Expressive Flowers With Acrylics - Learn An Approach That Gets Results | Robert Joyner | Skillshare

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Expressive Flowers With Acrylics - Learn An Approach That Gets Results

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

12 Lessons (2h 19m)
    • 1. Introduction

    • 2. Positive & Negative Space

    • 3. (NEW) Student Critiques: How to avoid common positive and negative space problems

    • 4. Explore Composition

    • 5. Value Study

    • 6. (NEW) Student Critiques: How to avoid common still life composition & value mistakes

    • 7. Color Mock Up

    • 8. Color Study

    • 9. Exploring The Subject

    • 10. (NEW) Student Critiques: How to improve still life paintings and avoid common color problems

    • 11. Final Painting

    • 12. (NEW) Student Critiques: How to avoid common acrylic still life painting mistakes

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About This Class

In this course you will learn the essential skills needed to paint lovely, expressive still life painting with flowers using acrylics. You will start from the very beginning as you discover the importance of positive and negative space drawings and ultimately finish with a step-by-step flower masterpiece.
Who is this class for?
Anyone that would like to paint expressive flowers and desires to learn more and the techniques.
What will you learn?
Positive & Negative Space- this is essential in understanding the edges of your subject. It will teach you some of the characteristics of your motif and help solidify the main shapes.


Thumbnail Sketches- a great way to compose your painting without investing a lot of unnecessary time. It will help prevent many hours of painting in circles only to realize the composition doesn't work.


Finalizing The Composition- this is a quick composition drawing based on previous thumbnails and positive & negative space drawings.
Value Mass Study- an essential step in understanding how to simplify values and locate lightest light and darkest dark.


Color Mock-up- an important stage that will bring drawing and color together. You will choose a palette and complete a quick color study that prepares you for the final painting.


Explore Color- this is a great lesson for understanding how to shade and tint colors. Once you complete this exercise you will see how much range you have with only a handful of colors.


Explore Subject- sometimes you just need to doodle and play with expressive techniques in order to push the boundaries a bit. I'll share some secrets on how I do this by simply take some time to be creative.



Step-By-Step Demo- now it's time to put all the lessons together and create a final painting. If you have done your homework this should be the easiest step in the process.


Material List
4 sheets drawing paper - 60lb. 9x12" 
graphite pencil, or a standard #2
4 sheets watercolor paper (140lb. cold press), or Bristol - 9x12"
small canvas (11x14 inches), watercolor paper, or Bristol for final painting (12x16 inches)
acrylic paints, ultramarine blue, titanium white, lemon yellow (or cad, Hansa yellow), deep red (Cadmium, pyrrole), alizarin crimson, burnt Sienna 
brushes, small round, medium round & large flat

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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

