Know Your Subjects - Tips For Developing Your Style & Techniques | Robert Joyner | Skillshare

Know Your Subjects - Tips For Developing Your Style & Techniques

Robert Joyner, Making Art Fun

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5 Lessons (30m)
    • 1. Introduction

      2:23
    • 2. Working With Images

      1:24
    • 3. Working With Charcoal

      9:15
    • 4. Working With Acrylics

      8:21
    • 5. Working With Mixed Media

      8:21

About This Class

In this class you will learn how important 'know your subjects' is and how it will help you develop style & technique. Creating awesome art is all about how you interpret your subjects and most importantly your ability to use a variety of tools to express them.

However, many artists simply paint pictures only as they see them - which is rather boring & lacks personality. That's why I created this class so that you can easily see how 'connecting to your subjects' will transform your stale art into much more meaningful paintings.

A Closer Look

In Part One I will use charcoal & acrylics to cover the basic idea behind 'connecting to your subjects'. By minimizing the mediums you can better focus on the core lesson(s). In Part 2 I will get into painting with Mixed Media to unlock a whole new level of 'connecting'.

Who Is This For?

Anyone that wants to break out of painting predictable, boring artwork & add personality & style to their art. It's suited for any level artist and you can certainly use any medium you prefer.

Ready To Connect?

Enroll today and start your new journey to producing art that matters.

