Paint Loose Techniques Using Acrylics And Mixed Media | Robert Joyner | Skillshare

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Paint Loose Techniques Using Acrylics And Mixed Media

teacher avatar Robert Joyner, Making Art Fun

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

6 Lessons (21m)
    • 1. Introduction

      1:04
    • 2. Basic Shapes

      2:55
    • 3. Dynamic Edges

      3:00
    • 4. Exaggerating

      3:58
    • 5. It's In The Details

      8:29
    • 6. Edge, Body And Background

      1:38
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About This Class

Learn expressive painting techniques and tips that will loosen up your art. If you enjoy blending unconventional painting methods with a dose of traditional thinking these lessons are for you. This will be an ongoing class which means I will continue to add more lessons and techniques. No worries, you will be notified when new content is available so long as your notification settings allow this to happen.

Some of the topics included are;

  1. How to break your subject down in order to discover areas, shapes and details you enjoy painting
  2. Learn how to interpret your subjects in more expressive ways
  3. How To simplify complicated subjects & why it's important for painting loosely
  4. Creating dynamic edges
  5. Adding charcoal & other drawing mediums to your creative process
  6. And plenty more...

Meet Your Teacher

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Robert Joyner

Making Art Fun

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Transcripts

1. Introduction: advanced techniques will help you develop the skills you need to paint loose with acrylics , crayon, charcoal and mixed media. Thes less is are designed with you in mind. They are easy and formative, concise and to the point we know you're busy and you want to get back to the easel. To put these techniques to the test, you can watch these lessons on your computer, laptop, tablet or mobile device. You can do so any time you wish. When you sign up, you have lifetime access. He can return and watch the videos at your own leisurely pace. And to make it even better, this course is getting updated all the time. As fresh content rolls out, you'll be notified. You will have access to those at no additional cost. Go ahead and do the happy dance away. So if you're ready to get started, you want to take your art the next level to see what's on the other side. Then sign up today. Now see you on the inside. Thanks for watch 2. Basic Shapes: time to get loose in this lesson, I'll work with basic shapes in this first example just gonna paint or indicate rather square riel loose with it. Here, not trying. Teoh impress you with my beautiful square. And there you go. If I wanted to incorporate some mixed media with this and then I can even go a little bit looser with my basic square shape. Now an example be I'm like 12 I'm not going to take these kind of chances. I'm gonna paint everything almost where belongs. But we have a nice pretty shape here. A nice, safe, tight where go around that square with my charcoal So you get the point. The idea was to indicate a shape. This gets the point across for loose artist. For someone who has developed their vision and has let go of the idea that things have to be perfect or tight, you see pretty clearly there that if you want to be loose and expressive, then you have to go out. So have those lines a little bit. You have to push things to the point where maybe it falls apart. But give it enough structure that had just holds together. There is my circle, of course we have. Example. Two. Painting and indicating that circle area Go loose, free, expressive, tight, tight, tight and understand this. It's a very simple concept, but I promise you there's a lot to be learned here. Practice here in new triangles, rectangles, whatever you want to dio simplifying it makes the learning easy. If you're trying to paint a finished piece, well, you're not going to be a successful. If you don't understand the basic idea painting loose, we'll stop right here. I'm giving you enough information for this lesson. Have fun experimenting with it and I will see you in the next one. 3. Dynamic Edges: All right, let's talk about edges. Edges air. Very important because you have lots of them in your artwork. And unless you're dealing with a building that square or rectangular in shape, then you're going to be dealing with curves. Now I'm going to continue with using the Coffee Cup as my example, because a coffee cup has some nice straight lines on the sides, and then we're dealing with a lot of curves. This first example that say, We're dealing with a round shape like that on top, and we have our straight line on the body or on the sides. And then we have this sort of thing, and I'm going to interpret the logo to here. It's just a square, all right, so lots of curves, It's OK now, an Exhibit B. Here I will give you an alternative way, and I think this reads a little bit stronger than the curves. But again, you can make your own opinion on that cases you can see my curves are made up of lines and I can even get into the logo here. All right, so this has a very jagged look about it. You got all these nice angle is going on where this reads really smooth, and I feel this works a little bit better because the angles can play when they do play off the edges of the paper. So we have a lot of these right angles here, and those angles of my shapes are playing off that. And over here, you don't really get that benefit. So it's just it's just sitting there where you can kind of see how we're here. You can really start to notice how these angles are playing off of the exterior of the paper. If you practice and you again, you feel like this is really were out where I want to be. That's