Men At Work - Tips For Painting Figures In A Natural Setting | Robert Joyner | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Men At Work - Tips For Painting Figures In A Natural Setting

teacher avatar Robert Joyner, Making Art Fun

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

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

11 Lessons (1h 24m)
    • 1. Trailer

    • 2. Introduction

    • 3. Making Connections

    • 4. Background Ideas

    • 5. Exploring Subjects - Finding Inspiration

    • 6. Introduction To Composing

    • 7. Exploring Compositions

    • 8. Compose & Block In

    • 9. Final Painting Part 2 HD 1080p

    • 10. Final Painting Part 3 HD 1080p

    • 11. Final Painting & Recap

  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

A Quick Look

In this class I will share my thoughts on capturing figures & people in their natural setting. To do this I hit the pavement to create several plein air sketches, and take reference photos to bring back to the studio. Once the sketches are complete I will paint a finished painting based on my experiences.

Why This Class Is Important For You

Often artists paint subjects that simply do not reflect their life & environment. Simply put the art is a false representation because there's no personal connection to the subject(s). The process I will share in this class allows me to connect to my subjects thus the painting & subjects are true to my life & personal style. This has a major impact on how inspired I am to paint at the easel and the results usually speak for themselves.

Meet Your Teacher

Teacher Profile Image

Robert Joyner

Making Art Fun


Class Ratings

Expectations Met?
  • Exceeded!
  • Yes
  • Somewhat
  • Not really
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Trailer: Hi there. I'm Robert Joyner, and in this class I will share some tips and ideas on how to create a fantastic painting, including figures in their natural environment. My focus will be minute work. Things class will help anyone that wants to learn how to paint expressively with acrylics and mixed media. But also and more importantly, I won't give you some insight on how you can create paintings that you have a personal connection to. This is so important for artists because I feel so many lack this connection to their subjects. And I will walk you through every step of the process from how I gathered my materials, the quick sketches I did on site and then how I bring those back to the studio and they worked with them to create my final composition. And once I had that composed, I will create a finished piece using good, fundamental painting skills with a twist of unconventional, expressive painting techniques. So if you're excited as I am to get started and wrote a day and I hope to see you on the inside now, let's get to work 2. Introduction: Hey, you guys, Robert Joyner here and I am in downtown Richmond, Virginia, which is what you see behind me now. Figures in the city escape or landscape in this case. For me, I'll be doing focusing on City Escape is really about capturing the human in their everyday life. That could be eating lunch. That could be, in this case to say, it's Monday morning. They may be walking their dog, so I want to capture that. That that's my main focus and then backdrops. What they're actually doing can be manipulated. Okay, and that's what I like to dio. Rarely do I ever taken image or picture, and it has everything that I'm looking for. The light and shadow, the human element, the perfect scenery. No, with the leading lines, that makes a good composition on all of that stuff. I just can't do that. For some reason, I take a lot of pictures but never doesn't say everything that I wanted to say. So my focus is, and my goal and kind of what generally works for me is to get out like today and look for figures doing their thing. I mean, that's that's my number one goal and doing what I feel intrigues me creatively, take some pictures on, then also do some quick sketches. But getting back to what I was saying earlier, I'm going to probably end up merging things. So I will take pictures on do some quick sketches of people doing their thing. And then I'm also looking for a backdrop story. And that's what today is all about. For me, this is step One finding the subjects, the figures, the people that interest me, doing things that I find would make good artwork. Okay, And then while I do it, I don't want to overwhelm myself. I simply want to keep it simple that that's really the key. So I'm talking a camera, and a lot of you know have smartphones you can use your smartphone to. This is something you want to try. I have. Ah, just a regular digital camera has a little bit of a zoom to it so I can capture people. And then I also have some pens, a pencil, some topic markers where I will do several This line studies sketches to try to capture the essence of what I see while I'm out here Something else that has intrigued me while, of course, driving around downtown. Um, just kind of the things I see would be like a minute work or people that work, for that matter. Um no Wearing, like construction workers, doing some roadwork or something like that. I kind of like that. You generally get some heavy machinery the workers are carrying wearing these kind of vests that are really or in a bright orange and white kind of reflective vests for safety purposes. About kind of like that. I will love the kind of see some of that while I'm out today. But again, I don't want to try to control it. The idea is to let it come to me on, then see what happens. Okay, so again, I'm taking a lot of pictures of people today. Are we doing quite a bit of line work, just drawing, trying to just capture the essence of the movement and what they're doing because that seeps into my work that won't seep into the final painting. It was fine. Art is very stale. If you stay cooped up in the studio all the time and you're not