Tips For Painting Loose With Acrylics | Robert Joyner | Skillshare

Tips For Painting Loose With Acrylics

Robert Joyner, Making Art Fun

Tips For Painting Loose With Acrylics

Robert Joyner, Making Art Fun

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6 Lessons (39m)
    • 1. Introduction To Shapes & Lines

    • 2. Part One - The Set Up

    • 3. Part Two - Blocking In Shapes

    • 4. Part Three - Shapes & Lines

    • 5. Part Four Shapes & Lines

    • 6. Part Five Shapes & Lines

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About This Class

In this class you will discover some basic, easy to apply techniques that will help you create loose artwork. Once you understand how to apply shapes and lines to your subjects it will open up a world of possibilities.

In the class I will use a simple composition to demonstrate how to apply these techniques. I will also do a side-by-side comparison so you have a good visual.

Keep in mind this is just one simple technique - a tool for you to use when the opportunity presents itself.

Here Is my demonstration image:


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Robert Joyner

Making Art Fun


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1. Introduction To Shapes & Lines: welcome back. And this lesson, I want to give you some more examples of how you can paint loose, but also this time kind of thinking more about different ways to apply your pain. And what I mean by that is, you know, sometimes we can use all shapes. So basically, what that means is, um, painting all your all your different shapes to make up your subject or your composition, that sort of thing. Then over here, we're gonna talk about using shapes and lines we're gonna kind of combine. Are those two, um, in this example, all right. And giving you this side by side example, I think it will help you in terms off how you can paint loose. And I'm going to do all of this with acrylics. I'm not going to worry about using charcoal or crayon or any other drawing medium. I'm just going to focus on using paints and brushes. Okay, Andi, I think when we when you see this and you start to understand it and then you start to employ these techniques into your paintings, you'll start to really get a different idea for how you can express your subjects and and that's what it's all about. I mean, painting loose. You need a variety of tools, and you need to be able to access these tools at any given moment. Sometimes we can, you know, look a on image and we and we see what we want to do before we even paint it. Other towns were just painting along, and we see opportunities to use these tools. That's how I am. I'm or been opportunistic painter. I just like to go for it, see how it evolves and that I know what tools I have and kind of look at situations and go bull. I can kind of rock with this right here. This is a great set up to use this, right? So anyway, that's what we'll do in this next Siris of lessons. I want to just give you the side by side comparison so that you can start to employed this idea and really understand how to do it. And and then, of course, the visual impact, the visual differences these two will have in a draw in a painting, Okay, And then then you can kind of take the ball run with it, but that's the gist of these lessons. I am anxious to get started here. Let's do that. I'll see you in the next one. 2. Part One - The Set Up: all right. Before I get into the painting. This one show you what I have here. Everything is pretty much the same. Get the fan brush medium square. This is kind of a large round, but it's not very round anymore. But that's what it is. A small signature or liner brush. I've got my, um, a number six out minor brush and I've got a larger square palette. I have green gold, yellow iron oxide, a transparent yellow iron oxide there. Ah, permanent Violet Eliza in crimson can orange fellow blue on blue. Excuse me. Ah Jenkins. Green, Naples Yellow titanium White. Now I want to simplify the subject because I think that's very, very important when we're learning to reduce, um, the subject to a very, very basic shape. And there's a lot going on. Don't get me wrong. If you were really to take this wine bottle, which is what we'll be doing and dissect it. I mean, there's a lot happening there, but we're going to even reduce that, um, case. We'll take a simple subject and just kind of even reduce that to very, very minimalistic plane shapes, so you can kind of really grasp the lesson. Okay, that's more important right now than anything else again. Over here. We're talking all shapes. OK, so I started to say, um, pay this wine bottle. Um, I may once. Okay, well, I want to start with some sort of ah, toned paper. Okay, great. So I'm gonna go ahead, take my Naples yellow. I can put something down. No one. Just cover the whole area. Just going to do just a little bit here. So we kind of move their long I don't want to bore you to death, uh, painting a large piece or anything, So I think this right here is good enough. Okay. Now, I may want to let that dry fun while that is not going to do the same thing over here. So we have basically the same