to spend too much time in one area. So as you can see at a little bit to the based on adding a little bit of greenery there for relief. And now I'm going to start to add another key element, which is this white flour on the left hand side. And that's nice, thick paint. You know that I'm not know, as I'm adding these flowers and some of the key element amusing, thicker paint because I want that to contrast with the thinner pain that's in the background. So just kind of thinking more transparent layers basically for background Hughes and then working with more opaque layers and strokes for some of the flowers and now, quickly adding in some of the pinker. Ah, these will basically be buds or flowers, air in half bloom there and just trickling those in there a little bit of time and all the while kind of changing hues a little bit here in the air. So I'm not trying to use the same exact pink. You. I'll try to push a little red to it, a little white in it, so that no, it's an interesting shape, and it's an interesting uh, color and Assange's one value. And so now just again. Going a little bit thicker the whole time and adding, you know, foliage or leaves and stems And all this is doing is just giving me a good visual about how things are developing as a unit, okay, and, um, just about building things slowly, I can see things develop more slowly and then make changes accordingly versus just painting , you know, without any care or without any skill. Or, you know, regard to how things are balancing out in terms of color and shape. So you know it's loose. It's a loose style I work with. But things were done pretty methodically for the most part. So it's kind of like, um, you know, everything needs to be balanced, so you need that little bit of believability and that little bit of expressive quality. But you know that things generally will happen piece by piece, a little by little in the beginning. And then, as I start to see it better as it develops than I can count to start to take a little more risks, and I let things go a little bit. So now you're just adding a little bit lighter value to the tabletop there, and all the while that's kind of loosely shaping the base and the cash shadow. As you can see, two, I got you a little bit closer As I'm putting your colors on the collage paper. I always try to take a little bit off of it to so that that paper shows through nicely And , um, you know, putting the clause paper down. I want that collage paper to be a part of the art and not be completely painted over. We've been kind of crazy to even put it in there. So now, using a little bit thicker paint and a little bit darker and value to shape the flour and some of these key edges that I feel need to be included in the painting T give it that sensibly believability on everything to it. But you know, all the while balancing color, balancing strokes hard and soft edges and that sort of thing. So you see now just negative space painting to indicate a little bit of foliage, and, you know, some of that may be covered up later on, but for now, you know it gives me a good idea of where you know, some of the main elements air placed As you can see here, I'm taking it for a little tour. Everything's pretty wet, especially the thicker paint. So the goal here and and the main thing you need to do really at this stage would be just to let things dry. I'll just take you for a little trip around my palate. Here's you see how things are organized and and laid out, but that's going to cover part one of this demo. 3. Part Two: I welcome to part two. I want to be sure you understand that everything is drive 100% dry using a small liner brush. Ah, little bit of a lighter green mixture here. I'm gonna start to add Ah, the feeling of stems and just kind of try to bring these forward a little bit. That was probably a little bit too yellow. So you can see I'm mixing a little more green into that and just still not 100% happy with it. But you know what things like that happen. You just wipe it off. You get on down the road. OK, so that's more the color I was looking for. And I can move on and you don't get too fussy with things, but things don't work out quite that mess off. And that's the beauty of working the layers that on your layers are dry. So if you don't like something, wipe it off. You don't mess up with what you've already done before, okay? And now just really trying to make things a little bored, three dimensional or give them or shaped by adding some darker values a sense of a little bit of a cash shadow things like that and just kind of touch and go. You know, it's just, you know, I think the key to painting Loose art is knowing that delicate balance of putting some believability in there. But leave enough wiggle room that there is unfinished, you know? So there's that little bit of, ah kind of getting yang type thing happening with abstract qualities and then things that are a little more solid and visually, uh, understandable. Okay, So kind of your at this stage, though. I mean, you can see the thing is starting visible. You can see it's of basis of flowers there and things like that. So you don't really have to be too much do too much. It's just about