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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 express a flower painting techniques. I'm Robert Joyner. I'm excited to share my knowledge of painting with acrylics. With you in this class, I'll introduce you to a variety of tips and techniques that will help stimulate your creativity. You learn how to make better compositions and why about masking your soul reported for your artwork. By the end of this class, you will have new ideas and skills to expand the possibilities for creating your own beautiful flower. Paintings are six main topics will start with positive and negative space drawings. This will help you find the key edges of your subject. We will move forward with composition and how to do thumb now sketching. And they created quick value mass drawing. The lessons on color will help you explore how to shade and Kent your four main Hughes dude would dive into some more creative work. As we explore our subject, this will help you find more interesting ways to express your flowers in ways that you never knew existed. The mock up study will help bring all of the previous lessons together and to give you one final test to make sure that everything is working in harmony. We will finish with a step by step demonstration where I will paint, finish some flower still life painting. You'll find a list of materials and resource is in the attached files, and I love to interact with students. So if you have a comment or question regarding what you are learning, feel free to get in touch. So without any further ado, let's get started. 2. Positive & Negative Space: Okay, we will start out with a 12 inch ruler, a number two pencil and then a piece of 8.5 by 11 inch paper. That's just standard. Ah, paper you would put in your printer. Now measure down one inch from three of the edges, so I will start with the long edge and then I'll start. Continue with a short edge here. It's important to do a couple of marks on each side because we will eventually draw some lines here and then from the next bottom edge mark up three inches. So I'll start with the three and then go up to the top and then make my mark. Okay, now we'll find the center of the 11 inches, so we're looking at 5.5 inches here, create two marks. Now we will make a center line. So once you had those two points lined up, draw a line all the way from top to the bottom. And then, from that line, measure in an inch on top and bottom there. So I've got to marks and then the same thing on the right half of that center line and now would to start connecting some dots here, and I can just kind of do you follow what I'm doing here and create your you're vertical lines and then you can kind of come back, catch your horizontal, and then, lastly, the bottom two lines and these all have to be perfect rectangles. But if you want to go back and clean your edges up and erase some corners to get a nice and tight, that's fine. The one on the left. We will label that positive and the one on the right. We will label that negative, so your papers should look something like this. Now, for the positive side, we're going to focus on the positive shape. So a positive shape and art is basically the object in which you will be focusing on. So in this case will be the flowers. The vase and I will include the table that sits on his well. Now, before I start to create the marks, I just lightly go over where some of these edges will be, and that's this just helps me situate the flowers inside the rectangle. Now, once I start to feel comfortable where those main shapes are, I'll go ahead and start drawing in a few of the edges of my positive shape and, you know, make some adjustments as you go. Like, for example, here. I wasn't crazy about the round pot, so I just kind of let you made that a little bit longer, So I thought the shape was a little more interesting, especially when the some flowers are oval or somewhat round themselves. I don't want to create around pot, too, and so again. So if you see something you want to change if there is a glass vase and you don't want to focus on painting class, you can make that a solid color. You're the artist, so just make those changes if you like. And now, as I go around, I'm just I'm not trying to capture every single nuance of the flowers. I mean, there's just way too many edges and details there, so I just want to get the gist of it. So in exercise like this really helps us see the object itself. So you're looking kind of inside the edges of your object, like although here I'm drawing the centers of the flowers. Eventually I will shave that end so that kind of tells me where my positive shapes are with this particular set up, and now I will start to focus on the negative space. And this may look very, very similar to what I was just doing. But as I'm doing this as I'm drawing it here, I'm looking at the outside. So from the outside or the edge of the flowers to the background. So I'm not focusing on what's inside the flowers. I'm simply just looking at on the outside of those flowers, a shape, some of the points and just try and get a feel for where some of these little nooks and crannies are here. You can see I found a little negative space inside the stem of those flowers there. Now, once you have that, I want Teoh and I want you to go ahead and just shade everything in. And then again, I mean, it's not about trying to make every little detail prominent. It's just to start to get you to see the difference between positive and negative shapes, because as an artist, when we paint and draw, we want to use both of those and typically an artist will use the positive shapes more so than the negative shapes. But truthfully, the negative shapes or the background area play as just as an important role as the positive shapes of the subject itself. It really can help you determine the edges of your subject. So it's important to explore both of them. As you finished the positive shapes. I just go ahead and move to the negative shapes side. And then we will start to shade that in Azaz. Well, and then when you're done with this exercise, you should have two very similar drawings here. But one again will be shaded on the positive areas. And then you will have one that will be shaded on the negative side. Okay, so again, these air no quick value sketches here. That's why they're very, very small. Their intended to just get you to be more where of this very, very important thing in art. And that is the positive and negative shapes. OK, so when you are finished, you should have two studies that look similar to this 3. (NEW) Student Critiques: How to avoid common positive and negative space problems: Now this first look at my study. I want to start here and just remind everyone that the intent of this was to draw in, outline off the positive shapes and negative shapes and then shade that end. Okay, it's important that I mentioned that because as we move forward, I'm gonna point out to some of you that didn't quite follow through on that. Now, while this particular exercise is not really detail oriented, we want to still pay attention to the main shapes of things. Because that's what captures the character of our subject. All right. And while you know, we may not be focused on every little nuance, it is important to capture the big picture. Okay, with that being said, let's go ahead and crack forward with the very first critique. Now, first up, I thought this was excellent. I mean, did a really good job. I thought you paid really good attention to your edges. I love in the negative space how you can really see the lines going up on these stems, and they're really skinny will be easy just to draw a big fat line and not do an outline. But I like the fact that you paid attention to the outlines he put him in and he carefully shaded around it. So I mean, this was a really, really good example of positive and negative shapes Study. So really you not good at the park. He actually did a better job, and I did. So congrats to you on doing this. Good job. Next up is this one I like. This is Well, I thought you did a good job of doing your outline so I can see the outline of your edges. I know which one you picked two. So this is not an easy one. This has actually a lot of subtleties that weren't included in your positive negative study . I'm not gonna critic you on that because it's really up to you. What you include and don't include I'm just going to bake. Go. Based on what I see, if you won't leave out some of those details and edges and stems and stalks, that's fine with me. I'm just looking for, you know, being able to capture the edges that are important to you. And and then you're making that outline and then seeing the consistency from a to B, which is positive to negative, But let me ask you some issues with some edges that air near the edge of the picture playing. But I want to see how you handle the composition and the next step, which is lesson, too. So anyway, that's my advice to you. But good job. Next up, this was a little blurry and pixelated on the right, but I think we can certainly do a good critique on this. I like how you drear stems out. You drew the the flowers, and that's a lot of detests live drawing there and to go back and have the shade. Each one of those in the amount of time I think you put into it is good. The the effort and everything is really good. And I thought you did a sound job capturing everything, eyes very consistent from a to B. You know, it's good for now. And when I would like to see you work a little bit more on your shading, I know this is probably a big area to try to shade, but you can kind of get your lines a little bit tighter together, like here. I could tell. You know, there's a lot to shade. I'm just going kind of loosely through some lines in there. But you did a great job in drawing and paying attention to allow the details. But on your shading aspect, I thought you could have spent a little more time there just to make it a little bit more. Ah, better study overall, just a better quality. But you capture the, you know, the main shapes and the idea of it. And I'm curious to see what you do. And we two all right, this one. Just make sure, um, that even though is glass. Except I'm pretty sure you pick some flowers that were in a glass vase. Pretend the glasses a solid color. You're not really concerned about materials with this thing, So if it's in a vase than the flowers or in a vase and the base is a positive shape and then so that means all of this space here with the glass face, it should have been shaded in just like the flower. Okay, because that's what you want to pay attention to. So ignore the fact that it's a transparent material shade everything in and then I think it would have been a little bit better study for you. But for the most part, I thought you did a good job of trying to capture these edges of the some flowers and a good job of shading everything and staying within your lines. Everything carried over into the negative study as well. But for the most part, just remember everyone that the positive shapes are always the outline. Don't pay attention to what's inside, no matter of his glass or not, if it's part of the main subject shaded in and pay attention to the edges. Okay, again, I look forward to seeing what you do a week to as well. But good job. You spent a good amount of time on this and shows like how you know where she shade everything. Even though this is a large mass, dark mass. I mean, you really took the time to shaded and well, then that tells me you just you know, you're you're concerned about the quality of your work and you're willing to work a little bit harder. You have to finish the job. So good board on. This was really good. I would say very similar to the other ones, though. Just make sure you pay attention to your outlines so I can see the outlines coming in and most of this stuff I think you lost it here, sort of doing the outline and shading in this little area. It's just a E. I think you just drew the lines. But the idea is you want to draw the lines no matter how skinny they are, Um followed through with with capturing those edges because I promise you there's a difference. Okay, if I just simply say, Oh, there's just a thin line here and just draw the line now I'm not gonna take time to really look at that stem. And there could be something on that stem that it's a detail or a little subtlety there that you may want to include in your working in your subjects so I would encourage you just to draw those in left and right sides of these stems and things like that and then shaded in. I thought he did a better, much better job of that in your negative study. So you came back in here and it's probably because the this space is easier to shade in than these little thin spaces in the positive study. But that can be done pretty easy. I like what you did better in the negative study in that respect and that I thought you drew the edges out on everything. And then you came back and you shaded around it, corrected it. And I think he redeemed yourself a little bit with this one. But don't you followed through here too? I notice the pain sometimes to shave that, but sometimes just that hand eye coordination you learn from shaving in little thin things like that can improve your brushwork. It can improve your drawing. And most importantly, it can improve your vision how you see things, OK, but good job. Our next up is this one. There's some areas where I felt like you paid a lot more attention to the shape. And there's other areas where I felt like you just do some scribbles in maybe, and you just didn't quite spend the time to look and see exactly what's there. And basically, I'm gonna focus right here on the center of these flowers and where the stems come up. This is kind of hard to read and like, if you look at the right side the vase, how the edge comes down the bottom, the left side. I can see here even bits and pieces of the edges of these flowers and places that air there . But the other parts are very, very hard to read. And again it. Let's just go back real quick to mine. And you know this because you can read it. The edges air, their line is there and I'm shading and you can kind of see the meat of that study. If we look at this one is very, very hard to read that. And that just tells me either you're not taking time to really look at those shapes. Look at those news edges and just put him in. Put him in the way you see. It doesn't have to be perfect, but I think they need to be in the air, and then you need to shade within those edges so that that's my advice. Two years. Just take a little more time in that area. The studies are meant to be quick, but they're also meant to be somewhat precise and that you capture the essence of of the outline and then shade inside of that. Okay, so that's my advice to you. I thought you did a better job of the edges in the negative space or the negative study. Rather, it's actually a lot better because I can see where you were trying to capture those edges and things like that. So it's interesting how a lot of people several of these positive studies were You can see the struggle there or it's just not quite as consistent where the negative studies tend to be a little more precise where maybe you dropped the ball on the positive study, most of those of most of you that did that came back in the negative space and were able to capture the things you didn't get in the positive space. But we're looking for the consistency. Okay, Anyway, I look forward to seeing what you do in Week two. I would recommend, you know, going back, maybe trying that again and look at those spaces in this area because that's gonna affect your painting, you know, would be treated this way in the negative study, and we're just with a pencil and paper that I guarantee you when you get to the painting, you're going to struggle in this area. So anyway, I look forward again to seeing how you move forward, But this one all right, with this one, Um, this was God. I love the expression in it really loose, but I think as far as what your challenge is gonna be easy have a lot of negative space. Another piece she picked for your inspiration as well. And that's OK. I would say, Just take your time. Take your time when you start to shave this this big negative space making consistent followed