The Secrets to a Loose Painting Style: Part 1 | Malcolm Dewey | Skillshare

The Secrets to a Loose Painting Style: Part 1

Malcolm Dewey, Artist and Author

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7 Lessons (51m)
    • 1. What is Loose Painting?

      3:18
    • 2. Skills You Will Learn in this Class

      4:12
    • 3. Composition Essentials

      9:46
    • 4. Important Brushwork Techniques

      11:12
    • 5. Selecting the Right Brush

      8:37
    • 6. Demonstration: Brushwork Variety

      6:42
    • 7. Edges: Why Are they So Important?

      7:07
20 students are watching this class

About This Class

Are you tired of a tight painting style? Are you looking for a more impressionist style of painting? One with the following characteristics:

  1. Thick juicy paint,
  2. Light filled paintings;
  3. Strong, large brushwork;
  4. Lively and impressionist feel

If so then this is the class to start.

We will begin with the critical basics like brushwork, paint application, paint mixing, color and shapes.

Once you are confident with these essentials we can move onto specific subjects and put this knowledge into action.

As always I believe in learning by doing. So there will be a fun assignment at the end to help you make a great start. After all painting is about taking action.

IMPORTANT: Please complete my other class How to Add Power to Your Painting. This class has essential methods and concepts that you will have to know before getting into this Loose Painting class.

Ready to begin?