really doing our painting the things that are connected to you and that's so important to really for your paintings to capture the things that are part of your life. It's such a shame to work from images all the time on the Internet and stuff because you don't really have that that real life experience. Things will change if you if you do that Okay, you can incorporate to some. Ready get started. See you the next. 3. Making Connections: another good score here. I found some guys that work. There was kind of bright yellow and orange reflective vests on shirts. I think that would make a really good composition. It's also they're backdrop is kind of nice the way it is. This kind of news usual fine. For me, it's even into the light backdrop is nice and dark, and I think I'll have some really good opportunities to capture it Now. They have some heavy machineries sauce and jackhammers. I guess they're taking up the sidewalk and whatnot so it could get very loud if the good some noise is unbearable on the video. Of course, I would just kind of mute that out. We play a little bit of relaxing music for you, so I don't want to sit there and you ruptured your ear drums or anything. So depending on what happens, you may I will try to narrate and talk you through a lot of what I'm doing. They got work quick. I mean, when you're in these elements, these guys are moving fast, so you really need to get in there, get it done, and also they tend to kind of go back and do the same task a lot. So what you can do is kind of weight in between chores on. Then you'll see them kind of go right back into whatever test that they're they're supposed to do. And so what I'm doing now is just really about capturing a their body language and just kind of getting a real life experience. You know, with what's going on and on. And as I'm doing this, I'm taking note of things that kind of interest me. So there's a certain Cozaar certain angle that I really like that I'll try to capture really quick drawing, or simply look for a way to kind of capture that image of those guys working and striking that look that I'm after last sitting, standing around with some of these guys and they just kind of sit there and sit there, stay in there and staying there. Rather whatever job they have to do is ready for him. Catch him doing what they're doing. That that's the whole idea. Here is Teoh. Find for me. What is minute work doing the jobs they do on hopefully results. Nice little scenery here. Nice little peace are when it's all said and done, I also like that little tractor. That's something is kind of cool. I think I'm gonna capture. I get that thing in there, bleed on the back, all the cool stuff. There's a figure in there, man driving, of course. See what kind of capture him in there. Too comfortable slot over and do another one right here. Now here are the mud trying to capture absolutely perfect image of what they're doing. It was just really about getting the essence of what's going that it energy what they're doing, kind of filtering a little bit of my heart. They want to get back in the studio. Of course, all that well be a part of what I was doing and, of course, a part of the finished piece, too. But without the real live experience, then it's really, really tough to, I think, create art that's exciting. You need breakouts, pens here and do a little bit of tonal stuff. Let's start with kind of a mid range here, fellows, guys long and this splash nous we color guy's kind of go back strike those same poses and everything so kind of interesting go back and do this because they're probably in a very similar position. And they were, But this a little back. Oh, there. Now, I'm gonna go into a little bit darker set up here way. Have our little shovel here. Leaning on on, uh, have a little best in the white shirt there with vest. It's a little bit of that light toned down. I'm just going to come in here now. Capture some of this. Uh, that's fine. No, all I want to do right here is get that feeling of guys hitting that pooh poohs or whatever it is they're doing on, Then I try to make sense of it later on. God, they're standing next to a pole. No, waiting to his. This call was made there on, uh, can't forget to take pictures to make sure you have a camera camera handy. Get as much of this down a Z possible. Works the tone here to just kind of glancing back to the guys now working, picking up little details of what I see. Pretty good, I think from your sketching for this. That's all I need. I think at this point, I'm gonna I had a little bit of that kind of locked in, and now I can take a few more pictures. Actually, quite a few more pictures, and I think I can easily take this back to the studio or wherever I want to go create, possibly finished work with it. 4. Background Ideas: behind me is a really good set up. I think it's Ah make for a good backdrop. There's a lot of people running by. Plus, there's dark homes and they have trees and cars. I think the dark homes will make for that kind of backdrop. The highlight. The people that could be walking by in front of it or something like that. It's on a corner to so I could kind of manipulate That puts him cross little stripes in the street, different things that would make it interesting. So I'll take a picture of that today with my camera. Let's have a little digital camera here. I'll capture a lot of stuff like this today, probably just with my camera, because the backdrop isn't that important to me that it's just simply a supporting cast. They're going to give me, um, the complete picture, the complete story Again. I look for stuff like this all the time and I get down to the city. I'll do the same thing and so I will share a lot of these with you. If you want to use some of these for your studies, that's fine, too. But again, I would encourage you to get out and do what I'm doing in your neck of the woods and find these good setups because we're all different when