How to Add Energy to Your Paintings with Painting Knives | Malcolm Dewey | Skillshare

How to Add Energy to Your Paintings with Painting Knives

Malcolm Dewey, Artist and Author

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12 Lessons (1h 8m) View My Notes
    • 1. What You Will Learn

      1:27
    • 2. Introduction

      3:12
    • 3. Materials You Need

      5:15
    • 4. Painting Knife Techniques

      8:40
    • 5. Technique Tip: Underpainting

      7:34
    • 6. Quick Tip: Liven Up a Sky

      1:05
    • 7. Fat Over Lean

      3:06
    • 8. Gallery and Tips

      10:44
    • 9. Lavender fields Demonstration

      4:01
    • 10. Part 2: Lavender Fields

      6:39
    • 11. The Painting Knife Sketch (Bonus Lesson)

      14:24
    • 12. Course Conclusion

      1:27

About This Class

Are your paintings lacking interest, energy and zip? Bored with the same old brushwork? 

Then have a go with painting knives! It is easier than you think and a lot of fun too.

This course is suitable for oils and acrylics.

In this course you will learn:

  1. The basic painting knife techniques to try out;
  2. Which painting knives to use;
  3. How to apply these techniques in a painting with a full demonstration;
  4. Plus tips that will help your paintings stand out.

Then try out the painting knife techniques on your paintings too.

I also discuss paintings that I have done with this approach so that you try out more ideas.

Ready to learn more about knife painting?

See you in the class.