Transcripts

1. What is Loose Painting?: I'm welcome, Dewey. A lot of auto sauce me about painting loose and developing a free painting start kind of like the Impressionist, and I'm always trying to explain what loose painting is all about. It's something that's easier to show, you know instinctively when you see it, but I think what I'm trying to achieve is just to help people get away from the tight painting that we've grown up with. Remember those covering books were always taught the paint between the lines, not go over the lines and not to scribble Well, I kind of break those rules and encourage you to get scribbling straight away. No lines, just making shapes. And it's hard to arrange those shapes and whether the shapes of light or dark, warm or cool. So that's all loose painting or the parentally style is all about. But of course, there's a lot more to that, and it's about understanding, composition and what to leave out, what to put in tell a story in your paintings. What's the essence? What's the focus off the painting and give a bit off off your heart and emotion into it, because that's what makes the painting come to life. It's gonna be something that really moves you and motivates you. So in this course, focus is on using the tools at your disposal, plus your emotional input to create a loose, energetic and interesting painting, something that people are going to see on the wall amongst all the other paintings and spots straightaway and think. What is that painting saying it because it's more about suggestion than spilling everything out. Word by word by word when we paint in the loose fashion were suggesting things we are hinting at at certain things, and that engages the viewer. So if there's a special reason why we like loose and painterly, painterly style paintings, it's because they're engages, even if we're not aware of it at the time that pull you in. So we're going to look it, huh? To do this and how you can adapt certain tools of your spurs alike. How you use the brush or a painting and little things like that make all the difference how you used edges, for instance. And I think that you may learn something new, and if you've been painting in the tight style and looking at that photo style, which is not really working for you. It might just open a whole new world of painting experience and something that you could take forward for the rest of your painting laugh. 2. Skills You Will Learn in this Class: Let's have a look at the 10 course objectives I have for this particular course. Remember also to download the book. Loosen up your painting and artists card underneath this lecture. Okay? Goal number one is understanding what the idea is behind loose painting. The idea has different connotations to different people. But essentially, it's about letting the brushwork do the talking, something that is expressive. And it still is representational of the scene. But the idea will become clearer as we work through it. And then gold number two is learning how to start. The start is so critical in painting and in the various, um, lessons that will be coming up. I put a lot of time into demonstrating the start of the painting. I do believe a good start is half the painting completed. And then goal number three is we'll be learning in practical ways of how to simplify the scene because there is so much out there. But in this course, we're going straight into the painting and will be dealing with capturing the essence of the scene and go for you'll be learning about composition through practical means. Getting the composition correct is something you learn by doing by assisting every scene in the fifth goal. Putting the practice off values into effect values is the power in the painting, the lightness and the darkness off the painting using the Manzo Value scale. If you've done going to paint with impact, this will be very familiar to you and how to apply it to your paintings so that you can correctly and appropriately make use off values. Then goal number six color and will be using color without going into the color theory. You would have done this or radiant. This is all about putting the practice off color theory into effect and you'll be experimenting. You'll be making mistakes. But the important thing is to keep trying different things. Keep working at it to really learn how color works and brushwork. Goal number seven. Practicing the central techniques off brushwork Is there anything more fundamental than using your brush in various ways and the potential that you brushwork has to transform tight painting into beautiful, loose paintings. Goal. Eight. The inches contain the secret to the emotion in a painting. Get the edges right and you're communicating so much more once again. Lots of practice and you'll see this in action and you'll be putting it into effect through your own paintings and gold. Nine is to always keep art or painting in mind and to use art or painting for your overall development. A critical part off every artist repertoire is using, after all references and learning directly from nature. And finally, Gotay nist belt put all of these things together on a regular basis where you can see the entire process come together in one painting. Once you get that picture, have become second nature to you and the journey continues. You keep putting these things into practice, So are you ready to get started? Let's, sir, get straight into the course and start learning how to loosen up your painting. 