Transcripts
1. Introduction: Welcome to acrylic painting ideas. This class is suited from all levels. So if you are a beginner or even an experienced acrylic artist, that you want to break out and try something new. This is for you and the lessons we are going to throw the rules out of the window, loosen up and just have some fun creating some expressive artwork. Subjects vary from Abstracts, two, fluorophores, coffee cups, tea cups, and much more. Each project is very easy and each demonstration is uncut. So you will get a step-by-step process on how you can some study art books. So if you're ready to get started, grab your paint brushes and paper, and let's start slinging some color.
2. How To Use The Platform: In this video, I
just wanted to go over the Skillshare platform. I know some of you
know how to use it, but I know there are
many others that simply don't understand how
to create a project. How to add more photos, text, and things like that. What I will do now is pull up one of my classes on Skillshare. This may not be the
class you are learning, but it does have everything we need to cover what I wanted to share with
you in this video. This is my watercolor workout
basics and beyond class. And you've got the main
video here. Obviously. If you wanted to make
that video bigger, you can click that and the
top right hand corner, and that will enlarge the video if you want to reduce
that size again, come up here to the top
right-hand corner, click it. And that's going to bring up your navigation menu on
the right-hand side. Now if I hover over
the video with my mouse down here
on the lower left, you have play speed. For some reason you
wanted to slow things down or speed things up. You can always change the speed. Keep in mind if you do change, it just makes sure you
go back and set it to normal if you
want to, in fact, see at a normal speed, you can also rewind
things 15 seconds. If you're watching something
you wanted to see what happened within 15
seconds together, you can click that and
then I'll take you back. And now 1515 second increments. You can click it three
or four times and go back 45 seconds a minute,
whatever you want to do. If you want to make
a note of the video, you can click this little pen That's going to
bring up your note. And that's a good way to remind yourself if something
interesting happen there. And you just wanted to
sort of jot something down that sort of
clicked in your mind. This is your volume. So if it's CBC, this slash like I
have now lets you need to unmute it so you're not going to be able
to see the sound. If I click that now, I can now hear the video
if it were playing, this would be subtitles. So if you wanted to
have a subtitle and the various languages
here, you can do that. You may not like
having subtitles. You can put subtitles
off on the top of that. So if you don't
want to see them, That's how you get rid of them. Again, we can go full screen with that feature in the
lower right-hand corner. So if you wanted to see this and this largest
possible resolution, that is going to be
the option to do it. Okay, So again, that's that one. So that tells you a
little bit about how to navigate some of the
options on the video. Over here on the right. So long as you're in this mode, we can scroll down and
see the different videos. All videos that you
have watched all the way through should
have a checkmark. If you want to again,
get rid of that, you use this button in the top right-hand corner,
you can get rid of it. And then here we see it. Now down here, we
have some tabs. We have the About tab. So that's going to be the class
description that I added. I will often add other classes that you
may be interested in. So throughout the course, I may say if you want to learn more about how to
plan watercolor art, be shorter, checkout the link
in the class description, and that's gonna be right
here in the About tab. So if we scroll down, we can see all of
these are links to different classes I have. So that's a little bit
about the about page. Reviews are where you can see how awesome reviews that the
students left on the class. Here, our discussions, discussions are very
important because that's how I'm
going to notify you about each new lesson of
when they're available. You will see, if you scroll
down, you'll see discussions, you'll see where there's some
different things going on. This is important too. So if you have questions about the class or a
lesson you watched, then you can use this
discussions to get in touch with me and I'll try to respond
to you as soon as possible. You can also share links
and the discussions too. So if you have something
you want to show me, you can always link
it up and I'll be able to see it. Here. You see I can start
a conversation, I can ask a question up and
share project and so on. Speaking up projects,
if I go right here, this tells you a little
bit about the project. So here you'll see each lesson
has a project well almost, but the point is to get
involved and started doing the demos and projects
shared in this class. And here you can scroll down
and see all the students that are posting projects that there's one do
you want to explore? You can click on
that and just see what an awesome job the
students are doing, getting these different
projects and things done. Of course, you can
comment on these two. So over here on the
right-hand side, you can click on that. You can share a little feedbacks and encouragement,
whatever you want to do. If you look at my
project right here, you're going to see that I've got a detailed breakdown
of all my lessons here. So each time I post new
lessons in a class or a demo, I always break it
down and give you a really good description
of what's going on. Now you may want to
create a project. Now, since I already have one, are you going to see
that I don't have the option to make another one. But here is a class that
I don't have a project. You will see this green button
on the right-hand side. To create a project, all you have to do
is click on that. And that's going to bring
up your project option. Now the first thing you'll
see is a cover image. If you want to add
a cover image, just click on that and then
navigate to your image. So I'll just select one here. So I'll select this one. And then that's going
to upload the image. Once it's uploaded. I have the option here on
this slider right there to enlarge it and then
sort of move it around, however I want that to be seen. And once it's done,
click Submit. Again, this is just
the cover image. You can go ahead and add
a title and I'll say, awesome class by Robert. If I can spell that right, that would certainly
help. Description. Hey, took a three-week class
and here's what I did. Now if I hit Enter, That's going to bring the
cursor down here below. And then I can add an image. You see down here, you can see, you can have three options
to add more content. So if I click on image, I can add another image, so I can click on that and then you have to
give it a second. And then that's going
to upload the image. Now I can click Enter and you see I can write more content. I'm like, This is my
cool fish painting. Now, if I wanted to add a video or link and
maybe you're like, Hey, did you happen to see
this picture, whatever. You can double-click on a word and then you have a
link option here, and you can paste
the link in there. Just make sure you
hit the Check button to make it active. And now I can hit enter again
and then add more images. That's how you can
make your project. If you don't want anyone
to see your project, you can click this button
here to make it private. But once you're done,
very, very important, scroll back to the
top and hit Publish. And as soon as you
publish your project, that's going to be visible
for everyone to see. So that's publishing right now. I'm just going to
give it a moment, alright, and then there
it is, right there. So I just added my projects. So let's say you want
to edit your project, you click on that again. And now you come up here to
the top right-hand corner. You can click Edit, and now you can scroll down. Make sure you put the
cursor where you want it. So if I want the next image or the next video or whatever
to be below the fish. I can come down
here and click on the end of the
sentence, hit Enter. And now again, pull in my images or wherever it
is that I want to do. Again, make sure you hit
published when you're done. And then that's
going to save it. You just have to be patient
and let Skill Share save it. Another thing you may
want to do is share your project on social media. So you have this
Copy Project link. You can copy that and share
that wherever you wish. Over here on the right-hand
side, you can hard thing. So if someone did a project
that you really like, you can give it a heart. You can share a comment and say, those fish are amazing, and then hit posts and
that's going to share your comments with whoever
it is you're talking about. So again, just good
stuff to know. And I think if you learn how to use the projects
is very useful. And teachers can often
see them and hopefully they do and they can give you some feedback on
what you're doing. The last thing I want
to share with you is right here under the again, we've got about reviews, discussions, and then
project and resources. These resources
are downloadable. If the class has images,
resource images, whatever the case may be, you can click on the
link and that's going to download it to your device. So I hope this video helps you out and that you
understand a little bit more about how to navigate
the Skillshare platform. And then of course, the
courses that are taught there.
3. Materials: Let's go over some materials. You will need some drawing paper just standard than drawing paper, 70 pound as fine. That was brand new on prefer use drawing paper. So if you have any old sketches around o sketch books, anything that has marks on it that will be even better. The actual art paper that I'm using, this is Bristol paper. You can also use any sort of acrylic or mixed media paper. Even thick drawing paper will do. I'll be resizing mind to roughly seven by ten inches. So that is the size art work I will be creating for most of the demonstrations. So that again is the paper Bristol. Again, mix me your acrylic paper. I use mat heavy body acrylics. This is artist grade. I will be using titanium white hands, a yellow light. Then I have let me get that label it I guess. Then I have some dairy lied yellow, cadmium orange, Alizarin, crimson, cadmium red medium that is burnt umber. So a good, great mixing color to have a round cobalt blue, and then I have some fellow blue or yellow, green and Jenkins green. But again, feel free to use whatever colors makes you happy. This is my palette, just an old piece of foam core. So there are my colors on the palette you can use wherever palette makes you happy there, I recommend having a large synthetic brush, a medium synthetic round, a flat, and then a small detail brush. But again, I'm flexible on brushes whenever you're accustomed to using, that is a 4B graphite pencil. I also have some Karen dos artists, gray crayons and various colors. So good mark making tools. A pair of scissors and exact though knife, because we'll be doing some collaging and cutting in this course. Also, I recommend having a palette knife to scratch into your paint. For my glue, I'm using mod podge, but feel free to use whatever glue you prefer. A water reservoir. So this is a one core plastic reservoir I'll be using that. This is a p, a large piece of cardboard really thick since I'll be gluing and then cutting and all that stuff that makes for a really good surface to work on. And lastly is an old rag or some paper towels and you're good to go.
4. Making Collage Paper: To make the collage paper, I'm using some teaching drawing, some old studies are highly recommend. You never throw your drawings and studies away. So Breakout those old sketchbooks, sketch pads. If you don't have them, take some print, paper, whatever you have at your fingertips there. And when I do then is take acrylic paint and smear all over it. Now this is a pallet, so I use for acrylic painting any way I like to use foam core or cardboard as my palette. And then any sort of leftover pane I have at the end of a session. Instead of throwing it away or let it dry up, I'll will take my palette and smeared all over the paper. Now if you don't have that and you just simply want to start from scratch, then, you know, just grab a big brush, any sort of random colors that you can come up with and just start state in the paper. And the cool thing about this is you're creating this paper without any subject matter and mind. To pull this off. Well, I recommend you have a variety, so have some paper that's lightly stain like I have there. So very, very thin, a lot of transparency, neutrals. And then of course you'll have sections like I'm doing now that are more saturated, more colorful. So get a variety. So if you know, you like painting landscapes, do some greens, Brown's, things like that, that, you know, would be useful for your subjects. But what, again, what I do is go very, very random. So again, I own, at this point, I don't have anything in mind in terms of subject matter. So these colors are completely arbitrary. So you can see just keeps smear in and then I can take water on my brush and just thin it out a little bit. I can take a rag, paper, towel, whatever, and remove some of it to get some texture. This is a water-soluble crayon. So I can go over that and just make some random strokes to create some more abstract qualities. So that was a blue, this is a, a yellow ochre crayon. So if you don't have to have Crayon, it can use oil pastels, you can use charcoal. You can use colored pencils. I'm whatever you have at your disposal to create this paper. The main thing is you want to have it, you want to have a variety of it. And my paper is 18 by 24 inches. So the larger the better that gives you more options to play with. And that's about it. So that's how I'm going to make the paper for the painting's. So hopefully this will help you out and then of course you can make your own and then you'll be well on your way to get started.
5. Daisies In White Vase: Welcome to the demo daisies and a white vase. And so you can see where this is going. A lot of fun, nice and colorful and loose. Let's get started. So I've got my scrap drawing paper there. And you can see, I think it was probably some sort of composition demo. So I'm going to use a little bit of the green, touch the red in there just to gray it out and go over it. Nice and loose. I didn't Over painted. It wasn't too thick. So you can still see some of the original marks underneath. Very important to do that. You know, you don't want to use all of these scrap paper and old drawings and stuff and then completely paint over it. If you do that, then you're going to lose that extra quality of having those abstract no strokes underneath. Alright, so I've got a rough drawing here I'm going to lay out. So most of the blooms we'll be shooting off the left top left-hand corner. You'll have another little bunch down there by the vase on the right. And I'm not drawing every flower. I'm not drawing any flowers. I'm just drawing the main shape of the stems and where the bulk of those flowers will be. So i'm going to fall back now just to give you a feel for how that is. So I added a few just so you can see it. So there's my piece of paper there, nice and dry. And I'm going to use a pair of scissors. And I will cut that out in the shape I need. So getting the top of the table there. And now I'll just hold that up to the artwork and getting a feel for where everything needs to line up. Again, this is not about making it perfect. This is just about ballpark in it. And that will give me two cuts. I have one more to go, so I will get it on the opposite side there. So I've got the height, the width, and now we're ready to glue. But look at that, that's so cool to have that collage paper as a beginning. And again, you can't really predict this stuff now you can't premeditate and come up with this without having this sort of random sketches and things like that to work with such a great way to do it. And you end up with a lot of abstract qualities that you really can't plan floor. I guess that's what I'm saying. I saw a press that into my paper again, that's mixed media, acrylic paper. Super sturdy, super awesome. Links are in the description to my materials. If you have any questions. And now I'll use my scrappy house brush here, looking for a pale blue, greenish sort of hue. So I'll add a little bit of jenkins, a little bit of hand say yellow. If you look at that, enhance a yellow and you can see that has a touch of that green in there. So that that'll work pretty well and it's not perfect. I'm not trying to get the, the blue exactly where I want it. I just want to get it in the ballpark because I know this is only the first coat. A hairdryer will do the trick here. So that's going to speed up the drying process. And obviously, so once I get that, you know, a 100% dry, then I'll be ready to roll with the next stage. So here we are, nice and dry. Taking a small pointed around and I'm going to go with a warm yellow. So yellow ochre dairy live yellow and a touch of the hand side, even a touch of the green. A touch of the red in there. That gets to gray can always pull some reds and yellows back into it, and that'll move it back to a warm hue. So real lose very, very quick and adding the center. So these, there'll be the centers of the daisies. And again, I'm not trying to mark the exact size and everything. I just want to splotch a few of them in there. And now give me a reference to paint some leaves. Here I'm moving painting with a small square or a flat brush. And again, not painting every single Daisy leaf, I just want to hit a few and the rest will just be kinda chunked in there. So whenever I'm Dawn painting like this, I'm always keeping in mind this idea of painting in layers. So I know if I just get this chunky feeling in there of the daisies and the leaves. I don't have to paint every single leafs. I can come back later when I do the background again and I can shape and form the daisy leaves. So that's kinda what I'm Dawn. Again, I know all of this yellow won't be showing in the final version of the painting. So again, just getting more down than I need basically. Alright, so that's looking pretty good. I want a white vase, so I've got some scrap paper here. I wish I were to use another sheet because it has some beautiful yellow collage paper there, but oh, well the backup it as white. So what I'm doing is I'm pulling that up to my painting and drawing the shape of the vase that I will need. And then of course I'm cutting that out. And even when I cut it out in a very loose and kind of free with how I'm gonna do it. I don't want it to be a perfect looking base. I want it to be, you know, kind of, I guess you could say sloppy, but I don't like to use that term because painting loose and having freedom with the artwork, sometimes people misconstrue that ever being sloppy. And it's actually pretty, pretty difficult to do. But I'm not looking for a precision out as kind of leave it at that. All right, so that's looking good. A little bit of glue on the back of that. And we will be ready to add our vase now, could I have painted that with white? Absolutely. But the beauty of this collaging is again, you end up with these very random stroke sometime some, we'll look at that white has got little dots of yellow, it's got little pencil marks on it. And see irregulars is kind of a jagged and looking at edge and they're very hard to incorporate that stuff in your artwork without using this method. So I'll see you guys in part two.