through whether even even though may take you next to a few minutes and just make sure you pay attention to the edges. I mean, again, I'm gonna repeat myself. It's that important. You know that the purpose of these is that you look at the edges of your the main subject and you put him in, and here it's very, very hard to read the this positive study on the top of the flowers, the scribbles almost capture the outline, and I like that. But just go ahead and take your time through all those edges, the way you see him find those negative spaces shade inside of it. And when you take the time to do that, you're going to see Mawr. You're gonna capture Mawr of the character of the edges. And that's what we're after. Okay, And again, if you look at the negative study the you're actually getting mawr of those edges here than you were in the positive study. So that's a very consistent thing that happened throughout. I think it's something we all need to kind of be aware off as we're looking at the outside vs and vs. If you were here when you're looking at the inside, everyone sees the edges better here, but is basically the same thing. So if I were just a strip away, the shading and just look at your actual drawing and they should almost be identical, pay attention to it. And you know, I would recommend to that. You just go back and look at those edges and pay attention to it. Actually, if I pull your picture up, that's what you have. And so if we just take that away for a second, you can see how you really didn't capture that very well. And so we'll bring that back up. So I would come in here and pay attention to that edge, that edge and get the cat there. The character of this and this big negative space right there. I mean, that's really important to capture, in my opinion, right? And then you had this shape and so on. So really, you know, you're you're dealing with something like that. So now if we kind of take that off for a second and look at this shape here, are you missed out on those opportunities to even capture that you know, the negative space, then that space right there, it would help. And that's gonna helping your final painting to having that big negative space right there is important because it captures the edge of the stem, which is over here on the left, and it captures the edge of the leaf and this leave going up. So even though that may not be an important shape right here, this little triangle, it really is. There's a lot of continuity there, and there's a lot of purpose that that conserve. But if you miss out on it, then then you could, you know, potentially ruling. Allow those shapes in that final painting. So I know this is all in the context of painting loose. And it's like, Well, Robert, why are we even worried about these things Were loose artists. But you do you have to be able to construct your subjects in a way that they're believable , that they make sense. Okay? And then we start to once you understand the shapes and how they work together and how they relate to each other, both positive and negative. Then you can start to deconstruct them a little bit. Then you can start to have fun because you start to learn that this is what this shape needs and I'll just go back to here. Is that something that little negative space is very, very important right there in this positive shape of that stem coming out. Look how important that is to that. If you take that away like here, I can't see it. I mean, I can see you did a little loop here and all that, but there's just not enough sensitivity there to what is actually in front of you. And when you start to paint things. I mean, how fun would that be To do a big splash of green over here and they come back with that negative background space and chisel that end and capture that little angle going out like that, coming from the angles of the flowers like this. So, you know, it's things to think about, um, subtleties that are important and things that you should start to include in your positive and negative studies. Okay. So I'm gonna drop it right here. Good job, everybody. 4. Explore Composition: OK, now it's time to explore some compositions. Armed with a 12 inch ruler, a number two pencil and a piece of standard 8.5 by 11 inch paper, I'll start to make six rectangles. The dimensions here of the rectangles are two inches by three inches tall. Now I will use a one inch border around the left and top of the paper and then mark my spots while will eventually draw my lines. Now, don't stress if you don't get this right away, like you know, where is he marking on the ruler? Because I'm going to include a diagram that will help you create something like what I did here. But if you want to do something on your room, that's fine. That's a little bit different. The main thing I want you to do is to put everything on one sheet of paper because you want to be able to see all of these options side by side, so I will bump this along here and show you. Now I'm finished with my rectangles. We can start to compose now with the the six rectangles. The idea is to shift things left right up and down. And don't worry about details here. Just get the gist of the overall shape of your subject and then, as you put it and locate the object within directing, write down what your purpose was or what exactly you did that was a little bit different. So one example one you can see. I centered the vase, and then I pushed the flower on the right to the right edge of the paper. And I always like to have a little something intersecting one of the edges of my paper. Ideally, it would be nice to get two or three edges, but it doesn't always work out that way. On the second example, you can see, I push the vase to the left, and then now I will try a version with the V's on the right. The goal, really, and what we're trying t do is avoid the common problem of getting to the middle or end of a painting. When you're wondering why something doesn't look right, and often times it boils down to composition, it's frustrating to spend hours on a painting, and then to get to that point where you're you're fighting yourself, you're painting in circles. And then you start to realize that Well, you know, I just I don't understand what my composition is and what I'm trying to achieve with my subject. So just by spending two or three minutes here, making a quick diagram is, as I did hear exploring some options, you will avoid painting in circles. And of course, you will end up with a much better composition and something you feel confident about. You can see here I made the vase a little bit bigger, and then I pushed the intersection of the some flower to the top edge of the paper. I'll explore a different shape. Here is well, so right now I'm adjusting one of the rectangles and just making it. Ah, little bit wider. So it's more of a landscape. Lay out and then I'll explore a square composition. And so, with the long version there, sometimes that may work. And sometimes you know you'll find 23 or four options that you do hear that all seem OK, and whatever the flavor of the day is, whatever catches your eyes, the one you will choose. You can see here about putting using the landscape layout. I don't really have much interaction with the edges, which is okay. Things can work that way. It's good again to explore things like that. And now, with thesis square layout, I will try to flirt a little bit with the top edge of the paper and then with the right edge of the paper, I kind of like how that looked. I like being able to to mingle a little bit with two edges versus one. So, uh, that's the one I eventually chose there, so you can see a little check mark there. It's official. That's the one I'm using. 5. Value Study: now, using the same exact materials, created a division down the middle and that created to square. Since I know I'm going to go with a square layout, I will go ahead and start to refine my composition a little bit. And just to make sure that this is what I want to do and then also to get a little more detailed with, Well, how exactly is this gonna work? And how do I need to shift anything else to really make this happen? And then sometimes they're just kind of going the extra mile there will help you either subtract things that could be a problem or include things that would perhaps even enhance your composition. So the idea here is just again make it quick. Don't no get too carried away. I just want to be convinced that, you know, this is exactly what's going you're gonna work on and again to try to spot any potential problems you didn't do and the very, very quick sketch. And so now, as I do this, I'm starting to think a little bit more about the shapes of everything. And I'm also adding a little shadow there that really isn't in the image and just thinking about OK, well, how is this gonna look? How will I approach painting this? And just by adding a little more but distinguished shadow there that gave a little bit more of a leading for the eyes for the viewer to kind of get into the painting. Basically, I decided while I was doing this to keep the background very simple. Whenever I look at the images, it's got the window and a few things happen in there. So I thought for this exercise and this demonstration, I would just use a blank background and then again, use the Shadow as an entry points. That shadow will kind of lead the viewer into the painting. Some pretty. I like that. I can go with it, and I think I'm ready to go to my next step now with a value study, I'm going to lay it out like I did with my composition. And once I get it laid out, I want to now start thinking mawr about lights and darks. So now that I have my quick sketch in from the composition transferred over to my value study on my goal now, is to simplify the shapes and two masses. This will help me better understand where I want to position my darkest darks and my life. It's Leight's, and hopefully it will create unity within my subject. So whenever you do a value study, you're simply trying to connect shapes through value. And if you squint down even a look, a. The flowers of the vase think values will start to merge a little bit more. We look at things with your eyes open. They start to see more details and more shifts and value. But as you squint down a little bit, things become a bit blurry. And then you your I will start to mass certain values. They're near each other into one. And so when you're doing a study like this, that's what I want you to think about. It don't necessarily get caught up in the details. So I showed you the color version of these. But look at this black and white view in this said normal view. But now, whenever I blur it, notice how things merging alive. Details simply disappear, and a lot of times artists will simply get stuck to the image they're painting, and they try to replicate what they see in an image. And that's really the wrong approach. Because what works in a photograph doesn't necessarily work with art. You always want to make certain shift certain changes, especially with value that will simplify your composition. Eliminate exploder in details, and that's what a value study really will help you do. So As I go through this, you'll slowly start to see how, even though it's a base with some flowers, that things become a little more abstract. You can see now I'm putting a little more darker value to that background, so that can kind of capture the edge of that. Some flour kept the tabletop someone of a lighter value, because that's probably catching a lot of light things that are flat surface like that. I tend to catch more light than things that are more operate. So now I'm getting really close here to something that I think will work. But I'm still making a few changes here and there that I think will help me can see I'm trying to dark in that left hand side a little bit because I have a lot of empty space. Most of the activity here is towards the center in the right hand side, so I'm creating a little bit darker mass over their toe. Help me occupy that space. But I like the way this is offset a little bit now, like how it's not symmetrical within the picture frame. So I need to do something, though, to make that area work. And so now I'm just catching a few lighter values on the vase so that can represent that shape. And you can see now as this comes together, how like if you look at the darks from the shadow up through the vase into the flowers, I mean, that's just one dark movement all the way through. And it really simplifies my approach to how will paint this simplifies all the values. If you haven't tried value studies, this is a great time to start. And when you begin to master value studies, he will then start to see like an artist. We want to see the abstract areas in shapes of our subjects, and we don't look at things for what they are. Everyone can see that these air sunflowers, everyone can see the obvious But with an artist, I you start to see more abstract me, see, get away from what the subject actually is. You start merging values. You start thinking more about shapes because that's all these objects are are just value masses and abstract shapes. He kind of had to start to find those a little bit and things will happen. There's a shift in the brain. We start to see things more as an artist versus just seeing things for what they are on a literal us in a literal sense. OK, so this value study I found some abstract shapes. I was able to identify my darkest darks and lightest lights, and now I have a much better feeling about how this is going to flow. Once I start painting, it is you can see avoid the details. Don't get sucked into all the details. OK, so that's my value study. And now on to the next step 6. (NEW) Student Critiques: How to avoid common still life composition & value mistakes: - way to feedback. We'll start right here. Ah, good composition. Like what you did there. You carried your composition over here to you. Value study. I think this will work pretty good. The things I'm going to work with you on and I will bring in my changes here. And I'm gonna take my changes off real quick so you can see the difference is I'll start here at the shadow bottom, right hand corner. And where you had a solid dark, almost one value. I put some subtle changes in there. So basically, as the valley or the shadow leaves the object, this is a cash shadow. Obviously is going to face a little bit. The further gets away. So the most intense dark will be basically at the base and where the object meat meets. The other object in this case is the table or whatever it's sitting on. And then it's going to lose strength. Okay, so you see what I did there by just putting some value shifts from the bottom, working the way to the bottom of the vase. It's also keeps your eye in the picture playing. So if I take that off look how this shape here pulls your eye down. Excuse me all the way because it's all the same darkness. So about putting that little shipped in there that keeps your eye on the plane in the picture plane to so anyhow, so that's the 11 change that may the second changes the shadow running up the base. So if the this is a cylinder case of your vase is a pretty basic shape here, and the light is coming in no slightly diagonally from the left hand side. So wherever the opposite side of where that light is hitting on, the object is going to be the darkest part of the shadow. So we because this is coming in this angle, the darkest part of that shadow there on your vase will be right along here. If I take that off, you'll see how yours gets really light up here. It doesn't really correspond well with your shadow, your cash shadow. So I just ran that base that shadow up, and plus it connects the darks. And that's the Hoai idea of a value study is you're looking for ways to connect things so you don't want a detachment So basically, with the shadow coming up, you connected the shadow to the vase. But I thought you could have just paid a little more attention to your light source. And then you could have done even better off burning that shadow up and then connecting to the darks in the background. All right. The next thing is, I just shifted some of the lighter values in your flowers. You're dealing with a very light. Um, Hugh there. So the idea for me was, if everything is the same intensity of lightness in your flowers, then it'll