Three Fast Paintings in Acrylic - Flowers, Animal, Abstract | Helen Norton | Skillshare

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Three Fast Paintings in Acrylic - Flowers, Animal, Abstract

teacher avatar Helen Norton, Creative Artist and Instructor

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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

12 Lessons (1h 11m)
    • 1. THREE PAINTINGS - WELCOME

      0:46
    • 2. THREE PAINTINGS - INTRODUCTION

      1:59
    • 3. THREE PAINTINGS - SET UP

      1:26
    • 4. THREE PAINTINGS PAINTING 1 KANGAROO

      4:32
    • 5. THREE PAINTINGS - PAINTING 2 THE FLOWERS

      13:17
    • 6. THREE PAINTINGS - RETURN TO KANGA

      10:30
    • 7. THREE PAINTINGS - PAINTING 3 ABSTRACT

      8:36
    • 8. THREE PAINTINGS FINISH THE KANGAROO sk

      4:25
    • 9. THREE PAINTINGS FINISH ABSTRACT

      8:39
    • 10. THREE PAINTINGS FINISH FLOWERS

      7:39
    • 11. BONUS - HOW TO GESSO PAPER

      8:07
    • 12. THREE PAINTINGS THANK YOU

      1:24
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About This Class

In this workshop which is suitable for ANY stage of experience from absolute beginner to fabulously genius painter extraordinaire - the intention is to work relatively fast and therefore by default - loosely.

Maybe you have always wanted an excuse just to go a bit nuts and paint like a mad thing rather than getting stuck in every single brushstroke, fearing it is 'the wrong one'. Well, this is the workshop where you can cut loose and just do it.

It's all about not getting stuck in too much self-judgment. The idea is to move from one painting to the next before the painting is completed so that you can stop yourself from losing sight of the bigger picture and the feeling of each painting. We have a little break from painting one painting before its finished and move onto another one, so we are refreshed when we return. It's a bit like musical chairs! The moving about from one work to another is an excellent method for not getting too attached to one artwork. How easy is it to go down the rabbit hole of obsession over one painting, pecking away at it for hours to no avail or even for it to become worse!

Despite the seemingly scattered and random nature of this bouncing about from one work to another - there is a method in the madness that we apply to each painting. The shifting of subjects is deliberate. Of course, if this just makes you dizzy, you can work on one picture at a time, by jumping to the specific modules of one subject, however, why not challenge ourselves to be a genuinely abundant creation machine!

As you spread your skills across three subjects, you will become familiar with the paint, and the movement of painting faster and also looser. You will get surprises! You will build confidence this way or just have a great time 'making real stuff, real art'. The great thing is, we end up creating three stunning works that we can truly call our own - at the same time as we may have painted one! And yes you can choose your very own subjects, or you can follow along with mine. Use photos or your imagination, either way, is fine for this workshop.

I completed all three paintings in just over an hour and a half, but yes I have confidence, but even if you allow yourself another hour or two, but not too long - remember - as this is about being loose and free.

Imagine that, imagine in the two hours you may have spent looking at cute cat videos (no wait ... I love those) - or just flicking through social media mindlessly - to no avail. Instead, there you have a small collection of paintings in front of you. Amazing! You can do it! Don't forget to put up your gorgeous paintings in the Project Section so we can all enjoy and share! I can't wait to see what you create!

In the Project tab, you can see the paintings I have painted in full. Also far below is a photo of the materials I used, but you can use any colours you choose. You can download the materials list as a PDF in the Project page.

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Meet Your Teacher

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Helen Norton

Creative Artist and Instructor

Teacher

Hello, I'm Helen Norton. I live in sunny Perth in West Australia. I have been painting and exhibiting for over 30 years, with 60 solo exhibitions under my belt.

My method of teaching is casual and fun, relaxed and yet action orientated. My courses are designed for any level of experience from beginner to advanced. 

Follow me on Instagram or Facebook for daily posts and news or at my website https://www.helennorton.com.au/ to view and purchase prints and paintings. Or you can follow me for daily updates on Instagram at Helen Norton Art or on Facebook at Helen Norton Artist

I believe even experienced artists can gain a great advantage by going and trying out something else when they reach a hiatus in their careers. 