Transcripts

1. Introduction: Hi there. I'm Robert Joyner. I'm excited to share connecting to your subjects. Now, this is a very dear favorite when I teach live workshops and my absolute favorite technique when I'm in the studio and I use it every day. Now, raise your hand. If you're guilty of this, you taken image. You love you. Put that image by the easel. You start painting that masterpiece right away on Lee to be disappointed because it lacks personality. Relax, style and know where you're at. We're all guilty of it. So put your hands down and let's talk a little bit more about how this course is gonna help your artwork and the lessons I teach you how to take an image and then to break that image down, to discover the details, that interest. And then we take those details. We find a variety of methods to express them. And what this does is it helps you not only to develop a connection to your subject, but it allows you the experience you need to connect to your mediums. Teoh, use your paint to use your brushes and to use your charcoal crayon and inks in ways that you never knew existed. And that's the beauty of connecting to your subjects this much more, then working with one scene. This is an attitude. This course would teach you for years to come. If you take the lessons you learn and you practice these over and over again and make it part of your studio routine, I guarantee you you will have art that is so unique. No one can possibly recreated that, my friends is connecting to your subject. I hope you sign up today and start your new creative journey again. I'm Robert Joyner. I love the pain and I love the connect to my subjects. Thanks for watching. 2. Working With Images: now, before we dive into the first lesson, I just want to cover how I prefer to use images when I'm painting. Now I prefer digital files. So I take a lot of pictures and, of course, their own, a digital camera or my phone, and then I could easily use them as a reference. So if I have an iPad or my laptop or whatever, I just kind of put that near my easel, and this allows me to zoom in on the image, and that's what I like to do. That's what I'll be doing today. I'm going to zoom in, find these little details and nooks and crannies that inspire me that. Get me excited now What I'm not going to do is try to paint the entire scene. Instead, I'm gonna break it down. If I little details find objects, find shapes that I'm interested in, and then we'll deal with the painting later on. So that pretty much covers how I like to work with my images and in what way I work with them, and I would recommend you at least give this a shot. Expand those images, zoom into him and then you'll you'll be able to really see things that Warren is obvious. If the say you printed the picture out and you just stuck it by your easel here is looking at it in one size again. By zooming in, you can really kind of get into the details of a piece. 3. Working With Charcoal: Now it's time to get into this lesson. Now. I'm only using £90 paper now. Probably use several sheets and I'm using a piece of compressed charcoal. That's it. The idea, and less than one, is to keep things simple so that we can better understand the idea. Now I'm using this beautiful cityscape scene and there are a lot of details here. And so what I'll do is I'll take that scene and I'll expand it. I'll look around. I'm looking for details on looking for shapes. Anything that kind of gets me excited. But again, I'm not trying to paint or draw rather the entire scene as I see it. So I'm not putting a composition on paper. Instead, I'm just finding little things, little details about it, okay? And they I can place them anywhere on paper. They don't have to go in order. So just because I see up, the traffic lights come across the top and the building started here. That's not how I'm gonna put him on paper. They could go anywhere, so this will basically become a big doodle. She I'm gonna go ahead and get started. I look at my image and then find something that excites me. And then right away I'm seeing a nice shape of this buildings. I'm just trying to look at that and they get a connection to express it on paper, and it's got a couple of sets of windows again, not worried about too many details. But what I really like now is this Awning this on. It kind of comes out. You can see the shape of it runs like this stops. It might be some sort of stack or something here like that. So I kind of did a quick little feeling of the building again. I'm not trying toe create on award winning sketch. Here is I'm making those connections, having fun, playing with my shapes, playing with the windows and the awning just to get to know it's icebreaker, right? So now I'll look at something else. I like the little car out from I got my little car there. I enjoyed doing it. I've got a little connection to it, and now I'll pick something else. Have some stop lights that are kind of coming off in the corner there. I think I'm just gonna play with those that might be something I would enjoy painting later on. So it's got the pole that's coming across. And then we got the the lights themselves that are coming there, and they had these little kind of circular shapes where the lights are good. So I got that quick impression down the building, the car, the lights and this is kind of getting crowded here. So what I'll do is I'll take this down and they come to another fresh sheet. All right, round two. And I'm looking at the buildings a little bit more now, and I like the this kind of bluish building here. Angle comes down and that we have that perspective going and I want to kind of play with that way. We have some windows there, here, the tops of the windows. And another thing that's catching my eye. There is the little car. It's kind of coming down. Wheels happening here. Tires. It looks like a little sign there. Maybe it says city or something like that. I'm just gonna play with that sign right around three. I can already tell you I'm excited about the cars in this picture. It's kind of weird when I took that picture. It was more about the buildings and the scene. But now that I'm getting into the drawing of it and I'm breaking it down, I'm really excited about the cars. And I enjoy working with those mawr today than anything else. So I'm going to finish this last little piece here of the lesson. I just experimenting with cars first, and then I may do something else. We'll see playful energy that's coming out right here trickles into my artwork. So if I were to have taken that image and not spent time doing this, then chances are I would paint it and maybe even draw in this case, and it would be very safe, conservative. And this really allows has allowed me to create