How To Paint Horses With Acrylic Paint - Master Class | Robert Joyner | Skillshare

How To Paint Horses With Acrylic Paint - Master Class

Robert Joyner, Making Art Fun

How To Paint Horses With Acrylic Paint - Master Class

Robert Joyner, Making Art Fun

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13 Lessons (1h 33m)
    • 1. First Lesson Is Free

    • 2. Graphite #2

    • 3. Graphite #3

    • 4. Acrylic Sketch Part #1

    • 5. Acrylic Sketch Part #2

    • 6. Acrylic Sketch Part #3

    • 7. Final Painting Part #1

    • 8. Final Painting Part #2

    • 9. Final Painting Part #3

    • 10. Final Painting Part #4

    • 11. Final Painting Part #5

    • 12. Final Painting Part #6

    • 13. Final Painting Part #7

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About This Class

In this course you will discover many techniques that will teach you the art of paint loose horses using only acrylics. If you are tired of painting tight, boring and ordinary horse art this is the course that will completely change your approach and put the fun back in the creative process.

A Few Of The Techniques I Will Cover

  1. Tips for creating interesting brushwork
  2. Layers make the difference
  3. How to allow the painting to develop naturally
  4. Avoid painting in a box
  5. Discover techniques that will loosen up your artwork

Who is this course for?

All levels of artists that want to paint unique horse artwork that's packed with energy & emotion.

Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. First Lesson Is Free: Hi there. Walking to the lesson. I'm excited to get started. I know you are, too. And what we will do to kind of start to break the ice with our subject here is used £90 paper. All right, Just some good old drawing paper. Have some graphite here. Several different less. I got h B six B to be now. I don't really use the different, you know, choices for shading or anything like that. I'm not really trying to capture up a perfect sketch here. What I'm doing is more gestural and is more of a connecting and and just looking at some of the shapes and stuff before I get into color. And this is a really important step. I encourage you, Teoh. Spend a lot of time here, Okay? Not going to get on a tangent, because when I started talking about how important this is, I will go on and on, and you're just gonna probably skipped forward anyway. But hey, let's get rocking and rolling here. I'm going to go ahead and start with my to be to my right. Here is my computer had the image up and and that kind of you know, you will see me glance over there a lot, but at this stage is really important because I'm looking at, you know, different things, trying to look a angles, shapes. So, for example, um, you have one of the first things I look at is the is the layout. So let's say that this image I'm using a somewhat square. So typically there you square or rectangular or whatever. So when I look for our angles relative to the edge of the image Okay, so So I just didn't do this and I would kind of get lost just looking at the horse. But if I look at the edges of the paper or of the image, I think in terms of 90 degree angles, right, have these, then I can kind of start to really look at some of the angles of the horse. I can start to look here and see how this angle comes down, and this one's somewhat hair allow with the bottom, and then this more kind of comes up and then if this was going out here than this part tends to get a little bit fatter and here so it moves in there, OK, and then the jaw. Where do this part? That's almost. But if I look at the angle of my paper here and then that is pretty much going parallel. It's got a little shape to it. But that's roughly what it's doing. And then we had that part. And then here, this this kind of neck area comes down almost again, straight straight with this angle here. So it's coming down that flares out and it goes down. Okay, so and then, you know, we had this part of the eye where it goes up. So it's really going on almost like this and curves over and so on. Okay, so that kind of is a rough kind of take on 10. The things I'm looking at and how I'm looking at him in the beginning. So what? What? I tend to see a lot in working with artists live and is they just start. They don't really look at the angles of their edges. They just simply take their there. They're subject, in this case, a horse and just started drawing it. So if I'm playing with the I, I'm coming over here and, um, they kind of do all this stuff, and then they're they're angles. Air. They don't really look at all these great angles that could possibly, um, give them another dimension. Like like another tool right to develop their horse. Because because, really, if you start toe, understand angles and and how relative they are, how they kind of work with the edges of the paper than you're gonna start to see your subjects in a little bit different way. Okay. Anyway, um, that's kind of what I look at. That's what I'm looking at now. I can't say I do that every time, but, um, that's That's one of the things I always pay attention to two. Now I don't often out. I really never like, put this so I never draw square and or rectangle, then try to fit my composition in there. I'm really terrible of that, but I'm paying attention to it. I'm just looking at those angles with my computer and trying to assess how they are that I think that's really interesting when you can start to work with angles and see them that way, and then they will really help you interpret. You are a little bit stronger because your edges and the shapes are really important as this thing develops. I'm just playing now. You're not? Not really trying, Teoh Teoh. Create a beautiful sketch. At this point, I'm just breaking the ice with with once. Come on online. I am really looking at some different features now, and I think for this piece of paper is fine kind of running out of room. So I will oppose it right here, and we'll continue the fun in the next lesson. 2. Graphite #2: Welcome back. Clean sheet. And so last. Let's remember, I talked to you about the angles and just trying to get a feel for how they are, you know, look relative to the edges of your paper. I'm keeping all that stuff in mind. So again, I'm not going to lay out the square or the rectangle. Um, but I'm looking at those angles. Okay, so now I'm gonna work with features. I'm not going to try to sketch the entire horse, okay? That's not what I'm doing. So this is not a composition sketch, all right? I know traditionally, a lot of artists will go well known working with stuff like this and live workshops. Oh, yeah, Yeah, I know what you mean. And they'll start doing kind of like what they think I want them to do. And I walk over and they're simply per sketching there. They're laying out a composition. It's not really about that. It's more about just taking like the ear. So I'm looking at the ears here, just looking at some of those shapes and just tryingto interpret them, so it's got the hair coming down. Get this kind of dark here and then this one is not so dark. And now I'm just kind of playing with how could interpret on just kind of play with that. So I mean, look at that here again ago. Well, that was fun. Let me kind of do that again. And I'm playing with how how those shapes look. But also how how I interpret them, You know, I'm trying to find really freedom and what I'm doing, OK and finding freedom, finding looseness in your art. Believe it or not, it comes from being familiar with them. It doesn't come from just like, Oh, I'm just going to think, you know, it's hard to do it like that. If you do it that way, Then chances are you're just being reckless and and there is a big difference. You know, if if he didn't Ping Lewis, really, where you requires a lot of skill and I think if you want to really kind of harness and get the idea of it and get really good at it, then you need to really have ah good connection to what you're painting. And if you're someone that likes to paint horses well, this is not your first horse. I mean, chances are you painted a bunch, and but you've never painted this one. And if you just spend time here, you're playing with these little features and just getting to know these angles a little bit. It's gonna help all of your horse pain. It's not just going to help this one, but it is really going to It's really gonna pay off down the road. So So don't ever think that just just because you painted something a bunch that you know, you're better than this. And you're above coming to this example because really, what I'm doing is much more. Um, it's much deeper, I think. Then just painting, drawing a composition. Okay, You know, what I'm doing is because it is just trying to find freedom in those ears and trying to get to know the shapes and angles a little bit, and the more I know them and become familiar with them. And the more I experiment here, the more I learn about what? What's there? Okay. And then how can I interpret that? Okay, and then interpretation, I mean, takes on a whole new meaning now because in terms and the art takes on a whole new meaning when it comes to interpretation. But you have to know it first, and then you discover Well, how can I manipulate this now that I know it? How far? Cannot cannot push thes here. So here's the ears. Okay. Well, you How far can I push those years in terms of being abstract? But But if I start here and really getting to know this stuff, get any of these angles, then I could go. Okay, Well, chances are I'm gonna start to really get it. Get much looser with it, right? You know, become familiar with it, and it's kind of like a friend. You know? You get the gnome at first, you know, how you gonna wear have been where you live. Where do you get a school? Where do you work all this stuff. And then down the road, it loosens up a little bit. You, Joe secrets come out of the closet. All that stuff you had this. Um, So, um, you know things. Loosen