Intuitive Mixed Media | Jennifer Belair | Skillshare

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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

12 Lessons (1h 26m)
    • 1. Intro: Intuitive Mixed Media

      6:01
    • 2. Materials: The World is Your Oyster!

      7:31
    • 3. Wet Media Approaches: India Ink for Creating Tonal Values

      9:11
    • 4. Getting Started With Water Color

      6:31
    • 5. Water Color Part 2: Warm + Cool Abstractions

      10:02
    • 6. Adding Water Color to Dry India Ink

      2:08
    • 7. Collage Part 1

      4:53
    • 8. Collage Part 2

      13:08
    • 9. Dry Media Part 1

      9:15
    • 10. Dry Media Part 2

      5:15
    • 11. Additional Mixed Media: Lino Print + Acrylic Paint

      9:30
    • 12. Your Class Project

      2:43
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About This Class

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In this class, Intuitive Mixed Media, you’ll learn the ins and outs of creating artwork that is truly unique and completely playful. We will rely our own intuition to create one of a kind works of art using a vast array of materials! Mixed media is my main way of working these days as it is inexpensive and allows for many methods of expression. It’s not too reliant on any one material, because you can pull from anywhere—even colored pencils, and Crayola markers will do.

Mixed media refers to any work of art that contains more than one medium.

So if you are finding your self in a creative rut, this could be the perfect class for you. It allows you to pull from your environment and work with what you have available. And the best part, there are absolutely no rules, only a creative space to play and have fun!

In this class I will first be going over wet media approaches, basically anything that involves water or a wet materials-- think water color, India ink and acrylic. 

 The second part, Dry Media approaches—basically anything that is dry! So this can include your charcoal, conte, pastel, oil pastel, graphite, ball point pen, colored pencil and so much!

Additionally, we will go over collage and some relief printmaking.

It’s always helpful if you have some art making background but not at all necessary. This again is a space to play and to learn.  We will incorporate some relief block printing so in case you are interested, please check out my other classes where I go more in depth on that process.

 For your class project you will learn the art of play. You will create mixed media piece that incorporates wet media, dry media and collage. Mixed media has an inherit sense of abstraction so try to embrace. It can be challenging especially for beginners to make something super photorealistic. I would encourage play with mark making and media combinations.

Check out my class Pinterest Page featuring some of my own mixed media artwork!

Meet Your Teacher

Teacher Profile Image

Jennifer Belair

Printmaking + beyond

Teacher

Jennifer Belair Sakarian is an artist, educator, and writer living in Michigan. She received her Master's in Fine Art in 2013 at Wayne State University in Detroit, Michigan. Her primary focus is printmaking and mixed media approaches to art-making. As an avid nature lover, she tries to instill green practices into her studio practice and subsequently into her Skillshare classes. 

She loves working with students and creating projects that are fun, inspiring and approachable. She is transitioning from traditional academia to online platforms such as Skillshare and hopes to keep learning along the way!

During graduate school, she had been designing and silkscreening gig posters for her favorite bands--some of which you can purchase on her Etsy page-cle... See full profile