my style. And that's what's beautiful about these exercises. You know, I do think that you develop a style when you allow yourself to doodle when I may have taken that image with my camera that day, because I was impressed with the buildings or whatever the sunlight. But once I started putting that, bringing that to the easel and then trying to connect with it as an artist, things change I mean, everything changes because I want to know as an artist, what do I enjoy putting on paper and canvas? What do I enjoy? Drawing what I enjoy joy painting and then kind of breaking things down. I discover that. And then also I discovered that my style because I'm in this real, playful, exploring type of mood that my style comes out so excited, really teach it, but to share with you because it's just that has helped me so much in my artwork. Just taken image and paint it, and then there's really no special connection to it. So a couple of cars, I'm kind of looking at the angle of the building is going down. I like that kind of run of the buildings perspective, like how some of them are a little bit taller. Way got these windows over here really dark. I think that pretty much covers it. I hope you get the gist of what I did here and which is basically I took that image. I broke it down and trying to find the little shapes could be Harz. It could be an awning. It could be the perspective of the buildings but I didn't do I don't want you to do is to draw the whole scene. Don't do that. We're not looking for an award winning composition here. I'm not looking for an exact sketch of the image. What I'm looking for is are the details that the yeah, the little features and objects that are in the painting. That's what I want you to connect to. So your job is to take this city skate scene and do what I did. Break it down, find the things you enjoy drawing, find that the shapes and the features that excite you, and then just do these random doodles. We all will look at this picture and express it and interpret it differently. And then, of course, that will grow and eventually trickle into the artwork. Okay. All right. So you have your work cut out for you here. I think you know what you do have fun with this. It's a great, great exercise. Have fun 4. Working With Acrylics: we are going to continue by introducing acrylic paint on my palette. I have ultra marine blue cad, yellow, green, gold cad, red and titanium white in my hand. I have a round, small round. Probably number six for seven in an outline. Er, I saw a little bit of green little red, and the idea is just to put a little bit of brown down this represent the building. I'm not trying to get the color is perfect here. Actually, I want to get the color is perfect. I would rather exploit the color is a little bit because now is the time to do it. So I'm just in the ballpark. Maybe, but definitely not trying to get it exactly the way it should be. Because what that does allows me wiggle room. So it teaches me how to not paint what I see. I'm going to get a little bit darker color here and just gonna work with shadows side. So we got will be a shadow on the building and as loose as I am, I do like giving a sense of light and shadow. I think that really helps, and they're making the subject believable. which is pretty much what I've done here. So there's given that feeling of the light's hitting here. And then we got shadow on this side and again, it's not perfect by any stretch. That's fine, are good like that, and I'm going to go ahead, put the blue building into the side just to the right of it. Here's we're facing. The image will be a titanium white, a little bit of blue, and the sea here is coming up like so. Give me a little bit of dark color here. Make that believable. That works. That awning. There's a nice pop, a yellow. It's probably more of a gold ish color, but again, I'm gonna exploit it. Have fun with it and not try opinion. Perfect. It's all kind of Get that in there and with the tip of my brush, the wooden tip. I just play with those little lines that are on that. Maybe I want to come back now. Put a little more of a shadow when so little blue, little bit of red, look at the picture, connect with it and then just just put that down again. It's just not we're not trying to be too fussy with it here and a little bit of shadows here and the and the windows. We have a little sign there and, as as it moves away, can kind of lose a little bit of the detail, so just kind of fudged all that good. That gives me the idea. It breaks the ice with this with these buildings and doing again with acrylic and just really, it's the attitude of just being really loose and playful. So we're just trying toe, see how we feel with that brush in our hand. Get away from just the charcoal because things get a little more complicated. We introduce color like that that's working good for me. And now I want to experiment with that car. You know how much I enjoy painting those cars and just go to start with just some sort of dark, blob shaped good, gives him that feeling of a cars very, very loose. And that's what I'm after here. What do I see? Whatever I feel and then put it down, All right. See what else? I may have room for something else in here. There's this other little car in the very, very back little white car, and I think I just kind of popped that one right in here. It doesn't have to be much. I can even introduce a little finger painting, right? A little white globe. All right, I'm really liking this white. So maybe I want to just add there's some little details are just something that could indicate a detail, and that's good for now. So for sketch one, it was just really about picking up where I left off. So those buildings jumped into the car, keeping it simple. Just getting the feeling off the subject is fine with me, and it works. And it's not gonna work for everybody. And it shouldn't. That's what makes us all different. And you have to do, you know, decide for yourself how far you need to take these things in order to make them your own. That's the key right there. But I think this is good. They could get the point for ah, sketch one. All right, round two going to start with stoplight. It's gonna get something dark down. First work. Start with just some really muddy looking paint here and see we have a smaller building over there. Pretty dark. That's okay. I can a little bit darker. And I thought it was gonna be That's not a big deal like, Oh, well, is there now? I'll deal with it. And that's the attitude you need when you're painting a riel Brill Peace to You know, it's like no big deal. Put something down that you think doesn't go and react to it, right? That's what it's all about. So now we know there's a little awning