up and get to know it better on DATs where I encourage you to do in this exercise. Don't ever think that Yeah, this this isn't gonna benefit your art, because it really is. Just is key. So I've really the jabber and kind of did a lot of these little ears. I like that. Um I like that kind of. It's an important edge, You know that That this this area is gonna be very, very important in the painting. And now what kind of I like it, You know, I'm coming more familiar with it. And, um when I kind of see what else is there that that's interesting to me. So I will pause this lesson, O r. Stop this lesson and I will pause the series of sketches and I'll see you back the next. 3. Graphite #3: Welcome back. He knew the drill. What kind of work? Up Mawr With kind of this nose area on these nostrils, Much of a shape. There's just really kind of ah, see a kind of art. And they have a little bit of, ah, things like that. And then this side comes down. So playing it really just started. Get loose and find my freedom with this thing. Now you see, like, that angle is here. But, you know, in the images, notice more along those lines. Um, that's okay. They can always interpret things differently. And I think if I want to try to capture that the feeling of that position, I'll probably want maybe give that a little bit better. Yeah, I don't like the I could do things pretty loose. Try and get that roughed in there a little bit better. That works. Here's our little shadow there, and that little line coming down shoulder coming out like that, do one more of those just like down. And then it's kind of a line that but basically I'm looking at the bottom of that news area on. Then this comes down. So this relapse on a nostril I don't like that, though. Breaks up. You know this long line. Do that one more time. So basically, the area I'm looking at if you were withdrawal is kind of small. Can I'm going to a row small. So if this is the horse, see, that's the nostril and then your jaw and all that. So the area I'm looking at it right there. I like how this line it comes down, and then it wraps around. And then how this one it goes like that. I like that angle, right? There s so little subtle things, people. That's what it's all about. Finding these subtleties of your subjects, different things you connect to. And, uh, that's where all the fun is. But I think Paul is right here kind of room. And, um, I like like what I did, though, you know, I want Teoh. I think before I in this lesson, I'm gonna grab my other sketches just so we can have a quick look back, right? Little trip down memory lane here. And before we kick off the acrylic sketching Welcome back. Just remember, this is the first sketch I did remember. This is this exercise is not a composition. That's not what we're about here. We're just gonna break things down. Looking angles, how their relative to the edges of the paper. But try to avoid this trap, because then you're just kind of falling into looking at the whole composition, the whole subject. And I wanted to be more about the details. OK, so in the second sketch, I started to play with the ears, these shapes, and I'm just trying to find the space in between them, the angles in between them trying to define some freedom with what I was looking at. So we have that one. And this is kind of getting into really the core of this. I think you are sketching and this this exercise in general, OK, here I'm playing with the jaw, still playing with the main or playing with the main. And I got into the jaw area. I started playing with these shadows and and that started kind of messy, more with the nose and discover some angles and different areas that I kind of liked. So, you know, I would encourage you. You don't have to stop here for I mean, really, this sort of stuff should happen all the time. I think as artists, we tend to kind of gravitate towards certain subjects we love. And if horses are something that you're really Fonda off, you just can't paint enough of them. Then you should be doing this stuff every day. We get into your studio, work with this kind of thing and really take different images and start to break down the different areas. The hooves knew the hips or the legs and the bone structure. And just then the more you do that, um, the more you understand it and then the war once you get there. But the more you can start to abstract it and play with it, you learn how you can interpret it. But I think part of that has just become a very familiar with it in the beginning, and so that you can then, of course, distorted and break it down and discover how far cannot push this before it looks like a donkey or a cow. Right? That's what you want to understand. Um, So anyway, I hope you kind of really grasp, you know, this part of the course, and I think I probably have said enough, I'm sure. But again, you could keep on going here as long as you want. You know, there's no rule against it in the MAWR. You time you invest here promised the better off your art will be. That's it. See the next list? 4. Acrylic Sketch Part #1: Welcome back. £140 cold press 22 by 30 Cad Yellow is a cobalt violet, cobalt violet. It's a pretty expensive color if you can mix up your own Violet, a little lizard, crimson and fellow blue Ultra marine blue is fine or just any violet. This is a transparent brown oxide. This is a chromium green. This is a cerulean blue can read halo blue, and those are the colors I will use in this, and the brushes are pretty much the same. If you take him other courses, you probably have seen these but medium around thing that's like a number 12 a fan brush using my out liners to say Number six, I believe, outline their or nine. Something like that. Have a large floppy little brush there. This is the number one great for getting small lines, little detail, brush, and then I have a flat kind of large flat there, probably 12 or maybe a little bit larger square, but also clean water. And, um, here we are, right. Nothing's changed from the charcoal sketch. All right, so this is just doing the same ideas we did before, but now we'll do it with color. Okay, So again, not doing a composition, people. All right, get Get that right. We'll explore details and tried because try to capture this stuff in color Now with brushes and and a little bit different medium than what we did before. Graphite, charcoal, whatever you're drawing with pen. Those are great for connecting and getting you're familiar with all that stuff. But color introduces a whole new set of kind of tools and potential, you know, art that that can be done. And, you know, we want to get used to go in the same thing, but doing it with a different medium. Okay? Only my meaning sense. But basically, we're just would sketch to deep right now. Uh, maybe I'll go ahead and start with the ear. So I'm going to go right into my can yellow. Let's go with. Well, bear this brown and I just got really a little yellow on one side, a little brown on the other, and this kind of loosely I'm twisting that brush. So I'm getting a little bit of each color there. I'm just kind of laying out, um, kind of a rough feeling of how those years would be. But again, it's I'm playing right now. I'm not trying to like about looking at the years and going okay goes like this This, you know, it's just more about I went to the brown and I will get a little green here. It's just more about just kind of getting that feeling down of, of how you want to interpret this stuff through color. And you know, So really, I'm just kind of bouncing around between experimenting with color and getting the feeling of that shape down where the ears are because I've already broken the ice with on the charcoal that those shapes air familiar to me now and they will become even more familiar if if I know the more time I spend um, with that being kind of see how that little bit of work had is starting to pay off already . I hope you can see that, Um, now just kind of playing with some line work here, these these little outline, their brushes are great for this is the sort of thing. And so if you're still view like line in your work as much as I do, I encourage you to try this sort of stuff. All right, The seas go back into the yellow here, and I had a little blue on my brush movie here. Some getting a little bit of a green mixture there from it, that's all. Fine. Let's see. What else do I have in here? Let's go with the fan. I'm gonna go into this. The ruling in here and I've got a little start here of Samir. So I'm just