See full profile

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Transcripts

1. THREE PAINTINGS - WELCOME: welcome to my three express paintings in one session workshop. This is a little mini workshop that I've put together just so you can get a bit of an insight into some of the methods that I use even though this isn't a typical of my workshop method because I normally slow it down a little bit and go through things. Ah, in more detail. But this particular workshop is really designed to have fun and for you to loosen up and let go and just get the feeling of using painting a big hurry and with random abandoned Okay, let's move on. And I'll tell you a little bit more about the workshop. 2. THREE PAINTINGS - INTRODUCTION: how low again. Here we are, ready to start now. I'm going to paint three paintings, sort of at the same time and you know, kind of falling over each other as they go through, because sometimes old stop one, put it out to dry and then start another one. And I'm going to be using acrylic paint. Of course, for this, because it's nice and bright and quick drying, and I'll also be using some past tools you can use past ALS textures, crayon, whatever you've got. It'll be fine because it really is just a very fun workshop. I'm going to tighten up my brief a bit so that I've got some boundaries to work in because I always think that works better when you've got just like a bit of an idea where you're going. And I'm going to start out maybe with a floral of some sort of loose floral. I've also made a bit more of a detailed workshop on how to paint expressive flowers on the website here. If you want to look at that course now, I've got my flowers. I want a paint, an animal. I'm thinking kangaroo because I did one a little while ago, and it really turned out well, so I'm gonna have another go of that. And I want to keep that kangaroo really loose. And then I'm gonna use up my left over paint for whatever comes to mind. I'm just gonna do whatever takes my fancy. I'll just see what what I feel like. And the idea there is just to use up the paint. So we're gonna be painting an under painting. We're gonna be coming over and, you know, building it up with layers. And they were gonna take little breaks in between as we do over the next one. And then we're going to come in at it with some other mixed media, which you can put on top pestle and stuff to really make it sort of zing and pulp. And you really come alive. And it just gets those expressive strokes in a swell. So let's get started, shall we will move on and have a quick zipping through the materials so you can see what I'm using. You can use whatever you like in this workshop because it is all about just having fun. All right, let's go 3. THREE PAINTINGS - SET UP: right, Let's have a look at what I've got here. This is the yellow, the cadmium yellow. There's a downloadable list of all the materials just in the lesson list there, which you can, you know, uses a bit of a guide. But as I mentioned, you can use one of the colors you like. Let's get the yellow out, cadmium yellow. I might just fast forward through its always do, because it just takes forever and it's quite boring. But you do get to see me lay out my palate. That's a bit of the Indian yellow, about one of my favorites. Okay, right, That's got that all sorted out. Now I'm just going to clean up the desk a bit here because it gets a bit clotted and just make way for the pellet. Just pop that over there and get ready 4. THREE PAINTINGS PAINTING 1 KANGAROO: Now, let me think. How may get a lay this out. What sort of design will I make? I think I might start with the kangaroo. Just it seems to be just sitting in my head, so I'm going to do it. So I just start with a bit of really just waiting my brush. I want a very loose, watery wash that I can get the big gestural strikes in. Okay, lets guy So like, Okay, just a bit of a gesture. I've just got kangaroo spirit in my mind. You can just, you know, just out of your imagination doesn't have to be perfect. This is not a drawing competition. We're just getting some sweeping gestures. Just thinking about all the kangaroos I see in the morning on my walking trek Nice big years and just roughly where the eyes are again just doesn't have to be perfect. Really? Doesn't This is all about getting the painting down and done? Our aim is to get the essence, not the actual. So I just got I think it's my Sienna with Dry and Ritz Rid Sienna end. I just want a couple of dock of struck's sort of landmark out where the features are. That helps me. If I just put a bit of a wash with that Australian Sienna just jumping in and going for it , it's all about just taking action. I've got Indian Indian yellow, the and you see how it catches a bit of the a bit of the blue that I've got in there. Big strokes, big, bold strokes thing. You know, I'm getting greens as a result of even going over my drawing. Doesn't matter, just brings in other colors. Hell, let's sort of start to get mixed on the on the page. See, the green said Nice warm brain started to develop in a Dhaka. It's a doctor mix now off the blue and mix that in with a bit of the red gold. It's just about being a bit courageous. I'm still wary off where those lines are. I haven't forgotten them, but you can see I could barely see them. I think it's important to sort of disrupt your sense of the thing for a little bit. Sometimes as you're getting all the calories, it's a really good idea when you're doing this to remember that there's some things it doesn't matter how little drawing experience that you've actually had in your life. There's some things that just the shapes, even from as a kid, you know, used to draw little cat with a certain two circles. A mouse, these shapes. Just trust yourself on whatever the residue shape is off. Whatever it is you're painting, it'll be fine. And that's all we need for these paintings. They just need you to have the essence off it. You can make it up if you want. From some white, they just to dramatize it. Refighting ease crappy global pine. And when I use the what on this, it, of course, blends in with the colors to become a lighter shade of those colors. So you you really are extending it tend to be a bit of a water slopper. Now I'm gonna just turn that up and dripping down. It'll those running drippy things 5. THREE PAINTINGS - PAINTING 2 THE FLOWERS: right. My new painting is another decide panel now Flowers this time. So I still using the same palette, and now I'm going to dip into that blue and start with just some broad shapes. I feel like a circle look around vows today, and I don't care what thickness the paint is at this point, some of its in some of its stick. And I'm just composing it as ago. Maybe it's a little bit too far over the side. This is where you really should be using a very large brush. So I've just flicked over to the number 12 and I'm going in with some, um, off that beautiful Indian yellow. And look at that. It picks up the blue