beginning. Okay, if you've never tried. Ah, Yellow. This is kind on a side note here as a a tone background. It's really nice. It's a good I think it's a good color to start with. You can kind of a lot of colors work kind of well with that in terms of the contrast, things like that. But I thought I would have worked well for this demo to so you can see that nice, full bright blocks of yellow. So basically, you know, we have a block of color. So just really doing that Tohave some sort of our harmonious, cohesive flow between these. Okay, I thought the white was just a little too, um, plane for this demonstration. So now I'm just gonna let that dry, give it a couple of minutes, and and then I'll come back when it is, And then we're gonna start to really, really break this theory down, painting all shapes and then using shapes and lines. All right, see you back in a few minutes. 3. Part Two - Blocking In Shapes: All right. Welcome back. Dry to the touch. Didn't take very long. Now I want to start to build up the shapes in this particular example. To do that, I'll just use a little bit of my greens here, touch of the reds and just get maybe a touch of that orange and just get a little bit of that brown mixture going, okay? So, again, I'm even. This will be pretty loose. I'm not trying to go for pinpoint accuracy here. I'm just going to get the feeling of that wine bottle. Okay, so we have the neck coming down. I could draw that center line down to here. I think that out. And we have this sort of shape, all right? And I think for the most part, that's it's good enough, I think, for this particular example and fun right now, let's say Okay, Well, since this is no wet, I probably won't let that dry. Um, so I can go ahead and maybe think about adding just some separation here in the background . I see. It has, like, kind of a brownish table there. If you see me looking over to my right, which I'm sure you do. I have my computer over there and that's that's from using for my inspiration. There has a painting talk. I'm just a little bit of white into this mixture. A little bit of transparent brown or yellow, and that's good. I just doesn't even be perfect. Just kind of get something down here that looks like that could be a table or some sort of flat surface here for this to sit on and good. I'm just going to skip ahead here. I think you get the gist of painting shapes and basically blocking in the background foreground in the bottle. So just, um no. Instead of showing you every single detail, we'll just kind of say that you get the gist of it, and now that you've seen me paint these blocks, we can move on. 4. Part Three - Shapes & Lines: Welcome back. Now let's have some fun. Uhm, I'm going to focus on this shape. So the same thing I did last time was I had that background. If you remember, I blend in and I'm painted the shape of the bottle. Okay? Someone do the same thing, and well, I'm going to focus on the same thing, OK? The same area. Not no saint, Relatively same similar colors. Not going to try to change any anything here. So look at it. Same thing, right? But the way I'm represented is right. It's a representation of the shape. OK, it's a an area where it should be. OK, so we looked at this. All right, we've got our rectangle. We have the bottle in the middle. We have our rectangle, we have our bottle in the middle. Okay? And I didn't paint the entire block like this. Okay, I got the gist of it, Okay? But I wasn't trying to hit every single thing, obviously. Right? So it's a very much a much looser representation of that. OK, now I can look at the next block. All right, so I think we did downstairs there. So what kind of work with something. I forgot how I even got that color. Someone just mix up some browns. Maybe some of these greens little transparent. I think we're kind of getting there close enough. And so I look now at what I have, okay? When I mean by that, I'm looking at this because that's that's what's important now, okay, I want to now build on the strokes. Okay? Yes. The wine bottle is important to me. Yes, I look at it for inspiration and what to do next. Or what can I do to make this more interesting? But what I'm thinking about is okay. If my wine bottle, if my shape runs like this, which it does, right? I mean, that's not perfect pie, New stretch. I don't care. Then I can kind of visually or envision, right? What? Where? That should be right. So over here, I can use this block four to shape this right to really, really shape that toe. Help me define that edge. Okay. And so that's a really, really a good starting point, So I can kind of come in here and go, OK, that's fine. I can coming here and think, you know, in terms of views and shapes and line, I can think. Ok, well, a line is basically just thinking about line like this. Say this way. So the line is going that way. Ah, lying is going this way. I can think of a line that goes like that underneath the bottle so I can kind of take that idea mind and use this block to shape this bottle. Come in here and go. Ok? Well, great. I can take ah, line. Right? Started about where that bottle the edge of that bottle should be and so