How To Develop Your Paintings - Working The Range | Robert Joyner | Skillshare

How To Develop Your Paintings - Working The Range

Robert Joyner, Making Art Fun

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3 Lessons (23m)
    • 1. Introduction

      1:50
    • 2. Part One

      9:49
    • 3. Part Two

      11:44

About This Class

In this class I will develop your artwork by understanding how to manage value and tone. These are basic fundamentals that have to be mastered in order to create successful art. In this class I will concentrate on how color and how value and tone play a key role.

Transcripts

1. Introduction: Hi there, Robert Joyner Here in this next Siri's. I'm going to talk about color. Now. I know this topic is something I've talked about quite a bit throughout these lessons. But I believe this Siri's that I will introduce to you now will better help you understand how to use your color wisely. Okay? And to do this I'm going to do a quick demonstration and then just give you an idea on how I think about color. And then also, you know, what's my strategy as I use it, I mean, what's going on in my mind? And then in turn, I hope that helps you, Ah, better manage your paintings through color. It's such an important thing because color really has a dominant factor and role in your artwork. And a lot of times color can ruin a painting. Even when the drawing is good, the brushwork is good. All of that is executed properly. But your colors just don't harmonize and they look muddy or they're too high key or they're too low key. So in this, I think demann demonstration here. Rather, I will hopefully give you one way to manage your colors as the painting progresses, and then it will give you a solid plan from beginning to end on how Teoh create artwork. That's beautiful, colorful, but it's balanced. Okay, so without any further ado, let's get started. 2. Part One: So what I've done here is I've created kind of a scale or ruler. Okay, so you have a narrow over here and we come down to this end, we'll call this one. So this is our starting point. We'll call this 10. This is our endpoint. Okay, in terms off how dark we want to go. So one represents the lightest value or the lightest tone. Whatever color we know, we'll get to that. That is the lightest color that will be in the painting. Probably in this case. Will be in the sky. May be in the white wheelhouse is on the boat 10. Over here. The darkest color will probably be in the shadows of maybe this dark boat. Maybe the shadow where the boats meet the water. But that's going to go right here. Okay, so one represents light. 10 represents dark. OK, now, here's the key. And this is where you need to listen up. So you're on your cell phones if you're distracted. If you left the room, need to come back, puts phone down because this is what you want to do. We're going to save one. We want to save 10. Okay, those air very precious. And we don't want to use them until the very end. Okay, What we're going to do, you stay right in this range, okay? From about to all the way to eight. Okay, So when we're painting and we're creating, we're gonna spend the bulk of our time and this range right here. Okay, let's call those mid values or mid tones. Okay, so the say from about two all the way to eight or a dish and there we want to spend quality time building our painting up. And here. So that means if I were looking at this color, too, of that color might be in there. Okay. So I wouldn't want to go any darker than this for that now, too. Doesn't have to represent just a light color. It can represent a dark color, too. So, for example, maybe I'm thinking about my darks here and my darkest dark. I don't want to push any darker than that. Okay. In the beginning, and then so want. So basically, what I'm doing is I'm working the painting on a very Mentone scale. Mid value, stale until I get near the end. Okay, that's kind of the gist of what I want to do. So I'm working right through here. And, um, as I do this demo, hopefully you'll be able to see how I just don't go here in here until the end. And I think one of the biggest problems I see with artists and especially coming from the workshops, because in the workshops I'm able to see the progressions. I'm able to see the painting in the very beginning stage things like that on the other networks and what I'm seeing on Facebook and what you guys sent me an email there, finished pieces, and I don't see how you got there. And that's the beauty of workshops. So I can see what everyone is doing each week, and then I can say, Oh, you know, you're getting here way too early. Okay, so without any further ado, I would just do a quick load demonstration here. This is a very familiar composition. Picked this because it's easy. I can whip it out, and then get the point across to you guys. I'm gonna bring you in a little bit closer, so I'm going to start with just ah got kind of an outline of what I want to do there. Obviously, I'm gonna go with a little bit of blue. A little bit of this violent. Just what color is real quick? I've got some cobalt violet, some quinacrine own burnt orange. This is a yellow iron oxide, ultra marine, blue sap, green cad Red Ah, light violet and then some titanium white. Now, there's a lot of different ways I can create a lighter dark, if you will. So again, I want to go here yet. So I'm going to just take some violet, maybe a little bit This sap green. I don't really care about color so much. I'm just looking at the tone Like how dark is that? How light is it? Where do I need to push it? To get where I want to go. Some like that is fine. Okay, so I've got a nice start there. I could just kind of put that down. I can see the colors on the boat aren't what I'm doing. And I don't really care about that right now. How does put little blue on this little red and just working these colors and a very mid tone way. Sorry about that. I'm a switch over to the side. Clean my brush now with the sky. I know I want the sky up in here in that light, but I'm not going to start there. I'm gonna go quite a bit, uh, darker here. So I'm just going yellow iron, a little touch of the violet and then getting this now again, you can look at that and say, Yeah, it's not even close. I don't know what Roberts doing. He is really nothing. This painting up and e, I think I'm gonna go do something else because I'm not getting anything out of it. But trust me, if you understand layers and how much stress layers, then no, this is only the beginning anyway. And we want this. You want your late your paintings that have a nice a rich, deep look to him, and there's only no better way to do that, then the working layers if not the painting, contends to take on almost a watercolor feel to it. Roller flu thin and kind of sketchy. Now, I'm just going to put something back here that could be some buildings or anything going on . Really so just kind of putting something in there. And now this Good work really quick here and get into this water and again. Same idea. I'm not trying to go with the lightest light, not trying to go the darkest