Transcripts

1. What You Will Learn: welcome. Do a professional artist and teacher in this course, you're going to learn about the exciting world off painting knives. If you've been looking for ways to add energy and interest to your paintings, then this is the course for you. And this course is suitable for beginners and intermediate artists as well. In this course, you'll learn out to use these and these and this is for Marty. Any analysis can be used in many different ways. Whether you want to use thicken, pester or delicate brushstrokes, you can do it all with a painting knife and you'll see how you can try out these techniques for yourself. Whether you want to paint fast paced with lots of energy and thick paint, where you're going to try delicate strokes with the painting knife, you'll see how to try that out for yourself. You'll see that these techniques are not difficult. So if you really to add some energy interest and tried something new with your painting, this is the course to enroll in. Right now, let's begin 2. Introduction: hello and welcome to this course on painting NAB's. I hope you're going to get some really good inspiration and learn a few new things that is going to energize your painting. Maybe you can try out a few of these techniques when your existing paintings. Well, maybe this seems you in a whole different direction with your painting. You don't know, of course, but the first painting I ever sold was, in fact, one painted with painting knife. I still remember the particular time when I was struggling, making to make a breakthrough with my painting. I was just using a brush, really trying to learn new things. I picked up my painting knife, which I've just been using for mixing paint and decided to do an entire painting. That was really fun experience and no pressure. I wasn't taking it seriously, and I just went for it. I enjoyed it so much, and maybe it's that fine. An energy translated into that painting that caught the eye of a collector. Anyway, From that point on, I learned that many collectors do really love thick, juicy paint on the paintings. The whole in pesto thing is very popular. These days, so the painting knife can achieve that for you quite quickly. They're really advantages to using painting knives. As I just mentioned, they cut down the time of your painting. So if you need to do something very quickly, spending enough will do it for you. A few important things to remember, though, with the painting knife experience is I do believe that a positive energy is important. Don't approach your parent enough experience with timidity or trepidation. Being worried about what's the outcome? You kind of just have to leave it to the painting. Gods get your pain out on the palate, scooper up, put it on the quick approach. Maybe you're pains playing some good music in your studio, and you were just having fun every time I try painting knives, that is the approach to try to create in my studio, and it's Soldem fails May on that, I think is a very important point. Is attitude does influence how you're painting? Experience goes, so approach your pen enough from this point on, as something that's gonna bring fun to your painting experience and the good chances it'll translate into a really excellent painting 3. Materials You Need: way. Welcome back. We're going to look at a few of the materials that you do need. One of the great benefits of using a painting enough, of course, is that it really doesn't way out. Not like brushes that you have to replace every few months. These painting knives that's I've got have lost me many years, So let's have a quick look at what Painting house two years. First of all, this is not a painting off. See straight bladed. This is, in fact, a palette knife and what you would use for mixing paint. But don't try and paint with it. That's the blood is just to stuff. It's straight. Say you're gonna get your fingers into the paint, etcetera, and it's quite a long blade as well. So on this, you really need that particular blade to do something. In general, this is just for mixing paint. Painting Knife has the spend in the neck before you reach the blood so you can put down paint on your fingers. Not gonna get into the painting and mess it up. I prefer planning ours with a good, long sort of medium length, flexible blood. This season, such old painting off that the blade is wound onto very sharp edge, so be careful of those edges. If it's an old knife, can cause some damage to you as flexibility means I can put on paint pretty much like with a brush. Press it down. Andi. Push the blade off on it returns back to shape. So that's a quantity. A good no. Also sort of a large around a took. It makes it kind of like a full bit brush Onda. That would probably be my first choice. Next step is this one with a bit of a wider base to it. More triangular around a took not a sore point, so point can make unfortunate marks on your painting, so around it took wide base means I can pick up good dollops of paint. Put that down, or serve mice and flexible. Keep your painting and a halfs clean when you finished with them. Wipe them off with tissue paper. If there's any drop, paint on the blood removed that as gently as possible, so the painting surface off the blade remains smooth and clean. Forest painting surfaces are concerned typically probably be using a panel with something like this MD of panel that are primed through layers of Jess. Oh, it's a nice surface to paint on, and it'll take the painting