I see things differently. When you find things that are more interesting where to us and others Things I found appealing, I'll expect you to, like all the time, once in a while on the things I overlook you would find very interesting. OK, so this is all about creating that unique art, that personal touch. So get out there and do it because I find them because this is where our happens. Okay? This is the very, very core of your creativity. Okay, so it takes pictures. I'll share them here. So you got to get a feel for what I'm after. And then, um, them again emerge a lot of things as I go adding the human element, completing the story. All right, another get set up right here. We have a slight curve of a path with the benches, some trees, a few little lamps and stuff that could lead you in a lot of greenery there. But I could change the minute he like this however I want and add whatever light I would like to add. But this makes for a really good scene with good lines. Good composition, little score behind me Here. Nice red brick building there. It's got some colorful chairs outside. I like little mix of white storefront. I think that would make for interesting backdrops again, not the perfect scene. There are people out there sipping coffee and having their morning biscotti, but has the elements I look for for this course good backdrop had the human element because adding people there sipping coffee is easy and eventually people will be there. But I'm here now. I want to capture that particular scene on image. So I have my camera, and it's just as easy as pulling over and then, uh, taken time to capture it. Okay, this is what you really should do. I really encourage you to get out there, see your town, see your land the landscapes and try to find these little nooks and crannies. And these little gyms like this that would make for a perfect set up. Okay, see? And one other important thing, too, is when you're find these little setups is to not don't get stuck with one, um, viewpoint. So I took a picture here from this, um, viewpoint or vantage point, I may want to go across the street. I may want to, you know, go over there. Me when I get a few different angle was while I'm here, the light is never gonna be perfect. Actually, the light is behind the building in front of me now, so I'm almost in shadow. Um, but if you get several vantage points, then you'll be surprised which one actually appeals to you when it comes time, toe paint and create. So what? I'm gonna do that and again, I'll share those images with you, But make sure you consider that when you're taking your image another shot here love again , right in my wheelhouse. In terms of love, those corners. I love the awnings. And this has, ah, really, really good set up. So I'm going to get some footage here. Some resume it and this is what I like to do. You know, you zoom in, you get different angles. Maybe that truck will make it in my final piece. Put some workers out there something or maybe will be separate. But the idea is to get out here and capture this stuff and see what it means to you. Because if you don't, then you're stuck. Painting you're stuck. Painting are that really doesn't have a lot of feeling, doesn't have a lot of connection to you, and it's a shame. And this stuff is happening all the time. You get out to your your downtown and discover some really interesting things like this. And the cool thing about it is, the more you look around and the more time you spend discovering these things, the better off you are. And I guarantee you you will certainly improve your art dramatically. 5. Exploring Subjects - Finding Inspiration: All right, so again got you zoomed in here. And this is probably about 18 24 sheet of £90 drawn paper compressed charcoal. I get a few albums that tend to break the tips and all that. So a break when I grab the other one and I've got my image here in the 1st 1 wanted. First thing I'm thinking about is I'm looking at details like their stance. I'm also looking at their hats or safety hats. The safety vest, things like that. Yeah, I just want to quickly see if I can capture kind of the feeling off like how they're standing. So here. This guy's kind of standing here and he's on one leg. He's got, like, this one. It's like stepping on a little Be little rock or those something there just basically want to see if I can capture that really quick. Uh, when we met without getting two called up in the end, the details, you know, the best. That's really the key at this point because not after the the final thing. Right now. It's about about trying to see if I even wanted to spend my time with this particular, um, set up with this composition were with this figure rather. And I want to see how does this appeal to me when I started to create it? Thank God. And so that's That's kind of where I'm at. You look at it a while. That's really, really sloppy or whatever it ISS. And that's 10 thing is pretty much how I like to work, because if I get too caught up in their details and all that stuff, I'll lose. My focus. Has a little shovel there. His best comes down something like that. That's okay, kind of like that. I'm kind of move you over just a smidge and we'll look do another one. And this figure kind of turned away from us. Um, we'll see how like that kind of angle going on. Do I like that position saying drooping down. He was coming up, pissed his hand. I'm looking at like where this hand stops relative to his face shovel or something going down there, and it's kind of leaving kind of leaning back a little bit, so the best comes down, this hand comes down here. This kind of kicked out a little bit Okay, We have our little shovel there. You kind of see how spent a tremendous amount of time here who is all about making the connections. I'm just gonna do this guy one more time. And the beauty of this kind of stuff to is you don't really have toe focus on, uh but, you know, and my capture in the