and turns it into green. And there we go, see, wiping it down with just a rag paper towel will do. And you just get all this texture that you just couldn't look. You couldn't do it if you planned it. More water. Just using all the elements back into the Sienna and chip it off, get some drips and runs. Just say what I'm name and then you just blob them off. And yet more texture see you. Just all this is all done really fast. You know, it looks so easy, but I know it's not as easy as it looks because you've gotta have a bit of confidence to paint like this, But you can do it just as long as you're not too precious about your materials. Okay, so I want to add more now. I just need more of the doctor. See enough. Just gonna bring inthe e the day per one, right? So Okay, it's a train's rate oxide. That one, which is is a little darker, thin. The Australians, all right now loading up again. And then she goes, You see how that's just docker? These are very basic colors. Put a bit everywhere. I'm working in the vase as well at the same time and a bold, straight up white. The key is to keep moving all over the painting at the same time. Maybe put a big shape here and there, Compositionally just, you know, give it a bit of drama. So I'm looking here at where the lights flowing. What the composition is. Where's a lot coming from and that's dictating what I do in the background here. Just imagining their light source is coming from the right to the left and the background is gonna be picking up. What's going on? Brighten it up with a bit of that kid Yeller starting in you Just what? Cad? Yellow. Look how loose cities. Just keep it firing and blasting everywhere. And, you know, the randomness starts to mix the colors for you. And look at that. Now we're gonna beautiful green, susceptible to green. I haven't even used green in the actual mix, So our bouquet is coming together very well with very few colors at this point. Now I'm going to use my power just dripping off some of the drips to get more fix. Okay, So just scraping out with a palette knife Now, just because putting it on taking it off this big blobby bits gives a different texture. As you can see, a big dock with the dark blue and the yellow mixed into it to make it a bit Mobley, you see, it's sort of lift it lift the pain, gives more sparkles in there. Gonna imagine how much fun you can have with different colors back in there again, with more of the dark blue Get that in. Just have matching the falling underneath at this point, some really working on that. There's no medium in this. This is just water and acrylic paint. You get the sense of a medium through all the actual things you're doing with it by thick and thin. Um, using different tools, you know, drips and scrapes. It's just so like starting to make a really nice green sort of a nimrodi green there and ease out that white so it makes it more cylindrical. Okay, Damn, There's a lot of pulling the paint off the brush when I paint with those rags, and that's why I use them. They just seem to hold up just going now with a bit of what to broaden. That blew up. And, yeah, it's muddying. I don't care. It's all just part of a look. It's gonna be sat. It settles it down. The great thing of acrylic is it dries, and then you can go straight over the top again. If it's not right. Okay, I like the way that's looking at this point, it's very loose, but it's nice. Brighten it up a bit. Now I'm imagining the light just pouring in through a window or something there. And on that front, part of the table from the right, you could even just leave it like that. I always think that. But then I keep going. So just imagining where that light comes in, the shadow is behind the bus. Yeah, just using some of your physics knowledge of how things work. It's not too much science involved in this thinking process. Just observation, and the light might be coming around the back of the table there. Oops! Looks a bit cooker. Doesn't matter who cares? Not me. We'll fix that afterwards. That might help. If I get it on the right angle, who can paint straight up and down? Not me, but I have to for the camera. So I'm just emphasizing that lot color again. It's just nice and loose, a little a texture that comes through from underneath. I really do think that anybody can paint like this. It's just so easy and all you need is a couple of guidelines. You know, you couldn't just go out and pick a subject anything in your house. And the great thing is, you know if you draw it loose and casually and you know as an impression off what you say instead of trying to be exacting, you'll get a better result. When you're painting like this, it'll be it'll just have a much more character. So this just no excuse not to paint. I think we all agree that, you know, the work of some of the artists that paint like this is so charming, even though we know they can paint perfectly. You think of Picasso, Susan, there's just so many is junior ahead to actually draw up, but they're they're inspiring because they're painting the feeling of things, the essence of things, you know, chair just by, you know, like that. It's just really so good Flowers a great pain because you don't actually have to paint them . Um, you know, as a particular bloom, she can use the blooms. You might have a real vials of flowers there, and you're just using them as a sort of a bit of an inspiration, right? So I'm just gonna east that around here, and I just want to go back for a bit. So I'm just still moving everywhere across the painting and I know confidence. There been a dark get that dark in. There's some of that contrast ing dark into those gray, muddy colors. And look at that look at strong. It looks when you do that, just a few here. And I think keeping random is K. That's the one thing that, um, novices do the most. Or when you starting to learn. I don't even like saying the word Look at that. Look at the contrast. On top of that, Like I think the main mistake that many people make is they do things like regularly. There's a whole lot of regular dots or scrapes. It's really hard to just be random. You just, you know, you literally have to force yourself to be random, and that a irregularity is what makes the work look would just need to use some of my beautiful magenta here. This is just such a lovely color. It's the brilliant one, so it's just magenta mixed with white and a bit of the rosy red color. The clinic word. Here we go again. I can't cite clinic would own raid, which is quite a transparent color, but look at that. So delicious We use that in the expressive Flowers Workshop, and this gives the impression of some Reuters or something like that. Look, it's just you've got a complementary color. He you've got a dark pink on top of grain and, you know, look at this subsequent zoom, you get out of it and you know, there's a bit of splash here. I've got a lot of water in the paint. When I'm putting this on, it's becoming a bit purple, like in a shadow. Just, you