Townscape & Cityscape Painting Techniques - It's The Approach That Matters | Robert Joyner | Skillshare

Townscape & Cityscape Painting Techniques - It's The Approach That Matters

Robert Joyner, Making Art Fun

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13 Lessons (1h 57m)
    • 1. What You Will Learn

      1:00
    • 2. Charcoal Sketch 1

      9:46
    • 3. Charcoal Sketch 2

      11:34
    • 4. Charcoal Sketch 3

      13:21
    • 5. Acrylic Sketch 1

      7:58
    • 6. Acrylic Sketch Part 2

      8:40
    • 7. Acrylic Sketch Part 3

      9:59
    • 8. Acrylic Sketch Part 4

      8:23
    • 9. Acrylic Sketch Part 5

      12:13
    • 10. Demo Part 1

      10:38
    • 11. Demo Part 2

      10:36
    • 12. Demo Part 3

      7:03
    • 13. Demo Part 4

      5:48

About This Class

In this class I will share my approach to developing cityscape & townscape subjects. To do this I will start at the very beginning which is using charcoal & graphite to connect to the features and details that interest me the most. I then take it to the next level by exploring color with acrylic paint. Lastly, I create a finished painting based on my previous graphite & acrylic sketching.

Who Is This Class For?

Anyone that wants to understand and develop an approach to painting that is more about the process and not the end result. Often artists simply want a finished masterpiece yet they invest zero time in the art of developing their sensitivity to the subjects & medium.

