Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists | Robert Joyner | Skillshare

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

Robert Joyner, Making Art Fun

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

Robert Joyner, Making Art Fun

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4 Lessons (32m)
    • 1. Introduction

      1:10
    • 2. The Design & Composition

      6:36
    • 3. Abstract Beginnings

      6:59
    • 4. Step-By-Step Demo

      17:44
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About This Class

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In this class we will explore some tried and true design skills and blend them with unconventional brushwork and collaging techniques. Painting loose is all about balancing quality fundamentals with carefree ways to express your subjects. If you ignore the fundamentals it's easy to get carried away and the art looks too sloppy, or disconnected.

In this class I will share ways to;

  • Create better design & compositions
  • The rule of thirds method I prefer over the traditional way
  • The outliner brush - a long bristled liner
  • The fan brush - my favorite all around brush
  • Collage techniques
  • And much more...

This class is intended for intermediate artists that want to loosen up and break away from rigid, stiff art. If you are tired from painting predictable work this class is for you.

More Acrylic Courses By Robert Joyner

Landscape Painting Fundamentals Part 1

Landscape Painting Part 2; Sunrise, Sunset, Cloudy, Back And Front Lit Scenes + Composition & Color

Acrylic Painting Essentials For Beginners With Easy Step-By-Step Project

Acrylic & Mixed Media Essentials Part Two

How To Blend Traditional And Contemporary Color Theories With Acrylics

Add Value To Your Art - Basic Acrylic Painting Fundamentals

5 Stages Of A Painting

Acrylic Seascape Painting - Basic Fundamental Demonstration

Abstract Acrylic Cow Painting

Paint Roosters With Acrylics - From Charcoal To Finished Painting

Tips For Painting Loose With Acrylics

Paint Loose & Expressive With Acrylics - Brushwork

Paint Loose Techniques Using Acrylics And Mixed Media

Expressive Flowers With Acrylics - Learn An Approach That Gets Results

Advanced Acrylic Landscape Techniques - How To Plan Your Painting

Explore Expressive Mark Making And Collaging - Abstract Cow Painting Class

Have Some Fun Creating With Acrylics, Collage And Graphite - Expressive Painting Techniques

Expressive Flower Painting Techniques With Collaging And Acrylics

Contemporary Owl Painting Techniques Using Pattern & Collage

Expressive Still Life Techniques - Secrets To Painting Abstract Style Art With Acrylic

How To Paint Loose With Acrylics And Mixed Media

Learn Tips For Painting More Expressively - Acrylic & Collage Class For Intermediate Artists