6. Daisies In White Vase Continued: Okay, so here we are, same spot. Nothing's really changed. I want to just press some of the edges of the vase down really good here so that it doesn't buckle up. And if some of the edges did curl or buckle a little bit at what? Panic about it. Just kind of go with it. So yeah. So that's Rolon. And now I'm going to go in with a more pure and saturated yellow. And it's kinda do some layering. So I want a feeling of some of those flower petals and DZs and whatnot being over the top of that they face. And now that some of that yellow has dried, you can see it's a little bit muddy look and I really want those flowers to pop. So I'll just add a little more life to that by adding a more, thanks, thick, pale yellow to it. A very small, again, this is my watercolor brush here. So I'm going to go with a little bit of blue here. No, I have a feeling of maybe a little bit of green in there as well. And again, that's just cobalt. And I'll start this adding a feeling of some details to this vase and a few curves around it that gives it a feeling of some form there. So you can kinda feel the shape and the volume of that vase within that didn't even put any shadow into it. So you can see there's not much light and shadow are any light and shadow on that vase by having those lines that go around it and it with the details really give it the form that it needs. And it gives you the volume thing kinda feel the shape of it. So there it is. So if a few details you can see this is starting to come together pretty quick. And I'll go go in now it's a little bit of white. I completely forgot about the handle to the vase. Saw at a big handle, they're just using paint. And I'll touch a little bit of that white into the blues just to break up some of those lines. And then though a couple of blue details on the handle, we'll just kinda blend that end. And now I'll use my hairdryer to dry that off a little bit. So I want to make sure those thick yellow marks and the white that is put in for the handle, I want to make sure all of that is nice and dry. That way when I come back for the background, I can easily do it without the blue, the light blue of the background getting blended into the paint. So I totally forgot to put the stems though. Some who I've got a little bit of my earthy green there. So that she's Jenkins little bit of yellow ochre, a little bit of cad yellow, probably a little bit orange and dairy loud in that as well. Just to give it that yellow, reddish, sort of green. I just want a few flowers, a few stems in there. Now I can go for with the drying. And as I dry it, if I see things I need to be done, I'll go ahead and do it. So I want to put a few yellow flower petals over the stems just to give it a feeling of depth. So you can see some of the flowers in front of the stems. Some of the stems are behind some of the flowers and so on. And also, it's probably a good time to take some of the warmer red or yellow centers and add a few of those in there. And that's going to pretty much do it for the flower. So that'll give me the centers, gives me a nice yellow. So once this is all dry, then I can move in to the background. So nice. I want one of the things nice and thick, nice and clean in terms of color. So I'll want this background to be creamy look in. But I don't want it to be too pale either. So if I'll put too much titanium Lake and under this mixture and it'll start to wash out the color. So I'll go back and forth with the yellow and the cobalt blue until I can find that right balance. And plus I need a lot of it and I want to put it down really thick. So you can see adding a little more yellow here and is bringing that color into it so it doesn't look too washed out. And obviously still not happy with exome pulling that cobalt blue back into it. So again, we don't want to washed out looking because we've got that big white vase. But I don't want to dark either. And I don't want it to compete with the dark details of the vase, those blue marks. Alright, so that's looking pretty good. I think I can probably work with that. Now as the hardest part is going to be getting some details and the flowers. So I've Just Seen a few petals here and there. Just to give it some shape. So you can really feel the, you know, the petals of the flowers. You can see through some of the flowers into the background. Kinda like tree holes are sky holes in trees. So we don't want, I don't want the flowers would be sold dense that you can't see the background. Being able to see through it. The flowers is kind of nice because again, it gives you that layering feeling that things are in front of each other and so on. Alright, so you can see that I've got a few petals described there. Have had a few that didn't even need. I just painted over. So again, this is really thick and opaque paint here. What wasn't stingy at all with it. So I wanted to make sure I had plenty to work with. And again, the thickness is important because with a thicker opaque paint then you only get a very creamy texture look versus something that's really washed out looking. So that's kind of what this is doing is giving that thick chunky look versus being too thin, like watercolor. Alright, so that's coming together pretty quick. And I noticed that kinda appreciate where we started with the tabletop in the abstract paper, the white vase and we use it was just paper and we painted blue details into that. And now using that exact DO knife there, this is, the blade is retracted. I know you probably know that, but I'm just kinda using the tip of it without the blade to scratch into it. So here it is, image taken a natural light. Hopefully you enjoyed the demo and hopefully you'll give it a shot as a nice, fun, easy one to do, and hopefully you'll get it done. So thanks for watching and I'll see you in the next one.
7. Flowers With Glass Vase: Welcome to the demo. This one is appropriately named yellow flowers and a class face, nice and loose list. Go ahead and get started. I will cover my paints, which I've already covered bowed Just to recap here. Titanium light. This is hand say yellow light. Again, titanium white there. This is the next one is dairy lived yellow cad Orange, Alizarin, crimson cadmium red medium. Up in the top right-hand corner, I've got some raw number, cobalt blue and then a little bit of jenkins green there as well. Now, I'll also add some yellow ochre to the palette. I forgot to put that on there, but yellow ochre is the last color. The paper is mixed media paper. Again, this acrylic paper, nice and sturdy. And I will begin by adding my drawing. That is a 4B pencil. And whenever I put my drawing and I generally will keep a very loose sense. And that's pretty much my style. If you are a very representational artists than obviously, you would want to add more details, but much of this is the subjects are made up. So a little bit of inspiration may be from previous paintings I've done. But just keeping a real simple as far as any detail and for what I'm doing in this course, I really don't need a lot of detail my drawing, nor do I need a photo reference because it's so, you know, for fun and, and to keep it loose and that sort of thing. This is basically the main design idea with the flowers. So I've got a couple of bigger yellow flowers in the top left-hand corner. I'll have a series of smaller yellow flowers just below it. And then I'll have one of the flowers is kind of like bent over and heading out towards the lower right hand side. So a little bit of a curve to the vase. And that's it. At this point I'm going to use some scrap drawing paper. I went over this in materials. But here I am putting my ocher on the palette. But I use a lot of these demonstration drawings and sketchbook drawings and stuff like that for collaging. This one has a bunch of scribbles and stuff like that on it. And I'm going to now take some yellow ochre, a little bit of the raw number, a little bit of the yellow even and, and blue and green and just come up with. This dirty, muddy looking yellow. And that should do just fine for the tabletop. And look at all that broken colors not over blended. So I just put a few strokes down and then I'll let the rural chunky and rural rough around the edges. Here I'm using my hairdryer to to speed up the process, dropping a little bit of water into that wet paint. And then I can use a towel to lift some of that color. And that's a good way to create some texture and create some entrust. And that big splotch of color. Alright, so nice and dry here. I'm going to cut this out in the shape of the table top. So I've got the paper handy. I've got a piece of gator board. You can use foam core, you can use cardboard, any sort of Mason ion or whatever that you need to to protect the paper. Here I'm holding the paper over top of my artwork just so I can size it up and make sure I'm cutting that the right size. So I'll need to get it perfect the first time, but I want to get it large enough and then I can fall back and get him more precise. Alright, so I've got it. I'm back on my drawing here. You can see the bottom is a little bit long. So I gave that a real light mark there, just kinda rubbed into it so I knew where to cut it and then I've got it. So yeah, that's a really cool piece of collage paper handmade, right? Then I can use to begin it. There, there is my mod podge once again, so I'll be using that for my adhesive. I flip that paper over. I've got some lovely yellows too. So that's all handmade collage paper that I have created in the past using a large brush and of course a mod podge. We'll get a little bit of tacky glue on the paper. And I'm just using the, that's scrap drawing paper to keep the glue from getting all my painting. Alright, so there you go. We are well underway here. You've got to admit it's a lovely start. Yes, that's sarcastic. They're just kinda messing around with you here. And I'll use a towel to smash that into the paper. And now I'm going to begin with a background. So the background is going to be very pale, kinda of an off white. There's a little bit of paint leftover on that brush. And I just kinda rubbed that into the paper. Here. I'm using a little bit of blues, some weights, a little bit the dairy lived yellow, orange. And this, again, a very pale wash basically is all I want to do here. Nothing too thick. So put it all in nice and thin. And then I'll come back later on and add another layer two that once I get the flowers and there, alright, so that's looking pretty good. I will use a hairdryer and dry that off. That DOE does help up the speeding process as I am doing it. You can see I'm building that, paying that paint up a little bit. So I add a few strokes of the off white. I just felt it was a little too pale, so I'll going to warm it up a little bit with some of the yellows and yeah, so this'll wants this is a 100% dry. I will see you guys and part two.
8. Flowers With Glass Vase Continued: So again, nice and dry. I'll start with my greens getting a little bit of jenkins as my base. A little bit of yellow ochre. Hand saw a little bit the dairy lied and even a little bit of that raw number in there, some titanium white. And I'm looking for a very earthy olive green looking shade. So fill of this painting is going to have that kinda earthy palette to it. So I think that's pretty good for base again, I'll add some lighter and darker values into that green. But yeah, just touching that brush here and there again, I'm not trying to paint like every single stem the way it should be. I know I'm going to come back later and add another layer to that background. So even though this is a very, very chunky start to my leaves and stems, I'm not concerned again about getting it perfect because when I do that background the second time, I'm going to shake all of these, these green strokes and I'll make them into something a little more clear in terms of a shape and a stem and that sort of thing. So obviously, this is a little bit darker. So a little more of the Jenkins, a little touch of the cad Red medium went into that. And, but not much. And here I'll touch a little bit of white into it. And that'll give me a really pale green to add their two, the vase. So yeah, that's working pretty good. A little bit of blue, kind of a I'm looking for gray, a kind of a cool gray here. So that'll help me mark where the water line is and the vase. And yeah, that's all looking pretty good here. I'm going to switch to a very small detail brush. That's actually a watercolor brush by use it quite a bit for my acrylic painting. When I use it for acrylic though, you gotta make sure you wash your really good obviously, but then also, you wanna make sure you thin your, your paints are pretty good with water because there's not, the bristles are very soft. So, you know, water just makes sure that brush doesn't get too dry or CISAC kinda pick up much pigment. So here it is, adding some stems, a few darker shades of that brownish green. And that's all, you know, looking pretty good. So I'll get a few more thin strokes and there again, just trying to get the illusion of some stems, some leaves, maybe near the flowers, and that should do it. So this is all looking pretty good. I think at this point, I've got enough of the green down. And again, I went very chunky. So I wasn't trying to make these green strokes and shapes perfect because. I just wanted the color to be where it's supposed to be. Then I'm going to come back and chisel that with the background and make it into something more definitive and and shapely. So I'm not, I've got the green on, I can start moving into the yellows. So dairy lied hands a little bit of white and looking for something that really warm yellow. So it's what's your read, that's what I like about the dairy lied. Yellow has got a little bit of that red in it and it makes some lovely warm yellows. But yeah, you can see just getting the again very loose with my shapes. I don't want too much. I want to make sure the biggest yellow flower is in the top left-hand side. And the rest of them are kind of very young, almost as bulbs, if you will, just not quite blossoming at this point. So we've got the one that's at the top and then the bottom right that are a little bit larger. So it's time to move into the background. But before I do that, I want to make sure that everything is dry so that green and the yellows are a 100% dry. That way when I do the background color, it's not going to bleed into each other out. That'll give me a lot more control over my edges. So I want to go thicker now. So thick paint, a little bit of water into that as well. A touch, a blue touching the greens and grays and yellows. I wanna make sure the background has a mixture of, I wanted to be dominant, warm. But I wanna make sure it's got a little bit of those cools in there as well, so that it doesn't look flat and boring. Alright, so here you can see that's a little bit of a bluish pale white up put on first. So I'm going to move in with some warm yellows and whites now, or a warm yellow, white. I'll try to get around these edges pretty good. Now if I went with a smaller brush, I could get that those edges and the details are a little more cleaner, but I didn't want to do that. I'll just pick this brush because it's probably a little bit big for the job. But that's going to help prevent me from putting too many unnecessary details in there. So I want to create the feeling of flowers in a vase, but I don't want to get too specific, too detailed. And painting every single nuance of the flowers and stems and leaves and such. So a slightly bigger brush sometimes is a good option because it will prevent you from getting into too many of those little nooks and crannies and hopefully prevent you from doing too many details. If, if that's something that this is a style that you're trying to work on, paint loose and. And that sort of thing. So B, again, if you go with a small brush loud times, that's just a dagger to the artwork because you'll just end up killing it with all of the different strokes and details. And that really isn't conducive to painting loose in my humble opinion. So here you can see getting around some of the stems of the flowers, the leaves. And just little by little, we're just trying to get it to look cohesive, know without getting too, too tight. So now we're going to warm it up or cooled off a little bit. So I'll put a little bit of blue into that and change in the color up. That's another thing you want to do. Don't try to. You should have a little alarm clock that goes off in your head that says, hey, you've been using that color too long and you make these subtle shifts and color. It can be a little bit lighter, a little bit darker, or a little bit cooler, a little bit warmer, a little bit grayer. In any case. That'll help give some vibration to the, to the artwork. If you don't use the same color all the time and over, blend your strokes. So if you look at this really closely, you can see all the subtle changes and shifts and Hughes, even in the background. But collectively, it's a pale, pale white, Right? But does have subtle variations and that's what gives it some energy and some life. As opposed to again, over blending it. So everything's wet. Here I'm using my 4B graphite and I'm drawing into the wet paint. So that's going to do a few things. That's going to add some linear interests so you can scribe into wet paint. And it'll create these sort of grooves in the paint that, that'll give it some texture and some line quality. And then also in certain areas is the LED itself. The graphite is going to show two. So that's going to again add some line quality to it. And so on. It's not as predictable as as like drawing into dry paint. And but that's why I like to do it into wet paint because I get some kinda random strokes I couldn't ordinarily do. I. So that's looking pretty good. So we've got the main shapes and there we get some nice line work. Here I'm going to get some more warm greens. And to do that, I use a little bit of cad Orange into that mixture. And again, orange being the red part of the read family. They are part of the Yellow family of two. That's going to mixed that with green. It's going to give you a darker, warm green. So a little bit a yellow, a little bit of white into that. So we're going to just lighten that value up a little bit. And we'll go in here and redefine some stems and some leaves where they were lost and paint the background, but not too much. I mean, we know again, you know, it's, it's all about balancing abstract qualities with representational qualities. So if you go back and you add too many details and the clean up all the rough edges, then it's very hard to end up with a painting that has those expressive qualities to it. So if you want a nice loose look, then you have to have certain areas of the painting that really are. They don't make a 100, they'll make sense. You know, this. You know, it's just there but it's not like completely Over painted. So here I have an exact O naive, but obviously the knife is retracted. Am describing into the wet paint once again. So I'm just using the tip of that. I could use a palette knife. Ok. You use the tip of a brush, a stick, anything to do this. But I just happened to have the exact DO ninth handy. So I'm going to describe into the paint with that. So I'll get a few of the flowers, a few little zigzags in there. And again, don't go overboard, but add enough where it just gives a little bit of extra quality to the paint. So there it is. There the image was taken and natural light, and that completes the demo. Let's move on to the next one.
