Introduction To Layers - Make Better Artwork | Robert Joyner | Skillshare

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Introduction To Layers - Make Better Artwork

teacher avatar Robert Joyner, Making Art Fun

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

4 Lessons (22m)
    • 1. What You Will Learn

    • 2. Part 1

    • 3. Part 2

    • 4. Part 3

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About This Class

In this class you will learn a lot about using layers with acrylics and mixed media. Layers are the key to creating intersting artwork by adding depth to your subjects. The lessons will demonstrate the basic idea of using layers and will open you up to how you can easily improve your artwork.

I will give you two examples of working in layers which are described below:

1. Working with mixed media - basically having fun & creating expressively.

2. Dark beginning

These are just two examples of painting in layers - there are many options. My goal with this class is to demonstrate two and hopefully it will open you up to thinking differently about how you approach your artwork.

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Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. What You Will Learn: Hi, I'm Robert Joyner with paint loose. I'm happy to share this class with you here on skill share. The class is all about layers and why they're so important for your artwork. Layers, to me is one of my is part of my foundation. That helps me maintaining control my artwork. It's so easy to paint in circles, sometimes not knowing what you're after or how to get a certain result and layers. It is a basic technique here that every artist needs to understand, and once you do, then you will find yourself getting full control of your paintings. Now the composition is very basic. It really gives me all the assets and details I need to teach this course to you. The idea, but on the course is for me to give you another technique that's going to strengthen your artwork and build your foundation for painting loose or any style. Our word. The class project is very easy. You'll create a painting using layers. I will supply this image if you want to do something like this, or you can simply use a coffee cup of wine bottle A very, very simple subject so that you can focus on painting in layers and then once you're done with that, you can share that with the community. I would love to see what you're doing and maybe offer some feedback on how you can improve . Or just really comment on how you are absolutely nailing this technique. I'm excited to share this with you. I know you're ready to get started. Grab your paint, brush your paints a little bit of paper and let's get to learning people painting a layers , See you on the inside. 2. Part 1: All right, I'm ready to get started here. Have Friday. I'll just go over my palate. Yellow iron oxide Brady and fellow blue Liz Aerin. Little bit of burnt sienna, Their little power a little cat orange, titanium white And I have a little bit of is this shellac peak And this is scarlet A very intense red, so I'll be using that. And, um, it is a large square, small square. I have a little liner brush and around. And how so have a fan brush here? Um, it's not much of a fan anymore, but makes him interesting strokes. And I'll probably use that have a six b graphite and, uh, this one to demo here. Um, kind of just another example of how you can manipulate layers, okay, layers or since such a powerful tool. And once you really sink your teeth into you can never stop learning and never stop pushing layers to get Mawr mawr out of your artwork and to be more creative. Okay, over here is gonna be a dark example. All right. And then over here, I'm just going to just kind of get more of a mixed media. I'll just go wild. All right, I'm gonna have a lot of fun with it. Just go nuts. I can do this because my composition is very, very simple. It's just a red brick building with some windows I think would be interesting toe abstract them to play with them, just to see where it goes. Also, I love brick, red and white. I'm just those two colors. They're just do a lot for me. I don't know what it is, but anyway, the idea is just have a little bit of fun here to give you some more inspiration on painting with layers. This is this technique is covered in the essentials of painting loose and on. This is one of the very, very first things I cover because I want to be your foundation. It's a technique, but it is very, very vital to the success of your artwork. Okay, I'll stop right there. And the composition again is very simple shoes, some windows. I'll put a little bit of space here between these two just to make it more interesting. And even though these were all lined up kind of perfectly here, I'm just going to do this a little bit differently. Maybe add, uh, add one here using my lead on this thing. And there's some little window sills. And what not? And so the same thing over here. I'll change this up, maybe put the tube on the side closer together, maybe put a one down here on. So and that's my composition. I got my windowpanes. And what not happening here? Window trim. That's all I need. Okay, now, over here. Mixed media wild. I'm going to just No, I don't have this. Elizabeth Crimson's nice, but doesn't give me that big puncher Read that I want. So I'm going to use that scarlet in the last layer to really pop that brick red. So the idea in this first layer is just to put any old thing down. Uh, a little CNN just kind of mixing him into these oranges, and I'm not really worried about I just want to get some values and some colors going here . And this leaving pockets just here and there. Okay, Perfect. Now over here, I'm gonna start dark, so I'm gonna go a little bit of green, a little bit of ridean that's gonna gray it out a little bit. It's also going to darken the read by pushing that ridean and there slide this window over a little bit just to make it a little more interesting here, kind of our kid. Good. And now it's going to use a little bit of fail. Oh, and with this maybe pushed that more A little touchy yellow touch of red, you see, very, very dark inside these windows. For now. Just leave a little pockets of white in there too. They're over here. I could do the same thing. I'm going to be a little more colorful, so I'm gonna go a little more on the fail. Oh, little more pure and it's nice and loose here. Remember, this is my wild version and good. So layer one is done, and I don't really need anything more than that. Right now. It gets the gets it going, and then when it dries, I'll be back 3. Part 2: All right, Drop to the touch, but ready to go for the second layer. I will start here with a mixed media wild version here, and I will bring you in a little bit closer. So right away I want to start to add some mixed media here, and I know I will. Oh, I will put this scarlet that the ink over top of this. So I'm gonna go with a lighter yellow first. I'm just going to add some scribbles on energy to this. All right? Something like that is fine. And, um, now I have some white, and I can go ahead and maybe just start indicating a few of these windows. I