enough without any problem. Another option is the canvas little stretched canvas like this. It's on a rougher surface. Definitely more tooth may be preferable for you, but especially if you want to put on paint, scrape it off for the pending knife, maybe to reveal another draw color underneath. So you got sort of two surfaces or two colors working together well, so you might want to emphasize that texture. So you've got that scrape off approach and believing a textured surface. Black canvas obviously, is not a problem as far as paints are concerned. Oils or acrylics off fine using acrylics. Make sure it is a thick acrylic paint. Generally, ones who get out of tubes or not, the horrible cons from Jaws. If they acrylic is too thin, you're painting enough will not build a handle it oil paints. Obviously, you can use straight out the tube if the soft and buttery no mediums or spirits or solvents required. Perhaps if it is maybe the paints but old and it's really thick and hard to many is with the knife a little bit of medium to soften it up into that battery Consistency will be perfect. So that's about it. Quite simple materials. And I should probably have all of this with you already. Obviously, you'd have an easel. You are applying quality pressure to the painting panel. So you want to make sure that it is secure with a good easel as well. Okay, so let's have a look at some of the painting techniques that we're going to try out. 4. Painting Knife Techniques : Let's take a look at a few useful knife painting techniques that you can apply in your painting straight away. I'm using a canvas, so there's a bit of grain on there. I used some bit of yellow acrylic on the left there, which is dry. So we'll try that art as well, just to demonstrate. Okay, yes, the knife. See how to pick up the paint is quite a big scoop off paint, and you can see a direction which to hold the blade as well. So work with the leading edge like that Andi Scrape I've done put my flat. You can see they're stalked paint on there. So using the edge of the blade off the knife, we're gonna try to few lines. You can see just paint on the edge Now, dragging that edge, we get a broken line also looks like a lost and found line. It's a very sort of Impressionist broken line. This is just moving from bottom to top, whichever direction you prefer. And now another method is to make more solid line. But placing the paint down and lifting the blade up quickly and carefully and that gets you much more solid line, but also not a perfectly drawn line. So it is nice an impressionist can't a flat shape. You can see if your scraped back you reveal some texture but solid flat shape. There's not too much thickness to it, so you could certainly go over it with another layer waiting toe wit on. If you scrape back here, can see a bit of green coming in with that yellow and blue mix. Well, this is blue ultra Marine over some dried acrylic paint. Your parents you can see how green it looks, almost glazing. Effect is not Andi wet over dry. See that's broken color effect. You can see that stippling or stumbling is very attractive, and I'm going to just put some buoyancy on over some with yellow paint and then using the knife you can scratch shapes out and it goes a drag the knife through it, so getting cross shapes in it perhaps, and you can also extend the paint. If it's not something, you can push it up and make rial mask loose. Cross effects us well, and this is indication of how you can almost plays as well. The yellow coming through the wit in tow Wit no white paint involved. But a blue over this dry red and you get a very strong, dark, very deep purple. I suppose you you're getting there. But what happens when you add some white in there? It immediately. You lose that dark on. Now you get on opaque purple violet. So if you want transparent color and then keep white out of it Moment you bring white in, you lose that transparency and becomes opaque. Okay, just creating little shapes, flowers, organic shapes. All right, let's have a look at this. Variety off shapes were going to use in this little yacht painting. So first to get in the most amusing A solid line now, but just putting the paint down, notice that sort of a cool white. I'm using a little bit of blue in there, and I'm gonna add some warmth mix to those schools also very much broken. But as imagine life light catching the your most and I commit broken small broken lines suggesting the rigging lost and found sort of atmospheric lines very loose, very simple to do lines. Not perfect. To begin with, you can load up a little more pain. Try again, but don't fuss over it, Okay? Keep lots of paints on that. Hell it so you don't run out of paint for your painting knife. Too often, Putting on too little paint on the knife is not going to achieve anything on the canvass. You need a fair amount of paint available at all times. Put on pain, drag it's around. Push it on, getting some highlight details, and you'll see how this brings out the shape of the yacht or whatever object you putting in the how that warm, sick, warm color resonates against the dog really starts to bring this painting to life, and this is just a sketch for demonstration. But you can imagine doing this in your paintings. Look with the highlights where the sun is catching the object and then contrast that with the cool shadow areas as well. So you're mixing just a violet gray color from ultra Marie off Big pardon, surreal Ian and a literal and white, and that violet