know, it looks random, but there is a little bit of thought going on. The more you point, the easier it gets. It's a really, really simple thing. Now I'm gonna put a bit more that light magenta in there to brighten it up on the highlights, Some thinking that the lights coming in on the top There's a few tricks here. I show you in a bit more detail in the Expressive Flowers Workshop, how to get use the little zippy tricks to get the impression of roses. It's really, really so super, and it makes a big difference. Lightened that up with a bit of white, which got a little bit of yellow in it, so it makes it warm, so it's kind of like a peachy color. It was a few little dib dabs, keeping them irregular so they don't look too, uh, planned and structured. That's the key, you know, just as if there's a little bit of baby's breath or something floating around. Blew it big for bags for the pink rose. Let's keep moving it around your see you pick up some of the other painted. It looks like a shadow dab it yellow. So I think that's just a little bit of white in that. And I've got paint to sort of gooey, thick paint in that, you know, in that it makes it sort of stronger in color, where it's really thick and weaker in the wrist. I just love the way that's looking. Get a bit. I'm gonna make a bit of an orange color. Yep, that works. So this is just so strong and it's a hot color. So it's coming forward and maybe brought in that up. It's a more warm red, the white in the bit of yellow gold dealer and sweep it around. That's my little signature stroke to get the Roy's shape and, yeah, it's coming together pretty good. And the more you sort of go all over the painting, you're picking up other colors, so it changes the colors. Now I'm just gonna dock in that up a little bit around the side. You put a bit of shadow, Really? Flowers would be casting a shadow on to these. I think the main part about this is knowing when to stop, as opposed to, you know, never getting it. Finish it. You've really got to know when to just pull out. Often. Go to fire. How many times you here, out of sight? Ever wondered? Now I'm just going back in with the blue. Now I'm reinforcing it with a bit of the lighter blue, and now it's starting to really rock and roll. It's just brightening. It'll up now and again. You wouldn't You didn't have to do that, but it just feels mike. It a much different, more brilliant pointing, and it's still wait. Here I am. It's Witten with totally wit. So where the paint Stickley like that. It will be very pure color, and you can use that to your advantage where it goes in and out of were it mixes with other paint, so it creates subtlety and texture in the color. I think that's actually good enough for now. But I'm not finished it. I just want a while. I've got the paint going. I'm just gonna put my moniker on there and signed the painting right, Because for the next stage of the painting, I need tohave have it completely dry because the next stage will be where coming with the other medium, which is the pestle and other things. So just needs to go for a dry now off it goes Good bye. Painting. See you in a little while ago enjoying the kangaroo in the sun. 6. THREE PAINTINGS - RETURN TO KANGA: Okay, so I've got my kangaroo back on deck here now, and I'm getting ready to do some more operations on him. I think I'll do. Unlike the flowers, I'm going to do two layers on the kangaroo because he just needs Mawr. And I just stuck with a pretty loose rendition. Watery, sloppy sort of thing. So while the flowers air drying, let's go back into the kangaroo. He's my kangaroo and just feeling, Yep, he's good and dry, just massaging him to make sure that is no wit spots. Now let's go back in again and see if we can bring it up a bit. Which brush rallies? Come on, Stay with the big brush. Actually, that's the largest number 12 and that one's the best one because I want to keep it very loose. So I'm gonna go back into the same pellet, and I'm darkening that that it's the trends rate oxide and look at it because all the under painting is dry and this is a transparent color. It leaves all the texture comes shining through, okay, back into the white. I want to take a dive here and put some opaqueness in there, too. So off we go and again just I know what's underneath, right? This is a really This is a real bright blue going into its the cerulean. I wanted to really sort of make the face pop forward. So and also it's just there's no color like that on the kangaroo. But you can imagine that if you use different colors like I'm doing here on my magenta, you get a much more interesting painting and there are subtleties of those colors because they come from the sky. So there you'll see it just mixed a bit with the magenta and made a lovely move and green into the kangaroo. Why not? Why not? And again, depending on how you look at things, I actually see those colors in animals if you really look. But the idea here is to not they all directed and make a cut out copy of the kangaroo. We just want an impression on him. So it's a very you'd very subtly pulling out the shapes so more white here. I'm just gonna go for the things that really make the room look like a rule, which is that those really light, nosy peds and you know that the way the top of the no it's goes. It's like a ridge, and they have very distinctive features. If you're an Australian or you're in the bush, not illustrated seeking group, these are the things that stayed in my memory. My time in the Outback lodged deeply in my head the certain distinctive characteristics of some of the Australian Outback animals because they were just so beautiful. All right, so if I put some more that darker blue in the cellar, it actually turns it into a bit of a move. That's good. So just switching around some of the switch brushes over just because I'm using a different color and I don't want toe taint it, get that Dr blew into the nose so I can actually pull out the shapes a bit more and refined them right. It's still very rough, and that's that's what gives it its character, just sort of sometimes just stop for a little while. Let the thing tell you what it needs. Robin all rob it off, put it on, and I'm not sure that I've done the right thing there, But we'll just keep going, Yeah, just redefining the years here, you might try and find that animal shape again. Now he's curvy back and you can see now because I I went right over with the all the color across were the lines of his back. Should have been I don't have that. You know, that sort of cut out shapes so much is that it is a more I don't know. You take will work with the color is everywhere, and you could keep going and cut it down. But that's not what Sorry. Let's get back in with a little bit of the yellow, right? So again, this thick paints in pain, it's turning green, putting a bit of blue in. Yeah, but I can still see his shape coming forward and I want the blue further into their actually. Were you looking better