likeness of the person because no one really knows what he looks like . You guys, we'll see the image. But if I ever post this is a finished painting and sell it or whatever, then no one has a clue what this person really looked like. They just hopefully we'll know the haze kind of standing there, and he's worked or something, and that's it. Given that leg and tell you what I'm doing this, I'm really enjoying the shovel. Believe it or not, I know it's about the figure, but you have to kind of pay attention to things like that because if you're like drawn and painting, you're like, Oh, yeah, that particular feature, whatever interests me. Then you kind of know that helps you leaves you to where you need to go. I'll grab another sheet of paper. Okay, So slightly different image here with the same idea. In terms of subject matter. Eso got have a figure here. His back is to us. You have sunglasses on, you know, his hat comes around, um, something like that. And then shorter breaks down here somewhere. And I kind of like the way this guys, um, basically take it easy here. His partners do all the work, his shovel just down here somewhere. So I don't know what his deal is, but kind of slacking a little bit. Best pants here, kind of baggy, kind of like the stripes coming down, even catching my probably like a little reflective taper design going on who it's kind of like as quick and maybe as almost was, meal of meaningless. Maybe as this may look, some people like it was just a bunch of sloppy drawn. I can tell you, it really isn't because I mean, this is like the key. I can tell you to what I do for my my paintings. I mean, this is where I find my looseness is where I find my connections to my art and painting. Any subject isn't about painting the subject itself. It's about your interpretation of it. And what details what elements building. They're like the reflective thing, the shovel nose, those connections that will go a long way in the final painting and those with connections I'm looking for as an artist and make these connections here in a very simple way, then defined in the final painting, it comes out. So there's a little things that I was like, Oh, yeah, it's kind of cool, like to shovel like this. Like how that kind of, you know, the colors of the best anything? No, I like how that works for drawing it and then believe or not, that will translate and go a long way in the final piece. But this is where I find my freedom certainly where I find connections before my final final work. But and I find this is the stage that no one wants to work on. Everyone wants that final painting. Just just give me that piece. I can post on Facebook and show everybody how awesome I am. But if you do this kind of stuff, I can tell you your work will take on a whole different meaning. It will start to become a lot more confident. And it would come a lot more interesting to you. And we do posting on Facebook. You look a lot better on D. C. Do one more quick. I think I have room. Maybe right in here, actually, just do another sheet of paper real quick. This was the guy kind of leaning over using some sort of manual drill or something. Another little figure here. It's like you that maybe some sort of grading or raking or something here, Maybe digging out a whole I don't know. I like the way it looks. He has a little shovel or little to in here, coming down in this area. You hear those kind of reflected Take things that, like I just like that shape. And then it gives that vest in there, and this one has some really interesting colors to I know I'm not really focusing on color now, but I like kind of the yellowish reflective vest with, um with the red shirt he has. Sorry about that. I got a little distracted while I was fall in here. That's good. 6. Introduction To Composing: hi there and in this lesson going to work on composition. Now I can think back to the time I spent playing their drawing and painting and kind of read researching this class a little bit and immediately a think of the street corners with the awnings. There is also just the scene of those guys working. I know there's, Ah, a big tractor there in one of them, on others also, or some sort of backhoe or whatever that heavy equipment waas. There was also a work truck like a big dump truck, things like that to storefronts, and I don't know how complicated or how simplified I need this to be in order to create that final painting. Now, I also have to consider my style. I'm loose. I'm a little sloppy, very rough around the edges. And I don't know if I want a lot of clutter in my composition. So, you know, I want to think Okay, I need a story and in the backdrop, I like I would like to have a complete scene for this particular class, so I would just use good old This is a large piece of compressed charcoal and this is actually just £140 watercolor papers and scraps. So there, big some 22 by 30 to where I can divide them in half and then divide them in half again this way and then come up with, perhaps, for rectangles to explore with. I saw, you know, the idea for me. And the reason why I'm using this big, chunky piece of charcoal is I'm not going to get fussy with details at all. I'm looking at shapes, so my figure may just be that just just something to indicate where my figure is going to be in the composition just so I can understand the scale of it. So if my figure is this big from here to here No, I know. Okay, What can probably fit in? Maybe a building and awning or truck things like that. So I was thinking a little bit about scale and big shapes. Kind of the flow of how all that's going to kind of work together. Okay. So, uh, again very, very loose. Very raw, very quick. And I just kind of I will look at my images, find something that say, Hey, I like that. Let me see how it works. Let me see if I can make that connection now, not only with the workers, but with this kind of whole backdrop scene and see if that is something