works nicely against the yellows, bringing in the line the curve line. So just curve the blade and drag it carefully along, and you get a suggestion that you need. I'll bring you some broken Keller and highlights into the water. Drag the math over the thin paint underneath, covered with thick paint, and you get these nice shapes. Imagine a boathouse on the JT or something like that, so we can create the sharp lines as well. What's a paint on there and then shadow under that highlight gives dimension and depth, just suggesting some polls and the jetty there quickly done. Awesome. Loose few details like orange. Orange always looks good against but of blue. And there's always a good reason to have some orange and read in there the rigging little flags and touches off light. So many little techniques that you would use very simply bring them into your paintings and add variety and life and sparkle and generous paint Application delivers good results 5. Technique Tip: Underpainting: I'm good to do an under painting in oils for this knife painting demonstration of the large brush. Let's get started. You can see by the reference that it is a very, very simple composition. Just some sand dunes with the hint off see in the distance. I'm drawing in that horizon line, roughing in the composition, using a bit of ultra marine blue. To do that. And then I'll start blocking in the main dark shapes with a bigger brush I'm using but have been CNN and ultra marine blue to block in. The dark's my usual starting point with darks, so just get through this pretty quickly. You should be familiar with these basic blocking and techniques. I usually start with the dogs because they anchor the entire painting and composition, and I could see this is and end of painting. I'm using oils. It's one layer, pretty thin layer with oils. Big shapes. Andi. Now I'm good Teoh. Just lighten up this mix for the sky, which is surreal. Ian Blue white, some Eliza in crimson and a touch villa Oka toe warm it up so sort of a gray merging into the cerulean blue, bringing in a bit off light areas where clouds are going to go and then back into the shadow family off colors. Now, with the suggestion off the June shadows getting under printing color for the sea, sort of greenish blue, de saturated. Most these colors are de saturated, bring in a bit off magenta as well. So an extra color there magenta for those pinkish colors. Now titanium watching Mueller worker for the highlights off the beach sand. Just scrubbing that in pretty quickly as well. Big broad strokes. Just keep an eye on the brushwork. Get paint on the brush. Put it down. One stroke. Leave it learn. And that's pretty much how I liked playing police. I don't want to blend. I don't want to go into tiny shows for some spirits in a but of ultra marine blue for the greens suggested greens. The shadow areas off the dunes that I'm suggesting your lot off. Magenta violet colors. Violent. Working. Fantastic. With all the yellow joker in the highlights and the sand. Some white paint into the scar. Just mix. It'll on the canvas. Soften those edges for the distance sand June as it merges with the sky so really good. Suggestion of quantum loose painting already already pretty expressive as well, setting it up nicely for a knife painting session, and I'm gonna use pretty much the same colors for the knife fainting stage. Just more of it. Heightened color getting some but more paint up into the scour lightning out of it. A few highlights in that scars will mast thick highlights in the sky. Most of a cloud is shudder in general, so they'll Collins will be around the shadow areas the sea suggesting those hearts with thick, creamy, yellowish white paint, the latter blue horizontal reflecting the sky so the lighter blew in the sea. Suggestion off shadows under those waves as well as they're breaking onto a thick, juicy passage off latte onto the sand. Really get in That titanium white yellow polka touches off magenta as well as it cools down into the distance. So we always keeping an eye on techniques like aerial perspective will still apply. So yes, just a bit cooler over here as this sand moves away from the viewer and it will get warmer towards the foreground. If you suggested details in there and so this is just to show you the techniques you can use for the knife painting. It's not the entire fainting that I'm going to be showing up, but you can see how to apply the paint. Andi end up with the finished painting. Quite an expressive and modern look to this subject. How you can use the not planning technique as much as I did you or not as much. It's up to you just how much off the surface you're undercover. Using the knife painting technique, I find that when I do get started and I'm really enjoying the process that can go on and black, it did. Yeah, pretty much must. The painting is covered with the knife applications off paint. You always keeping on the fundamentals like ages. Maybe you can soften edges with some like colors. Some love value color, and we use a brush to soften and edge here or there. Keeping on a rope perspective cooler in the distance is well as the important parts of representational painting techniques, so don't forget them as well. But you're still end up with exciting painting, I think, taking a very simple composition, turning it in something like more expressive, bold and fun to create 6. Quick Tip: Liven Up a Sky : 7. Fat Over Lean: okay, I need to go over a few important terms with you. The thing is with