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Transcripts

1. Intro: Intuitive Mixed Media: Hi everyone. This is Jennifer evaluators Ricardian, and this class is titled intuitive mixed media. For this class, you'll learn the ins and outs of creating a truly mixed media work of art. You'll learn what works, what doesn't, and how to have some fun in between. We will rely on our own intuition to create a one of a kind work of art using a vast array of materials. Mixed media is actually my main method of expression and creating artwork because it doesn't just rely on, say, the printing press or having the right set of water color inks are oil paints and things like that. It's essentially pulling all those different modes of expression into one singular piece that is really truly unique and has a kind of different heir to it, a different life, do it something that feels very non-repeatable. It's truly unique in itself. And for me that's where the fun rest, because I never know what to expect. And as a creative person, it's always throwing me this really beautiful and strange curve ball that helps me kind of open up, loosen up, and create things with lightheartedness. Mixed media refers to any work of art that contains more than one medium. So if you're finding yourself in a creative red, this is a really perfect chance and opportunity for you to open up your method of expression. It allows you to pull truly from your environment to what you have available, what might be around you without having the pressure of needing new materials, new supplies, and things like that. And the best part, there are no rules. Only a space to be truly creative to play and have fun with no pressure. The great thing about it is that there's such a vast array of materials that you can use. You can use anything from a standard graphite pencil to an old tube of acrylic paint, to any kind of paper that might be able to hold the medium well. And you can learn to combine those things and get this new confidence and understanding what works and what doesn't. The only way that we can know these things is as if we actually try and see what happens. And for me that's the greatest part about mixed media. So this class will be broken down into several sections. The first section will be our wet media approaches. So anything that is wet or involves water. So you can think about your watercolors, your acrylic paints, and you're India ink. You can even get pretty creative and funky and use things like walnut ink if you have access to it. Even beet juice and coffee, tea, wine that were getting really creative with that. The second part will be our dry media approaches. So that would be anything that's not wet and is essentially quite dry. So think about your charcoal, your pen or pencil, you're graphite, pastel, oil, pastel, markers, things like that. And then additionally will also be going over how you can add some different elements such as a really simple relief print just using a stamp PET. And also collage. Collages are really great part of mixed media approaches and something that is quite a contemporary approach as is the mixed media kind of method of working as a whole. So this class is great for anyone. If you do have some art experience that'll make it a little bit easier for you. But I try to break things down in a simple kind of platform and way of understanding. So it is my intention to kind of loosen up the seasoned artists who might have a lot of experience. This is a great class for someone who wants to loosen up a little bit. So if you're really intentionally just doing graphite drawings or strictly pen and ink, you know, it's a good chance to kind of mix things up to play into how fun width. We will also incorporate some relief printmaking. So I do not go into that into too much detail. I basically pull out a stamp that I've already curved and they start making some impressions with it. So if you are new to that and your interest is piqued, you can go ahead and check out some of my other classes on the platform and learn more about relief printmaking in detail. So for your class project, you're going to learn the art of plate. I'll kind of show you what we created in retrospect here. So something that is really, truly mixed media and has quite a plethora of different approaches to it. So this is kind of my style of working where there's a lot going on and it's kinda wild and inventive. And that's what you're going to have the opportunity to do as well. So you're gonna be able to combine some different approaches and learn the art of play, as mentioned, learn the art of intuition. So for your class project, you're going to create a work of art and mixed media work of art that involves not only wet media, but dry media and also collage. And you can even expand from there. So there's a kind of the three pillars that I'd like you to try to play with. And something to note too, is that mixed media has kind of a natural tendency to be a little bit more abstract. So for anyone who is more photo-realistic, this could present a challenge for you, but that's kind of part of the fun of it is not making something that you have to feel married to, something that you can kind of play around with and have fun. And be more about the expression about the market-making, about how different media and kind of sit with each other. How does one sit on top of the other? And how can they kind of erase some of the boundaries between the two? So these are all things that we're gonna be going over. Again. Feel free to check out some of my other classes on the platform just so you can get some more in-depth understanding of their relief printmaking. And again, I'm so excited to share this class because it truly is my biggest passion. For those of you who've been following me, a lot of it's all about printmaking, but I am definitely a mixed media artist. So let's go ahead and get started. And at some time. 2. Materials: The World is Your Oyster!: Okay, so now I just wanted to go ahead and show you some of the potential materials that you might find useful in this mixed media process. Chances are some of the things you might already have your near studio space. The great thing about mixed media processes that you're essentially pulling from all different directions. And it's not just a painting, it's not just a print or a collage. It's something that's kind of combining or mixing different things together. So I'm gonna go ahead and just show you some of the different materials that I'm going to be using that are quite helpful. So I have things like your sponges and these are just told Chuck ones. I don't actually use them quite often, but they do have some some ability to do some pretty interesting things. Also things like paint brushes. You don't have to go out and get new ones. Chances are even if you have some old brushes that might be dried out, those could even be interesting. Things like permanent markers are always super helpful to just because they have kind of a different look and feel to them. Also just a random assortment of markers here. So another sharp B in addition to some stay below one. So some thin ones, some steak ones. You just wanna go ahead and give yourself as much variety as possible. So that's some materials. And some other really great materials are things like watercolor. So here I have a couple of my different watercolor painting trays. Some are in better shape than others, but you can even use the standard one that you find at your every day kind of retailer or online, or maybe a really old watercolor palette such as this one. It still has some life to it, so I like to use things until they're exhausted. And watercolors really fun to play with because it is quite transparent and you'll get some really cool effects with that. Otherwise, I have some other web media things like Sumi ink have some colored ink, India ink, and addition to another waterproof India ink. So whatever you have as far as that goes, these can all be super helpful and kinda fun to play around with. This class will be structured and both wet media and then dry media and then combining those two worlds together. So another wet media thing I have is some kind of specialty watercolor. And this one is more iridescent, more luminous. It's fine tech and I'll try to post a link to it. So it's just something that's going to add a little bit more visual variety. I have some pastels. I don't use pastels as much as I would like, but I found these in my husband's art areas, so I'm going to gracefully use them. The colored pencils. These kind of be good for coloring, right? Colorings really popular right now. But they can produce some really cool effects when it comes to making some finer pieces, some original one of a kind of works. So I like to have those on hand. In addition to using india ink, you could also use things like a stylus. So this is your stylus and then we have what's called the nib. This one already has it in there, so I'll just use that. But it's essentially a way that you can pick up and collect ink. So just another alternative to using a paintbrush. In addition to that, I also have some charcoal, some way some different varieties of softness as far as the charcoal pencils go. Some stick charcoal and it just depends on what you're feeling, what kind of work you're going to make and how you feel like experimenting with this. So again, your, your repertoire, your box of tools is whatever you have around you. And I think that's just super helpful and can kind of encourage and inspire some new ways of working. So in addition to that, I also have some collage elements. So I'm actually saving some seed packets that I thought could be kind of nice collage pieces. Also some calendar images we kinda fun to play with in case I'm feeling it. And then I also have some prints from if you've taken any of my relief print making classes, you might have seen some of these little imagery, but it's essentially print or a line of blank image that I had printed and then I had many, many images of it, such as line of print and print making can produce. So these can come in handy for some different collage elements. Perhaps. Some other interesting and useful things are tape. I have these from a couple of years ago that just haven't been used enough and their various thicknesses of the drafting tape. And these will be nice because essentially we can mask out an area when we work with our wet media. So I'll be sure to show y'all how to use this as well. Also painter's tape. So this stuff is pretty standard and it, you know, it might be too sticky, but I'm going to try and see what I can do. And then things like Q tips can come in handy, right? Mixed media were pulling things from everywhere. And that's where the fun begins. And then as far as materials, I have a couple of other things. And you have to excuse the noise question. I have watercolor palette, so this isn't necessary and you can also