Intro to Cold Wax And Oil Paint Abstracts | DENISE LOVE | Skillshare

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Intro to Cold Wax And Oil Paint Abstracts

teacher avatar DENISE LOVE, Artist & Photographer

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

17 Lessons (3h 54m)
    • 1. Welcome

    • 2. Supplies

    • 3. Supply continued

    • 4. Prepping your paper

    • 5. Mixing your paints

    • 6. Mark making

    • 7. Color Study Examples

    • 8. Color Study - Color blocking

    • 9. Color Study - Mark making

    • 10. Color Study - Finishing your studies

    • 11. Larger Abstract project

    • 12. Random Abstract - Color blocking

    • 13. Random Abstract - Adding Details

    • 14. Random Abstract - Cut outs

    • 15. Abstract on cradled board

    • 16. Finishing your pieces

    • 17. Color palettes

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About This Class

Hello, my friend! Welcome to class.

In this class, we will be taking a deep dive into the world of oil paint and cold wax. I'll be showing you the supplies I use, a variety of projects to get you inspired, and we'll talk about how you finish up these types of pieces for display. Using oil paint mixed in with cold wax has been one of my favorite techniques for several years now. I love how thick and creamy the paint mixture is, I love that it is a matte finish and that it dries much faster than typical oil paint. It is a yummy mixture that spreads on like frosting and lets you get creative with the tools you use to apply it.

This class is for you if:

  • You love learning new techniques for your art

  • You are interested in abstract painting

  • You love experimenting with art supplies

  • You love watching how others approach their painting practice

Supplies: I encourage you to use some of your favorite colors to do these projects. Get outside your comfort zone and experiment with colors. You don't need a lot of colors to start out with and if you enjoy color mixing - then you might just get a starter kit of colors and mix your own. I'm using a variety of colors and brands in class. I'd recommend you choose brands you can afford and some colors you like.

  • Arches oil paper - this is the paper I use for all of my oil paint and cold wax pieces. If you choose to go with a different paper - like watercolor paper for instance - just keep in mind that you will need to prime that surface before it can be used for oil paints.

  • Cradled board if you want to do some pieces on board. I don't recommend canvas for doing these as the wax mixture could possibly crack later on as the canvas is still pliable and the wax is stiff paint mixture is stiff.
  • Silicone bowl scrapers. I like the Messermeister silicone bowl scraper you get from amazon or kitchen supply stores the best. I also like the Catalyst silicone scrapers you can find at the art store.
  • Palette knives - we'll use these a lot. I have some plastic ones and some metal ones.
  • A variety of oil paints - choose colors you love in a brand you can afford. No need to have too many colors to get started.
  • Gamblin Cold Wax Medium - this is the cold wax brand I am using in class. There are a few other brands out there that you can experiment with also. Dorlands cold wax is another one I have used.
  • A variety of mark-making tools. 
  • Painters tape or art tape - don't use masking tape - it will tear your paper
  • Gloves - you'll want to have plenty of disposable gloves on hand. 
  • Shop towels or paper towels
  • Disposable paint palette

That is most of the main supplies. I show you a few more things I have in class, but I rarely use some of them. 




Meet Your Teacher

Teacher Profile Image


Artist & Photographer



Hello, my friend!

 I'm Denise, an artist, and photographer. I'm really passionate about sharing what I have learned with others and creating workshops is what I really enjoy. I've primarily focused on Photography Workshops up to this point. After having a thriving studio photography business since 2012, and being involved in different arts my whole life, I have started to delve into other creative workshops to keep things fresh and exciting for myself. I enjoy the journey of creating as much as what I end up with when I'm done. I can't wait to share with you and see what you are creating! 

I have an Instagram just for my art feed if you want to connect over there. I'd love to see you! I also have my main Instagram account for all things ... See full profile