9. White Flowers In Red Vase: Welcome to white flowers and a red vase. Another very generic names, but hey, I'm keeping it simple here. Alright, this one was start with a toning of the background. So I got one layer on there, that's schist Jenkins, a little bit of hand say yellow and a little bit of the dairy lied with a touch of yellow ochre and then titanium white. So the first layer was on and it was dry. I added a second layer. You saw the brush I'll was used in that's my generic sort of house brush. It gets, gets some interesting strokes. You can really see the, the texture of the bristles whenever I use it. So and obviously I use a hairdryer there to speed up the drying. Alright, so a piece of scrap paper here you can see I've got a bunch of this kinda white paper, does drawings and different things I've done over the years. I've got a drawer, drawers full of this stuff. So I'm going to cut out some white flowers here. So one thing I'm keeping in mind is I want some of the paper to be pure white, among other areas to have a little speck of something. So I found this piece here. This got a little bit of the burgundy gray on it. I've got a piece there was some yellow. And the other thing is, I want to make sure they're not all pure white. Now, obviously I could stain it if I wanted to, but I've got plenty of paper there that has a little bit of light value on it. So the paper you're looking at there has that little bit of a light tan wash to it. So different sizes, some obviously some abstract marks and colors are welcome. But not too much. I mean, we want the feeling or I want the feeling of white flour. So again, these will be the small ones, some getting some smaller shapes in there. And I didn't really get a small one, so let me cut one here and that way done exactly what I asked you to do. And what I said I was Dawn. Alright, so glue. So I've got my big brush there. I'll give it a good swipe. Totally put glue on the wrong side of the flower, but that's no big deal, wiped it off and we're back in action. So I'll go through all of these. I want a couple of these flowers hitting each other or blending end. So I don't want all my flowers to be isolated. So a few the flowers can, can merge into each other so they joined. And then the other ones can be isolated. So I've got no two that are joining to that or separate or solo there. And now I've got a few more to go here. So this one I thought was a little bit too big. So a little quick adjusting there. And I can put that down so you can see that, you know, they're not all perfectly white. And that's good. That's what we're, that's what we're looking for is variety. Now not too concerned about the extra glue I just put down there that's going to dry. And then I'll be able to paint over it. So obviously mashing that down, making sure those edges don't crinkled up too much. And just like that, we are underway. And I do want to recommend a hopefully I cited that whenever I put the background and the green, that was a 100% dry before I started with the flowers. So I didn't want to glue into the wet paint, although you can get away with that. Now I'll go in with a little bit of white paint there and just dot a few areas of the paper that I'll just add some variety. And now that everything is dry, I'm going to move in with a tabletop here. So there's some be a little bit of a tablecloth on this table. So I'm going to cut out a shape that would work for that. I don't want to be symmetrical. That's the main thing. So whenever I'll put this down, you can see how it's more angled on the left-hand side. And the right-hand side is more of a, of a right angle. So basically the shape is imperfect. That doesn't have any perfect symmetry to it. And I'm also not centering is. So that tablecloth is slightly to the left of center. Now, I want the table itself to have a subtle change from the background. So the background has that earthy green, some going to make the table more of a yellow, green. I can also take my knife by exact dough the tip of it with the blade retracted and scratch into that wet paint. So that'll give us a feeling of maybe some texture or something deed some sort of detail on the the table. And again, a hair dryer will draw that off pretty quickly. And they didn't quite give me the yellow I wanted. So I'm gonna go with some dairy lied and some orange and just kind of go over that head missing, you know, the area. So I've got a little bit of the green showing, but it's pretty cool to, you can see the texture of those grooves scratched into the paper. And so that kind of gives it a little bit of a relief looking quality to the table. So that's all dry. I can finally get this white tablecloth down. So to do that, a little bit of glue. And using that scrap paper there to keep too much of that excess glue getting on the artwork. Although if it did, wouldn't exactly freak out, do it all the time. But again, I'm trying to keep it somewhat neat. So again, off-center. Okay. And then I've got that kinda more of a yellowish table so that I will do it for part one. I'll see you guys on part two.
10. White Flowers In Red Vase Continued: Alright, rock and enroll in here. Everything is dry. And now I'm going to use a little bit at my cad Red, medium orange and dairy light yellow and put down a nice stroke here of red. So that'll be our red base, obviously. Taking my 4B and drawing into a few areas here, just to give it that scribbly look, nice and playful. And I really like drawing into my artwork. You can use charcoal, crayon, whatever floats your boat. So here I'm going to need dark green. I'm using my really thin and small detail watercolour brush. I use this because honestly I don't use it for watercolor at all. That's a bras had just sits around a sits around. Now haven't been able to find a use for it. But when I'm painting on this sort of scale, i can easily use it for watercolor to put in these little telephone poles, wires, in this case some stems. And he sort of thin line worker detail, just kinda make sure it's nice and wet. And when it gets too much paint on it, it'll start to get a little bit chunky, which is what is drawn here. But that's not going to hurt me too much. So here I'm mixing in a little bit of the yellows with it as well. I just don't want it to be too dark. I do want very dark stems, but I want them to be a little bit green, a little bit read, a little bit yellow or tan. So there's a variety of dark hues going on and it's not just one. So that, again, is all about variety and making sure that you've got some color vibrations going on and things don't get too stiff. Alright, so again, moving in with sticking with that detail brush, I'll add a top to the vase C fuel the stems are coming out of it now. And I'll go with some blue for a little cash shadow there. Obviously have some greens and other Hughes all my brush as well so that, you know, it's not a pure blue, but there's enough blue in it that looks bluer than anything that I have on my art. Adding some centers to the flowers, yellow there. And making sure they're not all perfectly center. Making sure some of the yellows and the center of the flowers and the other ones are kinda off-center. And now I'll get another dark value here and touch another little center into the centers. And I just painted the yellows. And now all of them though. So some will have the dark center to go with it, other ones won't. So that's all about asymmetry and making sure there's variety in the artwork. You don't want all your flowers to look the same. All right, so that's looking okay, this point, I will take my hair dryer to it and dry it off really good. That'll give me complete control over my colors. And then I can start to focus on the next task, which will be eventually Dolan that background. So I want to make sure the stems, the leaves, and everything around that is nice and dry. So I've got my wild brush here. So a little bit of green, little bit array and there'll be a yellow, a little bit of blue into that. Some titanium white. I wanted to be nice and thick and I wanted to be broken color, so I don't want that background to be flat. Like again, as I mentioned before, having variety. So some areas will be more green, some would be more red. And that a lot of that is possible because you don't I don't over mics on the palate important that we mix paint. You can start to mix it, but if you over mix it, then the color is going to be flat. If you under mix it, then you're going to have a little more broken color in your artwork because the colors you're putting down have some of each aisle, whatever colors you're mixing up, hopefully that's not too confusing for you. So switching to my small pointed around here, I'll go in between this, the leaves and the stems and the flowers. I'll get a few details in there. Get a little bit the edge quality back, making sure the flowers aren't all shaped the same. I've got one up there in the top right. That kinda looks like an egg. Looks like a fried egg or something. I'll probably have to shape that a little bit. But yet you can see I'm adding some darker greens into and now just by adding some blues and some of the Jenkins and to my mixture. So again, that's going to add that quality, that variation to it. Here I'm going to shape my fried egg into more of, of organic flower shape. So hopefully that doesn't look like breakfast time. But yeah. So understanding no painting loose sometimes is all about underpinning, not not letting some of your brushstrokes beat chunky and don't over blend them so you can see the green strokes where the table meets the background. On the left-hand side, What's visible there, you can see those strokes are blended into the background. The ones on the right are blended a little bit more. And here again, using that exact DO naive to scribe into the paint and a little bit to add a little bit of energy and linear interests. So there you go. This one pretty much is done, and let's have a look at it again. Image taken a natural light. So hopefully you enjoyed the demo and inspires you to give it a shot. I really like this one, like the color palette and are just like the overall feeling of it. So anyway, I hope you give it a shot and I'll see you guys in the next one.
11. Pink Coffee Pot: Alright, we're going to change gears a little bit here, do something different. So this is my pink coffee pot. You can see the little red cup there too. So a lot of fun. Similar techniques. I'll start with my drawing. Nice and loose with the drawing obviously. Although a tabletop can, though am my cup, which I will change quite a bit here and there. Never quite satisfied with that coffee cup is like the easiest thing in the painting. But for some reason my drawing, I couldn't get her right. All right. So I've got the bottom of my coffee pot there going. I'm going to move the coffee cup down a little bit. And here I'll work on the top of the pot. Very, very loose, with my style getting looser as I go through this course. Most of these paintings were done in a day or two. But I just love these kinda simple compositions. I like this approach where you have, she's very, very playful and fun. And so I just really was getting into it, I guess. So just exploring some paper here, thinking about a dark tabletop, how that would work with the red coffee cups. I do want to do a nice bright red cup. I kinda had that in mind. I thought that was a little bit too dark and value and it was a little bit too colorful. So I thought this neutral work better. And you can see is lighter in value than that blue I had. And it's not so saturated sol, I think the red would kind of pop against that. So I've got the edges left and right cut out here. I will cut the bottom and right away we've got the, the tabletop in there. So we are getting it done. So I'll add that and just a second. But now I want to think about this background. I wanted to be a very white background. So I'm going to just opt for white paper. But you may ask yourself, well, how come you just use the white of the acrylic paper? Because that's why, but it doesn't have all these random marks on it. So look at that paper and look at all the different scoffs. No, it's kinda scratchy look in and a little rough and crinkled. And that bright they're adds a little quality to it. So I'm going to flip it over and get the glue. But as I'm looking at this, I'm like, wow, I really like these sort of earthy browns and stuff going on there. So I'll, I'll change my mind. I'm I'm going to use that side instead. Am I. My thought is I would. Come back with a little bit of titanium white and kinda cover up some of that. But then again, leave some of the other stuff in there. So work spontaneously. If you see things, you'll come across situations like this where you flip the paper over and you're like, oh, hold on a second now that's pretty awesome. Yeah. Don't be afraid to change gears. Don't get locked into this stuff. Because I mean, that's the beauty of what we're dawn is very expressive approach so we can get away with the stuff. You know, we're not doing this in a very rigid manner. So not looking for a tight illustration, right? We're just having fun. And we're just, we just want to pull it off in a very playful way and add a little bit of that funky fun personality to it. So that's all looking good. And I'm going to take a dry towel there and just press everything down nice and firm and get those edges so they don't drink a lot. And yeah, that's, that's alright. So now I'm going to take a large brush and just kinda hit and miss some of that color. And, you know, it's important not to overpayment. Another good thing to do too is you can come back over it like I'm doing right here in a second. So I'll press the violet right here. I'm precedent and that wet paint. And what that's going to do is going to lift some of it and it's going to add a little bit of texture to it. You see that? So that is a super, super awesome start to this painting. So now I want to move forward with painting the cup and the pot, but I've gotta dry it off. So obviously a hairdryer has a great tool for that. This time of the year, it's wintertime, there's a little bit of moisture from rain that's going on outside. So things in the studio aren't drying as fast as they were like in the summer. Here on the eastern side, eastern coast of the US. Alright, so i'm going to pencil in the cup, which I did really poorly the first time by lowered it. And now I've got a rough idea where my coffee pod is gone. And I can start to move in to some of the pink. So cad Red, medium, orange, yellow. Liberty hand say yellow. And I'm actually going to do my red cup first. So I'll get a nice saturated cup there. You can see how that pops against that neutral tabletop. So glad and go with that blue and that purple I had originally because it just wouldn't have worked. Now here's a little tip. I've got a bunch of red leftover, all my brush. I didn't want to lose it. So I've got all this scrap paper laying around. I'll just put that down for future. So that piece of scrap paper that I just moved there, I'll use that for a collage later Han. So if you find yourself with a lot of excess paint on your brush, you don't wanna just wash it off. Have some of those scrap pieces laying around and recycle that stuff, man is rub it right into some of that scrap paper. And that works really good. So again, pink Alizarin crimson is a wonderful base for a peak. You can touch a little bit of a cad Red medium into that as well. But Alizarin crimson gives you a lovely start. So a titanium white, obviously, we'll make that a little bit paler here I'm going to go with a slight change. So this coffee pot has some straight edges, some angles going on, on the base. Am I headed? Does anyway? I don't want it to be round. I wanted to be more angular. So i'm going with a darker value on the left and a lighter value on the right. Now added a little bit of shadow side on the top part as well. So here I've got the top of the vase or the warmer coffee pot. And now there's a little ball on top of it in my head, so I'll add a little something there. We can take the lid off easily. And we are cooking, so a little bit of red and this I'll add a handle. So notice how I'm not gone back to the same color all the time. Even though I've got plenty of pink mixed to use, I want to always tried to change colors here. There's subtle changes from one color to the next versus all being the same. So constantly change colors. I'll see you guys in part two.
12. Pink Coffee Pot Continued: Alright, so now I'll cut out a top or the inside of the coffee cup. I tried to paint it, but it was just coming across a little bit weak. So I was like, wow, I've been collaged in awhile, so I'll just cut out, although oval shaped there for the coffee pot or the cup. I should say that I go on it and then I'll use my brush there to reshape it. So that's working good. You see my handle is way off. I had to go back and paint some of the background color to shape that. But no big deal. That's the beauty of this stuff. I mean, we can make it up as we go. If we find ourselves in a bind or whatever, we could easily get out of it. So at this point, I want to mix up a color. So I'll use a little bit of yellow, ochre, titanium, white, a little bit of blue and red and orange, and come up with a kind of warm reddish gray to use. And I'm going to get my coffee cup back IN shape here. So this thing is fallen and fallen, fallen apart all me. So that is already coming back to life here. So I'll touch that color and a few other places just to tie it in. So that gives us a coffee pot, right? I'm pretty happy with that. So a little bit of blue, a little bit of red, and I'll touch a little bit of shadow on that. Maybe it even a feeling of a cast shadow. Details are tricky with paintings like this. You can easily do cuny cast shadows and stuff like that and you start to lose that kind of carefree feeling. But I'll try it out for now and maybe I'll come back later and get rid of those shadows. I think that will in the coffee cup will do, but I'm not sure about the one coming over to the left from the coffee pot itself, but mostly, alright, so titanium white and a yellow ochre, a little kind of a highlight on the little knob on the handle. And I've got to do a little bit of negative space painting into that in a moment, but oh, kinda shape it and bring it together. But first I want to figure out how to bring this left-hand side of the coffee pot forward. So to do that, I'm going to found a, another piece of white scrap paper here. This got some interesting marks on it. So I've held that over the coffee pot and I traced basically where that edge would be, then I cut it out. So that's a really good way to, to think about it, to use it. And I still got some of that original earthy Brown's there as well. So here off-camera, I am adding a little bit of glue to that. And once I've got glue, will stick that to the artwork and there you go. So right there that makes that edge of the coffee pot unbelievable. We can see it now is starting to stand out and make sense. And plus we've got another piece of collaged there that makes it look interesting. So here my hand is in the way, but I'm going around the top edge of that coffee pot and getting that shape in there. And that works. So the pain obviously is still wet here. So this is where drawing into the paint is a lot of fun. So use them I 2B or 4B rather. And just kind of playing around with some of the edges, not all of them and is getting loose with my, my line work there. But that's pretty interesting. I think that's starting to, to come together. And here I'll mix up a little bit of dark and I'll add the bottom of it. So this is kinda where perhaps the top of it will kinda come off or detach though. I'll add a little bit of a dark value there. And I'm going to enhance the shadow side of that coffee pot as well. That's just a nice de Violet. So Alizarin, crimson, cobalt blue, probably a little bit of our read into that as well. And that's looking pretty good. So I want to make the top of that cup, coffee cup overlap a little bit more. So I added some white. We've got a little bit of extra white on the brush on this kinda Latin that splash around and a few places. All right, so coming up with that of Violet's tan color for the tabletop again, I don't like the cast shadow coming from the coffee maker. There are coffee pot. I'm going to get rid of that. And I think it's just better without it. You know, so nice and clean, nice and fun. I really like this one too. I just think it's such a playful, charming little piece to slap in the kitchen. This to something to wake up to and kind of make you feel, you know, puts you in a good mood and make you a little bit lighthearted and ready for the day. So there it is, image taken a natural light. Hope you enjoyed the demo, and I'll see you guys in the next one.