yet? Yeah, that works. It's strong. There are elements of composition in this work, and I'm not gonna go into that in depth in this workshop. But I do in other workshops is look at that a really strong why, and it starts to really make sense. Doesn't need much, does it? It's just a few things that darks and the lights, and the rest of it can be quite nebulous. Now, after all the years of impending I am, there are things, as I just said, directing me here compositionally, which probably invisible. But, you know, I think humans have unbuilt sense of composition and an aesthetic off beauty. So I think you should try and trust what you've got. And if it doesn't feel right, then play around until it does feel right. You probably find that you're following some, you know, higher principle in the art world without even realizing it. So I just stepping in now with the beautiful pink, and it's Yeah, I like how it's looking. So I just need a little bit blue because I want that too dark enough, this sort of coming forward. There's lots of layers in there, even in the eyes, and I'm really trying to just stay loose and only type in the areas off the focal point, which is the eyes I don't want, you know, everything to be all clear dark in this area here to get more, um, pointing back into that noise, not take much of us swipe of green. But getting to the point now where I'm thinking maybe I'm going too far right now. It's just her back into the white again, docking up the blue on the sides to be flat in that area. Remember, the acrylic dries darker, so, um, could be a water in there because I want to get some dripping going on. So but pumping that water on there now that will come off later. He just That's what you call dry brush. Just using a Philly dry brush to leave quite large blobs of paint on the I didn't come. Okay, now I'm going to go in with some drama here. I've got this premix blue, which I made, so it's really sloppy, so give you the recipe for that one what that color is, and it's just a big tub of it. So you know something? It's just lovely. Oh, my God, I love this. Just put it on really thick and use it like a flow. You just used acrylic flow for this, but I I make my own just by mixing up the tubs of thick paint with water. So now that really gives it a big zing. And again, um, mixing up with a bit of green there. So it's not over the top. And a big you are. I'm starting to think it might be time to stop soon. Brunch. Okay, That really does give it a big hit. All right. I think it might be just about done for now. I'm going to let that dry. So put it outside. Probably needs a bit of a drip job, so no, just push that around a little bit. Do the old water thing, Dribble dribbles. I mean, you know, you can go overboard on this, but it actually does really add an interesting texture to the painting. So just I've just used the brush was using I'm just gonna smudge it out with my finger, rub it out with a rag, and if you want you taking it off again But that reveals the texture underneath. And that could be really exciting. Because you've got Look at that. You see the texture there that's beautiful. And that's through using the just showed piper, which really just is so wonderful when you wipe off. I'm just using nothing and it creates scratchings. It's all about how much you do you really go overboard and and it just looks a bit kitty if you do. So, learning just what the right amount is is pretty tricky, actually. Always find no, that I'm gonna send that off to the sunshine. 7. THREE PAINTINGS - PAINTING 3 ABSTRACT: What I've decided to do now is I'm going, Teoh, use up what's left on my palette and just go crazy and have fun. I don't care what I do. I'm just gonna do it, no doubt. Oh, make 10 paintings that I love and I hate, and I'll ruin them again. So this is just a fun thing to do. So you can experiment in play and not be too, you know, too tight. Right? So I got myself a nice new piece of paper looking. See my palette. There it is. It's full of lots of paint that I want to get rid of because I'm done with pining on my other two. Okay, here we go. Just gonna bang it on. Use up that beautiful magenta color. The Queen Ecuadoran raid, putting some of their Australian sienna, all of it. But why? And just really have fun. Because this is where you can discover things by being fully expressive. You are working on a small bit of paper, but look at that. Just put that dark blue in there. It really does create some very interesting effects. Some people would just call this a pining. Is it is and be done with it. I would be very happy with that myself. It takes more courage to leave things alone. Then Teoh keep going. That is just perfect. Just like it is right now. I should just stop. But I'm not going to anyway, right? So this is It doesn't even require me to tell you what I'm doing because it is just playing someone going to switch over to some music while you just enjoy watching me destroy this painting. I will have it good, and then I'll lose it. And this is what I mean about exercising your muscles off, just creativity and play and see what the paint does. Just let it rip, pull out some of the paint with a rag so I can expose the texture underneath. So I'm just doing these things. That's just giving me a bit of an idea. So I made this so squarely bottle up, I made a few of them are actually with just acrylic paint, and I just watered it right down with water. So I've got some different textures. This one's really runny. You know, This one thinks one's really running one's a bit figure And they're really great when I'm working on great big abstract, um, areas. So I'm just going to get that and I'm gonna dribble that over the top of the painting. Why not? I mean, this is ridiculous, isn't it? It's a tiny little painting, and if this was a great big painting, all this would be this would make sense. But because it's my play time, I'm allowed to do it. So that's what I suggest you do. And you have fun, because remember, whatever mistakes if this turns into a complete miss. The perfect thing is, is that this is going to create this piece of paper. Can be just You can paint over it in white or any color and or just leave it as it is in use is use it as a beautifully textured under painting for another painting, maybe another bowl of flowers or something. That's why I really love doing it, because you can't go wrong. You can see these little eyes I just have because of a narrative painter. Well, because I'm a story maker. Whenever I start to paint an abstract, I start to see a story in it or a face or something, and then that's when I ruin it, because I can't stay in that state of obstruction. I am just a story maker, and I've gotta turn my paintings into stories. It's just how it is and you'll find you have tendencies yourselves every summer might just keep painting flowers, or someone might keep painting out of her birds or or landscapes. And And that's really how you discover yourself as an