okay. You know, it's not a big deal, but I think you'll find once you start breaking your your shapes down and tow lines like this, that the object, your painting, the shape you're painting has a little more character to it and just sits a little bit better on a square or rectangular piece of paper. All right, so shortened. Easy here, and you can, um, practice this drawing as well. So if you just want to use ah pencil or charcoal whatever you want to do to understand this , that's fine. And then you can move into painting as well. All right. I hope you enjoy the lesson and I'll see you in the next one. 4. Exaggerating: I like representational qualities. I think it's important to include some of that, but we don't have to stay in the lines all the time. You have to actually learn to go outside the lines. It's okay to go out here with some of these strokes. It's okay to make the coffee cup a little bit quirky, you know, if that's what you want to do. So in this example, I will show you how you can do that. So let's say I come over here, I get nice and loose. So notice right away how expressive that brushwork ISS. So I'm not doing following the edges of my cup. I'm having some fun because I know I can shape this up a little later on. If I need Teoh and you don't really, you'll be surprised how much you can start to get away with once you start taking these liberties. And this is really where the work starts to become expressive right over here. It was like I want to get there and want to get there. How come my work isn't lose? How come it's you know it's still tight? Well, I mean, this is why you're staying in the lines here, right? And so now they say, Well, that's pretty wild. I want to kind of bring that in a little bit. We can We can come in here and put some areas of that where that cup could be and shape it up a little bit. But it's really the bones of the say, the overall tone off this painting we're set here in the beginning. You want that to breathe? You want the strokes in the beginning to live in the final painting. And this has a lot more of a chance and becoming, ah, loose and expressive than this so that this is kind of ah, great lesson for you to work with a lot and get this looseness and how you shape your objects. Once you start to get that freedom, uh, going outside the lines of a little bit and knowing that you can come back later and create these edges that will kind of tighten things back up again. Then you know you will start to take more chances, and that's what it's about. And I do feel that if you want your artwork to become loose and expressive, then You know, you really need to understand that you have to get outside of this paint within the edges type of thing, have toe, let things breathe a little bit. So I encourage you to work with this a little bit. Break it down some. Keep it simple. Okay? Don't try to paint. Ah, complex scenes work with basic shapes. Which is why I'm using the coffee cup so that you can focus on the exercise. Another quick little exercise you could do almost is just painting circles. What does a circle have to look like? Square. What if I want to do a square? It can a square be this. You know, Square doesn't have to be type of shape. I hope you enjoy this lesson. Practice, practice, practice. And you don't want to take this sort of thing lightly. And if you are tight painter, you're gonna have to work extra hard and understanding this idea this lesson. Okay? Have fun 5. It's In The Details: one thing I like to do with a lot. All of my subjects is explore the details a little bit. And I think it's important to spend time here because you discover things about your subject that you wouldn't ordinarily see by just glancing at it and then painting. So now I'm just going to start with the logo. It's just put down some good old color. And I grabbed a little bit of yellow. A little bit of teal threw it down. So I like that. But maybe I'm like, I don't really see some orange in there. That's fine. And now I'm looking at different areas of the painting and this could this will eventually represent the logo. Okay, Now I'm looking at something else and, you know, kind of like the top how the shadow is on the left side. And but, yeah, I'm feeling colorful. So I'm gonna take some risks here on color, and, uh, kind of balancing around. I noticed that this little dark area right here on that lead is darker than what I'm seeing over here. Just an observation. Maybe I want to include that. Maybe I don't. In the final painting And this isn't about a final painting right here. This is the complete opposite. I don't want to create a painting right here. I really just want to explore and doodle in play and try to find the things that interests me, is an artist. What do I want to do here on How can I do it? That makes it interesting for me. And I like I like the act of applying medium. How you apply your medium and how you interpret your medium on paper and how you interpret your subjects is what sets artist apart. If you stay confined in a very representational area all the time, then you don't really get a chance to paint freely because you're you're stuck within these blow holes and you can't bring a child because you don't know how to. You've never allowed yourself to go places and to experiment. So therefore, physically, your body is not gonna do it. Not that it won't do it. Naturally, you have to go here and you have to do it. Um, physically, at some point, in order for your brain to say, you know, what about this cool thing we did? You know, a couple of weeks ago where you really went crazy with the with color and all that stuff. So you're more than likely to go there again if it was a good experience. So now here. I just played with light and shade, and I just had fun with some through some color down that could have