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1. Welcome: I'm Denise love and I want to welcome you to class. So let me show you what we'll be doing in this class. I'm super excited. We have several different kinds of projects to really get you comfortable working with oil and cold wax. And we're going to start small and just do some little junk pieces to experiment with a little bit with the wax itself and with color and with mark making. And I'll be honest with you, out of the class, the junk pieces, which is this big one and this one are kinda of my very favorite. So sometimes it just goes to show you that working fast and intuitively and creating without lots of expectations. Sometimes you get things that you just never even thought you were going to get and you get really excited. So we're going to start off with some little easy mark making color experimenting pieces. We have bigger pieces. Color study. Why's that we'll do? And as I was making these, I was questioning my color choices in my design, in the way that I was ending up. And then as I walk away and come back to these, I love some of these pieces. So sometimes you have to walk away from your abstract pieces and comeback to refresh eyes to really appreciate what you created this piece here. I'm in love with this piece. And I think maybe this could be the way that's up. I love it. So, you know, turn him around, look at them in different ways. I like it because these are not super-large and overwhelming. So yeah, I think I had them all upside down. There we go. That's how I feel they should go. I like these pieces because they allow you to experiment with color mark making. It's not up such a big piece that you're getting bogged down in size. So those are super fun. We've got the next step up from that then will then experiment with where we take a larger sheet of paper and create from that. And I'm not even positive in my mind that a fully love this as it is. So I still reserve the right to maybe cut a piece or two out of it that I love as an abstract instead, which I always kind of love that right there. I always kind of reserve that, right? Cuz that's my very favorite way to create and will also create a bigger piece than this, like a really big piece. And then we will cut larger pieces out of it. And that's the one as I'm filming this welcome video that still wet. So that'll be a surprise when you get to that video. And then with the leftover extra paint, I actually created this beautiful piece right here. That to me it looks like I'm looking through a Waterfall out to a lush landscape and Lake. And so this is what I consider my trash palate. It's where I put my extra paint so I didn't have to throw it in the trash can. And it could be my very favorite piece that I've created during this workshop along with these, along with that one. So, you know, kind of funny that everything is my favorite but it's like no, these are like your children, you create them and you love them. But this piece was super fun. And just the scrubbing of the paint to create that movement. I will probably hang this one up on the wall. I enjoy it so much and I actually, on the second day after a dried, instead of coding more layers on top of it, I'm like This is finished. That's kind of amazing when you're junk pieces, your practice pieces, the pieces that go into fastest in being the most intuitive and beautiful. So I'm super excited to walk you through how I use the cold wax medium and the different projects that we have in this workshop. I really hope you enjoy working with this as much as I do. I can't wait to see the projects that you come up with. So definitely come back and share. Those are really enjoy seeing the different color waves. You come up with. The different marks, the different ways that you work with the paint. It's just as exciting to me is the pieces that I come up with myself. So I definitely want to see your projects. Please come back and share those and I'll see you in class. 2. Supplies: Let's talk about supplies in this video. So I've got lots of things on the table. Some of them are optional, some of them you definitely need to have. And then I also want to mention a couple of books that you could check out if you're interested in, really go in a little bit further with this medium. And it's Wahhabi savy painting with cold wax by Serena Barton. This is a great book for ideas and techniques and just seeing different artists in the way that they do things. So love that book. And in this book here, Rubrik, Rebecca Croll and Jerry logline. They do the cold wax medium techniques, concepts and conversations. And this is basically considered the Bible for cold wax painting. And they've got lots of artists examples and just it's so full of inspiration and techniques and different things that I really loved this book and I've had this for many years, but it is still a book that you can get out there. And I love Rubrik accrual so much that I actually have an original piece from her that I got this year and I'm sorry if my lights are reflecting in there, but it's not a large piece. This is like five by seven that I've had taken to the framer, rebecca Croll 2020. So this is something that she's done recently. But it's so beautiful to me. I love the colors, I love the depth, I love the marks. I just love everything about this piece so much that I bought it when they came up for a little art auction online. So just to show you something that a real cold wax artists has created. And then this is some great reference books. Do you really want to dive deeper and get more ideas and more inspiration and more information. These are great books to refer to. So I just wanted to share those before and forgot. So in this medium, you know, we've got two things that we need at the minimum, and that's the cold wax and the oil because it's oil and coal wax painting. So for the cold wives, I'm using the Gamblin cold wax medium. There's a couple of different brands out there. And depending on where you live in the world, you may have different options than I have. But this is the one I'm using. And what I love about this one is this is a 16-ounce can and this is a pretty good, long way. If you decide that this is your medium and you love it and you want to create big paintings and really spend time with this medium, then there is a bigger containers of this. But the 16-ounce can goes really as far as I usually want to paint in the year. So this'll last a long time. I have a couple of Keynes and case I've run out but I generally stick in one can for quite a while because I just like doing stuff for myself. I don't do it professionally to sell things. It's just a median that I particularly love. And what I love about it, because the cold wives itself is like frosting and it's like a bee's wax that's really soft. It's kinda like shortening, like when you're cooking the Lord, People used to cook with Thus the consistency and we're going to mix that with oil paint. And what it's gonna do is it's gonna make the oil paint a different consistency. It's going to allow that paint to dry a lot faster than it normally would. And it kind of has a matte kind of sheen to it. Like it's not shiny anymore because oil pain is naturally shiny, This will make it mat. And we have a product called Gamblin galaxy, which you can add a drop of this or so to your little mixture when we're mixing paints. And that will put some of that Xin back in there and also speed up a little bit of that drying time. But generally I find that pieces are dry to the touch by the next day, they might not be fully cured, but they're dry to the touch so you can do more layers and scratching into it and, and more things to the painting. Whereas if it were just straight oil paint, you know, you could maybe go back to it next week and it would still be wet. So the oil, the coal wax medium is essential. There are a couple of brands out there. Get it out and it's kind of gritty than it's bad and needs to be smooth consistency when you're mixing your paint and if you mix it in, there's little granules in it or anything like that. The wax is either old or it's a bad batch so should be smooth consistently see when you're using it. And the GAO kid, I'll be honest, I hardly ever used the GAO kid, but it is one of those kind of add on items that you might consider playing with. And just a little tiny bit goes a very long way like this, my last you forever. And this is a sample that I had gotten from the Gamblin company when I had visited their booth at an art fair. And so that's really another thing that they have. Then I'm I'm using older odorless mineral spirits for clean up if I need to clean any brushes or anything and I haven't overhearing a jar as my brush cleaner. And that last for a very long time. You clean your brushes and then all this color settles to the bottom and you just keep using it until it's full of color and you just, if you paint like I do, you may never really changed out that George's last forever. But I'm using older, it'll solvent gamble and also has gam Saul, which is their brand of odorless solvents. So something to consider when you're when you're doing it with oil paint is you don't clean up with water. So nothing I'm doing is going to be able to run to the st, can clean up of water. But have found, just as a side note, they're a really good way to clean paint off your skin and your in your tools if you're asked to sink using water is the dawn dishwashing. So put that blue soap that they use and they used that. I just discovered that really by accident they used that in places where they have ecological disasters, where they have oil spills and stuff and that's how they clean the, the oil off of the farm animals. They use that Dolan dishwashing soap and that stuff is fantastic. I keep a bottle of that under my kitchen sink. And then if I do manage to get stuff all over me when I'm painting and doing stuff. That's how I wash it right off my skin without scrubbing my skin off. So just a little side note there that dawn dishwashing soap, it's great for cleanup of your skin and probably your tools. I just never take the tools down there. But it is a good kind of non-toxic kind of cleaner for yourself and your skin. So odorless mineral spirits or that damn Saul's really nice if you have to work with stuff I don't like turpentine or anything like that. Something that's going to smell so bad that runs man on the room. I just try to avoid. Another thing that I like to have handy is painter's tape. And you could also use Artist's tape. This is, so we can take off our pieces and paint within the lines and then peel the tape because I gotta be honest with appealing the tape. By far my most favorite part, doing the painting, I loved appeal that tape and reveal what I got. And it just is magical. And it goes from a big mess to a little piece art when you peel the tape off. So I do keep plenty of painter's tape around. They also have a purple tape which I've not tried some, we'll try it in this class. This is for delicate surfaces. And you know, our paper could be considered a delicate surface and painter's tape will peel off your paper normally without tearing the paper itself, it'll come off clean. If you're using masking tape, you're gonna tear parts of your paper off. It's too sticky, and I don't recommend it. You could also use Artist's tape that you can get at the art store. And I have some, but it's not the size that I think I want to use. A little. Show it to you and they'll make a miss. This is Artist's tape. It comes in different colors and this is good for working on stuff, for typing your pieces off too. And I wish I got the half-inch size. And I really like this one inch size. So I wish I had gotten a role of this in this bigger size. But you can use Artist's tape to, I would just avoid like masking tape or regular tapes like that because they stick to your paper and then when you go to peel the tape off, they tear your paper. So always wear gloves with the cold wax because you'll see wise we're painting pieces. My gloves will be filthy. And, you know, if I didn't have the glove on and be all over my fingers. And unfortunately, you know, lots of art supplies are toxic. So I don't want to be getting as much oil paint on my hands as I sometimes do other art supplies because they're they're it's just it's harder to clean up, but use the dawn dishwashing soap and it makes it easier. And some of these are actually toxic. And so you can, you can go non-toxic like if you want to mix your own oil paints with natural pigments and stuff like that. If you're. So inclined, but some of these colors that purchased over the years, they, they they're toxic and I prefer to just be safe and wear gloves. And it's so messy. Sometimes in the way that I worked with these gloves are filthy and I can just take them often. And though the gloves out, if I need to have a box of gloves handy, sometimes I even use more than one pair during a sitting if I'm doing lots of paintings because they get to the point that they're so covered in paint that I need to just start fresh, get paint all over my clean edges or my papers or if I'm peeling the tape, I don't wanna get any fingerprints all over my clean edges. So the other must have obviously is oil paint and I have lots of different oil paints. And I have tried just so in case you're wondering, you'll find water soluble oil paint out there also where these are not water-soluble, but they do have those out there and I have a couple of tubes of it, but I think I finally separate amount of oil box because there I don't like them. So water-soluble oil paints there, they're strangely waxy and less of that creamy oil consistent that my regular oil paints are. And the one time that I've tried them, I just absolutely hated the way that they looked and the way that they felt when I was using them. So I kind of veer away from water soluble oils and I've heard a lot of other people, you know, in the past say that they really care from either. So I'm sure they're good for clean up, but I just don't like them. So if you're looking at oil paints, I would avoid the water soluble ones and just go for some that you loved the colors. I've got lots of different ones here. I've got M Graham and company. I've got Gamblin. That's him, Graham, I've got Rembrandt. Rembrandt went Winston and wilson, and Newton. So there's lots of different brands. I do like to have a great big white and then little tubes of any colors that are particularly love. And when you first go to the art store looking at colors, it's super overwhelming. So I would take a little bit of time and just think what colors do alike, what colors do I want to kind of work in? Also have sitting up here sharpen, which is my very favorite. Some of my favorite colors come from the sharpen and the, this tropical green. It's one of my favorite is such a bright, pretty teal. And then this Richardson oil, rich son oils, I think I got this at the binders. And I love this color. But this has become unusual, an unusable and look how much paints left I got to where I couldn't get the lid off. So I'm sure I screwed it on with paint in the way of the lid. So basically glued it down. So I cut the bottom off so I could scoop paint out of it. And then that starts to dry. So now I'm just going to have to go buy a new container of this ice blue because I love this color so much in these little tubes have just become unusable, usable this ash green, It's such a beautiful color too. I love these two colors. And when I pulled them out yesterday to do some little sample pieces that I was playing on myself. These two colors I couldn't even use and they'd be really perfect in some things with oil and coal wax. But these bigger ones seem to last a little bit longer because, you know, I, I go back and forth with the oil and coal Wax. I will be doing tons of projects and that's my interest at that time. And then I'll take a little breaking and move over to one of my other interests may be watercolor or maybe back to my photography or something like that. So I don't play in one medium all the time. I like to switch back and forth between all my little art supplies because I like to many things. So these will sit for awhile before I come back to them and then they're hard to get open. So you need to be really careful. At some point when you're screw in these lids back on is to clean it up so that you can later get these lids off. So some of my favorite ones, I may have just Lego bad by Linton, those lid stay on there like that and I may need to replace them, but I have had lots of oil paints for maybe more than five years. So it really is something that I come back to over and over. So I may have to go Chaka first the new oil paints, but I don't recommend you by too many bison on the colors that you like by in a price range that is reasonable. You can get, you know, artists grade colors. The difference in the pricing really on some of these artists grade ones have more pigment and lasts a lot longer. The student grade ones are less pigment and maybe not as smooth and creamy, but by what you can afford and go from there and pick a handful of colors that you love. Definitely a big white. Titanium white is the one I have. Because the White I do use more than anything. 3. Supply continued: So this right here is the measure Meister, silicone bowls scraper. And you can find these on Amazon and they range 18 to $20. So I do have a couple of these actually, you know, when you get them there in a package like this and they're all nice and clean. But the reason you want it to be silicone is because the paint wipes right off of it and they're easy to clean. And I could take a little bit of vegetable oil and just smear it on here and just clean all this right off of it. I got a new one at some point because I thought, oh, I'm going to wear this out. But I'm still have ward out, so I don't have an opened the new one that I had randomly over here. But I love this because it's got a really nice wide blade. It's flexible, you know, more so than catalyst scraper, which this one's pretty common that you find in the art store, the catalyst scraper. I like that this is longer and it has a sharp point, whereas this one has a rounded point and it's not as flexible because it's a lot thicker. So this, I feel like gives you a lot more control, especially if you're spreading and mixing and, and really blending. So this is my favorite and you can get those on Amazon or kitchen. Nice kitchen stores might have these. So you definitely want at least one of these. And you can get the ones from the art store and play with those if you want. I also have some hard catalysts scrapers, but they're not good, in my opinion for spreading the paint. I like the software silicone ones, but they are great for mark making. So if you find some of these with the nice little teeth on them, orally great for oil and coal wax with the teeth. And then there's also this particular scraper that I think I got online when I was searching silicone scrapers. And it's okay too, but it's not, it's a hard It's a horrid scraper. It's not this soft, rubbery, malleable one. So this is by far my favorite and the one that you'll find most cold wax artists using. So you definitely want a scraper. Here's another catalysts worn with teeth and you can see it's well used. I do like these, but unlike him for market-making, not necessarily for using it, like I use that one. So if you only get one, get this one. You'll also want to have a variety of palate knifes. And I have lots of different shapes and sizes and metal and I do like plastic ones because they're disposable if I ever get to the point where I'm like, okay, I've overused it, but let me tell you, this one's an older one and I still haven't got to that point. But the metal and the plastic do react differently and they they feel different when you use them just so you know, they do. It is kinda fun to experiment with both of them. And they come in all different shapes and sizes and then are found, which I still haven't actually used, but I found these on one of the art sites may be in an ad. Different edges that the palette knife Keynesian for mark making and stuff. And unlike how Bonnie are these and clever. And so I still need to get these out and play with them. But they came in all these different shapes and I'm like, oh my goodness, I need to have those. And I got him at a time when I wasn't playing in the paint, but I didn't think I'd remember him later on, but these are great for mark making and stuff. So I thought those would be fun to play with. But haven't used them yet. So it's not like they're super important. A couple of maybe a pie-shaped one, it would be nice. Maybe a longer spreader would be nice. I'm gonna play with this one with the square edge. That might be fun. And then just different sizes. And really the reason why you'd want some different sizes is the bigger your canvas that you're working on. You know, you might want bigger tools, because if you're working with little tools, you get little marks. If you work in a bigger tools, you'll get bigger marks are bigger paint spreading. And so depending on the size project you're doing, you might like to have a few different sizes on those palette knives. And then I also like mark making tools. So I have a whole little box of random tools similar to this. And these are little tools that you get over there in the clay materials where they work with clay. Because you're in the wax, you want things to be marked to market making tools, they make great marks and I've got just a whole set, like at 1, I bought just a set of clay working tools and it came with all these fun options. And my favorite is one of those is the ones where it's got the little ice pick on one end because you can use that for all kinds of little marks. These, these are the two that I always have out to use with this. So just in case you're looking for different tools and also found these really fun things. They were by Ranger, I've had him for awhile. But they're just clear plastic pieces with different shapes on it. From market-making, I just, I love things that make marks. I also love this little tool. It's got just this kind of fun little aluminum pieces and it would be good for scraping stuff. So I do like having lots of little mark making stuff and go over to the area where they make they worked with clay and get a few clay making tools. And if you just get one, I get one with one of these long pointy edges, that's my favorite. So some other things that I use to make marks is Cardboard. This really fun cardboard came in a package last week and I'm like, oh my goodness, that's the greatest Sway mark. You know, in the end it's just a piece of cardboard. So I tore these pieces that actually came in a great big paste stuff like on saving this and using it many, many times. But I like that also like corrugated boxes and you can I can show that. Let me go grab one. So this is just some corrugated. Cardboard. And I love that too excellent from market-making. So if I get something like this that come in a package, I'll yeah, you better believe I'm saving that and look how much there is. So I'm going to be mark making and using this for a long time. So I love things for cardboard. So looking at your packaging, When you get any kind of packaging and see if you've got some cardboard with some interesting shapes or some corrugated like I just showed you. And beyond that, you could go to the art store and get different stencils. And these are really inexpensive. Like Styrofoam kind of stencils was shapes on it and this is my favorite. It's got lines and he could see I use that quite a bit, but it gives me fine lines on my piece. And this came out of the children's Our department at the mike goals. And it was just a set of really a bunch of different patterns that they could use to stencil on whatever it was they were doing. And I've had them for a while, but looking around for something like these in the art store, something that's got a pattern that you like and can be used as somebody, you know, stamping into paint or something like that. Just look around and see what creative things you can come up with that you could stamp into paint because the oil and coal wax is the perfect medium for getting clean pattern when you're doing that and love it. Different options there. Other things so, you know, we're gonna be using, let's talk about papers here. I am going to be using in this class, the arches oil paper. And you need to either use oil paper or prime your watercolour paper or whatever paper it is you're using, you're going to have to prime that paper. And what I like about the arches oil paper, and I think there's one or two other brands you might google oil papers to see what comes up for you. It's got a nice texture. It's a 100140 pale and I believe, yeah, a 140 pounds. So it's a nice thickness. So it is like a watercolor cold wax on the a watercolor cold press, weight and kinda feel. But this has already been primed for me to be able to paint with oil paint on it if you use just plain water color paper at leeches, all the oil leaches into the paper and it's kinda disgusting. So it's really oily because oil paint is made of pigment in some type of oil as a binder. So when you have your paper that's not prime, that oil leaches into the paper and make stains and outlines and is really terrible. So if you're using like a water color paper, definitely prime that paper with like a Gesso, couple coats before you paint. And what a pain in the butt. So I'll go ahead and get the arches oil paper and I've used it from the very beginning and is one of my favorite papers. It comes in a couple of different sizes. You've got this 12 by 16 inch, which is 31 centimeters by 41 centimeters. And you got nine by 12 inch, which is 23 centimeters by 31 centimeters. And for doing color sampler projects, sometimes I like the bigger pad because I split this into force. And then I have four little color studies that I've got on here. And then if I'm doing like one big little painting, I kinda like this