kind of pool. You lose a sense of focus. So by shifting the value on the ones on the edges, top edges and then kind of placing the lighter tones right here, it has a better way of keeping your eye in the picture plane. So I'll just put that back on. So that's something. Want to keep him on? They could just be very, very subtle shifts. It doesn't have to be extreme, which is pretty much what I did here. I think you will see Ah ah. Better sense of composition and value within your artwork. If you think in terms of that, too. So even though it the picture says all of these of the same lightness, ship them a little bit, place that be stingy with your really light values and only use them in spots. Okay, And that's and that's gonna be near your focal point or where you want your viewer to look . The next thing I changed was up here, the top left hand corner of this little shape coming down. I don't mind little abstract shapes popping in there, but you don't want to compete with your focal point or something. Don't want to compete with your life is values and your subject. So I just shifted that a little bit. In the next thing. I just carry some a little bit mid tune value down to the table or the whatever sitting on here put a little bit darker towards the edges. Just help keep your your eye within the picture frame. So those about that's my advice to you and a great job, and I look forward to seeing what you do in Week three. All right, next up, I'm going to look at your composition first on the left hand side, look at this for a second. So you have 123 which is good. You shift them left, which is good. You're playing with your edges. But there's somewhat of, ah, symmetrical balance happening here. So my eye is the way things were split in half. Almost, with where you're the leaves come down. And then where the stems go up? It's almost in half, so I'm kind of torm between What? Do I go down? Do I go up? Where am I going? So I guess Long story short, I would advise you to think a little bit more about your composition. Try to pull these leaves down and make the stems in the this part the vertical part up here be like 2/3 of the composition. But I did do a little thing here to seek and CIA put up the red obviously marks the outside of your square. I drew a little X there. Excuse me again so I could find the center. I drew the center line. You could see how that Yeah, pretty much comes right down the middle and it just in terms of a composition. I thought you could just plan that a little bit better, so just give that some thought as you move forward in terms of gave you little stink peak there. The value study in terms of your value study. The thing about being back lit is you have to be really careful and mindful of your values , especially with flowers, flowers or have a transparent CTO him. So when the pedals are in the light that they can really there almost very sheer looking. And in these, like I think they're tulips are very, very thin, and but when you have your light source in the back, you want to make sure that's what that's the lightest value in your painting and then the dark values where you want the center of attention to be. The darker values need to be away from that. You have a lot of dark values, kind of right in this light source, and I think you have to shift those. So basically, if you can think about where the lights coming in to be the lightest value like I mentioned before, and then whatever that's touching wherever that you know the intensity is that luminosity coming through, those values have to be very, very light to you. Certainly don't want to put your darkest darks like you've got a really dark dark there. You got it right sprinkled in here and that that's going to ruin the light a little bit, in my opinion. So it's looking a little study I did here for you. I just kind of shifted things a little bit. First of all, I tried to pull at a little more base of the bottom, and I got away from that where the leaves were dividing in half a little bit. But you can see how the lightest value is here in the background, coming from the light source here. And then everything kind of from that point outward this somewhat of a lighter value. I mean, I shit the things the best I could whenever you're drawing. And if I were tackling this, I would want to keep that mind because that's going to give it a better sense of atmosphere and what you're trying to do, trying to pull their darker darks down here away from that light source a little bit, and that felt, you know, if you work in that range a little bit. Or just give that some thought. As you move forward, I think you can certainly captured what it is that you're doing, which is a backlit flower painting. And just be know that mid values, light values and very mid tone tight values will work around this area as you move away from it. Then you can start adding mid tone to dark values. OK, but in general, this is a very high keys type of painting. And so you're gonna be still really stand you with the darker darks anyway. OK, so I hope that kind of helps you a little bit in terms of how to plan your painting a little bit, maybe a little bit better for your composition. And then also Teoh, get a little bit better Value study gone. All right, Next up. The main things I would point out to you is, and I'm going to put a little study it put my sketch on top. It's just being a little bit stingier with your darker darks. So what I did is I just shifted. I use the eye grad, the value that was in your background, but lighter than what you're seeing in the darker tones here towards the top and just kind of pushed those down a little bit. And I felt like what was happening is these darker values in the background were pulling from this dark centers of the flowers. I felt like if you toned that down a little bit, then it would actually pop your flowers and you would still get the same thing. You would get the flowers against a darker value, but the flowers come forward a little bit more okay, and that increased the darkness. Just a touch here, but you can see also, I pulled the dark, darker values out of that stems coming down in the water and the base of the base just a little bit. And I think for the most part, that's advice that would probably work. Help you out a little bit as you move forward a great job, and I really look forward to seeing what you do in your color study. All right, last but not least here. The main thing I would say with your composition is this is an interesting shape, but I like how you did these little gnarly edges and stuff. I thought that was working well, but it's still a bit of a noble, and I felt like you could push that a little bit more. Someone picked that up, just kind of brought on edge out over here and that had one flower kind of stick up, maybe and then pulled it out a little bit more here and then pulled it down with this edge . But I thought, just in terms of oven overall shape, that may add a little more interest to it so that that that's not one little picky invite. Bit of advice there are. The next thing is, ah, your value study. I felt like just adding, I think these air daisies. So just adding a few centers in your value study really helped define the flower Self gave a little more character. You need to find those centers anyway in terms of their value, because they're in an important part of your subject. So I just added a few of those on the last thing I did was, ah, same thing that's like your shadow, as I mentioned before, and I think the first example. But the shadow is coming down an angle so right, Every here on the right hand side, going up your the vase with can hear. We need that equal opposite, You know, darker mass here of value, and that's going to add believability to your objects. You can see here with shadow coming in from the left hand side. You've got a lot of the shadow coming here, and that's really the darkest shadow you have on the left hand side of your can. And really, it should be over and here somewhere. And that's just understanding basic shapes, light and shadow on basic shapes and things like that. Always remember that where the light is hitting your source, if you're for example, were coming in and from the left in here than the darker Mass would be over in here. And that's not going to change like the Shadow works that way. And that's a constant I think you can use in your artwork toe. Add more depth and believability. I've also crafted a little bit. You can see the red line going around just to give it. I thought the way me was laid out pretty good in your composition study, but we came over here. I felt like things got stretched a little bit in terms of your layout. I just cropped a little bit. I don't think you need all that space up at the top floor of the bottom. Really, And apart from that, I just toned some of your darker masses down. Also used some of these mid tome darker values to define a few edges on the leaves. As you can see, I'm kind of going around here just capturing a little bit of the character of those of those flowers. So without it, then we just tend to lose it. I just think you could take that a little bit further. Just bet that so that was the whole purpose of Lesson one was to find those edges positive and negative shapes. Studies help you look at those edges in the character of, um and if he could have brought that full word into this sort of study that I think if you were learned it there are really grasped it, absorbed it and then brought it forward here in the value study. That's what I was looking for to connect lessons one into. I'm through the value study, but it doesn't like. That's my advice for you. I think, for the most part, though, you're on a good track here. And I look forward to seeing you. What you do here on the mock up study in week three. So anyway, great job. Those are all the submissions for this week, and I will see you next time. 7. Color Mock Up: Okay. In this step, we will do a mock up. And the idea is we want to decide on a pallet. Tests are color or value theory and see if it works. Keep it quick and loose. Don't worry of how details this is not a finished painting and then try again. If the palate or value simply don't excite you. Now I am using 11 by 15 sheet of paper, but I'm going to reduce the size of my mock up to about a six by six. So again, this is a very, very small study, and we don't want to spend a lot of time on it. We just want to again see if some of these theories will work and then try to nail down where some of these main color blocks will be. And then, of course, of what they will be. Some of them are predetermined unless you're experimenting with color. But for my sake, the sunflowers air that golden yellow. And I know I'm gonna work around that, and I want to know Showcase that. So of course I'm going to use colors that either complement or contrast it, depending on where I want to pull the I in the focal point. Now all the while I have my value study in mind. No, I did my sketches and all the things that kind of led up to this. So it putting that time and in the beginning really makes this part a little bit easier because I'm very, very familiar with my subject here. Now I'm just going to lay out my basic shapes here in a way that I want to present him. So the one particular composition that I liked and again, it's not putting all the details and vicious getting the gist of it so that I can now start to experiment with what's important. Now I'm using CAD yellow coach Marine blue can read burnt Sienna and I have a little bit of ready and green at the bottom, and there's some titanium white. So, um, and you don't really need a lot of brushes trying to keep your brush. The variety of brushes you use simple just a small one small brush will do. And then that way your focus more on the color and the basic values, rather than trying to get complicated and fancy with your brush work. Now, as I pick a color here, I will create a little square down below, and this will help remind me the base color that I use. And that way, if I want to tweak that down the road, that's easy to do is even easy to come back and target that particular color now, because I'm using that golden yellow for the flowers figure the blue, the lighter blue would make a really, really nice ah background color or tone color for the paper. And so now I'm just laying that in real quick and also to know that whenever I do these I don't really use a lot of water. I mean, just a little bit, because I really want this to dry quickly in the quicker it dries, you're the quicker I can add the next layer. So even in a quick study like this, I'm trying to do it. No, a la prima one go, but, you know, get it done and not have to wait a lot. So, ideally, you know, I don't want to have to wait for a layer to dry. So the idea is my put that blew down is you put it down just a little bit of water, and by the time you add a few other details or shapes to the mock up, you can come back and paint over that because it's already dry. So here I am, establishing my base color for my flower. And so I just use a little bit of that cad red, I think a little bit of burnt sienna, maybe a touch of that red, too. Um, and then that's going to they'll help me solidify where I'll go. And again. It's not about trying to get every nuance of that sunflower and all the colors that are actually in the image. It's more about just establishing a base color to it. And so now I'm just mixing a little bit of kind of a warmer green. And one was pushing that, too a, um, a light brown or tan ish color as well. I think it would be nice to keep that kind of simple if I have felt if I had too much contrast there in the vase with the flowers that maybe it would detract from the flower, so I'm gonna just keep decided to keep that in the brown family. Basically, So now laying in the tabletop have, ah come off white here or gray, maybe, perhaps on the cool side for the tabletop and much lighter in value as well as I mentioned before in the study. Tabletops are like the ground in the ground what typically catch a lot of the light cause it's a flat surface and so just again touched on a few values on that table. But I'm not trying to get it perfect. And now I'm moving into a little bit darker brown here that will experiment with, um, probably for the background and maybe into the base a little bit, too. But you can see I'm using a very, very simple palette, and I don't need 15 colors out of the tube on my to make things happen with just a few colors 45 colors. You can really get a lot of hues and shades and stuff, so I would encourage you to do do the same. You don't you don't need a lot on there. You can generally use 45 colors with some white and get a lot done. So now I put a little bit of darker value there over that blue. And all the while I'm testing how things work with each other and it just keep it. Keep it in mind. I have an idea where I want to go. But there a lot of times this high ideas are aren't as good as what they can be. Or they could be a little bit different if I tweak him. So here I'm establishing a little bit of a green. I decided to go with have a greenest brown background, and I'm just kind of laying that in a few different spots in a game Just nice and loose is you know, this may or may not be exactly how I approached my final painting, but at least it gives me a good start. And so now it is laying in a few some redder values to that background just again to see how that works a little bit. And, um, you know, this is all you know, good, healthy stuff. These are things that that well, help me as I approached the painting, and here I'm starting to add a little more shape to the vase by adding that shadow and kind of running those darks up along into the sunflowers. If you remember my value study, I want to kind of connect that whole Maso. So I know everything on the right, especially with the flowers and stuff rather dark. They're in shade. So I want to push those values so that there they start to connect in a way that they represent a little bit of that value study. Eso this these little mock ups or good. A lot of times these little sketches turn out even better than the final painting. Eso there never wasted time, and you're always testing and learning things as you do this to, so there's really a lot to get out of it. So now it is working with some