on. So you see how I used I used some line there. I use that negative space to define that edge. Okay, move on on to the next one hears getter that blue, and we'll do the same thing. So I'll get to my fellow a little bit of this. I think I'll drag a little bit this yellow in there. Some of these greens, maybe to green, maybe still too green. And we'll get some white in there and see if I can get something close to what I had. I think that I would do it. Good. Now look at what I have. Okay, I'm thinking about this. What's on the paper? How can I work off of that? Right? And yet still get this block of color so I can think I got a lot of room here. Like this whole edge can be shaped. I can have some fun here, too. I can also say, Hey, you know what? I can take that blocking color this blue. I could run it down here. That's OK. And define this edge of the bottle and use it live. So it's Hey, let's wanna let's just go ahead and do that. And that's really a line to me, Okay? Because I think I did hear And I brought this block a color down and then from here, I'm thinking I'm going to draw a line from here to here, OK? And that's going to help me define the edge of the bottle. And I can come back here with my, um, colors. No, just kind of block it if I want the rest of this background color. But notice that line, how that kind of has the feeling of continuation down into that. Okay. And so what that does is it gives that sense of hay that blue is running down here. Okay? And that, to me, is really the ability to blend some of these blocks of color. So we're not so stiff, but also to I understand that this shape I need a line and needed an edge to make it more believable. So I use that stroke right there. And that's basically a line that's going down and like this. Okay, so if I were to draw that with a pencil, it would be a backwards l or however you want to look at it, I'm using that to really, really say boom. Help me out here. Help me capture this edge of the bottle. Thank you. OK, so it's kind of pulling the weight is finishing a job, right? That I didn't do here. But look at the difference. It makes okay looking, though. How much looser this was starting to look already. All right, so now what do I have left? I have the label so that this this label, I feel like I can even have Laure fun, you know, with line here. So I can kind of come in here, would take some of these kind of similar colors. I'm going to even switch up brushes here. I'm going to use my old floppy outline. Er, because this one this brush says line, you can use the side of it, the broadside, and really cover a block of the area. Um, we're blocking color. Have you want to look at it or you can really use it should draw with. And that's what all do here. So I look at my subject, OK, well, great. My labels. And here somewhere, I'm just going to draw. And here's a little bit of that broadside and then use it to draw with two. So it adds that feeling of a drawing into that. We're over here. I blocked that shape in, you know, not painted to the edges and all that. So already, you know, we're starting to see what this can do on. And just so where we're even Steven here, right? Let me go ahead and add that feeling of a shadow. And when I do that, I'm cautious not to cover up this. I can paint over it. I don't want to cover it all up. Okay. If I do, I will completely lose that feeling so I can think. Okay, um, kind of coming here and this number. And there's my shadow. Good. So it's still there. Haven't lost it. And I'm good to go. I think for now, the these air, these air even. Okay, But you know, this one still very loose. So if you were to see that he didn't know why I was painting. I don't really know what that ISS and I don't I wouldn't be able to tell what that IHS Not at this stage over here. Yes, I know what that iss U s a bottle, Some sort of vessel sitting on a table with a label on it. All right. So I will let these dry and then we'll come back and then we'll add another layer to it. Um, and with this kind off, same concept in mind. And then you start to really, really see how once us are introducing even mawr line into this toe help make it believable . How much looser? This will start to look ever this partner over here. Okay, see, we get back 5. Part Four Shapes & Lines: welcome back. Pretty dry. This is a little bit, uh, damp, but I'm not going to really fudge of that area. And for the most part, this is Don, I'm not going to push this to another level because I think you get the gist of how that is blocked in. So I looked at the shapes, blocked it in and ongoing. That's kind of what you have your blocked in. And that's okay. I mean, that you can't create loose art that way. And I certainly created loose aren't this way. But but the point of this was just to get you to think a little bit outside the box and that you don't have to block everything in like this. There's alternative ways to make your subjects have shape, right? By using line to and to really make that work. I hope that you were able to see that Ah, mingle these areas a little bit, so allow that background shape and create that thick line here to really, really