nine by 12 because I tape it off. And then, you know, that's a nice size painting to work on without being so giant that it's overwhelming. So I am using the arches oil paper. I'm also normally in some of the other classes you'll have seen me use my ceramic pallets. But for the oil paint, I'm not using a ceramic palette because what a mess to clean it up. I am actually using disposable palette paper. And I like a great big one for this type project, cuz I want several colors out and I'm mixing, um, and I, I just like the biggest one I can get. So this one was pretty large at 12 boss 16 inch and the sheets in here a gray, you know, you can get disposable palette paper in gray or white. But I think that the grey is fun because it doesn't distort the color for you. A kinda is a little bit true or when you're mixing and I do like having that to work on. So talk back to surfaces that we can paint on. I like working on paper because I can store these. You know, there was a, you know, every class you take, they talk about doing stuff on panels and things like that. And after you do enough and maybe, you know, if you're just starting with this, none of them look great. And after you do enough level now you have samples and things that maybe glove or don't running out your ears. So I love to do just about everything I do. I do on paper because I can store it. And if I love it, I can mount it to a board and then use it that way if I want to hang it up. But that being said, I do have cradle boards and things here because it feels different to paint on the paper than it feels to paint on the board. And I do recommend you experiment with that. Now you'll notice here I've got canvas, panel and Canvas. So for oil and coal Wax, I do not recommend you use a canvas product. I don't like canvas panel because when you put lots of layers on these kind of panels at my experiences when they start to curve. And I don't like that, it makes me mad. I worked hard on it. I don't want it to curve and distort. And with the oil and coal wax once it dries, if this curves and you try to flatten it, you'll crack the wax. So I don't like that. I don't like Canvas because it's still pliable. And if the piece is small enough and it's a really high-quality canvas that may be a really super sturdy surface and you may decide to give it a try. But over time, this surface still moves, you know, it's still apply UDL and you could crack your painting. And I don't want anything like that if it's a piece that I really loved, I don't want to, I don't want to do that. It's the wrong surface. So don't go with the canvas is kind of the point of that. So there's lots of wood panels that you could try. You could try these little artists panels. And they come in different thicknesses and some of them are primed and some of them are unprimed. Those would be fine if you use the unprimed ones, you need to prime that would just o before you get started. These primed ones, maybe a little bit more expensive, but they are fun to experiment with. So I do have some of those in mustache. And then the cradle boards are my favorite. They are the ones that have enough Woodside there that you can see they attached wood to the back. And these are beautiful for creating a piece and then having it words ready to hang because I paint the top, I finished the sides and then it's ready to go. So I do like cradle boards, they come in different thicknesses. This is the three-quarter thickness. I really loved the inch and a half thickness because they look so rich. They're big and they're standing out there like a statement piece. So if you're just getting started, get the ones with the thin sides. But if you get to the point where you're making things that you love and you want to, you know, gift things are, are put things out for sale. Go for the thicker side ones because they look so rich and they elevate the artworks so much. And let's talk about what you can and can't use with these oils. So if you're if you're wanting to do mark making underneath the cold wax and oil. Like a lot of times I will do mark making and some other colors and things underneath my acrylic painting is a lot of times. So you can do that with oil paint too. But you have to consider the what the material is and what can be layered on top of what. So if you're using pencils, pins, markers, watercolors, acrylic paint, anything like that. That can go on your first layer. If you're using oil pastels, which are different than the soft pastels. These are the oil pastels and they're very creamy. They're not chalky like the soft pastels that I like to use. If you're using oil paint, oil pastels, oil sticks, anything like this, that's got some type of oil in the name that you would need to put that you can put under the oil and coal wax or on top of the oil and coal wax, any of those? Acrylic, the pencils, the markers, the acrylic ink, the watercolor, any of those you cannot put on top of oil paint, they won't stick. So just keep those in mind when you're doing different layering things. What, what are you wanting to do? The marks if you're needing marks on top, here's a Bigger fatter oil stick. These are RNF oil sticks and they're real chunky and real. They're not solid like there. Like you can just scrub this across the painting. I draw with it. They're not as solid as these. These are a little more solid but still soft and I can mark pretty easy with them. But if you're wanting to do mark making on top of the ol and cold wax, like add color or something. It needs to be some oil-based product going on top. So any water-based product can go underneath. Any oil-based product can go on top. The water-based product sit on top of the oil paints. So that is kind of all of my yummy pieces here that I keep around. You don't have to have all of it at the minimum, you need some paper, maybe some Tate oil and cold wax and some marketing tools and you can get started. Some of this other is just things that I have collected as I have gone along in my, my journey. So hope you enjoy searching out and playing with some of these tools. If you've got some things on hand, start with that before you go buy a bunch of supplies. And I will see you in class. 4. Prepping your paper: So I'm actually taping off one of my pieces of paper. This is the larger of the papers that I'm using because I want to do some color studies and I like to experiment with my supplies. So I've gotten this purple tape, which is over in the hardware section near the blue painters tape. And it said For delicate surfaces and I thought, well that would be very interesting to try and just see, does it tear our paper when we're done? And so I'm gonna do color studies on this sheet. And I liked working on several sheets at the same time. And this is thick enough and I can move it around. And I like working on several sheets at the same time so that I can then play with lots of different things. Let's see, I've got ten inches, so let's just mark this. I want it to be mostly centered because a lot of times I'll have to leave a piece sitting overnight to dry so that I can then continue to add to it. See what we got here. So half of that would be seven. So let's put this right here. Is mostly centered and I'm just eyeballing it beyond there, but I did want to current even. So I'm just going to eyeball maybe completely crooked, but we'll see close enough. And then you can type it down to your board if you want. But I'm just gonna fold those over so I can peel that back later. And some of my papers that Ethan right there. Yeah, that's close enough. Some of my papers you'll notice had great big double y lines in between them. And that was where I had taken two pieces of tape and tape two layers, but I don't like that. I kinda like it works, you know, the bigger paint size and that little paper in the little tape in between so that I have just a white line around it went up, peel these off. So that's what I'm doing with these. I'm taping off my paper. I'm gonna do color studies on this. If it's a piece and we'll do this piece with a blue painters tape because I got it here. If it's a piece and I want to do several different types of abstracts in this workshop, I wanna do color studies. I want to do a piece where I just marked make and do all my random stuff on the bigger piece of paper like I do with the, with the acrylics. And then tomorrow when it's dry to the touch, I want to be able to then search out compositions that I like. So I'm going to do one of these tape up, one of these papers for that. So that'll be a project. So basically you can say three different projects here. I've got a color study project. I've got the big piece where we're going to search out yummy compositions. So that's a project. And I'll try not to leave any white over here cause I get paint on the tape and I don't want that to be a clean edge. Really. A little tiny edge on this would be fine. I could have done this with the real thin Artist's tape and have as much paint surface leftover as I could. But let's just go with it and see what we get. So I want to take really three different pieces. So we've got this one where we're going to get all yummy and messy. So now I've got that one taped. And then I have the smaller paper here where we can work on just an abstract piece in this size would be nice. And this could go along with, say, our color studies where this would be a completely different technique with our messy work that we're going to do and then experiment and see if we get anything we like when we're done. This would be a little more deliberate abstract, which to me is harder. You know, I've got plenty of am I showed you in the sample video of all the different things I've played with and the samples that I've made throughout the years. I do find painting an abstract like this harder for me personally because my style has really kinda turned into like a great big, messy painting. Freestyle. Basically, not worry about all the work that it takes to make a really nice composition piece. And then searching out pieces out of, you know, fun pieces out of it when you're done. Whereas with this, you know, you have to be a little more thoughtful and deliberate as you go. Which I find most times I don't love the piece I end up with, or I get frustrated in the process. Whereas when we do the great, big, messy one, I love it every single time and it took less thought and energy. And it had pieces that I loved, so got my paper prepped. So we're gonna do so when you're prepping your paper, didn't didn't matter what size paper you end up with. I'm prep a big one that we're gonna make a mess on. Prep, a color study, one that we can do colors on. And really I like to prep a lot of color studies and just play and play and play. And then prep a bigger abstract possible piece. And then, you know, true to my form, I may like it and leave it or I'm a cut a piece out of it now that I love that techniques so much and much happier with my piece. So paper prep, prep three pieces. And then I will see you back in class. 5. Mixing your paints: Let's talk about picking our color palette and mixing our paints. So I've got some colors that I've pulled out. I was very inspired by the color palette in the finished piece that I had told you that I got from Rebecca Croll that I had framed. And I really love how underneath can see bits of orange and green and teal kind of just showing through the marks. I don't know if you'll be able to see those or not. But they're very slight underneath just a tiny bit you can see so you can tell that the layers were really built up. I like that. I just love that. And I can see different marks. I can see that there's this tan color out here, maybe a darker, raw sienna color, and then there's this blue, maybe some darker blue or black. So I was very inspired by this color palette. And while I would love to paint that piece in many different colors, and I would not make a very good art forger because doesn't really matter if I use a pieces inspiration or not. I can never recreate it no matter how hard I try, everything that I create ends up being something totally different. But I'm going to be inspired by the colors I think I can see in that pallet. So I pulled out some white so that I can mix in some lighter tones of the colors that I see. I've pulled yellow ochre, pulled a Van Dyke brown, which is super dark brown. I've also pulled a burnt sienna because maybe some of that was a reddish brown. I've pulled a couple blues. I've pulled this Indigo in, turquoise. I remember seeing some green in there, so I've pulled a Sap Green and lightest blue on top almost reminds me of this ice blue color. And I'm, I can get that with the titanium white and the indigo. Maybe we'll make some of that up since this one is basically toast. And I could maybe even pull like a brighter orange from that little bit of orange that we could see shining through. So I'm, I could pull some cadmium orange. And it looks to me like one layer was a bright colored layer and then it was left to dry overnight, and then the upper layers were added to that, possibly in two or three stages depending on how long it took for to get the look that she wanted an end. But I'm kinda inspired by that color palette. So that's one way to pick colors. Find a piece of art that you love, and pull colors that inspire you from that piece. Possibly. Another thing I do is look on Pinterest and assert color palettes. And then you will find lots of things like this where there's a photo and a color palette underneath it. And you can already see how those colors blend together in something like that. These are some books that I got from Ivy Newport, and there she's got two different volumes that had come out at some point. And I love having these two reference. And because I do photography in my main job, I could definitely go through my millions of photos that I have literally and create some of these wonderful color palettes. Inspired by my own photos, just by color, picking colors out of photo. And I could make little circles and print that out and be inspired by some of my own photos also. So I do like those ideas. I'm also like, you know, just picking out what are some of your favorite colors if you're already good at pulling colors together and stuff, then pick out some of your favorite. You could also work with a color wheel. If you are kind of wanting to say, You know, what color is going to look good. Have several colour wheels that I like to use for different things. This one I like because it has different shades in here. And if I wanted to use say, something in this blue-green, a family, and I wanted to complimentary piece and I told you at some point in the workshop that there was a piece I did with blue and orange, but they were very vivid. Blue and orange. And maybe I didn't love it, but if I went with a lighter shade of blue and light blue like this and a peachy telling like this. We'd still be in the blue, orange complimentary color frame, but I think those lighter shades would be more into what I love. And so a lot of color wheel like this, that'll tell you complimentary, split, complementary triad, TETRAD. Tetrad. It'll just show you different ways to pull color pallets out that compliment in contrast each other in a way that's been proven to be interesting and pleasing throughout history. So I love this one because of the different shades it kind of implies and shows me. And then the other side gives me color mixing. Like if I take red, orange and add some type of Blue, here's the color I would get. So it does get a little bit into color mixing on this side if you find that difficult. So I love this color wheel, this one alike, because one side has tense where you've taken White and added it to the main color to get lighter shades of that color. And then the other side has shades, or you've basically taken the main color and added black to get different shades of that color. So that's really fun if you want to reference for tints and shades and this color wheel. I love because what it kind of tells you is make the bulk of your piece in whatever color range that you've got here in this upper section. And then you can use this little section here to be some analogous colors for these. And then you can compliment it with like a touch, one of these to give it a little tiny pop. So the bulk of your piece could be these tiny bits of your piece, you know, could be these and then a touch of those. And you've got a nice color range of interesting colors that are gonna go together. And so I really like that if you have trouble imagining what's gonna go with, say blue and green, Well Papa red would be fun. And these colors would be in the group of analogous colors that would complement that really nicely. So this is a really fun color. We'll also, and I just kinda keep these handy in my art room. Sometimes a heightened for myself behind stuff, but to just try and keep it handy. So that's like three different ways that you could choose, or even four different ways, you know, pick a piece of art. This inspiring picks some of your own favorite colors. Pick a color palette from say, Pinterest or, you know, use a color wheel to come up with some interesting color palette for different ways that you might consider coming up with a color palette. So let's talk about mixing our colors. So I'm using the very biggest disposable paper palette because that's a lot of colors. And I want you to be careful in the amount of paint that you scored out. We're going to be mixing the paint with the cold wax in about a 5050 ratio. So about halfway x to half color. And I don't want to put a color out. Say mix it up, and then put another color out and stick my dirty palette knife into my whacks. You don't want to contaminate the wax with different colors in there. So you'll notice even though I've dug in there a whole bunch. And this is a pretty new kn compared to the ones where I've scraped all the way to the bottom. Always keep your wax clean. So what I do is I will just start. Hope I get this green open. Lift pick another green will see. I will start with a little bit of paint like that is probably even too much paint, depending on how many pieces I'm going to do. Because it goes a long way and I don't want to fill this up with a gigantic glob of paint and then get to the end of my painting and think, oh my goodness, that was way too much paint. And now I'm wasting all of this. And then I have to figure out something that I can do with the extra paint that I squirted out. I don't want to do all that. So I want squirt out a little bit. I can always mix more out, but I don't want it to be so much paint that it's overwhelming. And I'm not putting these in any like that with there was way too much paint shame on me. And you want to leave enough space that right there might not have been enough space. But I want to leave enough space so that I have room to mix that paint with the wax. So I should've left a little more space there. Oh good, the Orange open here. Alright, so that probably was too much paint two. And let's see if we can get this green open and if we can't, I'll pick a different green. Oh, I haven't used this one that much, but it is glued on there. There we go. Another thing that I might not have mentioned in the supply video is that I keep a big roll of paper towels. They are shop towels like you get at the Home Depot over there with the paint supplies. But, um, I keep a big roll of that handy because I'm using tons of these, especially right here with the paint mixing. So now I've got all my colors down and I'm gonna put my gloves on. I don't work with the paint with without my gloves on. And I'm just gonna go through and dig through and put a little piece of wax next to each color. And I'm looking for a ratio of about half of the wax to half of the paint. So I want about as much wax to paint there. And the wax is a little bit different consistency. So it may look like I'm putting a little more wax there than I really am. You don't want to really make it too much wax to not enough paint because then you're, you're painting will more likely it will just crack because there's not enough of the oil paint with it. Alright, so I just put a little dam Each Color and then I put the lid back on my wax so that it doesn't dry out. And then I'm going to put my gloves on because definitely going to want gloves on when you start mixing and working with the paint. And at this point to if I think there's some other colors that I might want, like, I think actually that I might want a lighter color of this indigo. So before I get into far, I actually want to maybe put another dabble white here. And then maybe a little tiny bit of indigo off to the side. And I'm gonna mix Indigo in with the white before I add wax. So if I do color mixing, I tend to mix up colors first and then add wax to it. Get a little bit of wax to sit to the side here though, just so that I can really see the color I'm getting. But you certainly mix them up after the fact. But let's just start. I've got a couple different palette knives handy here. I have a whole bunch actually. And I just want to add a touch of blue to the white. And the reason why I'm not adding the white to the blue, because blue is very pigmented and I just don't think I'm going to get a color that I want. And now that I'm kind of looking at this color and I actually think that it's too grayish and maybe a tiny touch of green would be nice. And that was too much green, but I do like this color. Maybe more blue. Let's just go with that. So I'm gonna go ahead and mix the wax in. Not exactly the color I was going for, but I can continue to play. But look how much paint that turns into adding the wax to it. And it's at this point too, if you think you want to work with the game Saul, with the gal could. If we wanted to, we could add just a drop of that to our pate. This is an old one. So they didn't get old. Will have defined my newer one. It's at this point if you want to add a little bit of shine back into your paint, just like one little drop of its All you need there for your little dab of paint and mix that in while you're mixing. And then you will get that little bit of shine back in it and it will aid the drying time, but it drives to the touch by tomorrow anyway. So I think I need to find the other container that if I'm going to play in it, but let's go ahead and just mix our colors. So this right here is why I like to have these around paper towels or shop towels. It doesn't matter, but I mix all my colors first and get him ready. And I'm using the plastic palette knives. You can use the metal palette knives. It doesn't really matter. Your method of madness there, just go for it. You just want to get all your colors ready. And this does not gonna dry super-fast. This is not like acrylic paint where if you put out too much paint and you let that sit for 20 minutes in your pain is started to dry. This is not going to drive that fast, but it's probably not going to hold over till tomorrow either. So I want you to be careful to not put out too much paint to begin with, because look how much it ends up when we mix the wax with it. So don't put out too much paint to begin with, start with little quantities and you can always mix some more up if you need to. And I'm just mixing it until it's all mixed star with smaller quantities. Because you're gonna get yourself into a mess where you're like, I'm going to have to waste all this paint and I don't want to waste it all. And you know, it's better to maybe you have to paint longer than you intended because you're like, I don't want to waste it and let's do a trash piece and see why leaving a little extra room would be good cause if you're really messy with your paint mixing, you'll be all up into your next color. And when you didn't mean to. This, blue is so vivid. And I might just switch. And if you get like some paint on here that's not coming off, you could put a little bit of oil on here or take it in Washington, you're Dolan dishwashing detergent and get that off pretty easy. And another thing to, you know, for blood rushes, I'm cleaning most of the oil paint out of it. If you don't want to use like a mineral spirits or turpentine or odorless odorless jar like a hive without a cleaner in it. You could get most of the oil paint out of your brush. Would like a towel, you know, and maybe wiping it on paper and then go clean it with the dawn. So I mean, I have brushed cleaners to like there's that pink brush cleaner but I don't dishwashing detergent really does work like the best and you can get your oil paint cleaned out of brushes with that dawn detergent really nicely. It's like my favorite clean-up method now. And then when I get this so full and you can see this is how my gloves gets so dirty because I'm wiping my tools on my towel. When my towel gets so full that I'm not getting enough paint off, then I just get a clean towel. So I do go through a lot of roles of this when I'm working with this medium and I just know that's how it's going to be and I don't worry about it. So paper towels have at least a roll of paper towels and get the cheap ones from the dollar store didn't matter. You just need something handy to wipe your tools down. And that way you keep them clean as you go in. Because you don't wanna go back and have to try to clean all your tools later when everything's starting to dry. See how nice that works. So got all of our colors mixed. So at this point in the mixing where you would add in a little bit of gao kid, if you wanted a tiny bit of shine put back in there and two, work with work with their drying time it but again, it draws in like a day. So it's not like it's a great big deal. So that is mixing our paints. Now, I am ready to get started on a project. Now that I've kinda got everything started and going. So I'll see you back in class. 