3. Composition Essentials: in this like so I'm going to talk about composition never mentioned in the previous lectures. That composition is such an important part off every painting. And as we progress in the Bruce painting classes, you're going to want to fall back on these composition ideas and get them squared away in your mind. Because getting the composition right is fundamental to a good painting, no matter how good your brushwork is or the colors are. If the composition is off, the paintings always going to be a less than it could be. So, first of all, training yourself to see like an artist. What this means is having good observation of a scene. Very often you will notice a scene, and it'll stand out, but you're not quite sure what it is that's attracting your I. As you practice composition, you will get to understand what is working in a CNN and why you naturally attracted to it. For instance, this some beach scene, the composition element that really stands, are tears, of course, the lines off the umbrellas and the lines off the beach receding into the distance, taking the viewer's eye nice and deep into the painting creating that wonderful three dimensional quality that you may be looking for. These receding lines also make a strong structure that the painting can be based on at one of the fundamental rules. Off composition is the rule of thirds. In most cases, the rule of thirds should be followed. Photographers will also know a lot of bottles. So, for instance, this balcony on the left is intersecting the line the vertical red line comprising the 1st 3rd off the picture plane, leaving the other 2/3 free. And this is just a natural phenomenon that is naturally pleasing to our I. If you play something in the middle, it tends to confuse the I, and you're not quite sure what is the dominant part of the painting. And the rule of thirds usually takes care off that the next important thing to remember is that picture plan, and we want to keep the viewer's eye in the picture and not distract them off to the ages off the painting and so on. What we put in the painting must help to take. The viewers are into the painting and around and back again and hopefully back into the painting so one of the ways to do this we've already touched on is using direction. Lines that keep the are moving into and around the picture. The line of the river on these rocks in the foreground recede nicely into the distance and intersecting with the tree line in the middle distance, takes the eye around to the right. Then the lines back to the right of the painting and naturally come back to the foreground . And these are just a natural elements that are always available. If you just look for them, you may have to change your viewpoint, or you may have to improvise in a scene to add natural elements like this. So there's natural elements again, keeping the are moving nice and deep into this painting, creating a wonderful three dimensional element. There's also an ask diagonal line coming from right to left and intersecting with the pathway, so that also draws the eye to that. And of course, the overlapping trees, from tall in the foreground to shorter into the distance also creates a receding element that draws the eye into the painting. Variety of sizes is also important, as you can see in this painting. The largest yacht is squarely in the third section off the painting, so they are just following the rule of thirds the other yachts next to door smaller so they're not dominating. The focus point off the painting. A simple variety, off shapes and variety of sizes is more interesting than having everything the same size, and another natural quality that you can use is the overlapping shapes in any type of seems so instead of having them all next to each other or evenly spaced, which creates a very dull and boring energy in in a painting at a cemetery. This is also following on the rule of foods. Avoid dividing your picture plane by placing something in the center on the next up is varying your viewpoint. We often paint a painting from a position where the viewer is looking at a scene from a standing position. But sometimes you may find something but more interesting if you lower the perspective or heightened the perspective and look down onto a scene, for instance, or in this case, the photographers go nice and learn, and it's got a more dramatic angle for what could otherwise have. Bean quite a boring kind of seen, maybe just could be a lot more interesting, distracting elements quite often found these days in any modern environment. You'll find all sorts of things, and artists does not have to include every object in a scene, take out what is not necessary and what is not adding. For instance, in this case, maybe the Tripoli steaks need to be removed and the car as well, because they're not adding to the natural scene that you wanna paint this little stream and so on. Alternatively, this might be a painting about pollution, in which case you want to keep the smoke stakes. But maybe that car and the smaller building in the middle Grand would be a confusing elements. So you take them out. And if the scene is way too complicated with all sorts of things, perhaps that spiritist to look for another one. But look out for these things. I don't feel tempted to put in every obscure but and pieces that might be in the scene. Cropping is important, and as artist these days, we work from photographs quite often, so it's natural that you want to paint what is in the four corners of photographs. But instead, maybe you should open it up in your computer system and crop the photo, tighten it up, go for the dramatic shapes and leave unnecessary, dull areas off the painting out. You can do this also in painting a scene outdoors, just cropping a scene with overlapping butts of card or using your fingers. Whatever started, may my maybe in history and just look through something to help you narrow down the scene. Balance is important to achieve harmony. For instance, this wouldn't pump on the left is a tall element, and it's breaking the horizontal that line off the landscape, and that creates a more interesting scene or so. The trees in the distance balance are the wind pump as well, because they are to the right and side, but also smaller. If all the trees were lined up with the wind pump of the same height, they would all create a very static type of seen. Some balance doesn't mean everything. Being the same size but rather balance means eHarmony from large to small vertical to horizontal. But once again, keeping the I in the picture plane is important and we want to avoid taking the into the corners or to the edges off the picture. So bright colors or very strong darks and other distracting elements like people, for instance, standing on the edge of the picture plane, all of that is very distracting. Sertic your painting as you proceed. Look at it as a whole. See what his mystery, what needs to be cropped art or removed out of painted over scraped back. You, as the artist must do these things as the painting progresses. Test your composition with the no tents that you've learned off already, or your value sketches or help to refine the composition and then practice with lots of starts and layouts without worrying about completing the painting. Check your composition right from the start. 