that excites me. Okay, So without any further ado, I will bring you guys in and I'll start right here and just kind of chunky. Chunky. Get something in. See how I feel about it, okay? 7. Exploring Compositions: the first thing I'm going to I think about is, uh less is best, basically. So where these guys were working, there were just some buildings. It was basically a corner. So I'm thinking just having Maybe there's a corner of the building running up here, maybe the street coming down in here and this could be a corner and then maybe running off something like that and then I remember or I'm looking at my images. Yeah, there, there some windows on this building. And, uh, I can kind of make up some little things that are going on. And then there's a little corner here and I'll you'll see this image and the resource is and everything. And it's just Ah, storefront. I'm like, OK, I kind of like the way that looks. Maybe maybe I can use kind of one of those awnings. Yes, I like, though something like that. And that's good. I can. So now I've got a feeling for that and they could be some other windows and things like that going on real sidewalk. So now maybe I can start to put one figure here. Maybe he's got the little shovel. I mean, I could put this guy here. He's been over going to drilling. Maybe there's another guy in there and they could be working like on this little corner right here, Plus one idea. Now we'll move onto the next one. Now, with this one, I'm going to, first of all, fixed portions here. So something like that trying to keep it five by four ratio or something like that for by three, someone kind of zoom in mawr on the building. So I'm going to lose that whole perspective so that the figures become more prominent. But I can still have fun put in little haunting, perhaps something like this. They need some windows, things like that going on and maybe one more. It's a different building. We could put a partial sign right here, some sort of cafes. And now maybe the bottoms of those buildings were right in here and again. I can look at my figures. So I had basically the thank you one guy kind of leaning over, okay, his arm out on a shovel. There was the other guy. It's been over here going on the work. And then there was a third guy, perhaps I can pull and maybe he can be over here. What kind of leaning back here? He's leaning on his shovel to. So I got from one guy. I've been over going all the work. 123 I've got the awning in the year and of course, this has no indication on what the colors will be or how would pop. This will probably make the figures a little bit later and then maybe used the background darkness under the owning of what? Not to silhouette the figures. But that's one idea. So when this option number three kind of like the idea may be looking on an image that took and some basically a big truck and it looks like it's just basically full of equipment and supplies and just basically using that as a backdrop. It's kind of interesting, too, because this was taken, his image was was taken, I think a completely different day then when I've worked with the other figures. But ah, the idea or a kind of story these guys are working on getting their supplies or something. Teoh. You have to do their jobs, you know, which is basically a big truck on, but this put that in the background, and then I just any or something Here we can play some with orange cones, work homes, and then I can go ahead and put weight figure here of the guy maneuver, drilling or whatever way, have Ah, this guy's gonna be exceeded a little bit taller, had his hand out a shovel and then, you know, maybe 1/3 and they're so so using that truck as a possible possible background. All right? And for this final option, I've changed the proportion a little bit sore. Believe went rectangular and very long. Why, brother? And I'm thinking I could put you know, a bunch of workers and make him a little bit smaller. Can really pack them in here. Images of people, um, pushing will barrels and then behind it. And just do really something very simple. Maybe filled my little awning in there something like that, um, some windows and just put a bunch of workers in there and really pop those. It's my job. And over there like him girl in and just kind of make this a clutter of just picking guys working and then just kind of real, loosely indicating some buildings. Something BC I below its took my little awning America Just have what we love that thing, something like that. So the idea vanishes. A cluster of workers get with wheel barrels, Um, different energy going on, and it's loosely indicate things that are happening back there. So it gives a feeling there working and a story. 8. Compose & Block In: All right, you guys. So this is my composition. You see, I decided to trickle in or Sprinkle a few extra workers in there. Got a guy in the background, but I used kind of several. 1234 of the workers are connected with early on, so the guy kind of better were drilling. Guy leaning on a shovel, kind of stepping on a brick here with another shovel. I got the guy here. Don't you want some sort of grading that I kind of put a little worker back here in the background. These were just the storefronts, and I kind of have a Holien awning right here. I just love mornings for the door and just some windows. There was a red F d. C. Signed. I thought that would be kind of interesting. The red and the yellow may work well together. Give a nice, warm feel because the background would be real muted. I'm not going to do a lot there. Focus will be right here. So hopefully you can see how I was influenced with my figures in the cityscape and course. All the preliminary work out did because there's no way this could have evolved to this point unless I had done that. Groundwork. Okay, so now that I have my composition, that is from phase one. So with the five stages way have composition. Now I want to start thinking about