Transcripts

1. What You Will Learn: I do feel like if you want to create interesting, unique art, then you need to interpret your subjects in a very personal way, just loosely indicating those I'm a sucker for chin. The eye level, a chimney stack for some reason that just a lot. We've got some windows. Got another shadow area E. Capture that in my artwork in a very loose way. That's good. I mean, I really makes me excited. And peace pieces like this are very interesting to be because they capture more than just the scene, captures my reaction to it, does it in a very natural way. 2. Charcoal Sketch 1: All right, Welcome back. What I've done is I've taken the image. I'm kind of zooming in, so I'm kind of getting away from looking at the whole scene. I like to do that right away versus bringing the image in and then looking at the whole image, because again, there's so much information there that if I if I look at the entire image, the my tenancy is to kind of draw the entire image, right? And I don't want to do that. So by zooming in and this is why I love working from a laptop or computer, you can do this for the night pad to is I can kind of zoom in and really kind of block out the other stuff and is kind of, you know, look at this handful of the buildings or just a little section of that picture, and that's what I've done here. Okay, so, you know, I'll have resource images for you. See? Kind of really. See, You know what I'm doing here? All right again. £90 drawing paper here. Compressed charcoal. I'm just going to start just with a couple of these buildings, you know, right away. I'm looking at, Um, this kind of one building is kind of sitting like this, and it is running back this way. Excuse me, and we have kind of this sort of look about it, and then we have a roof line here, and then we had these kind of little things happen in like that, and then we have some windows, like so okay. And so that's kind of nice. There's not much happening on this side of the building this sides and shave, so that want to kind of use the broadside here and in rough in some shade. Got kind of a dark roof. I'm kind of play with that a little bit. That's good. I mean, that's all I want to do. It's kind of really, really break the ice with that building, and then I'm kinda consciously, but I'm not like trying to get locked in anything. I'm like, Okay. Was that good? That feel that was that good for me? You know, I really, really enjoy that building and enjoy, you know that, you know, process of kind of creating that that shape. So all that's going on, you know, as as I'm draws, I'm taking note of all that stuff, and that's good Over here. There's another building. There's like this kind of shape here, and it's probably moving Mawr like this. And there's really I'm just gonna draw this shape kind of these steep angles like this. Here we go, moves up so it doesn't have to be situated. Perfect. You know, the idea here is just to give the gist of this thing and not try to create exact peace or exact replication of the image. So it just kind of playing with it. So it kind of looking at how those buildings play with each other. And again, we got a darker roof in the building, so I can kind of indicate that if I want to. So Windows got a shadow moving in here. This is all in shadow. So I got a little bit of that charcoal on my hands so I can play with that a little bit good, you know, and I like that. It's breaking the ice with it, getting the ball rolling, right, a lot of fun and now one of bounce around. So you know, I can look at this and there's another building over here and there some stuff happening over here with these buildings, but yeah, you know, I'm over that. Now. I want to kind of look at something else, and right away, I kind of see, um, these buildings over here there's like, um, it's kind of a Siri's, like almost row row houses or something. And so we I, I like, like the shape of that alive and has kind of all of these kind of no windows and things happen in here, kind of like the repetition of those these shapes. And then we have some Chairman e chimneys, chimneys, Chimneys going on in here. That's fun. So just kind of connecting with that, you know, who knows? Maybe this Maybe this painting will be about chimneys or chimneys. So, um, you never know where things will take you so long as you're willing to explore. Okay, that's very, very important. Have you have to really be willing to to do this stuff and get away back off trying to paint finished art all the time, And we do, I promise you you'll start to really, really make special connections to your subjects. That was fun. I'm looking just to some other buildings here that are kind of in the same scene. And, uh, I'm gonna play with some of this stuff and got a little corner over here. I see this just simple White House here. So it's just kind of maybe in this perspective, a little bit it kind of tall, maybe not that tall. And we have some windows to dark windows. This one's I don't know what's going on. Something loosely indicate that has this kind of little bay window thing happening here for the dark roof. And, um, has these windows kind of moving around it Good. This point doesn't have a chimney on it. For some reason, I really like for this shit knees and the roof is darker than the house. Kind of do all that this smudging around where the light and shadow would be and good. There's some bushes and stuff going on over here. Good. You know that That was a lot of fun, kind of at a room, But I really, really enjoyed that. I mean, it was 56 minutes of just good old sketching and drawing and connecting. That's the key. You know it, I won't go on another tangent, but that's really, really where it's at on. I promise you, when I get to painting this thing, I will be so connected to this piece, I will be so excited about it and it will be mine. You know, the things that connect you will be different than what you connect to. Now you may follow along with me and do this, but as you start to embrace this idea, um, of just getting doing this versus painting it and spending time with your subject's doing that over time you're gonna have ah, much deeper feeling from what you're painting. And it's going to look different than everybody else's because the things that you no embraced while you do this will start to show in your work and will become very, very obvious. So anyway, pause right here and I'll see you back and we'll do. We'll do some or these is way too much fun. I can't stop now 3. Charcoal Sketch 2: welcome back. Have my image over there still very, very excited about all the possibilities. Um, have a little bit different scene here now. So there's a street cutting up into kind of the distance. We didn't have some homes, their angle on that. That's all kind of nice. So we'll see. You know what? Will I connect to it On an artistic level? I don't know. Uhm And another thing I want to say is just because I don't connect to something today doesn't mean I won't connect to it tomorrow or the next day. But, you know, here I am today, and I'll see how I feel about it and and just kind of, you know, see if this kind of street could be We know the the one thing I really, really focus on, right? I mean, you just never never know. So, uh, it could be the one thing I have. Boy. Anyway, um, you know that the street is basically coming down. We have this kind of wrap and then, you know, there's some cars on stuff like that. So it kind of indicate some of these cars and stuff like that. It doesn't have to be perfect. You know that, Um, painting loose is all about painting loose. So, you know, we want get the gist of things, and then the rest of it, uh, well, let the imagine people use their imagination a little bit to fill in the details. That could be the cars going across the street there or just just like they're really this part. And maybe I want to put one more big one right here. Can I get a feeling of more of a window or roof? If you give a detail of, like, one or two cars and the rest of them will all make sense to people just kind of getting by defining or saying, Hey, you know, this is, you know, a car, This one right here. I would say that that's there is my car and make that really believable. Then all of these become cars to, you know, people can cancel. That's that's That's a car right there. See that? That's the car. I see that these can all break apart because that one is believable. The rest will start to make sense. That's kind of fun to do that. We have these kind of buildings going up and, uh, roof line of one right here. And there's another little building right here. Kind of more of this shape. This besides shadow and coming down, I can't really tell what that also stuff ISS. I'm just gonna make something up. That's fine. Those some windows right there. Here. Is this kind of Oh, no, I'm not really trying to draw the whole scene as it is on the image. I'm just kind of playing around with ways I can make it