artist, because you just you tend to fall. You go the way you are. And if you push yourself enough with all the different styles and mediums, you'll start to see yourself emerge from it. It's really great. I love how that works, and you can be absolutely sure that's you. You'll love what you do, and if you get sick of it, then the best cure for an artist who's, you know, a long time artists who suffering from burn out or something. It's just going, you know, do some workshops for other artists for a while, or copy their style and something happens. You re develop yourself. You know, you may have moved on to another stage, actually, quite like this, just like it is, I should really leave it. Oh, no. Gonna get the blackout. I think so. I'm just gonna put some of my black in there to get some really intense spots. And again, I could just leave that Lucky's I shoot. Going to just might let myself destroy this painting. And what you'll see now with abstract work is I've got some nice big shapes. It's a small thing. The era I'm making is I already know is the deep There's too much detail. This on the left here would be fine if I just left. That alone is the only detail, But as soon as I start putting in too much detail, it's a small composition. It can't hold all the details, so you will start to lose the focal point. If I just left this just like it is, that would be enough. And the focal point can stay on those. The black dots have got here, and even that's it would move to just if I just get rid of that and just keep the focal point right on those black dots. But, you know, I'm not gonna be out. Leave that alone. I'm just gonna have to making miss so so far already gone over this plane that many times you you can already see It's all about, you know, lost and found. Ages and texture. So there I just see, I just ruined a lovely piece of texture. Yeah, probably good. I have just wiped more paint off. Put it on. So I think I'm just gonna let this dry now because, um, I'm just gonna ruin it. So off it goes into the sun, and I'm gonna get back to my other pictures. So now I'm just gonna go get my kangaroo from out in the sun. He should be dry now. And I'm gonna hit him with my past ALS and really brighten him up. Because, as I was saying, the acrylic paint gets a little dark when it drives. And this is a way you can actually really seem up your acrylic paint to make it sing again By just adding of the media. Let's, uh let's go. Getting 8. THREE PAINTINGS FINISH THE KANGAROO sk: Okay, here he is, right? He's old, dry or mostly dry. And he needs to be dry for me to be able to to be able to put pastoral. And I can see this couple of wet spots there. But I might just avoid those because they're very thick. The paints really thick. Right? So now I've got my little bunch of pistols a beautiful grain are gonna use. I love pest ALS. They're just pure pigments. So the thing about them is that now there's no medium mixed in apart from my that some tiny little bit of something or other, and it it actually makes the color strong and it stays pure and you put it on. It's a pretty bit of a really dark purple into those lines to amplify a bit more. And remember, with the pest ALS that these are these ones of the dry pest ALS. So they're not oil pistols, so they this painting would need to go under. Glass is a result because, or if and and remember, if you fix it with fix it. If it does tend to lose, it's really bright color. You don't have to that you would need to find this work under glass to protect the pesto. Because, you know, someone could just rub it off or it could get rubbed off, so but this would just sing under glass because the glass sort of amplifies all the colors . So if you use oil pistol, it's you do not have the same problem you can. Actually, you could actually mount this paper on very carefully on to a ah hardboard and then frame. And it would be quite stable on your wall because the oil pestle is pretty good. It'll it'll stay stable. But you do not get these gorgeous colors that you get from the dry pest als, right? That looks pretty good. Just a few wiggly piggly lines that really make it seeing in pulp. Okay, so I'm just gonna pop in a little bit something a bit more candy. This is a there. What kind of quick color? Yeah, that that works you something unexpected. You know, even though I'm going and gets the design of the kangaroo, it's still honoring it, so not too far. Otherwise, it'll just look silly, so you can rub some of it. And if you want to sort of push it back a bit. Yeah, And if you've lost your lines, you can just make the gesture of the sweep with your pastoral. I'm just gonna smudge here. There's no right or wrong on it, really. It's just knowing how it feels doesn't feel right. I forgot to sign, so I have to get back into the paint because the past or just doesn't sign properly. So let me just get that done. It's always worth signing your work because you really, you know, be proud of what you've done, and it also you can with the date on, if you like. Usually, I just put my last name, and I will sometimes put the date on the front. These days, I tend to just make sure I put it on the back. Don't you hate it when you're looking at old photos and there's no date on it that is so annoying. So do yourself for your future generations, your Children a favor, or you may become a famous artist and do us all a favor and put the date on the back. I sometimes put the actual location of where I am. I'll just say you know, purse in 2019 or something on the back. It's really helpful. Okay, I think I am done. I think that that's pretty much it just gonna pack up and set that aside. I think I want to get back to that abstract going to save the flowers toe later. 9. THREE PAINTINGS FINISH ABSTRACT: okay. I like the way it looks just like that. I can see this kind of figure just should stop right now and leave it alone. It looks like a face. Just leave it, Helen. But I can't help myself. I just I really do You actually like that and idea. Look at me. I'm going to use up this. I know. I'm gonna ruin this. Just stand by and watch me do it, so I'll flick over the past all see if I can. It doesn't need it. I know that. I really do. But perhaps you could join me and watch me make a big mistake. It's good for you. Then you'll see. You can make mistakes, too. I mean, I've painted thousands of paintings and actually thousands of successful paintings. Imagine the unsuccessful that I find it. That's probably millions. Have not joking. So you can't paid a lot of successful pains if you don't pay a lot of unsuccessful no pink dots, why not? See now I think I'm ruining that lovely dark space. That what you probably call negative space over there. That should have been left alone. But let's go for it. Come on, I'm just gonna go nuts here and and be quiet while you watch me make a miss. Yeah, I reckon I've completely destroyed it. Now it's something else. It's become a completely it looks like. I don't know what