13. Coffee Cups: All right, so coffee cups and even a little pot back there. But this was really all about the little cups hanging out on the table. And a very loose way, of course, this is a square format, same paper. I'll just this square. And I've got a little bit of extra paint there at the top, so I'll paint over that. So we've got our nice clean edge. So I'll crack forward with putting a little bit toned down. This will be for the entire surface. So some of that will be kind of a more of a pinkish, some will be more yellow and some will be more blue. So I've mentioned this several times. Try not to use the same color. Tried to bring it to life by just having a little bit of subtle changes between all of them. A hairdryer to speed up the drying time. And this will this is two times the real real time speeds. So but it only took me a minute or two to dry it. And then I'm ready to get to go again. And that's the beauty of acrylic painting, right? Even without a hair dryer dries pretty quick. So you can get on down the road to the next piece or next layer. So I want a white table top here. So I'll found a piece of scrap paper that has some marks on it. So it's not pure white. And I will cut that out with a pair of scissors obviously. And once I get that in the ballpark, I'm willing to shape it again. So I've got that roughly where it's going to go. So I'll want a little bit of an angle with this. I'm going to cut that there and then around that edge a little bit for the table top. So again, very skewed perspective. I mean, nothing's even remotely close to perfect here on this kinda having fun with shapes and taking liberty to do things more abstractly off camera. I'm putting some glue onto that and put that down the wrong way. Come on, Robert unit together. There we go. So that, that's our tabletop. That'll be where all the activity is happening. And so now I will use my 4B and scribble in some coffee cups again. With this approach and with this piece, I'm thinkin, I'm trying to draw like a kid again. Okay. I'm not bringing in or using any of my like, major drawing skills. I yes, I can draw a lot better than this. I can draw more accurately. But what's the point of it? You know, the point it wouldn't go with the look I'm after. And the look I'm after is very opposite to realism. A No, she's more playful and, and that's what I want it to be. So I think having these imperfections is the key to pulling this off and making it work. So all that's in there pretty good. I didn't do You didn't give the shape I was after with the coffee pot. So I'm just changing that a little bit here. I'm adding a chair, maybe that it's off to the side and another chair that's facing us. So that'll get me my drawing. So that's ready to roll. I had the option now I can do some collaging for a few of the cups. I can paint some of the cups, whatever. It's my boat. But decided to cut out a red cup here. So that is that'll get us on the board. And I'll come back and a little bit of a top to that. Or if you can see it, imagine it, I guess three-dimensionally. We've got the cup and then we can kind of see down into the top of it because we're over top of the table and probably like looking down and all of these lovely cups of coffee. So therefore we can see the top. Alright, so I've got that cut out and here I've got a little bit of glue on my brush leftover. I know that's blurry. My camera lens will only focus of one depth. So whenever I get close to the camera's gonna be blurry because I have it focused more on the tabletop. So pressing that down, that pretty much gets us going here. I'll just draw in a handle, use him for B. And that wasn't dark enough. So I'm gonna switch to a 6B here. If I had some charcoal handy, I could easily use charcoal. And I'm adding a little top to that as well. You can see little scribbles there towards the top of the cup. So that gives it a nice thick rim. And now I'll go with a dark so a little bit of blue, a little bit of, a number, a little bit of Alizarin crimson. And that'll give me a good color for a black coffee cup. And this really random colors, you know, just trying to mix it up. And I'll be spontaneous with it, I guess. And not trying to plan everything. But I thought a white cup would do good. I'll negative space, paint the handle, scribe into it with my pencil. And that should do it for part one. So with that, I'll wrap it up and I'll see you guys. And part two.
14. Coffee Cups Continued: Alright, I'm in the mood for some color here, so I'm going to take some of these yellows straight out of the tube here and whatever else is all my brush and I'm sure it's dirty and it's put it down and the general shape of my coffee pot. So that yellow will be kind of a base for whatever I put on top. And now I've got a great coffee cup there lurking in the back behind the red and black one. So I'll get that in there and add a little bit of yellow to it since that's a little bit of a blue gray. And then I'll give me a green cup and mixing a little bit of gray again with using the primaries. So blue, red, yellow, and coming up with a grey for the bowl. So there's like a little fruit bowl or something off to the side. And then a little bit of a lighter gray on the inside of that. So a white cup there behind it. And I'll use some of that white again to paint in the tops or the three here, the tops of the other cups. And now moving in with some greys for the coffee pot. And now I wanted to go a little bit darker. So I went right into the number and the number over top of that yellow, making sure I leave some of the yellow. We'll just give it a nice glow. Yellow will really make that color pop, having that light bright color under such adult color like burnt umber and no disrespect to burnt umber But, you know, dark brown. All right, switching to my liner brush here, I'm willing to get some of these chairs and they're, so I'll get this one. Again. You can see that brush is very use, very worn. So I'm not getting perfect strokes by any stretch. I am adding a handle here and they're kinda bouncing around the picture a little bit, trying to feel out where I can use some of those brown strokes so I clean that off the brush. And now I added a red handle on the Grey Cup. Switch to my 4B and drawing into some of the wet paint. And a few scribbles kinda again balancing around, adding a little bit here and there. And just getting again trying to find that balance of playfulness. But yet some of those strokes or doing a job there, adding details, some necessary details just to give the viewer enough representational information that they can relate to what's going on. So, so nice little handle there on the lid of the coffee maker or pot. That'll make you want to. Reach in there and pull that top off and pour yourself a warm cup of Joe. And yeah, so coming together pretty quick. So a little bit of gray here, little bit of yellow ochre into that. So getting a warm grayish color. And now I'll go over that background. But note very important here that I'm leaving quite a bit of that original wash. So I'm not painting over that entirely, leaving little bits of it. So it has that layered look. And that, that color will help a lot with the overall harmony of the piece. So have that little bit of a pinkish light lavender will go a long way, or maybe even a gray magenta, light green magenta will go a long way, decide to put a little bit of fruit in the bowl. I'm not sure how that's gonna work. Kind of a spontaneous decision. So I'll kind of let that rest for a second and see if I like it. So using the tip of my exact DO ninth, again that is retracted. I'm not using the blade and just scratching into it. And once I get a little bit of paint on the tip of it and drag it over the white tablecloth. Just to add a few those marks and those colors to that. Here I'm using my pencil drawing in a few details, but are not, not too many, you know. But I think that's starting to find balance here, starting to, to come together a little bit more. I'm thinking too about adding a little spoon here. So I think that would be something you may see in a setting like this. I'm not sure if I like it or not. We'll see. But a hairdryer here to speed up some drying time. And then as I'm drawing it, kind of observing what's going on, taking it all in and whatever needs to be done. So I'm basically reshaping a few things. So shorten that coffee cup that black women. And here I'm going with some grays. I'll go ahead and add a little bit of grade to the spoons. Maybe a little gray on the shadow side of the white cup and starting to look good. So I think maybe yeah, little gray there for the inside of that coffee cup. And yeah, I really like and how this is coming out, it does look spontaneous. It does look very playful and fun. So I'm happy with it. So I've got the inside of that bowl, some grays and maybe a little bit darker value on the left-hand side. And so just as much in that a little bit, making sure not to Chucky. So use my finger to smudge things, drawing into some of the wet paint I just put down. And yeah, it's coming together. I think pretty much what I have here will work. So here's the image taken a natural light. So you can really see the colors pop here. And a lot of fun. I really enjoy painting this one. I hope you enjoyed checking it out and hopefully you'll give it a shot. So I'll see you guys in the next demo.
15. Tea Cups And Pot: Alright, T times. So here we get some tea cups and maybe perhaps a little tea maker there or something. You would put your TEN if you wanted to steep. So again, a square layout. And using my 4B, I will get the main shapes. And so again, using the idea of a tabletop. But we're only seeing a part of the tables. We can't see the entire table only the right, top right hand side or so. Nice and loose with my drawing. So getting some sorcerers and there. And then the basic shapes of some cups, maybe a handler to. And you know, it's important when you're doing this, is that there's a time where you want to focus on really good drawing skills. And it begin draw really well. That's actually, it's going to help you draw really loose. And now that sounds kinda crazy, but I do think that the better fundamentals you have, the more range of possibilities you're going to give yourself. And I know when I'm drawing this, I'm trying to get form. So I'm trying to capture the basic volume of things and the roundness of them. But at the same time it's done in a very quirky, kind of nonchalant, kind of relaxed way. But, you know, if you've ever worked on developing really good drawing skills is something you definitely wanna do. And then that way you have the option, he had the option to go tighter and draw things more exact. Or you can blend things. You can blend it with these really expressive styles. But then even the expressive styles, it has enough realism and fundamentals to it that it helps your subjects come to life a little bit. So a little bit of cobalt blue, little bit of those yellows, ochres into that background. And I'm keeping those hues all my brush bomb just dipping right into the dairy lied yellow. So that you may think, oh, well that's, you know, painting very high chroma, but it really isn't because I've got so much other color, especially grays and blues on my brush that when I dip in the pure, that pure yellow, now start putting it down. This all gloom to blend on the paper. So that's kinda was happening. Alright, so here I've got kind of a warm brown, so I use a little bit of blue, but the raw umber mixed split the Reds. So here I'm getting some graze into it now, but I basically use that for some of my darks. Raw numbers of great color and mixes really well with other Hughes's as well. So good color to handling your palate once in a while and explore. Alright, so good, I'll go along with some magentas are some pinks here, so we'll titanium white, little bit of yellow, ochre Alizarin crimson. So I'll go in with my table top here. So I haven't done any collaging obviously at this point. So working more with just painting. This is very thick paint. Very little water but enough there to make it flow off the brush. But nice and thick where I can load that brush shop and get a lot of mileage out of each stroke. And now gone loaded up again, going around the little teapot there. I was gonna put a spoon in there still may be. I am just going to paint over it for now. And I've got a little something gray coming out of the corner there, but yet we'll kinda leave it at that. I think that works good. Now it's time to put it in the tea pot. So I've got some white they're just plain scrap white paper. But you gave you look at that closely as got some drips and Marx and all types of stuff on it. And I'll switch, switch it. So I've got the little poorer the spout to the right. I think I'm going to put that to the left. I think it would help more with the compositional kinda keep your eye turn into the painting. I felt like whether the spout to the right, like if for some reason I felt like I wanted to just fly out the top right-hand side of the frame so I'll flip it. So off camera, I am cutting that out. Soft, got that ready to roll. And now I can use my exact DO knife to cut out where the saucer is for the tea cup. So that I'll kinda come together here. We can see me hold it back up. So I've got a little bit of glue off camera too. So few things happening off camera here. So I wanted to really emphasize the palate and the artwork. Only so much room here. But yeah, so that's glued. So again, you can see I cut around that saucer and we were rocking a Rolon. So we've got the background, we've got the table top, we've got this little greenish cloth. We've got the dark cups, and we've got a white pea pod there. So working quickly. But also making sure, you know, I take my time and where where I need to so that as a whole, you know, that it comes together. I'm not painting myself into a bad situation. So a few details on this little teapot here. So maybe has some sort of logo or something fun on it. So it does add something to it like that. Kinda anchors it that green is in other areas of the painting as well, so it'll tie things in. So here's my 4B, adding some details to the pot. And then I'll do it. So I think I'll go around a few other edges, but then I'll wrap it up for part one, and I will see you guys in part two.
16. Tea Cups And Pot Continued: Okay, so here we are. Everything is the way it is. I haven't drawn anything. I'll go with a dark brown here. I put a little bit of Alizarin crimson and it also put in a little bit of cobalt blue. So I'll put the chair in. That'll make you want to sit there at the table and have a cup of tea, right? Add a little interest to the background. Almost as if you were looking down on the table, but we're looking at the table, so the perspective is definitely off. He know, and this one, which is good, that's, that's kinda what I wanted. I wanted this kind of very almost childlike approach to these painting. And I think it's coming off that way. Alright, so we got a little bit of titanium white now. I'll have a little bit of that pink on my brush. I'll go in and add some, some sort of design to the cups, maybe a little white edge trim around it. So adding some details to those cups. So that color is getting a little muddy so I'll clean it off and then come back with a fresh load here. So yeah, just some dots. Any old thing, a little white REM again. Does something to give the painting a little more interest. It's easy when you do a painting like this to this style to make it to chunky and not descriptive enough. So adding a few details like that. I think really make it, you know, it gives it some interests, you know. So you don't kinda lose your way with the piece. So a little bit of T. So we got that kinda light brown. Whew, I guess it could be coffee too, but I guess my intentions were to do T. So some orange here. So I didn't really like the spoon idea. So I'm like, well maybe a little piece of fruit, a little Mandarin or small orange or something there. Maybe an apple Who knows? But I want to start maybe a little color there, but it may or may not work. I don't know. A little bit of bone black. So I really wanted these cups to be a little bit darker and have a little bit of the black. He went it. So I'll just touch that in a few places. Added quite a bit of water to that. So that's nice and diluted. So that'll flow off the brush pretty well. And I'll touch a few shadows on that fruit. And I'm not convinced that's going to work yet, but I'm just kinda flight toying with the idea. I can always paint over that pretty easily. If I need to. Maybe add another chair. They're off to the side and then the back. And now I'll clean that brush and we'll go to kind of a warm white, warm gray for the inside of that cup. So that's looking okay. Yeah. And, you know, this point is basically assessing things. They were at that kinda halfway to three-quarter stage of a painting where, you know, it's important to look at what you're doing to figure out where you need to go. So I added a little handle to the cups. So does kinda fooling around with that dark and trying to get a few details in there. And I probably should have used a hairdryer this point to dry everything off that way my colors wouldn't blend so much and to each other, but I think it'll work. So smash down descent like that orange, but kinda blended it a little bit. And now I'll turn him into some circles and it will see not sure if that's going to work or not. So we got our table cloth, again, going back over some of these details with my pencil, ascribing into a few of those chairs. And kinda again, feeling my way around it. But you're not bad. I think at this point, this one to a few edges that are looking a little stiff. So I'm going to take some of that kinda ten ish gray, kinda mauve color of the back of the table top. And just kind of blend that in with the coffee cup. I'm gonna just say it's high those together a little bit better to some of the edges were starting to look a little bit tight and stiff. So anyway, now using some blues, so this is just a dark blue, so cobalts a little bit of red into that as well. The cad Red medium. Just to clean up that background and make it nice and dark. Sort of pop that table here, I've mixed up a little bit of that mauve color. And once you go ahead and get rid of the oranges, the experiments, and make this a little bit cleaner. I think it works better without it. And again, you can see I'm leaving traces of the original layers. Careful not to paint over every single thing. But that just kinda again adds color, vibration adds layering look to it and interests. So adding a little pattern to the green cloth there. Again, that's my 4B pencil. And maybe come back and add a detail here for the little teapot. Anchor that saucer or a little bit more using the black and a little handle maybe, and that's good. So let's have a look at this. This image was taken a natural lights. You can really get a feel for the colors and how this piece came out. I really like this piece, I think is a lot of fun. I mean, I'm probably even hang this one in the kitchen or opinions, maybe I'll give it away at Christmas time. So anyway, then I'll wrap it up. I'll see you guys in the next one.
