Two For One - An Unconventional Way To Create Art | Robert Joyner | Skillshare

Two For One - An Unconventional Way To Create Art

Robert Joyner, Making Art Fun

Two For One - An Unconventional Way To Create Art

Robert Joyner, Making Art Fun

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2 Lessons (18m)
    • 1. Introduction

    • 2. Demonstration

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About This Class

In this class I will teach you & demonstrate how to create two cow paintings on one sheet of paper using a reject. Now you can choose any subject you wish but for this demo I will use my favorite go-to subject which happens to be cows.

This is a great technique that will teach and inspire you to use rejects to create expressive paintings along with a fun way to make the process more interesting. Another benefit of this technique is it will help your vision and ability to create art in unique ways. This is because each reject is totally different from the next one. So, you will need to adjust to each one which is where you will learn and develop your skills to manifest a subject through the chaos.

I suggest you keep it simple with the composition. A cow, soda can, wine bottle, etc. work well since it's a simplified subject. As you gain experience you will become more comfortable and that's when you can start to try more elaborate compositions/subjects.

Meet Your Teacher

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Robert Joyner

Making Art Fun


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1. Introduction: Hey, you guys, Robert Joyner here. I'm excited to share this class with you two for one on these lessons, I would share a very dear technique of mine paintings at the same time. And this is really a fascist week because gets you away from conventional. Any time you could tweak your routine, the studio to approach your artwork in a different manner. You set yourself up to learn mawr toe. Have four tools and tricks up your sleeve that you can go. Teoh outsmart Mark. That's what it's all about. The last thing you want to do is settled into a routine, so you're painting the same way All the time is boring, predictable, and chances are your art will suffer because it loses. Loses personality. This is just one technique that helps me get out of rut. Find myself sitting back and painting the same way, so this course paint a cow. You can do a wine bottle, coffee shop, flowers, a dog. Anything that interests you is far subject. You don't necessarily have the paint counts. It's just something that I love to do. Is my good subject on works well with this. Okay, so if you want to try something new? I had a little bit of spice. Another tool to your process. Sign up today and I hope to see you on the inside. I get I'm Robert Joyner. Love the pain. Two for one. I love the pain. Thanks for watching. 2. Demonstration: and what I have here. Some Indian yellow, some so early and blue. This is some COBOL light Violet vory V in yellow, iron oxide, transparent crimson. And this, um, titanium. Wait. Brushes. I have Ah, large square. A medium round brush. I think this is about number 12. Now. Have a filbert here. Have a really small out liner brush. Their signature brush may or may not use that. And this is one of my favorite brushes. The use When I'm thinking loose and expressive, Let it rip right again. This is £140 cold press paper. Another thing I'll do here is I'll take the paper and divide it in half. So I want to do two examples for you, and I'm going to start with my big brush. And I think I will right away get into some of these kind of Indian yellowish colors. Man works pretty good. I think I'm gonna touch a a little bit this Saru lian in here and get a really nice green. And now I can focus on one, or I think this throws from strokes around both of okay, and that's really nice, cause I use me a really bold stroke there. Now I'm looking at what I have. I have a little bit of dark right here. There's on a lot of intense dark, so I'm gonna start to anchor these colors by adding some nice, rich, dark tones. But I don't want to go to my darkest dark. I always want to say the lightest lights and the darkest darks for the details, the finishing touches. I'm at the end of a painting. Okay, with that in mind, I'll go with a little bit of my crimson. Maybe a touch of this Saru lian. Let's see what I have here. Stop bad. Maybe a little more sore Uli in. And that's just basically a nice dark blue. I can touch that. That's working pretty good. I want to go with a touch of this variety in here just to muddy it up a little bit again. It's about adding some darks so I can at something here, really loading up the brush people. I'm putting a lot of paint on that brush up. It comes through with that close up right there. Now could come over here as some darks, their little more crimson. I won't push a little more to the green Here, leave out the SARU Lian. Just so have some variety. Now I'm gonna start to find maybe the top of my cow's head there. Now, I'm just adding a feeling off shape here, maybe the nostrils and then maybe an edge right here and just want some abstract brush working started over here, and this continued over here again. That's the beauty of working with two of the time. You can kind of really have fun with your brush work there and let things go. So I have my large flat here. I'm going to use a little bit of these Greys already have with those darks, and it's not quite dark enough. So I'm gonna go with some Saru Lian some Eliza rand a touch of my green and that's pretty blue. And looking at this, these are all pretty blue. I think I'm gonna push that to a red I think would make a little bit stronger impact with this first layer. So again, look at what I have and then you go. Okay, that's cool. I could start going down. Ah, little bit of these areas where there's gonna be a little bit of this white and spotting on the cow and now clean that brush off Really good, very important. So I have my water reservoir here, and that's tucked down out of sight. I just want to make sure I get all of that white off. If I don't get all this weight off them. As soon as I start mixing with painting with this brush again, it's really going to kind of make my other colors chalky looking. And I want to make sure it's clean so that if I don't want that chalk, you look I want Chris dark colors or whatever. Then I have that option. Okay, so that brushes clean. I'm gonna shoot to my Filbert. Here. We'll go with my crimson and go right into these kind of gray's eso by starting a little bit muddy. I have a chance to use mawr. Interesting colors, more intense colors later on. And I like all of these yellows in here, Maybe I want to try to preserve of some of those. Okay, so