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Robert Joyner

Making Art Fun

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Transcripts

1. Introduction: What's up, you guys? Robert Joyner here and welcome to another fantastic skill share class. I'm going to share some tips on how to paint loose, expressive landscape artwork just like this. If you're curious, this piece is painted with heavy body acrylics, collage and a little bit of graphite. It's loose, it's colorful, it's fine. But make no mistake about it. There's a lot of design and thought that goes into creating a painting this loose. So no matter what your style, you have to understand the basic fundamentals, your medium and when to go big, loose and bowl and went to the island in and get those details ironed out. So it's all about finding that balance between expressive and believable qualities. So if you're tired of painting tight art, you want some tips on how to loosen up this classes for you. So if any of this sounds interesting to you and we are going to kick things off with design and composition and I'll see you on the inside 2. The Design & Composition: I will start by pulling up my inspiration image, and I will be using this standard drawing paper here in a number two pencil, I will lay out my cup or my overall frame, which is will be, ah, landscape layout. And now what I like to do is just look at the big picture and tried to envision the rule of thirds. So the rule of thirds, most of you know it. I'm going to this a little bit smaller. I'll do two versions. The rule of thirds. Most people would divide the space evenly, which I didn't do a great job there. So there you go. So we have nine spaces. They're all equal, like a grid. So what I like to do is think Ah, big, medium, small. So I have one line here. One line here says his large, small medium. I can bring in another line here and I've got large, small medium. Now this This could be switched around and any, um, way so they could. They can start with small weaken, go to large than medium. We can start small up here. We can go, um, medium and then large Doesn't matter. The idea is we have a symmetrical shapes or in equality right away with this layout. These are all equal, and that can cause problems for a lot of people. But if you designed with this sort of layout where things aren't equal, then you have a much better chance at creating a composition that works. I'm going to use that method because I think it works better. So, using that idea of mine and with my image, I will start over here and do my large shape and then do a medium and then a small. So down here I will do medium, small and then big, so I can look at my image and see that already not all images are going to give you that. They're not that easy. You have to push things around a little bit to make it work. So if I bring the big building down in here and then over and the distant buildings are in here and the building on the side is over and there, so that's the idea now can shift its No, I don't have to stick. Everything's gotta fit in this little space so I can make that distant building a little bit bigger. That's fine. I mean, that's not gonna hurt anything. And I had this building coming off to the side here. It's got some sign Egx, and then maybe we have some new figures walking here in the foreground. We have archway, we have another archway. I have another figure. And here, off to the right. I want to do a car that's going to help break, break up that shape a little bit. It's got a shadow underneath, and we can put a figure, maybe right in there and we'll give and we'll give this one right here. I think we'll give this one kind of friend there, so they've got that going on. And now that can dio no shadow going across the foreground, connecting to these figures. We'll put this building and shadow because pretty much is it's already moving into value. This will be a medium town. We'll run that right over. This will be a darker tone on the back of the car, darker tone underneath and a darker tones. Still, a wedding figures, maybe another shadow moving across something like that. Medium tone windows, low telephone pole or something and that's pretty much it. So that right there gives me something I can work with. I can automatically see how that's going to work, and once I get in here and start throwing details in there, that's going to be really nice. I can already envision everything coming together, and that comes from this. Okay, if I just start taking an image and trying to make it work without understanding the first step, and that's getting it spaced right then I'm guessing I don't have anything or a starting point that makes sense. So I tell you, this is like the best way or the best solution I can give you to understanding good design and composition. And from there it's all about shapes. But the these spaces right there already give you that to. It's just a matter of making things work and connect within some of these points. It doesn't have to be everyone, but if you can get some of them to work and hit those lines, then you've got it made. So this is my design, and I think I can easily work with that for painting, so that's what I'll do In the next step. I'm going to go ahead and dive in to making the artwork 3. Abstract Beginnings: all right. My next little tip here and probably without a doubt, my favorite for painting loosely but it's not easy to achieve is abstract beginnings. So ah, typical approach, I think for many artists is to tone the canvas. So maybe you have a white canvas or piece of paper, tone it neutral gray or whatever, and then put your layout in their your design and start painting. What I like to do is start with stuff like this and let me explain to you what this is. At the end of the session, I have left over paint, and I like to paint on these days. Cardboard. It changes all the time, but I like this because I can put paint down its, you know, dry fairly quickly. So if I start to put a lot of water into my mixtures and thin it out, it will absorb into that cardboard and doesn't run too much or get messy all over the table . It's cheap, and