coming kind of work with that. I know that so early in his Ah, it's not diluted or anything or thinned out so a little bit darker and who probably look nice with that yellow. It's going to some cobalt violet there. Just kind of blend that into it. Just working wet in the wet here or not, No. Allowing any of this stuff to dry and just kind of getting mawr into the moment. And just seeing what I can kind of come up with here right 5. Acrylic Sketch Part #2: going to the fail. Oh, touch of the cad. Red. They just want to continue working with same idea here. So kind of starting with more of a dark base here and, uh, dip into some water. That was fonds go with this little flimsy floppy thing here and I'll get right to this little green mixture that looks like fun. Whip that over the blue. See how that looks. That's kind of school. So kind of, you know, this is all letting me know that. Hey, Robert, you can have a lot of fun with color in this. You do not have to paint colors as you see them on the image, right? This is where this is where creativity happens, people. This is where you find your freedom. This is where you find you artistic voice. This is how you start to develop a style. And I mean, that's a huge, huge subject there, and I will do. I am planning a course on that. Now I'm gonna talk a lot about how you can take your art and really, really break it down and developed that style. But this is ah, great stuff in that. In that direction. I wasn't trying to plug there. I was just just talking. Ah, yellow Can't read yellow. Just kind of getting this little bit of, ah, orange mixture. I'm just gonna work with some negative space here a little while sketches. You'll be surprised how much you get out of these. They There are a lot of fun to do, and, um, I mean, some of my favorite color combinations. Um, I get comments on that all the time about I love your color. Won't you show your palate? Whatever, and I will. I mean, there's a lot, of course, is where I showed palette, and you'll see it here to a little bit more. But you know that this is really how I start to develop my colors and things I like because when I'm playing around and this little playful state of mind, it's I'm going to take risks with color. And speaking of color, I just said cobalt or the violet, Um, yeah, a little bit of this. A ruling in little touch of the brown transparent. Have a nice dark mixture there. I'm just working again. Just went in the wet and playing with Know how I could interpret this beautiful horse, these ears. We'll go. I got a little bit of the fellow blue here mixing in with the rand, a little more water, and, uh, it's gonna play with some line here. It's funny, you know, I get ahead of myself sometimes, and I will. Now I've drifted away from this kind of sketchy stuff before and not for long. But if a long time for me is maybe a week my Oh, my gosh. But what's wrong with my art? Like, Oh, I haven't sketched in charcoal in a while Haven't no play with acrylic sketching in a while Boom, right And lose my way I lose that freshness to my art I lose that freedom to my work And I can see right away when I start to get back into it How that immediately, um, changes everything. I mean, my art will just almost instantly loosen up. And that was just can't read this really in blue. So, uh, if you find that happening to you, you know, just what what's wrong? I know my arts looking stiff, and I kind of don't like what's going on. Look at what you've been doing. And if you've just been simply painting all the time and not exploring and playing with your colors and your shapes and connecting to your subjects in ways that we talked about here and chances are, um, that that's probably why things are tightening up for you. Um, so I encourage you to always look what's going on the big picture. Look, look at what's happening. And if you find yourself there to simply go back to this, this is what will loosen you up, help you find your way, get reconnected to your color. Is your brush work? Have some fun back away from painting. And I guarantee you that this will put you in the right state of mind. And then it'll put you in the right direction to that. That's gonna work. That's gonna be enough for this sketch. But believe me, we do quite a few more 6. Acrylic Sketch Part #3: welcome back. All right. I think that's definitely my final blind, But again, I can't tell you Keep doing it enough. So I have this little mixture here from the last sketch. Just kind of put that down And just kind of so playing with the face and looking at these angles playing with color violet, brownish And this making these special connections so that when it is time Teoh to paint here I'm ready to roll So can read a little bit of cerulean blue here I'm just getting a little dark mixture A little jaw shattered The other love that feature there That jaw cutting up really nice Nice, nice shape with this introduced hands here, right? Fun going to the red, the blues A little bit of the greens like that to like Like how That green That blue and the reds are giving me some interesting little dark Sam. A little purple job. I got a little too big y ball in there, going to a little yellow just like my brush up a little bit. We'll wait. Playing, playing, playing. Let's get a little fail A little red there was already in there, so broken color. And, uh, I see actually going on there like that looseness with the nostrils? Yeah, that sometimes that's all A nostril needs to be in a painting you're by Spends so much time trying to get these things just right and it doesn't have to pay. Do it loose, Get away with it. It's going to some green here, really very opaque and very saturated color that chromium green is best for landscape. But oh, remember, I'm come with a price. I should say that whenever I played pick colors, I'm not trying to pick the colors. I see. And in the image I'm I'm or interested in the colors that appeal to me when I'm looking at him. That's really how Pick these colors out. I mean, these this is all based on what I wanted to use today and not necessarily any relation to the image itself. I don't typically do this, but I know this will probably my last sketch with this palette. Um, no, we don't put white right in the middle. Attendant mixed my whites on the edges and keep the middle for my more transparent colors. Paint more transparent and I like to keep those transparent colors crisp. We mixed white in them with them. That Phil of anyway. Was I saying something here? If I was, I forgot. Um, I forget. And so just kind of playing with stuff here. Now, this kind of working with some of these kind of lighter tones where they could be and, uh, like the looseness in that right there. I just kind of let him a brush dance around a little bit, go back into the violet. White has a little yellow on my brush to problem. Great out. That's OK. It was playing playing with color there. It's not really anything but quickly make that into something by just putting in a little feeling of ah knows there now drawing outline of where this side would be and then take We'll be This ruling blue cut into the background could easily be the nose area. It's funny. I mean, it's just it's nice to get in here and and just played play with your subject a little bit . Played with some colors. Um, see what you can get away with that that's really what it's all about. You see how you can interpret things titanium white, yellow, A little bit of the, um, brown there under mix it, but mixing up where I get nice color, it's gonna chisel in this shape a little bit better mess with this little jaw area. Try to develop that a little bit. It's gonna blend it a little touch right there. Hopefully, you know, if you don't get anything here, it's just really about, you know, just you take, take the time to doodle and experiment and play with your subject. Some, um, just so you find freedom, me, even just with color and how to use your color is better. How toe find the colors that that interest you in? Um, some. Sometimes that's more important than the force itself, the horses just giving your reason to to get in here and the pain to discover these things . So, uh, you always, of course, be thankful for that kind of stuff and making sure you take that time to get to know your colors. And no, you're not your strengths and your weaknesses in areas that, um what do you do need to work on right? You all have those good kind of like, how that developed. I mean, it's kind of interesting to see where how that