Paint Like a Published Artist | Yvette St. Amant | Skillshare

Paint Like a Published Artist

Yvette St. Amant, Published Artist

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
22 Lessons (2h 11m)
    • 1. Introduction

      3:13
    • 2. Supplies Needed

      4:07
    • 3. Trend Research

      6:48
    • 4. Selecting Paint

      11:11
    • 5. Sandy Wash Background

      3:56
    • 6. Wash On Wash Starfish

      10:36
    • 7. Wet On Wet Background

      3:39
    • 8. Coral Illustration On Wash

      3:50
    • 9. Acrylic As Watercolor

      4:29
    • 10. Floral Illustraion On Watercolor

      10:57
    • 11. Background Brush Stroke Technique

      5:59
    • 12. Peacock Painting Using Brush Stroke

      6:58
    • 13. Color Blocking Technique

      3:41
    • 14. Non Objecting Painting

      4:34
    • 15. Weathering Technique

      3:19
    • 16. Boho Feather Painting

      7:09
    • 17. Creating Texture With Paint

      5:37
    • 18. Abstract Aztec Painting

      4:09
    • 19. LinnenT echnique

      2:07
    • 20. Rustic Mandala Painting

      8:47
    • 21. Illustration On Patterns

      8:02
    • 22. Using Stencils In Background

      7:33
18 students are watching this class

About This Class

My name is Yvette St. Amant and I am a published artist who creates paintings for home décor.  My art is sold in big retail stores across the world.  I want to show you how to create art that publishers are searching for in the home décor industry. 

In this course I’ll guide you through the process of researching color and design trends, which will make it easier for you to pick colors schemes, and subject for your art.  I'll be showing you the diversity of acrylic paint by teaching you a generous amount of inspiring paint and illustrative techniques.  You will be exposed to a wide variety methods that I have used in my 16 year professional career.  I am confident that through this course you will gain the skills and knowledge that will help develop your own creative style.  Watch my introduction video to get a step by step insight on what you will learn in this course.