use a China plate or what else like parchment paper can work sometimes a piece of glass. So this is one that's like many stack of pallets, so it's kind of silly, but it works and you can keep using the paint over and over. If I say Inc., I apologize because I'm very used to teaching printmaking. So that's that. So some kind of substrate to have your watercolor or acrylic, whatever, what media you're using. Also, paper is going to be super useful. So I have a watercolor pad that I'm thinking will be kinda the main thing. This is just a Canson, nine by 12 inches, so it's a good size. And then I also tore down some pieces of arches and stonehenge. So these are great because they are, It's meant to be used with water, meant to be used with a lot of different media. They can handle a lot. You don't want your paper to be too thin, otherwise it could tear as were like getting into the mixed media process. So just a couple of things to be aware of. You want your paper to be sturdy. So that's why I recommend at least a watercolor or even Bristol board if you're not going to do too much of the wet media. Other than that, things like paint brushes, I showed you a few of them, but the more the merrier with mixed media acrylic paint can also be really useful. I think I have something I do some acrylic paints, so stuff like that could also be useful. I'll do a little bit of a demonstration with that as well. And also you're some kind of vessel or cup for your water will be really helpful. Things like pencil sharpeners, erasers and stuff like that. So kinda having the freedom to explore, to grab and pull from your environment. Other useful things like rulers, scissors, a glue stick or some kind of adhesive or the collage portion. And that's pretty much it. I would just suggest gathering whatever you might have. Even if it's seems kinda minimal Like a ballpoint pen, you'd be really surprised what you can do with the most simple of materials. So let's go ahead and get started with the wet media portion. 3. Wet Media Approaches: India Ink for Creating Tonal Values: Okay, so now I'm gonna go ahead and show you some things you can do with your wet media. I'm just gonna go ahead and start with the classic waterproof India ink. So the stuff is going to be very, very rich and very dark so it can be diluted, which is really great and kind of a wonderful way to use it. Something that I like to do is essentially I'll just put a little bit in some kind of tiny yogurt cup or something like that. Just put like a small square and then add some water in there. So that way it's a nice subtle gray. So let's go ahead and try to get a couple of different values that we can use with this India ink. So I'm gonna use things like these caps for yogurt, come in really handy. So again, trying to reduce and reuse and recycle whatever we have. So I'm going to start there and just open it up. And I'm gonna go ahead and put a little bit on their hoping it doesn't get on my paper, which it did. So be very careful. And then we'll start, we'll just kinda have a practice sheet here, so that's fine. So this is the pure black of the India ink and you'll see you want to have your station setup to where your water is nearby. It's probably helpful to have something like a paper towel or a rag or something like that. And some of your brushes handy as well. So we'll just kinda see what it looks like. So you can just use a dry brush and kind of get your brush wet a little bit and then use it to make some marks, right. So that looks pretty dark. It's not really a gray so much it's more like a pure black, but you notice that as you continue to use it, it's getting a little bit more fate. So one way to use what media is once you paint, you can essentially go back into it. And you'll notice it's starting to get just a little gray and gray more still. So I'm not adding any more angry right now and just kind of getting the brush wet and then using the the motion of the brush to spread the IQ. So you can see it still has a lot of darkness to it, which is totally fine. But you can even do things where you kinda pick up some water with your brush and you kinda drip it into there, right? So then you're getting these really different kind of fun and playful effects. And that is one of my favorite parts about using india ink, right? It's very playful. It has a lot of life do it. A lot can happen when you use that. So that's why it's good to kind of make pieces and explore has you're doing it and that stay to married to an idea. This class is all about loosening up and trying something different to kind of challenge your creative process. So here I'm just using the chip brush and just kind of making marks into my piece. A good way to kind of think about mark making, even though I'm painting, I'm still making marks, Right? So a good way to have a really strong mixed media piece is to have varied mark making. Things can look really nice and very uniform when you keep the same kind of style. But there's something kind of magical that can happen when you start to mix it up. And you can already see with my kind of chip brush here that I'm getting some really cool techniques. So as this is dry, it's kind of making this really beautiful. Almost like a hair texture for anybody who works in Photoshop or and procreate. So there's definitely a lot of ways to manipulate your surface and to essentially have fun. But what if you want to have just a great tone to start with? So this is just an old yogurt cup. But I'm gonna go ahead and pick up some of my black ink. And I'm going to kind of paint that on the inside here. And then you can do one or two things. You can kinda port, which looks a little treacherous. So I'm going to use my syringe. And I think this works OK, but find out, or I might even just use my water cup because I might be easier. Yeah, this is a little slow. So don't drink your paint water, but you can surely use it for diluting inks. And there are people who use coffee. So just saying and some cool things can happen that you're seeing right here. If you paint into an area that's wet, still, it can kind of bleed. And some really cool interesting things can happen with the textures of that. And here what you can see the wet on wet where the paint starting to kind of bleed and do something strange. And you could even play around, right? Make this a little bit of a physical meditative activity where things can move around in whatever direction you want. So we could call this like a nice practice, Pedro. I just kinda learning the ins and outs. How does the ink move around on the page itself, right? What does having a dry brush do as opposed to a rap brush? And how, how does that affect the overall look right? Now on to our kind of tonal value or grayscale that we're making. So this isn't a pad, I'm just going to swipe it out of here, try to get rid of that ego. So this is kind of a good play. Part one. We have mostly dark grays, blacks, and a little bit of this very subtle gray. So that's looking nice and a good place to kind of push that off to the side. But now I wanted to show everyone how to do some tonal values. So what I did here was I just put a tiny bit of ink into a yogurt cup and then as you saw, I put my water on the inside of it, so my drinking water. And now I'm going to test and see what the Grey looks like. So as you can see, that looks pretty light, very subtle, very delicate. And this might be a better place to start with, depending on what kind of imagery or mood that you're trying to create with your work. Black can be hard to work back into, but gray or lighter tones you can definitely build on top of. So this is a really beautiful Gray. I'm actually really happy with it and I'm just going to I don't know why that reminded me of hair. So now I'm going to make some hair or make a head. That's why this is so fun because you really have no idea what you're gonna do until you do it. And kind of a fun approach to this now, so since this is still kind of wet, you can even take some of your black and kind of dip it into the edges here, right? It's kinda like a Medusa maybe will make her have sunglasses. Whoo, that was nice. So this is all about plane experimenting and seeing what can happen. And this is the wet, it's starting to dry so as it dries, it's going to sort of change away. It sits on the canvas around the piece of paper. So here it's spreading, there, it's just staying stagnant. And another really interesting and fun thing you can do is essentially you can just get your brush wet with some water. And there might be still little bit of pigment, especially if you're using a brush that you've already use. But you can essentially just kind of paint with water and you may not be able to see it, right? I can kind of see it, but then you can take your media and you can kind of place it into it. So then you get this kind of interesting molecular sort of pattern that happens. And essentially the ink is starting from 1 and slowly spreading out because of the water that you're using. Water is very mobile and has a lot of movement to it, right? Because it's not 90 evaporating or something like that, but it's essentially just spreading. So there's kind of this interesting motion that can get created. So That's getting very abstract over here and that's kinda fun. So I could do the same thing here too, right? And this is where it gets fun when you use different colors to, but I just wanted to show it first and black so you can kinda have an idea visually of what to expect. So this is off to a pretty funky start if you ask me, I have no idea why, but I'm going to paint a bird. Seems like a good idea. It's kind of a weird bird. So you can see just using the pure pigment, you're gonna get away different effect and say something up here or something over here. So there's a lot of different ways to bring your work and your voice to life. And I would highly recommend doing some practice sheets and kind of just getting a feel for what does it mean to kinda play with the new media? If you're new to working in watercolor or wet media, you might not know what to expect, so it's good to play. So let's go ahead and check out some of the different media that we can work with. 4. Getting Started With Water Color: To get us started with watercolor and water Media, I wanted to go ahead and show some different kind of materials and tools that you can use for this portion. So here I have kind of a standard plastic palette that I picked up at an art store. And I went ahead and use some of my tube watercolor paints and just squeezed a little beat in there. Once it dries, you can just essentially get it wet and keep reusing it. And it works actually quite well. Another kind of parallel option is to use a kind of wax paper palette like I have here. You can kind of put your thumb in their paint standing up. But same principle, just squirting a little bead of the ink or of the paint on the palate and then applying