17. [NEW] Vase & Bowl: Welcome to the demo. You can see where this is going. This is the extended version. I put a short version of this on YouTube, but you got the full deal right here. As always. Or this class I'm using clause paper. This is all acrylics smeared on old sketches, old paper. If we don't have anything that you'd been keeping around, obviously, you can use whenever you have. And the paper I'm using for the art will be Bristol paper. I believe that's roughly 14 by 18. And of course I got the mod podge there for my adhesive. I'll begin by using my 4B just to lay out the idea, the composition. And I'm going to eventually collage over this. But at least it gives me an idea, a feeling for where everything is going to be situated. And that way once I start putting in the background and et cetera, it's going to help me envision where a lot of this is going to be. So that's pretty much it. You can see the drawing is very loose. That sets the table for my style. I think style is being looses relative. So if you're coming from a background where, you know, you're very, very tight. Obviously your idea of loose is going to be tighter than when I do. So. If you're trying to loosen up, which add to imagine you are, if you're watching my courses, then take little steps and over time, it'll get there. And it does take some practice like everything else gonna put the miles and, and he eventually you'll start finding your way, finding things that appeal to you. And, and next thing you know your, your paint loose and you've got a range of art you can make. Now you can go representational, You can go loose, and that's the beauty of it. Rather than being stuck to one style, you give yourself the option to do a lot of things. And I like options. I given the studio and I start painting, rarely do. I preconceived exactly what I want to do. I like to just kinda get in there, grab a subject. I don't really care much about subjects. I'm not attached to anything. It just gives me a means to start being creative. And once I start kinda look, thinking about what I wanted to do, or I just start putting some paint down or whatever. I kinda let the art takeover, the artists take over and I'll just go with it. But that's all about having options, giving yourself options. So the more you try, the more options you have and don't get discouraged. If again, he hit a wall, you don't satisfy or you don't do things that That you're proud of right away. That's par for the course. That's always going to be the case with art. I just stick to it, stick to what you wanna do and just keep at it and you'll find the course is found the lessons that resonate with you and do him over and over again. Repetition has helped me a lot with my art and my style. I started very simple. If I got myself in a rut or an unbind or I just couldn't quite feel my way out of it than always went back to simple things, a cowl aligned model, you know, a simple subject. And then I felt fine, found comfort and then kinda went into new, more complex ideas. So as I was rambling there, you see I use some collage for the background. I use some cad Red medium for the foreground. And I went around the saucer, the bowl, and now I've gotten just a plain white piece of paper here. It's got some stains and marks on it, but I'm going to use some crayon to add some detail to the vase. So this will go in the background a little bit. So the vertical stripes, I think add a vertical element to it. So you've got the bowls there's are somewhat horizontal in their low. So this gives it that nice tall vertical element. The lines kinda help out a little bit, but I think it's just more about adding details to it, something other than just a white piece of paper. And that way people can kinda latch onto it. That will ultimately be some flowers or some stems, little bit of green edge poking out of that. But for now, then I work. Right now, I'm moving my focus to a handle. So I want to put a small handle On the vase. So I will start with a little ear shape here. I was going to flip it over and use the backside. Wasn't too crazy about that. I must stick to the white, white's point to pop out. And plus it's going to kind of blend in a little bit more with that Brighton pipe vase. So there it is. So this juncture, I'll use a hairdryer. Obviously, I'm not going to show this in real-time. There's no point in it. But I'll go over everything really, really well. And so everything is completely dry. That way. I won't get any glue or whatever mixed with my paints and it gives me full control over my colors. Now I'm going to experiment a little bit. So I'm thinking about putting some fruit, some things like that in the bowl. Give it some sort of detail that again, you can kind of latch on to, um, I'm doing this fast because I will ultimately discard these enhancements. It just got a little bit too, too sloppy, too much in there. And I didn't quite like it. So I'll press it down here. But now I'm going to just give the Bolen real quick. And then I'm going to turn my attention back to what's in the bowl. Alright, so I've got my little bowl-shaped there. You can see that was just a drawing of some utensils, different things that were going on. Scrap paper. Again, never throw that stuff away. I got to drawers full of that stuff. I have boxes full of collage paper. And it's not just collage paper. I made some of the stuff I've bought over the years. Other things in our paper bags from grocery stores and things like that, and other stuff. I've I've just collect hoard that stuff. I'm not a hoarder in general, but when it comes to art supplies, things I know I can use to create art. You better believe that stuff. So, alright, so now I'm going to go with a darker value for the inside of the bowl. And I think that's what was bothering me a little bit. I was putting those little bits of fruit and things like that in the bowl and it just didn't have enough believability. They're just kind of looked a little bit to bite. So I'll add a little ellipse here that will give me a feeling of looking down in the bowl and maybe being a little bit darker value inside. So we'll pause right here and I'll see you in part two.
18. [NEW] Vase & Bowl Continued: Alright, picking up where we left off in part one. You can see I've got some collage paper here, cut it out into the shape of a smaller base now, so this will go to the right. And proportion wise, I think now getting something smaller and there will work well. And like the other larger white vase, I'm going to add some detail on top of that. Could I have painted at White using acrylics? Yes. But again, collaging adds something different to it and it's a different experience. Then just traditional painting. And that's something that you had to kinda keep in mind. Art. It's a visual thing. So as we artists are creating, We want to be attracted to and we're always digesting the information of what we're painting. But it's also a very physical thing, say, for me anyway, and I like to be attracted to the physicality of our know, how it feels to do certain brushstrokes and how it feels to cut out paper and glue it to the artwork and different things like that. So I'm into the physical part of it. I like, you know, the energy of making art. Like rubbing hard into the paper with crayon. Just like I like a more delicate light touch. So it's kind of a mixture of all sorts of these physical actions that are going on. And I do think a good piece of art has all those, you know, a good, a good range of the physical things happening. So like I mentioned, you know, energy pressing hard and then being a more delicate and light and sensitive to what's going on. And that's where thing. So just using some green gold here this is and mixed with a little bit of cad, yellow lemon, also a little bit of white. I added some green foliage sort of thing, these stems coming up from the base. Now I'll go back into the bowl and get some sort of fruit or something happened in there. The green gold is very transparent. So if you looked at this a little bit closer, we'll have a closer look at it when the demos over, but you'll see there's a lot of transparent qualities to that as well. So you can, not, everything is opaque. And that's the, that's kind of important. I think, you know, getting kind of alluding to or what I was saying earlier with alluding to the different range of physicality, motions and actions going on. I think it's important to find balance and range within your pink too. So you have opaque strokes, you have transparent strokes, and so on. And you'll see, you know. If you really start to pay attention, especially to my art, and this is more about you learning and getting inspired. But guess she's telling you a little bit about what I like is when you really look at what I do, it's Scott that has got some transparency is cat opaqueness. And again, it's that range of pink quality that helps to i, so here galore right into the cad Red medium and putting that down very thick over the background color, adding some earthy greens using green, gold, orange, red and the green, red is a good way to brown it out and make it a little bit earlier. And now I'll go a little bit darker in the background and just kinda feeling my way around this. Now. I like this sort of reddish background mix with the reddish foreground, AUC with a foreground. Earlier, I took some lighter value, so I'll just use cad Red medium. I'm mixing a little bit of white and I just desaturated that just a little bit. I thought it was just a little bit too intense. And now I'm using a small signature brush, any sort of detail brush we'll do adding some details to the small vase and the saucer. And yeah, just like I said before, you know, just feeling things out at this stage, it's such an important part, but an important stage of the painting. Bringing things together and making things connect. Starting to move into the darker values and moving into some of the details and stuff. So I'm just kinda size neighbor everything up as a hole here. And you can see I decided to go a little bit lighter brown on the bowl there, clean him up, brush off really good. Albert directly into the white paint. And I did that because I know a lot of the pink that's on the art right now was wet. So everything I touch with that brush is going to get a little bit of that color on it. So even though I'm using pure white, it's going to be mixed with something else as soon as it hits the paper. So it's not going to read pure white on the artwork. Alright, so a hair dryer time again. So I'll speed this up a little bit. You can see as I'm using the hairdryer door, a little bit of finger painting. They're kinda felt that bottom right-hand corner was a little bit left out. Thought it needed something there. And I just used a little I wasn't sure what I was gonna do, but us use little bit of the green, gold and a little bit of the yellow and white. And it kind of ended up like a little granny smith apple, which I think is pretty awesome. And so that really worked out some, ah, favor. Author was going to be a leaf for some sort of stem or something that was on the, the foreground are on the table. But again, that just happened to work out and good ma favor. Alright, so this is raw, umber, a mixing that with red, so I'm keeping it very, very warm. So if you look at this palette, has a dominant warm feel to it, lots of red browns and has a lot of reds and yellows. So, and then we counter that with a little bit of the purple and the vase, the stripes a little bit of the blue. And then if you look around, there's a few other cooler colors, but it's a very dominant warm pallet. So that is a little bit of color harmony there. I did a course on color harmony and talked about where you have dominant, warm, dominant cool. And even in those cases, you always want a little bit of the opposite temperature in the painting event. That's kinda what makes it pop. So the paint is still wet here, still damp anyway. I'm using paper just to remove and lift some of that pain and it also creates soft edges. And so we kind of get rid of some of the paint marks and pink strokes. And we end up with something that is a little bit smudged. Here, I'll add some centers to the flour and the centers to the flower. You can, yeah, it's a detail. But I'm thinking about using them more as popping something light against that dark background. So the red flowers against that dark brown, reddish brown Of the background. I mean, they don't really stand out. I don't want them to I don't want them to they don't have to stand out against the background, but I wanted to add a little detail there that made it pop. No, it would still being somewhat subtle about everything. Alright, so here it's still using my little signature brush. I'm changing some values here. Little bit lighter brown or this pair or whatever that could be. Adding some of that color to a few different areas just to kinda tie things in. And just, you know, a little bit of mark making. And what I'm doing there by just adding that color too little apple in the foreground is self. That's all about harmony. That's all about using a little bit of the color in different areas of the painting so it doesn't look too stuff. So you'll see me do that quite a bit with my art, like to tie things and, and I think a little bit of the foreground color should be in the middle ground and background, background color should be a little bit in the foreground and so on. So things kinda Italian and harmonize. So this is just finishing touches. Again, just a little bit different color red on the flowers is to give it a little dimension there, a little looseness, touch in that color again into the apple or whatever, and that's it. So let's have a look at the final piece here. So checking it out one more time with this kind of finished look a frame. And hopefully you can appreciate the demo and hopefully inspires you to paint loose, to go for it, and to use your acrylic paint in non-traditional ways. Ok, so thanks again for watching and I'll see you in the next one.
19. Paper Preparation: As I move into these next abstract paintings, I just wanted to show you that paper preparation. Same thing using scrap paper here. You can see they're upside down rooster's or chickens or whatever. I pre-mixed a little bit of light blue a using a large brush, I will section off the paper, and that paper is about 18 by 24 inches. So I'll do a little section there, light blue and then go through another shade of blue. So just putting some cobol into that. And so I got something a little bit darker in this kinda work around the colors here. So the main thing is I will use a lot of black in these, but I want to make sure I've got some good primaries. So some breads, as you can see, that's cobalt cadmium red medium, I'm sorry. I've got a little bit of cadmium orange mixing, a little bit of retina that to dislodge it some variations. I've got dairy lied yellow, all my palate as well. So I'm working into that. So look how transparent that is. So you can see all those lovely drawing marks underneath some of it. And that's going to add a little bit of spontaneous energy to the piece. And now obviously moving into some greens, so that is green gold mixed with some failed green. You can see I'm putting a little bit of orange, a little bit of yellow into that just to make it a little bit earlier. But still very, very intense. You know, it's kinda nice punch of color. And that's because I'm going to do some black as well. So the, these abstracts will have a lot of black in it, but it's going to be balanced with these kinda more intense colors as well. So yeah, just kinda working around here looking at what I have. Now a like the colors I think are working good. So I'm going to mix up a cool blue gray. So basically a cool gray here. So that will be good to have in there as well. So again, we'll be dealing with a lot of blacks. So here I will use the last section here. And this is just bone black. I'm, if you have Ivory Black, II can premix a black by mixing the three primaries together. But the rest of this paper will be painted black. And then I'm going to take a hair dryer to it and dry it all off and then we'll be ready to roll. So anyway, this is how I prepped the paper for the next series of paintings.
20. Horizontal Stripes: Welcome to the demo, horizontal stripes, he can see a series of stripes. Pretty easy. This is going to pair with the next demo, which is vertical stripes. So together you can see very contemporary, very modern, and very awesome. Let's get started. So I've got some paper here you saw in the previous demo where I prepared it using mostly good, strong primary colors. And did that over, you know, some sketches and stuff like that. So we end up with some good expressive stripes and nothing too predictable. So here I'm trying to figure out the width. So I've got my paper there. I want to do three rows of horizontal stripes. So I wanna make sure I cut those about the right length. So I've got a few here, I'm cutting out. And as we move into the beginning part of this video, I'll go over some of the basics in terms of the design and layout. And then I'm going to fast forward a little bit probably cuz some music just because it's a little redundant. I'm not going to crop or leave out anything just in case you may have questions. But I will do it two times speed in that way he had the option to slow it down if you like. Or of course you can just kinda watch as I create it. So I'm just getting a feel for the measurement. You can see it's roughly seven inches. So MODIS again, making sure I've got the right link there. And just getting it started as the key. I don't want to have uneven rows, at least not noticeably. So the start is important and it's okay to cut the stripes too big on the left-hand side or the right-hand side, because I can always come back later with an exact O naive and trim off anything that's hanging over the edges. Right? So now I've got my black and I'm getting that length cut. And then I'm going to start cutting some strips. These there'll be different widths. Also. Some are angled soul and summer kinda flat. Some are wide, some are thin and so on. So you went to a variety of widths and always alter the shapes just a little bit as well. So you don't end up with stripes that are too similar to each other. We wanna think geometric, very stiff and irregular shapes in terms of when you compare them to each other. So that's what I'm doing here. So I'll go through this now. I will speed it up a little bit. I'm going to use mostly black. And then I'm going to filter in some of the other colors as well. So cue the music and I'll see you guys next time. I feel there is something that you need to know. But one last thing I wanted to mention off camera, I've got, I have my mod podge and my glue brush, so I don't always show that. So anytime you see me move off camera, I'm just simply adding the glue. And that's pretty much it. So again, I'll talk to you guys a little later in this lesson. Okay? Right. Okay. Okay. Alright, so pretty much wrapping things up here, I'll tidy up my space and then I will take a knife or a pair of scissors rather and trim off the excess tabs that are hanging over. You know, I think having them cut a little bit too long is the easiest way sometimes rather than trying to get the perfect size. But you can see by the demo there that it's a very approachable, very easy project. And the results are fantastic. And it's got a nice look to it. Very clean, very modern. And again, you can use any sort of a palette that you like. I, this opted to use now mainly black and then bring in some of those strong colors and primaries and things like that. So again, I'll have a look at it one more time here. Image taken a natural light. And I will see you guys in the next one.
21. Vertical Stripes: Okay, so here's the next one, vertical stripes. Same idea is last time, but we're going to switch the direction of it. So again, you can see the one we did previously, and these will go against that grain a little bit. But starting with again black here and then I need to measure it out. So I want three rows o, so basically I'm eyeballing it. I'll get a ruler just to make sure I'm in the ballpark here. But if I'm off, you know, an eighth of an inch or something like that, it's not going to be a drastic thing. So again, I'll get the link cut and then I'll start making my stripes. Reminding you one more time here to use different widths. Feel free to angle some of them as well. And just mix it up a little bit. And that's about it. So it's pretty cut and dry stuff here. I'll go ahead, cue the music, speed things up, and then you can kind of watch it. And there is an option to slow it down there if you want to see it a little bit slower than what I'm showing you here. So I'll see you guys towards the end of the video will have a look again at the two pieces side by side and a quick recap, and then we'll move onto the next project. Okay? Okay. Right. Thanks. All right, so cutting off the excess paper there, here, you can have a look at him again side-by-side. Get a feel for him. He can flip these in a landscape format as well. It doesn't really matter. Feel free to flip one, whatever. Looks good. So these are very versatile. So here it is again, both of them Sabah side and a frame. So hopefully you enjoyed the project and it will inspire you to create some awesome artwork for your home, a gift for someone or who knows, maybe you want to flip, put it on Etsy and make a little DOT. I, I'll see you in the next one.