painting with a lot of thick paint over certain paint, and I need to just go touch on these two terms, which help you. I will remind you off some important considerations, especially in using oil paint. The first is the concept off fat over lean, and that simply means that there's more oil in subsequent layers off paint. So generally you start off with a thin and are looted oil paint. Maybe some oil paint with a bit off want spirits mixed in and you turn and block him with sun a point and then you can go over it with paint that has not bean on de saturated with spirits, So there's more oil content. Other words more fat in the thicker layers, which means those thicker layers are going to draw slower and are not going to crack. You don't want a thin lay up, have a thick layer because the thin layer is going to try quickly, and then the bottom layers are going to try slower and crack the top player fat over lean. It's kind of how we also painting with painting knife, so it's not just applying to brushes. This doesn't on affect you. If you're using acrylic paint, that critics will dry at the same rate thick and thin, and you're not going to get that cracking possibility that you get with oil. Paint. Been closely related is thick over Ethan and with thicker thing is, we are simply applying thicker paint. The Senate paints Irma talking too much about the idea off oil or fat content in the oil paint. What I'm simply saying it is. You may take paint out of it, too, and apply layer on your canvas and then go over. Begin with a thicker layer. And that is a better approach rather than starting with a very thick layer and then coming back to that perhaps a day later or so, I'm putting a thin layer over it, and you may be sitting up a situation where your thin layers going to dry quickly and been crack. So keep those boasted concepts in mind with oil paint, and you should not have any situation with a cracking painting 8. Gallery and Tips: e. I want to just show you a few examples off painting knife paintings that I've done on my thinking behind them and how I use the painting enough to transform the painting at so. And you can get an ideal perhaps the thought process and trying to adapt that to your requirements as well. Okay, let's have a look at these paintings. The 1st 1 here is mostly painted with a brush. I have used the painting life in these areas on the beach, where I needed to highlight strong highlights. Stronghold lives to contrast with all of this cool gray and blue shadow. So using the Pettitte math and simply dragging titanium white on better yellow polka, dragging it from lifter too, right in this whole area over here and maybe a few dabs with the took off the painting around just to create thes impressions off yachts in the distance, just picking up a little bit off paint with the top of the pain off and been just dabbing it into those distant areas. In this painting, I've used the pellet math throughout. The painting was in fact began as a regular brush painting, but one that was really not doing me any favors, and I was frustrated with is, um and basically it was boring. Instead of leaving it like that as just a failed painting, I thought I would give it a go with the painting mouth. So what? I did waas this whole Doon area. Yeah, in shudder, using ponte sick blues, purples and shadow covers and then much thicker, you're in the highlights over here with some strong greens and yellows and then in the sky , using broad strokes with the flat side off the painting, enough to get these broad swathes off cerulean blue and white mixed up into the sky. Quite strong and warm color every year. And in this area over here, just a few, um, thick patterns off color lattes, light against dark and, um, warm against cool. I think that that's really what it comes down to. Will you see a dark color? Can you put a warm coming next to it? Well, you see a cool color. Can you put a warm color next to it? On? That is a thinking process that are due throughout the painting light and dark woman. Cool, but otherwise maybe some people reacted favorably. Others. It's just too much, Um, but either way, it's no longer a boring painting sitting on the fence. It's it's You either love it or you hate it. I'd rather have that. And this painting is also pretty much done with a brush. There was going to be, um, a significant area that had to have strong color and at her to really stick out. Most of the painting is cools in blues, purples and grays. So a complimentary colored to that would be something in the yellow range. So this field had to get the sunlight on by simply took the the painting. Now I'm loaded up with kept me annular lemon mixed with some tech Taney in what may be a bit of Iloka and then just in straight lions dragged it across these areas at the back. Oh, yeah, you can see the lines closer together. So simply moved the blade off the painting up so that a smaller surface was coming into contact with the, um, canvas. And then as we got to the foreground, areas once again moved the blades so that more blood was coming to contact the cameras. So the patterns had broader strokes in the foreground and narrow in the background, which gives helps with that element off distance. So think about that as well. On in the distance, you don't want the same with or painting off stroke as you would want in the foreground. In the distance. Thumma strokes foreground. Thicker, broader strokes. Some paintings favor larger scale, and this is possibly one of those as