been the shade started here, brought it down in there. I know intentions of going there, but I was just doodling. Just let myself explore and play a little bit. And so now I just want some negative painting painting around it. Now, maybe I want to come in here with some shadow out. Could care less what the true color isn't life. You know, with the shadow, it could be blue or purple brown. Whatever. I'm just going to get something that is darkened up to say shadow. I'm gonna put that down, and that gets the point across. And I'm happy with that Now. Maybe I want to go back to this logo since it's almost dry. Maybe I want to bring in a few more details. Was gonna play with my liner brush here and see that's a lot of fun at the paint without any pressure of creating a finished piece. You know, it's when we put that pressure on ourselves that we tend to revert back to what we know. That's okay. It means nothing. There's nothing wrong with that. But I think if you really want to branch out and to give yourself more freedom of expression in your work, you need more options. You know, you need to give yourself this opportunity to explore, because this is where you learn. This is where we this is, where we grow. Bring that idea of playing with these details over in this area. I'm getting more familiar with this logo, which is good. So if I ever decide to do a finished painting today or get into it at some point, I've got a nice connection with all this stuff. And that's how you I'm just staying loose, bouncing around, having fun with it, not trying to put a lot of expectations on myself. The same time I'm playing with my medium right. I'm having fun exploiting what I do now getting back to this. Of course, the logo was white agreed, so you can see that under painting of green and blue and yellow brown. That's all there. And I like those colors and it makes it makes the logo interesting. Now I can go back in here with a little bit of white and my thin liner brush. It had missed some of these things. Maybe I want to bring out a little more of the representational qualities of this logo, make it a little more recognizable. So if I were looking at this from a distance across the room, I'd be able sail. Yeah, that's a Starbucks cup there, and I have a connection to it. I would know what it ISS. That's all I want to do for this particular sketch. But I do have a little bit of room over here. So now maybe I want to break out my charcoal again. Kind of just sketched this lid. I really like that top. I like the shape of it. Maybe I want to put some coffee in there way. Go look to go a lot. And so there, in that little exercise have found some freedom, found some freedom with my medium, found some freedom with my subject. Had fun doing it and I pushed my art to a level that may allow me to pay looser than I did before. And that's what these exercises are all about, that they're about trying to discover different ways. You can do things, ideas and techniques for applying your medium color. I mean what I have used the orange background and came back over that with a dark, greenish blue color and play with this logo. If I had, if I had started to finish painting, you probably wouldn't have are probably going a little bit tighter and started in an area that or in a place that I was already familiar with. Okay, so once you get into that mind said that you're painting, we get comfortable doing what we already know. Risk taking doesn't often happen when you're painting whenever you're Doolin playing, experimenting. Well, this is Discovery time. This is where we find out things were exploring. Sometimes the exploring process doesn't result in anything but a hot mess. And that's okay, too, because I always have fun doing it. I can tell you this for sure. What I demonstrated right here. You will see a lot in my workshops. I will go over this type of stuff again and again. It's how I spend the majority of my time in the studio. I don't paint a lot. Painting bores me because I know when I'm painting, I tend to go back to what I already know. I like to discover. I want to know what's next for me. Explore, Take some risks with colors. Take some risks with strokes. Don't try to determinar have any really big, premeditated ideas on what you're trying to do. Let yourself be creative again. You're going to see me do this a lot. This is the last time I'll be talking about this and until next time thanks for watching and happy painting to you. 6. Edge, Body And Background: I'm gonna start with just really small round brush here in the coffee cup. We have the actual edges of the cup. So if I were to outline the cup, basically it would no look to say something like this, Okay? I'm not gonna do the whole thing. So want to demonstrate the other areas? Now we also have the object itself. So if I were to take a little bit of white blue mixture So let's say I start and here and I'm painting here the cup. Of course. I want to put the logo in there. I can do that, though, Basically painting within the space of the object in this case cut. So let's do a quick recap the edge of the object and then inside the objects of the body of it, right, The third area will be background. So they say, I want to use the background to indicate that edge. And maybe I can come in and indicate a little edge here. Seeing you see how I've used the three main areas to create this quick sketch. And for now, this is what I want you to understand. The edge of your object and I'll do it again real quick here so I can create the CEO, Dude, over here, the edge of my object. So I can come here, start painting my cup, and then we have background you got. And I can use that background quick lesson here. But again is really these basics, these little things that are gonna help you down the road. All right. Thanks for watching.