22. Geometric Shapes: Welcome to the demo. This one's called geometric shapes. You could think even abstract geometric shapes. This will pair Lovely with the next one we do, which is this one. So side-by-side, you can see this will be a striking, very bold modern look. So let's get rockin soft, got some paper, so just scrap paper. They're drawing paper that I use bone black on. And this is the paper I'll be using when I'm going to do first is just use some of the white paper so I don't want the background to be bright white. It would work fine like that. I just wanted to be a little bit messier. So I'm going to take some plain white paper there. It's got some marks on it. But it's not, it doesn't have a lot of colour and it shouldn't be distracting. So large brush there for the mod podge. And I'll get that coded really well, making sure I get the edges and I cut that bigger than the paper, but I'm going to line up the corners. So the corner, corner here, these are the factory edge edges. And then I can come back with a pair of scissors and cut off the excess. So that's an easy way for me to kind of cover the whole thing with some off-white paper in a Scott, again, you'll see when I flip it over here, that has got a few little marks on it, so that's enough, so that gets rid of the blank white. And now we can get into the bulk of the project here. So again, start with this black paper. I cut off that little white strip. So making sure I get, you know, mostly black here. And then I'm going to come off center a little bit. So I don't want these shaped to break right in the center. Wanted to favor the left-hand side on what the bulk of it to be on the left-hand side here kinda cut out this little ear shape almost. And then I will go inside of that and create a little kinda half of shape there, I guess a sphere or something like that. But, you know, it's not perfectly round. So no reverse c, something like that you can think of for the first shape. And then I'll cut out my little ear-shaped there. And those are the two pieces I will be using solvable, remove the unneeded paper there. And you'll see as I start to line this up here and get it positioned, how that's going to favor the left. So I'm just suggesting this angle a little bit. So I'll want that angle, you know, to kind of go up and not down basically. So anyway, just some minor little changes here. Yours is going to look totally different of course. But there you go. So right away, no, we've got the background in I've got my two shapes for the bottom cut out using another scrap piece of paper here, I can start to put the glue on. So pretty easy stuff here, pretty straightforward. Again, these are projects that you can do. The results are fantastic. And it's just, it's a lot of fun to get your hands dirty doing this stuff in my humble opinion. And again, I use a lot of these for projects, how cell, a lot of them too. But again, these are, these are things that are fun, that will get your wheels turning, so to speak. And then you can kinda take the idea and run with it and start creating your own twist on these things. Alright, so here I found a little swatch or a little square of black there. I'll get rid of the little white strip, so making sure that it doesn't appear on the final piece. And once I get that size, I'll flip it over. Now what this C or invert or reverse c to be bigger. So I wanted to sweep a little more to the left, so I don't want them to be the same size. Very important to do that. That way. You don't end up with a lot of symmetry. Also, this is going to be a little bit chunkier, so it'll be a little bit thicker looking reverse c. And then on the inside I want to have a very similar idea as I did before. But again, it's just going to be shaped a little bit differently than the first one. So yeah, just going over this, making sure I get the shapes the way I want them. I'm also going to cut out a shape, kind of a half-moon sort of shape, or half circle. But again, these are very geometric, very hard angles I'm dealing with, but you'll kinda see how this looks unless I start cutting it out. So this, so you can see it a little more clearly. I'm going to go over this, the edges, my intentions with my sharpies so you can see it. So here you can see the, the big Reverse see or moon shape. You can see how that comes more to the left than the bottom one. And then I've got another little piece here that'll be in the center. So that's kinda what I'm dealing with there. So the, the big shape here, I'm get ready to cut out. Again. There's a shape inside of that that I will cut. So that'll be the back. That'll kinda show through to the background again, it'll make a little more sense once I get it go on here. So getting this bait, basic shape and that for the inside, I'm going to use an exact o knife, a little bit easier to get inside the shapes. Being careful to cut away from my fingers so I don't slip and slice my fingers. So again, keep your digits out of harm's way at all times. I don't want you guys to get injured out there having all this fun that would take away from it. All right, so you can see what I've got there. So again, bigger shape, but this time. I've got a little it's a little bit thicker now allow me to get a little D-shaped, I guess, in there. And then there is the last shape that'll go in the middle. So here I'll cut this out and that'll be placed where I thought I was going to put the last one, but that was a little bit too too small and I grabbed the rolling piece. So there you go. So something like that. I'll work pretty good. And you know what time it is? It is mod podge time. So I will break that out and get this glued, and then we will be ready to stick it on the artwork. And this will be coming together really fast. So again, the position of it's important. So I want to make sure, you know, it's again, push further to the left. As I mentioned before, I know I'm repeating myself, but I just wanna make sure you guys understand. You don't want no symmetry in a piece like this. It's easy to do. So again, a little bit bigger and then we've got our inside piece there. So that is starting to look pretty good. And now I've got one last little piece here to cut out this. It just ended up a little bit too short. That kinda breaks in the middle of the paper, that little shape there. So I'm going to add a little extension on to that. And that's going to help out. Now I've got one more shape to do here. So this will be an inverted c again, and it's going to be the only really shape that's going to take up the right hand side of this. And once I get this cutout, this'll be the last piece. You know, that'll be, that'll go on the artwork so we can see how it will look. And again, I mean, look how much fun and how easy this is. And of course, I didn't cut that last piece big enough. So I'm going to try again here and make this a little bit bigger. This is a very simple piece, but I do think Scale and proportions are important. So I just want to make sure I get this right. And it's going to sort of meet up with the other one, as you'll see here, it says, I flipped this around. After I'll put glue on it. You'll see what I'm talking about. So as I put this to the artwork here, you see how it kinda joins the other shape. So it has a nice flow to it. Alright, a towel to wipe off any excess glue. And I've got one little fixed here. So the top shape there, it just again, the extension that I put on that came up a little bit short height, height wise. Sum going to cut off a little tab here and just kind of stick it on that and that will clean up that shape. Okay, so again, let's have a look at this piece. As always, this image taken a natural light. But yeah, very, again, cool piece that could go in a living room, dining room, bedroom, very, again, very versatile. So hope you enjoyed it and I'll see you in the next one. As we do part B.
23. Geometric Shapes Continued: Welcome to part two. Here you can see where it's going. Nice and easy. So let's get started. Again. I will use some blank paper, but it's not really blank because there are drawings and doodles on it. And I will cut it as I did with the last one a little bit bigger than the actual paper that I'm painting on or creating on. And then I'll come back later and trim off the excess. So this'll get me in the ballpark, you know the drill, a big brush here, sum mod podge. We'll get that glue slapped down and then our background will be finished almost at the end of this video, I'm going to clean things up just a little bit. But anyway, I'll press that ONE there, nice and firm. Flip it over so you can see what this looks like as soon as I clean up these edges. But you'll see this one's a little bit different because I chose one that has some writing on it, solos, a teaching, drawing and was kind of inspired by the writing. I liked it because it was a little bit different. And there you can see how that works. But again, at the end I'm going to get rid of some of that, but also leave some of it here. I'm marking this center, now marking the edges. So this will be where I cut. On the other side of that white paper is my black. So that is the black paper that stain for the project. And I've got my kinda half circle here by don't want that half circle to break in the middle. I wanted it to be slightly off-center a little bit. Again, I'm cutting this a little bit too big for the paper because I wanna make sure it's kinda hanging off the edges a little bit. So that'll be our beginning, you know, the drill mod podge. We'll slap that down. And then this painting is literally halfway done. So again, look how that half circle kind of favors a left-hand side little bit so it doesn't drop down in the middle. And again on the flip side of this paper as black. So here I'm marking the edges of the paper. And once I get that marked, then I can add my design. So this will be a kind of a reverse of what we just did. So I'm going to cut out the circle itself and then leave the trim around the edges. So that will give it the shape, a similar shape, but it's going to be a little bit different because it's more of a negative space. And then we'll have sort of a half circle on the inside of this big arc. So using this idea of kind of very straight lines, so I'm not cutting it and this curved way. Notice how all of the, the curves are really a series of straight lines. And that I think adds a little bit of this sort of edginess, this piece. Now I will cut out the middle part of that shape. So I've got the main shape there. This will be the inside. Again, I'm going to favor the left so that it's a little bit skinny on the left and then a little bit thicker on the right. That'll make more sense once I get this thing blew down here. So that again, is roughly the middle with this. So it's kinda split in half. So here we had the negative space that creates the shape of the top shape similar to it anyway. And now I will put this last piece down. So we'll have the sort of rainbow look that is going to be white. So again, notice when I put this down though, again, I'm avoiding putting it in the middle. So it's kinda going to favor the left so that, that white rainbow shape, they're inverted. U is skinnier on the left and a little bit thicker on the right. So pressing the edges down here. Now I can take my scissors and clean up the edges. Here. We can look at those side-by-side, kind of appreciate what we have. And now I'm going to use some titanium white. This is Matt acrylics. So what's going to drive very flat without all the gloss and I'm not going to cover everything up, just some of it. So in this so does kinda make it a little more cohesive. I'll, we'll get rid of some of the other things and that perhaps are unnecessary. I don't really have to do this. I think it would have worked pretty good without it, but I thought covering up some of that, marking, especially the writing that I'm covering up now it kind of gave it more of a mystery. Feeling. Like you're kinda curious what was said before, before I painted over it. But anyway, that's that. So let's have a look at those again side-by-side here. And now we'll have another look at these in a frame so you can appreciate it. So yeah, pretty cool stuff. I like that the Black was painted over paper. They already had some color on it, so we're getting some subtle color. But for the most part it's just black and white. So that's that I will see you guys in the next one.
24. Abstract Rectangles: Welcome to the demo. You can see something a little different here, some abstract rectangles. You will be amazed at how easy this is. So let's get started. Again, dealing with this scrap paper. I've got an orange crayon. If you have any other thing, like to draw with pastels, charcoal, it doesn't matter. Oil pastels. You can use that. And you can opt to go grayscale and just use graphite charcoal. You can even use paint instead of drawing, doesn't matter. And now I'll create another little swatch here. Use them black over whatever's there. So that is just bone black. So we're using a towel there to lift some of that. That's going to just make it irregular and not so opaque. And now I will drop a little bit of water into it and then lift that. So that's going to remove some of the paint to and then just smooth out some of the edges. So now I've got that going. So we've got some orange, We've got a little bit of black. Now, I'll create this kind of creamy pink color rule light. And I'll add that to a section of the piece. Not really planning anything. I just want to make sure I've got some color, I've got some light values. I've got some dark values. Here. I'm taking a damp cloth and rubbing into the crayon, that's water-soluble crayon. So that's going to smear a little bit. Here I've got a 4B graphite creating some random strokes and drawing into the paper. So I don't know. I mean, sometimes I do this, I don't use all of this stuff, but I disliked options. So I just kinda fun just to come up with different ways to make some cool colors, some cool shapes, some, some expressive market-making, whatever, and then decide later on down the road what to use it for. So I like that orange that put down with a crayon. But think Annie, I wanted to be a little more earthy. So I'm going to get a rich sort of brick red, brownish color and then go over some of that. But of course, leaving some of those crayon marks as well. So that should do it. I'll sprinkle that in other places. Here I'm taking a palette knife and removing some of that paint just to get some expressive mark making in there and that's it. So here's my artwork, the paper I will be doing the artwork on, dividing it in half. And on the left-hand side there will be two halves. Then on the right there'll be a half and then there will be a quarter and a quarter. So that's how I'm going to divide everything up. So moving in with the black here. We'll hold that to the artwork and then cut it slightly bigger than I think I will need and that will allow me to position it and then of course cut off any excess. So that'll work good. So I'm going to use that for the bottom left-hand side. Now that have an idea of how big it needs to be. Cut off a little bit of excess there, and now it's time to glue. So I'll grab the mod podge, a large brush and go ahead and put that down. You can see I'm using the paper high created there for the collage too as a way to put the paper down and glue it. So even if you get a little bit of glue here and there on your art, I mean, it's not going to hurt with this sort of style. And it actually I think adds a little some to it. Alright, so I really like this area where I've got these browns and reds and oranges rather. And it's got a little bit of white there. I think that would look good as the other half. So the top half on the left-hand side, again getting a little bit of that excess cut off. And then I can easily starts you get this glue down. I'm going to go directly on the surface here, obviously. And then hold that paper up to it. Probably need to take a little bit more off the bottom. So I will grab the scissors and remove a little bit of that. And then we should be good to go. That paint is still wet. Hadn't really use a hairdryer or allow it to dry here, just kinda flatten it out a little bit, cutting off a little excess off-camera. Sorry, you didn't see that. But there you go. Now because that paint is still wet, I can blend some of that brown into the black. So just getting rid of that hard edge, I could have left it too, but it was just something I decide to do. So working with the top quarter here on the right, I want something a little bit lighter and value, but little bit darker than the white that is showing on the left. So the top of that left quarter or that left half. And here, again, I've got it cut out and rate of role here, so a little bit of glue. So just thinking about values here, just want something again, a different color, a slightly darker. And that's it. So cutting off the excess. And once I get that, we can start moving on to the next one. So here I'm going to think a little more white. So I've got some a piece here that's no dominant, has a dominant white to it. And I can flip it around to see how that will look in there. I kind of like how that is moving here. So I'm going to keep a little bit the off-white there and then get this thing cut down to the right height and then we'll be ready for the glue. So you can see this is coming together quick. You know, it's a lot of fun to paint this way and this is Soul unpredictable and. Exciting, which is why I like it. And you know, it's good to do some traditional stuff too, but, you know, it's good to mix it up. So that's why this course is acrylic painting ideas is things that maybe you try. Maybe you have it, but hopefully it'll get you thinking a little bit more about trying new stuff. So here I've got the last half here. So the bottom right-hand side, I found this really cool piece though, had a dominant white. So since I had that dark black on the left-hand side, I thought would be good to mix in something that has a little bit of a light value, but it has a little bit of excitement to, so with the blue crayon in there, it's got little touch of that black towards the top. So I really liked how that kind of finished everything off here for this last space. So there is, there, it is in place and here just kinda getting things fit in, you can see I have a little strip down there at the bottom that I came up light, which I kinda knew that going into it. But I thought, well, it's not a big deal. I can just get a little piece of white paper and peace that in. So using exactly the knife here to cut it. And of course, it slid out from underneath. But that's no big deal. I will just take a pair of scissors here, get that last little tab off, and then I can flip it over, put it back in place and, you know, it should be ready to go. I like how that little piece of paper is not quite the same lightness of the other one. But it's still flows here, mixing up a little bit of a creamy white, kind of an off white. So a little bit of cobol, blue, little bit of green, a little bit of that orange in there as well. And I will smear a little bit of that at the top, as you can see, a little bit of that. They're on that little square, disa, clean that up a little bit at a little bit of harmony, I guess, a little bit of flow. Two shapes. So I've got the white down and now I can flip it over on a clean piece of paper. Again, that paint is still wet, so that's going to give it a little bit of texture. Some of that white will lift off as you can see there. And some of it stayed on. So yeah, that's looking pretty good. I came up a little bit light and the top quarter, so you can see I'm cutting a little strip there. And that's because that shape. And on that top quarter there was a little bit too short. And I found a piece that has the similar colors, but it also has a little bit of blue in it. So I thought that would harmonize really well with the blue crayon that's on the bottom of that side as well. So yeah, I've thought that turned out goods. So again, there's really no right or wrong with this. I just have fun exploring. Divide your paper the way I did if you want, you can use other divisions or pretty much anything goes so you can have a lot of fun with it. Here I'm going to add a little bit of just pop a color and run that a color up into the white a little bit. And then I will grab something here to kind of scratch into it in just a second, but I see an opportunity to get a little strip of white here, kinda cut and across into that kinda that colour there. I thought that kinda added a nice little geometric feel to it as well. And again, pressing it so everything is glued, nice and firm. And also a few finishing touches here with the orange crayon. And that's about it. So yeah, a lot of fun here it is again. So image taken a natural light so you get a feel for the colors. And again, a great easy painting to do. I think the results are fun, they're spontaneous, is very modern, contemporary, you name it. And you could use whatever color palette floats your boat, and have a lot of fun with it. So I hope you enjoyed the demo. So you in the next one.