your water and creating different washes and colors that way, it actually lasts quite a long time. So I have a stack of maybe 25 pages to go through and I've had it for quite some time. Another option again is your standard kind of watercolor cake palette here, so that one's pretty much used up, but there's still some life in there. And I've been using it for quite some time for many different projects and it's pretty sturdy and durable. I believe I picked this one a bit like a craft store for under five bucks. If you can believe that. It's great because you can kinda see which colors are your most commonly used ones and which colors you do not like at all for your artwork. Another thing I picked up as this fine tech per lesson color, I just bought a singular one of this really beautiful gold. One of my students had been using it and it's really luminescent. It adds kind of a sparkle to your work and your paintings. So I got learning to that in the class materials. So give yourself some good options. Always start with a fresh cup of water. I like to recycle my old materials like making cottage cheese buckets. And of course, a variety of different market making tools. So thicker brushes then brushes. Brushes that might have different shapes. Perhaps a brush that has some glue stuck in it. So you get kind of a different effect. And also things like chip brushes and the postwar brushes. So your stencil brushes can work really well. And then again, the sky's the limit with how you approach mixed media. So don't be afraid to kind of play around, get uncomfortable, and use non-traditional same section and see what happens. So this is kind of my basic setup by also like to have a rag on hand or some paper towel. I like to have my paper ready already torn down and to the size that I think I'm going to like and work with. I actually also like to have kind of some smaller pieces just to play around with, again, with this process. You're not really married to anything and you have to stay open, you have to stay intuitive because you're constantly problem-solving what's going to work and what's not going to work. So definitely give yourself some options as far as paper goes and maybe take some notes along the way and see what's gonna work best for you. So something to note when you get started is to always make sure that your paint brushes are nice and clean and they're not holding onto any residue from some previous projects. So here I have my little Bounty paper towel and that way I can go ahead and get my paintbrush wet and make sure I'm getting out some of that dark India ink that I used for our previous. Tonal values study so you want it to be clean. Imagine if you use yellow and you already have this black color in there, you're gonna get something that's super muddy and might not look that great. So it's always good practice to make sure you're keeping a clean studio and a clean space and that you're getting exactly what you want because art materials are not cheap. So to get started, what we can do with our watercolors, just kinda decide which color that we want to work with, what color do we want to use, and what kind of steps we might need to take to get started with that. So for this one, I actually really wanted to try working with some of that masking tape and kind of seeing how I can mask out the actual watercolor. And I believe this is kind of a drafting tape that comes in different thicknesses like I mentioned. And the great thing about it is that it's not too tacky. So that way it doesn't lift up the actual fibers of the paper, creating kind of this like rough, torn away look, it's essentially going to keep the paint from getting in specific areas. And I'm just doing lines here. But you can imagine if you create shapes, you create spaces and things like that, that could work really well. So I'm just gonna do a quick little time-lapse here and we'll meet up in a bit. So once you have your blackout tape nice and secure, you just want to kind of touch it with your hands to press down. You can go ahead and start thinking about color. And I'm gonna start off working with the cake watercolors and just picking up water with my brush and kind of working it into the actual cake of painted itself. And kind of going over the surface and seeing what I can do. You'll see that this is actually a really nice bright fluorescent kind of lime green. And I'm essentially just creating a wash width. And if you notice the way that I'm using the brushes that I'm kind of dipping into the pigment, dipping into the water, and really trying to explore and see what different values that I can create. You'll notice in some areas it's a little bit more opaque, right? The colors really strong, and other areas it's quite transparent. So where there's transparency, there's more water, where there's opaque qualities. It means there are more concentration of pigment. So here I'm just kind of playing around and seeing what I can create. It's starting to look a little animalistic because I do a lot of work with animal-based imagery. So in my head I was thinking this kinda looks like a hedgehog or a Aardvark or something like that. But you'll notice because I am doing a wet on wet practice that the paint is kind of spreading and it's bleeding into itself. So imagine that I let this dry and then I build upon it. You're gonna get a totally different effect. So let's go ahead and meet up in the next video where we go over some more techniques. 5. Water Color Part 2: Warm + Cool Abstractions: A paper for now, I'm just gonna kinda keep switching around until it seems like a good fit. So first I'm going to grab one of my brushes, one that's not too dry. And I'm just going to dip some water, dip it into some water just to get the bristles wet. And then from there I'm going to basically kind of create a pool. With that you can kind of see the water starting to build up and just slowly adding water into it. So this will probably be pretty opaque when I initially paint with it. But let's go ahead and see what we got. So as expected, this is pretty opaque, which is great. We can always go ahead and drop some water in there. And as this brush is getting more and more wet, it's not going to have quite as much ink paint on it. You'll have to excuse me. Sometimes I say ink when I mean paint because I'm so used to teach in printmaking classes. So these are not permanent. I can go through and kinda do something like that, right? So we're focusing on abstraction. I can even do a technique where I paint with water first. And then I go back to my palette, pick up some of my yellow and kinda drop that in there. So you see how sort of spreads as it goes, which is super fun. And sometimes it can be in good practice to use your lighter colors first, but that's not necessary. I'm pretty intuitive, so I tend to be literally all over the place, which to me is quite fun. But you can see I'm able to get some different values and kind of extend this paint passed its original place that it landed. So I'm creating some really beautiful rich values of this kind of yellow ochre color. But let's go ahead and try some different brushes and see what happens. So I could even take this one, this stiff one, I could dip that into that paint. And I could just kinda try to get some texture. It's actually not as interesting as I thought. But you can kinda see something happening. I'll hold it up. So a little bit of texture there. And you'll want to make sure you keep rinsing your brushes out so that way they don't hold the information from the old link. And we can even play with this one too, right? So we can use a stiff brush and kind of drag that color around a bit. And again, just really subtle effects, but It's actually really interesting. So if you can see that there's kind of like the swipe marks that are coming on down. And let's go ahead and switch to another color. So I'm going to clean out my brush and I'm just do that by dipping it in the water and kind of run it around a bit, tapping it. And then if I paint on my piece of paper towel, you can see that no colors coming up. So we're in good, we're in good hands. Now I think I want to use a different color just to kind of bring things out a bit. So actually I'm going to switch to my palette, which is this funky guy here. And these are watercolors, so I can just kinda reactivate the paint. Just by adding some water and it might take a little bit of time for it to soften up. But you can see it's already starting to form this little poodle. So I can kinda see what's happening here. And we have a really beautiful kind of fuchsia color that's happening. I like that about a lot. And again, you can kinda paint with water and then you can drop that color into it. So to me, that's a lot of fun and it's super intuitive. And I remember these are all about abstractions. So try not to make anything that looks like anything. If you can help it see MRD wanting to make some lungs, but I'm going to have to stop myself because it's supposed to be abstract. But maybe it's abstract enough. So you can see this pink is kinda mixing with the yellow, almost creating an orange. Which is kinda nice. And something I always like to express in my classes is just this use of variety in mark making and brush strokes. It just adds a lot, a lot of visual interest and adds kind of a different approach to your work, which is a lot of fun. So you could even go back and start using your smallest brush here. And you can try to work it up to like a nice opaque color. So to do that, I'm kinda dipping my brush closest to the paint and charging it or loading it. And from there I can kinda just drop this color and two different spots and you can see how it's kind of spreading in this really interesting way. So let's do a little close up here. And you can even play around us like dripping, right? So I like to do stuff like this as well. And it's always surprise what happens. And now I'm feeling that this work is going to need at least one more color before I move on to different technique. So I'm thinking blew. It looks like we're playing with primary's right now and I'm totally fine with that. So I'm just gonna do the same thing here. Already had some, I think it was ultramarine blue and I'm just adding some water to it to wake it back up. And that should be good. So sometimes you want to be cautious because your colors may not mix that great and it might look kind of what we call muddy. And by muddy, I mean something that looks very brown and, you know, just may not have as much visual depth as you would like it to have. So again, right now, nothing's really interacting too much because I'm being cautious of the medina IS that I don't want to achieve. But we could just test it and see what happens, right? So that's a little muddy. It's not my favorite color combo. But you get always grab another brush and make sure it's wet and then try to live some of it, right? So you could also use