right here. It's gonna and indicate that And the sea really got some right yellow in the windows there really light color like that Reflection. You know, how can I put that down really loose playing with it? Probably tell Really love my job. This is awesome. Love talking art love pain awning. All right, All good for now. That's all I wanted to do. That there is this one little you're building back here. That's kind of cool. I goes like this. Here we go. And and maybe I could just put the front to it. Way to go. And this guy a little are good. So I kind of broke the ice with the light I got a little space down here. I think I'll go ahead loosely. Do another car here, switch Teoh my liner brush with connecting to your subjects and probably undercharged. You probably should at least double the price on this lesson because it's really a key, I think, for any anyone that wants to be expressive, to get away from trying to pay what we see all the time and where you can experiment here, the more you will understand about your subjects. The more you understand about your medium and more, it will influence your artwork. 5. Working With Mixed Media: we are going to continue by introducing acrylic paint on my palette. I have ultra marine blue cad, yellow, green, gold cad, red and titanium white in my hand. I have a round, small round. Probably number six for seven in an outline. Er, I saw a little bit of green little red, and the idea is just to put a little bit of brown down this represent the building. I'm not trying to get the color is perfect here. Actually, I want to get the color is perfect. I would rather exploit the color is a little bit because now is the time to do it. So I'm just in the ballpark. Maybe, but definitely not trying to get it exactly the way it should be. Because what that does allows me wiggle room. So it teaches me how to not paint what I see. I'm going to get a little bit darker color here and just gonna work with shadows side. So we got will be a shadow on the building and as loose as I am, I do like giving a sense of light and shadow. I think that really helps, and they're making the subject believable. which is pretty much what I've done here. So there's given that feeling of the light's hitting here. And then we got shadow on this side and again, it's not perfect by any stretch. That's fine, are good like that, and I'm going to go ahead, put the blue building into the side just to the right of it. Here's we're facing. The image will be a titanium white, a little bit of blue, and the sea here is coming up like so. Give me a little bit of dark color here. Make that believable. That works. That awning. There's a nice pop, a yellow. It's probably more of a gold ish color, but again, I'm gonna exploit it. Have fun with it and not try opinion. Perfect. It's all kind of Get that in there and with the tip of my brush, the wooden tip. I just play with those little lines that are on that. Maybe I want to come back now. Put a little more of a shadow when so little blue, little bit of red, look at the picture, connect with it and then just just put that down again. It's just not we're not trying to be too fussy with it here and a little bit of shadows here and the and the windows. We have a little sign there and, as as it moves away, can kind of lose a little bit of the detail, so just kind of fudged all that good. That gives me the idea. It breaks the ice with this with these buildings and doing again with acrylic and just really, it's the attitude of just being really loose and playful. So we're just trying toe, see how we feel with that brush in our hand. Get away from just the charcoal because things get a little more complicated. We introduce color like that that's working good for me. And now I want to experiment with that car. You know how much I enjoy painting those cars and just go to start with just some sort of dark, blob shaped good, gives him that feeling of a cars very, very loose. And that's what I'm after here. What do I see? Whatever I feel and then put it down, All right. See what else? I may have room for something else in here. There's this other little car in the very, very back little white car, and I think I just kind of popped that one right in here. It doesn't have to be much. I can even introduce a little finger painting, right? A little white globe. All right, I'm really liking this white. So maybe I want to just add there's some little details are just something that could indicate a detail, and that's good for now. So for sketch one, it was just really about picking up where I left off. So those buildings jumped into the car, keeping it simple. Just getting the feeling off the subject is fine with me, and it works. And it's not gonna work for everybody. And it shouldn't. That's what makes us all different. And you have to do, you know, decide for yourself how far you need to take these things in order to make them your own. That's the key right there. But I think this is good. They could get the point for ah, sketch one. All right, round two going to start with stoplight. It's gonna get something dark down. First work. Start with just some really muddy looking paint here and see we have a smaller building over there. Pretty dark. That's okay. I can a little bit darker. And I thought it was gonna be That's not a big deal like, Oh, well, is there now? I'll deal with it. And that's the attitude you need when you're painting a riel Brill Peace to You know, it's like no big deal. Put something down that you think doesn't go and react to it, right? That's what it's all about. So now we know there's a little awning right here. It's gonna and indicate that And the sea really got some right yellow in the windows there really light color like that Reflection. You know, how can I put that down really loose playing with it? Probably tell Really love my job. This is awesome. Love talking art love pain awning. All right, All good for now. That's all I wanted to do. That there is this one little you're building back here. That's kind of cool. I goes like this. Here we go. And and maybe I could just put the front to it. Way to go. And this guy a little are good. So I kind of broke the ice with the light I got a little space down here. I think I'll go ahead loosely. Do another car here, switch Teoh my liner brush with connecting to your subjects and probably undercharged. You probably should at least double the price on this lesson because it's really a key, I think, for any anyone that wants to be expressive, to get away from trying to pay what we see all the time and where you can experiment here, the more you will understand about your subjects. The more you understand about your medium and more, it will influence your artwork.