25. Daisies On Blue: All right, you see the daisies on blue here. This is done with acrylics and mixed media. So some collage. I even use and acrylic refillable pen on this one. So I will go over that once we get there. So I found some scrap yellow paper. I thought this would serve well for a base for the daisies. And now I'm taking a medium size, roiling Nicole, That's my flat. Again, medium-size, I think that's the number eight. And just loosely putting some dairy light yellow so that dairy lied yellow has a little bit of retina, so it's nice and rich. Here I'm using a little bit of Alizarin or quinacridone, Crimson to put some center, some red centers and to some of the flowers again, you can see nothing's really strategic here. Nice and loose. I'm not worried about trying to actually paint flowers here. I'm only trying to get some colors, some feelings or feeling of some of the leaves, petals and things like that. Later on, of course, I'm going to use these for the daisies, but I just needed something to get gone. Now, I'm going to put a little bit of a blue on the right-hand side that does this give me a base to work off of? And then also just kinda get me in that collage mood. Just kinda get the juices flowing here and break in the paper in and just getting some down. There's going to be some leaf edge underneath these daisies. So I have a little bit of green, they're pretty dull, agreeing kind of a grayish green, but I don't want anything that's going to compete too much with the bright blue background and the daisies, Soviet everything to colourful. Sometimes the art becomes two Lao. So I'm going to download and play the, the green edge on this. Let me pause right here for a second and just show you an image here. These are different markers I'm exploring with. They have different tips on them. Some are very fine like on the left. Then you have a small chisel, you have some medium chisel, a large chisel. You had this sort of standard blue tip that I'm using on the right and then this yellow one which is kind of a round tip. Again, they have tips or even bigger than what I'm showing you here. So you can refill these with acrylic IQ and they work grade. There are a lot of fun, especially if you enjoy mixed media. So as I move forward in the video, I'm going to be using the standard blue one. And I just wanted to introduce them to you because you'll be seeing these quite a bit as I move forward. So this is my refillable acrylic pen. This is a largest got up. Round tip on it. And I've got it filled with blue acrylic IQ. And you can see it puts down a nice broad stroke. And what I'm doing is just putting in some random strokes there. We're not truly random, they're there. They're done somewhat strategically, but they're done loosely enough to where I can start to put some of the collage or some of the daisies painted earlier into it. So I left some of the white of the paper whenever I did that blue. And I did that on purpose because I knew I was going to come over some of that and put it in some daisies. Now I'm using an exact DO naive just to get some nice jaggedy looking edges on the daisies, sagas, some points there got some different angle was happening. And again, I'm not looking at daisies and I'm doing this. I've looked at enough daisies that I kinda know who they looked like. I'm not trying to paint an individual flower here. I'm just trying to work the entire piece as a whole and keep everything really loose. If you're someone that's more into details, you feel you need to bring out more of the realistic qualities and the flowers. And of course, this would work fine as well. And that's totally up to you, how you interpret your daisies. So that's looking pretty good at this point. I think I can go ahead and make it official. So using sum mod podge, I will put a little bit on the back of that, a little side note here. And probably very important that you understand is that the flowers have had a chance to dry so that yellow and red paint as 100% dry some able to flip it over, put glue on it without any smearing or smudging. So again, just getting things going here. So again, I'm not married to any of this right now. All I'm Dawn is playing with this idea. This technique I'm using is spontaneous. I wanted to paint the subject, but I wasn't sure how it was gonna do it. I'd purchased these acrylic refillable ink markers, where they come in various sizes, which is kinda cool, but I've been wanting to try it for a while, so I thought this would be a good one to try them markers on. This is a small acrylic ink refillable marker. And it's got more of a, a point to it. And I've got some black ink end of that. And again, I'm just toying with the idea here of using these markers. And if I know, if I don't like it, which you'll see later on, I'll go over some of this. I know I can always collage over it, but I'm just basically experimenting doodling, if you will, with these markers with the subject. Seeing if I can get it, what I can get away with what looks good to me. And of course, blood doesn't. I thought I'd be nice maybe to add a few little daisies are stems or something on the ground, some leaves, some of his drawing that in now and that can decide later on if that something I want to try. So here again, just kind of put in a few scribbles in there and we'll see how it see what happens. And probably a little too heavy on the marker there, but I'll clean that up a little bit later on. So I liked the blue initially on the right-hand side. But as I'm looking at this, I'm thinking I'm going to isolate a lot of that rich blew up towards the top. Some going to use some collage here. And mostly white papers you can see. And I will clean up some of this by simply collaging over the blue. And I've got a little piece left over there, so I'll find a little home for that. Now I've got some more of the green paper, so I'm going to add some leaves and different things like that to the left-hand side here to get that involved. So I'm gonna put a little bit here first into the flowers. So thou kinda overlap the top of the vase a little bit. And now I'll put a little bit on the left-hand side. So yeah, in a short period of time this is coming together. I'm going to do one more little thin leaf stock type of thing here. Of God glue on my finger and on the paper. So I can just kinda use that and just slap and on and on. That's looking good. So as I mentioned earlier, I did over draw the vase a little bit and you can see it's just, I've got an outline around everything and not really crazy about that. It's starting to look like a coloring books on going to collage over this a little bit and try to clean it up. And for now, I'm going to put this last piece of collage paper down. And then I am going to see you guys and part two where I will finish this painting up.
26. Daisies Continued: Welcome to part two, picking up where we left off here still again looking at different collage paper. This is again just kinda random paper that I'm pulling out of my bag of paper. I'm trying to find anything that is just basically white, has maybe a few odd lines or scribbles on it and just slap it in there you can see the little line I had on the upper right-hand side worked really well for the edge of the vase and even had a little bit of yellow in there. And now I'll take a little bit of titanium white. And my medium broiling Nicole flat brush and just clean up some of the edges here. Sorry, that was just starting to look a little bit gritty and smudgy looking. So just kinda hidden it with some white paint there to clean up some of the smudges. And it's some of the things I don't want. My thought would be a good idea. Because, you know, the, as this painting is developing, kinda starting to understand that a little bit more. So the idea is that I want most of the color and activity towards the top of the piece. And I want the bottom just to be really mainly white and just a lot of nothing really other than just maybe I'll lose depiction and loose drawing of the vase. So I'll have some more that collage paper here. Thought it would be good. I've got room to add a little more. Apologize about the bump. I'm wearing. A hat, a ball cap, and the cat keeps pumping the camera. They're about the same height. And every time I lean forward on bump it. So my apologies to that. Thought This painting was still pretty good. I didn't want to waste it. Even though I didn't film it perfectly. Thought it had some other things that were worth sharing and that for you to try. So the markers are the big deal here. You can see the the effect of it. You've got a nice broad blue strokes. A little bit of the dark strokes there from where I drew the basin. It's just fun. You know, I like to draw a lot. So the feeling of holding that pen in the hand is a little bit different. Then just holding a brush loaded with paint. One thing I did there that I didn't mention yet was there get a mob hat, had the DAG on camera. Again. A film in my studio, in my garage, in my garage is getting cold because it's December. So I'm wearing a hat which I normally don't wear and I have to get used to it just to keep my head warm. You need to get a better heater. But at this point I'm going to drive everything off. Whenever I put the white down over the bottom part. I went back into that about 30 seconds or so ago with my exact DO knife, I had the blade retracted. I was only using the tip of it, which is kind of a blunt round tip, just kinda scratched into that white paint a little bit and that kinda revealed some of the darker marks below. And now I've got the same pen, but I know now that I don't want to do too much. I don't want to draw every single edge of the vase. I don't want to keep it nice and loose. You can see I'm doing a few edges of the flowers just to tie in those black lines. Not all of it, just a little bit. And now a few lines, a few details on the vase. And this looks a lot better, says more airy and not quite as overdrawn and heavy as it was before. And I'm just going to tie in a few more of those that line work and to the daisies. Again, just to get, give it harmony. That's, that's the word I'm looking for their. And just a little bit here and there. Typically, I go too far. And now, if you're like me just had that kind of time clock that goes off in your head, so yeah. Okay. I haven't holding this thing long enough. Let me get a good assumption, mouse. So now that all that yellow is dry and a daisies, all the white paint is dry. I'm I've got my black marker again. Again, it's got blue ink in it, acrylic IQ, and very saturated as you can see. And I'm just now having fun. Just kinda going back into the top of the painting, I've got some lovely edges I can work with their Just to go around some of the edges of the daisies so you get some nice hard angles going on. And now just taking a moment here to look at it, process it and the vase is kick him out. But in this piece, so I just simply, I just keep overdrawing that base a little bit. Just doesn't have that carefree look about. It, still looks a little bit controlled. So yeah, I've been doing art for since 2 thousand pretty much as part-time and full-time living, but mistakes are part of the deal. I'm just glad I got a bunch of tricks up my sleeve to deal with it. Now go back in with some greens, going to splash in some, some leaf ij and different, different things there just to break it up a little bit. And eventually I'll collaged around that as well, just to clean up a few of the edges to finish it up. So this is looking a lot better. Notice how that vase has an open area to at that bottom left-hand corner. That's such a big deal. Had I drawn around the entire edge of the vase. And it just starts to look a little too cartoony. It doesn't always work well. Sometimes you can get away with it, but generally it's nice to have things where they're not completely drawn. So this shape has an open somewhere to it that the eye can escape. And, and there are, there are some, I guess a helps with the abstract quality. I think we got a little room here to add a little more this daisy idea that collaging. So I think that's looking pretty good. Maybe a little bit darker green here for some of the foliage. I thought that was a little bit pale. I don't want it to saturated and deep, but it needs to be a little bit more than, obviously than what I have. Now I'm going to cut out a little shape for a leaf pedal. And I will put that in there. And you can see as I hold that up to that big green mass, a really cleans up that edge and makes it look more like a pointed leaf. So there you go. So that's going to wrap it up. This have a look at the piece again, this image was taken a natural light. So you can kind of appreciate the true colors. But a lot of fun. This one I really enjoyed the markers are gonna be seen those a lot more and some future courses, but I hope you enjoyed it and I will see you guys in the next one.
27. Flowers On Brown Table: Side table. So this one is a little mixed media, so acrylic and some inks over top of a reject painting basically. So let's get started here. So I will move in with my inks. This is sepia kinda of a dark brown or CPM maybe, but a dark brown. And using a medium-size roiling Nicole flat, I will go ahead and chunk in the table. So this will be again a big brown table coming up from the foreground there. And from here I can start moving into the vase. So I'm thinking a yellow vase would look pretty good. This kinda golden corn yellow. On top of the Brown should contrasts nicely. What could it be easy, easily gone, light blue or pink or whatever. Just the value is important. I wanted to contrast against that dark value of the table, as opposed to being a dark face on something dark, which wouldn't really flow in this case. So kinda rough shape here of my vase. Again, very imperfect but close enough to where it works. And that's all I'm after here, a little bit of mod podge on that and I can go ahead and pop that on. Being careful with the ink is still pretty wet here. So I gotta be careful about smudging and getting things in. I noticed how that vase is off-center. So I'm not plopping the vase right in the middle. So I've got the table kind of balanced in the middle and then the vase slightly off to the left there. Here I will add some dark stem, some like I added a little bit of light or green gold to that Brown Act gave me kind of a greenie, greenie, a greenish brown. And that's what I'm putting down now. And just some leaves and stems and stuff that will be going up into the flowers here. And now, I will use a similar technique as I used before, which is basically starting with some cobalt blue. And I will just add that to the background. I'll go pretty quick here since it's pretty basic stuff. And I'm coming into that now with some titanium white. And basically blending the blue and the white together on the artwork itself as opposed to blending on the pallet. So that's that you'll notice I had a little spillage with MCI Brown earlier. So I just speared that around and that will eventually become collage paper or maybe an abstract painting who knows? But one thing for sure, it won't be wasted, it will be used later on. So a little bit of CAD red here and titanium white. I wanna go back into this red and this give it a little bit lighter value, bring a little bit of a life to it. I just felt it was getting a little bit too dark and starting to almost blend in with the brown table. Saw I wanted that to be lighter and value. Then the table itself. And here I've got some issues because that table was going to write to the corner of the artwork. I don't like my tangents to break at a corner. So I'm changing the angle of that table to come down to where it's basically not gone into the corner of the artwork. So here are a little bit of CAD read, a little bit of orange, and a little bit of white. And I still need to bring some life to that red. And I've got, you know, some other, a warm tone, a warm Hugh flower. So mixing, mixing it up didn't orange at the top, and then added a little bit of yellow to orange to get a little bit lighter one there, the bottom. And here I'm using dairy live yellow for like a little daisy there by the red flower. So just again mixing, mixing it up a little bit and making sure my reds and oranges and yellows all have some variety to him. For whatever reason, I intended to just dry the painting off. But you can see I started painting while I was drawing some kind of multitasking here. And it'll go along for a little while. But tend to paint as I'm drying things off a little bit. And that's basically what I'm doing. So it is adding a white center to that flower. And I wanna yellow center for the red flower eventually. But I've got my small detail brush there and I'm just adding a little bit of foliage, a little bit of green to it, using some cobalt, green, using some green gold mixed with the yellows on the palate. And all of that is starting to come together even though my intention was to just dry it off. I just kinda got into this role of painting while I was doing it. So I don't know what's, what's happened in there, but it's working. And this point, I'm going to try to add a little detail on the table, maybe a little table cloth, a spoon, or who knows what's there, little ornament. But I'm just going to just put a blob down now and to see if that works or not, can always come back later and change it. So the colors are relatively muddy here for the green. So I'm gonna go back over the sum of those greens and just add a nice pop of kinda more crisp, pure color there. And a few details and to some of the flowers. So I will pause right here and we will continue this in part two. So I will see you there.