4. Important Brushwork Techniques: okay. The first of crusher technique is one that's very easy, and everyone should be using it on that is using thick and some paint. And a typical situation is, if you granting some shadows, that is good to use some point. So let's say, for example, that so shut up falling across the road, you can keep the mass anthem. It's a cool and but clearly demonstrates should our area, because next to it be it a lot son Food port. And with it you can use Mastic paint. Really? Get it onto your brush and put this dawn next to be I should have go over to lose Hold it up. Another important thing about brushwork is how you actually hold the brush so mass along brush handle. You can use all of it, Andi, especially new. Starting a painting. Hold the brush at the end, using the home to move with Russia. Iran. Get lost, I think. Oh, brushstrokes. So when you developing the painting, you'll find you may want to hold the brush closer to the head of the brush to getting or detailed on final strokes. Things holding the brush is hold a brush life and pain. So, you know, writing with the brush. I deal with a whole brushes, simply as if you're holding a bet on across the palm. And it's a comfortable, loose group. It's, you know, holding its not a white knuckle group. It's the least comfortable group on. You're very many holes rush very easily that way. Trying USA's many loose lines. Aziz, you can, rather than worrying about getting a nice, perfectly straight So, for example, if painting branches, it's imagine this is a tree on. I want to get branches across it. I will use loose lines and the technique there is to hold the brush parallel to the painting surface between some and the fingers, and you can also roll the brush or twisted as you doing the line. So I like to let gravity just hold my hand down at the same time, dragging rush twisting as well as I go and that hopes to get recalled, lost and found lines on the natural. Rick, in the consistency of that line, is quite appealing for use lines loosely. Another example is if you doing masks on a on a yacht instead, off making a perfectly straight with her as if you during a ruler. Just do the mast quickly on you. Get suppression ist view off that mast. Another important technique is or a cool the dry brush scramble. So let's imagine this is surface off some water and you want to create mice. Impressionist effect off a lot across that. So load up your pants nice and thick. Don't our leaders and make sure you of surfaces not too thick and wit that you painting on . Ideally, it's a dry overnight and then simply holding the brush parallel again loosely. Simply drag. It's over in a confidence stroke, and you get this broken effect. Using the drop brush, Campbell gives wonderful sense off lot across the flat surface. The next technique involves Debs lines and mess shapes We've got in a mass shape here, which is the Foley's off the tree. Had some interest. Break things up a bit by adding Debs either slightly overlapping main shape, also with gifts between its between the Debs and the mansion, and you can imagine thin branches that aren't really visible to the viewer. But you know, in your mind they're all joined up. Thin branches, etcetera and Now you can add lines as well. So little branches coming off the main tree on touches of locks you're on there carving out ships. Sometimes we serve focused on the positive shape that, say, the tree trunk, that we forget that we can actually create positive shapes about painting in negative shapes. So, for example, the negative shape he would be the sky behind this tree. So why not make some sky holes and at the same time call about a few other shapes? So there I can't maybe suggest something else. Rating. A host of shape. There are painting the negative shape being background, and we're not. Call about these post of shapes like to use fair, really good amount of paint on the brush and keep the brushstrokes fairly short to live. Brooks Pointy areas don't always be fixated on the positive shape. Also, consider carving out on very often. You start your measure quite large and then make it smaller. Calling in. You can also call cutting in on reducing it to your sex that you want. Another handy thing to remember with the brushwork is to use direction lines on and, for example, on the road. The same sort of thing applies. For example, if you are drawing a hill, you may want to used brush tricks that situate the direction off the hill, the natural contours and curving shapes that leads on to the next thing, which is using descriptive brushwork. For example, the grass you would want to use. Softer, flowing lines that will move in the direction, maybe a wind blowing the grass, Other animate things, inanimate things. We'll have characteristics which you need to keep in mind. So think about what it is you're actually thank you and trying to depth the brushwork accordingly. Another example would be a few painting. Rooks would be clearly hard shape on, Uh, that would be indicated with our lines. Now what if you fainting something that's completely different? Let's say a dress for lines of a dress. You would want to make the interest softer, more flowing lines. So keep in mind what you're painting and trying to depth the brushwork accordingly. Other ways that I like to hold a brush or a plot paint is also using a twisting motion, so if you apply a good amount of paint, you don't have to keep going on, smooth it off. You can apply it, twist the brush a bit on lift off and then the next, but have paint next to it, A plot twist and lift off, and this creates a natural texture. It also helps to ensure that your thank you putting down his nice on juicy and sick on this hopes security on exceptional painting that as good brushwork. And it's interesting to look at not only from far off but close off. 5. Selecting the Right Brush: my mouth. I want to tell you but more about brushes in this video. Now, for a loose and painterly style, the choice off brush is very important. Start off with using the largest brush that you reasonably can use. So it may mean that where you would normally be using a fine, small brush for detailed work, maybe something size four and lower on a large painting, you'll jump up to something like a size eight painting brush, or maybe has finished off for the size