6. Mark making: So before we get started on our projects, I may have to make set more paint, but I want to talk about, I've got a couple of small pieces of paper here. I want to talk about mark making and stuff. And so I just want to maybe put a little bit of paint on to my paper here and just talk about like different tools that we could use from art-making. So and I know I kind of briefly covered them in the supply video, but I thought it might be fun to actually see what some of these do. So I think I'm going to use some of this weird green color that I came up with. So it spreads like icing. And that's what I really love about cold wax is you're using other tools normally besides brushes. And you're creating different thicknesses, maybe different patterns. As we spread other colours on top of this, we will just go for this other green. Ci can spread more colors right on top of that and work for a little bit until I get to the point where I'm like, oh, well this is now too wet for me really to get any further. So I'm going to, you know what, that drive till tomorrow before I can do more stuff. Let's put a little bit of white in there and then talk about for a trash pieces maybe the previous little trash peace ever. That's pretty right there. Now, if I had wanted to do that with nothing underneath it than I've got started. And now maybe I want to do some art-making. So some of my favorite mark making tools was this one which looks like a little mini ice pick. And this is in the working with clay tools. So it's a clay tool. And I like this because we can get lines and see how nice that created a beautiful line for us. I love that. We could also do things like, And I don't want to stigma arm in these paints. I'm got a habit of put mom over here since I'm right-handed. But we can also then do little marks, different, interesting little marks like this. So I could have done something like that. If we use something like a piece of car gated cardboard, I like that because I could maybe stamp right on it. And that would create a line for us. I could also use it to drag through. So something like that's really fun. This one, super fun. Again, I'm going to use it like a stamp or a stencil and stamp right onto part of my peace and come up with a little bit of pattern. And this I could use over and over. I might just wipe off the extra paint and then put this back in my supplies and keep on using it. Saying what the corrugated paper so you can just wipe that off and keep using it over and over cardboard. These are some of my favorite tools, but the other really favorite one was these little foam stencils that I got at the Michael. So you might look up foam stamps and see if you can come up with some interesting ones. This is my favorite. I like them a little slight lines. And again, just tap it right on there. And then look at that Yomi, a little set of lines that we created Love that You can also draw through here and do different things on top like with the oil sticks. But you can't do it while it's wet. So while it's wet, this is kind of the mark making that we can do. Also could have if I wanted to do things underneath that, a could have done that first. I could've done stuff below pencil. This is charcoal. I think. I could do charcoal. I could do some stuff below. The thing about different stuff underneath it. You know, you can put way more things underneath then you can on top. So I could have done that. I could have done this little oil stick because I can do some of the oil stuff underneath the coal wax and only draw back because I don't want to be too much of this underneath because it's very oily and I don't think it ever really technically dries. I could also do some acrylic ink under there. I could do acrylic paint under there. There's lots of things I could paint on, let that dry and then paint on top of it. And then we'll come back. And then just like we did with the other piece, we can then add this layer on top of it. We could come back tomorrow and scraped back colors. I can keep on adding a little bit here, just on top. And this right here is a beautiful way to do a color study. I now know that this little bit of green that I mixed up on top of this green, which was that Sap Green by M Graham Company. So Sap Green is really pretty, I like Sap Green. And then that blue was the indigo, the titanium white, and a little bit of Sap green but lookup. And then once we get it like that, we can now go and add texture to the top. Because some of the interests with pieces, like with the cold wax that we're doing like that right there. Some of the interest is all things that you see in the layers. I like that. I can see through that green right there to what I drew underneath. I like that. I can then layer on top and then stamp through and add some texture to the top of this. I can drag a little bit of lines through the paint and just to create one more layer of interest in there. And then I could say, OK, this piece is finished. And look how beautiful I ended up with. Now one thing I do see that I didn't that I don't like is my gloves are dirty from the paint and I just put a piece right here. This paint that I don't like. So either I need to fix that now or because this is a throwaway piece, I'm kinda pointing these things out. If you're working with gloves with a lot of color on it, you're going to take that off and put new gloves on so that when you're doing something like this, if it were really important and this is a piece that I was creating two psi type dir Gallery in cell. I need to keep the top White Paper part of this as clean as I can. Pieces like that right there. Or I've led a little bit of some other color, you know, get on there from my glove. That's kinda not acceptable when you're looking to make some really nice fine art pieces that you can sell and maybe taped a gala or maybe frame. So after you get past the practice phase like I'm in, I do want you to keep really in good mind like what do you have on your fingers and where are you touching your paper and be real careful about how you're touching the top of your paper. But for something that we were just experimenting and talking about market-making, look how pretty those are. Those are maybe the previous fast little abstracts that I've made. And this might be a case two, I could probably still save this if at it a little bit of white like I added on this first one, maybe I want to put a little bit of white in here. And maybe that white, you know, kinda scraped all the way over, you know, so there are ways that maybe we could fix things that we've done that oh my goodness. And love it when I get something that I really like and then just be real careful as you're picking things up and moving it. Now we've covered that and now we have a clean piece of paper. I love it. Now that look at both of those. Very pretty. So maybe on from art-making, you pick two colors and a white, like I've done here. And just practice a few things. Practice dragging your your Sharp Tool. And this could be, you know, it could be a sharp metal tool like this. It could be skewer that you get from the grocery store. That's would love would skewers. This is one of those that it's over there in the grilling. I, you know, it makes really nice Marx too. So you can see the metal one is a little bit sharper, finer line, and this one's a little bit larger, but it's still really makes a great line. So I love that. You can also, now that I'm looking over here, I have some random brushes that had market-making tools on the end. So that was really cool. I kinda like this one. Let's just drag that right layer. Love it. Love it. Oh my goodness. Look at that little line that I just added in there, right here, right here. I love that. I also have these fun little tools with the little lines on them. So I could have gotten some little tiny lines in there with that super fun. You can also with this tool come through, you know, I like things that have writing on them. So we could imply like a little bit of writing over here. When these dry tomorrow, I could actually write on top of this with the stuff below pencil that would write really nicely on top. It writes on practically everything. I mean, just look around and see if there's any more fun tools. There was one more fun thing that was in my box that I think I want to pull out this thing right here. How fun this is with the little metal pieces. It's almost like a girl to like, you know, use to cook with love that. But this would be fine. Let's just whoo Look at that. Does a really nice, crazy fun align. Oh, look at that line. That is fun. Really fine metal line there on that. So that's super fun. So hope you enjoy a little mark making exercise. I want you to mix up maybe two colors and a white. And just take your palette knife and just spread a little paint out there to get a feel for how it spreads, how thick it is or how thin it is. I kept these fairly thin. These are not so thick that I was having a big clump on the top. I was trying to spread it pretty thin but make a really pretty abstract out of it. And then practice with some of your marks. Fine. Anything out in nature, a twig, something with leaves on it if you want or no leaves on it. Any kind of household items that this one's kind of fun. It's a YM. This is called a Kemper tool. So that's kinda fun. I got this at the art store, checkout, anything that you can make. You can do this with a box or like card stock cutout, something with edges, work with card stock on any kind of foam stencils that you might find. Look at any of your packaging to see if you've got some interesting textures in the box. And you'll a lot of times too, if the box is flat on the top and the bottom, the inside, usually in and maybe you can peel those apart to get to some of this corrugated part. So look around at anything that could possibly make a mark and really anything can make a mark. So be on the lookout around your house and at the art store at anything interesting that you could press into or draw with for these pieces. So hope you enjoyed that little demo. I actually really like my little samples here. I'm so happy with them. And I will see you back in class. 7. Color Study Examples: I wanted to do color studies in this little workshop here. So I want to show you just random things that I have painted over the years and no judging. Not saying any of these are great by any means. I'm just showing you experiments that I have done because I like to play with color and experiment. I still to this day, I don't think I have one start and color way. That's my color, white. You know, some artists you'll see and they'll work in a range and you can recognize it pretty immediately. That's theirs and they've just develop that over years of working. But I like too many things and I in you in my in my home, I like too many things and I have a degree in interior design. And I worked with home buyers and things like that for many years. And it's very easy to pick color for other people because you're not really emotionally attached to it and invested in the decision. But when it comes to things for myself, I like to many things. I mean, I may love this blue and, and tan kind of tone, or am I love this super bright color and those might not mention and interior or something like that. And I just like to many things. So I just want to show you things that I have experimented with. And I like doing color studies because then I can say, allow, love this or oh, I don't like that and then I can see why. And until you mix them, you don't understand why. You might like one over the other, but when you start doing things like this, you can go, oh, I really don't like what that did or, oh, I really love what that did. So this is that kind of medium paper size that nine by 12. And I told you, you know, we tape it off and maybe do a bigger piece. This is what I do with those. And maybe, you know, when I'm doing color studies, if I mix up paint, I've got too much paint to do one piece. And so a lot of times I'll work on several pieces at a time. And because with the oil and cold wax, you know, you may not be putting all your layers on the same day because this technique requires a bit of patients and maybe you'll put, you know, a couple layers on today and set that to the side until tomorrow. And when I'm doing that, I get a little bit frustrated if I'm just working on one piece and maybe I want to be, you know, still playing him Art Table for the day. So I will have several pieces going at the same time. And so that I don't waste paint because when you start mixing up your paint, you think, well, this is not very much I'm mixed up. You may over makes your paint quantities and kind of over guess under guess how far that will go. And so you want to have two or three sheets available so that if you did this and he thought, wow, that's a lot of paint I'm going to throw away. You could come back and do another piece or have a trash Peace available kind of to the side, or you would put all your extra paint. And at some point that would be a nice little abstract painting when you have enough layers on it, maybe on a lot of people do that. But I like having and it's almost like working in a set when you do more than one. But I really liked this teal. So kinda like this color way. Definitely again, no judging I'm not saying these are great by any means. They were experiments on my part with color. And scraping because another fun thing about coal wax is I can, you know, the next day after it's kinda dry, I guess, great back these layers to get fun things underneath. So, you know, you might do a whole bunch of solid color layers just to build up the piece. And then when you get to the top layers, you've got something to scrape and color that will shine through underneath. So I really loved that aspect of working with these. And here I was working with brighter color and I was making with some of my catalyst blades that had little teeth on them. And I do tend to decorate with more muted colors because I find that, that allows my mind free rein and creativity. So the walls are painted a nice TOB color. And maybe I decorate with colorful pillows that I can then change out when my mind changes. But I've discovered when I paint, that the things I like to paint are the ones that I like the most are the ones with really bright colors. So these colors really appealed to me. And I like that there's a payer and I could frame them if i loved him enough. So, you know, sometimes the things that are in your life that you'd like to live in might not necessarily be the things that you like to paint or that you're called to paint. And the same thing I saw, heard an artists once say that maybe this things that you collect are not meant to be the things that you create yourself. It's not what's going to come out of you. And, you know, the things that I collect are a wide range too, because again, I'd just like to many things and, you know, I take a lot of stuff to the framer now because I'm at a point where I have some pieces that I'm so nothing are so amazing that I want them framed in something more than just a gallery frame from Target. So I take him to the framer and have things framed. And the range of stuff that I've taken in the past year, the framer was like, wow, you have such an eclectic range of things that you love. And I'm like, man, I do, I just like to many things. So purple is not really my game. But I did love this little purple set where it has purple, a little bit of orange. Some off white painted, can't think, buff above coloured paint. And you know, you can tell there are several layers here and maybe the upper layers, under layers might have been the orange and the maroon and the upper layer might have been purple and then the buffer on top of that. And then as I scraped back, we got all this yummy texture and lines and color shining through. So2 actually really like these colors, even though purples not, not really my thing so much. Just another little, this one actually, I do like the colors, but when I was done it looked like a garden. So I've kinda feel like little abstract garden going here. And I like these bright colors. They're really pretty to me. Playing with blue and yellow. That was fun. Home. I don't really like these colors as much, but when you see a far-off, I actually like the overall look of it and it's very abstract playing in some blues with some marks there. Here I had like a, almost like a landscape. And this was my bright sun. This one is again another one that visually I'm really attracted to. I love that orange and that maroon and the pink that's kind of coming through. So I really love those colors in that. But I tell you I have nothing in my house that looks like this decorative wise. So if you come to my house, you wouldn't think that this might be something that really draws me when I'm painting. He's your kinda some fun blue-green, yellow. And this is the blue-green without the yellow. So that's kinda fun to look and compare how that extra color added into our overall composition, blue-green playing with Marx and scratches. And this was that same blue-green, yellow, but maybe I did it in a little bit different heaviness of the color and there's less of that blue showing. This was really fun piece. I actually like that kind of ice gray color mixed in with the brown and the ivory there. That was a fun color way. Purple, not my favorite, but it was an experiment that I tried. And then going back here to the orange that I really like. And that one's okay, I don't love it. And then going back, I do like orange and purple together, this one I really love and it appeals to me and there's a lot of texture in it. It'll focus on that, but you can see a lot of yummy texture showing through those layers. I love that. And then I'm also kinda fascinated with red teal. So I did play with the T on the red here. I didn't really like this pink one, but I saved it because I've made it. This is one of my favorite things to do right here. So, you know, I like colors watching. If you have seen any of my acrylic workshops, you know, I keep a color swatch book and I save color swatches. And this it was pre, finding a fun book to make a color swatch book out up. So, you know, going forward I might find another book like that one to create colors watching with these. But these are different pieces that I kept the colors because I want to know if this is a color way that I liked. I want to know how I got there and actually wrote down underneath each piece what brand and what color it was so that I could get back to whole being light magenta and I would know which paint that was that I used. So I highly recommend taking a piece of paper and this is exactly what I was talking about too. When I said, if you're using watercolor paper and the oil paint will leach out onto the paper. Look at this, I've had these now for so long. You can see that the oil has leached out onto the bottom side of the paper. So the next time I do some of these, if I plan on continuing with the strips, I will probably use a piece of my oil paper and cut it into strips rather than a watercolor piece that I had handy because we can see exactly. And if you look at my oil paper, that does not bleed through to the bottom for the most part. It, it, it has a nice Prime surface ready for oil paint already. So that's exactly what I was referring to when I said. But that oil leaches out. You don't want your finished piece to be looking like that. But then these colors I love, like, and now they're all nice and dry. And I was playing with market-making and colors and experimenting. And I love this is the color studies that I'd like to do in some different colors for this class. But I like taking that piece of paper, taping it off, doing all my messy painting and then peeling the tape. So I really love creating these. And then when I do a set like that, I want a sheet of colors to go with it. So I store these with their colors and you see how many I've done. So you know, when you get started paper, organelle papers, so much easier because you can do more with it and you can store it fairly easy. Here is some more that I did, and this was mixed media paper and you can see it. The oil leaches out of it. But I have my colors in here and different color studies that have tried. And on this one I was playing with different stencils and just seeing how the stencils work with the amount of paint and how wet the paint can get. So this was a fun color way. The blue and orange is fun. I don't like how vivid this blue and orange is. So if I do blue and orange again, it's going to be like a pastel blue and a pastel orange, kind of like a sunrise or something like that. But it is a fun, just a fun way to experiment. This didn't completely loved the vivid teal. Let's just didn't appeal to me, but I did like this little color study and then I know what colors I used. So the next time I can look and see what those colors do. And again, kind of purple and gray. I love these. And we go right back to the bright red orange color way. And I was lots of colors and this one. But I do like yummy brightness and this is that larger paper. You can see the difference. We get larger pieces if we do color studies on the smaller paper, will go back to this size. There. They're smaller and they're fun. But, you know, you get, you get more out of that bigger paper with these color studies. Although I do love these, this is one of my favorites that I've done with the colors as fun pastels replan. And again, similar color way. It might even be the same colors, but I loved it enough to just play again. Here's one where the colors are kind of more in the Terracotta tones are really like that. Here we've got, you know, blue-green, yellow kind of in that family. Do love this one. Blue and yellow, but not such vivid as some of the other ones that we did. This is more of a, of a cobalt and maybe a ochre. Yes, ochre and ice Blue and Prussian blue. So this ice blew that one that I showed you that I like so much that I'm going to have to go buy some more because I can't get any more out of my tube. It's just a really nice icy blue gray color. I love that color. And some more experiments that, you know, not necessarily my favorite, but I've just saved him because I did them. Oh, I love this. Look how pretty that big pieces with the owner and the pink. I really loved the pink and yellow kinda colour ways and I did several on that. And I love every one of these. As you know. As you stand back, you can see the other way that colors kinda blend. There's diff, you get close. There's different market-making on each one that I was playing with. And overall, I just think that's a really pretty set and I could cut that out and frame that as a little set to hang on the wall. And then here's some that I don't necessarily like these, but I was playing with oil sticks and some other stuff too, just to get a feel for materials. So I don't love these, but I hated not to keep him. And this was really fun because I was playing with some oil sticks and some vivid colors. And I actually love doing like this. This was the oil sticks to, So when I say oil sticks, it was these things and it was only these things just as color studies. And I found a red teal and I just love the, the three. And I don't really like this one with the lines I left in it, but I just love how modern and unique Those are, just playing in the oil sticks and seeing what they do. So I know that was kind of a long little spiel there. Different color things, but I just wanted to give you an idea of what certain colors that we could be playing in might look like. And to just show you different things I have experimented with for color studies along the way. And then we'll be doing some of these in class. Then I think you'll have a lot of fun experimenting with that. And they peeling the tape and then just revealing what amazing piece you got when you were done. So I'm pretty excited to be doing some of these in class. 