Plein Air Painting With Acrylics & Charcoal | Robert Joyner | Skillshare

Plein Air Painting With Acrylics & Charcoal

Robert Joyner, Making Art Fun

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5 Lessons (34m)
    • 1. Introduction

      1:17
    • 2. What's In The Bag

      5:49
    • 3. Composition Sketch

      5:45
    • 4. Part 1

      10:24
    • 5. Part 2

      10:53

About This Class

What This Class Is About

The focus with this class is plein air painting. I'm basically showing a variety of tips & techniques for painting outdoors on location. The lessons will inspire you to get out & paint your towns and landscapes. Studio work is necessary but there is nothing like being outdoors in front of your subjects. This is also a great opportunity for applying fundamentals & paint loose techniques I've shared in previous classes & lessons.

Who Is This Class For?

Anyone that wants to try something new. Painting outdoors is a wonderful experience that every artist should try and eventually make part of your routine.

How It Will Benefit You

Painting in front of your subjects is a challenge that will make you aware of your environment and introduce you to a world of fantastic subjects. What you will discover and learn is limitless.

Here is a link to the Plein Air Setup I use:

http://www.pleinairpanels.com/prestacart/product.php?id_product=19

Transcripts

1. Introduction: Hi, I'm Robert Joiner. In this class, I'm gonna share some tips and tricks for painting outdoors. So in plain air to do this, I'll use acrylics and mixed media. The object of this class is to open you up to painting outdoors in front of your subject. The beauty of plain air painting is that it will open you up to an unlimited amount of subject matter. When you start to explore the great outdoors, your eyes will open up to all the beautiful things nature and the scenery around you has to offer. And these lessons all focus on a deli I discovered in carry town, Virginia. I will create a basic composition sketch and then move forward using acrylics and mixed media to create the final painting. I'll also cover the tools I use when painting outdoors with acrylics. This class is well suited for all levels of painters and you can certainly use any medium you choose. So if you are ready to get started and roll today, I knew the class will inspire you. I'm sure the next time you venture outside, you will start to open your eyes to the world of opportunities. 2. What's In The Bag: Now, before we get started, I want to cover what's in the back now. This is Ah, pro bag. Basically so set up. Made for plain air. Obviously. Scott, the backpack set up. You can put this right on your back and walk around all the different compartments for your different materials. Things like that, Scott. Even a palette here that comes with it fits nice nicely into this little side compartment there. But this is a really good set up. It's not too expensive. I'll put a link with this video. So in case you're interested and purchasing, purchasing something like this, I would highly recommend it. I'll make it easy for you. Okay. Now the easel then it comes with is really nice to It's basically a tripod and has a separate trey and this tray. It's really nice. It just detaches so it could just come right off. And And that works really well, it also has a separate trey below, which is nice as well. This will hold. Um, I paint which, in this case, I have a paper pallets. I'm working with acrylics today, uh, and then has a little hold there for your water reservoir. This comes with it as well places the hold, your brushes and that sort of thing. So this trade also of course, comes with it in this Ebola. Just there's a little adjustment down here if you want to raise or lower it. But this is really good. Excellent set up, really For outdoor painting now, um, as faras the paper I'll be using this is just scraps. Have some reject paintings in here. Different things they'll probably use, um, £140 cold press works really well. These air, like maybe 11 by 15 size sheets. So I have a handful of those. Also, I have a little sketchbook here. This will help me just put my idea down really fast to do that. I'm just using a little mechanical pencil here Has a six b lead in it. I like to do do things kind of dark and, um, lastly are my brushes. This is a number 10 around. This is just a really used hog's hair flat, and then I have a fan brush and then a really small liner brush or signature brush here, and that's all I want to use. I'm your the key I feel is keeping it simple. Don't don't overwhelm yourself with a bunch of brushes, a bunch of materials. It's just too much to lug around. And then when you're out here painting, you have you know you want. If you keep it simple, then you can get your impression down and then get the lunch right. You know, it's all about getting it down, getting out of here, and that's what I like to do. OK, another thing I use is this little aluminum water canister. You could put any beverage in there, for that matter, but this is really good. The bag has a little side pocket, their little mesh pocket, and this slide right into it fits nicely filled up with water. And it's just enough to probably film a reservoir a couple of times, and that's good for a session in my vehicle. I carry a really big backup of water and this kind nice toe have last thing I want to do. And the heat of the moment is I had to stop everything and go by water, just a pink right. So this is why I carry with me so it's nice and light and then as a backup in my vehicle, I just carry a much bigger junk rated role. Also, have a little Mr Bottle. These work really well, especially if you're working with acrylics. Acrylics tend to skin over really fast, especially if you're working outdoors. I found a nice shady spot here, but if I were working in direct light with the sun shining on my palette, this would dry up really fast. A good way to prevent that from happening is just to take the little Mr and Mr Colors once in a while and that will keep him from skin and over and then makes a little bit easier to work with. So you'll see me use this a lot. I get real hot, you know, Just give my face a little squirt, and I'm nice to refresh. That's my set up. And then