color. I have some yellow iron oxide. I have some. This is kind of Ah, Naples yellow hue. Really a little bit lighter than this if Acronym Blue Cobalt. Violet. All right, I have a little bit of yellow still in my brush here. And it's not about painting the edges and all that. I want to get something down, but make it very almost transparent. So I was just kind of dab in these color is a little bit And, uh, this kind of getting initially what I feel would be just a good starting point I don't want I don't want my colors to be too dark in the beginning. I don't want them to be to light. I like to kind of be right in that middle range there and grab a little bit of water on a brush. They're to thin it out. I'm leaving some of these outlines in their of the figures and a little more water. Now my work with his background around this awning a little bit. Maybe catch a few of these stripes. He kind of still see those outlines through all that and good going kind of Sprinkle in some blues where I want guys and jeans and way. Have a nice dark hair. Get down in there, let's get down and grab a clean brush on this point to let this down a little bit again. It is wet, depicted in even more water. And it's one of Philip some of these little pockets with to get a little color down don't see my layout lines. That's good. So by using somewhat of a transparent layer there, I still see what's going on. And that's gonna help the course as I move forward. It was kind of going around some of these figures ready here in the background so I can kind of see the silhouette of them and at this stage really don't want Teoh. Got to start thinking about details and all that stuff. It's just really about color. I'm putting something down. I'm trying to course capture these figures in a very loose way, but not get fussy because it's really about trying to feel the overall kind of color harmony here home, how these colors are going to mingle. I like these. I mean, I like all the I was putting a little bit a little bit lighter yellow in here. Now I like that kind of like how the purples air in the air. We have a little busies, yellow vests, safety, invest, and stuff that air coming through. Now I think that's gonna work this fun. It's kind of muddy all that. But again, it's gonna be about popping those figures and coming here now with this blue. And maybe it's sprinkling a little more of this haunting. Sprinkle that blue around here a little bit and, you know, back here it's gonna be very, very abstract. I'm sure I'll lose a lot of what I had there initially that that initial stage was just, uh, get fired up anyway, back yet. All right, there you go. And then we'll last thing while it's still wet. I'm gonna take just to drive people paper towel here and just smooth out some of these brush room, especially in the background, and just smudged it a little bit. I mean, this is if you watched the advanced techniques I talked about smudging. Never really think it's underutilized technique. I could go a long way if you are. If you're not afraid to use it, I'm just going around the edge of this guy trying to capture the top of his head and good, huh? For this stage of the painting. Now, I don't want to do any more than that. I've got figures in there. I've got my color is going on. The colors are in the mid light range, so I'm not using the lightest light. I'm not using the darkest dark. I'm not trying to define anything at this point. It's just indicate loosely indicate where things will be and, more importantly, color blues, purples, yellows, browns. This works good. So I've got my color in here. I've already really started to block things in a little justice, Mitch. So I'm going to say I have about half of that block in stage. Okay? So for week three, that's all I want to do. Now she's somewhere letting this dry and then taking some time to look at it. See what I like about it when I need to change, and then what can I add to it and all that kind of stuff? OK, but I'm not really thinking about details that will be down. And there it was, last up. So anyway, I think I'll let it pause right here. And then, um, I want you to do the same thing. So basically taken ice sheet of paper came this review on use Refined that composition. Get it down, put it on paper. Nice and clean. He can or lose. I mean, this was still pretty loose, although it was a lot tighter than what I did initially. So you get your composition and then think about color your color. It can be a wash. You can just spray your your surface down and just put a wash. Tone it down. They would do to tones or two layers of awash in there. That's fine. You don't have to approach it the same way I did here. However you want to put it in. But I was doing some color down there and then just kind of roughly chunky, chunky, chunky, blocking a few elements and so that we can kind to kind of grasp it, sink our teeth into a little that and then move on to this. No third. And then the fourth player, which is building up. And then, of course, And those details in the final week. Okay. All right. That concluded right here. Have fun with this. Can't wait to see what you do. 9. Final Painting Part 2 HD 1080p: my palate. Here I have some titanium white football violence and background blue Cem burnt orange cad Yellow T O Eliza in cat orange. I'm going to start. Well, let me say I've already started because I've spent a lot of time looking at the painting, trying to figure out where I want to go with it. And again, Yeah, the focus is putting these figures in the center of attention, making these guys really come forward. Send these like, I want to really understate that background. And so some decisions I have made really are to put a few details back here in the background, situate the awning a little bit, but I just wanted to say Okay, these guys were working in front of some buildings. That's it. And that's the statement I'm after. So I think I could pull that off if I