started. See what where it's at. You may not be able to see that, but the nose I could beef up these darks a little bit in the cage and I but anyway, I think I'm at a room here. Um, I think certainly, I think got a lot of information on how to break things down. And you just simply get familiar with colors. Angles is so much going on here that you can get into and really, really kind of get more familiar with, with the horse more familiar with with this, your creativity in general and, you know and this is where it's at. I mean, this is really where you will learn Maura about painting Ah, horse and painting a horse. And so explore. Go for it. Fronts and backs of paper get inexpensive. Student Great paper noted to do this stuff on it. It's so cheap. And where that stuff in bulk finding on sale right and on go for it. We're really spend quality time. A lot of it doing this stuff, and that alone is Will you take your art in a much, much better direction because it's going to help you develop a king connection, a keen sense of the connection to your subjects. Two colors to brushwork and I'm there. So it's so such a good environment toe work in because there aren't any expectations and you're going to take some risks, they wouldn't know where nearly take. And it's really those risks that will teach you will teach you what you can do, what you can get away with, how you can interpret your subjects, how you can use your colors in more ways than you didn't the new when you started, you know, and I do this stuff all the time and I took a lot away from this these sessions and I certainly have a much better feeling for my subject now. And I have a lot more respect and understanding for my colors and all that stuff I've done . So I know it's gonna pay off. All right, All right. So that concludes the A quote, sketches. And now I think we will start to move into that. Didn't, uh, final piece 7. Final Painting Part #1: are there. Welcome to the lesson, and it's time to paint our horse and excited because I did all that work to get here on the sketches. Theocratic, playing with color and all that stuff really brings a certain comfort level to the process . And to this moment, and that's really, really imported is so much better then just taking that image and paint. So does he see it? Oh, I like that Horses going and paint this beautiful piece. You may do fine like that, and I made you find like that. I'm not saying you wouldn't create decent art that way, but it's really, um they I think you do miss out on opportunities that he didn't no existed or could exist. And that's really the beauty of trying to spend that time of those sketches and loosen up on drawl it loose and then no express it loosely with those really free flowing acrylic sketches. And then, you know, you have this kind of a connection now with the image, and you've got a note a little bit, and you've also had changed to explore with color and your brush work and stuff like that. I think you're in a much better position now. Two painted and to create a final peace. So that's how I feel right now. I'm not saying that just because you spend that work and you do those things that hey, now I'm do Robert says if I do this, that equals a good painting. Some given to me. I want it right. I mean, it's not quite like the hat. We still have to develop the artwork. But, you know, everything you've done is gonna pay off. It doesn't pay off now. No. Made. Maybe you're following along. You probably are as I paint this, then it will is certainly. Well, um, it has for me big time to continue. I continue to learn from it. So anyway, almost got one attention. Their palate. Everything's the same. Brushes. They're the same. You clean water. Have a paper here. Oh, just over the palate again. Titanium white. Feel blue. Can read cerulean blue. Um, cobalt, violet, chromium, green trees, Pierre red iron oxide, Trans Pierre, Red iron oxide, cad yellow. And the brushes are all everything that I've used to get here with. My brushes are still the same. I'm just going Teoh wherever before I paint. I always take my my brushes and just drop him in the water just to get everything nice and wet. And I don't like to leave them in the water. Sometimes I find I'm filming and doing these demonstrations. I will. Don't take the time to, ah, just clean them off and put him down. But typically they take him out. So now I take my brush dip in water again. I'm just gonna lightly wet paper here, and I think what I'll do because I've found that, um, for the demonstrations and stuff that it's good to have a little section over here, especially since this composition is not, um, laying skate layout is probably gonna be more of a square or slightly recognize. Portrait is I, like, team tested my colors and sometimes I'll show you that I'm how I do it and you have am working with a full sheet. I'll just have a scrap piece of paper on the side of your My palate is always running around the studio. I'll test my color just to make sure it's the right value, the right tone and and that sort of thing that out that I want before I move into it. So I got that pretty wet there. And, um, I think what I'll do quickly here is just kind of the spot. You know, that kind of Ah, good starting point. So, basically, if I'll just take a little bit of this violet if I draw a line there and I look at my image , you know, not break it down like draw line, you know, an imaginary line in the middle, vertically, horizontally. Um, there we go That that will help me kind of pinpoint the middle and help me locate a few feature. So I despise you're standing here looking at my image. I can hold my brush up right where the middle is horizontally I'll do it vertically. Now, I know that kind of year that this is about where the jaw starts down here is about where the noses and, you know, that kind of quickly lay in some of these kind of key features. Room quick. I don't like to do a lot of sketching and laying out all that stuff. Like for a month. My work too unfold more naturally because see how just quickly that little exercise Help me kind of get getting a feel for how this horse composition will fit in here. And then, you know something? Sometimes I don't really help me find my freedom and and all that stuff too, despite an overall this stuff ISS. So it kind of gets me in the ballpark there of where don't go and again, I mean, just so you're you're not completely in the dark here, and I'll include in this lesson, the image is breaking it down in quadrants. Just some kind of pinpoint the middle, the middle of the painting. You find that kind of rough area, and then from there I could branch out, and they're just quickly indicate where some of those things go. And if you're like me, you have I have a hard time with putting things on the paper. That's probably won the 1,000,000 reasons. I don't like canvas because I can't. I can't fit everything in there. Right. Things get cropped off funny. So when I'm painting on canvas, I typically just find the key thing. I want to paint and his make sure I put that in there, and then whatever else happens, but anyway, um all right, so we kind of have that gone. Um, I think the this is good enough for what I want to do. I don't really have any preconceived ideas on, like, I want the background White blue. I want this brown. I mean, I know it's a brown horse. I've got red colors to get that, but I tend to use my colors arbitrarily and and just let things flow a little bit. So don't get locked in to the colors. I see I'm or interested in And what I can create a being creative and letting letting the work unfold in front of me So I don't paint without see if anything, But I think for now, um, I'm not even gonna worry about the background in the background main of this being minimalistic plane. I don't know 8. Final Painting Part #2: But, um I think I'm just gonna crack in with the horse and just get a little bit of color down here. And I just did my water and clean water there. So it's nice. What, And just looking at my colors on the palette now. So I've already looked spent time looking at my image. I got a feel for, you know, and I'm excited about it. Now I'm looking at my color saying, Okay, it was the blue red. Any of these colors jumping out at me or any of these teller saying me pick me. And, um that's kind of what I'm doing here is I'm just trying to connect more to the color that seal my palate right now because I feel like that's more important than what I see. Okay, um, so we go ahead and