Transcripts

1. Introduction: my name is he that cinema and I'm a published artist. I've been creating fine art for the home to court industry for the last 16 years. My artwork is sold in retailers such as Macy, Wal Mart, JC Penney, home on sites such as art dot com, all posters dot com and art ball dot com. In the UK and Asia, I sold over a 1,000,000 prints worldwide, creating contemporary modern floral tropical botanicals in a variety of styles that fit any home decor. 16 years of working with Publisher I've mastered how to forecast the trends, picked great color schemes and create marketable. I've learned a number of different techniques along the way for experimentation, and I'm gonna teach you some methods that I use ways you can use a brush differently. You can adopt styles together, such as illustration, water color and layering techniques. I'll give you some insight on how to pick out subject matter, and you're gonna learn how to create and develop your own style. I just with what I'm teaching you in this class, so let's get right to it. We're going to start off by learning the most popular design trends in home decor, and we're gonna learn how to pair and match our color scheme to those trends. I'm gonna show you a variety of ways that you can use your acrylic paints We're going to do some washes will also learn some brush techniques. I'm gonna show you how to get some pattern beneath the surface of your background paint, and we'll use some amazing little stencils and fund tools that I like to use to get some more patterns and designs within the background will also be using some palette, knives and some of my other fund tools that I like to use to get some textures and my backgrounds. Then we're gonna jump right in on getting some designs, images, illustrations and artwork on the foreground. So are you excited to learn how to paint like a published artist? Let's get started 2. Supplies Needed: welcome, everybody. Let's talk about all the supplies that you're going to need a four this class. One thing, the most important thing that you're going to need is ah, a sketchbook of some sort. And I recommend a mixed media sketchbook. This one is nine inches by 12 inches. It's the perfect size. I wouldn't go any smaller than this, but you can certainly go a little bit bigger. You're going to need something also to mix painting. I like to use recycled things that I can just throw away, and I don't have to wash soap. I plaids and, um, little plastic containers for mixing washes works perfect. You're also going to need a variety of paintbrushes. These can be, um, a number of different sizes as well as the tips can be very different to you can get sponge brushes, old pink brushes, get some rounded tips just in a variety of sizes. We're gonna be using a number of different techniques, so make sure you've got some smaller ones as well in grab a palette knife. And if you've got some briers handy, these air going to come in very handy when we get to some of our color blocking, but I will give you some tips on other materials that you can use, such as a credit card if you don't have a briar. So make sure you watch the videos before you go out and spend money on supplies. I highly recommend. Go out and get a bottle of some acrylic ink. We're gonna be using this a lot, especially inner illustrations and working with some designs and images over washes. You're also going to need a variety of pens. Sharpies work. Great. This is an amazing gold Lee pen. It's an oil paint pin you can get at WalMart. We're gonna be using that a lot in our drawings. Ah, you can use thes craft, smart oil pens as well. They can be found at Wal Mart or Michaels and try and find a white gel pin as well as we'll be using some of that. For illustration, I used the unit ball, a signal white gel pen. Make sure you've got a bucket of water or container. You can put water in for rinsing brushes, and I always find it handy to have a roll of paper towel around just for wiping your brushes and um will be using it to dad paint. Also, we're going to need a variety of little stencils or anything you confined that you might be able to get some texture. Got some Francella and some bubble wrap. Um, you can also use some store bought stencils. Of course, one of the most important supplies that you're going to need is a variety of pains, and we're just going to be using acrylic craft paint. You can get them at your local Michael's Aircraft store or WalMart. I would just waitin until you get to the technique videos so that you can know exactly what paints and what colors that you're going to need for our projects. And that's about it for supplies. Now, don't be ashamed. Ah, lot of the times I'm going to be creating artwork just using my brush. But if you feel comfortable having a pencil on hand so you can do light sketches, by all means have a pencil on hand. There's no shame in that. Remember, I've been doing this for 16 years, so I've gotten quite comfortable. But I understand when you're starting out, you just might need a little pencil to guide your ways. So now that you know all the supplies that we're going to need for our class, let's get started. 3. Trend Research: Okay, let's get right into it and talk about one of the most important things that you need to know when creating fine art for publishers in the home decor industry. I'm talking about the current design and color trends for the season, so you're going to have to do a little bit of research. It's very easy, and anyone can do it. Here's a couple samples of some current design trends. Now let's get started on how you can do your own research. Pull up a browser and type in the current year. Home decor Color trends In this case, we're looking at 2019. Click on the images and you're going to get a number of inspirations. Some, like this one, even has the colors right into it. These ones you'll have to look around to get some inspiration. You've got the couch color, the wall color. You can grab a whole lot of color schemes and get a little bit of inspiration for your art pieces. In this case, you can even find some that are mapped out right for you. So as you can see, there's a lot of inspiration in a number of different schemes and you confined ones that appeal to you so you can create your artwork. Within those schemes, you can even find inspiration within fabrics and accessories. So let's go ahead and do a little research to see what kind of accessories air hot. This will give you a little inspiration for your artwork. Type in 2019. Home accessories in your browser, click on the images. This is going to give you some ideas of what kind of patterns are hot in home decor as well as themes. Here, you can see some amazing textiles that can give you some ideas for some of your artwork. If you're doing abstract or tile pieces here, we see lots of spoilage and succulents. This is really trending in home to court right now, and these make fantastic art pieces. Another trend that is coming back in home decor is the tropicals can get a lot of inspiration through looking at images. And here is the way that you can look at simple like lampshades and furniture to get ideals on. Some off the shapes as well as accessories, thes air, more organic shapes to make great abstract pieces. Let me show you another way to get inspiration in your browser. Just type in some of your local retailers, ones that are known for home decor. Wayfair is great for this. You get a lot of inspiration through their textiles and decor. Items like the cushions, these air ideas for fantastic artwork. A lot of the time, I'll get my inspiration in the little details. It could be the architecture of furniture. The shape of a vase or details was in the wallpaper. So let's take a look at another retailer. Living spaces is also a great way to do some research. They're always on trend, and you can get lots of inspiration from the images that they have on their website. You can even get inspiration from the artwork that they have on their walls. Here you concede the illustration. You can see what's really trending as far as designs or geometric shapes. Silhouettes abstract and also get ideas on types of themes. So let's go ahead and check out Pier One imports. They have a lot of inspiration on themes, and you could see what's really trending. They've got a lot of global and ethnic, its inspiration. So this could help you with finding subject matter for your art just by browsing through the numerous images that they have on their website. You'll get inspired by every little detail you see from rustic and weathered pieces, which will help you with your backgrounds and selecting subject matter to fund and bright patterns, bold patterns or themes such as coastal or ethnic decor. And if we go back and do a search on home decor trends for 2019 you can find these amazing little pallets that are already mapped out for you, giving you the color scheme patterns and textiles and some accessories that will help you picked the subject and themes of your art pieces. This is really great. If you're starting out and you're feeling a little overwhelmed, you can pick one of these themes and just model some paintings after it. So I hope this lesson has been really insightful, and it gives you the excitement to go out and do your own research and start planning some of those amazing art pieces. There's so much inspiration out there, and I'm really looking forward to what you've learned, and I hope it gets you excited about moving forward in this class. So let's take a look at a couple of the themes that I picked out, and we're going to use thumb to get inspired with picking out our colors and our subject matter. 4. Selecting Paint: Okay, So today's lesson is all about selecting your paints. We're finally getting onto the way where we concern or projects. But first, let's just hop back to the last lesson and let me show you. Once you're done your research and you found all the images that inspire you, you can just go in, copied the image and then paste it into a word document. And you can put as many on a page as you want. Okay, Once that's done, just print it off, and then you can take it to your local art store craft store wherever you buy your pains, and this is gonna help you pick your colors. These are some of the color schemes that I selected for lessons moving forward. We're gonna be creating pieces of art inspired by the color trend and designs that we see in these images. In this lesson, I'm going to show you how easy it is to grab these papers, bring them to the store with you, and they're gonna assist you with finding the perfect color for your color scheme. So here's two different design schemes, but they followed the same color trends, so I'm gonna use thes as examples. They both have the deep blues whites and Tan's, so I'm gonna show you how you can select the perfect color. I like to use the three color rule, and that is to pick three colors with in the inspiration that you print it and use those for your art. Now I don't like to count the whites, the blacks and the neutrals as a color, so sometimes we might be able to stick a little bit more color in there. But in this case, let's just go with the blue, the white and the town. I've opted for the Martha Stewart brand because I found that Navy Blue just fit a better tone than the other brand, and you will find this with your paints. So just it doesn't matter what brand that you use. Just whatever brand has the right tone that you're looking for Now, one of the colors in the scheme is white, so just go ahead and pick a white. Here's a situation where there's tans involved or like a neutral. This color is very difficult to match. I've been doing this for a long time, so I found a trick Ah, lot of the times there's just a little too much yellow or too much red in the towns. So I find if you get nice champing gold and because it's a little bit translucent, you get the perfect neutral color. You get a really nice sandy tan. So that's my little tip. Do you see how easy it is taking these cheat sheets to the store with you? They really assist when you're picking out your colors. Now I'm going to show you how you can use the same colors and a whole different decor scheme. And this is the coastal decor on the left. We're using the same three colors that we already picked out for this particular scheme on the right. And I'm gonna show you just by adding one simple color, which is a light blue. We now have paints to create a coastal decor themed piece of art. We are beginning to build our paint palette for our projects to come in this course. So what I'm gonna do now is we're gonna build on these colors to develop others color schemes that we're gonna use in our various projects. So as I go along you're gonna be seeing a repeat in colors and we'll just be adding a couple colors here and there. By the end of this class, we're gonna have all the pains needed to dio a number of Okay, so I'm moving on to the next color scheme. This is a scheme that we're going to use in one of our projects. I'm gonna build on the palate that we already have. So one of the tones in here is a deep, deep teal. We already have a really nice deep blue and a lot of the times when you get Thiel's at the store, they're quite light or greenie. So go ahead, purchase a nice teal, but you can add that deep blue just to make it a little deeper tone. And over on the right, we've got our nice light blue that we added in the coastal decor. So so far, we've just added one new container of paint, and that was the teal. As you can see from the photo, there's a really light, pale pink color. My favorite tone to use in my art