My own. This roof is going like this and then we have another kind of white house here. Roof lies coming down. Decide and shadow Get enough. So another little building over here. You know, it's not there, just kind of making stuff up now, right? That's fun. I'm starting to kind of find my freedom already now, and I'm able to you already start to make little areas up and all that's legal people on me . Once you start to get familiar with it seen you don't you don't have to get locked down into exactly what you see. They can start to make things your own and that that's what you want to do, really, you know no sense and get locked down to the image all the time. You know, the image is just simply something to get us fired up about painting. And then we take over from there and decide how that's gonna look. There is some houses on this side of the street I'm playing with Come with tall, agree building over here. So good. That was fun. You know, I could take this, continue exploring and just kind of putting in, um, different homes and stuff like that. Different shapes. And again, I'm not no. Locked into exactly what I see here. I'm just finding buildings, finding different shapes, and then just kind of adding them to maybe a tree here, adding them to my scene, you know? So So even though I'm getting inspiration here, um, from from this building or from this scene, you know, I'm not completely locked in everything, so I'm able to like a C probably 30 homes in this little image here, and one home may be on the left eye. May see a roof line over there on the left hand corner. I can put that building over here. You know, I don't have to put it exactly where it goes. And, um, you can just kind of find bits and pieces of the image Excuse me that you like, and then just put it any old place, you know, it doesn't have to go exactly where it is in the scene. You know, you can decide where that goes. That's fine. I mean, that was kind of more of of a scene because he had the street. You got these cars and these homes on the right left side. And typically, I tend to kind of just find bits and pieces of it first, like one car, two cars, and then do something else versus putting things together in a scene like that. But that's that's the way it went. And that's fine. Kind of go with it and, you know, it's all good. And now I think, um, I'll start. I'll do some or these by think for this one. I think it's file. I don't think it needs to be any more than that. I'm really out of room anyway. But it was fun. I really enjoy no making that connection to that little area. of the image. It's just a small piece of it. And who knows if that will make it into the final painting or what? But for now, it's just a sketch. It's just spending some time being creative. Um, I'm learning. I'm learning about the image I'm learning about buildings and shapes. I can tell you this. I haven't painted city escapes and buildings and things like that in a long time. I've been focused on other subjects, so you know, this even helps me get back into that feeling of ST cityscapes, and I love it. I mean, like I said before, I mean, this sort of Ariel seeing with all this clutter is exciting to me, and I could feel that excitement coming back. And that excitement has been created by making the special connections and not just painting the aerial scene. But it's just I remember the first picture I took of downtown Richmond. I was in ah, really tall building and had another look at the downtown. I was taking these images and I was just taking them. Or for just having final What wasn't trying Teoh think about, you know, potential paintings. Anyway, I had the images. I was bored in my studio one day, so I pulled the images up there. That's kind of cool. So I started drawn and playing with it. And within 30 minutes I was, like, so engrossed to that sort of seen and, um and while you know, certain, like letting there may be traditional landscapes don't excite me. But I love the feeling, the clutter of buildings and the cars and the streets. And then that sort of seeing I discover is an artist. I'm really excited about it, and that is that's awesome, I mean, and that, you know, that's all been created by doing this stuff. And it's all been discovered it by doing this and foul or to take that. If I were to take that same image that day and in the studio and just put it up on the easel on, break out a piece of canvas and start painting a finished piece, you know, I wouldn't have had that moment, the moments that you helped me embrace it. You know, that really helped me connect to that, that that beautiful kind of clutter and go Wow, I love this. I love love love it and then from there I mean, I just continue to do it and I go back to. That's the sort of seen quite often I get bored of painting cows or portrait or whatever. Don't come back to this and it's exciting. Gives me something that get into when Maybe something else is working or from this looking for, ah, different inspiration or some somewhere to go, right? Some something painting studio. So anyway, um, a pause right here and I think I'll do another one. Why not? And then we'll move on to some acrylic sketching. 4. Charcoal Sketch 3: Hi there. Welcome back. We'll do another one here. Got a little bit different area of the image. And this is just really there's a like, vocal point or anything. Like where? Previously I like that street with cars. And this one just, uh, no. Maybe if there's a focus, it's just all the angles of how the buildings were sitting next to each other. I don't know if I can capture that, but I don't know if I need to, but I just like that. I was just kind of zooming around and scanning through the picture. That's kind of cool. So here we go. Um, so I kind of see, um, it's kind of like thes cluster of homes out now. This could be on a hill or something. Basically, it looks like they're moving down Hill there. They're kind of starting, um, up there and kind of moving down like that, like that. And they all have these little windows and stuff on. We all have kind of a dark room, all slightly different in shape size works. I'm just looking in the windows now, and it's kind of placing some of these. It's like this side of the buildings. Aaron Shades kind of indicate that if I want to, may we have the good old chimneys just loosely indicating those I'm a sucker for a chin. The I love ah, chimney Stack. For some reason, that just does a lot for me. Good kind of captured that feeling of the homes moving down that was cool in this CSE. Another home is kind of cutting Mawr this way. So I'm kind of getting that angles that I kind of liked initially. So just trying to get that feeling they're the home got chimney stack there. That's cool. You got something else moving up. This one. It's fun. There's, Ah, there's actually another home here. I'm noticing now. That kind of connect to this one indicated roof line, and that's good. There's a a big one, a larger home here, kind of mawr along the lines of this size and kind of find that height and, uh, and thats working. Okay, some windows. You gotta get old chimney stack on that one kind of the middle, and that's good. It's kind of getting that feeling that I liked and SC Now there's some other homes. They're kind of connected on this side. Um, it was fun that we'll see another home. This kind of cutting more long like this. So again, it's kind of getting back to what I liked about this kind of See, I had all these kind of angles going on, so I just kind of indicate this one making something up there. Ah, the C. I don't know the way this was connected in the image. That's probably should have moved up a little bit, but that's OK. I can come in here and you just find any old building that I see now. And this kind of indicated, and that's all fine. It's all illegals, and all I'm doing is making more of an impression on this image. I'm not trying to paint a photo realistic image of what I'm looking at. Good. All that's fine. That's looking good. Thomas C got tree tree action there. Play with that tree a little bit. I liked all that. I was kind of fun to paint that kind of cluster feeling and all those angles, and I did something for me there. So I take note of it. It's back there longer. Okay, it's kind of fun. I'm seeing these little homes over here. There's even a smaller one. There's a big roof lines coming from a home there. Good. I don't think it needs to be any more than that. For now, Um kind of got the feeling of what I wanted there. And ah, I think through these sketches, though I was able to really enjoy this for for, um you enjoyed it more, you know, again, like I was saying before it as an artist now. So, like, I remember looking at this image when I first saw it now purchase race rights to it through Adobe Stock, and I remember looking at it. Wow, that's really awesome. I love that cluster of homes and painted things similar to that and kind of exhausted the images I have already start. Probably