Paint Roosters With Acrylics - From Charcoal To Finished Painting | Robert Joyner | Skillshare

Paint Roosters With Acrylics - From Charcoal To Finished Painting

Robert Joyner, Making Art Fun

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4 Lessons (18m)
    • 1. Introduction

      2:31
    • 2. Connect With Charcoal

      4:55
    • 3. Connect With Acrylics

      7:08
    • 4. Final Demonstration

      2:56

About This Class

In this course you will learn how to create loose and abstract style rooster paintings using acrylics. To do so we will start with a charcoal sketch to discover the features and details that seem interesting. Then it’s time to explore color and brushwork as we develop a series of acrylic sketches.

Just some of the topics discussed in this course:

  1. How to use charcoal & paper as a way to get connected to your subject
  2. How to develop an approach to your subjects in order to create unique art
  3. Why acrylic sketching is so important to your paintings
  4. Tips for creating interesting brushwork
  5. Why painting in layers is so important
  6. Discover techniques that will loosen up your artwork

Who is this course for:

Anyone that wants to learn the art of painting loose with acrylics. Yes, you will discover techniques specific to roosters but many others too that will help your ability with many subjects.

The Finished Rooster Painting

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Transcripts

1. Introduction: hi there in this course, wanting to paint a lovely, expressive rooster before we dive into the brushes and the pain. Just start painting that masterpiece. We want to do a little bit of leg work, all right. A little bit of leg work will help you put personality into the painting. All right, very, very important, because if you simply taken image, put it up on the easel and start painting it, then chances are it's just simply going to represent the image. So you're painting what you see, and while that may be OK to start out with, I would think you would probably agree that we want that painting and that rooster to be unique. We wanted to be interesting and the have character, so we have to find that way need to develop every subject we need to develop our art and creativity every day. So this first exercise, where I will use good old compressed charcoal, £90 drawing paper and sketch experiment, play, connect with the rooster, have some fun trying to represent the rooster in our own way on, and that's really important because you know this this connecting process and getting to know our subject. An image you know it is. It will help you develop style and really, it's it's more important than the final piece. And so often artists just wanna paint a beautiful piece to show their family and friends and to put up in their studio or to sell. And while that's okay, they're typically it's just trite and Ah, and my job is a teacher is Teoh help you avoid those mistakes and to really branch out. Okay, so I want you to develop unique and interesting art that no one else could do. 2. Connect With Charcoal: and now I'm ready to paint. OK, ok, that that is typically the trap. You know, artists will fall into when when I even introduce this exercise. And I can see this over and over again about don't do this. And it's still this is where it goes right here. What I want you to do is the thing Mawr details. Okay, so details could be features. Okay, so it could be an eyeball, your beak. So we can kind of play with that beak a little bit. And again, it's just real loose, gestural type stuff. You can look at angles. I can look at the angle of the head, right, So the head comes down and then we have this little action here and these beautiful shapes and then the beak and then the I kind of just playing with different little features and details of it. We look at the feathers and how that white area of the head comes down. You get this kind of playful look, and those are the things we're gonna talk about with these sketches. Okay? This is no, no, there's time for this. This is important details because it is really the details and how we explore the details that are important. Who break the subject down. We're gonna have a lot more fun in the next lesson. I could look at the face of the big area has these kind of subtle angles to it. And then how Here this this part comes down like I need an anatomy lesson on a roosters have no idea what these parts are. Me, they're just shapes fun things that get me get me going in the studio. Not exactly trying to draw every feature. I see. You know, I'm thinking Maura about looking at this sort of area and then putting down an impulse or a reaction. Right? So you get in here and kind of do this sort of thing, you know? So that's what I want to do is kind of put my emotion into it, because that's going to be more powerful in a painting and now just going to continue the same idea. I've really enjoyed working with kind of that area of the rooster, the head. You never know what's going to interest. You write, be willing to work with subjects for a long period of time in order for you to get in the air and make it happen. Really? I mean, just turn that subject into something that it's so unique, so personal, no matter what you do to it, almost it works. I saw play with head and some of the features a beat, the eyes now kind of roaming around a little bit, but I like that. Okay, so you know, this kind of idea making these little jagged feathers and getting this thing this kind of interesting edge going on is appealing to me. You may not care about it, but that's what makes us all unique connected. These things like really, really, really connect to him on an artistic level. Then once you latch onto and go Oh, that's cool. I love it. I love that little love it. Then you can explore, you know how to represent those little detail, subtleties and features. It's fun. Maybe loosely do where the other one would be. So maybe it's here somewhere. All right. Ask my little playfulness with the feet. Spend time here and it's gonna pay off big time down the road. OK, I hope you enjoyed this phase of the rooster painting. And I will see you in the next lesson. 