your paper towel and try to pick it back up. So that's a nice kinda trick of the trade. There's just to get it wet and then you're essentially erasing it. There's a little bit of residue but it's actually not too bad. So while this is drying, I'm gonna go ahead and Grab another one and play with some more colors here. Maybe a different color palette. So same thing. I'm going to use actually this green with a bigger brush. So these are actually some pretty inexpensive brushes that I picked up a while ago and have just taking good care of them. So that way they're going to last a bit. So same thing here. He could even try to drip it on to their right. Kinda wild and here, but I'm okay with that. And add in some water and you can even just kinda make some magic happen. And this almost looks like the same colors myself healing mat, which is kind of funny. So plane with abstraction. And again, if you don't like something, you can use your paper towel and kinda blotted. That was getting a little too, too much for my taste as of right now. And then I want to add some kind of smaller areas too, because this looks a little too large. For what I like to work with. You can even mix colors, do so this is almost becoming like a aquamarine blue, which may add some nice depth to it. And again, abstractions, I'm going to try to not make it look too much like anything, which is really easy to do. And that's where the challenge lies, right? We're just kinda playing with shapes. And if it happens to look like something, you know, it's not the end of the world. It's just a great way to be creative and kind of exercise and new muscles for yourself. And I actually really like the way that's looking. So I made it kinda leave this as it is and maybe come back to it when I pick up some different mixed media approaches. So I realized I completely forgot to use my super fancy pearlescent colors. So I'm gonna go ahead and just add a quick bit of that. So I'm just using my water and I'm going to go ahead and add some in there into the pool does to try to get a nice color and opacity. So it's a really great opportunity to kind of play around with different types of watercolor that you might have or to explore and experiment with. So again, just kind of focusing on abstraction and mark making and add in a little bit more visual variety to this piece. So I'm already really loving it. And the great thing is there's actually quite a variety of colors for this particular brand. And that's again fine tech. I know there's pi other brands out there. So the on the lookout for what you might have in your and drawers or at the art stores and see what could be a possibility. So I'm just going to maybe make a few remarks on this one as well, just because that color is so beautiful and really adds a nice layer of depth and texture to the piece. So just adding a few marks there. And you can see it already has this beautiful luminescent. You can even see all the kind of sparkles dripping down the edges there. So I liked that actually quite a bit. It's almost like looking more like a flower, which I'm okay with. A little bit abstract here. So I'll meet you in the next video. 6. Adding Water Color to Dry India Ink: So here we have the India ink piece that I had done in the previous section. And I'm gonna go ahead and add some color to it. So I'm using my big brush again. And I think I want to start by adding some yellow. And this is like a pretty deep yellow and I have a lighter one next to it. So when they mix, it's kind of a next color. And I'm just gonna go ahead and kinda paint into some of these blank areas. And if you're India ink is not water soluble, you might see some mixing. So that's why it's always good to get your permanent India. So that way it does not become soluble by water. So I just want to repeat that again because I feel like I misspoke, but you wanna make sure that you're India ink is permanent, not water-soluble. I might have said it the backwards, backwards way. And so we have something interesting happening there. And then we can go back and definitely use some new colors. So like this deep brick colour, it's looking really nice. And I always like to add kinda shapes and colors. I kinda look like energies moving around, like something's leaving one thing and maybe going into another, right? So maybe it's coming out of this bird. I don't know. This bird like figure, right? It's pretty abstract, but you can kinda make things out. So that's where abstraction can be a little tricky, right? Some, one might see something you might say, okay, Jennifer, what is that thing? And I'll say, I have no idea. But it might be a person with hair and that might be a bird. And there might be some other information, right? So abstract can be kind of subjective. But it's just a nice way to kind of complement and add some colors. And just play with what you have available, right? So I think that's going to be a good place for me to kinda stop with this one. Because there's some more information and things that I could be doing to this. 7. Collage Part 1: So here we have some different collage materials. Most of them are calendars, some r from c packets. I like to use a lot of kinda repurposed material for my work. So for me that's important and the images are actually quite great and I'm going to be changing them enough. So that way they kind of take their original context. Here's a couple that I'm going to be using. If not for this class project, maybe for some other projects down the line. But again, kinda using old magazines, newspapers, things like that, maybe things that are relevant to your work and images that you enjoy and that might bring you some kind of joy. And right, so I'm using things like flowers from the natural world, some of my favorite birds. And again, those are prime, make some kind of appearance. Already cut this piece out a little bit ago, but I wanna kinda show you how I did that. This one is really fine detail, right? So it has this very elegant kind of shape. It's of a seedling. And to kind of cut your image out from the actual page that it's on. You can do it one of two ways. The first one that I like to use as your exact oh, blame. And with this one, it's really important to make sure that your blade is quite sharp. If not, it could present some problems down the line. So for this woodpecker here, I'm going to essentially just kinda trace a line over the paper. Try not to cut into the image too much, unless that's what I wanna do. Again, you want to make sure the blade is sharp minds not the best and I don't think I have any other. So I'm gonna try to go with that because it is a blade. We wanna make sure that we're keeping our fingers a little bit out of the way. So I'm always going to make sure my hands kind of above. And I'm essentially just going to be drawing, if you will, align. And I'm pretty open to if I cut, cut away from the bird a little bit, there's some details here with the plumage and it's okay if I don't get that for me, it's not all that important. But for you, if that's the case, you might want to again get something that's a little more sharp, or perhaps just start with a new blade every time. So I'm gonna go ahead and outline this bird. Notice that I'm keeping my hands behind me and whatever I miss, I can always tried to fix with a pair of scissors. So sometimes it's better to cut a little bit further away. And if you're able to get it right on the line if possible. A good sign of a NAT sharp blade is when the paper starts to kind of crumple up as you're cutting into it. So I haven't had too much of an issue with that. But you can see there's a little, little bit of that happening here, but you'll notice that it doesn't look so great. But again, you can kinda work around it. And I know it's going to seem a little weird, but I'm actually going to cut out his feet. I'm gonna make it look like they're kind of hiding behind something because this color differences a little too close for me and I just don't really have the patients for that ended. It doesn't really add or take away to the image. So again, do as you like and what works best for your practice. This is gonna do just fine for mine. And you can overlay, simplify or shape too. So I sort of did that with this Flickr here. You're gonna see there's still a little bit of green around his head. So I could essentially back with a pair of scissors here. Always good to have in hand and just try to fine tune that a little bit. Which I think that looks pretty good. And I'm gonna do the same thing kind of along this wing because I'm noticing some things might be bothered by later. So I think that looks really cool. So now I have these two clash pieces. I'm gonna go ahead and do a time-lapse of a couple more of these, and I'll go ahead and meet up with you in the next video where I go over how to apply these. 8. Collage Part 2: So now they have all of my collage elements cut out and wanted to go ahead and show you how to go about deciding where these pieces should get attached, when they should get attached, and different variables such as that. So you'll notice for the most part I cut these out pretty cleanly. There are some that I left in a little bit more erupt shape. That's just because this one already looked kind of rough and there is a lot of little details to cut that. I'm not sure that important for me to get perfect. So I like to play around with that for me, it's a little bit more fun. And then for this one, I wanted use the kind of pattern or texture and just create a shape with it. So this can become kind of an interesting collage element, even though it's kind of not unlike the perfect shape of the actual flower. And same thing over here. I'm not sure where this one is going to live. I might just cut out a singular flour and call it a day. Otherwise, I might use this kind of lump of color. So I wanted to get started in two different ways when it comes to collage. Just gonna push these beautiful elements over there. And the first one is collaging on top of a already mixed media piece. So if you remember this one, I believe I created it in this layout. And this was kind of the bottom. There's this funny kind of abstract bird. This person lain down with sunglasses. But I think I'm going to kind of further abstracted. And there was something that was happening with this piece in particular that made me realize that this red Rosa breasted gross beak would work really nicely. Like there's already some kind of red, cool, warm colors happening here and there's a lot of black. And there's also this really beautiful negative spaces happening that I think he, or it is a heap that this bird could fit into the space quite nicely. So you'll notices gentle curve and the gentle curve for there. So there's a little bit of light negative space action going on. So that's my intentions for this piece here. And then I'm going to also do a blank piece of paper. So I'm just going to use one