make it that punch to loosen those blocks of colors up a little bit. So you don't have this strong division of table or foreground to background. Um I will rule loose with my blocks of color. So even with the member with a wine bottle, how loose I waas? No, granted, The result is it's not very believable. Good. I mean, I would expect it to be and this stage. All right. Um but I can look at what I have now. Okay. It's okay. Well, how can I move this to another level and make him more believable? Um, without sacrificing the looseness s. I don't want to give up all that loose. Those lose qualities, right? Eso Now I'm going to give you example of how you can use line to make that wine bottle a little more believable. Okay, Um, I think excuse me, I will use, um, a big liner, okay. Or my number six outline or there. I'm going to go with a nice punch. Brown. Someone get with that violet. A little bit of my transparent here. Let's get right into this green. I've already got some green down there. Ah, let's see. Maybe more and well, even go a little bit of orange here trying to push this more to brown. I think we're kind of getting there dark in that up a little bit. A touch of purple. It was going test that I think that'll work. I'm gonna roll my brush. The biggest X come count of spending it there and kind of getting that. There's bristles. And those brush nice and tight. I can look at my edges. And now I can kind of come in here and use line to define those edges. Okay, Now coming here and use think mawr, like, say, blocks of color. And I can kind of define that shake. Okay, so you see how right away Hey, the helped a lot that May that Ah, lot more believable. Okay? And already is starting to look like a wine bottle. And I just simply left a lot. I mean, there's a lot. You notice how I didn't paint in every single area of that bottom? I left some of that looseness of the under painting. That's why did that Naples yellow under painting so that I gave it about some separation from the white, and he kind of really see how that pops through and how this there's a glow of yellow through that transparent brown or that Excuse me, that brown movie here. I'm leaving pockets off of that color. If I continue to develop this painting, I would want to think about trying to do that, you know, leaving that, um, those areas visible because that s what makes it interesting and adds to the loose qualities that that this has over that one. So now let's look at it a little bit more and think Okay, without that was kind of fun. What else can we do? Some kind of coming here. Look at that background. And I'm gonna think mawr long, um, lines of lines. Right. And I'm going to kind of find that color there. I've got a little bit down here. If I can bring it back. I'm really bit terrible about trying, Teoh. Remember, I just makes my color so arbitrarily that, um, sometimes all know how to get back there, but I get there eventually. All right, That's good. I think I've got something close there. I don't want to be perfect anyway, And then there's a shape here. Okay, so it goes like that. The shadow, the table, the edge of the bottle, and so on. So it kind of come in here Okay, What kind of use line to make that shape work. And also, I left some of the purple left, some of that green, and then I use a line. That line basically looks like this. Okay, Like a triangle. So that's that's line. Okay? And that makes a lot more interesting then coming in here and painting the block. Okay, That's okay. I'm not knocking that. That's totally cool. And it works, but so so does this. That's my point. Right? So does this. This is just a much of a wine bottle as this, but is done differently. It's done with the idea of looking at a shape and indicating it right loosely and did that all all around, knowing that I could use my lines to bring things back together. Right? And it's interesting we can do this. So now I can kind of go into this no background color, maybe get something a little bit lighter and look at what I need and go. OK? What kind of come over here and use a line, So I co no whipping over here? Actually, we try to mix a little bit better color there, so you get a better sense for when I'm after 6. Part Five Shapes & Lines: I think that'll work. So when it may be defined, the top of that bottle I'm using line to make that happen. So I wasn't thinking blocks a color just thinking about lines. Well, great. Now it's OK. That's kind of fun. Maybe you're like, OK, well, Robert, you know, what else can you do with that? So I can kind of come in here, you know, add that feeling of a reflection, you know, weaken, bring that up in there, make make that a little more believable. Um, getting here to maybe some of these greens and, you know, add, you know, some or had transparency to it, you know, and kind of working back and forth to wear. Um, you balance things out, you know, you want to be able to work with these blocks without maybe put another line there, right? Another line there were running some of that background into the label running that line down. Basically, they're thinking about bringing this painting together by really