looks like, but it certainly doesn't look like a good fighting. I was gonna turn up the other way. Maybe I could see something in it. Probably not. And when it gets to a miss, I start to see figures. Perhaps a bit of blue fixing. At this point. I've got nothing to lose because I've made completeness. They see. Look, what's emerging is a little animal. I couldn't help myself. It just came. It's like the little like a little doggy horse thing. I told you I would revert to my narrative gain. The rest of it looks like a psychedelic garden. It's beyond something. That little horse. There's nothing there. No amount of dots I can make right now to fix This. Doesn't matter, Helen. You're doomed. Just settle for the little dog. Cold cola quits. Yes. Cool acquits. All right, I'm gonna have while us crack at this abstract. I am going to just concluded because it's driving me nuts, Right? Here we go. I'm gonna get my mix made. Your mouth. All right. I've got my little horse there. There it is. You can say Holsey dog thing. It's definitely there. So he's gonna follow the same process. I don't think this needs at the candy color in It is just so over the top. - I'm really happy with the other two paintings. Not so much. This one, but didn't get someone else might really like that. So you've got to make that decision as to whether you let that go forward into your exhibiting collection or you use him as an under painting. I've often had times when I've got a painting like this that feels like it's not able to be rescued. And I have one thing has emerged from it like the little character. And so I changed the background and it becomes a wonderful, salable painting, so I never give up on that. I think it's worth just hanging in there. - Well , even though I'm semi ashamed of this little dude, I'm going to sign my painting just the same so that people know which way it goes up. So I I'm gonna Arnie just a bit. Everything that famous fresh are used for the whole exercise. It's just a little number four. A cheap but shop brush. Right? He is done. 10. THREE PAINTINGS FINISH FLOWERS: Okay, that's enough. Silly business. I actually want to get back to something that I've got control over. So I'm going to get back to the flower painting now because it's dry enough for me to proceed with the past or so. Let's do that because I know that's gonna work. Okay, here it is. Now let me see what I've got here. A little collection of beautiful, colorful pastels that mean over hunting them down. Oh, my God, Look at these colors. These air so brighten lovely. I've pretty much chosen colors that are in the in the actual painting. Now the paintings dropped back. It's a little bit darker because it's dried. Acrylic paint dries darker, as I keep saying, and I've chosen some really bright pest ALS so I can make it pop in those areas that have gone a bit dark. So I'm just gonna put the wriggles and wiggles in do it to your heart's content and there's no point is doing the same thing is what's on the painting already. You know, put some little, you know, take it out in some little outliers like a few little wiggly lines and things to upset the I a little bit. I mean, you know, flowers to have little twigs and things, but, you know, just just a bit of crazy stuff. Love that color. It's a sort of a Goldie Lemon that's nice in a bit of a dock. Really nice dark green, the doctor screen got. And you can just you can just buy yourself a little, you know, just some individual bright colors from the art store. If you want to try the really high quality ones out and you don't buy the whole set, you know there could be hundreds of dollars, thousands of dollars to get the really highly pigmented professional sits, but there are some cheaper sits, and they're pretty good to get started. But remember, you can buy the individual past ALS gonna go in with that dark color, and the idea is, you know, to have those loose little fine twigs or bits and pieces reading around nice orangy yellow is to broaden it up and again if you have. If you're happy with the composition, you don't have to change the composition with the past all you're only using it to really make it sing and and good, Zynga, Whatever the word is that you're like to use, it's not actually a pastoral painting. Okay, Right. Well, I think that's pretty good. I reckon it's done. I just I just need to clean this up a little bit here. This is pretty awful Here. I missed that. So I'm just gonna do a little touch up with the paint. Their You know, you could go on forever. Couldn't you have just gonna be careful. You don't keep going with it. This is meant to be a really fires painting, so I'm just gonna touch that shadow up, though. Definitely needs a little fixing. Okay, Now let me have a look. I think I Yeah, I'm gonna fix the yellow. Yeah. Yeah. It's definitely Tom for that. Now, it's all dry. I can get a really nice chunky pipe color there. Yep. You can touch up things go back over things just a little bit. Not too much. You don't wanna get too crazy. But this is my premix yellow that I've got in the tub here. It's the one that I it's very free flowing, so I think it's just about done his little dark. Just those little dark additives make a big difference to the contrast you see and a little bit underneath it. If the leaf is under and they're only impressions of leaves as you can see this nothing very detailed about that. And yet it looks like a lot of Daito the impression that it gives. Okay, I think that is probably enough. And I could let it drawing the symbol pestle. But I might come back and just do a couple of strokes actually, before I finished. I just want that a little bit more of an impression off a kind of a daisy. So you only need to have a couple of flowers that looked very distinctively like something . And you're basically tricking the viewer because that's all. They just need to catch a glimpse of one or two flowers or species and they'll go, Oh, that's a flower. And I'm just gonna highlight that highlight again. That made all the difference. Just putting that there just reinforce that tonal change just brought there at the base. I think we are done. I'm extremely happy with that. So here we are at the end of the the workshop. Three little paintings In actual fact, I spent probably just over an hour doing them all. And what a lot of fun that waas And look at this. This palette is practically empty. There's hardly any paint. Leave plenty on my hands, though. Look at that And we did it. We actually got away that paint used up, and we produce some pretty decent work. 11. BONUS - HOW TO GESSO PAPER : as promised. He is the little barn ISS module, where I'll show you how I just so my paper, so that when you're painting your paintings on paper, you get a really nice texture, and it really makes the paper. It's waterproof, so you can wipe off and rub with a rag and things like that. It makes it just much more durable. I've used various papers, he just scrap papers. I've got some