just stop running my mouth here. Right? Um, let's go with a little bit of the cerulean blue and let's go with a little touch of the yellow. So I didn't mix it on my palette. Okay, so I just dad blue on one side, yellow on the other, and I'm just gonna quickly just get some color down here. You can see. Of course. You know, yellow and green or blue, blue and yellow That that's gonna give me. I kind of agree mixture here and at school. And, uh, it's certainly a little big money earned. Kind of darker than what I wanted, but I don't let that stuff bother me. You know, I don't I don't know what warm and cool colors are and all that stuff. I'm not full, formally trained artist. I didn't get a school for this, and, well, I do instead then it still writing to my cerulean blue here. But what I do instead is I trust my instincts and trust on that. I can look at things and make decisions on what we're what it needs. And then this kind of money and, you know, kind of color sometimes is a great, great thing and understand right into my yellow here because, you know, it puts me in a position now where it's okay. Well, you know, you I didn't get what I kind of envisioned there. So what you gonna do now? What? How are you gonna be? How you're gonna get yourself out of this? And that's kind of fun, you know? So I like putting myself in the positions where, um I have less control. I don't know as much, and and Yeah, it's OK that, you know, this blue in this yellow didn't make the perfect green for me And that that's right, It's not a big deal, you know, because I have experienced painting and I've got eyeballs. Eyeballs says, you know, that's OK. You know, you want to throw that curveball of me. That's fun, not their problem. But I can use that to my advantage. Okay, Um and I do it all the time, and I'll explain a lot about that later on. I'm actually kind of even glad what happened. And so really just working with that blue and cerulean blue that yellow and I didn't use anything else you did in the yellow dip in the blue and just got some color down. Really? And now that I've got um, looking at this, I'm gonna go ahead and just kind of loosely put in a few of these little shadows and lines and stuff like that. I see. And that's good. You know, I don't think for the for the first round here. That needs to be any more than that. So you know this, that the beginning of a painting sometimes it's so exciting for me, Mr. While I'm talking, I'm gonna take the tip of my brush. That wouldn't end. Just kind of put some of these lines back in that lost edges in the beginning is so, so much fun because the possibilities now are just so exciting. And really, the possibilities are what? Trying to create, you know? So I try to create opportunity, impossibilities and no ways for me to challenge myself to do, to do something no more exciting and unique that have done before. And these really loose beginnings put me there. So they really I try to put myself in that position right where I'm constantly challenging myself like, Hey, you know, now you got this to deal with, like I mentioned before, right? And it's like, Okay, Robert, No. You work with that now. What you gonna do? How we gonna get yourself? Add this little thing? And how are you gonna make sense of all of this kind of muddy greens and stuff? Right? And of course, if you look at the horse image. It's his colors are really there. I mean, maybe he could on expert looking that go. Well, do you see this color there? Right, but for the most part, the make it. I know just looking at my image of a computer and looking at this. It's just nothing really to representational here That's going to go with with the image. And I like that. I like that. Okay, because now I'm thinking loose. I'm thinking abstract. I have a chance here to do something more interesting than painting the daggone picture. Right, as I see it, are you guys I think for now, I'm just going to let this dry, and, um, you come back when it does and to assess the damage and everything and kind of figure out where to go from there. Okay, See you back. 9. Final Painting Part #3: all right, ice and dry. And, um, a lot of ways I could go here. Of course, we can continue to build the horse up. I can look at that background. Besides, that's something I want to address now. Maybe I want to leave the white. I don't know. It could be very minimalistic. That works good, too. It's really pretty to see a nice loose painting on a clean, white nothing background sometimes because it really allows the brushwork and the energy of the subject to pop. But I don't know, I guess I didn't pre conceive any of this stuff. I draw it out until I was going to do I want to unfold naturally because that is the beauty of painting loose on giving yourself opportunities. And don't put yourself in a box. The painting will guide you. And if you defy this, let things unfold. Um, then you know chances are I'll make the good decisions and the horse will be fine either way. So I think what I'll do is start to dispense point Um, some of these kind of mid tone. So I'm gonna build up some of this and one thing I like about the horse a little bit of time in between. Of course. I looked at what I did on the paper, but also looked at my image and squinting my eyes. And if you squint down, you know, it also kind of merge blocks of colors and will simplify the image for you. And I like this kind of like little sockets here. Like maybe like the how they're kind of bulging out a little bit. I want to kind of get that in there. I think that I had a nice dimension. It won't be so flat with the axe. And I looked at my sketches. Of course, they're very flat. You did. This part is the eyes sitting flush? Almost. So, um, you know that there's a nice, dark area that you have some nice highlights there to really pop that socket. So I think I'm gonna work in that midtown area and just go with colors I see here. I like it. I mean, even though it's kind of money looking, there's just something kind of eerie and and moody about I I'm gonna go with it for now, So I'm gonna go with the yellows. Um my pusher said this really, really kind of geo mawr to the from violent there, and that's gonna push him war towards a brown. I'm using this a little bit smaller brush here, and I got that mixing up pretty good. So I got kind of a base color down right now. Over here on the side. I'm gonna take some yellow. I'm gonna take some violent, okay? I'm a Wittman brush. And when I kind of already got that color, the mixed on my brush. And what kind of going here towards the yellow side. And that's going to start to lighten things up a little bit so that I don't kind of give me dark, the medium and then a little bit lighter in that family. And if I come over here, I can kind of mix, and this purple that gives me have a range there of color. I want to use some kind of start here and just work in this I area squinting down and trying to see some of these shapes and just you're so still stay loose with it and not tryingto their control things too much is the key and just really just putting some color down and you're letting your paying attention to what's going down the paper a lot to push a little bit of brown in that and just kind of work in this area a little bit building up these colors. Remember, this kind of line thing happened. I really like that in the sketch. I want to kind of get that in there. I'm go ahead and work this color and to some of the other darker areas get back into my purple here. And I'm pushing this mawr to the purple now, just so everything is not the same. So more to the purple, It just kind of working with some of these shapes finding some of these lines. I'm gonna go towards this blue now, pulled out over again just and I'm doing that just really the it was spice up those colors a little bit. This is where the main will be flowing. All right, clean my brush. Really good. I like how that kind of shaped some of the futures there. I'm a kind of go in this middle area now and just kind of work work some of these colors and just kind of see how that changes the forms of all these features of the horse. Really? It really is a nice image. It's got some nice light and shadow. Still working in that same area. I'm a tap into some white here, pull it off to the side, Going here. Just get a little bit. I don't want to get too intense right now with these colors with the white, because I want to say that, but just kind of getting just a little bit of a lighter value. Just something