need to go out, take some more images, but I like this one. I think that would be interesting to work with. So here I am, working with it. I'm making these connections and and and letting the artist really, really sink beti that into this piece and and to to to find those things to find those angles. The street with cars and the other little areas. I painted, um, so that I can start to embrace this mawr and to go from, you know, like, that's kind of cool now love it. Now I'm like, I'm so like, excited about this thing, and that energy starts to come out. And that's very important, you know, because that, to me, is where the painting becomes my own. So if I do feel like if you want to create interesting, unique art, then you need to interpret your subjects in a very personal way because we're all different . We're all going to see things and connect to areas and features of subjects differently. If if you take the time to discover them, that's the key. And most people just don't take the time. They're lazy. They just want to paint finished art that they can hang in their living room and show all their friends or whatever. Um, and they miss out. They are missing grand opportunity to really, really create exciting pieces on, um, for me, I know it does a tremendous amount for my art and makes my job interesting. I mean, if I took away this sort of stuff and just simply painted. I mean, I just don't think I would have that same feeling, that same excitement about being an artist and an artist. To me, it is being creative and allowing myself to do things and interesting ways. And I don't want to be a foot of realistic painter because that doesn't do anything for me . Artistically. I remember my first started painting. I would do details. I will get into that stuff and didn't didn't excite me. And I knew that that wasn't where I wanted to be right then and maybe all in my career as a photo realistic painter. He No, I don't know. But today I'm loose. I want to have fun. I want to be explore freedom and and and release. You know, my energy into my work. So that's where I'm at. So I do think you know that this sort of technique is universal. I think anybody can get into stuff like this and learn from it and make special art. If if you're willing, this is the key, right, if you're willing to take the time to do it, okay, and that's what separates. I think Good art from bad are you know, it's People that create good art have taken the time they explore their medium. They explore their subjects, they develop their techniques and they're able to do it and a very confident, believable way where other artists they take those shortcuts on. They tried to you create something interesting and deep and meaningful based on what other artists are doing. They're trying to take the style or something or subject they're doing and make it. There's versus just taking the subject and coming up with your own, You know, um, your own techniques in your own way to interpret them. And once you do that, I promise you, you know you're going create bad art still, especially if you like to paint loose and expressively. But the process is more meaningful, and your art will just completely become mawr relaxed and less forced, and you would develop techniques and styles that are comfortable for you. Um, and that's the key. And that way the painting process. The creative process is and more enjoyable, and it's more natural, right? So, uh, anyway, I think that's good for the charcoal sketches. I'll stop here and we're gonna go ahead and move into some acrylic sketching and, um, introducing color and brushwork, so I'll see you back. 5. Acrylic Sketch 1: Hi there. Welcome. Back £140 cold press paper 20 to about 30. So we have a four sheet brushes. I have a small detail brush. A large square, a number six out liner. A number one out liner. Ah, fan. Medium fan was kind of a V brush. Now it's beat up in a medium around there. Clean water. How it ah, Fellow blue cobalt violent cad. Red chromium green, transparent red iron oxide. Cad. Yellow, titanium white. Um, so now I want to move into some acrylic sketching and maybe work with the same areas so that we could kind of get on a pattern. A rhythm. Um, you can see how I will take similar similar buildings with kind of the same area and then interpret those using color. So brushwork, color and kind of chucking things. And and just having fun, really, with exploring color. I mean, that's that's the key. I don't want to get to lock down into using all the colors I see there, but it's just more about, um, taking the colors. I see maybe in the image and then the colors I have on my palette, finding happy mediums, maybe you know, indicating some of those colors on the paper, but also using own creativity and reacting to what I put down. So that's kind of where I'm at. Um, so I'm gonna grab the sketch real quick of this first scene. So, you know, kind of exactly what I did on the sketch. And then how that how were, you know, use that for the acrylic. Okay, so let me grab that. All right, so there it is. If you remember, it wasn't really trying to paint. Um, what I saw, it was just more about looking at some of those buildings and and just drawing some of those shapes. Um, and that's pretty much what I'll do. Um, with this first sketch. Okay. All right. I think i'll start with. Mm. I'll go with my big, big square grab a little bit of my titanium white touch of the yellow, maybe a touch mawr Turn that down with maybe some of the browns. That's good. And I'm just going to start with this one building here. Um, it's kind of ah, upside down W. So it kind of kind of goes like that, and that's good. Besides a little bit higher, cause the perspective. Now I just want to push that shadow sides and kind of take a little bit of this COBOL mixing with that color and doesn't again have to be perfect. It's one of kind of indicate, um, where shadow side could be. We got a little roof line there and good. That's all it needs to be. We have a little maybe a little shadow here. Way to go, and that's fine of Well, I've got this down. I can go ahead and use that kind of same shadow mixture. Maybe a touch of that fellow blue. And just because I want something a little bit different there's another little building here I can play with. Has a little angle there in this time. That in. And that works for now. Going to a little bit smaller round here. Go with the white, warm that up a little bit transparent. Read on oxide. Okay, let's see. We have ah, front of this building. So we have the lean action. So we've got that going on. And then there's a little that going on. There's another little building over here. I remember painting. I'm not going to try to put that exactly where it belongs. I'm just going toe. Just drop over here to this area and paint that a little bit. Just try to find a little more freedom with my brush work. That's good. We'll kind of go to a shadow mixture here. A little bit of cad read into this kind of grayish blue mixture I had gone. The chimney has a little shadow on it here. The side of the building kind of moves into this perspective. We having fun yet? I mean, we're talking color here. People. We are. We have move right into creating color and having fun with this image on a different level with and where we started. And I don't know about you guys, but I'm getting excited about this. This whole thing. So a little bit of the transparent brown red purple and it's gonna indicate a roof line here. It's got some, you know, these little windows and stuff that kind of peek out from the roof, and I just want to indicate those I don't want to get too fussy with it. Um, but you just a little indication of it is is good. It's all I really need. There. All right, That's fine. And we have some windows on our good. Someone bounced back over here. I like that red roof on those buildings. Don't know why I'm being to those things. They're just sitting there waiting for me. So a touch of the transparent red iron oxide. I must call that brown just too long to say that. All tomcat red touch of the yellow. I got a little too yellow there that works and just want to indicate he's kind of roof lines here. And we got a little tip of it. And son here, we got a little bit of light capture in the side. That's fine. Go back to the darker mixture here, maybe touch of the green. Just mix it up a little bit. We have a roof here, and this was coming up. Something like this and good 6. Acrylic Sketch Part 2: and good. It's all working fine. You got like, a little bush every here, having been really worked a lot with the landscaping on this piece for the shrubbery or anything. I see this corner is kind of pushed out a little bit. And you know, if I want to kind of chisel that in a little bit, I can easily, still a little bush there. You use that kind of negative space, get that building a little more accurate. I mean, things like buildings. And he's man made objects. I mean, you can really have a