is this crushed coral. It's by folk art, and it's a really beautiful color that you can manipulate to get a variety of tones. So we're gonna add this to the color scheme and just using a little bit of white. We can lighten it up to get a really beautiful pale pink. As you can see from the photo close up, there's a really deep hint of that burgundy in there We're gonna add, like a mulberry wine to the mix and this the folk art brand. But we're gonna need just a little hint of that to get this color scheme just right. So now we've added three new colors to this color scheme, and I'll be sure to post all the colors. Once this lesson is over, I wanted to put two different color schemes up that had similar colors. The tonal value is different, but they both use the terra cotta scheme. So this particular one is a deep terra cotta brown. But as you look, toothy image on the left were using a lighter tonal value of that terra cotta. Remember the crushed coral from the other color scheme? We're gonna use that same color, and we're going to use the champagne gold, and we're gonna add a rose gold or a copper. When you mixed these three tones together, you get a beautiful deep terra cotta color. And just by adding white, which we already have, you can lighten that terra cotta to get the more pale blush terra cotta color on the left. Are you beginning to see a trend that's happening here? I'm using the same paint colors that I used in other color schemes for new color schemes, but we're just adding or taken away a few colors to create new schemes. So here I'm adding and charcoal gray. This is great to have in your variety of paints as well as a paradox or mosque green there used widely across home decor, the great acts as a neutral, and it's always nice to have a green. Let's take a look at two more color schemes that we will be working on. This is a monochromatic blush toned scheme. We're gonna be using the same pains that we already own. As here in the picture, this bohemian inspired theme. We've already got those paints to take a look. Let's move over to our second last color scheme and this is another monochromatic scheme. But we're using lavender now, if you're unfamiliar with monochromatic, all it means is we're using one color and we're gonna add a variety of shades, and in this case, it's the lavender. So the only other color that we need is white, and we've already got that from our previous color schemes. We're also gonna use some great in this color scheme to create our artwork. And we've got that on him too. So now we can move on to our final inspiration, which is this beautiful, eclectic room. There's so many pretty colors in here. And as you can see, it's probably the broadest color palette so far. But guess what. We've already got these tones. We got the teal crushed coral. We already have white, but I'm gonna throw in a sapphire blue. We have a green, and we've got that champagne gold for getting those nice, neutral tan colors. You see the him to great back there. We have that, too. So here I want to show you how you can get an elaborate color scheme. But you've already got the paints on hand. As you start painting more and more, you're gonna have your favorite tones that you work with. So you won't have to be going out and buying different colors all the time. Look at this beautiful ray and this beautiful collection. Do you know how many color schemes we can get from this? So now let's go back. And I'm gonna show you all the paints that we're gonna be using for our projects moving for . So I just finished reviewing nine different color schemes that we will be using Inner 12 painting projects throughout this course. You are more than welcome to take this list and go out and purchase your paints. But if you're feeling challenged to see if you've actually learned everything that I've taught you so far in creating your color schemes, you can take the inspirations that I've given you and go out to your local craft store or your art supply store and select or try matching the colors to the images that I provided you. Good luck, everyone. Let's start painting 5. Sandy Wash Background: welcome to your first painting lesson. Today we're gonna focus on this beautiful coastal decor theme. The technique that I'm going to show you is awash technique. So in this lesson, we're going to create the background in the lesson that follows this one. I'll show you another technique on how we're gonna put in image on top of this background. So let's get started. Open the page of your sketchbook and we're going to start off by using our champagne gold paint. Have a little container that you can squeeze some paint in. Make sure you have a brush ready and we're gonna add a little bit of water just to water this down and make a wash. Make sure you pick mix your paint very well. You want the consistency of the wash almost like a watercolor, and we're just gonna start by going back and forth across the surface. You want to go in a horizontal movement. This is going to create the mimicking of sand on the beach. Now my wash is very light here, but if you wanted a little bit darker, you could go over it a couple times. Or you can simply add a little bit more paint to deepen the tone. It all depends on what look you're going for. So I'm gonna add a little bit of paint just so you can see the difference. It's all about feeling your medium and seeing what works best for what you're trying to accomplish. So now you can see it's a little bit deeper in color, but we still have that translucency on what's really nice about that champagne. Gold is it's got little bits of metallic pigments that starts settling and separating. So this gives you the look of sand on the surface of your paper. Now, as you can see, I took a dry brush just to get a different technique, and I pulled it over the paint. But I'm going to show you here the difference when it dropped, starts trying. The top part is gonna be smooth. I'm going to get that smooth sand look and then the bottom part we're just gonna leave with puddles of paint that start drawing and you're gonna see the difference in effect once it starts to dry. It's pretty cool, so just continue to fill your whole page. You want to cover the entire surface. So once you're surfaces completely covered, you're gonna want to just let it dry and watch the magic happen. Now that our paint is dry, can you see the difference in effect? Isn't it fantastic just how when the paint dries and using different brushes, you get different texture in the background. So the top part of my sketchbook I use that dry brush just to get nice, smooth streets across the page. But on the bottom, I use my round brush, and I just let the paint settle wherever it wanted to. And you get a really nice variation, almost like coffee steaming or tea staining. So these are two different effects that you can use, and we're gonna end up using this in one of the backgrounds of our paintings. 6. Wash On Wash Starfish: in today's lesson, we're gonna learn a technique called Wash on Wash and we're gonna be creating our first completed painting. We're gonna use the background that we did in the last lesson. And this was the sandy wash that we did in the first page of her sketchbook were also using the coastal decor theme as our inspiration. So the first thing you're gonna need is some white paint. We're gonna be creating a star fresh, so get a little white paint in your container and just like we did in the background at a little bit of water to dilute the paint because we want to create a wash. This is gonna end up being a very translucent white paint, and we're going to do a soft image to go on top of this background. I really loved this technique. I use it for a lot of my artwork, and I hope you enjoy it, too. You could really do any subject. So let's get started. I use this nice, thick round brush. We're just going to start by doing the arms of the starfish. There's no need to draw. This is free hand. It's nice and light so you don't really have to worry about making mistakes. You can just freehand some little arms. Starfish have five hands. So let's get those fans in or arms. Now you notice it's a very light, translucent wash. If you wanted a little whiter, you go over it and it becomes darker. But just to start, let's just kind of do an outline. It's almost like doing a stick figure. Just do one line to represent each arm we've got four arms in will get her last one in here . Easy. Right now we can go over and we can make these white lines a little bit darker. If you feel your arms of your starfish are a little too short, you can just extend them. If you feel you went too long, just take a paper towel and you can actually just dab up the paint. Then you can just go in and make your corrections. So I'm gonna just the shape and the length of this arm. So you're just working with the paint. This is a great technique when you're learning because you can get a feel of your brush. And if you find you're not getting the right shapes. It's just so easy to take that paper towel and just wipe it up. So we're gonna let this dry, and once it's dry, we're just gonna add a little more paint to our wash. Because, as you can see, the first layer that we put on is very translucent. I call it the shadow layer, just to make sure everything's where you want it to be. Now you can deep in your paint and go in with a little heavier wash to get more of that white coming through. Now keep in mind as the paint dries. In this case, the white will get lighter. So if you find it's too dark, don't fret. I always say, Just wait until it dries to see how it turns out. So again, I'm just starting with a line, and then I'm gonna go in and picking up the arms. And I like to do it this way because when I first dipped my paint into or my brush into the paint, there's more paint on it. So you get a darker line almost like the shadow effect, and then just use the leftover paint to do the other side of the arm. Now you notice I left a little line between each arm off that base showing through and this is going to give dimension to your starfish. So just work your shapes. As you can see, I make some little arms longer just to get it right. So once you have your second layer done, we're gonna add one more layer. No. Once you start practicing this technique, you're going to get a feel of how you like your images and sometimes I'll just do two layers. Sometimes I'll do more. You just have to make that call depending on what kind of a fact you're going for. I added just a little more paint, and I'm June Lee lost layer. So I want to get a little bit more of the darker white on one side of the arms. So I'm just repeating this process, and this is just gonna add a little more depth to our starfish. I'm going to repeat this process. And as you can tell this time, I'm going from the center of the starfish right to the tip. And then I'm just gonna come down the other side of the arm a little bit, So we're starting to develop a three dimensional look with those arms overlapping. So continue to do that toe all five arms until you're satisfied. So once you're done with all your white, you're gonna let it dry. Now is the fun part. This is my favorite. Grab your f w acrylic ink. We're gonna add a little illustration on top and this is really going to make it pop. I love thes FW inks because they have a little eye drops squeaky on the top. So it's almost like drawing. So if you love to draw, you're really gonna like this technique. So before we get started on top of our painting, I just want to give you a little tutorial on how this ink works. You want to just do a practice round because you don't wanna accidentally let too much ink out? So you really have to get a feel of the product here. I just put a little dab and you can spread it. You have to understand the consistency and just push a little bit on the squeegees. So you get a little bit of Inco if you press a little too hard, you're going to get a big club, and it might not be exactly what you're looking for. So I suggest just practicing, getting a feel of it before you go right on top of your painting. So let's get started. Make sure there's ink in your Dabir. I like to start in the center and work my way out. This way I can pull the ink that I put on my page. So I'm doing five little streaks up the arm of the starfish. I'm just trying to get a little bit of dabbing to continue the line, going up just to get a little texture. And then basically, we're going to do like a loose, sketchy kind of outline. And this is just my style. I love to do this loose kind of sketchy stuff over my paintings. You might want to get a little more technical and be really careful, but everybody style is gonna be different. So just play around and see how this works for you. It's okay to get sketchy, go over the paint, go over the background. You don't have to be extremely particular. This is a very loose technique, but I want you to get a feel of what's right for you, as this is part of you developing your style. Plus, that's really fun. So I'm just going to get a little bit more ink in my squeegee here. We're gonna add some little dots. It's just to kind of give the illusion that there's all these little dense and textures within the starfish. So when you find it's just right for you, you can stop. Or if you want to add a little bit more sketchy, nous just go ahead and do what feels right. I'm gonna go in and get a little more lines in here, Okay, now I'm happy. What my lines. I'm going to go in and do my signature splatters that I love, too. Dio, with all my heart hopes a little too much. There well, doesn't always turn out the way you