warm tones here and of what kind of start to see how this is going to to look with the rest of the palate I have going on here, and I'm just laying that into the sunflower to see how that works. So just kind of push that mawr to an orange. I kind of like that, I think. But the one reason I wanted to try that, pushing that mawr to a warmer orange is because I thought I will go about with that green too. I've always liked that kind of combination. And I thought, Well, I would give it a shot. Typically, you would use violet pump to darken Ah, color like that. But I decided to go with more of a warmer, a warmer tone there. So now just laying in some shadows, perhaps into the left hand side, there on the table top. And now it is pushing that mawr to a lighter green in the background. And I'm changing that as I go. So if you notice I change that square to a lighter green just cause I thought that was a little too intense, a little too saturated for the painting. And so you're just blending things in a little bit with my fingers ideo and you're just trying to keep my eyes peeled, Um, so that kind of pay attention to what's going on overall. So this is more about how things work is a unit and how these colors mingle a little bit. And if I have to adjust, um, or change them, then this is a good good spot to do it. So now just a few lighter values here for the sunflower. So it is a little bit of pure yellow, A little bit of, ah, white to that. This kind of testing that how that would look with the the reddish, darker values there. And all the while, you know, this this little study is is teaching me a lot. It's it's coming together a little by little and these little stages help me. And then again, it's not about just this one painting these studies and the time I spend doing this stuff will help me in many ways. And so now is I'm looking at this, Um, and just making a few changes. Um, I kind of felt like it was a little bit flat in terms of color. And so I decided to experiment with a highlight color, something just to give it a little more pop. A little more excitement. And so there I'm just using a little cat read a little ultra marine blue, mixing up with a little bit of white, just trying to add a little bit of, ah, a reddish tone there, pinkish Look to it. I kind of like the way that looked so we'll add that to my palette and use that as just a little highlight color or an accident color in my final piece. So, you know, again, these things are great to experiment with and do, and this is the whole purpose of doing mock ups. You test your colors, you test some of the values and to see how that works. Okay, so that pretty much concludes my quick study again. We're talking 12 to 15 minutes to get this done, and it's a very beneficial It will certainly help the final piece. 8. Color Study: now in this exercise, I'm going to create a color study with my mock up handy. There, I will create a series of squares that represent my base colors. The idea behind this is it will teach you a lot more about color than what you know. So any time you can explore color and create these studies, you always get a little something out of it. But it's really to dive a little bit deeper into how I want to represent that final piece, and there are certain colors I want to explore. Some of those are simply using complementary colors and then also using lighter shades, which are really called tense. But I want to see how these my base colors respond when I add white and then the complementary color to it. And so again, it's just a matter of creating these squares. And then once we have each of those colors represented, we will start to explore a little bit and see how the shades intense respond according to the color wheel. Now that I have those based colors down, I'll create a couple of columns there. As you can see, I have won this label tent at the top and then shade, and then I create the rose that correspond with my base colors. Now I will explore tents first and working with my highlight color, I will start to add a little bit of white each time I create a new square, and this will give me a good visual of how that color will react when I add white to it and you'll find that as you do, these Ah, certain colors are respond more than others when you add white to them. So and while other colors are there not as sensitive to the white but white will change a color quite a bit, so it's good to use. Add the white and very, very small increments, which is what I'm doing here and now I'm just working through my colors. As you can see, everything is moving quickly. I'm not actually working this fast in the studio, but the idea here is I just want to expose you to this exercise and really can do this in about 10 minutes, and it is really good. Oh, teach you like I said before a lot about your colors. Now I'm working with The shades now with shades is traditional to use the complementary color. So with yellow you can use violet with red. You can use green orange. You can use blue and so on. Now I will include the color wheel and these files for you, so that if you want to explore these and use the color wheel, for example, you'll have the ability to use thes now with that first highlight color there. I'm just adding a little bit, agreeing to it too dark in that shade a little bit. And with the agreeing I'm using the same kind of dark, burgundy ish red color and just trying to see again how that color responds when I mixed the two of those together. And then I'll continue to work through all of these shades and with the brownish color, I decided to use a little bit of blue eso that's ultra marine blue into that color. I'm just tweaking a little bit with some Eliza in crimson and brown and just trying to see again how this color responds. If I wanted to darken it, do I want to go with a cool, darker shade? I want to go with a little bit warmer, darker shade. And these are all the things I'm trying to find out. And the good thing about this is the this exercise and whatever I discovery here will help me a later on as I experiment and doodle with other paintings as well. So now, moving into my base color for my flower you can see added that violet, But I really wasn't that crazy about it. Just wasn't the shade that I was looking for. Ah, one of something a little bit warmer. So this is where your eyes and this exercise come in handy because it you don't necessarily have to stick to the complementary color, two shades, something. So if you get too dogmatic about things than a lot of times, you will no, perhaps not create the look you're after. And I was after something a lot warmer. I wanted a much warmer, darker shade than what that Violet was giving me. So you can see out of that red to it. And that gave me more, well, was looking for. So I just add a little Newt there to remind myself this is more about This is more of what I'm looking for now. The last color here is the blue. I'm just pre mixing a little bit of orange to go into that and just again, try to see how that blue looks. I have something in mind that I want to do, and as I experiment with this color to, I'm adjusting a little bit here and there and trying to find that look at Matt there. But it's just not saturated it enough. I didn't quite like how that was pushing that mawr to a gray, so I decided to get with Maura Oven intense color. So added a lot more just the ultra marine blue to it with a touch of the red. And that gave me the color that I think I will be using. So there's my Quickstudy there again, maybe 10 minutes invested, and I learned a lot from it that would encourage you to do the same 9. Exploring The Subject: Now that I've done a simple color study, I want to kind of go to the main focus of the painting, and that'll be the sunflowers. And so there I have my study, and I remember, how about tweak those colors a little bit with the sunflower, using the red versus the violet to work with my shades And to get those kind of where I thought visually they would be a little more appealing. So now I just want to put that to the test a little bit and see how that looks. And the idea of when I do these quick sketches like this is about worry about doing the entire composition. That's that's actually what I don't want to do. I'm more focused on the detail or what it is that interest me and what I want to explore. So, for example, you may be painting a glass vase. You may have more interest in the foliage or whatever the case may be, and it's good to take a little bit of time to experiment with some of these little details and features of a painting, because when you do, you're more likely to discover things you're more likely to take risks and trying a new color theories for this example, which is pretty much what this one is about, how you may find a better and more expressive brushwork by doing these. It's really because there's no pressure. Whenever you're doing these little exercises, you know the idea is, Hey, it's a quick doodle. What? This thing doesn't mean anything to me. So this go ahead and go for it, and that's really the attitude you want to bring into your painting. But most artists don't simply because they don't have the hours invested and doing these little simple what almost seems to be meaningless sketches. But they have really meaningful. It's just that whenever you do them in this mindset, you're not again. You don't have the pressure of trying to create a finished painting. Eso here you can see I'm really pushing color. I'm really testing that read with the sunflower, and I do a series of these, and the paper I'm using is nine by 12. It's just my little sketchbook and so, I don't know, invest a lot in materials, and a lot of times I will even do these on the back of paintings, reject paintings, that is, or just scrap paper or whatever you may have. But again, I mean, I usually invest about maybe an hour a day or something like that, just in doing some experimental type stuff. And I've learned you to push my boundaries a little bit and a lot of times, movement on painting that the things I learned and the things I do in these little exercises, well, give me freedom and I will. It's kind of like to do something you really have to have experience. So a lot of times when you try something for the first time, you don't often get the result you're after. As a matter of fact, most of the times people will regress when they try something. At first, it's because we're a little intimidated. We're adults. We want something. We wanted to be perfect. We want something tangible, a meaningful out of this experience, and we want that finished product. But that's hard to get and you don't really want to expect that all the time. But by physically doing these things and visually, you train yourself to push the boundaries. So as as you experiment and doodle on play. With these things, you're you're more likely to to push the boundaries to a point where when you are painting , you will try these things. But if you don't really go here if you don't try, um, and keep pushing your brush, working your colors. In a practice scenario like this, the chances are in a painting you're not going to take any risks and try new things. So you end up getting the same results all the time. If we don't really invest this kind of time and experimenting in doodling a little bit and again, you know that this is very targeted stuff. So the things I'm showing you right here, I really have to do with my colors and the sunflowers. I'm just testing There's reds and those warmer shades to see how well I like him. But all the while I am experimenting with light and shadow and trying to see if I can capture the essence of the sunflower, but to do it in a nice, loose, expressive way. And so that way, when I start to gear up for a painting, I had this experience and, um, more likely to give some of these things a try once I have done so. That's kind of what this exercise is all about. Again. You don't have to invest a tremendous amount of time here. It's just a little bit and try to have a target in mind. So whatever it is you may do, you may struggle with backgrounds. You may struggle with capturing shadow on your leaves, you know, whatever the case may be. But again, this is something I like to do, and I thought it would enhance the course a little bit. It will give you a lot more insight into what how I spend my time in the studio. I really don't spend a tremendous amount of time on finished paintings, although I do quite a few of them. But I do invest time here quite a bit. I tend to start my sessions with them, and I start my days with him just because it's nice, loose, it's free. It's easy to do. It's a lot of fun. It's very rewarding them. And this exercise and these types of sketches have taught me Maura about painting than any finish painting has. So I continue to push him. I continue to do him, and sometimes I will mix in mixed media, different things to push it, just to see what I can do with it. Here. I'm just getting playful with color, of trying to see how these bright reds and things like that may what effect they have on the other colors of the sunflowers and things like that. So all the while I'm let myself be an artist. Let myself explore a little bit. You know, I just have a little bit of fun. Okay, so I encourage you once to do these. So are the idea is to get your color palette down, explore those tents and shades and then kind of take a moment, to be honest with yourself. Say, Hey, these are the things that I may be challenging to this piece or Hey, the flowers are important. I think it's, um, I want to capture the bend of the leaves, the light and shadow of the leaves. Just take a moment there and just get loose with your brushwork. Get loose with your color is a little bit and just have fun experimenting, and I think you'll find that this one exercise alone. What is very rewarding. And it will teach you a lot. Okay. All right. So I hope you enjoy this section onto the next one. 10. (NEW) Student Critiques: How to improve still life paintings and avoid common color problems: All right. Week three, feedback. Let's start right here. This was working good. My biggest advice would be to just make sure all of your edges aren't too soft around the flowers. I know this is a mock up, but I always indicate a few really hard edges And then some soft edges. Air. Fine. But all of your edges air just really soft. The other thing was I'm not really 100% sure. I mean, it looks like the light is hitting this right hand. Saad kind of the pale. You have a shadow going off this way. There is in the shadow going off the right there, so I'll just clean that up a little bit. Also, you can ah attached these darks in the background to the edge where this is really intense , kind of very saturated color here on the very edge. It's kind of pulls your eye off the page, and I like that color a lot. I think it works well with your scheme. And by the way, your palate looks good too. But yeah, I think I would put that in different places. That intense color maybe speckle it around, but I think I would just kind of smooth that out by this, making it all dark and also running some of these this value, this darker value up towards the top area to Mr tied in and just make it a little more interesting. But I did a little mark appears. Ransoms values up, so it just didn't look sold kind Dole up there. Try to get rid of some of those edges. I didn't do a great job I could have gotten rid of, but I did respectable. That color sprinkled it in the flower to you. It is not in the picture or the inspiration image. I'm It's okay to do that. Artistically speaking, I think it would kind of tie everything in. Also, it kind of made the shadow more prominent by just put pushing it off. The left here added a little bit lighter value to the can to front, right, just to kind of enforce that light and shadow. But there's my suggestions to you, but nice job. This was working good. Sue like your palate. And the main thing I think for you is just avoiding these This kind of line across the top with all these flowers and then the the dark the rule dark in the center is here. I don't mind, I think the darkest fine there, but I'm not sure I would have used that color. I would just go on to maybe, like a little bit darker, reddish tone, something like that or Hugh Rather. But most part, I think it's working