8. Color Study - Color blocking: This video, we're going to jump into everything that we just learned with our color mixing and our mark making and are playing with some colors with our color palette. So now we're gonna do some color studies and self got that big piece of paper that I've cut into force. And this is the time to just experiment and play with different materials. And if we get it dirty and wet enough, maybe we will have to come back, let that dry overnight and come back tomorrow. So lots of different things that we can do here. And I think to start, I'm going to start by making some marks because looking at a white piece of paper is very paralyzing sometimes. And I just have some, some graphite here. And these are, you know, it's just, it's a pencil, Basically, it's just pieces of graphite. And so I might do some, some different marks. We may see him and we may not. And you can do this with any pencil that you want. May see it and you may not. I'm just experimenting here creating some loose marks that may or may not show up in our finished piece. And then we could, we could put other stuff underneath here. Let's see, there's that. Let's just look around at what else we could use the neo color crayons, another item that we could mark underneath with. So let me pull that out. And I'm going to be using these color palettes inspired by my picture that I've shown you. But just in case, colors inspired by this piece, them by my favorite cold wax artist. And my pieces definitely aren't meant to look like her piece, but it is fun to use that as my inspiration. And I could pick a few colors outta here just to make some marks. Another thing that I just thought of as, let's say we're in a hurry for our first layer to dry, but still have a lot of color on it. Instead of waiting overnight for these, we can use acrylic paint on that lower level. And I have some acrylic inks that I don't know. I randomly got a bunch of supplies from a sketch box subscription I had last year that sent me random things to experiment with that. I really love art supplies. So I thought, why don't we spread some inks around? And this is very interesting actually, this one is an acrylic ink, but it's almost sitting on top of my paper. So that was actually very interesting. Outcome there probably is the way the paper is primed. So I'm just going to spread it around with a knife, a palette knife and just get some of that color on there. Because if you remember in my little painting a pointed out that I could see some color shining through from the different marks that were made on the watch. You can see just a tiny bit of color coming through underneath. So this is how we can get those colours underneath and maybe work a little faster than doing it all in oil paint. Let's watch a bright color and may have overdid the yellow here on some of this. But this is a good way to figure out what do your supplies do? Let's try this one. And how did they work on different papers? Who and how much is too much. Until you do this, you're not going to know. And while you're doing it, you may doubt yourself because that color, I doubt myself a lot, but, you know, especially with abstracts, we may end up with something surprising that we weren't expecting. That I'll have this color. Bright colors make me happy. Sometimes. I used to dress in bright colors with lots of pattern on it always like pattern to be on my shirts. And When they must have brother was like, are you wearing the curtains from living room? I was like no. It was hilarious. Not amused at all. Alright, so now we've got all that goodness and jamminess go and home, my goodness. All right, so at this point, I'm going to draw this with a heat gun. And that's what I mean about being impatient and drawing stuff. We can go ahead and just draw that route up. Whereas with oil paint, he gun doesn't affect it. You're not going to be able to use that to dry it. You really actually need to let it sit overnight for it to be dry to the touch with the cold wax because he gun does not work. All right. That's pretty dry, but I think what I'm gonna do is go through and get the rest of the ink off with my towel. And one thing I noticed too that I didn't have a piece of tape completely stuck them. So if you want to make sure all your edges are going to be cleaned and I usually like clean edges so may not get a clean edge out of that. Go through your finger and just make sure all your little taped edges are taped down. Really good. All right, so now we have some crazy color to start with. And I think what I wanna do is kinda go over this. I'm a mix, a little bit of white and this ochre and just start in one of these and start my coverage. And depending on how much paint you lay on here and will determine how far your paint really goes. So I might be mixing more paint as I go because these are fairly big squares. They're so easily be a five by seven or some close to that. And some of this, my, my goal may be to go ahead and mostly cover what's on the background because maybe I want to draw some marks and that color just shine through. So you'll just have to apply an experiment here with some of these and see, you know, what's your goal? So how much do you need to cover? And I could, you know, leave a little bit showing through kinda like that. This is like spreading icing on cake. I just love the way it feels. Love that you're not working with a paintbrush. You're working with other materials. This first coat I'm not being too careful with as I lay color on top of that. I'll get a little bit softer with how much pressure I put on my palette. Because, you know, I don't wanna dig through all the layers while they're wed. That's what's really nice about this. You can actually lay full colors on top of other colors until it gets too thick. Or if you're just not light handed enough. And then you would do good to have it dry in between those layers. And I'm putting these on with a palette knife, but I could actually be putting these on with my scraper. Suddenly pull that back out to because I'm may smooth this out with the ball scraper, like get a lot of paint on it, but then come through and smooth it out. And I just realized I don't have my gloves on and I'm about to make a mess, so let me put some gloves on and, you know, you can get a box. These gloves at the paint store, pretty cheap. I just get whole boxes. And then they last pretty good, long time. So I want this to be a little smoother than it was the way I put it on there. And I may spread some more on here, just appending because I can put all the paint on what the scraper, I didn't have to use my little palette knife. Alright, I kinda like that as an under layer. And then tau already too. As I'm going, I'm going to want to pull this paint off my scraper so that it's ready to then do something else. And we could do this several ways like this could be the first layer of this one. And I could treat all the other ones completely different. I could come back on this one and completely do a different technique. I could make squares of color, more like in our color studies. You know, I could come back in. This paper is a little bit warped from the wet Inca head underneath it, but they will flatten back out. Definitely going to the mixing some more of this yellow ochre. All right, so this one I think I'm going to let that be because what I'm gonna do with these is let these dry overnight. So I'm going to create all four of the pieces on here, like the base coats of these pieces. And then will be layering things on top of that once it dries sum. So let's just go in with a different color on the background. I'd like to be able to see what are these different shades gonna do when I scraped through him. And then when we peel that tape, oh yeah. That gets me so excited. That really is my favorite part of the tape. Peel the reveal. Who lets go ahead and I get some orange, but notice I'll clean my little knife off before I dig into a major different color. And then this might create some interests tomorrow. When we're digging through. We may not see it at all. But at least we have it to experiment with. And it's on this layer to that I would start my mark making. Let's go ahead with some dark brown here. You know, so one day might be all your prep work and laying a base layer. And then the next day might be where you come in with some other colors and you start doing the fun stuff. So some of it is prep work and that's okay. I'm okay with that. This is some crazy colors here. I don't like any of those that I've picked, but I know that tomorrow I'm going to cover these up, so I'm just going to go with it for today. And I might actually smoothness out with mumbles scraper just so that my layers aren't too, too thick on this one. Whew. I feel like this one almost looks a bit like Halloween. And here we go. Let's go for that. Do that over here too. Because I'm not know see any of this layer. I already know in my mind that I want to lay some thin layers of other things on top. So my goal here is to not have a really beautiful bottom layer. That's okay. Just laying the ground work for me to be able to smooth things on top of these tomorrow without something surprising getting in my way. Alright, so at this point, we could come in and do some mark making. And then this, these marks will show through to the next layers like it'll make intentions for us, possibly so. We might go ahead in here and just start adding in some interesting textures. And Marx wouldn't, that was definitely an interesting texture. Nor am I take my little tool here. I could do some, maybe some scribbles that look like riding. Maybe, you know, that might be fun. I could go in and do some long marks. And then anywhere where I'm building up paint, I'm gonna go ahead and take that buildup off with me. I'm not going to leave a great big blob in the middle of my painting. This one gives you a good indicator to of being able to see colors through your colors. Like I'm see if I can lift this up so you can see that. Let's see how you see these other colors shining through the blue and the green. That's what those layers make so interesting for us. Alright, so I love that. I think I'm going to, well, let's just see if there's anything else I want to put in here. Like I love this little squiggle. Oh yeah, look at that. We can just go through randomly. See if we've gotta who I like that right there. Oh yeah, like that. Ok. Now, for I just overdo everything. You're gonna go through nail, right. If I've got some other color illness, but didn't really matter. That backend. We can cover that tomorrow with a different color. I think I'm almost out here. We'll try this. Oh yeah. Alright, so what I'm gonna do now, I'm going to go ahead and let this dry overnight and start on one of my other little projects. And then we'll come back to this tomorrow to add some more layers. So at this point we're going to have to stop and let this dry enough to continue adding some real thin layers of color on top of that to make an overall abstract that I kinda have in my mind, you can do all the pieces in one day and be done and peeler tape and say, okay, this is what I did today and sometimes I do that. And this time though I think I want to create some different abstracts with maybe some layers on top of this that I can dig into tomorrow and just see what we can create. And you know, some of these paintings, you know, you can work on these everyday for a couple of weeks and just add another layer each day. Depends how, how do you get and the vision that you have. So we're going to let these dry overnight and I will see you tomorrow. 9. Color Study - Mark making: Let these dry overnight or under paintings are done and we're ready to start painting on top of these. And I did manage to find my good container of Galerkin. So if you ever get one that's super thick and basically won't even come out of the container, then it's no good. And I don't really use the gal kid. It's an, it's a is simply going to add a little bit of shine to our wax. Oh, that's why it's still good. It's still sealed. It never did dry out. But it adds a little bit of shine to our paint, makes it more SAT and rather than mat. And it, it makes the pain a little more flexible. And just to maybe try it out a tiny bit, you just want like a drop. It's not like you want a whole lot and you can do more than a draw. But I was always told just a tiny drop and mix it in really good. And then it also aids in the drawing of your piece because even though these are somewhat dry, I wouldn't say there are a 100% dry there definitely, you know, mostly dry to the touch because I did real thin layers on this 11 of the pieces where I did real thick layers on the paint's not as dry, but it's mostly stiff. And we could keep adding layers on top of it today. So even if it feels dry to the touch, it doesn't mean it's finished curing. And you wanna usually let your piece finished curing or a few weeks at least before you're going to try to finish it with like war wax and then buff it because you don't want to try to buff a piece a day after you created, it's just not going to work for you. So I think what I'm going to do is I want thin layers. I want it to look like we built the paint up. And so even though we're kinda starting on this today, we may have to visit this again tomorrow if we're adding stuff and the paint gets too thick. So let's just see how it goes. Let me see if I can keep this up. I think I wanna work on say like this 1 first. Well maybe the green 1 first. And then I may flip them around so that they're closer to me. I think I think we'll start here. And I really want some got some colors over here. The ochre, this dark blue is this indigo. And get that back out of the paint. And then this is the Van Dyke brown and this is warm white and this white, white and white because I want to be able to mix that up a little more and want to be able to mix this into a lighter shade and the blue into a lighter shade. And I still want some white and warm white available. So what I'm gonna do is take a little tiny bit of the ochre and mix that in the white and see if that's the color I'm wanting. Oh, yeah, that's nice. And I want to do thin layers, so I want to build it up into some other things. And you know, earlier in the paint mixing video, I think I'm mixed the paint first and then mix it all with wax. This video I'm showing you that I'm mixing the wax ones all up together. So you can you can mix pain either way if you want to do it before you put the waxen, you can you want to do it afterwards? You can do that too. So let me just add smidgen of this blue. That's a pretty color and I'm I want darker shade later, but I don't know. Let's start with that. So I'm just wipe it off my tools on my shop ride. I do have my gloves on today. You'll notice my gloves are blue instead of white. So the blue gloves just in case you're wondering our nitrile, which are kinda what medical people use, I believe. And I got these at the Home Depot too, so you can get them at the hardware store. The white gloves are latex gloves. So if you have a skin allergy or sensitivity to latex, then try the nitrile because those are for people who can't wear the late texts and that it's a good alternative. Alright, so I think I want to have some rural thin layers. I want to layer this up. So let's just some thin layers on here. And I'm using my great big silicone scraper to do that because I don't want it super thick. I want to build them up. And I want some of these layers to peek out from underneath possibly. Or I may go by with some market-making and inlet reveal some of the underneath. And if we start off with thinner layers, we can work longer because once the paint gets too thick, then you're just pulling paint off. It doesn't really work that well for you. And I am kind of scrubbing it a little tiny bit to list some of these marks under here show through. And I'm just adding a little more paint and a little more paint just to see, you know, let's get it where we want it. And then got a little orange tip there left at the bottom and love that. I like that. So maybe on top of that, I'm white layer some of the the ochre. It's almost too if it's not given you thin enough layers today. Like if you're doing this and you're thinking, well, I want each layer to be kind of that layer I was just lying on. Then you may have to do one layer a day. Now because this are, these are little color sample sets. Their practice pieces were experimenting. I really want you to get some quick wins in there. And I'd like for you to be able to finish a piece or two in one or two sittings. But once you get to painting, you know, great big real pieces for yourself. You may spend months on those. You may just come in every single day and add another layer, another coat on there. That it just it just takes the build-up. And if I were wanting like say the van di Brown on here and then the blue on top of that. Then, you know, I might have to wait for all that to dry to put the blue on top of that for tomorrow so that the blue shows up. So keep in mind your layers, but I want these to be a little quicker wins. So I'm gonna continue layering some color on here. And I am thinking a little bit about composition. So what do I want the final piece to B? Because these aren't like the big one or we're going to cut pieces out. These are little pieces that need to be finished when we pull the tape because they're kind of small. So I'm kind of thinking, you know, rule of thirds. I don't want everything right in the center. How do I want the colors to merge? I don't want them to be too tight and clustered, which is normally my style. So this size piece, it's really good to then practice, you know, kind of some of the ideas that you have in your mind, keeping in mind light and dark, or to want the light and dark areas. And if I put in a dark area, don't necessarily wanted to be in one place. So where else can I put it so that didn't work there? Where else could have put it so that we draw our eyes around the piece. And I just want you to experiment who look at fat over this instantly got yummy, yummy. All right, we're gonna leave that there. Don't touch that. Maybe I want some of this warm white. Don't be afraid to move your paper around as you're working. I'm a little bit stuck here in my space that I'm using just because of my filming gear, my rigged it set up to show you what I'm doing. But as you're working, don't be afraid to move everything around so that you can get to whichever side you need to get to. Normally, I have a whole whole lot more table space to be working on. But then would be outside my little gears legs and I couldn't show you everything we do. And so I'm trying to keep it where you can see. Look at this. I really like that. And we had a touch of white. Maybe here. Well may go back with a smaller apparatus. Let, let's let this one, let's look. This one's soak for a minute and we'll think about it. And I might come to a touch a white here. Let me think on this one. I'm gonna go ahead and do a layer of what I've got here on my piece. Look at fat. I already liked just the peaking of stuff, peaking underneath all of that. All right. So he might come back with one of our brushes that you got some these catalysts brushes. I've got different things, but I've got some of these that are actually rubber brushes to does this need no more white? I mean, I almost want to be able to ask your opinion. How about we put some market-making in here? So I've got this yummy tool that I love. I've got Before we jump into the second one, I've got my mark making tool. They're really loves. So I might go in and do some lines in here. Oh my goodness, I can see all those yummy underneath color's already showing through. Oh my goodness. Let me see if I can lift this up so you can see exactly how yummy those layers underneath start to show through. That is like the goal. We want what's in the underlayer there to kind of be peeking through in the different layers. Just add that interest for us. I love that. And because I'm working in a lot of wet paint, lantern, a white MAN tip off, so I don't end up with a great big exposures of paint here on here. Now if we do all that and we think, Oh, that was too much, I don't love it. Just take our little spreader here and we can work some of these back in. We can push them back a little bit so that they're not as strong. Just some fun little details in there. We can come back with a little bit of the white. You gotta be careful not to Duncan on paper here into the paint, which I'm really good at doing. But I need to be able to get to this a little better here. Yeah, I like that. I don't want it to be. So super dramatic. I wonder if I used my scoring tip here, if I could have got a little this power line, could also come in with some other marks. Maybe some little tiny. Oh no, I've kinda really love in that. Like it is almost feel like if I continue with it, I'm going to ruin it. So let's stop on that one. Let's just say we love that one. Let's go for it. We could add a touch of the white somewhere else in there. But I think for the sake of this, we're going to call that one done. I don't want you to spend so much time on these that you're overthinking it like I'm trying to do right there. And then I think on this one, now may still go with the same colors because maybe this will be this series. And just see, you know, what, what can I do to make this one slightly different? What can we do? So let's just, let's just go for it. That's pretty so maybe this one. I want it to be some blue and yellow coming in. I like that. Then maybe let's do this white. Let's see what do we want the white today? Let's go ahead and bring the wide end like right here. Again, if you don't want the colors blending in with each other like as much as I have, then paint your color on there and then come back tomorrow and do it again. But I'm kinda okay with some of the color blending or just we're going a little bit faster today with these to get, just c wouldn't get. Alright, let's see. They want the dark blue or light the dark blue. So let's see. Let's bring the dark blue and here. Oh yeah, like that. Let's do that. Like fat. Oh, let's leave that one. Not only want to touch it. I do want to this little piece right here. Here we go. Don't necessarily want that to be blue. I kinda like that to be yellow. So let's go back with a little bit of yellow and let that blue B underneath. Here we go. Okay, so now we could do some work making. So let's see. Let's use some of our foam stamps here. Because I like those. They're subtle, they're not as strong. Which I might come back like maybe on this one we could do a few dots was to that. Ou, see there. So exactly what Apple did. Just a few dots. There we go. I like that. So on this one because we did dots there, we might come back and do dots on this one too. And I'm doing it ever so gently, but looking fat does exactly what I wanted. So subtle, not super strong. And then let's call that one, let's call that one good. Think I'm going to leave that like it is. Come back with some lines, maybe a few lines and weren't straight, but it is pretty hopefully that on there. I might put a few lines here. Oh, yeah. Yeah. Yeah. Okay. So real pretty So see if you can see the very subtlety that we just kinda added in there. But I'm loving though, so let's flip it around and do these. And you'll love some of these when we peel the paint. So let's see what we can do here. I might use these fun cardboard on one. They don't all have to be the same to be in a series. But you know, when you're in a series, you want them kinda similar. Alright, let's start with this color on this yummy RED. Because in a series they don't all look the same, but maybe you have some similar elements that time altogether. So it's almost like your goal here is to do for different compositions using the same color palette to see what you can get. That'll tie them together, but they still all look like their own individual little pieces. Some love and that I'm even love in this little bit of red that Shannon through inner peace doesn't really have read in our color scheme. I do like that. And I always like it when you're working with a great big spreader like this because you're less precious. And you kinda get into doing some things that you might not be able to do with a smaller brush. Like this. Pretty ice Blue. But I'm mixed up. That's a pretty color. Let's do this right here. Let's just get this all the way over us. Let this be the majority blue instead of majority yellow. Fuck off. And then maybe I'll come back with a little bit at yellow. Yeah. Oh yeah. I like it. I like it. Yeah, let's do that. And then maybe we got some brown here that I haven't used before, the Van Dyke, some maybe. Let's just put this right here. Let's just get it right here in the middle. That's pretty that's pretty I'm not I don't know her work yet, but I do want it to have like a shape. 10. Color Study - Finishing your studies: Four like that right there, and let's do that. And then I might come back in with this cleaning White. Yeah, like that. That do its thing for a minute. And then we'll come over here to this one. Let's make this one. If we start off with, let's just start off with say the boreal. I haven't started off with a dark color yet. We will pull some of the blue in here. Just making quick decisions here. So don't think too hard about it. And we'll look at that. That's really fun. Then it come back in. This lighter yellow that I made with the ochre and the white. Fill in some of this. Then y top it off with the light blue. Let's just see what we get here. That's fine. Let's put some more of this blue over here. And I'm not being as careful as I might be if this were a piece that I was doing for something really special. So it is kind of fun to work in this way where you're playing with colors, you're experimenting with something you've not played with before, just to see some of what you can get. I don't think I want any white in here, but I might come back over here with this yummy yellow a little bit, just to give some touches. Alright, let's put some marks then that might be my least favorite I do like working in a series because then I can see, you know, what I can get. And not all of them. I'm not going to like all of them and I'm okay with that. All right. Let's do so oh, so as to some of these yummy lines oh, yeah. Like that and then come back with some dots maybe. Oh yeah, that's pretty okay. So then we'll just look at it as or anything else we want to add or change. Are we ready to pull the tape instead? Set these to the sine, let them dry. And because I don't want you to think too hard about these. I want you to like that better now and I flipped it over because I don't want to think, oh, I didn't put any in this one because I don't want you to think too hard about these. I want you to, you know, set yourself almost like a timer and say, okay, I want to spend 30 minutes on these today, 30 minutes on these tomorrow, and then I'm gonna go with whatever it is I got and just see if it makes you work faster. Almost like if you set a timer, it makes you go faster. It makes you think. It makes you not kinda get into your own headspace cuz you're going much faster and thinking less about it. So then when you're done the abstract pieces a little more organic and a little different than what you might normally I've created. So let's, let's call these done for today. And I can trim these out of their little square, you know, after after they're dry in a day or two. But let's go ahead and pull the tape because that is the most exciting part. And it's usually the part where I end up with something crazy good that I wasn't even expecting. So let's just peel our tape and due to reveal. Oh, I do like this purple type. It does actually give me oh, I didn't start wherever I started. That's kinda hard figuring out where did you start. But it's actually super easy to peel off of the paper. And it's giving me a really clean edge. So I do really like this purple tape. And this is the painter's tape for delicate surfaces, which is kinda nice because you know your art paper is a delicate surface. You want to be able to preserve that and not tear it. If this is a nice piece of art that you create, will say that it looks like here. I didn't have it stuck down for those under layers, which drives me a little bonkers. I like a clean, white age. But that's okay. These are our practice pieces and I can always if I frame it, put that under a matt. All right. So I think I need to take off this tape and need to be really careful because I've got blue paint on my fingers now and I don't want to get that my white paper there. So I'm just going to make sure that I've got most of that wiped off. So wipes off pretty good there. I'm getting it off of the tape because a tape is still wet. So if I appealed this, laura wouldn't be having any of this issue, but I want to go ahead and see what our final pieces look like. Look at these, I love this color way. Even though I took these colors from my inspiration piece that I have from Rebecca Croll. You can see that what I ended up with is nothing like the piece that inspired us. I'd just like to using the same color tones because I liked those colors. Look how pretty these aren't. I think I like it better this away. And now it's all done. If you did this and then you're thinking, you know, tomorrow when you come back and you're thinking, oh, this needs a touch of whatever or some finishing top marks with some oil supplies on top. Because you know, now if you want to put something on top of this, it cannot be anything water-based. So if you want to put something extra marks on top, it needs to be something oil-based. You could do that with like the oil pastels. You could add a few extra marks if you wanted. You could scrape back, you could dig into the wax because once once it's kind of partially drive and not completely dry, you can still dig into it and you can scraped back if there's an area that you don't like, you can actually take one of your buddy, nice and you could scrape some back. But I'm actually thrilled with the way that this turned out. And I think I'm going to leave them like that. These three pieces really matched to me in this is kinda like the odd ball, but I still love it. So hope you enjoyed this exercise. Are really like on, on some of these. You can see those under colours shining through chest, tiny bits that kind of add to the overall layers and interest when you get closer and look at your pieces. So do a, do an ugly under painting. It doesn't matter because the stuff you put on top is going to cover the most of it, but you'll still get little glimpses of the under color showing through like a level of this one. How, right here on this corner you can see the orange bits shining through a love that right here, just kinda shining through a tiny bit. Super fun. So I hope you love this little project. So we'll color study project that we can just let loose and experiment without too much involved in it. And I cannot wait to see the ones that you create and the colors that you pick. So I will see you back in class. 