want, but that's the great thing about art. It's like every splatter of ink gifts at a little more character. I hope you enjoyed this lesson using my wash on wash technique. I can't wait to see all your starfish, so be sure to post them for all your classmates to see for a little more inspiration. I just wanted to show you some of the artwork that I've created. Using the same technique as you become more comfortable with the process, you can start adding more colors into your background, too. 7. Wet On Wet Background: in this lesson, I'm going to be showing you another background technique. This one's called wet on wet wash. We're gonna use the color scheme shown here the inspiration of the Denham with the white and the town is really trending in home decor. So let's stick to this. But for this particular painting, we're gonna be actually just using denim and white. So get your navy blue paint and we're going to create a wash just like the last lesson. So put a little bit of paint and add a little bit of water. Add a little bit more water than you normally would. We're going to create a really light denim color. It's gonna end up looking really light blue. When we put it on the paper. I'm gonna be using a flat, big, flat, rounded brush for this one. We want to get the paint on our brush and we want to start saturating the paper, see how nice and light this denim color is. When you're using a dark color and you're adding a lot of water, it's really gonna lighten up the color without losing the pigment. So we're not adding white were simply taken advantage of the white paper behind. So make sure you saturate the whole paper. We want it really wet. Then what we're gonna do is just at a little more navy blue to our water mixture so that we get a more saturated wash. We're gonna be applying this wet wash over our wet paper, and you're gonna start seeing some really nice movement happening. And this is simply the wet on wet wash technique. As I add the deeper denim tone here, you're going to start seeing that wet paint bleed into the the more subtle blue color underneath. You can also start seeing the pigment kind of separate from itself once it hits the paper. This has just said another technique to get texture in the background, and you're really only using one to buy paint. You're going to get a number of visual tones beneath the background, and it's just simply because you're using wet paint on white paint. See how it starts bleeding at the top, and as this starts drawing, you're even going to see the change. If I tell my paper up just a little bit, you'll even get that water moving down. The surface of your paper and you start getting a bleed effect. We're going to create a very interesting background this way. So let's thought this dry and I'll show you how it turns out, because this is going to be the background of our next painting. So now that our paper is dry, look at the interesting background we have. You could see the variation almost like a Grady, in effect with the background and the blue tones, and we're going to get right into it in the next lesson, and we're going to start designing our second painting. 8. Coral Illustration On Wash: in today's lesson, we're gonna be Learning Inc on wash. This is a design, an illustrative technique. I use this a lot with my mandalas, but you can use any subject that you want. But the idea is that you don't always have to use paint on paint. You could do a number of mixed media projects, and this is what we're gonna be working on today. I'm gonna be using my white Univ all gel pin. They're really great for working over paint. The ink flows out of it nicely. So even if you're working on really thick acrylic backgrounds, you won't have any problem working with this pen. We're gonna be creating an illustrative coral design over our wash on wash background. We're going to start off by just bringing a large line up off the page. It's gonna be the basis of our underwater coral, and we're just going to continue building off this line. So we're gonna just create a number of branches and as we create the branches will just start doubling them up and extending more branches along them. And you're going to continue this process creating as many branches as you can. So I'm going to speed up the video a little bit here just so you can see what I'm doing. But in a quicker time, as you can see, I'm just building branches off branches. Now let's slow the video down again because I want to show you how we're going to create branches behind the branches that already exist just so we can get a little more detail in the more detailed branches that we get within each other and behind each other, the more effective this painting is going to be. I'm just gonna speed up the video here so you can still see my process in a little bit of a sped up time. You can see how I'm burning the branches right up to the really light blue background. So the image just becomes less apparent at the top, but still effective. And then you've got more contrast on the dark blue background. So just continue this process until you're pleased with how your compositions looking everybody's coral is gonna be completely different. And of course, you can dio thicker branches and dinner pretentious. Just however it works for you. We've completed our painting using the technique of Incan Wash. Be sure to post your images for the rest of the class to see. I want to show you some samples of our work that I've done using the same technique. Don't be afraid to use other colored pants and this one in these I've used a combination of the black and white. 9. Acrylic As Watercolor: in this lesson, we're gonna use a watercolor technique using our acrylic paint and for Earth inspiration, we're gonna be using this eclectic color scheme. We're going to be using three colors for this scheme. Our first color is the coral. Our second color is gonna be the navy blue, and our third color is going to be the mosque green. And we're going to use the same technique that we've been using in the last two backgrounds . And that's the wash technique. You're gonna add a little bit of water to each container with your painting it just to dilute it and create that wash. Go ahead and get clean paintbrush and just start mixing your washes. Make sure to get all that paint mixed up with the water and you want a nice runny consistency. When we start painting, you'll understand how much water you need to put in your paints to get the effect that we're looking for. Remember in the last lesson how I showed you just by controlling the amount of water that you have in your pains is going to give you different shades of that one color. Once you start using your paint you'll understand how much pain or how much water you need to put in the container. So for today we're gonna be creating a floral painting simply doing watercolor technique. We're going to start off using a nice, big rounded brush and put in puddles of color in that nice crushed coral in selected areas on your page. Now I like to just kind of dip my paint brush in the paint and use it a couple times, So I get different variations in colors. And as you can see on my paper, I'm leaving the bottom half of my paper white, and I'm just creating the florals kind of on the upper left hand corner. This is to create a nice flow in composition. We want to create something really interesting to the eye and not something that's just gonna have flowers all over the page. So go ahead and clean your brush off and let's get into the green. So we're going to do the same thing with the green kind of mimicking, Ah, the leath texture. What I like to dio is put paint down with my brush and then take a paper towel to just kind of dab it up this way. You also get variations. So I'm just selectively putting these little green puddles in various areas. And then I'm just kind of adapting this way you get a little bit of texture to, so continue doing that just around the coral areas off your floral. Then we're gonna add a little bit agreeing down where the white waas this is going to mimic the stem of the flower with some additional leaves. Now we're gonna wash our brush off again, and we're going to get into the blue so the blue has been diluted to give a nice little indigo color. So we're gonna just add a little bits of blue mimicking the sky behind. And then that's a really nice contrast to this color palette giving the painting a fresh spring vibe. And I'm just going to continue this technique, adding a little bits of blue kind of a ran on the flowers around the coral areas and in between the green just around the flowers, kind of leaving the area at the bottom, still white. When you leave a lot of white in your paintings, you're giving the illusion of a very fresh piece of art. Now we've completed the background painting off this water color. We're just gonna let it dry. And in the next lesson, I'm gonna show you how using a little more paint and some illustration, we're going to turn this into a floral. 10. Floral Illustraion On Watercolor: in today's lesson, we're going to complete our painting from the last lesson using ink on watercolor. Let's begin by getting our pain ready, we're gonna dio another little wash of coral over our flowers. We're going to start building the paddles, so put a little bit of coral paint in your container. Just using your brush. Just add a little bit of water. We don't want it really running. We just want to loosen up the pain. Tibet. So it's manageable. And as we're painting, we don't have to go back and dip our brush into the paint. We're going to begin by dipping our brush inner pain, and we're just gonna add a little deeper coral color to half of the flowers that we already have painted on our paper. This is gonna deep in the color in some areas, so we're starting to develop dimension here. Don't be afraid to go over the coral area, so you're going a little bit on top of the blues or the greens because as the paint dries, you're going to get a translucency, and it's going to start outing some more dimension. Plus, it's creating pedals once you have the desired amount of pain on top of the coral. We're going to do something fun here. I like to add little elements of surprise to my painting, and you know how I love those little spots of ink. Will. You can do what paint to so down at the bottom where it's white. Let's just go ahead and do that at some little splatters of that coral. It's gonna get the eye to move down onto the page where it's just white. It really adds an element of interest. Now that our paint has dried, you can see some interesting textures that have developed on the surface of our paper where the florals are. What we're gonna do now is create a whitewash. So go ahead and at some white to a container, and this time I'm going to use a flat around it brush. We're going to dilute the paint a bit with some water, and once you have your desired wash, we're going to start creating paddles using this really translucent white that's gonna lighten up the color in certain areas. And I know this looks really white over top, but we're going to do something else with this paint in a minute, that's going to make it a little more translucent. So what I want you to do is go ahead and just rinse your brush off. We're going to get it clean, make sure there's no paint left on it. Grab a paper towel and we're just gonna dry that brush up a bit. And we're gonna use our flat brush and we're gonna start pulling the wet paint down over our coral layer just cleaning the excess paint off our brush. We're gonna start kind of magically creating thes little streaks which mimic the veins in your flower petals. Continue this process with all of your pedals. If you find that there's just too much pain, you could do what I did and just dab it up with a paper towel. We're gonna let those pedals dry, but in the meantime, we're gonna dip our paint into the whitewash, and we're gonna start going over the white areas that we have left white. And we're gonna try to go a little bit over all the greens and the blue colors to soften that defined line between the wash that we put down and our color now remember, as this dries, it's gonna become translucent. So if you find it looks really white over your pink or you're blue or parts of the green, just wait for it to dry. You'll see how it transforms and you're still going to see the under paint. So I'm just going around the edges of the painting. I'm not going in between just trying to go over all the white areas and simply adding a little wash where it meets the colored wash underneath. The pain is already drawing in some areas, and I just want it out a little bit more white because I wanted a little more muted so you can do this as many times as you feel necessary. I'm starting to add a little bit into the middle, and it was a little too much, so I just stepped it up with my paper towel. So I'm going over all the little leaves. And as you can see, it's softening up this painting. Now that we've added all our whitewash, we're gonna let that dry. You want to make sure it's perfectly dry Before you do this next step, we're gonna add some illustration on top to make the flowers pop. I'm gonna use my FW acrylic ink. But if you don't have that, you can certainly use a Sharpie. Let's get started. We're going to begin by drawing a stem of the flowers. I'm using the ink and I'm just pulling it through. I'm gonna connect it toe one mean flower, and then we're gonna draw little stems connecting the other flowers. If you're using the ink, it's okay. If there's little break ups in the lines, it's just illustration. If you're using marker, you'll