really good. The one of the thing is just all the flowers were kind of the same in terms of color. I mean, it's okay to switch him. You The picture says this. Everything's the same. Always create a little bit of variety. There just makes the picture a little more interesting to look at. Those are my changes. I just shifted the shape up here a little bit and we get back to yours. Hopefully, you can kind of see how that's a little more, I think. Interesting to look at. I shipped in some of those two like a dark burgundy in the flowers where you had the black and I just threw some of these values that you had here in the foreground, on the table up into some of the flowers. But I think that ties it in a little bit better. I'm looking forward to see what you do here and, uh, final week. But I think you're doing a good job. All right. Next up with this one, I really wish she would have included your palate for me, certainly because of what I would have known what your intentions were in terms of what color were your base colors. You need to know that you need to know, um, your your base colors, because that's going to allow you to place them in the desired areas. And basically you're the highlight of this image. Right here you have flowers in a vase and unfortunately, the all the value and the color that you indicated for your flowers. I mean, it kind of ties in too much with the background, and the value is just way through dark. If you're using a green in the background on the say you're using golden, yellow or 10 ish, I don't really know about I'm assuming these air like sunflowers. Then you should have worked with that base color for your flowers, which would have been kind of the golden yellowish color and just having that separation of greenish, you know, color in the background with the more of a tan, yellowish gold. And the flowers would have been nice to see the other things. Are you just your shapes? Um, the base comes down, just kind of. I'm not sure what's happening down here, but, you know, just if I were you, I would encourage you to go back and do steps One and two. Go ahead and do the positive and negative shape because I think it's going to really help you with your edges of everything because really lacking here and then the composition and value composition is not bad, but your values air off. I think a value study would go a long way for you, so I would really encourage you to do that. But I just have a little something here. I wanted to show you these. These air your color. So on the left hand side here, these are all colors I tried to pick, um, that were in your flowers. So, like this darker hue here on the top that I was the center of your flower, and that's basically a dark green. So again, taking this color and making a dark shading it basically, um So this Hugh here, I think that is your face. So you had this you hear in your base. And this is your most intense color, and the second kind of dominate in the background. And then you have this kind of brownish color, which is really your base color for your flowers. And so we look at this all of these air very, very dark. 12 and four. And then the most intense color you have, of course, is your background. So again, you're just missing out on the color. So you know, again, I would encourage you do steps one and two first, the positive negative shapes that would help you tremendously. And then do the composition value study and then go back and do this again. You've got plenty of time and lay out your colors and put him there. And I think if you just explore color a little bit and say Okay, well, my base color is golden yellow from my flowers. You know, how can I tweak the hacking? A shaded How Kanaan Tenet? In a way, that would be interesting and it will look good, you know, with the other colors I have and things like that. But anyway, I mean, you know, you're you're a little bit of work to do here, but I think you have 10 days to complete the final painting. And if you get a chance to do the first and second studies up, feel free to send those to me. I can't critique. Um, but I would like to just look at him just to get a fuel for where you're at with it and then, you know, certainly do the final painting. And hopefully you'll take the words of advice giving you and apply those accordingly. Okay. All right. That's next up. Is this one? This is working good. Not quite a symmetrical is you. As we hand last week, the things I would encourage you to do is just watch out for these darks underneath like this. When things are in light, like yours, they tend to not be quite as dark around here. And unless you're dealing with a really big object and it's right in front of the light, then you're gonna find that on the outside edges. It's light because getting reflection a little bit as you move towards the centre of the object. And then things will darken up a little bit if it's a really big object near the light source that it could be very, very dark. But because you're dealing with flowers that are getting light from the sun natural light, then that light sources pretty good distance away. And you're not gonna have this dark right here. So if the light is behind it, the darker areas will probably be more towards like the center and things like that. But, um, yeah is looking better. I did a few changes. I'll show you here. I just added some darker values on the vase to get, because all these values from the the leaf here they're down to the vase. They were just kind of blending with each other. So I just kind of dark in this. And since the vases into the light to out of that kind of darker value down the center of it a little bit now, know if you're dealing with a glass vase or a solid base. It looks solid to me in terms of color, but then the other things I did is Ah, that's why did that way. By the way, the other things I did was I just shifted your colors and just got rid of those darks as best I could underneath the flowers. And that's really going to be light assessment, like catch a little bit of light reflecting underneath of these a little bit and just tried Teoh this play with that a little bit, you know, experiments. Some with this, You know, the best way to learn, I think, is just to break it down, concentrate on one flower and just try to get that feeling of the light coming through. And, uh, and for your light source to you kind of had these greys working. I mean, don't be afraid to use some warm light seeking. They start with some titanium white, maybe at a touch of poker, or and maybe I mean a smidge of maybe some cobalt blue just to tone it down a little bit, but kind of push that more towards a warm color versus a gray, and then that great, that warm color can kind of diffuse out into some grays as it moves away. But, I mean, I think that may help you a little bit in terms of adding Ah, little more feeling and believability to your painting. All right, Next up. I love what you did with your colors. I mean, you did. I mean, the colors are absolutely gorgeous. I enjoyed looking at it for that reason. I think you got a really good grasp of, um some some of the color and how they heart creating harmony within the whole thing. How you're Italian, your reds into your centers of the flowers and and things like that. So in good brushwork. But my biggest thing with this one is the symmetry. And like all the flour, seem to be pointing the same way. There's really no distinct difference between maybe one flowers kind of turned. Ah, slightly. One way one has turned the other way, and of course they are. I don't think you can create or have a flower arrangement where all the flowers are looking directly at you, but, um, just in terms of what I'm looking at here, it just looks like they're all kind of turned the same way. And I think you could do a better job in that But let's go back to what I was talking about in terms of symmetry and I'm gonna show you what I have here. So first of all, let's look at the rectangle. I drew around everything so that rectangle and complicit encompasses all of the flowers except for this kind of little one at the bottom there. So if I just turn years back on, turn that off. So imagine that rectangle going around so they're kind of all fitting in that box. Also, the ones on the bottom are very similar size Almost the small on the right is pushed a little bit out. But this is so close that and because you have so much symmetry going everywhere else in the painting that in design really composition that, you know, and it makes it look very symmetrical too. So I'm not sure I would even put to their If you put you, I would put three so and then, like, put maybe put one behind the vase, pull one in the foreground and maybe one off to the side or something. But you gotta be careful. We gotta watch stuff like that. And again, these things are easily detected and positive Negative shapes are easily detected and composition of value studies. Those are the things that take 5 10 minutes to do, and you can avoid a lot of waste of time. And this is not wasted talks. I think he did a wonderful job with your color study and everything. But in terms of the bones, the bones of the painting are, you know, has issues. So if you can fix the structure first, then get to color, I think you're going to go. Ah, long way with what you're doing. But you gotta work on the basic. Some, in my opinion, on the circles. You got this. Look at the big circles here. I've got one on the right in the middle down, it is almost won. The vase is pretty much a circle, too. So if we look at that and so you have the bases around in real life, I would change it. Okay, just create a little more of an interesting shape, Especially if you're dealing with flowers. I had this oval or circular look to it. Just keep that in mind. But I think you're off to a good start on a lot of other levels. I think you've got some of the more difficult things working to your advantage. But you gotta work on. Like I said before the the composition and just working those things out, you know, like I said, five minutes would have gone a long way for you there. This is a distant quick mock up. I did this to show you how he can change things, so I just changed the shape of the vase. I got the two flowers, kind of almost like you did, but I pushed the 3rd 1 off to the right. Um, and I've tried to turn the flowers so that one on the right here is kind of looking down. The one on the top senator is looking left down, you know, So the shape isn't a box or a rectangle, like with what you're dealing with. So and this sketch took me, I think all of about 60 seconds to do, but this is so important, you know, to get that nice organic shape going. Like I said that that kind of stuff's going to go a long way for you, so I work on it, but I love what you did with your color. And I don't want to detract from from that because I think you did a now standing job on that. All right, Next up, a really good job. I love what you did here. The biggest thing that jumps out are the outlines around the base. And I think in your notes, if I remember correctly, you said you struggled with shadow or something on the base, But putting an outline around that you really didn't have to do, but, you know, and really, you just need some mid tone or mid value. So you've got a shadow going up now you need something in between the lighter value of the vase and this, you know, and kind of blend things out a little bit about, for the most part. Thought you did good. I would watch for this little triangle action going on in the background with the white kind of I almost want to say symmetry there because it's so almost even got a little more space on the left here, but kind of kind of watch for stuff like that that can kind of become a problem with viewing it too. but I just made a few changes. I tried to shift the value here on the right. Got rid of some of the lighter values. They're elected ones on the left and I shifted. See, I did some little bit lighter values up here. I'm just a kind of tie. That end didn't look so dark in one spot, but not much. I mean, and the other thing is, I worked on the vase. I got rid of some of the outlines. It's okay to add, like, maybe a little highlight on the bottom of the base to just lord there to say that's the bottom, you know, because sometimes you'll see if you look close enough, you'll see some reflected light there. So but you don't really good job. I'm really excited about what you're doing. Your flowers, the great colors look, look really good. I love your palate. So just kind of work on some of the smaller things. And, like I just mentioned to you and I think this is gonna turn out really well. I'm excited to see what you do. All right, Next up, I like what you did here. I would say, you know, you want to organize your values a little bit better in your background. It's kind of like, Well, I'm dark in the right hand corner. I got a little bit of dark here in the middle, a little bit of dark there on the right, a lot of dark on the left, and I kind of feel like you need to decide, like had that dark come in from one side and kind of move across and more of a unit. So it's not so choppy, but in terms of your color palette and everything, I thought you did a good job. I would like to see you hit your darks a little bit more, so just intense. If I am a little bit, that could be in the flowers. Maybe I would probably put a little bit. Some of my dark is dark in the flower. Definitely. There's an opportunity to do that with this sort of flour. You know, apart from that, I thought, you know, you did good. I was certainly define an edger, too, especially edge or two of the like the leaf area where the stems air coming up and then you have some of that stem in the area that the green that's connected to the flower come by did little mock up. Just try to define a few of those shapes, so I took some of the green here and kind of put in front of that flower just so we have some variation on then. I also use the background a little bit stronger, too. Indicate a few edges a little bit a few more harder edges around your flowers to give it a little more shape. And then I put some darks in your flowers here just to anchor that down. A little bit of the next thing I want to show you is I did two variations of a background, so here's a much lighter background, so that's kind of just putting, pushing everything towards that kind of lighter blue kind of like that on that gives you the built, the range to put a dark table in or whatever sitting on a tablecloth. And that that kind of looks nice also did a darker version. If I went with his darker version, looking at it now, probably lighten the table a little bit, so we'll come up quite a few tent this quite a bit, and so that you have a little bit of difference between the tone of the back or the value in the background, the value of the on the table. But here you got a nice shift. They were here. Now I would again maybe light in that table up some. But I just kind of gives you a feeling for how that would be sitting or how that would look on a dark background and versus here. And that's just kind of making more of a commitment to one way or the other. Of course, you can always go with what you have to. I will just try to not make it so choppy. Either come in dark from the top and come down. No top left, come down, whatever. And just kind of tie that in a little bit more. And I think that I would just bring a little more quietness and and kind of peace if you go to the peace. Okay, that pretty much concluded. That's everybody for Week three. Ah, great job on the mock ups and hopefully you will take the advice and put into good use. If you ever have any questions, feel free to contact me 11. Final Painting: all right time for the final painting. I will start with a piece of roughly 12 by £1640 cold press paper, and this could have mark a one inch border. And then once I have my marks and that the one inch border goes on the tops, left and right sides and it's roughly 9.5 by 9.5, something like that. And then that will give me my layout, which is a square. And once I have that laid out, I will use a little bit of masking tape. I'm just going to secure that to my drawing board. And that's just a piece of Masonite. And that helps. That gives me a firm backing and then also the tape. It like that just keeps it from