different, too. Kind of Add to this what I'm seeing here on the paper. We have a live year here. Got a little light right there. Interest in this piece. How is kind of affected me, though, Like, I'm really, really concerned about you captured in some of this light. You know, that kind of stuff doesn't always factor into my work, but today it iss you know, it's something now I'm kind of keen to and, um, that's kind of like being in the moment, you know, just letting this thing unfold naturally. And you know what? Whenever I see that that it needs then on whatever have route. It can go anyplace, and I'm allowing it to I'm allowing you know, myself to get caught up in that moment to really embrace what I'm seeing and to embrace You know what? What, what? You know I want to do, you know, So it's you know, whenever you paint loose like that, you don't put yourself in a box of what you know, your arts gotta be all the time. And you really start to develop mawr options and that mess fund. You know, it's nice walking in the studio, you know, in that you know, today it could be to go anywhere. The R could be light and shadow, really working with tones and values. Your art can be very loose and abstract, like my cow portrait. It's still like certain things just come in here and and push and really, um, kind of distorted. Um, but other times, you know, it's, you know, I tend to think more along these lines and trying to capture really that sense off. Um, you know, form in three dimension, letting things kind of be somewhat representational. But it's gotta have a little Joyner is a minute to right. It's got to say, you know, it's going to have a little bit at me in any way because I'm so loose and I've done so much work to get me here and that's going to come out of work. But anyway, I guess my point there just be in the moment and you know something I could come in here tomorrow and my attitude is this. You know, I'm really letting things fly. But today and it's a brand new day. It's a different day from Did the sketches and chart the Graphite Sketches, The acrylic sketches. Today's a brand new day, and it was brightness early in the morning. The air. I won't even tell you what Tom it is, but I'll tell you this. In my studio, it's a shared environment. Have other studios and artists and different creatives around me, and it could get pretty loud. And I have toe giving here early to film before, while they're still snoring so I can have the freedom the film and not be distracted by other noises, and you guys can hear what's going on me. They knew who knows what's going to go on their studio anyway? It's early. My energy is good. I'm excited to be here this early. That means I get to get out of here early. I'll be snoring by lunchtime while you guys are work. All right, that concludes this stage. I'm a let that rest a little bit. Like works. Come on. It's got some nice chunky brushwork in there, and I'm excited to let it dry and then come back and see what happens in that. 10. Final Painting Part #4: Welcome back, Dry here and course I've had a chance to look at it. And first I want to do is just kind of build up the darks a little bit. And I like where it's going. I definitely like I started to get some good form, you know, like where these shadows are gone. I can definitely see See it taking shape here. And I like that chunky brushwork like this rule. Everything's the brushwork Israel prominent, um, with this piece and yeah, and it's important to know those things a little bit, So you can kind of yeah, preserve on or accentuate them if it's working and you want to enhance that. I think what I'll do is is I like the palate. I want Teoh. See if I can tie in some of these blues. So I like that blue in there. Um, I think it kind of really adds to the work, but there, this is kind of standing out a little bit, so it's kind of look at it. It's thanks, but then I go Boop! Look that Big Blue. But I want to keep some of that, Um but I want to see if I can kind of Thai and in a little bit, and then maybe do some more brushwork in there, toe, smooth it out a little bit, right? So it's not so glaring. So to do that, I'm gonna go into my cerulean, actually clean my brush a little bit better, So I kind of get in this civilian area. And what country will be here while I was mixing before I'm a touch a little bit of brown into that a little more blue. And that is how I can start making mixing and color here. I'm getting this kind of graze blue mixture going when I pulled more blew into it. I don't get right to the middle because I wanted to be a little bit more on the blue side. So I take that more than pure blue pushing over here so it doesn't automatically mix with all of this. And then I can kind of blend in between those to find what I'm looking for. And I'm just going on sample that it's not bad. So let me just kind of play with that. Remember how fun it waas when I was kind of sketching and a kind of play with that kind of the main and that the shape of that a year and how all of this, you know, that's gonna be domain and this hair flowing down and just kind of playing with that idea a little bit. And those sketches really kind of brought that freedom to me And no letting me kind of get a little more purple and kind of pull into this. It's happened me with that freedom, you know that those sketches and all they really be surprised at what? How important they are to what's going on here. Kind of still pushing it the purple browner side and just touching getting a few of these shapes, that line coming up, but not not trying to get to literal either. You know, I still want to keep the freedom in this piece. Um, because that's so what's going to make a unique you know, I want to look like everyone else is up. Four start one look like mine. Do that. I have to be true to me. And true to what I'm seeing here. Okay? Shoot him. I'm brushwork. All the things that doing is Tommy. Believe it. or not, I will get back over in here. So all of this is still rule wet. So acrylic dries fast, but doesn't dress so fast that it doesn't. If I'm working outdoors, you're doing playing there, which I haven't done a while. I mean, this stuff will really dry up fast, but I'm not in the studio. Um, it is pretty forgiving. It'll give you some time, Teoh to come back and work with it some. So now just catching a few more lights in this breaking up that blue, we'll go a little bit darker and here doesn't need to be much that works. Letting that brush dance a little bit, get a little bit liner a lot lighter. Here we go. Something like that works and just gonna hit light right there on the horse. It is capturing a few bin laden light that I see 11. Final Painting Part #5: good. I'm going to clean up this background for now. I just got a drip going on right there, and I just wanna and it just kind of clean that up a little bit. You say may end up with a minimalistic come back around. I'm looking at my image now. I mean, I got a line that goes down here, and that works. I mean, when I clean up a Najar to here, I guess, um, interesting angles in this ear helped a little bit. Clean it up, and I can I know I've got dark under here kind of scratch into that paint a little bit. It's a loosen up. Some of these edges have a nice waited t do it sometimes to the tip of the brush. You don't always have toe. Um, you know, paint to get a mark or stroke. You can always use the tip of your brush, but I think that's working pretty good. I still like it. Looking at it, that blue is still bothered me. So I got some strokes that were kind of all coming down, So I'm thinking I can kind of hit some given some strokes. I don't wanna go too much like this. I think it will become to predictable. Um, so I can kind of go something like this. Sometimes to break that up is fun. It's kind of flattened here, so I can kind of just put put put some color in the air. I'm just gonna gray that out. Just a touch. That's good. Good. And now what kind of that feeling of the mean I'm going to go into this purple brown, maybe a touch of fail. Oh, I'm a small outline. Er here. I had a little bit of line work to this thing, and I think the main is a good place to do it really nice is soupy here. You're looking my image, get some inspiration and then let let let that stuff flow. I mean, don't don't try toe. The beauty of this brush really is. It's hard to control, and it kind of you kind of put it in the area where you wanted to go, and then it has a mind of his own once it gets there. I started to get