3. Connect With Acrylics: Oh, my palette. Here I have titanium white cat read a lizard, crimson sap green green gold A little touch of horns in their can't orange, yellow oxide and teal for brushes. A number one outline er a number six outline er have a medium sized round. I have a medium fan. I have a small detail brush and a kind of a large medium large, flat or square there. So now I'm looking at kind of the same areas that connected to earlier. Because this is all about playing with color. This is about experimenting. I'm gonna use the yellow oxide and the cat orange. So I've got a little bit of each on my brush, and I'm just gonna put some stuff down that works. I'm looking at that color. Now that looks kind of cool. I'm just going to splash a little more yellow there now. Money without cleaning my brush. I'm just going to get right into the green gold. Put some of that down. That's all fun. Now, just one tap into the cad red. Just make some of that in there. I'm just kind of putting a base down. Look at some other areas So I'm a dip right into this teal without cleaning my brush. Maybe the shape, the head that kind of comes down like this, some kind of working with Thea for part of the rooster here. So this we're gonna be the crown or every call that thing, and then this would be the head. But again, I'm not putting pieces together. These are just little pieces of the puzzle. There's just kind of scattered around in no particular order going to go into this blue I can't pronounce and see just playing with line now, like I mentioned before, that's what these out liners air great for. They really do give you a chance to put in some interesting lines. So little blue little with the cad red now. And just getting a dark color is really good to play with your subjects like this. You know, you never know what you're gonna take out of it. And I know it just gives you a chance to break things down a little bit and to have take some risks that you wouldn't ordinarily dio a little bit the yellow oxide. Little white You again Just playing with color. Not painting what I see. So I'm looking at the image. I'm getting inspiration, but I'm not locked into putting with the exact colors I want to see down. So little titanium white went into the bluest red mixture I have here just against him graze but switched to my meeting him around here, going to some sap green Maybe a little bit of the green gold Touch your white I'm looking at this. I really like the looseness of this kind of area where the beak is and a little I there I could kind of use some negative space painting here, Chisel in and shape that part of the bird go into some blue little lizard in any time you can let things happen in a unpredictable kind of state. Then you have a chance to make something unique. And that's well, that's really what I'm what I'm after. You know, I want to see what can I do? Hear that Maybe I haven't done but make this subject fun and interesting. The pain When I'm in the studio non painting, I'll make a ton of bad art. I can't just can't afford to sit here and make these videos and try to show you how to paint a rooster, then end up with absolutely horrible painting, just kind of still playing with negative space and dragging some of that color up here. And, yeah, we're really just running in a room with this one. I'm just going play with those a little bit. We'll use that kind of his bluish color and just to kind of put puts, Madge is down and just play with that shape a little bit the feet and how I can do that. Take the blue with a little bit of the Liz Aerin and just kind of loosely putting this little kind of outlaw nish tape shape. I'm a nice, nice combination play with that a little bit more. I'm getting that by the lizard crimps in a touch of the red. There's a little bit of the blue over here, and this was giving me that. That kind of huge, but it's really pretty even sure if I've ever used that before. But now I'm looking at other areas. I don't wanna mess with that I a little bit someone kind of going to the same mixture, maybe a touch of the blue touch of the sappy green grandma detail brush dip into some orange. A little yellow oxide touch of the cat red kind of work around this I a little bit would go touch a white Now just break up that color I know it looks, you know, it is very round, but I don't like putting round shapes. So I kind of hit and it being around I try to represent it a little bit differently. You know where this be Kerry would be. It's probably a little too on the white side. Uh, going to some white here. Blue cat, red crimson, kind of a funky little gray color here Doesn't have to be perfect. And this kind of shape use that negative space idea. That's fun. Get some teal down. I'll just slap it down these feet over here and I want to grab my outline. Er here, drag some of that white into the greyish mixture. Now I'm gonna touch a little yellow, a little touch of the yellow and orange and here just to warm it up a smidge, a little bit of water because it was looking kind of dry and just have fun with how I can represent whose feathers. I'm just gonna find some edge. Maybe where that would be. This is where I find my freedom. Okay? This is where you will find your freedom. 4. Final Demonstration: I've got some my greatest mixture going on here. We'll go born to the blue, a little bit of that red warm it up and just kind of roughly put down where that would be. Just do two of them to just cause I wanna really have some fun experimenting with that, just kind of mixing some colors here, trying to get some Ah, this little bit depth and energy there with this can't resist myself. I'm just gonna use my liner brush and this have fun on There's so much creativity going on and you mean so loose and free with your subjects that, you know, it's it's impossible to wrap your head around all of it. So what I did there is I just use a little bit of blue and just kind of playing, putting a little bass down where that kind of brown area will be. But I just smear some yellow in there for the fun of it, and I'm just really filling these lines today. So I'm going to use a little bit of the red and the blue and just want to have some room or time to experiment with these lines like I said I am kind of into it. I don't want something for me today. Actually, I like that green. Better than mixing that white into it all. Really? That weight doling it out a little bit. So that's a little note to self. But I got that green by going using the green gold and teal I just makes for lovely shade of green. I'm gonna go with sap green lizard, crimson Kobe here to an area that hasn't been used yet. A little bit of green gold kind of get a nice yummy brown happening here. Touch of the orange under mixed. So I don't like to over mix my colors I like toe under Mix him on the palate. I could care less about painting What I see I want to kind of this capture that feeling right You get that feeling down and you find more interesting ways Hate things. I mean, you are You can get that going. You're absolutely clicking. So whenever I create a finished piece, it's this nights ago. Yeah, but you know, I don't get the same enjoyment that I get by just simply doodling and playing, so I'll kind of wrap it up right here. Have fun, people zip. See the next one