six, but no smaller than that. But you can quite easily paint as with a size eight brush painting. Something assigns like this very easy to do on. Uh, these brushes are extremely versatile, so this is typical range off oil painting brushes that I would use on most paintings. Now that year is a small brush long fine hair, which we call a Riga and that would be used to sign your name and a few fine lines that maybe mystery, perhaps on a roof line where there is some light you could use that or a painting knife, perhaps fine trick year. And there to suggest also some light effect for instance, But you can dispense with others completely. So the most common brush that I use were being arranged like this. There's a whole natural bristle brushes. These are made by a company called Raphael in France, and they were making brushes for impressionists like Claude Monet as well. So we're good hands there, you know. It's just a couple of things, firstly, long handle, unlike, uh, on a would have tele brush, which will have a short handle, long handle. Try and remember to use that handle, especially in the early stages of a painting. Hold the brush out and getting those Lord shapes and large strokes at an early stage. You may finish or holding the brush in various ways to get different kinds off brush strokes, but it's got a long handle. Four reason. Use it. And, uh, let's look at the Times off, uh, brushes and explain what they are. Okay, so you're the typical bristle brushes that I would using an oil painting or acrylic painting. Starting off with a long flat. You can see long bristles. I always recommend using the long flat because it has lots of flexibility so you can do light strokes, as well as press border were necessary. And with the more trees Aled flat edge. You can use user to make quite fine strokes as well were necessary, and also the large loose strokes that you would use. I was a other advantage off. The long flat is that it does. We're down and becomes what we call a brought, which you can use for scrubbing in or effects etcetera. So get the long flat. It'll lost you a good long while. Now this one is a sauce till, and it's a great sauce for a painting like this. Slightly smaller, the size eights. Perhaps I use that the most for smaller paintings, and you can see lovely, flexible, Brussels versatile long handle. That's a great brush. Then there is the full Bert. This is a SAS 12 great in large paintings, full but as the slightly rounded into it on and rounded Brussels as well, which gives you quite a lot more variety. And perhaps most of all, I'm doesn't give the chiseled appearance to your paint strokes. As with old bristle brushes, though, you can get great texture and the full Bert is an extremely versatile brush as well. The round brush. You can see what's so long Brussels around it, it's on also will not give you a chiseled or mines as much as the long flats will use it for various things. I don't use a round brush very often. Preferring the long, flat variety on brushes like this are obviously a bit more expensive, But the great thing is that they really are with the money because the cheap brush has a tendency to shade bristles. And that's AH is really annoying when you have to pick up bristles from your painting. Various other problems with the cheap brushes on the bristles are sometimes much too rough , and they haven't bean prepared properly. There's a huge difference in the painting experience between more premium professional brush compared to a cheap bristle brush. I know that initially also choked a bit on the pricing until I actually started using these brushes. And it's a remarkable difference well worth a and if you look off to the brush, have lost a long time in one of my other videos, I've shown are clean brushes just using good quality Terps loader tips, and they do a tremendous job in the brushes last for a really long time. Andi. Well worth the money. And, uh, in some circumstances, I do use a fine hair brush. It is a variety or so made by rough ill called the Devron. Um, natural fun hate brush when I went to get a different paint effect on was not quite as much texture in the paint, but you can store put the parent on quite thickly and get expressive brushstrokes as well. But if you want to make a quick change to the loose style of painting, do two things. One. Use a significantly launch of brush so minimum of size eight, preferably a SAS 10 on a painting off that size, and try using a variety of brushstrokes instead. Off. Rely on a smaller brush to get smaller brush strokes. OK, but it'll all add up to giving your more loose and painterly effect. Secondly, get a good quantity. Bristle brush one or two can to start your lost your long time, and you can do anytime painting with those quite comfortably. Okay, now I sort dimmer as well, showing you painting completed using one large bristle brush 6. Demonstration: Brushwork Variety: But in this demo I'm going to be looking at brushwork, and we're back in the village of New Bethesda with this lovely little composition that we can work from self sit outer, a rough sketch on and just a zit. Guidelines based on these studies are done and straight into the locking in the docks, which quite familiar with by now, I'm sure. So we're going Teoh speed through parts of the process and a slowdown for the brushwork bits where I wanted to just discuss some of the brushwork techniques that I'm using in this painting. But obviously in this blocking in, we're using deleted blue, ultra marine blue, but of Sienna and then into the lights, starting with the sky, a warm titanium white with a touch of ultra marine blue. Andi just getting a feel for the blocking in and in the focal point should be at the end of this past on a little house in the distance and the light on the road going by. But the stage I'm using a fine hair brush will planning brush. But as I get into the thicker brushwork, particularly in middle and foreground, I'll be using a bristle brush and getting some textured paint into those close up areas into the middle. Value parts the distant hill Giving that in quickly. There's a lot of light on that, but it's also cooler. Obviously, then, in the four grants will be keeping an honors color. Temperatures and I went toe on ask detailed blocking in so but into the path, but more thicker paint using a sauce. Six. Bristle brush in this case, a full