little more fun tweaking these things. I do. I like that kind of really abstract him a little bit more. And you can someone going this out transparent brown. We'll be the purple mixture here. We have some windows here because some roofs or peaks or whatever going on and just indicating some stuff and just really looking at what I have. And, um, and just having a little bit of fun, this explain with it, playing with color, playing with shapes. No, that's good. Um, there's another little building that I used last time. I think in that sketch, I want to try somebody kind of. Let's start with the roof line. Come a little bit of white here into that gray mixture again. I'm not trying to connect the dots here. I'm not trying to make the scene perfect. I'm not putting everything where it belongs. I'm just simply bouncing around and putting anywhere that it fits on the paper. And that's all I want to dio. And that's fun. They've got these little chimney stacks. So I'm gonna get with the red a little bit the violet, maybe a touch of that blue. And this will be kind of mawr for the shadow sides. We kind of had these kind of dark areas of the chimney. I kind of go into some white here, get into there and just kind of create more of the more of a light. Peca's type color. That's good. I don't even have some on this stuff, some kind of play with that idea. Once I start painting chimneys, may I tend to put him on every building even if they don't have him in the picture. I just love painting chimneys. We'll get with that little bit of white. I'm just looking for, um hide white. Oh, my brushes kind of peak. White pinkish mixture has some kind of bluish gray brown mixture there, so I just mix that white right into it. I'm going to kind of indicate some of these windows and here, and that's fine. Doesn't need to be any more than that. Mix up a little bit of this kind of bluish. Make sure there good. It's kind of a brownish roof right here. I kind of like how that merges and connects kind of indicate that and again, I mean, it doesn't belong here, uh, based on the image, but I'm just putting it wherever it will fit. And this again having fun with it, become a reddish color roof here. And then we have ah, really kind of, Ah, broad chimney stack. That kind of goes like this. And when this kind of mixed have that lot of that dark mixture of my brush months and get right into some brown and kind of indicate this, I saw the building there and good. Look at what I have. Um, there's the little white building over there. I've got some space. I'm just gonna paint roll loosely and up a lot of this kind of bluish red mixture on my brush. I went right into the white. It's giving me this kind of lovely little light violet color, and that's good. Got a light sun side. So I'm gonna just go right into the white pure here. A little touch of the yellow. That's good. It's got a kind of, ah, greatest roof to it. So that works. I'm using This kind of grayish mixture is going to indicate kind of the little white areas here. Finish up those little details on that. So had this building here a little bit of white, little bit of yellow skin with a touch of green to mix right into that peak mixture to and it's going on with the front of this building, dip into some water, push that more to the blues and magenta jys already. I think that's fine for this piece. I broke the ice playing with color, playing with shapes. You're playing with those buildings a little bit, and, um, it was good. You know, I enjoyed the time, you know, and that's the key. You know, when you're in here painting and, um, no connecting with your art. You want to enjoy that experience and have no good times. Um, playing with colors and your subjects because, I mean, it's really art, really is ah, relationship. And you want that too kind of mobile. You know, we hear any hair painting and they want positive experiences. And you're the more of these positive experiences you have, the more you'll enjoy painting. The more you enjoy it, the more that's going to showing your work. So you really start to see that excitement, that release of energy and confidence in what you're doing. So I'll pause here and we'll go on to the next sketch. 7. Acrylic Sketch Part 3: welcome back. So now I'm gonna work a little bit with this scene. Had that street kind of cutting up in here with the buildings around it. I thought that was kind of Ah, interesting little piece there, Um, that the street kind of broke up the buildings and kind of gave a little sense of life and community, Um, people driving, going to work or coming home. So I'll see. You know, I don't know if I can That's going to translate here, but I'm going to play with that idea little bit, See where it goes and, um, you know, make some decisions based on that. All right, so I think I'm going to just start by just loosely indicating that street I'm gonna do that with I've got some grays or these kind of light blues and dark blues already on the palate . Um, I'm gonna go with a little bit lighter color. So just a touch of this white in here. Maybe a touch of the red. Warm it up, and we don't get the feeling of that street coming down. Like so it doesn't again, doesn't. I'm not trying to paint the street as I see it. I'm just doing my own interpretation here. Um, of what I feel at the moment and all. That's fine. I'm going to take a little bit smaller, brush my detail brush and, um, loosely indicate some of these cars. So I got violet, cat or fellow blue, maybe some brown, a little bit of the red loosely mix that with the cars are kind of moving along in here. That might be a little too dark for that area. So I'm gonna kind of move, start Maurin here. Oh, and then as I work back to that area, I think the dark will be fine And again, just kind of looking at that image and then Ana putting down what I feel versus what I see . If that makes any sense, I just wanna give that impression of the cars. And and I know I don't have to make it exactly perfect, but that's fine. That's got kind of, ah, car going down actually driving here so I can kind of indicate that one eso it's not not really much to it. Kind of something like that. Maybe kind of coming here now and get these a little bit lighter, graze kind of hit some where some light is hitting the tops of these cars on. This was getting some light on it, and that's good. I think when you're doing stuff like this, it's, you know, it's so easy to go too far with it. And when you're painting up close, you know it's it's really hard to see how that makes sense or if it makes sense from a distance. So yet color getting used to finding that balance. Uh, you know, believability and then new looseness. Because I know this is all about Peyton Loose, right? I mean, we don't want we're not trying to do everything exactly the way we see it. Um, Now I'm going to give Violet a little bit of the blue here, squinting down a touch just to maybe a little too dark. I want to kind of get the feeling of some sun and some shadows coming across that street, and that's good. We got some of these buildings and stop that air, but touch a red. I'm just can't tone that down there coming up on this side so I can start to play with these a little bit and again it's just bouncing around. Uh, not trying to take everything so serious here and paint exactly again. What's on the image? It's just Maura about, um, you the image for inspiration, right? And then we can interpret it. However we want to get with some dark grays here. We have no roof line to say on this building. That's fine. And we have this kind of, um, other building here. So and, um, you know, I'm looking at this. It doesn't, uh, looking at the image, but I'm not getting too attached to anything. I'm just getting inspiration from the image and moving some of these greys into that mixture. So get a shadow side again, just getting inspiration from this stuff, but not necessarily getting attached every single detail, because, no, I think if you just look at the image if you look at what you have on paper Oh, yeah, every night. So I think I need a building here. Just look, look at the scene and find a building that looks cool and put it down. Um, versus looking at what's supposed to be there and painting exactly what you see. If you get used to doing that sort of thing. Um, and then you'll get a lot more freedom in your work. Because once you understand that, hey, you know any building will do you? No, I don't have to paint that. Not unless you're paying this for some real estate developer that wants Hey, I want an impression of this street, you know, or whatever. And it's gotta be It's gotta be right, you know, unless you're doing something like that, that, um you don't really have to lock yourself down into the image. You know, the image is just something to get us fired up about painting all it is. And, um, and use it just for that. So brown greens, little violet coming up with just some sort of dark mixture here, this want to