building things up a little bit and ah, and not trying to dio to be a hero and get every single detail If you're gonna paint that style than you know, painting loose is going to come a little bit more difficult for you because you're you have to understand that some of those things have to be left out. Okay, I'm talking about details and shapes and stuff like that edges, but anyhow, moving along just adding some darker values A little bit. Thicker paint, too, to some of these edges, Um, and now some of some lighter values here to catch a little bit of light on the left hand side of the base. And it's mixing that Hugh up a little bit with a little bit of green. Just so it's not all one one color or hue there on the base. As you can see, I like to finger smudge. So that's all that's going on there, just kind of blending things a little bit, adding a little highlight catching edge. And there I'm just doing a little bit of splattering, and that can add some expressive qualities. But it's easy to go overboard, so less is best, as in, you know, with most most cases, you know. So getting some green again here and mixing that in with my reds, and that's going to make it a little bit earthy, using some of those reds into it, and it's adding a stem and some leaves and things like that, of course, all the while, it's just a matter indicating things and not necessarily trying to paint them as they are in real life. And if you're curious about the composition, it is really made up. I mean, it's just a base for the red flower, a few white flowers and things like that. I didn't really try to capture any specific flower. It was all just kind of loosely done. And, um no. And that kind of help sometimes with painting, because you can nick and gives you a little more leeway versus trying to paint a rose or dandy line or something very specific have painted enough flowers that kind of have a little bit of experience to draw from to, so that helps. But this piece was just really a play on color, the reds and the yellows and purples and the lavenders, I guess. And that's always really after. And now just using some mid tones there, touching in a few splashes here and there just, you know, balance things out, break up some of those bigger shapes and now getting into some nice, dark values here, and we'll just use that to shape a few key edges. But as you can see, things air moving along pretty quick, coming together, and it's important to note that as you're painting because, um, the most common error I think painters make is a just over paint things. Um, so it's you better all to stop before it's done. Then you are to look down and realize you you've done too much because it's much easier to add things. And it is to subtract. Um, so anyway, um, yeah, yeah, Just beefing things up a little bit in the foreground when you're breaking up some of those kind of solid areas of color, just with some subtle, huge changes. I think this creates a little more interest. If things get too often, area gets too much of the same Hugh. Then the tendency is for that to look flat. So by just adding subtle changes in Hughes here and there, then that area becomes a little more dynamic and interesting to look at seeing Cassie just and adding pops of color here, and they're not trying to be a hero. And now it's using a little bit of ah, compressed charcoal, and I'm because I'm describing that into wet paint. It's really going Teoh leave mawr of a scratch versus a line like from the charcoal so knowing I did that in the wet paint. Um, you know, I knew wasn't going do anything too drastic, but it was going to create a little bit of linear interest, which is kind of what I wanted. Just to keep things loose and fresh. Now just kind of really moving in with pure, you know, nice pops of color. Now, just to bring this thing to life a little bit. You see there out of that nice splash a peak, and that really brought those little flowers together trying to define a few edges here and there by using the background. And that's the name of the game. You know, it's kind of a pushing pool thing going on the whole time between getting things that makes sense visually and then leaving those areas that are, you know, unfinished. And that's that's what painting to me painting loose is all about. You know, it's about getting that balance in there. Now it is beefing up some of the yellows, and it's turning that down a little bit with some of the grays that are on my palette. So it is bringing some of those lighter green hues in it Now we pretty much know have this thing close to a finish stage. And then we worked loose like this. And you're familiar with your subjects? These things, they shouldn't even be more than 30 or 40 minutes, you know, to bring a small painting like this in 11. About 15 to finish stage. Okay, so now I think I will take you for a little trip around the paintings. You can get a feel for it. Now, you get a good look at the collage work and back up into some of the flowers and background there, and hopefully you Ah, this inspires you to track a lodging and, uh, you know, give this sort of thing a world, and maybe you can include it in your next masterpiece. Okay, Thanks for watching.