don't want to do him all. I'm gonna leave some for painting. Want to paint some of these as well? I don't want them all the same. And for now, that that's fine. I'm gonna go ahead and grab my cheeks. All right. So I have my eggs here and about number 10 round. Dip it in the air, and inks were run a little bit of first, so I tend to start a little bit higher. So in case I get, you know, some run action there with my thanks. Catch it. But we did pretty good there. I just want that ink really Smear over these yellow is not all of it, but really as that energy and movement underneath the red, because inks are transparent. So you can see all that beautiful layering underneath. That was nice about it. Now, while I have you here, I will put my feet down and then do a little more work on the windows. Now, I just want to add a little bit of pop of color to those windows. I'm doing it because of that Red And I love that feeling of blue and red near each other. I just think it adds for a really good combination. And plus, I just want to add a little more movement to these windows and just kind of smearing that blue around the lines don't have to be perfect here, and that's fine. And now I'm gonna slide you over to the next one. So here we are with the dark version, and I'm going to go with a little bit of Liz Aerin and this kind of mixing in here with a little bit of CNN orange that I have. Maybe I want to push that a little more to the red test. That's still a little darker than what I want. I mean, I I can g o here, but I want to start to get this thing coming coming forward a little bit faster, so I don't want to spend all day on a demo, right? And I'm sure you got other things to do. And now going touch a little bit of yellow in there just to mix it up. Look how that kind of breaks up that color a little bit, and that's fine. Now I'm gonna go a little bit of a greater mixture here. So ragged green, yellow, little blue We'll push that to a reds. We get away from those greens a little bit, test it the white blue. And that's fun again. Just about I want to add a little bit of movement here to those, and that's good. And there you go. So I've got that second layer on You could see this was moving really wild and loose and fun, right? This one. I put some lighter values on it, Teoh, so that can put Bring it forward. Remember, I started dark and I'm gonna work toe light. So, uh, he now was to let it dry. Come back when it does and keep moan roller. 4. Part 3: All right, Welcome back. We'll start right over here, and I'll just leave you back for this one. There's not gonna be a whole lot happening. And I want Teoh get that feeling of just some of these shades and blinds and stuff like that in the windows. It's all mix up something in the greyish area. See, that's not too bad. Push that more to a red or value. Maybe yellow. All right, so we'll pretend this one has blinds. A lot of a lot of them do. And a zai put these in notice. I'm not. I'm leaving pockets here in the air, Um, off the of the beginning of the first layer. So I'm not covering everything up here. It will pretend this blind is all the way shut here. These people want their privacy, and it's gonna mix a little yellow just to change it up. And then we'll say, this one's more up in here. I can take that yellow and just touch in there, and that's good. Um, now that kind of sets the tone for the last bit. And I think I could go ahead and do that, um, be because what I'll do is I'll just mixed up a little bit of white here, A little bit of water I'm gonna do actually really wet mixture. But it will be really thick and paint, too. So it's not like a water color texture. Anything is more of a I'm just a really thick, wet, um, pile there of paint. And that works pretty good. And I really want to load my brush up. I think I will bring you in for this one. Look at my inspiration there and then just kind of go for I don't want to cover up all those crayon marks and I want the thickness of the lines to be the same everywhere. It would be kind of boring, and that's good. Gives it. Ah, nice, interesting look for windows and now I will put you over here and this building is coming along. Mago yellow read. I'm a push that to the white, more a pinkish color and then a little more red here or yellow. And that's good. We can just add a little touch here in the air war to this and the windows air dry. I want to do the same thing. Will get that feeling of of shades on some of these windows. Maybe this one again. We get those private folks, maybe they're sleeping. Maybe they have a name job or something, and we'll leave that one blank. Now I can mix up a little, take a little bit this brown that's already there. I could maybe I could do some sills Are you know, something like this going on? And now I can crack into this mixture a lot of water on my brush, go right into this, uh, thicker white and started whacking in these windows and not noticed and thereby put it on thick and not overworking it. It won't blend as much with that bottom layer if I sat there and worked and worked and work , and then it would blend in a little bit more and it would lose that freshness. Okay. And that's good. That could get some darks here. Little green, little red. And I just want to maybe change or just add a little more interest here, descended some of these darker windows and maybe even add a little shadow there and notice how I'm just touching, not trying to get mixed with that white and just no hint of shadow. Maybe can still a little green in this one. No darker blue and good. I think we need any more than that. But I will. For fun, they would go a little bit lighter. Let's get a little bit of texture going on here. I can take my, ah, Liz aerin a bigger brush and just add a little more depth and texture on this one. Make a little more believable. Whatever. Good. Now back yet and there you have it. Nice, simple, easy composition. While running my mouth here. I'm just going to grab a little bit of these darks. Just add that feeling of shadow. Maybe under behind some of these these these windows are are offset. So we're not flush to the building or to the trim. So that's probably a little bit of a shadow there that I would just add a little bit of dimension, um, to what we're doing. But for the most part, I kind of see how working in layers and giving you just a couple of more options. A couple more examples on how you can do this to create interest and in this case, You know, I went light to dark and then kind of this kind of wild version for you, and hopefully it inspires you to to continue to learn to continue to expand on your layers . You can't learn enough, and the more you understand that, the more you work with it and get control over it, the more you can manipulate and get control of your artwork. Okay? These techniques are awesome. Again. This is a very basic essential skill on. And that's why I introduced it into that at the essential class. And it's something that every artist should always continue to pursue and improve. Okay, Um, you can never understand this one enough. He can never be too good at it. And, um, I hope you enjoyed it. I enjoyed sharing this with you seeing the next