11. Larger Abstract project: This is our larger abstract that I wanna do in the similar way as I've done the color study. So I need a little bit more paint out. So I'm going to put a little bit of a white and a little bit more over. And the little setup for, you know, that's kind of your trial towards getting to this bigger piece. It's the way you can try out marks and what color did you like on the bottom and what, you know, what do we want to end up overall on the top and get a little more wax out. And it's kind of your place to play and get some things figured out before you get to this bigger piece. But I do think it's important to do the smaller ones before you hop into the bigger one. Because of the bigger one, you can then pull one of your smaller pieces, the ideas that you created on it. You can pull those together into a bigger piece, easier than just jumping into the bigger piece. So I'm going to use the same color palette for the bigger one that I used for the color studies. So I'm just mixing up a little more of this ochre. And I'm going to mix up a little more that whites. And then if I have leftover paint, may take poleward because I actually have a cradle board. I can kind of use as my extra paint palette. And so this is just primed in, just so it's primed and black just so rather than white just so. And you do get a different look to your piece. If you start off with white or if you start off with black, black will be kinda makes the colors more vivid than the white bass does. Very interesting. So I'm going to use this as my extra paint trashed palette. It may end up being, you know, a piece of trash When we're done. But, you know, you may end up with some abstract piece that we love when we're done. And I'm doing this on a cradle board, you could do it on paper. But I do think it's fun to experiment on cradle board to see the difference in painting on this versus painting on paper. And what we might do is this could be all our extra paint for under layers. And then I might then be able to use this as a fourth project. So that's kinda my goal there. So I do have a cradle board handy. It's already primed, you can prime and in black or white. And so we're going to put that to the side. And that way I don't feel like I have to then paint another piece out of these same colors. I can start with a new color palette if I want to jump into my next project. But definitely a reason why I say, Don't mix up too much paint, Let It Be a little bitty dab of paint. Because when you mix it with the wax, it goes so far and it turns into way more paint than you even think. And this is another like we did with the color studies. We're gonna paint this base coat on. And then we may come back with a I want to let that dry overnight before we come back with our code tomorrow. So if you're working with a bigger piece of paper, I find it easier if you'll work with larger tools. So instead of using the little bitty palette knife, like I used in little pieces, I'm working with bigger scraper and I'll probably work with a bigger palette knife so that all of my marks don't end up tiny. And I really have a habit of getting tight in on my peace. I get close in on my photography. And if you'll make bigger, you know, work with bigger tools as you get with a bigger piece of art. Some of that you'll be able to then maybe stop yourself from doing like it's hard to work in a little tiny cluster of lines. If you're not using a little tiny tool, could have started this piece off with mark making, but I didn't. So we're just going to go with it. I'll scrape little extra paint there and then I'm going to clean off my scraper piece here. Could go ahead and do some art-making that might still show through our layers. You kinda wanna get in the habit of doing some art-making with each layer. You end up with interesting things that shine through in the, in that you might not have expected. And do it even if you think that, you know, it's going to be covered up because in the end it may be just a little tiny piece that we see that makes the peace much more interesting than you thought it was going to be. Like all the painting you had a little tiny bit showing in the upper corner of an orange. That's kind of a surprise. You don't expect it to be there until you get closer. Let's just see, we come in with a palette knife with white. Almost looking for a glaze here more than like a stark white shade. And look how pretty dots turning out. And I'm not being too deliberate was my composition there. I'm just kind of adding color at this point because we're not in a finishing layer. So composition can definitely change with each layer. I like things that look like they could have been writing, but you can't quite tell what it might've said. That's why I'm doing this little kind of squiggly line right in here. You might think I had written something in there, you're not quite sure. And then we can smooth a little in there and then it's kinda like hints of writing. It's not like it was really super Vivitar. Hints of our line and stuff. Loved doing that. Let's see. So at this point, I'm not sure if I want to continue adding to this today as much as waiting for tomorrow. And then layering MAN next thing over the whole thing possibly and making some marks. So think for today, I'm going to stop and let this dry and we'll come back to it tomorrow when I'm ready to layer on top of that pretty pretty sturdily. All right. So I'll see you tomorrow. So dry to the touch. We let this sit overnight so it is really pretty in dry. So I think what we might do before we even lay paint on it is just show you, you know, you can dig right into. The wax that's dry like the next day, like we come in here and make some yummy marks on our peace without damaging the paint or getting too far in there. Look how pretty those lines are. And we don't dig out tons of paint that is thicker and harder and I don't know, it's easier to almost Mark make on top of dry paint like that with it, that it just kinda makes the most beautiful, crisp lines and marks. I love that. So once you come back to your piece from yesterday, don't be afraid to come on here and go ahead and scribble on it and do some mark making. You won't be able to stamp in like your phone stamps or anything like that. That's not going to work that paint on it. But you can do something like a little bit of mark making in that wax. And we kids, great back there's something that we hated. I could take a knife and I could actually scrape back some wax and you can see it just comes off nice and easy there. I don't know if that was blurry for yeah, I'm sorry if it was so I've got my paint palette al from my little sample sets that we were just doing because I don't want to throw them away. I don't wanna think super hard on this one either because I want you to get some quick wins. I don't want you to think a little faster. We're doing some abstract and only you to get real bogged down in every layer. Being really hard to do. So I'm going to work a little faster on this little bit larger piece also just to see what fun stuff and come up with. And I kinda want to go in the direction of pink and ochre and this warm white, more so then the blues. Because I like pink and ochre. It's one of my kind of favorite color ways in there. So I like the under color that's here already. You know, maybe I'll come in and do some pink areas on top of this and we could see some of our shine through of our bottom layers. It doesn't have to be super thick paint as we're going. Because if you like the bottom layer, you don't have to cover it up completely, you can kind of work with it. Well, I got some green and green, some pink edges here. Like that. Already. Like in this, He thinks I'm going to come back with some of this yummy ochre white color. That's pretty I like how this created some texture on its own locale that created this pretty bit of texture in there, just kind of pulling from the texture that's underneath it. So pretty Picked up some pink here and I want that there. I'll go pick up some of this warm white that I make stuff. It's another light shade that I can layer on top of what we've got going and just kinda add a subtle layer of difference in there. With that color change being a slight lighter shade then the ochre we admixed with the white. Oh, oh, I like that. Now let's come back in with some actual over just to add that extra layer of depth there because we're kind of covering Oprah, but it's a little different shade because the other one has the white paper show and through it. So now we're adding that extra layer of depth there with this top layer and texture. And then I also reserve the right to when we peel the tape, if I love a piece of it better than the whole thing, reserve the right to cut out the piece I love because that really is like my favorite technique on the abstract. If I end up not loving the piece, I can cut the pieces out that I love. And then I feel like I've never wasted anything because I love what I've pulled out. Ooh, look at that. Okay, I'm liking that. Let's see if we go in with some market-making. So I've got some of the cardboard, so he might do a little bit of some cardboard work in here. Maybe I'll use this to pick it up. Oh, that's really light that look at that extra tiny bit a detail is go with that. Oh yeah. Yeah, yeah. Yeah, like that. Like the dots, let's put some dots in there. And these layers are still pretty thin. So the texture I'm adding in here is not so dramatic that were like texture or yeah, like that. Now this is an instance where we could come in tomorrow and we could scratch through and add some more layers tomorrow if we wanted. So if we get to tomorrow and we think, oh, it needs some more, we could do that. So I'm gonna come back now. And I've added those, maybe a little more of the pink on top. And I'm choosing to do most is stuff with no brushes, but you can certainly do brushes and stuff if you want. But the coal wax is harder to control because it's so thick that you just, it's not as easy with a brush, but you can certainly. Put some brush marks in there. You could try and just work it. Kinda spread and the pink around a little bit time that color all the way through. Like that. Even if the WACC and play with the ochre and a little bit more, I'm not good with just a block of color like Newt. Just not my style. It's not what ends up appealing to me. So when I have just a splotch a collar on there, I just cannot leave it alone. I have a feeling I might be cut in some out of this tomorrow, but we'll see. We could come back in and do some some marks. Let's go ahead and just go ahead and add some interest to these YOLO doing a little ladder that's fun, like how fun that is. Little ladder mark making in there. So pretty. And it might come over here and do some scratch through this little bit here. Look how pretty that is. It's got yummy yellow kinda show and through super fun there with that. Maybe do some rural solve lines right here. Might mimic just above it. And I'm just touch and rural whites, I don't pick up too much paint. Maybe we'll have some fake scribbled writing so it makes it look like something's in there. You can put rewards in there if that's your thing too. If you've got some beautiful words, poetry or something, that means a lot to you. Add that in there, make it messy writing, but might get me something that means something to you. Well, I love the writing in there that really set that offer me. Let's go and add some more up here. And if you want to obscure it a tiny bit like you love it but you're like, Oh, let's make it even more obscured. Come back with one ear spatula tools and just lightly work that in so that it's almost like the writing is in it, not on top of it of that. So that works out nice. I do love the ribbon, the line back with your catalyst. Alright, so that's pretty cool. From love and war. That is, I'm gonna go ahead and take the type off so we can see what the finished piece looks like. But I guarantee you all come back tomorrow and cut a piece out of it because I love this little strap right here. I love this loop scrap right here. I love that right there. Say I love little bits of it. So much more than I loved the whole big piece, which is the way I tend to create. So it really behooves me usually to just create a bigger piece and income by pulled the bits out that I really, really love. Like I even love this bigger six by nine piece like this right here. I loved that right there. But I'm not going to cut this one up for this video because it's all wet. But let's go ahead and peel our tape off. Let me pull one of my gloves off so that I can peel the tape and see what we got. Because this I want you to work a little faster. I just want you to think of it as a fast, fun abstract work. And I want you to think super hard about it. I want to use and I don't want you to spend days and days on your first one, but when you get to the point that you're like, okay, I'm want to dive deeper into these paper pieces are such a wonderful way to experiment with all your techniques. And if this were a piece that I was wanting to really have those layers dry in between, then I would do a layer, let it dry overnight, dual-layer, let that dry overnight. And then some point I would finally be like, ok, now my piece is done and cut the tape on the back pretty good here and then get it or I can grab it. There we go. Kinda makes sure there's nothing on my finger before I touched the side of the paper because I've already got paint on this side of the paper. I can see it from this route right there. And I might just take my paint rags, move your paint a little further away. I can't move. It's so far away with the filming. But I don't have it far enough out Racket trim that if i loved it enough that I wanted to use it for something. Just kinda cramped. And here with the filming, sorry, whoo. Now that we're done and I flipped it over. I love this. We can actually see, you know, what direction do we really love it best? But I'm feeling like this direction right here is what I love. I'm actually super happy with that. So maybe I won't cut anything out of that and that'll be my finished piece. And if you're going to sign your pieces to, I'll recommend you wait until the next day when it's kinda dry. And then you can take your little marking tool and just sign your little signature on the piece itself. Like I could do it now too though. And this is 20-20 sock put the year in there. And then I have signed my piece. So just decided it's kinda easier the next day when the layers mostly dry, you get a nice clean signature in there, but that's how I'd sign in if I was done with it, but look how beautiful that actually ended up. I'm super happy with it. So I may not cut any out of it. And I may come back and just see, is there anything I like better, like for some reason this corner up here, just in love with and as a say, like a five-by-five piece, I would love that. Managed to cradle board and and hung on the wall. Well, but I actually love my big piece too, so that one might just stay like it is. I hope you enjoyed doing the bigger paper peace. Don't spend too much time on your first several pieces. Work a little faster with bigger tools and just see, you know, get into the loosening up and see what can you create and how does the paints work and how do you enjoy working on a little bit bigger surface then the sample pieces and just see what you can create. So I'm looking forward to seeing your pieces, the colors that you pick out on. If I didn't tell you what that pink was, its light magenta from the whole being one nest only color that I added onto my palette for this one. And I'm looking forward to seeing your pieces. So I'll see you back in class. No, no, no. 12. Random Abstract - Color blocking: All right, on this big piece of paper that I prepped, I have changed my colors. And I'm very inspired by this sample set that I showed you earlier. Or I used the pink and the ochre and the white, a little bit of gray. And I had these colors kinda with it. So I knew exactly what colors they were. It was a Portland cool gray by Gamblin. It was a whole bean, light magenta, which I loved this pink. And the wind, Winsor Newton, yellow ochre and a Gamblin, warm white. And this was a little sample I had been given by the gamble and rip at an artist show. And then before I had pulled this back out, so I was thinking I wanted to do Orange and Pink. I had put out some orange, cadmium orange by Winsor Newton. And so that's up there too. And I don't know how dominant that might be, but it could be some to add into this. But I'm just really inspired by this color palette. And so I'm going to make one of my great big abstracts. Like I do quite a bit with my acrylic paints. And then after it's all dry and we're done adding everything to it the next day or the day after. Once we let once we let it dry overnight, we're going to then search out little pieces that maybe we found interesting. Let me grab, you know, we're gonna take our little viewfinder and see if there's any composition in the big one that we love. And so that's my favorite way to create abstracts because I can create without trying to consider my end result, which is very freeing. And then I put out a bunch of paint here and I don't know how much will be left over because I don't know. I got super happy with the white in the orange there. So I do have another trash can cradle board that's painted black because I had painted Farber 6-7. And so I just went to my closet and grabbed another one. And the black is nice because it makes the colors more vivid than white. So it is kind of different in look you get. But I have this ready. So if I have leftover paint, I can put that on here without wasting the paint, and that can be the base of another future painting. So on this part, I'm just gonna take a big piece of graphite. I think this thing is, don't get paint everywhere before we get started here. And I think this thing is hilarious because it's just a giant piece of graphite like the inside of a pencil, but it's the whole thing. And I got it in a sketch box subscription that I had. And I never would have bought that. But now that I've used it several times, I really like it. It's a nice silvery gray color and it's easy to work with. So I really like, really like using this thing. And since I have it, I'm going to use it. I'm just adding marks to the paper. We may or may not see them. You know, it's something that sometimes we see in, sometimes we don't, but it does get passed white page parallelization. But this whole technique really gets past that white page parallel, parallelization because of the way we do it, we're just lay in paint on it with no thought of what our end piece is going to be. And the paper so big, maybe I don't have enough paint mix will see. So I'm actually going to do something similar to what I've done in one of my little abstract classes, the abstracted venture S3, and try to work in larger color blocks here just for a different technique than what we've done in the other ones. And be a little more deliberate and were maybe only going to work on this the one day. This might not be a multilayer piece where we multilayer for days and days, if you will, just see what we can get today and tomorrow, search out interesting pieces. And which then we could if we found something we really loved and then that piece needed more to it. We could always add to those pieces. When we do that. After we cut out something interesting, we could then add the interest if we needed something more. But let's just start with this and just see. And I'm going to try to work more in blocks of color. Because the little abstracts that I ended up with in the acrylic class are some of my very favorite. And they're sitting over here. Maybe I should show those to you real quick. I hate to talk about something and then you wonder what I'm even talking about. But you can see I'm in that pink and brown ochre color family again with a little bit of this rosy color. And I really like it because these I was working in a larger color blocks also. And now that I'm looking at this two are really liked, this dark brown. So I may come back with a little bit of Van Dyke brown and add to my palette because I really love how that came out. So these little acrylic pieces, or even just as much inspiration as that original bit that I was just showing you. So I'm just gonna like color down here. And let's just go on into our next color and then we'll search out fun stuff tomorrow once this is dried, just see if we can get there already. Tell it's going nothing like the inspiration. Because I'm working in great big blocks of color and that inspiration piece was more colors must all around together. So that'll be very interesting to then look at that and see you will have different, did the different techniques create And a kind of now these every time I do, I'm like, I don't know. Am I going to like this is just going to turn out how I thought. And I'm in that moment of Tao right now thinking, oh no, did I pick the right thing that I should have gone a different direction. So just know is you're painting these and you're having those thoughts. I'm having those thoughts right now. We all have these thoughts. Ooh, I don't know. C, These are not as, these are so much more vivid compared to that inspiration piece that I don't know am I going to love this are not? Well, no, I just wiped off my knife when I went right back to the orange. To start with on these, my goal is to get the background covered, get all my blocks of colour started. That's, that's kinda where I start with on these. That's my goal. And then start going back thinking, OK, do I love this? I love that. What can we add now that we've got some color going? Maybe I want to colors to mix together. Let's start mark making and stuff and just see, you know, what, what can we do in here? May already know that this orange is so overpowering that maybe that just needs to be a touch of something. So maybe, you know, smearing some of these other colors on top will make me like it better. And, you know, mixing on the palette knife as I'm doing this, might be taking away from an overt all goal of making these big splashes of color to start with. But, you know, you've got to start somewhere. So I just figure we'll start there and see what we can get as we go. See, look at that as these mics. Now that is really pretty to me compared to these big strong colors out here. So I really like that the Old Paint takes a lot longer to dry because now we have the opportunity to go through and get these colors to mix and do stuff. And I could still be doing this an hour from now. If I wanted to just work on it for a long time, I love that. Love that. I'm not hemmed in or the time frame. We have to mix up some more paint. How about that? That's very interesting right in there. Still have some grey here, so I might need to start pulling gray in. Four, I break down and make some more paint. Look how that just, oh my goodness, that was super fun right in there. Alright, so I'm gonna need some more paint, so, well, let's start getting out some more paint. So just as a reminder, mixing out a little dab of paint. And then I'm gonna put some wax right next to each dab of paint. And then I don't think only more orange. And then we're going to try to mix that in. I say a 50-50 mixture. That's what will go in for. And I like to keep these little paint keys handy. I always had things for myself, so I have to have three or four of the same tool. So I have three or four of these little paint keys because I'm always set it down and then go and oh no, we're mellow pinky job. If you've got more than one, then I can just grab the next one. And then eventually when I do a little clean up, all the paint comes back out. Alright, lets say that. I'll paint comes back out. Don't even I was not thinking and talking at the same time. When I started cleanup, then all the little pieces are fine where I hit everything for myself and then I put it all back where it belonged. Alright. A little rag here, mixing each color clean with a clean spatula. And if you'd like to work with stencils, you know, you could do some stencil work here too. You could press the stencil into the paint to make a pattern kind of like we did with these foam pieces that have text Strom. Okay, let's start mixing some more of this color legacy with it. So in the end you kind of can't tale that started with big blocks of color, but sometimes you just gotta go with wherever that feeling is taking you. And I do like the way that these smudge together really prudently. And I can smooth some of these layers with my bowl scraper just to kinda see what we get. Before I start mark making. Kind of makes the color very interesting. Very atmospheric. Little more theory almost which I find interesting. Which may not be your style. And tomorrow that might not be my style, but you know, every single data set to paint. Maybe I'm Phil and something a little different. Look up pretty that is. And then if you wanted, you know, tighter color and more definition than I'm doing, definitely paint whatever inspires you. And another thing I like to do to, let's see if I can get this as some the white really fun scrapes and texture, when we just pull White across, I may not get it because it's still very wet. There we go. So like this kind of texture that we can get when we add one color and just work it in a certain area. This softly would it might have worked better drive and I liked this texture. Who like that one right there? Like thallium. Oops, I didn't mean to do that with spread that backup. I'm just going and adding so rurally thick, solid color on top of here. Just to add to the composition that hopefully will eventually search out and discover no rhyme or reason where I'm putting these. And again, I'm still just play in. But a hope in the end. All the playing gives us interest that we just didn't even expect. Sometimes these are too thick, like that white is just too thick up there. And I think once I use all this paint, I'm not going to not going to mix anymore, so I might not need that trash palette for this one. Alright, let's call that one good with all the paint. I don't know what we're going to end up with something that we like to fold this over so that adult stigma hand then it come out of that. Now let's use some of our bits and pieces and go in and add some pattern. We went just did that. Were US spun it accidentally. Be really careful not to spin. The Ziad. Just smooth that out a little bit where still got our texture without ruining it. But be careful not to notice thin, these are, gets so excited that you do that or something. Because it looks like you moved when you did it. It doesn't look like he did it on purpose. 