art. Just putting something down in that mid range. You go a little bit lighter here. So obviously we have reflections in the water from the where the sun is hitting it so I can start to introduce a little bit of that I want That's a little bit dark. That so pick little did way. Want my brush and, you know, dark in that up a little bit. I can put these reflections of the boots and the water down again. This is just a real quick demo here, not trying to spend a trillion this amount of time not that's been a tremendous on a time. Anyway, I want my work. But most of you know what were quick get jobs down. Hopefully case I have fun doing it. I was saying Hi. Good. Now I'm gonna back you up, and that's what we have. So it looks like a bunch of mess, but I can still see you know where my boats go? Have all that going on? Still, I stayed right in here. There's nothing miss that light. Nothing that that's dark on. He owned the painting yet. OK, now the key is to let this dry now can work but in the wet and had decent results. But for this particular case, I'm going to let it dry, and then I'll come back and then we'll start assessing. I was still working within this mid range of what I need to do to start making these shapes believable. Okay, See you back. 3. Part Two: all right, now that I've done some due diligence, right? Built the painting up, staying here that could do that a little bit more. I mean, it just really depends on you know how much detail I want to put in here like that? Could be the little drywall with the pilots and different things in there. But for this one, I just want to kind of stress the point of using your colors. You know, strategically, this just one technique. I think you can try and incorporating your end of your artwork. I'm not saying Oh, if you start here your dude or if you're start here, you're doomed. Um, is this just something I want you to try? But I will tell you that typically when artists go with too much of an intense color in the beginning, they have nowhere else to go. It's very difficult to finish paintings because you don't know where my highlights where my shadows and they're already there. And the painting isn't solid because you haven't spent the time here building the painting up, getting your shakes, giving your subject to look unbelievable. But by spending time here, you get a base down. And now, as you see, will outdo. Here is all start to put these really dark Seine. I'm start to put some lights in. You start to see this painting kind of come together really nicely, okay? Someone bringing a little bit closer, we'll go and do that. All right. So I'm gonna start with my darks. So I think I will use some of this red from ago. Appeared in the area while having used on the palate We'll be with this blue could be touched that violet. And right away I want you acre this boat in the water. This one's really dark, so I kind of put that down because this was got some shadow on some stuff going on. I can pull that down. Maybe we have some some dark into this went in these wheelhouse windows, so it kind of adds something like that, and that works good. And so that starts to make all that look a lot better. I'm gonna clean my brush. And now I'm a look at some nice lights. Some would go right into that white Well, Oakar just toned that down a smidge with this a little bit of light violet here that's already on my palette. And I can go into the sky, which is basically where a lot of these lights live, and then get, uh, maybe something else where it's on the boat. I can work that up a little bit. Maybe I have some lights over in here in the sky. I want to touch a little green, a little bit of blue under that and work that down to the water. Go a little bit darker on the edge because I want the I to stay in the picture. If I put too much of a light tone there, I think that I would kind of drift out that image a little bit. That's looking good. I want to really hit. It's a little quiet space over here. Put a little bit of blue into that. Maybe a little touch of green, something like that. Now program a little liner brush and how this is probably pretty dry already and just couldn't mix up some grays, maybe some warm greys and yeah, maybe put ah, some details into the boats. But yes, outrigger, because this is what really says. So yeah, these airboats assumes you start putting out Riggers on these things. Uh, they started looking a little more believable in terms off. You're my subject. Oh, you know, coming here, maybe add a little bit of detail on the boat I want. And now I've got a nice little pocket of yellow there. That that is the basically the the light side of that boot. I hit it pretty good last time, but now I can really clean it up. Put this nice light kind of going right in here Now, working with those late values because I still have a love now could go a little bit darker . We can't go on these reds of violets. My finger switch brushes here. No, get back into this color. No, a smidge darker and like that now. So I have plenty I can do with these dark because I haven't used him yet. Coming here and no anchor the boat. Something like that. Maybe there's Ah, building up here. This don't want something. Maybe one put some windows. Something happening there on the docks. Well, from back up and look at it looking pretty good, but I want I still got plenty. I can do into this in this range here. And I want to add a little feeling of light coming across these boats. Maybe there's something catching light right there. So I had a nice pop a dark on that side of the boat and bring those reflection bound. It's looking pretty good. Still working in that light range. I want to top that this boat right here a little bit more so it's a little more believable . Something like that. Tie that color in a little bit. I can use the tip of my brush. And those homelessness is still working those lights a little bit. I'm getting that feeling of water reflections, a couple of details here and there. I feel like that. It'll kind of help make the painting a little more believable. I got a nice, quiet space over over here. I'm gonna have a little bit of flu that like that Good. We'll bring you in a little bit closer. You can see how saving those lates for last really really helps. All right. And that will do it for you. So basically, really saving those lightest lates, darkest darks for last been a lot of time in this mid range area. Build your paintings up and they say those juicy bits for last. OK, great way to build, Create, you know, art that has a little bit of the meat to it. Versus you know, sometimes when you paint quick and looses easy toe end up with a painting. This kind of a little sketchy doesn't quite look like finished artwork. Looks like a study. Maybe, but we do it this way. I think you will start to see how that will disappear. And then your art will have much more of a solid foundation when we come back in here and you save all those lights and everything for last. No, those paintings will start to really hold together and look solid. Okay. Hope you enjoy this. See the next.