of my watercolors that I haven't started with yet. And I'm thinking about putting this Flicker, this woodpecker on here. And that way I can kind of go back into it and getting really mixed media and have a lot of fun with that piece. Additionally, I'm also going to be collaging on one of the smaller ones, if you remember. So I have this piece here that we created, and it already has some beautiful watercolor kind of details and so that your desk gold. But I'm thinking, since the color work so nicely, I might go ahead and add this little seedling on top. So I have a couple, couple different plans of action. And collage again, is just another element that we can use to describe a surface. Again, using like found or repurposed materials and things like that. So let's go ahead and get started with our collage process. So now I'm gonna go ahead and collage the first part. And just a few things I want to go over. You can think about things like the placement of your object. So we have it in this orientation, but does it have to be that way? Could it be this way? You know, there's many, many different things that we can think about. Does it have to could've come off the page and could that be pretty interesting, right, so kinda trim that down and then that will exist this way. Or should it go the originally intended way as I had shown? And I felt like this, but actually I think I'm going to mix it up. And I'm going to go ahead and change orientation of this piece. And I'm just going to kind of decide where I want it. And I think that looks pretty good. So one thing you can do, you can always just eyeball it and put some glue on the back of this, stick it on, call it a day or you could lightly, and I mean very lightly trace kind of some signature elements of your piece. So for me that's going to be this little part popping up and then also the stem. So it'll be just enough guidance for me to be able to put it exactly where I want. And again, not using a lot of pressure, just using a standard number two pencil. And it's, it's so faint you can barely see it, but it will help me and now onto the Boolean part. So I'm just going to push that aside for a minute. And bringing this over here. And as far as gluing, I only have a glue stick for now, but you could also use Elmore's glue or PVA bookbinding glue. But they all kinda do the same thing with different strengths and weaknesses with the glue stick, you want something that's permanent and I believe this one is non-toxic. It's always great to. So any type of glue that you're applying, you always want to go in and outward fashion, just making sure that you apply. Your grew pretty evenly. And I'm just using a piece of old paper, kind of an old magazine that I get locally here that I don't really need. And you kinda wanna go in the direction of the details. So if I went back and forth on this, this would probably rip in fly. So it seems kind of slow. But actually it comes in handy. So just kinda holding and going in the direction and just making sure there's enough glue on this piece. And if not, I'll pride try and use some bookbinding glue, but I figured this is pretty easy and accessible and most folks have access to that. And so you can see as being careless and this ripped and that's quite alright. We're gonna go ahead and roll with it. So even though I have two elements, that's alright. Again, it happens, it was super fine detail. I'm going to go ahead and try to line this up is best as I can. And that looks pretty good. I'm just going to apply pressure. It goes on. Perfect. That's wonderful. If there's a kink that is survivable too, right? It's not the underworld. Same thing over here. Just going to try to, since it became detach them and try to attach that edge first. And I'm just going to leave actually a little bit of a space between it because to me that's a little more visually interesting than keeping it perfect, right? Or taking something from a magazine and we're, we're kind of repurposing this. So why not make it even more your own? So now I have this funky tail which I did add glue, some things you just don't think about. You can fold it over if you want and let us stick to the other side. Or you could just chop it off with a pair of scissors. And both options depending on the crater or a valid so that looks pretty good. So that's part of our kludge. So remember this one was done with previously painted. So I had the watercolor, the iridescent paint. And now I have some room where I could go ahead and maybe add some dry media to this. So now let's go on to our second collage piece. Now onto our next kludge element, which is going to be this bird on top of another watercolour India ink mixed media piece. So as previously mentioned, it just gonna sit here and underneath there almost as little nest. One thing to remember when you're glutamine is make sure you often change your kind of scrap paper that your glutenin, otherwise the old glue could get stuck to the front of the image. So I'd like to turn it age as I go. So same thing, we're just going to flip your bird over. And this one, I'm just going to eyeball it. I'm not gonna trace an outline because I feel pretty confident where I want it. If it's, you know, it's pretty easy to gauge, so you'll have to make some decisions. And actually now that I'm looking at it, I kinda like it down a little bit, so it's never a bad idea to kind of move things away from your original intention because sometimes those other ideas may be actually a little bit better. So I'm gonna kinda do it here. I think I want some of this mark making to pop up. So something like that looks pretty good. So again, flipping it over and this is where you add your bookbinding glue, your Elmer is glue your glue stick, your replaced. Whenever you go lying around. And again, just going kinda firmly in the different directions without making too big of a mess of it or getting too erratic with your application. So that looks pretty good and this glue surprisingly sticky, which is great. And same thing. Ideally you have perfectly clean. But that's all right. I'm just going to go ahead and pop this little group speak and try to kinda hover it over before you fascinate down completely or you apply pressure. And I think something like that looks pretty good. That's perfect. And just applying pressure. You could also use like a credit card or some kind of card to kinda burnish it to make sure it's very flat and there's no bubbles. But I'm actually really happy with where this landed because there's this nice repetition of a shape happening. So the point of his tail feather to this mark with the Indian coach really closely. So on. Last but not least one, we have the, the northern flicker and a blank piece of paper. So now onto this last way of doing a collage element for your mixed media piece. And this one's going to be a little bit different in that this whole piece of paper is blank. And essentially I'll kinda have to work around this image of the bird or use something opaque enough that it can go on top of the magazine image. So that's something to remember because there's only certain types of media that can go on top of your image, especially if it's from a glossy magazine like this one is things like acrylic, sometimes pen and ink just so goes over it quite nicely. So watercolour and not so much you can try it. It will essentially just repeal it and wrinkle it. But we'll go ahead and kinda go over that in the next lesson here coming up. So same thing, I'm gonna try to position where I want this northern flicker to kinda hang out. I've always liked when things kind of crept off the edge a little bit because it means there's gonna be some kind of action happening up here, right? That's the way the composition is leading us. Feeling pretty good about that. I think I'm gonna have him kind of off to the lower right-hand side. And because the positions kind of important, I just wanna kinda trace a little bit of an outline so that way I can see sort of where I want him to live on the page. And again, doesn't have to be a 100% perfect and I will have to trim some of the excess off. And that's an RA marker. Notice I didn't go all the way around. I just kinda did something that was recognizable like the beak. And that should be pretty simple. So same thing. You want to start with a new piece of scrap paper. And you'll go ahead and apply your blue. Nice and firm and anywhere where there's my new detail, you wanna make sure that edit is being approached in a nice and careful way. Otherwise, if you use too much pressure, too much clue, too much force, it could just kind of rip off like we had with that first piece. So I think that actually looks pretty good. And it's quite sticky as before, which is 01. And now that I have my guidelines, I'm gonna start with the beak placed that. And from there I can kind of pivot to get my location. So that should be pretty close to perfect. If not, that's all right. And again, applying pressure slash burnishing. And then from there I could even just so it doesn't stick to anything else, I could decide to leave it or just let it dry like this. But I think I'm gonna go ahead and cut it just because I don't have intentions to let the staff the page. So you can use your scissors and go from the back side here. And you can go ahead and just cut that out. Or you could wait for it to dry and because it might be a little bit of a better option. So I think that looks pretty good. So now we have a really great collage element that we can add some really cool mixed media approaches similar to how we constructed the other ones. So now I'm going to go ahead and meet you in the next lesson where I talked about some dry media approaches. 