probably have more consecutive lines, and both is okay. This is part of developing your style. So once you have your stems in place, we're going to start by drawing some leaves. We're keeping those painting pretty loose and abstract, so you want to create leaves in the green areas. But it's OK if there's white coming through the leaves or green so you don't have to drop one big a leaf in that green area. Just go ahead and draw a couple leaves like you would if you were drawing on a white piece paper, so I'm going to start drawing some jacket. He leaves these flowers remind me of roses, so I'm mimicking the Rose leaf. You can use any leafs that you want. Remember, this is an abstract painting. So if you want to get some inspiration and just look at some drawings, you can check out different size and varieties in leaf shapes. It's okay to do smooth leaves, round leaves, whatever you're comfortable with or you can simply to what I'm doing here. So instead of just having one leaf come out, I've decided to create a pair I want when somebody's looking at this painting to draw the eye to the bottom of this painting and not just have a lonely lost little leaf. So these are the things that you got to think about when you're putting in little details like this. So I'm gonna create another leaf up here between a couple of the flowers, and this time it's just a little suggestive. With some little black lines, you don't always have to have that perfectly shape. Just put some suggestion. After all, it is just called illustration. Now that we're done it. Putting in all the leaves were to start adding a little bit of detail to these flowers to make them look more like flowers, Some starting just at the base where the stem meets the pedals. And I'm just gonna bring some suggestive lines coming up. And then we're just gonna go ahead and outline the coral area. Okay, let me show you that again. To stab a little bit of ink and start bringing some link lines up from the base of your flowers, you can start outlining some of the shapes that you see. You can outline the coral areas and the areas we went over with the white as well. These air separations in the pedals. So a little bit of illustration here is going to give you a little more detail. Still being suggestive and abstract. We're just gonna repeat this process on all the flowers. The idea here is just to peace, sketchy and loose. That's why this process is a lot easier. If you do have the acrylic ink with this little I drop tube allows you the freedom. Sometimes when you're using a marker, all your lines are connecting and it looks more like an outline on top of your water color . So I highly recommend having some Indian ink and playing around with that. I think you're really gonna love it. And it's fun to experiment. You can do this technique on top of any kind of background. So we're almost done here. This is our last flower. We're just gonna add the last little bits of ink umbrella. So at this point, you can just take step back, take a look at your composition and make sure it's the way that you like. I decided I want a couple more leaves in between these big empty spaces. So I'm gonna add least little tiny petite leaves. It's gonna fill the gaps and make my composition a little more complete. Sometimes it's fun just to put a couple little squiggles to you don't have to really try and make them look like leaves. Just get some suggestive lines in there. People know what you're trying to do when they look at your painting. I can't wait to see your paintings, so please be sure to post. Um so the whole class concealer work. I hope you enjoyed this lesson on using your acrylics like watercolor with illustrative components. I also want to give you a little inspiration so you can see some of the artwork that I've created, using the same technique and how you could really incorporate any subject into the style. 11. Background Brush Stroke Technique: In today's lesson, we will be using a brush stroke technique. Using thick mounds of paint or inspiration is this beautiful contemporary color scheme the colors will be using is crushed coral, mulberry wine, deep navy, blue and teal. So go ahead and add these colors to your palate. I'm using a flat, rounded brush for this technique We're just gonna mix are teal in her navy blue So we get a rich teal color. Once you have all your color mixed, we're going to start applying it to the background. We're not watering down our paint this time, so make sure you've got a lot of paint and just start making brushstrokes to get a deep teal color on the back. We're gonna apply the paint to most of the surface, but we're gonna leave some areas of white because we're gonna fill those in with the Burgundy after you can use any kind of breast stroke that you like with this as we're just creating a solid base and we'll get some more texture. And in a minute I'm just going to speed up the process here. I think you get the idea now that our blue is applied. We're going to go in with that mulberry wine. So get some mulberry wine on your brush and just start filling out the white spaces. You can go over the blue a little bit, just as a little overlay. But you want to cover all that white with the mulberry? Remember, this is just the first layer of our painting. Once you've got all the white areas filled out and your surface is covered, you're gonna let that paint dry. Now that our first layer is completely dry, we're gonna add our second layer adding more breast stroke. Using this dual technique, I call. So go ahead and put some teal on your palate. We're gonna work with two colors at once. So we're gonna want that deep teal that's mixed with the Navy as well as the lighter teal. And then we're gonna do the same thing with the Mulberry. I'm gonna use a larger flat brush this time. And what we're gonna do is we're going to dip half the brush into the teal, and then we're gonna get the other half of the brush dipped in the deeper tail color and we're gonna start applying breast strokes, one stroke at a time. So we're trying not to blend. Were just pressing the brush down so that we can see both colors applied and just repeat. This process used the underpants as your guide, so the under paint that's a deep blue color. That's where you're going to go over with these brush strokes. Do as many applications as you can until the paint starts to removed from your brush and you're getting it all on the surface. It's okay if some areas are showing the paint underneath. That's what we want that's going to develop some interest and texture. Now we finish applying all our teal. What we're going to do now is a little transition from the teal to the mulberry, so I'm using a smaller brush here. We're going to repeat this technique with smaller brush, but this time we're gonna put the teal and the mulberry, and we're just gonna follow the lines where the teal meets the mulberry doesn't matter where you put your colors. This is purely technique, so you don't have to have the same pattern as me. It's just learning how to transition colors, so let's go ahead and do that Gonna continue doing our transition lines, Make sure you're getting the transition everywhere that you have your mulberry Meet the blue. Once you're done with all your transition lines with small brush, we're going to move back to our wider brush and we're going to repeat the technique we did with the teal, but this time with the pink. So we're gonna apply some mulberry to have the brush and pink to the other half. We're gonna start pressing your brush down, but this time we'll blend it out about just to kind of soften those tones. I know this is beginning to look like a flower, but that's not my intention. It's just the background, and we're gonna be getting an image on top. Once you've applied all your pink, get your brush nice and dry, and you can pull some of those pink brush strokes. Throat the teal. That's gonna add a little bit of added texture as well as burdensome colors throughout the teal, and it breaks up those big, solid spaces of one color. I'm only doing this to the bottom of my page because I want to prevent having a unified palette and That's it. Our backgrounds complete. Just let the paint dry and in the next lesson will complete this painting. Just remember, you can use this technique with any color palette and any color flow, and it's really beautiful under any subject matter. 12. Peacock Painting Using Brush Stroke: in today's lesson, we're gonna be creating this peacock painting using brushstrokes inspired by this contemporary color scheme and using the background from our last lesson. I like to use this bamboo brush. It has long, soft bristles. It's usually used for ink, but it holds the paint really well so you can get a number of strokes. We're just gonna use some white paint and we're gonna add a little bit of water to make it a little fluid makes it a lot more pliable, and we can get numerous brushstrokes. We're going to begin by drawing a quilt at the end of the quill will create the eye of the peacock feather kind of like a leaf shape. We're gonna do three feathers in total. So let's do another one coming off the top of the first feather and we'll just have one going in the other direction. And then the final one will put in the top corner. Now that we have all our feathers in place, let's get a little bit water on her brush and a little more paint. We're gonna start building the feathers so from the quill, just likely burdensome strokes up towards the eye off the feather in an upward motion and you're going to do this to all three feathers. Continue this process. Now that we're done with the white, we're going to repeat this process, but we're gonna mix a nice pale pink color. So using your coral and mixing it with white, you'll get a nice, subtle blush tone. So just add some pink feathers in there. And once you're done with the pink feathers, we're going to mix a little bit more coral with some white, and we're going to start creating the eye of the peacock feather. I added a little more quarrel to make this pink a little more apparent, and you're just gonna begin by creating a C shape within the I of the feather. And then you can pull some of the pink up to where peaks do this to all three feathers. Now we can start bringing some of that pink into the rest of the feather, so just gradually add a little more pink down the quill and along one side of the feather so you can select either the left side or the right. We're going to be adding another color to the other side of the feather. Now that we're done with the pink, we're gonna get some light blue on your palate at a little bit of water so that the paint is nice and fluid, just like you did with the pink. And we're going to begin developing more of the eye of the peacock. So on the opposite side of the pink, we're going to start applying the blue, and we're going to create a little circle. You want to make sure that you're leaving some of that deep teal in the eye or the center of this circle, so don't fill the entire circle. So I've created kind of like a another C shape, but we're closing it a little bit more now. Let's go in and get a little bit of blue within the pinks part of the feather. So just start adding little blue streaks coming up between the feathers, and I'm adding it to the other side now, and I'm just doing light little strokes. We just want to get little hints of that blue color in there. As you can see, we can still see pops of the background color coming through the feathers, and we want that to remain there. But whatever gonna do is just get this to pop a little more So we're gonna mix a little bit of that dark, deep teal color that we have in the background by using or navy blue and RTL. So go ahead and get a little bit on your palate and we're gonna use a really fine brush. Good detail, brush. Now it's really important to not get carried away. We just want to add a little pop. So we're gonna take that detail brush. We're gonna add a little bit of deep teal around the eye of the peacock feather just so that it really stands out. And once you're done with the I the peacock feather, you're just gonna go in and put some little dark ah, strokes between the feathers just to kind of separate them about so that we don't have solid now owns of pink, white or blue feathers. And it's just gives the appearance that more that background is peeking through. So go through, do that to all your feathers. We're almost done. This painting Now we just want to add a little contrast. It's a. Rinse your brush off and apply some white paint your palette, and we're going to go in and just touch up and add some white lines going down the quill and a few white lines beside the deep blue color. Just to add that contrast and you'll begin to see your peacock feather popping up from the page. You can go ahead and add a little outline around the eye and continue doing this to all three feathers, and that's it. Congratulations. You completed another painting using my brush technique, all inspired by this beautiful contemporary decor. As always, post your images so you can share your progress with the class. Here is some samples of some artwork that I've created using the same technique, and and I'm showing you this to inspire you. Show you that there's a variety of ways that you can use color and just applying this technique with different styles. Artwork on top. You can create anything 13. Color Blocking Technique: In today's lesson, we will be learning a color block technique inspired by this bohemian color trend colors will be using today are moss green T o navy, blue and white. So let's start mixing