well. I think it is 50 about 50 centimeters, pretty much the entire painting covered with the pellet knife or painting. Now I should say there are a few areas we canvass skin be seen through it if you look up close. But that is why I always suggest turning your canvas before ended, sort of working straight onto a white canvas. There's always a possibility that you're going to miss some spots on that. What cold? What is not really what you want showing through. So always turn your panel or or your canvas either some sort of complementary color or something more neutral, Um, and off grey or maybe a rule Sienna and you will, at least not her cold white can was showing through in in areas that you don't cover with enough. Not much to say about this painting except on that is supposed to convey a stormy sea. So I used a lot of broken my strokes some longer, some smaller but sort of curving. So these sort of the shapes I know we just sort of scooped the painting off down to create those sort of shapes. So this little boot stroke here would just be a stroke of paint and sort of that direction and just curve it to get that sense off water movement. So quite simple to achieve important things to remember is once again the element of space . So smaller strokes over there smaller, my strokes there and then bigger ones closer to the foreground. Yeah, you can see I'm pushing the paint upwards to suggest splashing water, so moving the direction that is common sense in the situation. So water spoon and then variety off lots and dogs. Andi warms and cools brought him some warm colors in your, um, some and misery ins. It's set for to work against the cools, the cool off the blue, it and so the whole thing is to kind of keep things interesting. Yeah. Highlights on the top of the waves. Small strikes very much thicker to emphasize those highlights. Oh, via these greens at the top of the wave. So I'm just dragging the painting now down the face of the wave in that direction to get a loose stumbling effect, where the darker blue layers underneath us showing through little things like that. Try and move quickly. Try and put the strokes down, stand back and assist them and then make any changes you need to. It's also important to remember that basic painting. Um, theories and practices also apply. You are using I'm not, but things like of soft ages, hard edges, color contrast and shapes and perspective. All of those things are still going to come into effect. So keep that in mind. When you are painting with a knife, it is still a painting. Um, but you're getting you really working with thick a textured paint, um, and and that ability to get down, um, strong strokes, but do stand out 9. Lavender fields Demonstration: this demonstration. I'm using a prompt Penhall, and I'm using some yellow OK acrylic, just to tone it a bit and get rid of the white instead. Acrylic is dry. I'm going to the in. Start with oil paints our basic pallets off oil colors. Nothing too unusual, maybe just adding some deep yellow for this particular subject. Otherwise, my usual pellet and I'm using the yellow polka to prime the panel. I'm just roughing in this composition with the brush quickly, very basic composition. As I said, the yellow overcome the toning is because I'm using a lot off purple for the $11 so the two compliments may work well together now, getting in the docks, I'm starting with. The dark layers are work over with light of purple and violets later on. As with oils and the critics, I generally start with the darkest colors first and then the lights and then the middle values. That's more or less a process that I try to stick to now, going into the Lytle slides, which really in the scarce is the sky keeping that life clean or some tissue paper, of course. So I brought in some Naples Euler to work into the titanium white for the sky. As you notice with the reference there, the color of the sky above the horizon line is quite warm, with a lot of the landscape reflecting up into the sky. So I thought nopal Zillow with the white would do a good job there. But you can mix in yellow, cocoa, even yellow lemon to warm up the sky but above the horizon. And as the scar proceeds, you'll cool it down. So notice the knife strikes. I'm quite somewhat controlled, but also not too much as well. There's sort of a balance between the two. You want to put down the stroke, sort of leave it alone, especially if it looks good straight off. A bit of practice will work that in. And now with the blues using most street mostly surreally in blue and titanium white, little bit off warmth, coming in there with the lizard crimson and getting that sky. And so I've got a nice bank of clouds against the light blue sky, buttering that painted nice and thick now but off dimension to those clouds. As you notice, most of clouds are, in fact, in a shadow as the light sources above the clouds. So I've got to bring in. But others graze violets and Lila colors, and it tires up with the landscape as well as this painting is going to have a nice harmony off color. And that is time for some of those highlights, which I'm using quite a bit more Naples yellow, getting those juicy highlights into the clouds and it more or less the cloud. So mice and interesting lots of shapes, lots off texture but more or less done. And in the next video, we'll go into the landscape, starting with the hills. 