ah, you know, indicate some buildings in some action that's going on on this side over here works. That's he got little blue, little red kind of moving up into these whites and grays that I already have. We have a kind of a dark house here. That's all right. Let's go ahead and do a chimney. May I haven't painted a chimney yet. Lesko uh, do that? Well, the chimney there it seemed a little chimney here that works. Uh, let's see what else I see. This kind of interesting looking building lighter rooftop to it. Slap that right here. We've got the sunny side and we've got the good old shady sign. Get something that works. Dip in water on, uh 8. Acrylic Sketch Part 4: it's gonna indicate some buildings over here. We use a little red that was a little green, that someone pushed a little red into their good good, good, good. Who fail a little purple. Ah, the see through some windows on these buildings. Red roof. I see catching my eye so I could go ahead. Give that feeling of, Ah, red roof, Scott, this little kind of action here on the front. Little yellow, little white for the warm side here and go into some browns greens red. Just getting something kind of dark. Works whose do one more building here. Little violet, little white, a little bit taller building. It's good with some reds and violets will get this lace triangular looking rooftop little yellow with that red white push that a little bit darker. And that's good and skill with some light pink, transparent corsets. Brown, Right? First call that brown. I just want to indicate maybe some light areas. Maybe some of these chimneys. Maybe there's a building or red building there. There's not, but it's okay and we'll put a light roof on that push that more of the green Justo have some variation. Good take my fam brush. Get a little bit of white, a little bit of this pink tested. It's going to indicate where maybe some of the sun is coming across the street here. Some of the buildings can we hear with my small little out liner brush here. Let's have a little fun with some lines dragged into this violet blue. A little bit of brown, A little more water. Just see how these lines are. Ah, work with this piece, man. It's getting that indication of a car again. Just looking for perfection. Just looking to have some fun. Find some freedom with this piece. More freedom with my art in general. Can never have too much of that in the sea. Um, and just kind of hitting the missing some of this stuff a lot of fun, Kind of getting a little bit of a yellow mixture here. This up kind of big yellow building there caught my eye kind of going out like this. That was cool. Has ah really light side to their I didn't really catch it. Maybe they don't get it. It has got kind of a brownish roof to it and really get it get a little more brown. Here we go. And then it has another little side, something like that. Good. Kind of like the perspective or the change in, um, scale. Maybe. And that's fun. That's all needed to be just that kind of loose interpretation of that particular little area. You decided late that do anything for me. Was I excited about it? And, um, that could make that decision later. Um, but I like the feeling of it, and we'll just have to see where it goes right now. Was just playing with color, playing with shapes, not trying to be too serious. And we're not trying. I'm not trying to create finished art. It's just exploring making my own, finding my way around this stuff. And then I can decide down the road what? What it means to me. Okay, but for now, I'm cool with it. Take a break, do one more 9. Acrylic Sketch Part 5: All right. Welcome back. So this sketch here, um, was when I did, And basically, like, how all the angles and the we're playing off of each other and that kind of nice cluster of homes, and that's what all tried to explore here with. But this time, I would do it, of course, with acrylics and some brushwork and and just see how that speaks to me. Um, and then you decided that something I want to pursue. Right. So let's get going with this, all right? Ready to rock and roll here. Um, I think I'll go ahead and start with these the roof tops of these buildings. And, um, you know, I'm starting through this. The charcoal sketches and through these acrylic sketches, I'm starting to warm up here, starting to get a little more confidence on. Um, you know, I'm really feeling that energy and, um, you know, you know, the idea guesses. You know, I kind of start here, and things are somewhat tight, you know, And I'm just trying to find my way around and loosen up, loosen up, loosen up. The next thing you know, I might really lose. I can start to really put Maura my expression into it, but that's kind of where I'm asked. That's what I'm starting to feel, um, with this image and again, this this stuff doesn't happen. That feeling doesn't happen if pushes more to the red. If if I don't spend the time spent no making those connections so again, that's so It's so important to to do what I'm doing here because it's that's really where it all comes from. U. S is where my loose this comes from, and I think that's where your looseness will come from and what we're not trying to paint. Exactly what we see. We're not. We're not really about that. There were more about painting things more expressively, and in order to do that, you have to find that freedom. You have to work for it. And once you work for it, you find it. Uh, it's a beautiful thing that's a little too dark, so I must go right into my white and mix that right into the pain. It's OK. I've done this quite a bit, so I kind of engage almost how much white I need to get me where I want to go And then that's fine for now. Just kind of getting those buildings that were staging down. Um, I'm good with my small detail brush here. Some of these reds go with that. Read a little bit of the yellow kind of Go on, just shape these a little bit more. That's it. And that's all working. Okay, I'm going kind of put a sunny side on that little dragon that into the yellows. So some of those pinks on my brush and that's that's okay, too. I use my finger and pull That actually may have to use. I want to pull that color of the roof a little bit more a little bit closer to that one. And good. I think that gives that feeling of the perhaps the sunny side of the buildings there. And, uh, I may even have to go a little bit darker over here. That's fine like that. Do those chimney someone go red. Violet, Just give me something dark here. Look at the minute. The chimneys don't have to be exactly where they're at in the picture, as you know that by now you know how I roll. All right, that's good. Clean that off. I'm kind of going to start to hit some of these buildings on this side. And again, I'm not placing these buildings right where they're at in the image. It's not really that at all. I'm finding buildings that I think are interesting and is putting them close. And I just want to get that feeling of this. This and any building will do. Okay for me, you may be different. That's okay. All fun. And that works. See, a little tree here is catch him on me. We can throw some green and greenery in here, right? Gracious. It's gotta be a tree in the scene somewhere. That's fine. And got this kind of dark color on my brush. There was a shadow, some windows. That's good. See, I got a little bit that dark on my brush Still, So I know if I get a score right into my white and Flynn that in with this shadow side of the building that at work a little white, a little bit this yellow and we've got the sunny side of these buildings and we got a little shadow side here with this one on the sea here is kind of odd. Hannis, almost khaki color roof right here works. And then there's a larger building. The same similar color roof here. That's good. Let's get something that looks like shadow that works. Hey, we've got some windows. We got another shadow area on this building. It works, and green Dole itself for me. What? Those more shrubbery over here, that's fine. And, uh, it's good with a kind of a bluish dark roof here. I want to see these cutting here. Those cutting there, Maybe we can throw. Uh, I'm a dark roof here and we'll give with the light side of that dark roof. I'm getting that inspiration from the image there. There is a kind of a dark roof right here in the foreground. It's all fine. Indicate the for that building there. It's all good. We've got these buildings moving off, kind of this way in the background, works on a switch to a little detail brush here, just get with Ah, blue mixture here works. I got a little bit of light here, ruin that a colors. But yeah, these moving that way and maybe I'll just throw something in here doesn't really matter. This thing is kind of you're running out of room. So, uh, but that was fun. I enjoyed, um, catching that perspective and getting that kind of angular feel to those homes. And, um, I think that would definitely want to work with that. I really feel it. And so now I think it's time may be new to back off process what I've done and then make some decisions. Okay, Well, do any of these speak to me now to where I can move into a finished piece, move into something that want to spend a little more time on and to really, really pumped that creativity and my energy into it. So all kind of pause right here, look at everything, and then can you make that decision on moving forward? All right, So this will conclude the acrylic sketching for now and then I will see you back when I'm ready to paint that final piece. 