or pain. First, get a deep teal by mixing your teal and dark navy blue. This will deepen the tone about and get a little bit of that green moss on your palate as well. We're gonna need some white too. But just to start, we're going to use the teal and the green. I'm going to start off by using this wide sponge brush, so go ahead and get a little bit of teal on your brush. And this technique is really nice when you're doing abstract art. But you can certainly create this background with any kind of subject on top. We're going to get a thick layer of that teal and most like a square shape right in the middle of our page. You want the center of your caller block to be covered in paint, but you want to leave some of these brush strokes along the outside of your square. So now I'm going to dip my brush into the green. Now I still have some of that teal on the brush, which is okay, cause we're gonna blend it up into the teal, add some more green and make a smaller section of green beneath the blue. So it's almost like a strict You can see pieces off that teal coming through the green, but we can tell that it's a different color. It's almost creating a Grady int, so I'm gonna add a little more green to my palette here just to get a little bit more of that moss green coming through. I'm just apply a little bit more over the green to create some brush stroke, but also to get a little bit more of that mosque green to pop. And as the paint dries up my brush, I'm just gonna pull a few strokes over that blue. Now let's get a flatter, white, angular brush and dip it in our white paint. We're going to start going along the edges of our color block. We're just going to try to clean up the edges but still have the color beneath coming through a bet. And it's really easy for us to get that effect because We're using an inexpensive craft paint so the colors not as opaque. So go ahead and repeat this around the edges a couple times until you're satisfied. Now what we're gonna do is get a little more white pain, and we're gonna segment thes colors just with a white line going across and make it really loose and brushstroke e. And we're done. You completed the color blocking technique. We're gonna be using this background in the next lesson to create an abstract painting. But you can do this background in this particular color blocking technique with any color scheme using any size squares or rectangles. It's just basically putting color block shapes on your surface. So do some practicing, and if you're ready to start your abstract painting, you can go on to the next lesson. 14. Non Objecting Painting: In today's lesson, we will be creating a non objective painting using a color block background from the last lesson inspired by this bohemian decor color trend. For this painting, you will need white paint Ah, gold leaf oil pan or paint pen, acrylic black ink and a smaller, flat rounded tip Paintbrush. I'm using a size, too, but a size three is fine, too. If you have one on hand, let's begin with a little bit of white paint and just wet your brush and add it to the way paint so the paint becomes pliable. You want it to remain opaque, so we're not creating a wash were just loosening up the pain. Tibet. We're gonna start applying little areas of white paint. They're just little brush strokes. So this painting is just gonna be a Siris of little patterns. And then we're gonna add some more geometric shapes and designs with our Inc. As you can see, I'm just adding white paint to the blue color block. We're not gonna add it to the whole color block. I'm just trying to figure out the composition here and see how many dots I want covering the surface so you just got to kind of look around and see what looks most appealing. You just want to make sure you don't have the same amount of dots and mitro just to make it a little more interesting. You can go ahead and put your brush away and grab your gold leaf pen. We're gonna create some texture on the screen color block just by adding some pattern. And what we're going to do is just put some loose lines going across. We don't want to add consecutive stripes. That's a little too obvious. So just used broken up lines just to go across the surface of that moss green color block is gonna add some texture, depth and some visual interest to this color block. I'm gonna love my paper up so you can see a little bit better. See how the lines are broken up. They're different lengths. They're pretty evenly spaced apart, but they're different lengths going up and down, and they go across out a whole color block. Now let's start working on these white circles. We're gonna add some gold detail and we're just gonna create some owes around the white circle. And that's gonna bring a little bit of that gold detail up in our dark blue color block. Be sure not to perfectly outline the white. You want a little bit of that blue between the white and the gold, and everyone's gonna be a little bit different. So some circles might be a little bit bigger with more blue showing, others will be a little smaller, which to him to blue. Now we're done with our gold detail. So grab your black acrylic ink and we're going to get some scribbles in here, so everybody's is gonna be a little bit different. Just use your intuition. Put a dab of ink and just use a little I drop till to intuitively scribble a design across the white. Now we're gonna outline this whole painting almost like a frame in some broken up sketchy lines. When you're creating non objective or abstract art, it's great to get a variety of components such as textures, shapes and lines onto your composition. This creates visual interest. Congratulations. You finished your first non objective painting in my course. Please be sure to add your images of the work you've done for the rest of the cost of you. I can't wait to see your creations. Here's a couple samples of some non objective art that I've done using this same technique . I hope this inspires you to creating some beautiful, non objective artwork of your own. 15. Weathering Technique: in this lesson, I'm gonna be teaching you a weathering technique for your backgrounds, and we're gonna use the same bohemian decor for inspiration. And this time I'm taking my inspiration from the carpet. But I want to show you this amazing technique because you can put a number of different subject on top of it. And it's perfect for any kind of rustic decor that you're creating. We're gonna be using three colors of paint we're gonna be using White ah, light gray on a darker gray. And you can really do this with any colors. Actually, as long as you've got white and then two tones of another color, we're going to begin by just directly applying white paint to our work surface, whether you're using canvas or paper. Then we're going to take our light gray, and we're gonna repeat that process. So we're just gonna add a little bit of gray in between where we put the weight. I'm going to be using a wide painter's brush and it's dry and you're just going to start running the paint across your page or your surface in one motion horizontally. You're going to continue pulling the brush across your surface until all the paint is spread. You're not adding any more pain, so it's gonna be dry in some places. And that's what's creating that weathered look. Now that it's dry, we're gonna apply the dark gray, so at a little bit of that dark gray to your surface and you're going to use a dry fan brush. You want to make sure that the brush is dry and you're just going to dip the fan brush in that dark, great paint. And we're gonna just tap any excess great off on a spare piece of paper just like that. And then we're going to slowly just draw that fan brush across our surface. Continue doing this. You might have to add a little bit more paint, but just make sure you tap off the excess before you start on a new one because we don't want thick, dark blotches on our surface. You're just getting subtle little deep pieces of gray on top of that weather look that you've already created and just continue doing this until you have your desired look. Remember, the dark great is just supposed to be subtle. Out of touch is so you don't want to do too much. Now we're done. You can see how weathered the surface has begun. It's gonna make for a beautiful background when we do our painting in the next last son. 16. Boho Feather Painting: in this lesson, we're gonna be creating a boho feather painting, and we're gonna be using our weathered background that we created in the last lesson. And we're gonna be painting the feathers using a wash and illustrative technique over top of this weathered background. Our inspiration is again this boho decor trend, and we are using the carpet as the inspiration for a background. And then the Thiel's and the greens are going to be the colors that we're gonna be incorporating into the feather. So those are the two colors will be using today are moss screen and our navy blue it the teal to make a deeper till blend. So let's get right to it and start by blending or washes. I'm gonna add some moss screen to my little container here and then in a separate container , we're gonna add our navy blue and a little bit of teal. Then, as we've done in the past, we're gonna add a little bit of water to each of our containers and start mixing our washes . So mix those up well until all the paint is absorbed into the water and you've got a nice wash consistency. We want the paint toe appear translucent once we get it onto our surface so that we can see that nice weather texture underneath the paint. For this painting, we're gonna need a slightly wide, angular brush. You can use a five or six for this. This angle brush makes it really easy for us to get those strokes of the feather and you'll see in a minute dip your pain in the green. We're going to begin by creating the quills, going to do for two feathers in this painting, so start at the bottom and just draw a little bit of a curb going up to the center of the page. Then we'll create our second quill, and that's going to be a little bit shorter, and that feather is going to actually be upside down. It's got a little more paint on your brush, and we're going to start with the feathers. We're gonna start at the top of one of the feather and we're almost creating a light outline. And then we're gonna draw the paint down towards the quill, leaving some of that rustic background exposed on the other side. Just do a thinner replication off what you just did and then leave a little split in some areas of your feather and then did the same thing on the other side. Now it's OK if the pain is lighter in some areas, we kind of want that effect, and then you can add little bits of the feather kind of coming out from the bottom. Right here. I got a little too much paint on my page. You can just wipe it up. I use my finger in this case. That's why I like using these washes. If you make a mistake, you can just wipe it up. You can also use paper towel for that as well, and you can go in and add a little more paint. If you find some areas are a little too thin, you can thicken up that feather just by adding a little more paint. The's washes are very versatile, so we're going to do the same thing on the other side. We're gonna start at the bottom this time since our feathers upside down, and we're going to repeat that process. So for the top, we're just gonna do like a little bit of an outline. Burn it down towards the quill and we're gonna leave a little gap and did the same thing for the bottom. I'm just adding a little more paint at the top here. And then I'm going to do a thinner section on the other side, leaving a little base and just strong some little pieces of the feather at the base of the quill. Now we're gonna move to our deep teal, bring that out a little bit of teal. So let's start by drawing from the bottom, and we're going to start by following the quill and just pulling some of that deep teal a long the feather and then on the other side, where it's wider, we're just gonna add a little bit where it splits. So we're really only outing Thiel toe one side and then just a little accent on the other side. What this does is it acts like a shadow, and then it gives the feather a more three dimensional look rather than just a flat image or something that looks completely illustrative. You can add a little more blue if you find that yours has a little too washy. So you just kind of work it until again. You get your desired look so our wash is done. And now what we want to do is just let that dry. Now that you're painters dry, go ahead and get your FW acrylic ink with your little I drop tool and we're going to come on top and at a little bit of illustration. We've done this technique in the past, so we're just gonna use the tool to act as are drawing tool. And we're just gonna draw up from the quill leaving gaps, and we're gonna loosely sketch around the feather. This is gonna add suggestive detail and it's really going to make her feather pop. What I love about this technique is how for you can be with that you don't have to go exactly in the areas that the colors are. You go over onto the white, but then you can add these little details like these little feather bits at the bottom and get us much as you want in there. I always kind of go back and forth until I feel comfortable with how it's looking. So I'm going to move over to the other father and just repeat the process. Once you've got all your little illustrative lines in ink you're painting is done. I hope you enjoyed creating this beautiful, rustic bohemian. Better painting. Keep up the good work. Don't forget to take pictures and poster work. I would love to see your progress. 