10. Part 2: Lavender Fields: that in Part two, we're going to start with the middle value areas that is the hills and mountains and in the middle ground and foreground. Putting in a sort of, ah clear mountains are making them quite lighter in value than they appear in the reference , and that is simply because I want to push them for the back. If it is, if the hills are too dark in value, they're going to come forward quite a bit that the sun is coming from the right to lift. So the hills of the latter warmer Hello on the writer inside and darker cooler on the left , just to give that dimension to the distant hills. I am improvising a bit, the reference three lines of very horizontal. So I'm just adding a bit of diagnose toothy hills for composition purposes. Of course, you, as the artist, can do whatever you wish. The reference is simply a guideline. That's not the be all, and end all has to be copied for beta message, where the tree line getting a a darker strip in there for the tree line or starting off with e darks. Then we'll put in some of the Lyta three colors to define those trees, but more breaking in just to show some light through the tree line. So it's not just one solid piece, but glimpses through those tree lines to the hills in the distance as well. Add some more dimension to the painting. No mixing some of those highlighted greens. Teoh. Add some definition. Bring in some orange there for a bit of color. Orange. Working really nicely against the blue, of course, are keeping us complementary is in mind breaking the verticals through the horizontal, which is always more pleasing. If there's too many horizontal, the painting can get a little I stayed. You need to just break those horizontal is with a vertical. Here are there to add some energy now, mixing up the yellows bit of blue using mostly yellow lemon with a bit of blue in there just to cooler down little that distance. Yellow strip is in the distance, so I don't want it on to saturated as a bright yellow gotta push it back a little, so with whitened a bit of blue and there it does cool it down. Signing to add a few suggestion off shadows under those trees as well, and then the yellows next to those while it's once again really working off each other. Complementary colors one dominant one subordinate So dominant healer against those distant violet shadows work very nicely. And then in the foreground we're gonna have dominant violets and purples against the yellow strips. So balancing out second, see just laying the paint down quite carefully over the existing wit paint, so it's not too color into the bottom layers and creates mud. All right now we've got the four grand, so mixing up quite a lot off purples and violence, some leaning towards the red, some leaning towards blue, and we'll stop putting that in, um, dark slots. We don't want a flat shape. Some of the original dark, ultra marine blue below will stall so through year are there. But really, I'm working sort of instinctively just squinting at the reference and getting those shapes , light shapes, dark shapes, using the knife and just curving shapes as well to suggest the 11 the bushes more accurately, just so that the shapes read like you. Look at them, you're understand them to be 11 of bushes, that's all you want is the viewer just to read it correctly, so that line against yellow is just a little too straight, you know, just break it up a bit and touches off highlights and those darker shapes. They're going to bring in a few suggestions of green and a bit of earth color showing through at a few more of those touches. Your there some dark, some latte, just full variety, and we pretty much done. I think that it's quite a nice, exciting little painting. Just get a signature and there, and we'll call it complete. 11. The Painting Knife Sketch (Bonus Lesson): this demonstration is to show her knife painting can help you do a quick sketch. This is the reference good, strong light on dark contrast, our typical Pettitte off paints warm and cool of all the main colors, are quickly putting the composition, just using pencil, roughing that in using the reference as a guide only. And once I've got the sketched composition in Aiken, start mixing the pains and I'm working with one pellet knife. Really, for most of it and getting in as we can see, the pattern is very important. A pattern of Latin dark is what's gonna make this painting. I'm working from top down, starting with the sky on some cerulean blue and titanium want now and then warming it up with a little bit off yellow OK, and maybe a little yet limited yellow for some highlights as well. And as you can see, it's quite a small painting. As I said, I called us a sketch, and it's meant to be a quick painting and something that just emphasizes a certain element . In this case, the light and dark shadow pattern is the rial focus off the painting, but I like these sketches they are something you can do pretty quickly, but the effect is always very good. Just the fun off getting a mass thick and juicy layer of paint. See, I'm bringing in just a bit off lemon yeller for that highlight and just keep in mind. When you put on paint like this, you will pick up lower layers. Keep your color notes clean by checking your palette knife as you pick up color. You need a wipe that off. Go just clean that off and then the next layer. Little Bert off a lizard in crimson to get us off. Kulish gray for the shadows side of the cloud and now into the distant mountain. And that's really also made up off light and dark shadows. Directional light, obviously coming from left to right. So keeping that effect