the last thing I want to show you is my board. Now, just put this right on my tray here, and this is a gator board. I like to use the board because that can use my my larger clips to clip the paper down. Or I may even tape it, and then that way is flexible. If I want to pick it up and do something or let paint Ron, something like that is great for that. And the foam cores is pretty thick. It's pretty solid. And this is Ah, really good board use because it's lightweight, fuse, weaken, travel Pretty easy. So typically, what I do is I just put load everything up all of this stuff here about paint supplies and all fit right into my bag and put it on my back. And now I have my scrap paper, whatever. I'm going to paint on with these clips here. And I just walked through town until I find something I want to see set up takes me about maybe five minutes and I'm ready to roll. 3. Composition Sketch: today. I'm using burnt Sienna. I have to some neutral tent there. Some gray sap. Green burn number, ultra marine. Yellow Joker. This is some cad. Red light, some Elizabeth Crimson. A little bit of teal and white. Okay, so we'll start with first Will be just a quick sketch, Just pencil paper. And I just want to get my thoughts down. Get a quick impression down of what I want to do Now it's about 8 30 in the morning, so I actually really and I'm sorry. It's about 7 45 So there's not much hustle and bustle. Things were kind of sleepy here anyway, during the week. Carrie Town, this is a Monday morning, Saturday, Sunday, This place wakes up a little bit, but well, do is I will put the feeling of figures and the hustle and bustle and things like that into the peace. So the idea is, I like the deli there. I like the red and white awning. I like the building like That's a little corner. I think it would be kind of oven. Interesting backdrop. So basically, um, sit as a main focal point in the paper in the image I'm gonna put some figures there crossing the street and that sort of thing, okay. And because I've done quite a bit of playing their painting and sketching, I've got a lot of references there, and it was pretty easy to add that kind of stuff into it. Okay, I'm ready to get started with my sketch. Excited to share this with You Can't wait to start painting. I love it. This is so such good energy to be out here, painting live with things happening in a lot of fun. And I hope, of course, that inspires you to do the same thing. Okay, so let's get started with a quick sketch. I'm ready to sketch here on the key, I think, is to not get overwhelmed with the details. You know, it's so easy when you're looking at your composition and your subject, especially in real life, so much going on and then you'll just get lost in this stuff. It is important to kind of have a feel for what you want and for me, you know, I use the same rule of thumb that a lot of artists do. I just maybe split up in thirds sometimes I'll do fists and do something like this. So maybe I want to put the edge of the the building right here. And I know I want some figures in here. So I think I will draw the bottom of the building on the sidewalk area in here, and there's a little corner there. And then we have the here, the awning, which is gonna be a big part of the art. And, uh, we have some windows, some different things going up there, which I don't really care about at the moment, those some windows there. And then this is where my figures will be Now what I think I'll do is I'm going to switch things up a little bit. I'm gonna put like a little bit of a crosswalk here with some lines that maybe go in the street, and I think that would help anchor down or lead you end to the picture. So something like that and there's some other little things happen and there's a little tree over here. Maybe that will be nice to put that there. I could put another tree. We're back in there, and that's good. I don't think again you don't want to spend too much time here. Just so lost to get so easy to get lost in details. I don't really do that. Could put a little car, something over in here. And last but not least, I want to. They just kind of playing where these figures will be. Put him right in here. Put another one. Um maybe walking across the street there, something like that. As you can see, I'm real loose with how want that to look if I wanted to add some shaving in here and this probably where they allow that shading would be cause I would want to pop the figures. So putting that darkest dark right in here, Maybe this guy walking the street person, something like that Here is my tree, my other tree, my car. And that's good. I think that gives me a feel for you know what I'm after Now? I think I'm ready to tackle the the sketch and we'll see how it goes. 4. Part 1 : All right, so here's what I'll start with. Believe it or not, this is just to reject painting some flowers. I just didn't like a whole lot. And I thought it would make a really good beginning for a nice loose interpretation before we got some reds in here. But unfortunately, they're they're in the wrong police. So I think what I will do is put a little bit of water on my brush crap. Some of these reds, a little crimson little we'll be the cad, little more water. And I just kind of want to Sprinkle that where I think that awning probably be when that's probably good. And of course you did the sketch. So I've got some familiarity with, um, the subject already. So I kind of can do this a little bit quicker now that I'm familiar with it versus just trying to no, whack it in there. The 1st 1st go. So I've already got kind of that, um, feeling of where that awning will be okay. And now I want to start to lay in the rest of the building there. And, you know, again I know I'm thinking loose abstract fun. I'm also thinking we're in my darks where my figure is going to be. I know. I want my figures in here. I know I need that crosswalk coming in there. So I think what I'm gonna do and I would like to do to stay in the focal area first, and then I can move around someone to use a little bit of my blue. Little better the gray, maybe a warm tone there and just get ah, color. That would look pretty good. And, uh, a little bit more water on my brush there. Good. I think that's all I need to peace