10. Demo Part 1: Welcome back. My decision is any guesses. Uh, well, uh oh, Okay. You guys were close from a go with something like this. I just like the the angular action of that. I think it would make for interesting design, but I am going Teoh, use this building in their I really like the shape of that. I like all of this in here. I think that would be nice to incorporate that kind of structure into that. So come a combination of tube. I'm working off the 1st 1 just using that as my a source of inspiration in my direction. And then just tweaking it by just playing with the building's a little bit moving them around. Okay, so that's part of making the image your own. That's the freedom I've found at this point with that. So along with exploring color and having fun with the buildings, I said, I have been able to say I could move these buildings around. I don't have to pay them exactly where they are. And so that's that's the beauty of it right there. And the more I play, whether the more I make that building in this scene, my own. I can. I can do this for months and never get paint the same scene twice. He know by doing this. So this is the beauty of this exercise of what we've done to this point. And this is the beauty of being an artist. And we're not photographers way. Don't take pictures and manipulate will be. See, in real life, we take those images and we can move things around two. However, we want to do it to whatever extent we want to do it. So you gotta do that sometimes, right? Nothing I like here are these little chimneys and kind of so So I may kind of work with that quite a bit in this in this piece, so we'll see where it goes. I'm ready to get started. I'm excited. This kid rock. All right, let's do this. Nothing's changed, pal. It's all the same. Same colors, same brush is clean. Water £140 cold press. Uh, I think I'll start with just kind of moving these buildings in there, getting that kind of feeling. Um, you know that perspective and that kind of staging down and I'm looking at the rooftops. Saw just start right there. A little bit of fail. Oh, a little bit of transparent. I'll just say Brown said I was gonna do that. I didn't do it. But a little bit of the brown And this could something not not too dark. And this cease, We have a building or rooftop here. We got one moving down there will make this a little bit longer and leaner. We've got some reddish rooftop action and I don't want to intensive first, and these are a little bit smaller on, so all right, may I go and play with and some chimneys and stuff like that in there? Go into this white. I've got a little bit of this kind of muddy mixture on my brush already. And I'm hoping that, you know, if I just mix white in there with it, it will give me kind of a shady side, and that's pretty close. That's all I need. Good. Now, looking at these, I think, actually, I'm going Teoh bring kind of a red roof this way. That's maybe breaking that kind of cutting in front of that and little white, little transparent little violet. See if I could get a kind of a grayish mixture here for this building. I might be a little too red just dipping into my blue. There. I'll go white. This mix right on the paper here. That's OK. Perfectly legal. That's good. And remember, these kind of khaki rooftops did before. Um, say where I can put morning here. That's good for now. This was moving up. Push that more of the brown. That's good. And we'll get a little shady side here. Little touch of the actually go. A little touch of the green, red violet, Have so got some white on my brush. That's working pretty good. All right. Remember that building? That was kind of interesting. I think I may put that over in here somewhere. So we go ahead and pull that up on my screen so I can start to look at it and see where they don't go. All right. Got it up here. And someone go ahead. Kind of capture that. These shapes. Um, there were some white buildings and hear that kind of had that upside down. W action. That's kind of how I interpreted it. So I kind of put that down. Did right, into my brown, the reds and just get some sort of dark reddish mixture for these roofs. Rooftop action. That's good. And got a little shady side here to the buildings. That's good. And now I get didn't get into this other one. Um, go push that over in here somewhere and got this kind of nice, interesting shape, which I like. It's good for now. Um, switch over to my fan or my w brush the violet. Little blue, little red. Maybe a little touch of green. Just going to get a nice, dark rooftop color. That's good. I've got these little kind of features right there. I want to make room for what did that into the white and this kind of I've got. So had that blew my brush so I can kind of move that around a little bit. It kind of create. I was shady side here. Yeah, that works kind of Put some of that over in here. Drag some of this white on the front of the building just to pop it a little bit more. That's good. Pop the whites of these buildings a little bit. That's least kind of buildings and stop there. There are a lot of fun because you know you can really pretty much anything goes. I mean, there are so many different types of buildings and structures and stuff like that. There's really nothing out there that hasn't been built, you know? And you can really start to tweak thes things. Ah, lot. And I will still make sense. A little green, little violet, little blue. I've got that mixture going on. And so my brush I got some pure green there, and, uh, I just wanted to put some shrubbery in here just in at the same time. I'm kind of using that negative space. Um, Teoh, She's a Lynn. Some of these edges a little nice when you can do that. And what kind of go into a little bit lighter? Green. Maybe Pushed that to a yellow, stepping into some water right there. Good 11. Demo Part 2: good. Maybe tie in some of that green over here. I think it would look nice on. Maybe I can capture a shape or two by using that negative space. Good. So dot dot Maybe a little more green right there. But you may be right there, right? Can't have too many bushes. A little touch of white getting closer to us. So maybe maybe a little something green over here. All right. Good. Happy with that. And it's all looking pretty good. Now, I think I will just kind of look at some of these other buildings and stuff is going on back here in the background, and we got a nice thing happening here. Um, way Don't need to cloud it too much, but I think, uh, just indicate ings that some buildings are back here, too. Will be kind of nice neighbors back there. Right? We've got this little foreground area. I don't want to go too heavy on it, but it might be kind of interesting to put some sort of building I'm looking at, um, a building here. That's all I'm doing. I'm just looking at the deciding what I want to do and then looking at what is on the image . And, hey, if that works here, fine. You know, and that's what I'm doing. I'm just gonna place that building right here. I just wanted a little something, um, something right there just to kind of anchor that corner. And that's fine. Doesn't need to be any more than that. I'm going to this reds now. Little yellow, white, almost a flesh tone and just going Teoh indicate some maybe some chimneys. Since you know I love those things, the secret is out and, uh, a mix that with some green, little more red, and this doesn't need to be perfect. I just need something to say here. The shadow that works, and it's playing around here. Touch and go. All right, Now I wanna pop some of these red rooftops a little bit. Um, beauty of acrylics is a lot of this stuff almost drives you go. I'm not putting it on too thick, So, uh, you know, I can almost kind of go back to some of that original stuff and paint over it now, but before I do, I'm just gonna pull up, move my image back over to these rooftops here. And so I have some inspiration. All right, I gotta move back. Over. Um, so I'm working pretty good. I'm gonna try and just lay in some shadows of those chimneys there, so I got a little bit of halo violent, little red. And just see that. That see if that works a little bit. Well, I've got the liner brush here. I can go ahead and start playing with some lines. Kind of in the cape. May be, um, some windows. A little bit of detail. Maybe. I want toe anchor this building a little bit more and the sea and lighten it up a little bit. I