I have a lot of it, and then once you use it, this is all dry. It will start to skin over, so if you've used acrylic for a while, you know They'll go dry, though, Harden up. And then though they'll get this kind of skin going on, that makes it even better. It won't. It won't absorb the karberg. Excuse me. The cardboard won't absorb as much water, but it absorbs enough to keep it fairly dry. So anyway, uh, at the end of the session, I have left over paint and now I take it and smear it down. And a lot of times I would do that twice. So let's say this is dry 100% dry. I made tomorrow or today, have another paint session and I'll do it again and then I'll give me two layers of these kind of very smeared marks. Now show you some other examples of that. This is another example of this is £140 cold press paper. So has a lot more texture to it. As you can probably see compared to this, this is Bristol paper, So it was very smooth. It doesn't have all of this kind of artifact ing type thing going on, but this is another example of leftover paint, and here you can see this is the same type of paper, but Obviously you have more paint left over, so I got a much different effect and result from it. But anyhow, I love this type of beginning because I already have abstract qualities. But the problem is it could be a little difficult to work with this sort of idea and beginning if you're not used to it. So if you don't have experience painting with kind of a chaotic look like this, then you're going to have to get that experience. So you're gonna have to understand that in the beginning, you're not going to get the results you're after. But over time you can start to take this stuff and, you know, rotated and get a beginning that would work. I mean, this is another beginning. Where my daughter, I think she was three when she did this. Just was messing around. Kept a lot of these cause these air fun to paint over. And this is good quality Bristol paper to this is a value sketch I did for workshop. I could take this and turn it sideways, and it's kind of the same idea. So I'm taking paint, you know, from the say this example, a inferior piece of art or reject, and I'm going to make something out of it so I can start sideways like this or turn it even upside down and go for it. You have all these nice little shapes and marks going on that you don't wouldn't ordinarily start with so again that it takes experience and getting used to I would recommend again trying it and don't expect to get finished. Quality are added in the beginning, but if you can slowly work your way into it, I can tell you there are a lot of fun to work with. So, for example, I can take something like this and even take Inc. This is Ah acrylic ink here, and I'll take a small brush and just start painting over it. You'll start to see the layering effect so you can see how that ink is transparent and how those layers underneath are giving it an interesting quality. So often times artists will paint in. Their layers are very flat, so all the color is one Hugh. And so they don't have all of these interesting, uh, dynamic texture in going on underneath. And this can instantly give you that sort of stuff, and acrylic is the same way. You just have to make sure the paint you select or the hue you select is transparent. And it always will tell you on the back. So semi transparent, it says it right there. So if I put a little bit of this burnt sienna on the palate and I will use this example since weaken have can kind of compare it to the inks. And I gotta have a little bit of water on my brush here, and I start to put this down. I'll bring it up a little closer. You can see how the transparent quality of the paint is layering over this original leftovers, but is giving it, ah, quality that you really can't achieve by painting with the, say, a solid gray or solid white beginning. So if this were a building or something, I could easily come in here and create a nice look to it without having to do a whole lot. So that's just something again. You'll you'll see me do quite a bit. And my demonstrations has worked with these abstract beginnings, and it is really my preferred method. I find I get my best work starting this way. If you something, there's something you want to try again. Just give yourself a little bit of time. It's not always going to produce the results you want. You know what else you gonna do with left? Ever paid? Anyway, we may as well take it spear down on something. You got a beginning to your next painting, and that's kind of the way I look at it is I'm not wasting it. And I've already got another beginning started to my painting. So anyway, I'm going to take one of these and use it as my beginning. And then that's going to to give you some insight on how you too, can get these sort of qualities without having to work very hard or put much effort into it . 4. Step-By-Step Demo: materials with you. This is just a piece of cardboard that I have some masking tape used on the corners to put my abstract beginning down. This is 15 by £1140 cold press. It is not quality watercolor paper, More of a student grade cardboard pallet. Ah, permanent violet, COBOL blue cad. Red light, burnt sienna, yellow Oakar cad over lemon yellow. Ah, brilliant blue titanium white. I'll use a variety of brushes. I will try my best to tell you what I have while I'm using it. If I forget, I will include it in the description. I'm going to start with a fan. This is a synthetic fan, fairly firm, best suited probably for acrylics. Abstract beginning now I'm not going to panic or or get sucked into trying to map everything out perfectly here. The idea is to work from my design, which I did for you. I know where some of the main value placements will be, and I know where how will be laid out. And that's what I'm going to go with. I can start with a drawing, so basically laying it out. So if I want to get in here and put my loose drawing in there. I can easily do that for May. I think it'd be fun just to kind of let it rip on this one. So that's what I'll dio. I'm going to leave the sky for later, and I think I will start with one of my liner