I'm just going kind of drag that brush along the paint or along the paper in a way that leaves little pockets here and there. That really again? I like that color. I don't want to lose it all. That's good. I want to maybe tie that color in a little bit, and that's fine. And now I want to add the next layer. So I'm gonna go right into my titanium white, right into that previous color I mixed. And just to change it up a smidge, I'm gonna add a little bit of my yellow to it. So now I'll think. OK, well, maybe I want my kind of lighter areas to be over here on this side on something like that. Okay. And let's see, kind of add a little something, This one. So now the idea is I want to look at what I have and my thought processes is what can I do next confidently that will improve the cows. I feel like these paintings, believe it or not, are getting close to a finish stage were still very loose. They're this. They're falling apart. There's not much there to keep these cows hole to keep to keep them or make them believable . Okay, so in a lot of the reason, why is because the edges, the shape of the cow. You can't see it yet. So here it ISS. You can kind of see that rule basic shape now taking that away. You can't really distinguish that shape yet. Okay, so it's just still to loose. But in my mind, when I'm looking at this kind of loose beginning, this is what I'm trying to envision. What? What can I do to create some of these edges? I don't need all of them, but I need enough of them to make it believable. And so what I decided to do is simply use crayons. Okay, so I have a light blue. I have, Ah, very, very light yellow kind of a light violence. Well, here I have nothing. This is completely fallen apart. So I'm thinking the crayon might be nice over and here. I think I'm gonna start with my yellow cause I really want to make an impact here. I kind of smudge that doesn't like the way that was squared off, but I want to balance it out. Okay. So to balance it out, I'm thinking we'll a lot a lot of these strokes air over on this side. Maybe I kind of come up in here and feel a little something there just to balance it out. Maybe I'll introduce it here. Maybe that will be my ear, maybe a little nostril there and so on. So maybe I could just add a little something in there to me that starts supreme things together. So I have this edge. Now I have the edge of the nose, so starting to bring that nose shape, toe life, I kind of capture a little something here. But that was really Mork, Um, balance out this over here. Same thing I had this kind of area that could be the ear, even though it's just zigzag lines. OK, it will start to look like a near when the rest of this face comes together because it cause it's really about suggesting things. It's not about painting exactly what we see. It's about looking at the shape of the ear, where it goes relative to the face and the nose and all that stuff, and then putting something there, the viewer can say, Oh, well, that's that's where the ear is. Even though it's a bunch of scribbles, it's to me. That's what the year, guys. Right, um, kind of captured a little bit here. A little bit of feeling of the nose shape, and then maybe an edge over here. Okay, so I'm gonna go with a little bit my crimson, a little bit of my transparent yellow iron oxide, and then go with my white. Looks like I have a little bit of my lighter side over here, so I have darker weights over here. Lighter lights there. So maybe I want to continue that thing so I can put a little bit of lightness over here. Same thing there. I can lightness there if I want to tie that in that color, I can do that by just adding a little splash dark red here and just add some shadows to have a nice little yellow there. I don't want to lose that, because that's the under painting that was put in. I just I don't want to lose all of that way to go, and that's working pretty good. So that makes that knows area a little more believable. And now, if you remember to I have these weights now started very, very dark. And that put a nice light layer over top of it. But I haven't gone very light yet. Over here was very, very light. And over here, you know, on this side is dark. You know, I'm in the middle, so I have plenty more to to push that to a lighter value. I take a little bit of my whites long liner brush here. Think. Okay, What do I have? What will be will be an interesting color. I think I'm gonna kind of work with some of these yellows and greens and little more water . You see, I've got that loaded up. Look at that complete disaster of a brush and paint. I mean, how can predict what's gonna happen? You really can. The beauty of painting expressively, it's the essence of painting expressively. OK, but don't try to control. It's the unpredictable results that makes things express. I can drag a little bit in here, and that works fine. Maybe I want to tie that in. And a little something here. As you can see, I'm just capturing a little edge. A little something here and there to make this thing of these cows a little more believable . Okay, good. So I could take my tip of my brush, describe in here and make just some a little bit of drawing through wet paint. Load the brush up. This is my filbert brush. And at an edge there. I want to capture the bottom of that where that here would be. And that's lovely. They add the shape here it is clean. I got all that weight off with their I'm gonna go when with my reds, maybe a touch of green. And this may be drag a little bit of brown into this for my yellow iron oxide. I'm just coming up with a dark here, that's, you know, looking more of the value of the color and not so much the pigment itself. So I'm not really concerned with colors. Just I want something dark, This here still very loose. I can add a little outline here for the ear and maybe coming here, do something like that, getting back into my darks and thinking edges. And you know, what do I need to make this believable? That's all All I'm after that's looking pretty good. Maybe I just want to capture the top right there. Uh, just a little bit of light pique and drawing for the nose. And maybe I want to draw a little nostril there. Maybe a little something here. Now I can go into my pale yellows and whites and I'm gonna push this mawr to a yellow than the green. I've got a little bit of green mixed up with that. I had the brush loaded up. I'm just gonna splash from color and mayor, maybe catch a shape. How that in. And that's just adding a little bit of detail. A little bit of fun, finishing touch there to the cows and they work. Thanks for watching. I hope you enjoy the demonstration. I hope you take something from it. And of course I will have playing. Maura these on the way. I'll see you the next back.