a feeling of because it's this painting has developed a little bit differently. Um, a lot of them that I do, and that's that's awesome. We Then that's that's really cool. When, um, you know, things develop, you get a little surprising there. Um, go for it. Go with it. Right. So I think for now, a good chance to just let that rest a little bit. Got some good line work on in there, cleaned it up a smidge. Definitely says, Hey, I'm a horse. Right? So, uh, no, I think, um, you're just letting that given time the rest and dry. Well, give me a really good chance to look at it, you know, and see what's going on and see if I need to do anything else to it. At some point. Once you start getting ah horse to this stage, you know you don't want to be so busy or you don't want to be over painted right. So you really have to decide that they Either it works or her doesn't. And this was working pretty good, so I'm gonna just let let it chill for a bit comeback drives and see what we can do 12. Final Painting Part #6: welcome back. Pretty drives to get some of what areas, but I think you go ahead and work with it, and I like him. That's going to add a little more darkness to on this area. So I think it's just all one value. Kind of. I think it just needs to be broken up and I think to be more, I guess the floating with light and shadow this working and probably needs it. I'm just going to kind of get something in this area, but just a little bit darker And this little brown little violet into this yellow mixture. And what kind of test? That I think that a work. And I'm just gonna know hidden. Miss it. I don't want to get it. You're absolutely perfect. I think that's fine. For now, Um, use that color again. Oh, that's good. Working along here and just time, that color in a little bit is all I'm doing. And this chisel in a few of these features this little blue area still wet. Some kind of try to get the feeling of that shape. Mm. Works. Um, good. It's a little little busy there, so I'm just gonna smooth that out a little bit, going to my white and just see what I can mix up here and just looking for color. I don't have anything in mind, but just one kind of work with what I have tested on the side here. And nothing that helps. It was just just get a little busy for me over in here. But now I think kind of where it now is standing out, like to go up to smooth. I kind of go in here, scratch into that. A touch. It kind of bring them back a little bit, a little bit busier. I wanted to quiet. That's all looking pretty good. Um, like I said before you weigh, don't want to go too far, you know, rather underpaid and over paint. Um, I'm getting to a point now, this little yellow and the white maybe touch into this kind of grayish mixture Here, it's a little touch to the eye. There. Bring that I out a little bit. That's good. I'm gonna use my floppy kind of come into these dark colors a little bit. Accentuate that main touch a touch of purple just to kind of loosen things up. I think, uh, it's a smidge Maurin here. What would work is breaking on this up. I lightened that up, and as you saw me do and, uh, this a little bit too light. But sometimes just flinging a little paint like that is all you need already. You know, this thing is to the point now where you have to kind of know, let it go a little bit. And you decided if it's something that is gonna work something that isn't I like I like, how would I got these little kind of mid value and these greys going on here? I like it. Will kind of get that feeling of the main little blues. Just gonna work some blue into this a little bit scratching into it And just this playing with color. Now, just bring us some things toe life. I get that feeling in a few Here is in there. Good. Good. I like that. For what it is. I think it's Ah, nice, clean, You know, acrylic horse portrait it capture some nice movement with the brushwork. No, definitely has. Ah, nice, uh, shape to it. You know, like it. Really? Look at this and, like, really, get into, like, some of the muscular features and the bone structure of this horse. I'm just bouncing a few lights in here. Yeah, and it looks very sturdy, You know, it looks Ah, look solid. And I like that. I'm just trying some of these kind of yellows into that color. 13. Final Painting Part #7: Yes. Um, I think any time you know, the painting develops and you know where you're developing a painting, and you may have all you know, did this or did that. And this is how I want to do it. You know, you if you try to control it too much, then you're going to set yourself up for failure. Especially if you like to paint loose. If you just let things unfold naturally. So you use start every painting starts with that first initial No brushstroke. And from there, it it was kind of fun. Like, I'm looking at the camera. I can see my horse. I'm like, Oh, fix that. You know, um, but it starts with that first brush stroke, and they're from there. It, um, unravels right now, doesn't unravel, Just unfolds, you know, kind of like takes on this meaning right away again. Especially if you let it go. And, like, not really loose, beginning with that real money color. And, um, and even at first I was like, Well, that's that's kind of a different color than what I'm used to. But that's all right. You know, it's I went with it and then I I worked with what I have. I'm going to these darks a little bit. These browns kind of tie work with some of these several. Quick there we go. And so rather than trying to say, Oh, that's that's that's not the color I want. That's not the beginning. I want, you know, it's on the paper, Let's roll. You know what? And I've got experience putting myself in those positions you know of like having kind of unique beginnings and not trying to force to control the art. So that way I can use all those things I've learned along the way the the different tools and ideas and how to take something like that, how to take a on abstract beginning or so or a situation I'm not familiar with and make it work. And I like that. I mean, that's so much more interesting than being predictable all the time and like single some artists. And then that's OK on me. I know I say this a lot, but you know, some artists have tohave that predictability, and they have to had the, you know, kind of beginning in that you know that that methodology painting and I have a methodology to, but my methodology is much is bigger. Hat has kind of vast in that, you know, I have a lot of tools developed there. So many different things I could do in ways to do it that almost anything goes. Because I can put myself in this situation and then make it work for me, right? Make it work, make it work, make it work to find that solution. Because I see things were creatively Now that of spit on doodling, acrylic sketching, drawing And I've seen all this stuff physically have done it. And so that gives me, ah, lot more of a foundation to work with. What I get myself in the position. We're like, Oh, that's kind of different. What's going on here? No problem. You know, Boo, This is rolled with it because I'm used to adapting to those kind of unusual and unique or unconventional type of situations, I guess. Okay, but I think this one worked out really good. I'm happy with it is loose, you know, and paint looses is what we do. It's gonna splash a little something here that's a little bit too strong and Uh, yeah. I like low sling a little something here. It's one more little highlight right there with the heck and, um, I think it's good. I like it a lie. I think it's, ah, a lot of fun to paint. And that's half the battle. There is really enjoying the whole process, right? So I hope you enjoy the demonstration. I hope you know, you get some freedom admitted that you bring some excitement to your your artwork to your to your studio, and, um, I'm just going to sling a little bit more here. This is so much fun. And that not too much, though we don't wanna go absolutely berserk. Here, get that line that I liked, You know that that you get freedom from it that you get you learning, experiment with painting this horse and experiment with, you know, the whole process. And then that got me to this point on. I think if you do that, you look at the big picture and really absorb everything from the very beginning that you will take a lot more than just a horse portrait from this. So anyway, I hope you enjoyed it. Thanks for watching. I'm Robert Joyner. I love the paint horses and of course, I love paint loose. See, next time