13. Random Abstract - Adding Details: And I've got the warm with the dots here, I love dots. I'm just going to be real careful. Tap some dots in with hopefully not moving it around. And I don't care that it has paint on it. I just loved to paint on there. It just draws and it still works again the next time. I really like this one with the stripes. So I'm going to stamp down a few of these with some stripes. Who look at that. Oh yeah, I love that. Could come back in with my little drag tool. Just see, you know, at some point you have to decide do I have enough going on? Am I ready to stop? So, you know, maybe I do have enough going on and we can just see, you know, are we ready to let this dry? And I'm just might look around with my little viewfinder and see is there going to be something tomorrow that I think I love? Or am I just overdoing it with the color? Tomorrow? Do I need to come back in and really kind of do like a wider something over here so that bits of this shows through and it's not so chaotic. That might be something that we do tomorrow. So we may spend more than one day on this by then editing out different bits of this to make it really be something that we can pull a composition out of that's not overly busy because some of this really not what I had in mind. So we may then work on this tomorrow. So let me let this dry overnight and we will revisit this one tomorrow to, I'll see it in. Here is our big junk palette on the next day. And I will say this is probably 80% drop because some of this paint is super thick and you can see if I touch it, it still gets on my finger. So you definitely want to be working with gloves. So let me put my gloves on because some of these paints like the cadmium and stuff like that, they're toxic to be on the skin. And I just try to keep as much off my skin as possible. But I'm not afraid of the paint. And if you have problems with paint fumes, then consider an air purifier, fan, maybe window open. Consider some of those things. I'll be honest and tell you. The things don't bother me, so I actually just can't even smell them. So maybe in my old age, I'm losing my sense of smell. I don't know. So this is our underlayer and it's got lots going on. And then we'll put another layer on top of this. I'll definitely have to let this dry and other DAY before I then take my yummy little viewfinders and pick out pieces that I love. This is my favorite way to create. And while this paint is in a semi dry state, it's dry enough for us to layer on top of it. And it is the perfect time to add any additional market-making that you think you may want. Because you get such a nice clean edge in the semi dry state compared to when the paint was wet. So we don't have to add too many marks, but, you know, we may just like a few in here. Like I like to scribble writing, so we might put some of those. I also like it when there's a random ladder. Like you have a mark and another one. And then we have just some nice cross hatches in there. And I I call that the ladder. Found this little tool too, that this paint is still wet enough for me to create some kind of little circle marks. This is a, this is a rubber spout thing, funnel. But just think of things that have shapes that would make interesting designs. And because I've got such thick paint on here was still wet enough for me to make little circles in here. So it's just kinda looking around at different things that I could mark make with and just seeing anything I wanted to add to this layer before are now start on a top layer. And so I'm going to use the paint that I've already been working with. I'm going to try to use all my paint that I've got out and just see what we can get. So I'm gonna actually maybe start with some white and start editing out some of these areas. And I say editing out because right now there's too much going on. And there's almost nothing for me to look at is focal points within some other areas that can shine through. So almost want to edit what's going on here? Strict, NOT really thinking about how I'm editing though. I'm still very much working intuitively because this is not my composition. I'm going to be finding compositions out of this will be today because now with all the wet paint on top of the wet paint, there's no way that I'll be able to cut these without getting paint on everything. But I do want to at least get that next layer on. And we'll have to let this dry. And then we can start searching out compositions that we love. But I do want to edit some of the busy-ness out of it. Like actually like how this is turning out now that, you know, some of that white is toning down the business because I wanted to be super overwhelmingly busy and will come in now and we'll use this almost as my trash palette and fill in with some of the paint that I've got left over. I could be more strategic with specific colors too. But these are kinda in my color palette. So let's just see what we can do here with the paint that we've got out before we start mixing any other paint, if I want to do that later. See nail, nail. Let's just take a look before we go any further. Now, I can then start thinking, you know, what, what do I love here? Order enough dark and light. Do I have enough showing through of the under layers that are like nothing standing out to me yet. So let's just keep going. But if you did your little viewfinder, which this is just for strips of watercolor paper that I've cut up and take together to make a five-by-five square. And then this one I think is a five by seven square. I'm done the same thing. So decide what sizes you want your finished pieces to be. And then you can cut some squares out of those pieces. And we can even, we don't have to be so square here with our paint putting on us. We can start doing some little shapes and things. I can use some other I can use other things to put the pain on width. If I wanted to work with a catalyst tool instead of the big tool, I could do that. Which lets just do that just to see the difference. I want you to experiment with the tools that you use to put paint on so that you can kind of get a feel for what some of these different things will do. So let's go in with some yellow. And maybe I want to get some other marks and streaks in there instead of everything being so straight. So that might be fun. It's got a lot of paint on and let's keep that paint. In. This tool is a completely different field to work with. And the bigger tool, this is by far my favorite. And then lets almost, I'm almost scared here, but let's, let's dive in with some dark color. Maybe we need some dark NAS in here so that when we go to pull compositions out, I've got some dark, I've got some light areas. I've got things of interest. I can pull from not all one tone or one shade or one colour family. And I don't know what part of this I'll love. But I'm definitely adding different shades just in different places. And I kinda like it when it does this yummy M60 thing, that's really pretty. It doesn't all have to be completely solid color. So let's see. Did that give us any areas of contrast? We're thinking, oh, I love that. You know this, you can almost to start thinking of an area that you love and then think, oh, I need more of this or that, and you can kind of start working towards a composition in this way. Like maybe that needed some dark. And maybe, maybe we need some of those little lines that I love. I love these lines. I love doing that in pieces of art and the paints so thick right now that it's not necessarily a completely clean line. If I put this paint, do this technique on dry paint, it wouldn't be going all the way through to the base color. But I kinda like that. It is doing that on the base color for these. So if I go softer, I get less down to the base. Kinda fun. See now I've got some spots where the color is darker. Maybe I like that. Maybe I don't love it. Maybe I'll love it completely. I mean, who knows? I mean, they were just gonna kinda, this is definitely experimental play. It's an excellent way to experiment with color. Blend things that you wouldn't normally have thought would go and just say, you know, what do we get? And we've got brown here about enough. I'll introduce another color. So I might go back with some of the colors that we were already working with and just add some in here. And then when you're looking for compositions tomorrow or whatever day you're doing that, you know, you don't have to call at the end if you've got something that you're like, OK, this is almost here and this needs one more thing. And don't be afraid to cut it out and then add that element that you're thinking it needs. Let's come back with some light. Ooh, I like that. Let's make it do that again are like that definitive line of lightness that was fun. Oh, I do like that. Completely different color palette than what I had imagined in my mind. You're wondering there. That's the fun of working this way. You just get things that are yummy and surprising and I didn't expect that. And It's things I could never recreate again. Like I can guarantee you this is not something I could recreate a second time. This, these are one and done. These are custom one piece kinda things. You're not going to be able to do this over and over. Which is what I like about working this way. And then you get fun ideas of compositions and colors to work with later. So I love that. I love using these as samples for future larger projects, maybe. Oh yeah, like these little bits of pink. And the thicker you put this pane on, the longer it will take to dry, just know that. So, you know, we may or may not be able to come back tomorrow and cut this out because now we've got many, many layers of very thick paint. What you see, is there anything in there that I'm thinking that I like and think like that I'm kinda looking up in my camera viewfinder that my film, the camera that's filming because it's almost like I'm standing back to look at it like I really like this piece right here. And I liked that there's some light and dark and some other things go on in there. I mean, I almost want to be able to cut it up right now. See with acrylic paint, we could just wait a few minutes. It'll be dry and we can not liking anything right in here. I'll think I love that piece. So make go back up here and add some more stuff just to see if later I'll like it. So like with acrylic paint. Oh, do you think that made that were I like that quite a bit more. The acrylic paint, you know, we could be like him right there. We could be weight in an hour and then we could come back and cut this out. So I really like this down here and I really like that up there. And I like that they're kind of in the same color range, but they're not they're not exactly the same. I like that. Well, we like it tomorrow. I don't know. But with acrylic painting away to narrow and come back and cut this out. But we're not going to be able to do that with, put some darkness here. We're not gonna be able to do that with oil paint because you can't just put a heat gun on oil paint. It doesn't work that way. It won't dry it for you like you expect it to do with the acrylic paint just doesn't work. Maybe if we put like the dark, kinda like what's going on in this little area here. So tomorrow I hope I remember. I like that. This is that, you know, me a little bit of grey that we made with that pretty blue and the white. Don't want it to be a line. And then we went that way. I want it to be a little more organic. They're now, my goal is just to use up as much as this paint really as I can. I want to go ahead and not leave paints sitting out over here and not get it all over myself. So at this point, I'm going to think, what other marks Could I make gone here before I call this one? For today? I've got my little wire things, so let's just go through and maybe add some more lines. It's fun. That's fun. So I like this little wire things and we can go squigglies. We don't have to do straight lines. These little tiny wire II pieces though were perfect for making fine little lines of that. Looks like a bunch of writing. Like a like a little extra thick paint out. Of course, if you stick yourself, that hurts. And I do love these extra little scribbles that we got going on there, and I like the dots, so let's put some dots in there. And this paints real thick. So I am being super careful not to move this all around. And I just want to just have like a fingers weren't the dots. So wherever I tap my finger down, that's probably the dots we're gonna get. I don't want the whole thing and I want it to be one big square dot thing. And I don't necessarily want it to be a bunch of paint that I've just laid down on here on top of another color. So I'm kind of moving it all around. That's fun. The underside of this would make a bigger dot. That's kinda fun. Let's see if there's any. These are really fun. You know, it might be fun just to scrape a whole area of paint off. So that's kinda fun. That well Element down there. We just revealed some bright orange. That was pretty exciting. To reveal that. I don't know if I'm going to love that or not. And then of course, cleaning it up as well as I can here with my dirty paper towel. So let's just get a new paper towel. And then I can just clean that up pretty easily and put that back away. So lets just see, did I just overdo it with those lines down there? Did that add to my piece? So in this case, to what I could do if I decided, you know, some of this is too much or I've got some weird paint sticking up. I can come back through and soften some of these. And those were definitely vivid. They're I don't know if I'm going to love those or not. But very interesting little experiment there. We could even kind of now come run through here and soften these up a little law, just smearing some paint back room kinda adds to the texture there, but it pushes it back into our piece so it's not so vivid on top. And let's take a look. Do we still love that piece? I think I still do. There's still enough light and dark in there. This piece up here still pretty fun. So tomorrow when this dries, I'm gonna hunts and pieces out here in this color way is way different than I expected, since I threw that dark blue in, but still super fun. And I think we're going to end up with some interesting pieces that I didn't expect. So gotta let this draft for another day. There's no way that I can do anything with it today. And even tomorrow, it may still be slightly too wet to cut because I want to be able to put my big ruler on it and cut out. So this may be a project that I come back to in two or three days because the pain is so thick, may not be able to cut it out tomorrow, so we'll just have to see. So I'm gonna set this to the side and let it dry. And then I will come back after we've got it to a point that I can search out and cut some pieces. 14. Random Abstract - Cut outs: All right, it's the next day and this piece is dry enough for me to at least touch it. And I think for the moment, I'm not going to add any more elements to it. And I go ahead, peel my tape off. Here's a little bit of is this OK? Or I think I just got it off the tape so I wanna be real careful as I'm peeling that. I'm not touching any edge that I don't want to get dirty, but because this is a piece that we're cutting pieces out of, it's not so important. But I just thought I'd mention that the stuff is not dry like acrylic paint. How pretty some of this is, you know, when I cut these pieces up, that's when I really love what we end up with. So if you end up with a great big piece that you love, then definitely feel free to leave it as a big piece. And I do actually love this pretty good. But there were several in here that I really, really liked. And I think I'm gonna take my five by seven P. So I have a, sorry, a five-by-five piece. I can do five by seven and pull out maybe one composition. But if I had gone further to the edges, I probably could have got two out of that or I could do to hear. But I like the five by five. So I think I'm going to use the five by five. So have a cutting mat down here. And I'm just going to search out yummy compositions that I love for some reason I love this because of the dark. And I'm just going to place this around and see and, you know, don't be afraid to turn these. I really like think that right there because of the dark. So, SIR, anything or really like this? Do we like it? Oh, that's even nice there. That kinda liked this one up here like this because we had the dark corners there. Let me start cutting out the ones on No, I love. So I'm going to start with this one right here. And I can either use some type of cutting piece like this as a quilting ruler, but it's really nice edge to cut with. I can also just draw this out and cut it with some scissors. I usually like to just have one of these wood panels that I use for doing art in the same size. And I usually like just cutting around that because it makes it so easy. So I think that's actually what I'm gonna do. I'm going to get that right. They're lined up and I'm just going to cut around this piece. And I have a very sharp exact DO knife that I use to cut with. And that just makes it easier. I just kinda lined it up and use the wood as my guide and makes it very easy to cut these out. And this is y two. You don't really want any of this to be super wet. Because if you're using this as a guide, you know, I'm pressing down on it and I don't want to pull a bunch of paint up when I pull my piece up and are made because it may not be dry enough. But the goal is to not pull a bunch of paint up. Look at that. Oh, I love that. I love that. Let's cut another one out. This is really my favorite part. These little reveals I can tell here that the blue was not as dry as it could have been because I can see a little tiny fleck it pulled up right here, but it's not anything that bothers me, it kind of adding to the composition. But you just want to be careful. If you're work in these vaster, then it intended. So I really liked this one. Right here. Delicate. Do I hit right there? I think I do. Like it right there. Who I kinda like that to. Who I think that one, that one could be the winner. Let's do that. Let's do that one right there. This is yummy. All right, so let's just eyeball it right there. There we go. Ha, yummy. This is my favorite part. This is as good as peeling tape. That's the reveal for what did you get? Like I'm wrapping a Christmas present. Who? Yeah. All right. I could kind of feel that the paint under this one might not have been a 100% there, but actually it's fine. Even that piece right there. There we go. Yeah, adds to the texture. Who all look at that one? Look at those together. Let's see. I think it goes this way. Looking at those together all my goodness, I don't know. I'm loving those. Set those to the side. See what else we've got. Because there's one more up here that I really lived right up here. And see, we might even at this point say, do I have enough for a five by seven cr, anything in there that are like really like it as a five by five. I'm, for some reason I'm just really obsessed with the AMI squares. I think I really want it right there. So I'm gonna go ahead and line this up basically with the corner because that's about where that wouldn't make sure I've got there we go. Make sure I've got it in where the paint is. They don't cut yourself, but just poked my end. Alright, let's pull that one to see what we got. Or count beautiful. Now this did pull a piece of paint off a here. So you might wait an extra day. You really wanna make sure it's dry, dry before you pull that off. And we could go back and fill that spot in with the paint we peeled off or I could just come back later and add some paint in there. Not a big deal. That's definitely why you want to make sure it's dry enough though. But I still love it. Let's look at these three pieces that we got out of here. And actually now that I'm looking up there, there's a fourth piece I might like. Look at these three. Ha, having such a pretty collection. But now that I'm looking at this last piece up here, these are really nice for collage elements, almost like this one. So I just want to view it real quick and see is that one. And I think this is one that I'm going to go ahead and cut out a love that to band. You know what I could do just because I know it's wet is I could try to line this up and cut inside this line and just see if that works just as good. So I'm not actually holding this hard thing down on it, but I'm almost afraid now that I've done that, I'm going to cut the piece smaller than the other three. So maybe I'll just go right back to use an MC. Esa wouldn't be real careful. That's pressing down on the would not intentionally pretty hard on the other one. So maybe if I press less hard because pulling this probably a day early. Oh, there we go. I'll see that one's just as pretty too. And then what we have left over super pretty bits. I can use these bits for collaged pieces when we're done and I can just cut those out with some paper and then this can be some kinda with paper scissors. I mean, these could be pretty collage elements like this one right here. I love this little strip. This could also be a strip that we could use if we save our color palette in a book like I do with some of my other classes. That could be the piece that I use in my color palette book that I key. Let's just go ahead and cut these out. And then we see what we got left. I actually really like this. So as a little mini piece of art that might make a nice framed micro piece of art because meant both of these are pretty too. But this one is really appealing to me. It might be an inspiration, might be a collage piece later. So here's our four pieces that we cut out. Man, I am in love with those I kinda doubt and the color palette. But now that I've played with it and used it, it kind of speaks to me now that it's done. This is this technique is one that every time I do it, just about no matter what, what I use material was, I get something out of it every single time. I'm pleased when I leave my table, I get little pieces of art that I can feel good about that I did that day. And instead of getting up and leaving mad because I didn't create anything I liked. I leave pretty happy for the rest of the day. So I hope you enjoyed this technique. When you get to the cutoff stage, maybe let your piece draw two or three days rather than the next day if you're using thicker paint here because I was trying to finish up my little workshop. So I went ahead and cut the pieces out, but it is not completely dry enough really for us to cut on it like we did with the one that had a little piece of paint that came up bucket tail. I shouldn't let that step for another two or three days. So just make sure if you're doing this piece, you know, do all your bottom layers and then let that dry overnight and then do your top layers and then let that dry overnight. And then if you do anything the next day, then let that dry until you get to the point where you think, okay, I'm ready to cut it out and set it to the side. Maybe wait three days and then come back and test to see if it's really dry enough to be leaning on it and picking out and cutting out of it. So I hope you love this technique. I can't wait to see the ones that you create, and I'll see you back in class. 