17. Creating Texture With Paint: Today's lesson is all about texture, and we're gonna be using paint and a couple different tools to create that texture. Our inspiration is this global Southwest color scheme. We're gonna be using terra cotta as our main color to create that perfect color. We're going to be using rose, gold and copper, and we're also going to be using white to contrast with these colors. Let's get started. We're going to be doing a number of different layers here for this first layer. I'm going to create a wash using my rose gold, and we're gonna add a little bit of water. Once our washes mixed, you're going to start applying the wash over the entire surface, your ad puddles of paint and just really Rupp that Washington It doesn't matter what direction you're getting. The wash in everybody. Strokes are different. We just want to cover the service, and we want to get variation in the color. So have the wash a little bit thicker in some areas, a little bit thinner. I want you to burn out the kid new and just have fun just like your in grade school. Start adding paint your surface. So now that you're done with the first layer. You want to let that dry and create a whitewash. We're going to start adding a whitewash to certain areas on the paper, not over everything, just in some areas. And they'll be thicker in some areas and smoother in others. And remember what? The whitewash it's going to dry and you're going to start seeing the texture come through once it's dry. So again, just have fun with it and try not to worry so much about what really is going on. So as we let that dry, let's get some of that copper on pie plate or disposable surface. Whatever you're using that you keep your painting and add some weight as well. We're gonna add just a little bit of dark gray as well. So we're done with the washes. For this third layer, we're going to need a palette knife. If you don't have a palette knife, you can use an old credit card, and we're just gonna start a scraping that copper paint down the page in vertical motions, and you're just gonna have it be applied in selective areas at the bottom. There I did a little horizontal stripe. You can do that, but the idea is to just kind of select an area on your paper like 1/3 of the paper where you'll put some of this copper texture. We want to keep some of this nice texture at the top revealed. We don't want to cover it. So kind of look on your page and see where you have interesting marks. Then go in and grab some weight and we're gonna do the same thing in between where we put the copper kind of around, scrape it over top and just repeat this process kind of go over your wash area to, and you can add a little more copper as well as you go. We just want to create some texture to start playing with your palette knife. Just make sure some of that wash underneath still remains exposed. You don't want to start covering your entire paper. Now we're gonna move on to the fourth layer. I've got this old hair dye brush that I'm going to use. You can also use a fan brush. I just like to find different tools and different ways that people can use their imagination and use things they might have near the house if they don't have specialty brushes. So I'm just dipping it in the gray paint and I'm trying to get the excess paint off. I want to really dry brush. We're gonna do something called Mark making. So once you get all that excess paint off and we're gonna use that same technique that we did with the fan brush in a previous video just get the excess off because what we want to do is kind of add some dry brush, uh, dark grey marks over the surface, so just kind of work it in different directions. This is gonna add another layer of texture. We're just building texture, opponent texture. So you're just going to continue doing this until you have the desired amount that you're looking for. If you found you put a little too much or you want to get a little more color, don't be afraid to go back in. I've got a little bit more copper on here that I want to add. I'm just kind of rubbing it over the surface again, and I'm gonna add a little bit of white so you can go over these surfaces as much as you want just to get this much desired texture as you want. It really is one of these techniques where you could just play room forever. So that's it. We're done, are textured background, and I'm looking forward to the next lesson where we're going to dio a very creative abstract design over top. 18. Abstract Aztec Painting: In today's lesson, we will be creating a contemporary abstract piece of art inspired by this Global Southwest theme, creating a geometric pattern over the textured background that we did in the last lesson. The only materials needed for this technique is some painter's tape, and you're going to need some white paint. We're going to use the painter's tape to create a design, and we're doing a crisscross technique. So get your first piece of tape and we're gonna place it from corner to corner. Now we're going to take another piece of tape, place it across so you get an X, and we're going to create, um, little triangles on either side. So you're just gonna have to snip the bottom so that it's perpendicular so you can get that nice angle. So do that on both sides. Once you have your sides done, we're going to do the top. Now. I'm using masking tape because it's a little bit thinner and I want to get every variation with the designs underneath. Make sure you don't press it down too hard, though you want to be able to lift it up without it tearing the page. So once you have the top of the bottom done. I'm gonna put a thicker triangular shape into the center, and I'm just gonna cut a little triangle and place it on top. All the areas that were put in the tape the design from beneath is gonna be exposed on the areas that are exposed at this time. We're gonna cover with white paint, so I'm just adding a little more detail at the top here, and you can really create any kind of design or pattern using tape. Once you're done taping off your design, you're going to get some white paint on your palate, and you're going to start painting in between the tape that we put down on our background. You'll want to go over and do a couple coats just to make sure that you've got a solid white. Now that you've finished painting all the lines of between going to gently release all the tape from your surface, you don't have to wait for the paint to dry before doing this process. As you can see, the magic starts to begin and you're sign is being exposed. This is such an easy technique, and you can have a lot of fun with us. You can create any kind of textured backgrounds in any color, and then use your tape to create some really interesting patterns afterwards. When I take a look at it, I'm not too happy with this section with little double line, so I'm just gonna fill it in. And that's not a problem at all. Sometimes it's hard to see how your designs gonna show up, because you are looking at the negative. But it's an easy fix, and that's it. We created a simple abstract painting, a very contemporary Aztec design. I hope you had fun playing around with this technique, and it inspired you for many other projects. Please poster image for the whole class to see, and I can't wait to see your progress. 19. LinnenT echnique: in today's lesson, I will be teaching you a linen technique for the background. Here is the inspiration for our color palette. I'm going to be using this antique white for our base. If you don't have antique wait, you can simply use your titanium white. You'll still get the same effect. Begin by covering your whole surface with your antique white. I'm just using a flat wide painter's brush for this, and you can just apply the paint directly on your surface. If you need to add a little bit more, go ahead and do that. But you want your entire surface to be covered in this base tone. Once you're surfaced is covered, you're going to need a fan brush. We're gonna be using our deep gray color and white. You'll need this kind of brush to create that London effect. Make sure your brushes dry. We're gonna be using our champagne gold and mixing it with a little bit of white. Use a scrap piece of paper just to get that excess paint off. We want her brush pretty dry, and then we're going to start doing a crisscross effect. So we're gonna dio horizontal lines and Then after, we're gonna apply lines going vertical, and you're going to continue this process over the entire surface. Don't press too hard down on the brush as you want. Really light strokes mimicking the weaving technique of the linen fibers. Once you're done with champagne gold, go ahead and dip your paint in the white and you're going to repeat the same process with just the white paint going to do the horizontal and vertical lines to get that crisscross woven pattern. That's it for this background. Now you can let it dry and we can get ready for our painting over top. 20. Rustic Mandala Painting: today we're going to be creating a mandala painting over our Lyndon technique background from the last lesson. Our inspiration today is this global design trend using a neutral color palette. This particular background is great for designs. In fact, you can do almost anything on top, but I've decided to keep it earthy and kind of bohemian by creating a mandala. So we're gonna be using a compass to creator circles. But if you don't have a compass, you can use a Siris of bowls, cups or even painter tape roll. We're going to create designs within circles. So I'm going to try to keep it very simple for you. And we're going to begin by drawing 1/2 circle on one side of our paper. Be sure not to lift your compass as you don't want to. You lose the starting point and you're going to create a number of circles within the circles. We're going to create four separate sections in this case, so we have five spaces to work in. Be sure not to lift your compass so you don't lose your starting point. We're gonna need a number of tools to begin this process. We're gonna be using our sand grey pains, a white gel pen. And we're also gonna incorporate the terra cotta color. So we're going to need our rose, gold and copper. For this. We're going to begin the process by using a number two angular or finer brush. We're gonna use our great paint. We're gonna start outlining the larger circle of her mandala. It's okay if the line is broken up and you're getting the brush strokes as this is gonna be a very rustic design, so continue doing that. And once you're done, the outer circle, go ahead and do the next one once. If completed that inner circle, we're going to start getting some pattern within these two lines and working up again by simply adding stripes between these two lines. The idea is we're gonna mimic the pattern of the area rug in this image. I love to get inspiration from pattern through the interior design of these images. So go ahead and dio evenly spaced lines going all the way down between these two circles. Now they're gonna be a little wider at the top and a little smaller near the bottom circle , as we are going in a circular motion. Once you're done, all the lines we're going to keep using the great paint and we're going Just add small brush strokes to either side off the lines, just alternating. It's gonna begin kind of looking like a checkered pattern. But in the end, we're gonna add a lot more detail to this, which is going to give us a very as tech, global or aboriginal. Look, once you're done repeating this pattern all around the circle, we're gonna begin working on next circle. This time we're just gonna be creating a V shape. This is just as six egg between our green line and one of the pencil lines that we did for the next circle. Continue this pattern all the way down within the two lines of thes circles. When you've completed this design, we're going to continue with the great paint and in the upper triangles were simply going to do stripes continue this process all the way to the end. Now, there were done with the great pattern. Let's get some terra cotta in here, makes her paint using the champagne and rose gold. This is gonna create that nice, beautiful light terra cotta color going to use a little angular brush minus about a size three. And you're gonna fill in the triangles beneath the striped ones You did. And we're also going to fill in the two lines between the bottom pencil line and the upper one grieving a thick band of terra cotta. Continue this process until you're done. Once you've completed getting the terra cotta, get your fine brush and we're gonna use the great to outline the terra cotta on the bottom . Then we're going to start getting some pattern in from the tip off the triangle. Draw a straight line coming down towards the center. Leave a little bit of space as we're gonna be Adan little dots at the end of each line. Now we're going to just be adding horizontal lines, three of thumb that mimics stitches on each line that comes down from the triangle. Once you're done with that, let's just go ahead and add a little more detail. So we're gonna add some little dots on the inner circle right below the dots that you just completed. So I wanted to give you a little bit of insight of where I got the inspiration for these designs and we're gonna continue. All the inspiration I got is within this image. So I'm using the rug and I'm also using this poof. It has a variety of stitching in it and designs some just kind of trying to mimic that. I just want to show you how sometimes when you get stuck on things, you can really pull inspiration from the little list Details. Let's get our white gel pen. Oh, I want to show you how we can add more interest and more details just by adding a little bit of contrasts. Take your white gel pin and just start outlining all the dark circles that you have in there and put some white dots in between. Between where we put some great detail just at a little more white detail here, um, adding lines with little teardrop. Another thing we're going to dio is just kind of trace around the great areas that's gonna make it pop. It's gonna break up all those big shapes of color, adding a lot of visual interest. I'm also gonna add white dots between the little stitch marks that we've made on the lines coming down from the triangle. Once you're done with that, we're going to go around the outer edge and get some little white dots on that great checkered pattern. It's gonna break up that design so it doesn't look like we're going to a car race. Continue the pattern all the way to the end. Now we're gonna go in and get a little more white detail on the gray triangles, so it doesn't really look like a son or star admitting from the center of our mandala. It's gonna break up those harsh lines you can dio as many details as you like within the pattern of your Mandela. Remember, the more details that you have, the more visual interest. Also, the less you're going to see all those little mistakes if you do have some. And that said were Dunner mandala. There's nothing wrong with doing for hand mandalas, as you can see its rustic and earthy and fits right in with our color scheme. It also complements our background. That linen textured background works very well with this style, especially when you're trying to get arrested earth. Look, I'm super excited to see the mandalas that you've created in this class, so be sure to post thumb. I'm also going to give you a little bit of inspiration to show you how I've created numerous mandalas using rustic kind of linen textured backgrounds. 