brush is here. This is actually an outline or brush. You can see it's got some long bristles on it. I'm just going to wet it and you know, I'll try to get my palate and everything in the image. But again, I'm not gonna make any promises. The main thing I'm going to focus on is just the approach and not so much color mixing and all that stuff and paid more attention to values. So little CNN, a little poker, a little bit of the blue here and maybe even a touch of this violet and just get something semi neutral, semi dark and when throws. So make some shapes, make some things interesting there for that building. Over here, I have, ah, another neutral building, so I've got the white there already, so maybe I can use the whites for the windows and I'll kind of let that go in there and I'll have a car over in here. I know I have some dark values over in this section on the left hand side, so I think in order to make that dark section work, let me see what I can mix here with my Violet and Sienna. So I think in order to make that work, I'll have to lighten this building a little bit. Someone to go with my white Sienna blues and keep it loose. Try to leave some of those abstract qualities in the air, and now I can take no, I have some arches and stuff like that in the air. While that's what. Take some these Oakar similar colors. Take a little Oakar in here to that mixture and hit a few details on the building. Just kind of pop it a little bit. Grab a little more violet for my palate like, got a little stingy there. I'll see if I can make something with these paints. Give me what I'm looking for. I'm just going to blend that out a little bit just to smooth out some of those hard edges. But leave some of that color in there. That's not looking too bad. I think we'll do. Now is take a little bit of these greys and start to get cash shadows coming across. I can kind of use these grays. Two for the building in the distance here. You know, I have figures walking in a shadow here. See how the lodging might work here. My work. So, a little bit of mod podge here, semi off camera and did that on the wrong side. So you know what? Go with it. Pill this tape up from it to get the white of the paper, and I got the green of the paper. See if I can get it right this time. No, I have a card here. You see? Like that again. Where does were ball parking stuff? We kind of know our design because got, like, a little a little something up there on those. I'm just going to mix a little bit of green in here. So a lot of this is just playing with it and trying to get values and things of that nature right as I go. So I don't like the value of that building. I know I'm gonna have to change that. I think I will do it with my brush. I've got these figures going in here already. So amazed while you paint paint around them. And no, there are some we know windows and but not on the building. It put a little feeling of aside while going across. Tell us a little, well, shadow color with these Ciena's shadow coming across the street. I'm work with this dialing this, uh, light source coming across the street. Of course we're dealing with road to We've got our little car, which were moved down a little bit. Probably put that a little too high with that weight and just own some white in here. Maybe we'll put it in our own way back there. Stop sticking to my finger. Right. Put a little cobalt out here. I'm gonna mix that with a little bit of my red. I just changed a hue up a little bit. Like how that gray's working on that. Sorry for the bump on these buildings. The little tail light on these cars, sir. Putting our little figures in there. Keep bumping. Fan now hadn't really used it yet. - I think you're here. Maybe with a white shirt highlights. We'll go back into this tan color. Maybe. Ah, Uh huh. Back into the street color. I think I'm gonna have just lighten this building up a little bit. The small brush to do it on that means hot The change this a little bit, I think a little bit darker and that she is adjusting the Hughes so that it works. And before it just ah, a little bit too dark work. Now I know I've got some wet paint here. Scratch into it. Could this? Ah, a little bit darker. Only sign here starting to get that nice loose look. I think at this point just let it dry. And if you painted with acrylics long enough, you understand that it's going dry a little bit darker, then what you see, and that's just the nature acrylics before put it down. I want to get a little bit darker face. Read her face. I should say, Keep bumpier. Yeah, we'll put in a little figure over here. This looks a little bit lonely. Just a little bit of time. There was able to take you from the basic design aspect of it of, of working with, you know, an image and then bring you into a few techniques I like to use with collage ing, also with understanding, design, trying to get that layout right, giving you an idea or way you can explore starting your painting and then right up to the finish, you know, and it's got a little blend of that traditional or good fundamentals blended with some expressive painting techniques. And you know, that's what it's all about, being able to take those tried and true methods and working with him because they that rule of thirds, you know, things like that, that all that stuff works really well. And it doesn't matter the style of art you do because, um, in the end, you know how you express yourself is what's going to separate you from others and way never really want a paint like other people, you know, we always want to borrow from people, which I hope that's what you're doing with me. And if you can learn to steal a few ideas, make things your own. I'm just adding some small shapes here, and then in the end, you got yourself a winning recipe I liked. What I did here is nice and loose. Exactly what I wanted to do. And I've learned a lot. You know, I've had some nice reminders about composition. I was able to work with acrylics, collage, Get my hands dirty. Any time I can do that, I know it's a good day. Okay? So I'll bring you in for a little bit closer. Look, and then I will see you guys in the next one. Cheers.