15. Abstract on cradled board: In this video, I'm going to use this piece as my trash paint piece. And what I mean by that is rather than waste all the paint that put out for today, I want to surface to be able to use that paint on rather than just throw it away. And so I thought this would be a great time to just experiment on a piece of cradle board. And it's painted black gesso because a paying it a bunch of these at one time intending to do all kinds of fun stuff. And then they sat in my closet. And when I was doing this piece thinking are needed board that I could use for my trash palette piece. And that's the ones I happen to grab. So that's black, just so painted on there. You could paint yours of white just because it's unfinished board and that oil leach into the board instead of staying on top like we want. And you need to prime the board when you're doing the oil paint. So I have taped off the sides because when I'm done I want to be able to just pull the typeof and Assad be cleaned because on the off chance that I love the piece, I want it to be nice and finished. If you were to paint this and you didn't cover the sides and you had coal wax and oil paint all over the sides. You could clean that up with a scraper and sandpaper and sand it down. But let me tell you that's a lot of work when you could have just typed it often than done. So this is the board that we're going to use as just our leftover paint trash pallet so that I don't waste anything. And we can make this abstract. We can make it several layers and dig through and in the end, end up with a pretty abstract because on the top layer in the end, you may have all these layers underneath it of different things. But maybe that top layer is a finished painting that you add after everything was dry. And my goal here is just to use all my paint. So to getting it on this first layer, I'm not looking to do anything specific other than not waste the paint though to like I'm just trying to cover the surface. And then this might be something that we, you know, dig through upper layers and we'll find these interesting things underneath it. And when we're all done, it might not be anything pretty. You might be. It's a better painter than me and just end up with something beautiful and everything you paint. One takes effort. Doesn't help though that I'm using all the leftover random, weird onus in such a way that I'm not trying to get something exact. You could certainly be much more specific about this than I am. Less grabbed as green. See, I don't really even care that they're kinda all mixing up. I just wanna get the paint on there. And then I will pick a different color palette for something else. And when we do something on top of this, you know, these underneath layers may be what adds the extra bit and interests to our piece. So doesn't really matter how ugly it is. This may be what gives us those interesting peak throughs. And it's really thick. So by the time I come back to this, I'll definitely be glad these layers have kinda dried a bit. Alright, so I think I've got all the paint off at Year. And a may smooth this out with my silicone knife just to get my layer a little more even for like the next coat. Don't even care that I'm mixing the colors in here. I'm just looking for it's actually pretty or now that I've mixed that, I just want it to be more of an atmospheric kinda look under. They're not anything special really. Now look at that. See sometimes you surprise yourself with what you get. Look how pretty that is almost like a scene at the ocean. Maybe we're looking through a waterfall and this is the colors shining through the waterfall. I just like this a whole lot better now. I got right there. Didn't know BAC waterfall. So pretty all right. What started out as kind of questionable and I went to liking it at all has turned out to be really interesting here with our colors. So just goes to show you. And then I'm just going to wipe the edges so I don't have a big glob on here to have to do anything with later. Alright, so here is the beginning of our extra palette that just used up all my paint. So I didn't throw any paint away. And thus the first layer that's going to be under there. And look how pretty that layer turned out as I was painting all those terrible colors on there. So we're going to let this dry. I could do some extra marks in here or some things if I wanted to, I could go ahead and use this as my look at that, my experimental thing. That was rude, pretty actually, I'm really happy I did that. Let's put some dots up here. Look at that. Whew I just moved him. Okay. So when you're doing these dots like this, be careful that you're not so excited, you're pulling it a little bit. Because if you'll notice up here I've got a nice little dot down here. I've got a smear. So in a case like that, I would probably come back with my palette knife. And maybe spread those back in a little bit and let him still be a little bit of texture, but not quite that smear. That looks like a mistake. Oh, you know, we could actually paint like some botanical right on top of that, like a white edge botanical. If we were doing this in acrylic paint. And that would be really pretty. Could also take my little knife here. And I could come through with a few little marks. And my paint so thick that I don't want to do too much on this. Let's see. I don't know, kinda like it like it is, I hate to even do anything else to it right now. I like the texture. I like what I have go and like the marks that we have, like the yummy waterfall look that it created. So let's let this one dry till tomorrow and then we will decide what we want to layer on top of that to continue our abstract book property that is, alright, so working on the wood panel a little different than working on paper. I do encourage you to try at least one, even if if it's your extra paint panel like I'm doing. Because in the end that could just be the bottom layers of something fabulous that we put on top. So let's let this dry overnight and I'll be back tomorrow. Alright, our trash piece is dried and I'll be honest with you, I love this one so much just like it is, that I don't want to paint on top of it. So I thought because I actually feel like that piece is where it needs to be. I could come back in today and do some scratching on it. I could sign it if I wanted to sign it. Which way is down? I think this way is down. I could come back over here and sign it. But the year on it, see how beautifully that signs. If you decide to sign like that, wait til the next day. It sounds beautiful and would not say it's a 100% dry because this had real thick paint on it. So if I went to dig my finger into it or anything like that, I would definitely damage it. But I don't want to change anything about it. I think I I love it. You know, I could come and add a few of those scratchy writings in there if I wanted it to look a little bit like some scribble. And the pain is still pretty thick. So even though it's like sit but not dry, I almost don't want even scratch into it right now. So I wanted to show you how I might finish the sides of a piece that I like, like that just because we're on a cradle board, so I'm gonna pull the tape off. I'm not going to add any more paint to the top. I'm going to pull my tape off and it was paying you a blight, jess. Oh, so that's why the sides are black. So at this point, I could go back now with some black paint and definitely paint the sides really nicely and make sure that it's exactly perfect. Like I wanted. If I had any paint on the side that I wanted to scrape off, I could get one of my clay tools. And do a little bit of scraping if I needed to like one of these, that's gotta a little scrapie edge on it. Let's do this one. And I could come right along the edge if I had any clay that was overhanging because sometimes you do and pull that right out and there's a little bit that came off. So that's how I could really easily just clean the edges, just run along there with a with a little tool and clean that edge off. I could also very carefully with my fingers, I could smooth that down and make that a nice finished edge without any trouble at all. And then that would be sit. I actually like it like that too. I mean, I'm just loving this piece. I don't even want to change it. But look how pretty does with the black edge. So that's one choice. And we can be ready to hang that. Another choice that I really like is using metallic wax on the side. And I have metallic luster by deco art. I have gold, but apparently I've had it for so long and it's been not sealed as well as it could be that it's now hard. So when you bother waxes, they don't, they don't stay good forever. And the gold would've been pretty on the edge of this piece of that goal just fell on my painting hanging on us. Keep that off. It doesn't last forever, so you gotta be real careful when you buy it that just know that eventually it's not going to, not going to be as good. And it will go until you could probably add some of this wax because this is the wax. You can add wax details on your piece if you wanted to. And then also have art alchemy, metallic. And this is a copper color and it's not to draw. So I do like this. Pretty color is pulling out of some of the color that I already have in this piece. And I could go through and add some little decoration in this colour or I could even light, maybe if I wanted part of a stencil on here, I could do the stencil in a wax because because it's wax, I think it'll sit on top of the wax nicely. But what I'm gonna do is take one of my shop rags, my blue towels here, put a little bit of this on here and I'm going to finish the sides with this copper piece, copper wax. And you just you just put it on there just like that with your finger to the consistency and the thickness that you want. And then we just let that dry just like we did the the cold wax on top, we just let that dry for a bit and it's finished. Like we don't have to really do anything else to it. We could come back with a, with a rag and Buffett if we wanted. But this is basically painting on the side with metallic wax, which I think is so pretty. I mean, look how beautiful that aside is. It's shine really pretty. It's a nice finished to our piece that we've created. Do like these extra touches. When you go to finish these. Extra details that just elevate it. And make somebody excited as they're kind of looking around the piece and discovering all the different elements that you added. I just love that. I love that as an art collector because I collect a lot of art from other artists. I like supporting other artists on their journey to be a full-time working artist. I just love collecting art, being expired, having a hanging around my house. And when they have such fun details for me to look at and discover, really makes me appreciate the hard work and effort that they've put into the pieces that I have collected, the extra details that really complete it. And I'm being very careful not to get this on the painting itself. I don't want the metallic On the top. If I don't, I can avoid it. And at this point, you know that top is still wet and solve really wouldn't consider taping off or anything. Not that I'd consider putting tape on the top of the painting anyway. But just in case you're wondering, cannot type it off. I wouldn't I wouldn't even consider that. I would just do this slowly and carefully. Or if you're painting the side with a color that you think will complement your painting. Or with black, just be super careful with your paintbrush as you're painting the side because you could use black acrylic paint and paint the side. And that'll be just fine from wherein a hole and morale here. So let me just pick another spot, finish off here. And you gotta be careful touch in it. It's not like you can touch the sides of this with your fingers. You'll have a fingerprint. So be real careful after you've wax the side that you've got this in a place that you cannot touch it for awhile until it's dry because you'll put fingerprints and and it's just like what pain at the moment. It's not dry yet, not set. And then tomorrow or few hours from now at least, then you'll be able to touch the sides. But for the moment, just consider it wet paint. And if you do accidentally touch anything, go back with your rag and touch it up real quick before it's set. I really didn't expect to call this one done without adding more paint too. And I'm kind of pleasantly surprised myself that it's so beautiful, just like it was the one we spread our paint on it yesterday. So don't be afraid to call a piece done before you thought you were going to be done with it either because I just love that. I don't want to put anything on top of it. I love how it looks like. I'm looking through a waterfall to a lush landscape beyond. And this is maybe some water or maybe I'm in a cavern and looking through the waterfall. It just looks like a waterfall to me and I'm just in love with this. And now we have beautiful copper finished edges that are going to have a slight Xin to really set that off when we hang that up on the wall. So hope you enjoy your trash piece. As much as I did. This is our leftover paint piece. And once I'm done painting today, if I have leftover paint over here, like I've gotten Ale from the different projects I was doing. I will get another one of these and spread it, paint on it and I'm a like that and first layer or may decide tomorrow that it needs many layers. So it's very serendipitous on these pieces. When you've got leftover paint, what you're going to end up with and if you love it. So I can't wait to see your leftover paint pieces to see what you get. Those are kind of unexpected and fun. So I'm looking forward to see in those. Alright, I'll see you back in class. 16. Finishing your pieces: In this video, let's talk about finishing your pieces. So if you're gonna do little pieces like this and cut them out, you can frame them just like that. And I'm going to pull a different little product over here, but you can frame it just like that. Or you can mount them the cradle boards. And I really liked mounting stuff to cradled boards when they're paper mix like that. And it's very easy to do. And if I'm going to mount those, these definitely have to be super dry. Would probably cut it a little bit bigger than my piece or or cut it out, put it, put it on a glue it to the piece, and then flip the piece over and trim off any edges that you had, even if it's supposed to be the same size or may still be a tiny piece you have to trim. And to glued the board I use yes paste. I put yes paste on the board and then I'll put the piece of art on. And then I take a piece of wax paper, which is like a parchment paper, Delhi paper from the kitchen. And then I asked fred, Those are really good. Make sure it's all stuff down. And then I would let that dry. And then I would paint the edges. And so if I'm going to use a paper piece that I'm going to mount later. That's how I would do that. These I have not cut out, but, and I really loved this set and you can cut them out and frame them under glass. But you do want this to be really dry because as the oil paint in this dries over time, it gases like it puts out a little bit of gas. And if you frame it too soon, which I've kind of heard this, but I gotta tell you my experience has been a tiny bit different, but I've heard if you frame it too soon, then it could gas onto the glass and make it foggy. So then you'd have to take it back out, clean the glass off, and then put it back in. But I got so excited with one set of wax things that I was creating that I framed one that was practically still wit. And they're still hanging in my downstairs desk area. And they look great. So you're just gonna have to experiment with that. Let them dry for a couple days before your frame. And if you can. But I have framed one practically as I finished it and stuck it in just so I could be like, look, I've done all four of these. So if you have glass that fogs up after the fact, just know that's what happened. The oil paint gassed, and you just need to take it out and clean that off. Now, as far as the finish on top goes, if you don't add any other materials on top of the wax paint concoction that you have here. Like if you don't put more wax crayon or something on top, I mean, really it's, it's finished. You don't have to do anything else to it. But a lot of people like one final coat of something on top like a varnish on their art pieces. And for this, I wouldn't necessarily recommend a varnish, but you can try the GAM var. It's made for the top artwork and it brushes on. The problem with the GAM var is if your oil paint mixture had More than 30% wax. And you know, I was telling you I used about a 50-50 ratio. So mine was about 50% paint to 50% wax. That ratio is too much wax. And if you put the GAM bar on top of these with the larger wax ratio, then it actually starts to break down the wax and it kind of ruins your piece. And so I don't personally use gam var, but if you're going to use a very low wax consistency and you want to finish with the GAM bar like you would an oil painting, then you could, but gamble and says, it's gotta be less than 30% wax in that mixture. So if you want to coat it with something, you probably want to be very careful and go ahead and cut this out. But you could put the cold wax, clear, a clear coat, a cold wax on top of that. And this stuff is just basically some bees wax and some resin. So it's not, it's not really bad for you and I just basically stick my fingers in it. It's likes shortening. I just get a glob out here and then I just rubbed the wax right on there. You could also rub the wax on there with a lint free cloth or like the shop towel that I like to use. The shop towels which come from the paint department in the hardware store because painters like these and I like these because they're free and they're little sturdier than a paper towel. So coat the whole thing in a clear layer, then let that dry for I want to say more than several days because these pieces that I have that are not quite dry, you can't do that. You can you can maybe add the clear wax on top of it, but I wouldn't be rubbing it in like a normally would because these pieces aren't completely dry yet. So I'd want the piece completely dry. Then I would take a layer of Declare wax and then lead that completely dry. And that would be my top finished coat. And then what I would do is come back with a lint free cloth or a t-shirt or something and lightly buff the surface. And that will give you a kind of a set and a sheen and a final finished to that piece. You can just bump it just like that. Now these don't have a coda clear on them and you can buff them also to get a final finish coat. So that's how I would finish the top of these if I had to have something on top, a clear code of the cold wax, left that completely dry and cure for awhile. And then Buffett, you don't have to add anything. These are fine, just like they are. They're wax and color. The other way that I would finish if I were mounting it to a board, you can either paint the sides like I was talking about with the smaller piece that I had out here. You can paint the sides a color that you want. Or in this project, I show you how I wax the sides with a yummy metallic wax to give the to give the sides a nice finish. So that's another thing that I think is really fun for finishing is some of these metallic waxes. So I do show you how I use that wax in this project. And it is something I find really beautiful on the side of pieces that you might want to consider doing. But if you don't wanna do that, you can just take any color of acrylic paint that you love and paint the sides and that piece would be finished. And then I would always kind of in the bottom corner, come down here and scratch your name in with like a little. This is a clay tool that's got a nice pointy thing. But before the wax is to cleared, I just sign it kind of in the corner. That's where I like to sign you, kind of choose what works best for you. And then if you can't see it or you think I don't want to sign the front or whatever, and you can definitely sign the back, put a year, put a quote, something that you'd like to put on the back of your paintings, that's perfectly fine also. But if you're gonna glue this down to a board, then I would wait and put that information on the back of your board back here. So hope that gives you some good ideas on ways that you might finish these. There's lots of different opinions for ways to finish art and do things like that. But with the cold wax, you are little more limited on things that you can put on top of that. And I don't want you to ruin it by using something like a varnish that's not gonna be as good with a heavier wax mixture like most artists do with the cold wax. Most artists do cold wax medium on top with that draw for awhile and then Buffet and then door lens is another brand of cold wax as the gambling. So I have tried both and, you know, it's about the same exact thing. So they either one works just fine. So can't wait to see some of your pieces finished. That would be amazing if you frame it up or do something on a nice cradle board. I'd love to see those projects. So come back and show them to us in the projects area. And I will see you back in class. 17. Color palettes: I want to remind you, as you're going to start collecting some of your color palettes to refer back to. And I know we saw some of these in an earlier video. These are some color palette collections that I have played with. I'm not saying they're great or anything like that. It's just color studies that I have tried as I was experimenting with color and mixing color and marks. And what I want you to do when you do those colors studies in class is I want you to create, take a piece of scrap paper. You can do this in your color study book like shown in other classes. You know, I keep a and this is my acrylic colors. But you could do this with oil paints and a pretty little book like this. I like to keep color palettes of things that I have tried and experimented with. And with the oil paints, I will write what brand it was like, Winsor Newton lamp black and then titanium whites, pretty much titanium white. And then if I created a color out of some other colors than I noted what I used so that I would know sharpen tropical green him Graham Quint, quinacridone, violent, Winsor, Newton Payne's gray. That's how I came up with maybe these reddish lavender colors for this particular color set. So I want you to get in the habit of having some little scraps of paper around. I like little scraps like this. And then I keep these with this. They were very easy to pull out to show to you because they're handy and I just kinda keep it stored with it. Which is why I like working on paper pieces. If these aren't some masterful masterpieces that I'm creating, it's nice to work on paper so you can store it and refer to it later. But get in the habit of creating yourself a little page and put a little of each color on there as you're going write down what they were and save that. So if this was a color palette that you're like, Oh my God, I loved us and I want to revisit it a couple more times. Now you remembered what you use because I guarantee you if I came back to this a year later because these are definitely some that I made last year, the year before. I there's no way I'm going to remember what it was that I used. And so I love having these little bits of paper. And I created lots of these. And I will create him for the pieces that I did in class also, if I didn't mention it throughout class, and I just like having samples in color waves of things that I love and I love seeing the colors that you use to. So in class, if one of your projects that you end up doing are the little setup for color pieces, you know, doing your color samples with it. I want to see that you did your color color pieces too. So like this, I've revisited a couple of times and I wouldn't have remembered these colors after due in the color study if I hadn't put it down, but then I could revisit that on, you know, bigger pieces and different mark making and seeing like what did I love? Like I love this set is such a fun, happy color set. And I love this with the whole being light magenta and the ochre and the cold gray and the warm white. And you'll notice in class, that's the colors that I used in one of the projects. You know, that's, I got that inspiration from this color palette. And even though what I ended up with might not look identical to what I did here. That's where the inspiration came from. It's a color palette that I know I love. And I'm, I'm going to want to revisit it again and again because it makes me happy and I'm going to want to know what those colors were. So I have that. So as you go and definitely make yourself some color palettes to put with your pieces when they're dry so you can refer back to them and figure out how did you get to where you got when you created your pieces in class? So I'm pretty excited to see what color pallets you choose. You know, I kind of like trying out things that others discover. And so if you find an interesting color palette that you wouldn't mind sharing, all of us would love to see that too. And maybe that's a color palette we could play with two.