of the print papers on do some water color papers and that those papers are by nature, very absorbing because they meant for water colors or even printing. We publish all my artwork here, so we have printing paper now. Thesis is the sort of stuff he can use, even probably a really heavy, quite thick bond paper can be prepared this way, but the key thing is, is that it's heavy enough is in a least, probably 300 GSM, so that it doesn't walk when you put the paint on it. So that's pretty important that it's quite, you know, reasonably thick. So let's see how this process guys, I've got some canvas here as well. This is just an off cut because I stretch some of my own canvases. So this is already primed with Jess. Oh, I just brought this out to explain that if you know if you're new to painting eso, you don't actually have to do anything to that. But if you want to get like a built up, quite smooth surface, you congest Sorry, Canvases? Well, even if it has been primed already. So as the paper I've got, this is just printing paper that we use on our big printer. This is a 300 GSM, so it's quite suitable, really. It's some. It's just a thin strip, and this is ideal for some playing around and test runs. Uh, this is a think this year's Let me just have a quick look. I think that's printing paper as well. But just a thin watercolor paper would be OK. So let's just do a couple of these and then you can get the idea with this one. I could just tear it into little little pieces that I can do a little demo jobs. What you do for this purpose there, I've got these huge big tubs of eso that, um, I get from the arch are used. Jackson's were in West Australia, and they're one of our great supplies that can get us so anywhere. It's these just feeling it everywhere. Thes are massive buckets. You can buy them in, you know, little tubs as well. What I don't really do is dole out some into a small top because they're so big. And I also find that this so it's so thick that it's just almost too thick and you can water it down almost half and half of import lots of layers on instead of just, you know, struggling for getting a thick layer on. And he's a nice speak full one who told, Just open up and I can see the consistency of that this quite thick. So in this case, Oh, just taker. A spoonful. It's like delicious cream. Put that in there. Normally, I'd have that, you know, a little close tub so I could seal it up afterwards. But this will do it for the job now that on properly mix in just a bit of water. Actually, I didn't just been a bit clean. Water just makes it a little bit more pliable. Good, like some spice here. All right. All right, things that a Sarah's brushes a concern. Just probably a bit more of a course. Hog hairy one. That's just a great big bristly one that I've got or one of these paste brushes is good enough. Not so much a really smooth, soft watercolor brush That's a household paintbrush. Perfect. So I'm just gonna use this little guy here and you look, it's just a simple, a very simple process of just putting it on. I like the texture that I get. We're not. Put it on thick. Well, you know it's painting down, but it's still think I just love that line. He texture because it comes through when you're wiping off when you're painting with your chronic. Later on, when this is all dry, of course, you've gotta have this bone dry. Then you get these lovely textures as you're wiping off, you'll see in the when I'm doing the flower workshop. At the beginning, you'll see those where the paint gets stuck in the grains. So I would just go through and and, you know, put suggests I want it'll one after the other. You're so both sides. If you want that will actually hold it flat, but you just gotta wait till it drives. And then just repeating the process very fast. Big run. Some people roll it on. But I as I said, like the the actual brush textract clean the spring. Problematic. Gosh, I make more mess myself. This is just the best ground for Croelick On paper, go make sure you levels out a fair bit and then they just go off into the sun. Make sure you wash your brushes or in between coats. Just stick them in a plastic bag and what wind them up. I'll just show you has promised plastic bag orbit a glad wreck, good enough. And then you go like that and then you don't have to. Why should every time you just leave it? Not for too long, you know, Just keep like that for a day or so. Just make sure it's will wrapped up with a rubber band or something. And then that way you're already to just continue on to the next coat, Um, one after the other. And how many coats are put on his menus? You're like so I know some people who did it prime their canvas with just so. And I think that's like 10 coats and they send paper and in between, you can do that, too. But in this case for this particular workshop, the effect you'll get that lovely course textured effect will be better gained through, not saying papering it. And, you know, maybe two or three coats is well and truly enough, so hopefully that gets you through so you can make your paper. If you don't do that on your you know you don't want by all this stuff to start, you can just by a little canvases or a piece of canvas. Just so that's just a little canvas. Really, really cheapo one. I think I got that from one of the $2 shops for about $2. I can't remember, but they're just fantastic. And again, if you want to get that textured effect that you know with the street, sort of like the streaky bits of the paint leaves, then definitely, even though these air already primed off you go. I put it on there on the canvas and you'll still see the canvas texture through it, and that's fine. But if you want to get rid of that canvas texture and get, um, you know, like a kind of a streaky. So look, that's what you don't. But you'll probably need quite a few coats to build that up, and that's That's your little canvas. Look, I 12. THREE PAINTINGS THANK YOU: okay, We did it. I've got my three paintings here. My flowers, my kangaroo and my rather embarrassing abstraction here with the didn't turn out to be an abstract after all, the little animals, like a kind of little fat blue horse. But I had great fun during these, and, you know, they're all little viable artworks in their own right. I feel How did you go? What's sort of amazing creations to do? Make? Do you think you could share them? Because all my goodness, I'd love to see them, cause I know what you do will be very different. And I get quite excited at seeing the different results. So pop them in the thingamajig u down the bottom. I think you can post your photos there and any comments as you go along and any other questions as well. I think I want to do some more. This is a bit addictive. I especially like the part where we got the crayons out or the past ALS or whatever. You could even use those acrylic textures, I think. And I just felt that that gave it like, a really big zine. Okay. All right. I hope to see you soon. Bye.