9. Dry Media Part 1: As far as dry media goes, you can use so many different things and I only have a few examples, but I think we can get some really great results at them. First and foremost, you can use things like a ballpoint pen or a pencil. And that's essentially if you add that onto any of the stuff that we've just created, you have yourself a mixed media piece. You don't have to use the fanciest or the best supplies to make the selection is something to keep in mind. Another thing I have is some Crayola colored pencils and visit quite old thing Derek, my husband's from school, so they've been barely use for many years and I'm excited to use those. And additionally, I can use things like markers, couple of permanent markers, and one of these tableau find point once. And additionally, I also have some pastels and some different types of chart or I have some charcoal pencils. Some of them are in varying ranges of hardness and softness. And I also have some trickled sticks. And let's go ahead and see what we can do with what we have. So here we have kind of a more blink Canvas kind of piece of the woodpecker. And I'm thinking of starting with our dry pastels here, the chalk pastels. And because of the colors of the bird, I want to try to bring them out a little bit more. So I'm gonna go ahead and use this yellow one because I feel like it kinda matches some of the yellow details here. And economists want to play with it and make this big kind of space that has a yellow field of yellow. So I'm gonna go ahead and just start kind of coloring into it. And this is the watercolor. So you'll notice that it does have a little bit of a tooth do it. And you can kinda smudge into that a little bit. You can also use something like a cotton that pad or cotton ball or paper towel and things like that work really relative. A good thing to think about was using the lighter colors first if you can manage, because it might make things a little bit easier for you in the long run. And because things can get muddy if you try to build them up, or oftentimes you just can't go back into it really dark color. So just keep that in mind. I think I'm almost done billionaires out trying to get kind of a hazy sort of look to it. And I think that looks pretty good. You'll notice something else is kinda mixed in there in, not going to worry about that right now, but it's always a good idea to check your fingers and hands just because you might be carrying something that might pass onto another park. And now I'm gonna go ahead and play with some of the colored pencils. So what's great is things like pastel and colored pencil can work really well together. You can kinda make images directly on top really easily. And you might just pick up a little bit of residue on the side of your hand and it's quite alright. I've been really into dry, nice kind of abstract looking flowers. And some day to keep in mind is that abstract is kind of a loose term and I talk about it a lot, but you don't see something quite to this reality when you go outside. So that's kinda what I'm playing with is just this idea of pushing the boundaries of space a little bit and making something that's not too photorealistic, Right? So I think that's where a lot of interests can come into play. So there's a lot that can happen here. And I'm really liking the way this yellow and red are playing together. You can even use things like ballpoint pen, like I talked about. So just trying to take over what exactly I wanted to do. Some things might show up. Yeah, this shows up actually pretty good on top of the bird itself. So that could be a nice way to kind of get into some new boundaries, right? So this is going on top of that. So there's this connection that's happening, which is kind of nice. And you can even like outline things. Darken them, play with texture a little bit. Just kinda see what happens. And that's kinda, the purpose of this class is just to really play around and to have fun. And here I'm just kind of playing around with mark making and pressure. So now applying too much pressure and you can see how it goes from sin and it's a little light to a little dark. And you can kinda spread those lines out for the same reason. And you can even start adding things like permanent marker. This might be a little too strong, so they might not add that to this piece in particular, that you could also go ahead and add some of the charcoal to and get some different effects of that. So it's kinda fun to play around with. I'm gonna kinda make this almost like topographical map. Again mark making, this isn't this where this is all about, just kind of plane and having fun. And you'll notice charcoal, it has a bit of a difference, the surface appearance. It kind of picks up on the texture of the paper in a similar way that the pastel does. So it i could even do here is just kinda do a swipe down, right? So now we're getting really mixed media and really nice and dirty, which is always fun when you're making art, right? You don't want to walk out of the art room with clean hands because, you know, you might not look like you're doing much, but I know everybody works in their own way. So just trying to build this kinda funky topographical map that I have in my head as sort of this mountain range and making it increase in size and scale as I get somewhere else on the page. And to me this is where all the fun and the magic happens. And it's just that intuitive nature that you sort of fall into as you're building these mixed media works. Nothing's ever really planned, right? It's kinda going on it's own little right here. And that's the beauty of it. So now this bird is kinda surrounded this mountain range, which is kind of fun. And see what else do I have? I have marker, which is a noise, my 100% favorite color. But guess what? It was that. So again, use what you have available. Use things that work well for you. And I'm just going to see what can happen if I just make out, listen too bad. So permanent marker works great on these glossy images. It's now like so astronomers stealing the picture because if I put this over here, you know, that may be too much. And again, I can maybe probably go over that with some other material, but it works okay on the bird because it gets lost in the details of it. And I could even maybe just make it have a different mask. Whispered since it's kinda soft. Yeah, there you go. That looks pretty fun. And let's see if charcoal goes on top. I don't think it does, but it really does a little bit. So you don't know until you try with mixed media, so don't be afraid to try. And again, that's why these kind of practice pieces are so important. So he didn't have legs that I was gonna put them behind something, but I'm just going to draw some notion of a bird leg in there. And I know it looks a little silly, but it's a unique work of art. So I'm gonna go with Susan. I think it looks kind of fun. And yeah, let's go ahead and add some more ballpoint pen. And I, because I had to be a little bit darker, so maybe that's the best place to add it. I like that looking good. So something to take note of is your hands are gonna get dirty and this information can spread for better or for worse. So one thing you could do is apply fixative to it. If you don't have it, you can look into it. I personally don't like to use it because they feel like it's it just doesn't smell good. It's probably not made of good chemicals to have in a closed small space. So that's an option as spray fixative. Otherwise, you just have to pull like a piece of newsprint under your hand and drawing. And that works aright. And now you kinda have an idea of how you can apply some mixed media approaches to your work and how you can play with that. So I'm gonna go ahead and, and start playing with some of my other pieces too, and see where I can take tools. 10. Dry Media Part 2: So here we have this pretty mixed media piece with the India ink, the rows, breast and grow, speak. And I think I might add a little bit more color. And I kinda like this pinkish color cuz it just flew out. Fluid kinda matches this pink that's falling off the page here. So I could kind of imagine like a flower or something, right? So maybe he's sitting on this far and you'll notice that doesn't go on and the magazine. So you can try to smudge that in, fill it in, or you can press it down so it is something else right? Again, you'll have dirty hands. So just remember that. Send out looks like our bird is kinda hanging out on some flowers and I'm just going to draw a couple of Florida kinda get the idea across. You'll notice things sit on top of each other a little differently. So here it's sitting on top of the India ink and actually looks pretty good, which is always comforting. Kinda spread this cone but if you like, you give 10% of the time, so it's not too much. And then from here you could even use something like your ballpoint pen and kind of go over that to create some shapes. Or you can use something like a black permanent marker, which I think would be really cool for this actually. And again, just kind of play with what your image can become. And you'll notice this is starting to build up so little things like that just be aware of. And now I'm gonna go ahead and add some something else. And thinking a little bit of blue. Kind of playing with some smaller areas and some different types of Mark makings, layering some of the approaches. Maybe making like the base of the flowers. So again, it has this really funky kind of abstract nature to it, which again is super fun to play list. It's kinda like creating your own strange little world, Susan. And he made this heads just like a thing there. And I really like that actually. And I think this will be one that I'm going to come back to in a little bit. And I'm going to add a little bit acrylic paint and in different areas here. So I'm going to hold off on developing this one too much. So here we have our last coag piece. And actually this is where I think the bright green permanent marker will come in handy. So at this one I have a chisel marker. And I kinda went to repeat some of these kind of movements that are happening with this blue, with the watercolor. Something that's kinda fun and think about is like layering and how one thing might start underneath something. So if you look at where this is positioned, it almost looks like it's on top of the green, right? So if I extend the green out from the edge, it almost looks like it's kinda sitting on top of that plane was kinda hierarchy in order. And then agreement is really close to an angry in which is surprising because, I mean, look how bright that is xi. So it may not be a bad idea to have a scrap piece of paper of the same type of paper. So that way you know exactly what to expect. I'm just gonna do again something kind of abstract and funky. For anyone who may have joined skills, you can kind of bring those into the picture. I like to do these kind of funky eyes for not sure why. To be honest. They kind of represent, I guess, site and seeing and foresight in the future for my work and kind of being in the moment and things like that. So it's a lot of fun for my work here to have kind of these repeat images popping up over and over again. So I'm going to kind of define a little bit on the sides. And I think that looks pretty cool. And from there you can even add some more pastel or different media such as that. And I think I like the way that looks. I may want to kinda make it move a little bit and see what happens and maybe doing something with the eye, Smith's not just a green eyes to cut-off may add some glue in there and the pupil and kinda see what happens. Try and color that in a little bit to soften it. And by soften, I just mean that the contrast is so high that it's really hard to, it's actually quite easy to see where we think that's. But I want there to be less of a noticeable difference between the white and then the green. So now we have this blue and in its place. So I can do kinda fun things like that. And I think that looks really cool. So I'm just going to leave it as it is for now. And I'm gonna go ahead and show you a couple other options for adding some mixed media approaches like acrylic paint and also some printmaking. 