don't put too much emphasis law in the background and then really put the intense colors that really light values and things on these figures. So I'm gonna start with the background and the goal I use to spend very little time. So say it, but don't elaborate on it. Okay. We'll bring it bring you in a little bit closer, but not so close where I can't work, so I'll value and as close as I can. So you kind of get up close to see what's going on. All right, I'm gonna go with a little bit larger brush. How about number eight or 10? Prime? Only eight rounds. And I just want to put some separation back there between some of these buildings. Like a little bit of white. Maybe with one building starts yet begins. So a little bit of white and I'm keeping my white up on the top of the palette there. So I don't mix the white in the middle, so contaminate all the other colors, and that's gonna mix this up until I get a nice gray. Something like this, I think would work. And away I go and something like this. Someone's all I need. You just break that up to where? Maybe that's a white building or something in there. That's fine. Now I will clean that white off my brush and we'll go a little bit darker in some of these areas. Maybe accentuate. Maybe there's a window just trying to make some shapes there, and I'm not really using them. Well, I'm not really. I'm not using an image or anything for this. I'm just really going awful. What? I see what's in front of me reacting to the painting. So this violence blues libit is burn orange cad red and and just trying to hit a few hard shapes edges and then back away from it, a few sharp edges and back away from it. Someone Now, that's kind of on the red side there. So I'm gonna kind of push this next batch to some blues leaving pockets of white there. Maybe that would be good to have that. That's working pretty good, That's all. Fine. I don't think it needs to be a lot more than that right now. I would like to put that little bit of a red sign in there. This is actually cat breath. Said it was burnt orange. Burnt orange is actually over here. I want to get some of this red now. I think I think that FDR signed was over in here somewhere. We'll put something there that says there's a red sign. Not from here. I'm going to start bringing these figures forward. So I'm gonna go with these Reds, yellows, orange, touch of the white. Just get something that looks like skin tone here on what puts a kind of based down for the skin tone. Now go just a smidge smidge later. But don't even know if you can really see that in the camera. But I promise you it is later. Then we have working down there. About that brings the figures forward a little bit. Now I want to look at those yellow vests. Someone go right into this yellow. That looks really intense. I don't want to use that much of intensity right now. It's my turn That down a little teal little bit this red. I'm using a smaller brush here, of course, because these these shapes were pretty small. Touch a little bit of white Matt. I put a little bit of pure yellow on this one. I just wanted to kind of get a feel for how that yellow looked with everything else. Then we have guys bent down the seals and doing most of the work. That's good. And we'll go ahead and get a little bit of brownish color, something anywhere anything close, it looks it could be a handle. Here we go that I will go with some tea Olympus and Thakor known, and that we're going to this. See if we can highlight some of these guys that are wearing dark jeans. I don't want them all to be the same color. Some mixing. It's a darker blues now in the skies, Pretty light there someone, something like They're just a pipe. Good. We'll have a little bit of this blue now can maybe make a few indications of an awning there. I'm just going to Sprinkle some colors back here on this building in this kind of ties thing, these colors together and now going to get us grazing here. I want to work with these kind of reflections on the vests. If it comes out to where it looks really good, I could get that. Get those that kind of greatest line in there, and that's fine. But I'm not going to force it with my type of style. One thing I've accepted as I can't get every single detail. Let's just think, am I. My tape of art isn't going to allow me to do that and little subtlety. Things like the great stripes on the vests, Stuff like that. I mean, it could be a header miss for me. And now so accept it. And then I don't ever try to force things. I just kind of roll with it, if you will. Now I'm going to get some. Actually, little green. I'm just going to mix a darker skin tone here so liberally that green. And here it is something to help, um, big these figures a little more three dimensional and not sold stiff with their color. I don't want everything, their arms and everything to be all one shade of skin tone. That's good. I think the last thing I want to do for this phase is the safety helmets. A lot of you are white and different colors. I think White would look good some good, but I don't want to go to White. Not in the beginning. So it's kind of mixing up, mixing up some a little gray stone here, and it's getting something in here that looks anything remotely close to what could be his believable. That's all I'm looking for. Something like that is fine. And now I've got this grail. My brush. Go ahead, Maybe put in a few people, use our white stripes on the morning. I was holding on to that haunting for dear life. It's something that caught my eye. I was out doing some playing their painting. I just loved it. I'm hanging on to it. 10. Final Painting Part 3 HD 1080p: trying to work it in somewhere, and now I want to get a little something here that says F D R. Just some sort of detail on these buildings. It doesn't need much. Like I said, I'd rather understated, then overstated. I'm just kind of working again with what's there. I'm not trying to push anything. I'm not