incorporating the feeling of lines incorporating the feelings of shapes and and doing it in a much more playful ah, carefree way. And you know, it takes practice to make this happen? You have to get in here and really, um, experiment with these things so that you become comfortable with them. And then what? Once you become comfortable with them, I'm trying to get that color there. What must you become more comfortable with it? Then you can get in here and manipulate things easy. And it's a lot of fun to do that, because it's a much so much different way to look at things. Then this simply block things in, Um because now you can look at these blocks of color and just play with them now and and really just kind of know that Hey, I can start like this, you know? I have to block that shape in 100%. I can do this and do this and then come back later, you know, and really use ah, line lion and different tools to make those shapes more believable. And this is just kind. A quick example of how you can do that. And you can see how the line and make making that work. And using that in this particular piece has a much different look than this. And, you know, I encourage you to try that a little bit. Really? Really. I think about you. First of all, go simple in the beginning. Don't Don't try to take a elaborate composition and seo that I watch Roberts video on this and using shapes and lines and mapei loose and emerging these and I've got it. And because you don't get frustrated, it z difficulty, and you want to simplify it and get comfortable there. Now you can't practice it enough. You know, just spend time. Simple, simple, simple. Don't get ahead of yourself because you're typically I find the students end up frustrated . Um, but I feel like if you can start to really, really grasp this technique, um, it'll loosen you up on. And that's the That's the whole point of this course. You know, the art of painting loose. There are any boundaries to what we can do. There are so many different techniques that you know, I will still share with you. Um, as time progresses here, and this is just one of them. Okay, this is not the ultimate thing. Oh, well, if you're gonna pay loose, you have to do you shapes in line? No, it's not that black and white. And you have to see that this is just simply a technique that you develop, you understand, and you use, and you practice it until it becomes a tool on B. And like I said before, no, I I typically just simply start painting. I find a subject, something I want to paint. I start painting, and then as a develops, I look at it and I find opportunities to use these tools. Um, but the half I hadn't spent time developing them getting comfortable with him. I really wouldn't see those opportunities, and I wouldn't be able to employ them very well. Okay, so for for, um for, you know, spend time practice just a simple exercise. You have the image and break it down and there's a ton of different there. There aren't any limits to how you can make this work. That's the fun part of it. That's what makes it so enjoyable painting looses because once you start to get these tools , he started working with them. I mean, you can take this wine bottle on painting for the next 10 years using these ideas and never get bored other and I never do the same painting twice. But anyway, I hope that these lessons kind of opened you up a little bit of war. I think I probably have you been touched on some of these ideas, you know, in the past. But I think really trying to a hammer at home bring it, give you a little bit more of a clear example of how you can not just use shapes all the time and block your paintings and like this and think more No. Yes, you think shapes OK. And they had to think shapes. If you want to do, uh, abstract paintings who were not we're not painting completely abstract. We're doing abstract, representational stipe type of work were taking subjects and and we're expressing them in a very loose manner. So So we In order to do that, you have to have some likeness to your subject. There has to be something there that's unbelievable or doesn't work. Right. So and that's that's the hard part. Balancing the abstract qualities with the representational qualities and getting that balance is what you know I struggle with, and that's what I want. It's what I, uh that's one of my goals with artists to continue to develop that, get more abstract it more representational and tweaked these back and forth all the time. It's so much fun, you know. I enjoy it. But anyway, I think once you start to, I understand that, you know. Yes. I was thinking shapes here, You know, I was thinking about that same thing that I was here, but the way I approached it was much differently. Right? So my shapes and my blocks, we're all over the place because I knew I could come back and use lines and use that feeling of that line to capture the edges and the capture. The main areas I needed as it developed, right. I didn't force anything. I just let the thing develop naturally and then kind of use my lines and shapes accordingly . OK, Anyway, um, I hope this helps you, and I'll see you in the next series of lessons.