11. Additional Mixed Media: Lino Print + Acrylic Paint: So another additional kind of technique that I wanted to use was to apply some acrylic paint on top of my mix media work. And this is something I do actually quite a bit in my own stuff. It allows me to kinda go back into and add some more interesting details. And also to play around with things like this very straight photographic image of the bird. So this one's a mat acrylic and I believe it's pretty opaque, but let's go ahead and test it out. So similar to our watercolor, I'm just going to use the palette, the wax palette. You can use a plate, paper, plate, glass sheet, whatever you have available, and see if it will come on. Sometimes it gets stuck, so you have to open it. And it just might be a little bit more, right? Well, it's quite old, so I'm just going to do it. I can't know that. That's OK. Sometimes it happens and it looks a little gloppy. I don't know a better word to use besides gloppy, so I'm just gonna go with it. And sometimes you might need water, sometimes you don't. I'm just gonna add a tiny bit because it looks kinda thick and a little strange. It should go over the gloss image quite well. So I'm gonna kinda play around with that and see, oh yeah, there we go. That looks really cool. Okay. So this is actually one of my favorite ways to kind of blend areas together. Sometimes collage can look too harsh, right? It's very, very hard edge and then it's just the paper so ways that you can blend it are areas where the contact between your dry media or your web media and your actual collage kind of meld together. So this seems to be working quite well. And this is actually where it just o can be really cool for anybody who might be a painter. Just so kinda just a lot of space to work with. And it almost kind of erases areas, which is pretty fun. So I'm just gonna kinda make these almost wing feathers shapes have been not everywhere, but maybe just in the top half. And you'll notice that depending on your brush size, it can add visual interest on that. So again, it's good to have your piece of paper or a rag. You're being more environmentally conscious in IM. And you can kind of clean it out and then start fresh. It's good to have different sides brushes to get different details. So this one's quite thin, but I might be interested in using a little bit more of a say one in a minute here. I'm trying to think. Where else do I want to add some details? I like the white because I think that's pretty beautiful on his plumage. Just gonna kinda go over that. And this is actually one of my favorite colors to use for mixed media practices. It just, it's my favorite editor house to describe food besides that, that color and like a red, reddish color. So if you get a chance to see some of my work, you'll notice that's kinda where I like to live, in what colors I really love using. So I'm just going to let that sit and I'm going to Go in with a fine tooth or I'm sorry, fine paintbrush and add some more finer details. So right now I have kind of these blotchy marks. But maybe I want to fine tune some of these wings back here. And this is where it's fun for me because then it's just suddenly not perfect. And I think that's great. Because although nature is beautiful, it is not perfect. And I think that looks awesome. So let's see what else I could potentially do. I'm really big into like drawing the organs and things like that. So I might make a little impression of a heart, but I don't know if it looks like a heart perfectly because I am not a doctor, but as a creative person, that's kind of the fun of it all, I notice a lot of these funny eyes and my work to, again, now you know my secret of why use these eyes. And it's always good to have a vast color palette. This is kind of all I have somehow. And again, this is all about making it work with what you have. So I am going to embrace it and see what happens. Well, ADA mixed media at all about deciding what works together and what does not. Some things were really good, like we're seeing with this acrylic paint and everything. And some things don't like watercolor would not go on top of this burden. It would just be a mess. So just try to keep that sort of stuff in mind. Remember, it's a lot of fun to play around with line mark variation and things like that. So don't forget that. And I think that looks really cool. Who has this kinda majestic presence? So I'm going to leave that as it is. And I'm gonna go ahead and show you one last technique for adding some mixed media approaches and that is using some for making techniques. So onto our printmaking technique, I think I'm going to try to maybe wrap this piece up actually because It's coming along really nicely. Actually better than expected. Which is always a wonderful. And for this part, I'm actually going to use imagery from some of my other classes. This is a little eyeball. And then I have this kind of ink pad, archival ink pad. And then go ahead and open this up. And essentially I'm just going to stamp it. So just like you see, I don't know who uses these actually artist offices and things like that. So I'm just loaded it up. And then from there I'm going to decide where do I want the color red to be? And it's a hard one because this is pretty full, but where would read? Look good. Think and maybe up at the very top here, just going to press it and left. And you can see I have this kind of nice little I appear. And I might do say like a little dash of i, so little triangle. And yeah, I think that looks super cool. And I'm gonna maybe try it on one more just so you can see it a little bit clearer. But here we have a really beautiful, lovely mixed media piece. And I kind of break it down here we have our India ink that we started in the very beginning, just by painting with water and then dropping the color inside. And you can see the beautiful rearticulation that it creates. India INK, India ink, India ink. And then we have our watercolor, which was our second layer. Some of its more coming to the surface and others. And then we even use the pastel. We also use colored pencil. We use colored pencil here. And then we even use the acrylic paint and also the printmaking technique. So for me, this is a really beautiful mixed media piece. I might sleep on it for a couple days. Think about it and kinda go from there and decide what needs to happen. Kinda post those as I go through it. But again, let's kind of look at some of these other pieces to this. This is our other one. This one could use quite a lot more work and I'm just gonna go ahead and stamp that. I just so you can see it a little bit better. So again, can stamp it. And then you can find a place where you want the color red or where you might want your printed image. For those of you who haven't done any printmaking, feel free to check out some of my other pre making classes which I'll go ahead and link to. So that way you can get an idea of how to use that really cool tools of the trade for a permit king. So I'm gonna do the same thing here. Just kinda sit on top of the, the pastel. Same thing. Just kinda gonna do a little section of eyes. And I liked this technique allowed. It's actually new to my practice. And that's something I've always done. And you can even work with things like a bigger stamp like here I have the Asia, which is essentially the same as this here, but my own rendition, Susan. And you can go ahead and try to stamp that too. Might not be as easy because it's too big. But that's where the stamps really come in handy. So I'm gonna see what's going to happen. And my apologies if it doesn't look really cool, but it's nice because the stamp is going on top of the pastel, really easy. So I'm thinking I'm going to try something over here and just a plane pressure. Okay? See, you know what's going to happen? Oh, yeah, that's pretty cool. So it's not perfect stamp. Some of that has to do with the texture of the paper. And it doesn't mean that it didn't work out or it's not good. It just means that now I have some more problem-solving to do. So what can I do to this area? To kind of make it come to life in a new way. But I'm going to leave this one as it is because I I need to think about it a little bit more where I wanted to go, but be sure to follow me as an instructor and you can go in and see you on my updates will look like. 12. Your Class Project: Okay, so now on to your class project, for your class project, but I would like to see is a series of mixed media pieces that showcase your plane, that you're having fun and you're being intuitive. Remember that we started off with some of these more simple approaches where we started with just one media to get use to it and kind of build up things like tonal value. If you remember, we went from the black all the way to medium grey to the lighter colors. So if these are new techniques for You don't be afraid to practice and see what happens. Chances are you can keep these for your own studies. You could cut them up and use him for a gift tags or cards or something like that. And even use them as a new collage pieces. From there, you'll get to do things like working with two different media, perhaps something like watercolor and India ink like we did for this piece. And then from there, you'll build up to doing something that's fully mixed media that has more than two media in one piece. So you can see, you guys should remember this prize and most snakes media and the model that has the watercolor India ink collage dry media, which ones are passed down or colored pencil and our ballpoint pen somewhere in there. And also the acrylic and printmaking. So this one is a full fledged mixed media piece. That's what we want to see it. It has to be abstract in some way. Let's have it be playful, let's have fun with it. You can use imagery such as things that are recognizable, but maybe just try to switch them up a little bit so they don't come off as exactly as they were from whatever printed, sir, she got them. They can even be more abstract like we did with these pieces here, right? So we just have a series of mixed media watercolor kind of approaches. And this one could definitely get worked back into, wanna encourage you to kind of work on multiple pieces at a time. So that way you can kind of steer things in the direction that you would like it to go. Have fun with it. Don't be afraid to make mistakes and try different types of people. And I'm so looking forward to seeing what you create. So please feel free to upload your class project, check out some of my other skill sharing classes. You can also find me on my website, that's Bel Air Fresh Prince.com, where I share some of my work via my blog and updates and things like that. And I hope that you'll have a second to review my class once you upload your work, and I look forward to seeing what you create. Thank you all so much.