sliding around so much. And for you guys at home, you know you'll be able to keep track of the painting, and it won't slip and slide. I know it'll be in the view of the camera, which is what I'm after. Now I have titanium white cad, yellow ultra blue cad, red burnt sienna ingredients of the palate is the same for, um, also I'm using some clean water, which is very, very important. And now my brushes, I have a large flat. Now I have a medium round kind of beat up. I have my fan brush, which is very, very handy. Cover a lot of ground. Plus you can get some really good sharp edges and then I have my small around. So nothing's changed here from the mock up. Now start with my background. And so I remember when I mixed that up, I use a little bit of ultra, some white touch, a white there and then working from the background Forward is what I like to do, especially starting out and very, very similar to my mock up. I don't use a lot of water in the beginning, especially when I'm turning the paper like this. If you use really wet water or wet pain, you're just gonna have to wait longer for it to dry. And for this particular step, you don't really need it. So I would encourage you to kind of start rather dry here, just damp enough where it flows off the brush pretty good. And so now I have to be patient and let that dry. So now that it is and probably took a few minutes, I will start with my burnt Sienna, and this is actually a little bit wetter. So I will. I had my brush Prewett there. And the reason why is I want this outline drawing to be really thin. So I don't want really bold, thick paint when all of these lines. So I just think that out a little bit and just kind of rough. Everything end. Obviously this camera or the speed you're watching here is a little bit faster than real life. But you see me lay it out a few times. There's no secrets here. And I'm very, very familiar with the painting by now in this composition so I can lay it in pretty quick . Um, at this point, so all right now, working with some greens and a little bit of red there, little bit of Sienna, I'll start to get a medium value brown. So the idea is you don't want I didn't want to start to dark, so I don't want to go is dark as I want it to be Eventually I don't want to go is light as the light is value in that area will be the ideas. I want to get it somewhere in the middle so that I can go a little bit lighter and a little bit darker if necessary. I'm just tweaking that little bit that that was a little bit to read, so I had a little bit of ultra blue in there to take some of that red out. And that's a good little color tip for you. If you're trying to take the same this case, the rat of a color than go to the opposite color on the wheel and then add a little bit of that color to it, and then that will help tone that down to sous Midge. In that case, I just use a little bit of the greenest or the blue rather than the Greeks. I knew the Blue would kind of take some of that red out to. So now this mixing, mixing a little bit of my bass green, adding a little bit of read a little bit of brown and that just to kind of make it a little more earthy. So it wasn't so saturated and late and just kind of sprinkling that in a little bit. And at this stage to I would say up that the pain is still going on rather dry. I have a wet brush, but but it's not super wet. So just touching those Reds browns in there and little bit of white and getting, um, about earthy brown there and a little bit of Ah, I guess, a tan color for my base color for my face. And there's my mock ups. I'm always referring to that. As I go. I'm not locked into it so that there's something I want to do or make a change, and then I will in the final painting. But the mock up gives me a good reference to if I want to tweak things. So there I was, looking at the table top. I thought, you know, I used the kind that lighter, great color, and it was a little bit of blue. And so it just kind of a reminder for me, really. So again, just laying in that base color now with, of course, with the blue background or the blue toned paper that tabletop doesn't really. The layer out of there didn't do a whole lot, but it thickened it up a little bit, add a few value changes and now I'm laying in some of the darks for the flowers and just running that same color down into the base. So if you remember that value study I did with pencil, I mean that it all stems from there where I remember that dark running up on the right side of the base into the flowers, trying to get that big, sweeping movement of darks. And so that's where those values studies start toe come in handy a little bit eso now just mixing up a little bit of my base color for my flowers. You know, I did this first layer. I guess you could consider this the second layer since we put the tone blue on it in the beginning. But I want to try to get a layer on everything and again, not too wet, because I want this to dry and come back no quickly to get the next US layer on it. But, you know, the idea is to get that near something that that tone or Hugh on these flowers that represents that middle shade. So I'm not thinking the lightest lighter, the darkest dark and just letting that go. And here I'm just kind of trying to envision the movement of the flowers. And this kind of subtle things, like the flowers facing a little bit to the right, is tilted. It's facing up and just trying to capture that, the movement of how they all connect and in which way they face and that sort of thing. So now I'm just smearing a few edges with my finger right there and then just kind of create some soft edges. And now I'm just getting a little bit darker value there and working that into the shadow. And so now it's the first layer, the starting to come together pretty quick here and now. I'm just going to continue pushing these greens just a little bit. I'm just looking for a little bit darker hue there and want to start to Sprinkle that end just to see how things mingle a little bit. And this is all coming together for the first layer pretty quick. And that is how I tied that green into the shadow there to kind of interesting how you kind of Sprinkle those colors around like a dark green. That dark purple shadow works because they're very, very similar and values. You can get away with tying colors in that way, too. So this is dry now, so that first layer was done is trying. Now I'm coming back for Layer two, and I'm adding some lighter values now to that background color. And that just creates a little more body, a little more depth and dynamic dynamics to that color into that area. Yeah, I would avoid trial because that's such a large area of the painting is such a large shape . I don't want that to flat. So if I left it all one, Hewitt will be a little bit too flat. And so here I'm pushing that to a green brown. So I'm changing that Hugh and that just a little bit just to add some interest. I mean kind of really see that green hue there. That ground is bringing huge brown, brownish green Q. As I put it on, that background there shows up a little bit better on that green. All right, so now just looking around, trying to playing, how I want to bring this painting forward a little bit. I'm going with some little bit lighter value in the flowers and take your time and try to get Get the mixture right before you know it doesn't have to be perfect, but you want to get it closed to what you're after before you put it on. You can see you have a really loaded brush there, and it's getting ready for action. I want a warm that up a little bit, but I remember my color study, how I like the warmer values as opposed to the cooler values on that sunflower. So I'm just trying to get something close to what is as appealing to me. Yeah, and then once I get this close to what I want, I'll start to kind of to Sprinkle that in a little bit on to my flowers. And it's just a touch and go thing at this stage. And when you're painting flowers or any subject, really, you almost better off just to touch things in a little bit here in the air rather than to go too far, because you can always add a little bit more. But the mistake a lot of times is they just push it too far and really the key to make in like that. I know for me the flowers interesting is toe have some variety in there, So ah, that kind of the base color that I started with with a few lighter shades and now working with some a little bit darker tone there. But it's a warmer tone because I use the red. But I want all those little subtle changes to show in each flower. And that's what makes, um, really believable. So just touch and go. You just kind of splash it in there, almost like your sculpting at versus painting it. And then that will just slowly but surely bring these things closer to a finish stage. So now just getting a little bit darker value there. Ah, little bit warmer hue. And then, you know, again, once I get that color the way I want it, I can start Teoh Sprinkle in a little bit, you can see I'm moving in. And I didn't like how that was competing with the red in the shadows of the flower. So I added a little bit of ultra blue to it. Just to atone that intensity down some you just sprinkling that color around. I remember again from the value study how those reds and that shadow moved down into the vase. I'm trying to keep that harmony and that flow gone of that shadow coming up from the shadow of the vase up to the right hand side of the vase, rather and then into the sun flat, the center of the some flowers. I remember the centers of the other some flowers and one own the far right in the top. I didn't want those to compete with the too dark centers of the other, some flour. So that is how it toned those down a little bit and they're not competing. So that's all just little things. I learned from value studies that kind of go a long way. So now I started with that bass green that wasn't too light. I can kind of come in here now with a lighter shade and start to shape some of these edges of the flowers. It starts to add, you know, some a nice layer to it in the service. Starting to already this early stage, things were starting to get a little more interesting, and that is how it's just a little bit here and there. I try not to g o too far or over paint. Like I said before, you can always add a little bit more, but you can't really take it off. So you better off the sprinkler it in there as Ugo and then engage respond to what you have . And all the while that I'm using this background. I want to remind you that the negative space drawings we did and a lot of what I'm doing now, even though I'm not doing it with a pencil. It's negative space painting that shaped those flowers with and because I had that kind of medium toned green that was on my brush. I sprink with that color into the vase, and it's not much of a contrast, and it ties that green in a little bit. And that's kind of nice when you can touch the background color into your subject and vice versa because it really ties it in. We have to be careful, and I tend to do that when the values were similar. But now just adding some highlights and then I've got some warmer values here. I'm pushing into the base as well. Just add a little more shape to that. And then if I get a brushstroke or two that just if it starts to get too edgy, then too busy, I'll take my finger like that and I'll start to smudge things down a little bit. So I get some some soft edges and things like that. It was popped, a little highlight in there and again referring to my mock up there. I'm looking at that highlight color. We had this stage. I think I can go ahead and start to introduce some of those finishing touches, and now I'm just kind of pre mixing that color a little bit. And once I get that close and see, I have my little test paper on the side, too, and that's kind of nice to have around. I could also use a little space below the painting. There have Ah, since it's not paying on a full sheet there. I got a little space down there, but have a little sheet up around that. You could test your colors before you go right to the painting is kind of a good ruled, uh, to use once in a while. My hand is in the way, but I'm just kind of drizzling and dripping that, um, that color in there a little bit a little splash here and there, I guess. And now this. Using some warm, warmer yellows to pop that vase a little bit. Bring that forward and I want to add just a little bit of variation of that highlight color . So I just add a little bit lighter tent to the original, the base color Again. I learned all that stuff from you. That little color study I did too. I remember that my lightened that up. I can't like how that looked now. I knew. Well, add a touch of white may as a little more interest to that highlight color. So now I'm moving into some more saturated and intense yellows, and that's going to kind of splash the light We're out wanted all these flowers all the while just a little hit here. In there. You don't You don't need much t make a big difference at this stage. So just adding a little bit of white there a little more than pure yellow. I'll get that mixture like I want it. And this kind of looking those little spots of color in there a little bit light hitting those flowers and that that little touch right there of nice, intense color. All you need to make those flowers believable at this point, and you better off to stop. They're going to keep pushing them because all you're trying to do is all has to do is make sense. I mean, as long as it makes sense and people know the other yellow flowers that got a big brown center there, probably sunflower. So and now I'm just adding some little bits. Little spect specks of color. There's little specks, kind of add movement throughout the painting. A lot of times we have big shapes, big because the flowers, even though there are four of them, they're all it's all kind of one big shaped thing at the base, the tabletop, So having these little bits of pieces of color helped break up those big shapes a little bit and you don't want too much of it. But you know, a couple of little specks here in the air and especially when respect like I'm doing now is helping to define the flower. They kind of nice. A lot more interest in depth to the painting. All right, so this thing is starting to come together. I think now I need to address the table and start to add just a little bit of light coming across that and just kind of planning my movement. How I want those strokes to go on. Which edges do I want to be hard. Which ones do I want to be soft. So just lying things up before I start make the move is what I did right there. So just laying that color and little by little now, starting to Assam, darker hues to it as it comes to the foreground. I don't want the lightest you on that table right in the foreground. I'll pull your eye off the painting. Now I'm starting to add some grays just breaking that color up a little bit. I'm sprinkling that color throughout the painting to just add a little bit of harmony. Now it is playing with color. I know that's ah, the shadow. So I can use some darker values even though they're slightly different hue in that shadow, this sad, a little bit of interest, a little bit of movement and now just continuing to work with that tabletop at a little bit of red to that blue, just to give it some or interest to it was probably a little too much blue down the air, so I just kind of broke that up a little bit, just getting some earthy. You know, neutrals here at this point, you know, it's all icing on the cake and thats painting out on in control of it. Ah, lot of that control. A lot of that confidence at this stage comes from the work I did earlier. The build up to get to get here basically and is touching some darks in there. Now there's little bits that just had a little little extra movement to the painting and is beef in that shadow up a little bit. Splash of color there. Now, this adding a little bit of a darker value there. Just I try to chisel that little shape of that flower a little bit cleaner. I was running a little bit more light on the table so I can pop that shadow a little bit and this smudging smudging a little bit with my fingers and I just create some soft edges is all that does. I just got clean the shadow up a little bit time. That color in this pain is getting rolled close. So I did that. Basically two layers started with that base Blue added near the base colors from there to all the shapes, and then just really built it up as I went in this final layer. And that's a wrap. So that brings this painting to a close hope that you and you enjoy this demonstration and that you liked my final piece. 