but on and cooler temperature. Parents at the end of the both. It's just to hope to bring the path down A but so it doesn't look like we're going uphill and want to do just stress the mark. Some print in your It's short, deliberate brushwork. Very direction. Varying the angle on getting cornered. A paint on the brush so I can put down a good amount of paint in the first struck. Turned the brush over. Put some more paint brush. Strokes on toe aren't overly blended. It's more off putting it down in the spot, curving it or dragging it in the direction that I think it's suitable for that particular mark. So I'm trying to think about the brush trucks on, not just haphazard, and I'm not just filling in pain for the sake of it. Trying to think about the brush rig on DNA, not losing the brush mark. It's not a perfect science. Of course. I will be going over some brushwork and developing marks. But as long as I've got my thoughts engaged Onda and having some sort of idea on purpose, things go much better. The paint goes where it should, and painting develops almost on its own. So you're into this world. It's a cool temperature color. It's in shadow. We'll go through that. I'm back onto a final hairbrush. Remember, in the shadow. The parents should be sooner. Then the paint, used in sunny areas that difference ing thickness of paint and texture all helps to a century. The mood, whether it's in the shadow and cool in the sunny areas and brought you used paint and brushwood to a century, those areas in different ways. So keep that in mind on, uh, finishing off the profits now, just blocking it in the past. It's that sort of being indented through long usage, so I use a concave brush strokes in that area which we're trying to emphasize that naturally situation in in the path. So finishing off the blocking in warms and cools lots and dogs. A lot of the dogs disappear in the stage. So that is why it's important to come back later on and re establish those docks in your second or third layers off painting nearly done earthy, locking in on. Uh, hopefully you've seen a variety of brushwood to get to this point. It's not the completion of the painting, but we've made good progress. 7. Edges: Why Are they So Important?: are manipulating edges are vital for a painter. Ages can lead us to the focal point in the painting. They can tell us about the nature of things that direct the I. They can suggest the atmosphere, such a misty days or sunny day, the help to indicate objects in the distance. Blending into the atmosphere. They can suggest mood. Perhaps the character of a person, hard edges or soft ages can suggest character and differentiate between Children, grown ups and so on. So how do we create an edge? Well, every time you make a breast stroke, you've immediately created an edge. That's important to understand that these ages must be manipulated at times. Let's use a pellet math, and we can see that immediately. Palette North creates a very hard egx using a paintbrush. We'll also ah, hard age not as bad as appellate knife, but still there isn't a hard edge. So why is that the case? Well, for a start, there is a value difference between plus rid against the want background, so that immediately adds to the strength off the edge. Also, there's been no blending off the paint in between these two values to soften. Now it's Trump blending the age a bit with the paintbrush, and we can see that it is already softened substantially. Compare that to the cordage made by the pellet math. Of course, the pellet knife edge can be useful for certain things, like roof lines or edges off a building. And so on. Now another hard edge, the slight green against the blue. There's an immediate value contras, so we can use hard edge if we want one. If you decide that the edges too hard and is in fact distracting the eye from the focal point, you can soften it by blending the two colors into each other using the paintbrush. Maura finger Whatever instrument you using, just softening that edge I remember you can also soften and edged by using colors off a similar value. You know the words. There's very little difference between two lights next to each other. You cannot secret ah, significant edge about using complementary colors like this. Yellow and violet have a natural tendency to form a hard edge against each other once again by blending the two together. Two. Complementary is they have not only soften the edges, but also reduce the intensity off the two years it's ever look. It's a master examples, like the boating port here, Moore, Mary Cassatt. It was hard. It is created by the figuring front. Very dark value immediately stands out almost like slow it, then the softer ages for the treatment off the woman and child, which for appropriate for that subject matter as well. There's a distinctive shape in the hat against the blue background that is also there for reason. So is the focal point, for clearly it is the mother and child, and we are being directed to that focal point, the hard edge off the black arm pointing to the focal point as well as various compositional, um, placement and so on. There's certain shapes that are interesting as well. The ladies hat is particularly distinctive in shape and value. It's also a lot of complementary colors going on in the painting, which influence the matter. I was painting by Monet, where is the focal point from Clearly it is centred around the woman's head and umbrella, the umbrella forming ah hard and distinctive shape against thieve, a Priss cloudy background. There's also the value contrast between the umbrella and the sky behind it. Where is the dress? And the clouds are very close in value. Soft and vapors looking flowing in the breeze Must painting by Pelasara. It's another look at how brushwork has been used to create certain types of edges. The focal point? Well. We can detect that with the shape of the tree trunk against the soft cross, but the branches and twigs and leaves and blossoms. They're all blending in overlapping shapes, similar values, creating a sense of soft, eerie light movement in this spring. Ah, floral scene all appropriate for what the want list is trying to convey here what? So to get to grips with ages, we need to observe closely, see like an artist and use color, value and brushwork carefully and with a purpose in mind for having a variation off ages. We add impact to our painting