21. Illustration On Patterns: in today's lesson, I'm gonna be showing you a technique on how to get texture in the background. And right after I do the technique video, we're going to create an illustration on top of this background. So today we will be using the inspiration of this monochromatic blushed home design scheme and will be creating a complete painting. To get started on this technique, you're going to need something to get designs such as a stencil or punch ella, which is what I'm going to be using. And we're not gonna be using stencil in a traditional sense, were actually going to be painting onto the stencil and transferring the negative onto our paper. So to start off, you're gonna need a scrap piece of paper, something to apply or put your stencil on top of while we paint the back of the stencil. There's a number of tools that you can use to get paint on the back of your stencil. Here I'm demonstrating how you can use a credit card. You can also use a brush, but I'm going to use a prayer. These are great because you can evenly distribute the paint. And today we're gonna be using a dark gray. I wanted to show you this technique because it's a really interesting way to get design and pattern on the background of your painting. So once your stencil is covered, you're gonna place it on your background. Now, I'm gonna use a clean briar just to press the stencil down. So the image transfers. If you don't have a clean grayer, just put a piece, paper towel or, ah, scrap piece of paper and just rub gently on it, applying some pressure so that the paint transfers onto the surface of your background. Now you can lift up the stencil and see the magic that's happened. We're gonna repeat this process so we can get some more texture at the bottom of our painting. Now we're done with their patterns. We're going to create an overlay over the pattern. I'm using a tendering color paint, but you can use your coral. You can even add a little bit of that champagne gold in there to make it a little more translucent. You're going to use a briar or your credit card, and you're going to start rolling over a block of paint over one section of your canvas or your paper in your sketchbook. I've also added a little bit of white, my pain, just to make it a little lighter, so continue to roll the paint on there until there's no paint left on your briar. You're going to start seeing how the pattern underneath is pulling through the Banda paint , and that's the effect that you want. It's important to see that pattern coming through. That's why it's really nice to use a prayer. It'll actually lift some of the paint off, giving it a translucency. That's why you want to use more of a translucent pain if you don't have a prayer. Now you're going to go ahead and get an angular or flat brush amusing about a four or five here, and we're going to start going along the side of the color block that we did just to clean up the edges with the white paint. You can overlap a little bit of the color block that we did as this is thin pain, and it is a little bit translucent, but it does clean up the edges. Once you're done, one side go ahead and you're going to do the same thing to the other side along the other edge of the color block, and you're gonna pull that paint directly on top of your pattern. Keep working the brush strokes and get a little bit of white over your color block. Then what you're gonna do is what your brush and just pull that what pink down. It's gonna dilute the pain, and it's gonna give it more translucency. If you find it's too much, just gently dab it up with a paper towel. What we're going to do next is just pull a little bit more color in where the dark gray and white pattern is without prayer. Just put a little bit of our paint color on there and just pull a little bit of the paint over. You can use a scrap piece paper just to get the excess paint off, because you don't want to go and add another color block. You just want to give a little bit of texture over their own color because there was such a large area. Ah, without paint that just had the pattern. So now I'm going over with a brush and I'm dipping it in a little bit of wet pain. So I went my brush. So it's nice and wet dipped it in the white. And I'm just kind of smoothing out various areas of my paintings, such as the bottom here just to kind of blend it. And then I'm gonna go over all the white areas, just so everything is nice and smooth and the way I like that. Now our background is done and we're gonna let that dry, and we're going to create an illustration over top of this. This textural background is really nice for any kind of illustration. And today we're gonna be using our gold leaf pen. We're gonna be creating a palm frond. So we're gonna start in the middle of the page, drawn a line out towards the centre. You want to make sure that there's a little bit of that pattern underneath showing above and below the line that you first create at the end of the line, you're going to create a slender leaf shape. We're going to be creating a fan palm leaf. So we're gonna alternate doing these leaf shapes on either side of the pond stock. Continue doing this, making each leaf just a little bit longer. You'll begin to start seeing your palm leave developing. We're almost done here. Just a couple more. Once you were a notice base, you're gonna burn it off the page. We're just gonna get one more set of leafs down here, and then we're going to start kind of doubling up those lines to give it a thicker gold leaf outline so that it really pops off the page. So go ahead and continue doing that to the entire palm leaf. And that's it. Were completely done. Are painting this kind of technique is great for decorative art. I hope you enjoyed this lesson. And remember, in all the techniques that I teach, you can try this with any kind of color scheme using a variety of stencils and different pens for overtop A swell. Be sure to post your painting for the whole cost. C I can't wait to see your creations 22. Using Stencils In Background: Today's lesson is all about creating abstract art. We're gonna be creating a background using stencils, and we're also going to incorporate our color block technique. We're going to use the same inspiration we used for our peacock painting to create or color scheme. This time we're going to eliminate the pinks and the mulberry wine and just focus on the blues. So to replace the pink, what we're gonna do is use the deep, dark gray color, and we're gonna start with the color blocking. So I'm just using a wide painter's brush here, and we're just gonna get a nice, thick band of gray paint along the bottom. Once you've completed that, we're gonna work on getting a nice deep teal color by mixing or Navy, blue and teal. We're gonna actually create three bands across this page, so we're gonna put the dark teal at the very top of our page. You're going to create the same thickness and pain as you did with the gray. Now that we're down our second man, we're gonna work on the last band, and this is gonna be a light blue color. So go ahead and get nice. Declare a paint there. I'm just gonna touch up this teal at the top. Once you're done with the color bands, we're gonna need a stencil. I have this honeycombs stencil you can use any central that you have. Remember, this is just a technique, So whatever you've got on hand will work. We're going to create a pattern over the color blocks that we've done. But this time we're going to be actually painting through these little areas so that design comes right on top of the color blocking. We're gonna be using champagne gold for this so you can go ahead and get some champagne gold on your pie plate. I'm gonna be using a sponge brush for the Stickney. You can also use a sea sponge. You want to make sure you've got some kind of brush that's gonna evenly distribute the pain without getting underneath the stencil. So sponges are great for that. What we're gonna do is we're going to start applying the paint to the corners of the page, thicker. And as we move along throughout the stencil, you're gonna add less unless paint. Once I reveal the texture underneath, I think you'll understand more so we're not completely covering the entire background with this pattern. We're going to be very selective here, so just kind of lighten up your touch as you move into the center of your stencil. So you just kind of get a hint of that design coming through without it being plastered right onto the background. So we're almost done here. What I'm gonna dio is I'm going to flip my stencil so that we get a negative impression over the white. So press down. I'm gonna use a clean briar just to press down to try and get a little bit of that impression. You can also use a clean piece of paper and rob gently just to get a little bit of that paint. As you can see, there's a little impression there. And then I've got more of the pattern down at the bottom. We're gonna move around the surface of the background to create more texture using the stencil. So this time, place your stencil at the top of your page. We're going to continue the same process that we did at the very bottom. I'm just placing my stencil here. Okay? Get some paint on your brush and start dap again again on your surface, making sure the paint is a little heavier in the corner. And then later, as you move towards the centre, now we're gonna flip, are stencil over again and try to get that negative pattern on the blue again. So place your stencil upside down, and then you can use your prayer to press down firmly. We're gonna try and get a little more texture coming through. See how that appeared. Now, I want you to repeat the process on the other side of the page. Be sure to do some heavier areas and some lighter areas because we want to make sure in the end, we've got some semi solid blue shapes coming through there. Now we've got a really nice design for the background of our abstract painting. We've developed a lot of texture using a pattern stencil without it being too monotonous. Now let's complete this painting. We're gonna use a dry brush. This is just a painter's brush. Or you can use on old hair dyeing rush whatever brush that you have that's quite Brisley and make sure it's dry. We're gonna be using gold, same gold we used for our stencil. So dip your brush into the paint. We're simply going to create a brush stroke mark on the surface of this background so you can dio any kind of design that you want. I like to press into the bristles so it spreads thumb out about and then you could get some really nice texture. So once you're done with the gold, we're gonna mix a little bit of white paint here, and I'm just using a bamboo brush. I've added a little bit of water to make the pain more pliable, and what we're gonna do is just add a little contrast. We want this designed to pop out, so we're going to mimic the's stroke of the brush that you did with the gold with the white using a thinner brush. And again, I am just using a bamboo in brush air. Lastly, definitions painting off. I'm gonna get my FAM brush, make sure it's dry, and I'm going to dip it in the gold pain so I could go over the white So it's not as a parent, and you can see some subtle gold brushstrokes going through it, and that's it. our painting is complete. This is just another creative way of creating abstract art. I hope you enjoyed this lesson. Please post your images so I can see you're amazing abstract art. I've been using stencils in the backgrounds of some of my collections for years. Here a few samples of my artwork giving you inspiration on how you can use stencils in your work as well.