in this little sidewalk area. And now I can, uh, just quickly put in the rest of that street. I'm just kind dipping right into the water there. So if so, a lot of paint on my brush and over here doesn't matter a whole lot. And that's looking pretty good. And now I can I'm a tick. That kind of the same color. Obama makes a little more white into it. Get some separation. A little more of the warm town separation from the side block, so I can kind of put this in it wraps around and goes back then that's good again. Now he was sure this may end up getting cropped off over here. I'm not worried about it again, starting with that focal point. And, um, now I can look at what I have and let's go ahead and put in some other buildings, maybe over in this area. So a little bit of Oakar, a little bit of this graze a little bit of the Sienna on, Uh, I want to be a big deal. Something like that is fine. I'm just going to add some lighter values in here just to kind of indicate a door. Maybe some trim reflection or two. That's all that's pretty good. That's good. A little bit of my number, Ciena's and mixing with this little crimson there. You just get that feeling of kind of a brick building there, and I'm leaving a little cut out for the windows. I think I'll just run that building up all the way to the top. I think that would just simplify the painting a little bit again. Just added some nonsense over here, really, for now, working a little bit with what's already there that could be a window and good. That's fine. All right. So I think from here I want to go ahead and start adding my figures. I think to do that, I will get a little bit smaller brush here, and McGill would just some flesh tones. I don't want to compete with that awning too much, but these figures will, you know, probably be it in here somewhere. And we got the one possibly crossing the street here, and that's good. Now want to start adding some darks? Some go some blues browns. Well, Sienna here touching my crimson and those darks will be the edge of my building is here. So I want to go too far out there so I'll start in here somewhere. That's good. We'll go ahead and put a little bit of dark there on that fella. It looks good. Is going tone that down a smidge. Uh, I had some windows and maybe this awning is getting a little bit of perspective here. Another person put a white shirt. Maybe on this one. There we go. That works, and that's going pretty good. We had that feeling of a car, so go ahead and kind of loosely put in a car here. Maybe that will make it on impact and the peace. Maybe it won't, um, start putting in basically some little details. You see his real quick, real spontaneous, not getting caught up in too much or too many details or too much information. Right now, I want to add some trees, so I'll go with my SAP way can put one in here somewhere over here on the corner, Something like that. Good. That kind of helped frame the the awning a little bit. 5. Part 2: heart. So it's going good. I mean again out here, you don't want to get too fussy. I mean, even what I like to do is just I get the impression down and then finish it later. Not in any rush to do to finish work in A If I finish it on site, that's fine. If not, that's okayed suit. I think what I need to do, though, start adding a little bit of separation here with the awning and where because this is a little bit confusing in here. So I think what I can do is grab a little bit of my red, a little bit of crim six. I don't want that to shout and just get that feeling of the stripes coming down here. Something like that. Now do the same thing with my whites. It's got a little bit of blue in that already, but I don't want to be too intense. I can always add some intensity later, so I'm just mixing some blues, maybe a touch of crimson in the air. Just tone it down a little bit, and it's not about capturing every single straight or anything like that. It's just about simply getting the illusion or the feeling of strikes. And now I can just, ah, just play with these windows. A smidge, that's all looking good. I think that helped create a little bit of separation there. And now I have a nice red post over in here so I can put that down on me. Makes a little bit of poker in. But this just a tone that red down. I'm just kind of getting, um just that little bit of feeling of, Ah, the details in the building. It just kind to tie that in a little bit. That could be another entryway or something. Good. Smudge at around a little bit. So it's not too stiff heart. I saw. Looking good. I think I'm gonna get in here now with my flat. Do some little bit darker greens over here. That's good. You have got mother tree over in here. I'm just going to do some splash acts in there. Tell us a little bit of yellow in with this touch a white and, uh, can I get that feeling of some a little sun or something? Hitting that go back to these kind of neutral Bray's. I just want that feeling of the sidewalk. Something like that. Maybe catch a few of these buildings or something over in there. That's fine. Good. I think I'm ready. Toe kind of enhance these darks a little bit. So, Crimson Blues, A little bit of this burnt number works a little shadow here. Stem there, trump for the tree. You put a blue shirt on this fellow walking across the street there. Now let's go move in with a few highlights. Gonna help bring us. Bring it to life a little bit. So we'll get some kind of muddy graze here. Nothing too distracting. Maybe I can put a It's a little bit of detail here on the door now. I'm just looking for little little bits and pieces really of detail. Really? Teoh, bring this thing the life a little bit. No, I just wanna pop that street. Uses some blue, some Oakar, some breads. It might be a little too late. Dark in that up a smidge. Put a happening over in there. Yeah, and it's now thrown in. Ah, that's a few little pops here and there. Color tone shades will be a darkness. Good I don't think it needs to be any more than that. Just going to add a little bit of warmth to these. Graze a little bit of white and try to capture. It's a little more light on that sidewalk. More My greens trees is getting lost A little bit good like that will let it rest. Take it back to the studio, See? But I think that