got kind of this nice blue color. No one, Some windows. It's all working good for me anyway. So, uh, lightness. Rooftop up in the foreground a little bit. That khaki color still on the palate. And I will just take a little white. A little bit of the yellow. Maybe a touch more than brown tested. Maybe a little more yellow. It's really defined that edge a little bit stronger. That's good. That's going to change that up a hair by adding some white into it. Get that one. It just kind of bring those forward a little bit. I think that helped. I see. It's all fine. Good. Now we get a little yellow, little red. Mix that up, we push that a little more to the yellow. I won't do the same thing here. Was going to strengthen these. Its color up on the rooftop. Maybe push a little more on the red side. This for some variation, maybe even tries and pure red there just to see how that works. Good. I think that some coming along. All right, Um, what kind of go back to the image now for some inspiration and see what I can do over here . I don't think I need much, but maybe just a little something. I got these buildings moving ever this way. Got this kind of these homes moving up, Skilled this khaki color. I think that would kind of work nice over here. I see this kind of ah, low pitched type of roof. It's got a reddish burgundy. I'm going without the bread violet that works that color roof to it. And with the little shadow side pushed that to the blues. Maybe go to my outline. Er here, get with some darks. Little red, little green. That work. You see, I'm just adding some linear interest Now, Um, hitting a few details here in the air. Dilute that little more red. Maybe I can work some of that dark through the bush. Here works. I'm really going to go to some grays here, maybe switch the lot to this liner brush. 12. Demo Part 3: maybe push that to the blue and just get that feeling of maybe some more stuff going on over here. That's looking good. I like how that warm khaki color is looking there. I'm so add a little more feeling of texture to that home, since it's a little bit closer to us going tie that color and a little bit small detail brush going to some whites. And now I'm just going Teoh kind of indicate the fronts of these a little bit stronger. That's good. Maybe, uh, maybe this is like a little roof is pitching off the side of the house here, catching some light. I'm just making a lot of this up stuff up now. Ah, good. And we'll get with our little chimney stack here, go with the dark side. Maybe a little bit darker, Like in that, Like in that my work with these rooms just want to shape those a little bit more. Give a little bit more of a brownish kind of a pink mixture, but pushing that mawr to the brown. Yeah, I like that better. That kind of painted right over the front of that building. That's all right. Easy fix with some white well, yellow warm that up. Maybe a little transparent goats in that brown works. Pretty much is doing all this in one pop, right? That's what's happening. Didn't intend it that way. But that's that's the way it's unfolding. That's fine. We can, you know, if things air flowing like this. It's okay. I don't work. Um, like this too often, but, you know, it happens, and that's okay. You know, it doesn't, um and we don't We don't have to get locked in this stuff. And, um if you find that things are flowing and you want to No, keep it going and you know where it's going and you're confident about what you're doing is certainly okay to do it this way. And but, no, I've invested a lot of time. I mean, I haven't I didn't do this and two minutes, but ah, I didn't work in layers like I typically do and just kind of throwing. Some are just little kind of feeling of some shrubbery and just kind of bringing these bushes toe life a little bit more. I'm just gonna anchor that green a little bit, um, kind of go to this dark mixture. A little red. So nice dark green mixture here. And that's good. It was kind of getting some inspiration from the image. Andi, we go, we'll mix up some greens. I'm running out of my chromium. Someone go yellow, blue and I can touch a little read into that. Maybe a little more. There were something green back there. Blair can't. OK, that works good. I was going to strengthen some of these whites here in the foreground. See how that looks go right into that white one building. I really liked my row houses. They're they're working pretty good. Maybe you want to indicate one more back there. All right, so capture that inside of the window there, maybe a little shadow coming down. All right, That was fun. I'll let me put this now. 13. Demo Part 4: there you have it. Um, I think you're the painting is interesting. And what I want you to get more than anything out of this, though, is the ability and the freedom to take images and make them your own. Okay, that's kind of what I said in the very beginning with the charcoal sketches. So you see something you like, Um And then, you know, you could get inspiration from it, but you don't have to paint what you see. No. Instead, now you want to, um, dive into the details and find elements that you like me like you may find you don't like painting Chinese. You may find you love like me. You love painting chimneys and you look for opportunities to paint chimneys. Me may go out, take pictures of your own. You may. You could take this image right here, find hundreds of chimneys in there and just focus on that. It's kind of interesting. And you could just take cluster of homes in certain shapes and certain homes that caught your eye right and use them on D. That's what art is all about. You know, if you can understand that connection in really the division. The disconnect that should be there on but I'm talking about is when you see something you like in life, whether you're taking a picture of it or you're putting your easel out there, the scene in your painting, um, playing there, um, you know, explore it a little bit, break it down because just because you see it there doesn't necessarily mean it would translate into a beautiful finish. Peace. And if it doesn't, then great for you. But I do think he will make it more interesting if you, um, spend time developing it. Spend time connecting to it. Find those little details. It could be the windows. It could be so much there, the street with the traffic with the buildings around it. There's so much information with lance, especially city escapes and town escaped and things like this because there's so much, if you know, objects, their shapes, that you could explore this indefinitely. I mean, I could take this image and pain all year and probably find different areas that, like it could be the windows that could be the shadows of how to buildings, air playing off of each other. I mean, it could go on and on and on and on and on, and I would never get bored so long as I let my creativity become the guy. Okay, so it is kind of making that connection to the peace. So we take that thing we love, and we like to look at it. We bring it into the studio and we explore it. We play whether we dissect it, and then we make it our own. And then we do that. The painting has more meaning. It has more personality. Um, you get a chance to explore color, you get a chance to explore brushwork. Um, and you get a chance to paint a piece of art eso the process is much more engaging. I feel than this simply missing out on these opportunities, going and taking these images and just painting them right away. Andan losing out on stuff, you know, cause then, really, you know, you don't have that special bond with with your subjects. And I like this. And when I look at it, you know, you guys may know someone else may see, um, you're the cityscape or the buildings or whatever, but I see the moment in time. I'll remember these homes. I remember this one and and means more to me than just that because you made those connections. And those connections strengthen my art that give me confidence. They allow me to, um, look at my subjects differently than most people because I can see inside them versus seeing them as a whole. Okay, but anyway, I hope you enjoyed the lesson. I hope you enjoy. Um, this demonstration here, he enjoyed it and get half assed much out of it. As I did that, I think we were all winners. I think it will improve your art. I know this has improved my art, and I'm excited about this piece. I will continue working with this piece for a while because now I'm comfortable with it. Um, and I will get more comfortable with it. I will get more confidence, but it and who knows where it will go? Maybe for the next three months, I'll pay nothing but town scapes and cityscapes. It'll push me into ah, much deeper and longer journey, Then just another time. I've spent developing it here today. All right, so thanks for watching. I think You know this already, But my name is Robert Joyner. I love the pain town scapes and cityscapes and I love to paint loose. Thanks for watching.