off light consistent by putting the shadows on the right side off, where they're supposed to go on a little bit off yellow to make very light. Green hero perspective stole a factor, of course, and these are distant, hazy green hills coming to the quite quickly, a little bit of arranged as well, just warming that up slightly as we move forward June. So the major shapes on putting in suggesting the Contras off the distant mountain and hills . But it's all almost abstract shapes were putting down. So what I do is I squint at the reference just to get the main light and dark pattern, and that's what you put on with the painting knife. Don't worry about any details. Just put in the shape patterns and unlike little dark shapes, and if you do that faithfully through the whole painting, you'll get the correct balance off shapes. And then the painting is going to look authentic as well, about with bit off ultra marine blue and burnt sienna, making some darks to suggest an art crop off rocks that our leading across the beach and into the sea. A few touches off orange there as well, for highlights on those rocks. But not worrying about making this an accurate, accurate shapes down to the lost detail. It's not possible. This is a small skitch, and the idea is to suggest the shapes moving into some white and yellow, a little bit of blue. Just cool it down, which will be a bit off. Sun touched sand leading down to the water line. If you doing a painting like this and it's really looking abstract you and you're not sure if it's going to read correctly, just stand back and look at it across the room, and the shape should start pulling together and making sense. The first bit of shadow pattern across the beach, as you can see, sort of a grayish violet, which is a very nice color to make your shadows, but of a lizard in white and cerulean. Blue is usually all it takes, and then you can vary it, adding bit more blue. But more what, as you wish first bit of seawater going in there, sort of a turquoise color with the green and blue and somewhat just pulling that across, just sliding it. You don't have to press or applying too much downward pressure, just sufficient to touch the paper or the canvas and just drag your brush off. Floated across variety . Off color is always a good thing. I'm just suggesting the waves breaking wave there with a tale of what bone behind it. There is some pull very abstract, but also quite easy to read that as a a wave. So that's what Do you really want? Water getting a little more transparent? Little lighter as it heads towards the beach. So just trust your color. I had a bit of what, but my pure white always mix it with some color. So, like violet to sightly Eliza Rin color. Just trying to suggest, but a wet sand as well in the foreground but more white and I listened for that, um, or wave shapes. And then we pretty much set up nicely to get into the light sand color. Some white Euler Erica mixed together last warm sand color, but butter that over the existing paint were necessary. Some are strong, clean color in the four grants. I got to try and get that Remember, towards have a tissue paper as well to wipe off your palette knife as you go along just to keep it clean. Do that almost unconsciously now, but don't forget to do it, and that will help to keep your color notes. Nice and clean as well. Just floated over the top de Guindos mix into the bottom layers, proof light reflecting into the shadows. Trying vary those shadows as well. Some lots of dark, sweet doing other vegetation. Ultra Marine, perhaps bit of red, orange as well, making a strong dark. Get that in, and then you can go over it with slightly lighter colors here or there, just to break up flat shapes into more interesting shapes. Bring a bit of green into that suggestion. Off you shapes across the shadow areas as well. Some talk accents and a bit of light cool color just to break up the stock mess, suggesting some sand getting some reflected light into it. That lovely little touch off to course just adds much needed spoke. There were pretty much getting to the clothes off the sketch. I enjoyed it so far, and I think we'll have it. An attractive and interesting texture. Fold painting as well. Suggestion of a figure to add a bit of scale and point of interest very loosely done. And there we are. Quick pellet knife Skitch. Just close off that area there, and then we can reveal the final painting so quite happy with how this turned out and you can have a go as well with your quick had a knife. Skitch 12. Course Conclusion: Well, this is the end of this course, but hopefully just the beginning for your adventures with the painting Enough. I hope that it has inspired you. And please try out some of these techniques. It might open up a whole new avenue for your painting, but there's always room for the painting knife with small touch. Cher's big, bold strokes that's up to you. And like I said, right in the beginning, attitude is everything. And when you choose the painting off approach, go for it and make it fun. So try it. The assignment. Give yourself a subject to paint, and maybe you want to just follow one of the lessons and paint along with it. Feel free to share your results in the Kloss is well, and I'd love to be able to have a look at it and respond as well. Well, I hope you've enjoyed this course, and if you have got something useful from it, please give it a review and let others know as well. Maybe we can meet again in the next course. Chills for now,