trying to get caught up in the image and my inspiration and what inspired me and all that stuff get locked into your image. If I get locked into my image, then I just get too literal on. Painting just falls apart now, just adding some little bit darkness here that this could be no hair, anything on these guys that would be their real life but just had some value there. And it's looking pretty good now because I think it was sold dark with that white in the beginning. On the safety helmets, I can add a little touch of yellow, a little touch of orange and then balance out the little bit of teal, and it is kind of get a little more detail. What's going on? I'm gonna go with some dark someone going to that burnt orange a little green. Kind of really Put this guy maybe down in the hole or something right there. And now I can use the background through a little negative space painting to hit a few of these shapes. And a lot of that. Whatever what I did earlier, those things were already dry so I could work around that white in those different areas. Not gonna hurt me too much. Popping a few hard edges in here. Maybe there was a window or something right here on that building. Looking pretty good now, huh? But going about Violet, little red, green and just trying to mix up something kind of muddy and dark. Push that to a blue. I want to find the bottom of that owning right there. That's good. Maybe something like that. Find a hard edge there, guys. Arm. See how this thing just so you know, kind of coming around. And now I have a little piece of compress charcoal, and this is actually kind of Ah, a pencil form and really really firm. I don't really think the charcoal marks are gonna come off a lot, but I inscribe into that paint while it's wet. - All right, now back up. A look at it. That's looking pretty good. I want to add some more dark blue to these some of these pants. I think there's a little too much feel in there. So go a little bit of my red and I put some fail. Oh, blue, all my palate. And I'm just going to use a little bit of that blue in here. I'm just just to break that up a smidge that's rule loose. This guy could be in a hole. We could be standing up Whatever. Definitely been over trying to get some work down trying to earn some money. I'm just going to put some sort of all ground down here now. It could be some sort of sidewalk or whatever. That's fine. Go back to my charcoal. You see if I can find the bodies, But if she were something in here? Yeah, Good. No, just one more little thing I want to do here. We'll go back into this yellow white touch of the orange. Still a few highlights if you catch a shape or two, right? I just wanna get a little bit of skin tone a lot of these Good. I mean, it says their people and their workers, and that's really all I need. And then those yellow vests. You really helped me out. I'm sure you can probably see that at home. Is that no, Really need a lot of detail, you know? You know, in the figures, you can just kind of get away with a little bit because I've got the essence of it. Hit that. A window or something going on up here. It could be another one right here. Get back in this one darks. And here. 11. Final Painting & Recap: All right, So there you have it. Figures in the city escape. It's a journey. It is everything brought into into one. You know, finding type of figure. That interested, interested me. They were the worker. There's other things I found. This has the workers, but this is what I want to focus on the awning and put them put stitch things together with some sort of backdrop. And, uh, that's what it kind of culminated into for me. And I like, I think it's a success. It's a great start I wanted to pursue. Figure is working in the city than this would be an excellent, excellent start. I couldn't be more thrilled with where it's come even this short period of time. So I did not put any other research into this. If you look at my portfolio do portrait's, but I don't really do figures. Ah, seen like this, I tend to focus on one face or maybe paint the cityscape. But painting figures in a city and things like this is new to me. And but I also realize that I wouldn't be able to find a picture on the Internet. A piece of guys work in our figures walking around New York City and create a painting that mean that means anything to me, something that was I could sink my teeth into and get excited about. Get creative about. I've got to make things my own. And that's what I want you to really, really take from this class because it's about figures in the city. But more importantly, it's about your approach to it. Okay, if you just simply sit in your studio all the time and you're looking on the Internet for flowers and flowers in a vase or whatever it is you want to paint instead of going out there and buying flowers and putting them in your base and putting them in your studio and visiting the gardens and painting flowers ruin real life at the gardens. Until then, you do start decided to do that in the paintings. Well, we never really fully develop into your own, and I want you guys to understand that because it is about creating art that's ours, that that's unique to us. And none of this would have impossible if I would just simply not spend the time I did. And again this is an excellent start for me If I went to pursue figures working in the city and just do a whole Siris on these guys invests different things. I think this is the only way I would be willing to go there because any other way is a lie . My do it this way. It's the truth, because these are things. This is a part of my experience. Okay. So important for you to get that out of this class. Okay? Anyway, this this is what I've got for now. I hope you enjoyed it. I enjoyed sharing all of this with you. And I'll bring you in a little bit closer and give you of course, um, details of all of this, but thank you. I look forward to seeing what you do with your final piece.