12. (NEW) Student Critiques: How to avoid common acrylic still life painting mistakes: all right. Fourth and final feedback here. So we're looking at some finished paintings and we'll go first up here. And this was not bad. The biggest thing that jumps out to me are edges and light source. So in terms of edges, I just feel like everything's just to round. And that kind of gets back to the very first lesson we did with positive and negative shapes. Just the whole reason we did that exercise was to understand the character of your subject in every single flower vase. Whatever has distinct characteristics you want. It's not that you have to be dogmatic about capturing every single edge, but you want to capture some of, um, and these means getting close in some areas. But it's just like very round, and everything's very around, so you have to learn to either do some negative space painting. You did pretty good over here where you got this brown cutting in really nice and getting these jagged edges. And that's where I think this one needs a little bit more in terms of your light source. So your light source is coming from the left top left hand corner. Get the shadow coming across the tabletop here. So that tells me the shadow right here and the right should or this flower Excuse me right here in the front bottom, right. Me, that should be in shadow. And I mean, maybe catching a little bit of light on the edges. But you shouldn't have this intense color. I mean, the most intense yellow and gold you have, or right here. It just doesn't make sense in terms of your light source. And that could have been identified. Two. In the second lesson we did, which was understanding value and the reason we do the value sketch and abstract massing and things like that. It's so that you can start to understand where to place your lights for your lightest lights in your darkest darks. I just feel like you you didn't quite get that right on this one. So again, pencil paper, 5 10 minutes. Birth of positive, negative shape, drawing, understanding, values, doing a value mass study, which again, I mean, we're talking three or four minutes would have done you a lot of good, but there's some nice quality here. You really loose with your color, your loose with your brush work. But I think in terms of painting loose, you may at say well for painting loose. And why does it matter? Bow painting looses very tough, because when you paint expressively that you don't always know how things are going to end , you don't know what they're gonna look like and you're taking risks as you do it. And I think to some degree you have to have good fundamentals, understanding character in the shape of your subject, understanding the light in the shadow. And then if you can kind of piece some of that in there and just make that believable and make it somewhat accurate, then you give yourself a little bit of wiggle room. But you got to be careful with how far you push things. And if you're going to put the light source in and we're gonna put you know, things like that and your work thing, you have to make it believable. And I did a little mock up here. I just take and see where I use it. I tried to pick colors from your palate. I just added a little more, obviously shadow to that French flower. You see, how that pushes the light source away from that flower, and it just makes a little more sense. I put a lot of that lightest lights over here in the top left hand corner because this flower is actually kind of tilted towards the light source a little bit more, and I think it just makes a little more sense. And in terms of your edges, I just trying to use a little more jagged edges here in the air to catch a point or two of the sunflowers. But, um, no, apart from that, I just added a little more intense blues just to give it a little more popular than the Blues were working good in there. And that added a few more dark greens. Just increase that the depth of the shadows and the darks. And I just felt like that anchor. Maybe the painting a little bit more. But anyway, that's my advice to you. Have a great job. All right, next up, this one obviously has a glare on it. Some places are hard to see, but I can see it good enough to give you a good critique here. And the main thing to is your light source. The light source. This is, uh, coming from the top left hand corner again. You can see on your vase here. It just doesn't match up. So this should have been in shadow. Okay, so if you're backlit, then back then this vases should be a much darker. And if you just spot check this for color and we look at this I mean, I'll pull this color picker down That's almost very saturated and very intense. And that color really should have been down. And here somewhere, but much brown are much darker. Then what you had I really don't like the round base because you're dealing with a lot of oval looking flowers. If your flowers were not so around looking that I think the vase may work, but I just would have changed that a little bit. It's not a symmetrical is last week, so that's good. I think you did a good job tweak in that, but I think just to just capturing a nice, strong edge here in the air, I did a little mock up, Just pushed a lot of that the vase and shadow. So let's take that off so it just makes it more believable. I mean, gives him or dimension, and they're just Everything's in light, but the shadow tells me otherwise. So pushed a lot of your flowers on that were that should be in shadow. I push those much darker too. Eso is kind of very similar to the one I just critique. Just make sure you watch out for stuff like that thing about pictures and working from images as they don't always tell you all the information you need. I mean, cameras only going to capture so much when you're painting things, you want to make them work on the campus, and that's the most important thing. You know, I hope that helps you. I thought you did a good job. Just just work on your your shadows and put things and shadow when they need to be in shadow. Okay. Don't make everything in the same amount of light. It just doesn't make sense. And even if it's that way, you should You should alter it so that you have more variation. An interest in your painting. More dynamic qualities, I guess. Okay. All right. Next up. Yeah. This was doing similar last week. You know, you had this really dark shadow going up your vase. You need to blend that a little bit more. There should be a few tones in between this lightest light on the vase in the darkest dark . I mean, there's, ah, some Hughes in between that that could have blended that blended it a little bit better. I think this capture and some edges, you know, you you're trying to get a little more character to your flowers. You don't need much. You only have to suggest a little bit. The next thing is, um I didn't catch it catch this last week, but I should have. So you have ah, blue background and they have a bleu tabletop, and that's a lot of blue. I'll think I would have changed one of the other. Either. Put a warmer, you know, grayish brownish background or something with a blue word May light blue table top or vice versa. And I just changed at issues more of a lighter value. Now change the hue here on your tabletops. I'll push that more towards ah, very kind of lime ish light, light green. Um, tapes. I got away from the blue. I think it just works a little bit better and tie that color into your flowers, since that's a very light value to So it's not just stuck in one place. And that just used the background color to chisel in a few edges. And that just makes a world of difference when you get back and forth and see that. Okay. So just kind of keep that in mind as you as you work a little bit, you always change up your background and your foreground so that they're both aren't too cool. But anyway, good job. Nice. Nice. Certainly a great job working through all the exercises every week. Hope that the workshop continues to benefit you and that you move forward with your artwork . Yes. So this one, it just like there is a struggle with the vase. You gotta be careful with these really lighter values in the shadow, too. I mean, one or two is OK, but in general, you want to keep your shadows. You don't want him to opaque and thick and heavy. But you have to be careful about mixing your there's really light values in their mean a dark grey or something would have worked. But, um, in your stems, you've got some highlights on some of them. But there's really no transition or variation in between very dark and then very light, so you can use your finger and smudge that sometimes if you're working white and wet, or you can just mix up maybe two or three values. So you have a dark medium and a light so you don't have your stems so stiff looking. Other than that, I think I would have pushed the darks a little bit more than background around your flowers . I think that would have just popped him because your flowers really aren't that bad. And then I just think I would have simplified that vase a little bit tryingto work that blend of wet because if you get really dry paint, it gets a little tacky and the strokes come across as just kind of stiff looking and you want their strokes to be really smooth. And ah, you certainly don't want to be too dry looking, clean things up just a little bit with the background just to simplify it. So it doesn't look so dry brush so almost putting that in wet and just smearing it, you know? And so it's not so choppy looking cause you're your flowers have a lot of little brush marks. There's a lot of angles and short strokes, and your base has a lot of short strokes, and you can view all these little short strokes and places. So getting that big broad coverage in the background of will smooth things out a little bit . I tried to you blend things in the stem a little bit, but it's really hard to do. I'm doing this on photo shop trying to help you. I got rid of a few of the hard edges. You can see how you know, silhouette in those against a little bit darker hue their helps. It just added no more long strokes in the glass. Like for a long reflection, catching some light. I took out some of the white in the shadow. Other than that, I mean, I thought your flowers were good, and I think they just needed a little more support from your background looking at it. I don't know exactly what's going on, but it looks like you're painting a little bit too dry, so I would encourage you to work a little bit wetter with your paints. Put a lot of pain out. Don't use just a little bit because a little bit of paint your pallets going dry out quick and they got really stiff paint. Put out a good amount and then keep it wet, so keep your brush wet. Keep your mixtures wet and so that it comes off. It reads a little bit more fluid with your strokes. But anyway, I thought you did a good job. Hope the workshop benefited of your work. And if you have, of course, any questions about any of this. I feel free to reach out. Let me know. All right, Next up. This was working really good. I thought you did a great job with the colors. I love the red background. I love how you transition the darks behind the flowers. I thought it was a really nice touch. Their your reflection on your pot looks really, really good. But I think what I did is when I tested some of your colors in your flowers, everything was warm. Okay, so everything worked off of either an orange or yellow almost the same color as you used in This little tablecloth down here warms air. OK, but I feel like he could have you some cool values and Hughes in your shed in your flowers . I think that would have kind of set it off kind of nice and added a little bit of pop of warm and cool, that kind of yin and yang type of look, I just did a few tweaks and there were added some of those, like Grey's. I think I put me and pull that gray from your from your pot. Anyway, I thought that kind of tied it in better. And, um, in that I thought you did good. And when I used that cool gray in your flowers, I just add a little splash here in the air to the tablecloth. Whatever is going on there under the flowers just to tie it in. Great job. And I hope you enjoyed the workshop and this is the believe the final one. This is really good. I thought you did a nice job. All in all you great job participating every week to, and the biggest thing I would watch out for is No, you're This is backlit as well, so you have a light source, which is coming in through the flowers. But that same Hugh, um, is all over, and it's a little bit cool, so you can see I just tested it. It's a kind of a cool blue that's a green. This is a green, but but I would do is be stingy with these lights. So if your light source is coming in behind the flowers, I wouldn't be careful with these kind of teal light blue colors you have going there. Make that really warm and then use your cool colors as you move away from the light source . And I kind of tried to do that. So I just warm this up a little bit around the flowers sprinkled some of that warm value where maybe reflecting underneath the flowers near the light that as I moved away from the light source, cool things off, migrated out a little bit so that it gave luminosity, if you will, to the peace. And so if we go here, you can see how having this really light value right there, I'll grab that color picker again. So We're way up here near white if we go here again, your way up there near white. And this should have been much, much darker. Who? Look at what I did here for you. If we color pick this, you see, that's still there. So that's your original color, That is. I moved away from it when you're things cooled off a little bit and they got away from this light source. Okay, Um, better than that, I just kind of dark in the vase a little bit. Just toe anchor that a little bit more apart from that, that's pretty much it. And a nice job. Excellent work. Participating every week. And I hope you continue to learn and grow from the workshop. But anyway, that concludes all the feedback and critiques for the workshop. Wanna think everyone that participated, I want think everyone that signed up. I know we had a few students who had some unfortunate circumstances. So course my thoughts are with you and your family. I'm really sorry you couldn't join in this time. Thus these lessons will be up while you guys will have access to them indefinitely. So once you buy the workshop like you have. You will always have access to these lessons and these critiques. This course will turn into a standalone study course on flowers. I will eventually add quite a few more demonstrations. I may even pull with some of the flowers and studies and referenced some of the work that you guys did create them. So you kind of see how it would have maybe handled it, and maybe that would help teach you a little bit. Maura's well, at any point. You guys can always come back to these lessons and watch him. And then as new content becomes available, you'll you'll be. You'll be notified about that as well. So this courses will continue to grow and hopefully teach you. So anything relative to acrylics, mixed media and flowers. This is where you will find it. Okay, Other than that, since you guys signed up for the workshop, I will offer you also a good deal on the master package, which is basically has all the lessons and tutorials for acrylic, a mixed media offer. You you guys 25% off since again you you help support the workshops, and there's more information about that so you can read down below and check that out. That's something you want to do. And again, I want to thank everybody for signing up. It was a pleasure working with you. Thank you so much for allowing me the privilege to work with your art to share my passion for painting with you. And of course, I hope more than anything that it improves your process and your workflow. Okay. All right. Thanks again. Again. You guys have a good day and again holler at me and in touch. If you ever have any questions about this stuff, okay?