28. Flowers On Brown Table Continued: All right, welcome back. So we'll continue on. And once you make this table a little bit darker by just adding another layer of ink on top of that. And I think that's just anchoring the painting a little bit. So we've got a lot of light values with the vase. The red is a medium value, but for the most part everything else is kinda Pass Delhi and I fill it just felt we needed something really solid to anchor it. We have a little green leaf poking out there from the vase, but apart from that, everything else is fairly light. So again, just something a little more substantial there in the table or thought would, would look a little bit better here mixing up some lavender or some really light pinks. I'm just going to dot that over some of the darker magentas that are already there, just to give them a little more life character. And I'll kinda ditto that for the vase here. So this bringing out a little more saturated, pure color was just some of the colors were just starting to look a little on the muddy side. Again, this is dairy lied yellow with some titanium white dairy LOD is one of my favorite yellows now to work with. Just think of it like a sunflower yellow. That's kind of what it is. I mean, you can mix it by using probably cad yellow with a little bit of yellow ochre, but it's kind of nice. Haven't hit Refresh and ready to go. Make some for some amazing greens too. All right, at this juncture, I'm going to go with a light blue here, maybe a touch of green that was already on my brush. Not much, but I basically going to go around now and clean up some of the edges. And you'll notice as I do this, how, how it really pops the subject. So prior to doing this, you know, the background was just looking a little murky, little muddy perhaps. And I had applied a lot of layers, a lot of little strokes here in there. They're just kinda plan and sampling and letting the brush dance around the paper a little bit. So this is a good way to go in there and chisel out the edges. So don't want some negative space painting to clean it up. Too quiet it down a little bit. And then to just redefine some of these flowers that were lost throughout the layering and painting process. So here coming underneath our little leaf there and now the edge of the table. And again, among autofocus, I didn't realize this as I was painting this whole new series of demos for you. But in the Edit process, had one of those dag gone at moments. But again, I think we're we're fine. We're getting what we need and focus and think, you know, it's not going to hurt us too much, but I've corrected that issue with my camera. But anyway, you can get a nice, a detail shot of my greens butter there. So you can look at all the US becoming a work of art to, you should see the front of it. I've got this layers of paint all along the the further shirt, so that's maybe worthy of framing at some point. So this is a piece of a china marker, so similar to charcoal, I guess a little bit. But it's really nice to go back and work into the wet paint a little bit that background color and draw into it. And just to get some linear interests, some extra drawing into the painting which I tend to like and do habitually. And now just getting a slightly different color in the lower right-hand side, the cameras not really picking up on it, but it's more of a magenta color so that that will pretty much do it. So let me show you what I mean about that color. If we look at it now you'll see it's more of a magenta To the right kind of bluish, cooler color or towards the right of the background. And then as we get to the middle and the left, top and the left becomes that cool blue. But I really like how this one turned out. I thought it was just really playful and kinda carefree. The color palette and it works really well. I think that dark table, the value other really anchors the painting, kinda leads your eye right into the vase and on up into the flower. So anyway, I hope you enjoyed the demo. See you guys in the next one.
29. Fried Egg: Friday and this one is only acrylics. You can see it's nice and loose and bulky and chunky and all that stuff. And we're going to exploit the white of the paper. So we're going to basically leave some of that white showing, almost like the coloring book idea we did. But instead of doing a red outline, we know you just want to be cognizant of the edges around the main shapes and just leave some white edges around some of them. Again, not all of them because we don't want it to become stuff. And trite. We wanted it to be, you know, somewhat unpredictable but have some sort of harmony and flow. So what I did is I added a bold, a few bold strokes there of green. So that'll be the main foliage that coming out of the vase. And now I'm mixing up a little bit of pink here. And we'll start to add some shapes. But notice as you begin to do this, how I'm not budding all the colors and strokes up to another color. I'm leaving some little gaps, some random shapes in the background that'll be used later on to add some different sort of flowers and leaves and stems. So just again kind of making it up as I go. And the only thing I wanna do is just come up with some sort of pattern here of whitespace. As I add these colors in here, that looks good. You know, we're trying to find balance like anything in art. So balancing the whitespaces in different ways so they're not symmetrical. So we don't have the same size, white shapes in that space and that sort of thing. Alright, so now that first yellow I used was dairy lied and I mixed that with yellow. Here I'm moving in with some cadmium yellow and mixing that with titanium white. So I've got two variations of yellow. Again, you know how I like to roll. I'm not going to use the same yellow all the way through. What we're going to mix it up. I've got some grays and Brown's on the palette from my previous demonstrations. And now I'm going to add a little bit of a sense of a table top there. Again, you can see the little white gaps here in there. Then I'm leaving. Could have done a better job knowing that this was kinda my first attempt that trying a, a painting with this sort of technique. So I'm gonna definitely go back and exploit this more. It reminds me a little bit of watercolor. So for those of you that have done some watercolor painting, and one of the familiar techniques is to leave little sparkles of the white of the paper. So watercolour paper has a texture to it. And a lot of teachers and artists would like to leave a little bit of that sparkle of the white. And things that are white within the subject are often left the white of the paper. And it gives it that nice clean Chris, appearance than this. This is what it reminds me of a little bit. This technique I'm using here. So now moving in with some darker greens again, mixing, mixing it up a little bit. I think that's probably the one thing I would encourage artists to do. Even if you've been around acrylics or painting for awhile, is constantly, you know, have a, an alarm clock that goes off in your head that says, hey, you've been using this color too long. You've done a few strokes with it. Let's add a little brown to add a little orange, yellow or whatever, and change it up and that's going to give your color some vibration. And oftentimes I find it's easy to forget that I do it all the time, even though I teach it, I'll preach it. I find myself doing the same mistake. And that's why I'm like, well, if it's easy for me to make that sort of mistake, then sure. Everyone else's is Dawn it not that above anything that what you're doing and it's just I think it's his habits. And I think we're all kinda fallen to where our habits and what we are likely to do instinctually, I guess. Alright, so now using that same sort of brownish grey, I added some white to it and I'm just going around some of the edges again, notice how some edges and whitespaces is wider and bigger than the other. Some areas, I will actually touch the edge so I'm not trying to leave white everywhere of course. And just balancing it out, you know, says I get to the background here. I'm looking at values. I'm looking at, you know, how, how thing, how the shapes are looking, what do I need to? I need something big and bulky. Do I need something no more linear? Do I need a big chunky shape and has gone with it and all the while trying to leave little bits and pieces of the white of that paper. So I know that's a common theme. I've said it a bunch, but I'll just kinda reiterate it as much as I can because that is really the key factor I think, into making the style work. And I'm going to pause it right here and I'll see you guys on part two.
30. Fried Egg Continued: So at this stage, the background, Middleground, foreground, everything is starting to come together. And I'm going to start to focus a little more on smaller shapes now some details. So working with some numbers, a little bit of a crimson, CR1 acronym crimson. I'll add some details to the table, maybe perhaps a little pattern around the border of the table. Again, very loosely depicted. Just so we can kind of flirt with the idea a little bit. And then it feeling if I don't like it, I can always come back and change it. But I think you're getting into some details and smaller shapes at this juncture would be ideal for the painting. Still up top towards the flowers and little fried egg looking shape up the hair. Will probably have to tweak those colors and break it up a little bit. But I'm adding some Brown's, some kinda golden yellow Brown's as well to the bottom. And now adding some stems to some of the flowers where I've got plenty of whitespace. As I mentioned earlier, I've got an auto-focus, so it's, you know, the camera's going to automatically pick what it wants to focus on. So I apologize for getting a nice detail shot of my hand when actually I know you want to see the painting, but I think for the most part, this is you're getting enough of the painting and focus here to, to see what's going on. And here just adding some against some stems. That color is more of that kinda Peter Gray. And now you can see I'm mixing in a little bit of that light blue that's on the palette with the white and is getting a little bit lighter value on the vase. I felt that vase was a good color, but it was just a really bad value. It didn't really pop out against that table. Wanted to a little bit of separation there between those two. So taking a hair dryer here or a drying gun there, and I will start to dry it off. But as I do this, I'm going to add some details. So I'll get my little yoke there in the middle of the fried egg and clean my brush off. I'm using a small detail brush. That's actually a watercolor brush. So it's really a bad example. I shouldn't be doing that. But I couldn't get my fingers on my hands on a a detailed brush. It was just there and I was too lazy to go look for it. So I decided just to go and grab whatever was available. You know, it's really interesting too, is the paper painting on right now. That white piece of paper that is basically my palette and will end up being in an abstract painting. At the end of this, I'm going to show you the artwork. I'm doin obviously because that's what's in focus. But I'm going to show you another image of that white paper that's artist grade drawing paper. And because I'm putting random colors and different things down as I mixed the paint for this piece. I noticed once I clean, cleaned up after this little session, I had a beautiful abstract painting there. So I'll kinda get a two for one here. And the size of that as like 25 by 19 or 20 or something like that. So it's a substantial size. And I'm telling you man, it was like a good way, a good technique to use for creating abstract art. So Hackman prob probably stop using traditional palettes to mix my pain. I'm just going to start putting down some acrylic paper or some Bristol paper. Something that could easily convert or mount to a piece of foam core Mason, I end up with a beautiful little abstract piece. And if anything, if it doesn't turn out that way, you've got yourself a lot of collage paper to work with. So you're kind of, again, your painting art, but at the same time you're creating this opportunity here for some more lovely collage paper. And then also maybe even an abstract painting. So kinda of something interesting there to, I wanted to share with you. So if you ever wanted to explore abstract painting, you can explore it without even exploring it if that makes sense to you, without trying are making a lot of effort. So everything is nice and dry here. So here is the image. Again, exploiting the white of the paper, leaving some of it unpainted and certain areas. I thought this one turned out really well. I love the playfulness of it. I love how chunky it is, how sort of naive, but at the same time, it's really good balance, wonderful palette. And I thought it turned out really well pleased with it. I'm gonna definitely explore some other subjects, landscapes, Still Life with this other, like maybe some fruit and veggies or something and see what I can come up with. So here's that abstract painting, which was basically my palate only did the one piece from it. So you can see, I think I thought I'd turned out really well. So I'm going to hold onto this. I may even frame it and put it in my house, but if not, I'll throw it up on my website for sale anyway. Hope you enjoyed it and I'll see you in the next one.
31. Veggies: Eat your veggies, mixed media, going a little bit bigger. I'll, so you can see this is a nice, playful arrangement. You can mix and match all your veggies, whatever you feel. This piece of art, Mooney. I'm going to start with some scrap collage paper. Again. All of this has made daring my, you know, leftover paint at the end of a session. And instead it thrown that stuff away. I just smear it on some leftover or some old drawings and studies. Also. Sometimes I just set out with the task in mind or just stain in some paper, putting some color down. And then that will lead to a paint session. But whatever, however you get there is up to you. I think the key there is just to make your own. There's plenty of collage paper out there if you'd like that. No strong pattern paper or stuff like that, you can play with it of course. But when it comes to color in this abstract mark making, a prefer to use my own collage paper because I think it captures colors that I like and use often. And my brush strokes that are probably sometimes underrated, brushstrokes are very much like your signature. And everybody has a unique signature. So anyway, this kinda getting to the art here, using a 2B pencil, laying in some peppers and tomatoes, some leaves, some peas, and some mushrooms. Again, you can play with this idea all day long and come up with some fantastic compositions. And this is not really a composition. These are just kinda random, not random, but they're just different vegetables just placed on the paper in a way that is appealing. And you can play with the scale of things. You can make amino Small and put a bunch on there. Or you can do what I did is kinda make this medium size shapes. And then you just put a little bit in the air. But again, you can use wherever veggies that your household tends to use a lot. If you have color schemes that are better suited for certain veggies. And obviously you can do more tomatoes, do more green peppers, whatever, wherever you see fit. So I'm starting with the pepper obviously, and I'm just cutting some shapes for the sides. And once I get that, Golan will go to the next phase, which is basically getting some mod podge and getting that stuff glued down. There's a lot of repetition and this particular piece. So obviously, I will approach everything the same way. I'm using collage paper for all of the shapes. And once I find the collage paper that I think is best suited for the piece, then I will cut it out. I will glue it. You'll see me use a piece of cardboard. I will flip the art over occasionally and press it really hard into the surface. Just to get the edges to lay down, flat, outline a few curled up edges, but I don't want too many. And but I think just getting them press down as important and then I know that that's going to be there for the life of the art. Alright, so I've got more of a yellowish green on the sides for this pepper and kept the center of the pepper, that segment of it, more of a green. So that there's a little bit of contrast and separation between the different segments of the pepper. Keep in mind too, if you don't find the perfect shade or tone that you're after, you can always start with what you have and then come back later on and glaze it with a little bit of paint or ink or whatever. However you see is the best way to do it. So this first one, don't want it in real time. But as we move through it, I'm going to move a little bit quicker, but again, I'm going to do the pepper slower real-time. And then because there again is that repetition, then I'm going to kinda moved through the other veggies a little bit quicker. So don't worry, I know most of you kinda get the point here. As you move through this course. You've seen collaging happened. You kinda get the idea of it. As far as the background on the paper, I use something that was already pristine and, uh, had some different browns and earth homes on it. But I did that because I knew I was going to come back later and do a light common off white cream color background. I'm gonna do is get all of the collaging done first. And then I will come back afterwards when everything is dry and add a background hue. So again, I'm moving quicker now this is about two times normal speed. I've cut out the shapes of the tomatoes. I've found some of that red collage paper am cutting out three different shapes. So they're not all the same shape and not all the same shade of red. So you're getting a variety of sizes and a subtle shift and colors. And I think that's important. I would encourage that. And all of our, no matter if you're Dawn, you know, watercolor, acrylic, mixed media, paint, landscapes or painting still life. Variety is key. You're always want to make subtle shifts in things, or if not, the area will become very flat. So we can get a subtle shift or change between similar size items and things like that than, than the painting has a little more interests and it looks a little more dynamic. Alright, so here I've cut now half a leaf and I will get the other half. So I'll leave a little bit of separation between the leaves down the middle. And then that would look pretty good. So you can see, instead of painting the leaves here, I just put the glue directly on to the surface two. And that's fine. Keep in mind when you do that, the glue is going to act as a little bit of a resist. So it's going to stain the paper a little differently. So you'll have areas where there are glue on the paper, where there is glue on the paper, that we'll accept the paint a little bit differently. And again, I do that on purpose because I like the variety. I don't want the background color to be flat. Of course, you can always opt to do the background color first two, that's totally up to you. If you're someone that's more comfortable putting the background color and first and then coming back and putting the clause over top of it, that's fine. I happened to work a little bit sloppy, so I tend to do the background colour last that way all of my splattered and loosely applied stuff can be painted over. That's going to wrap it up for part one. We will continue this and part two.
32. Veggies Continued: And as you can see, we have picked up or are picking up where we left off. I found a little bit of green here. So I'm just laying that over my shape and then using a very light pencil mark to scribe it in. And then I'm going to take my knife, exactly the knife there and cut it out. You can use scissors, whatever tool you have to cut with. And I pick something fairly light in value. And oh, actually, I'm sorry, I've picked something fairly dark or medium and value. And I'm going to come back later on and add some light color peas inside of that. So here I'm going to a different section of green that's on the paper. Notice how the first long shell there was a little bit darker than what I have, even the one I just cut there has a little bit of red in it. And so again, that gets back to the variety of got my camera on autofocus as well. Coc where my my hand gets a little bit closer to the camera, it's going to focus on my Hand and the subject. So I apologize for that. But I didn't realize was on autofocus, I had taken some images, taken some photographs, and I was using that feature and totally forgot who was on there. Occasionally you'll see a little camera shake to burn a ball cap and tip of the hat. The kappa hat will sometimes hit the camera, but I'm moving forward so we'll get a few shakes and there, but for the most part you'll be able to follow along easily here and you get a nice close-up there of me cutting out the mushroom, the top of the mushroom. And I've got a few other little shapes I will use to cut out. I'll use it for the stem. And then the inside of this mushroom will be kind of a darker blackest brown color. So what I will do is just get the lighter values cut out first. And then we'll move in to the, the darker value which is right here. So I've got a little bit of this kinda bluish kind of Payne's gray color, some cut now kind of an oval looking shape here, and that will be the inside of the mushroom. It's not perfect. I mean, it could be maybe bigger or smaller. I think this one I just cut was a little bit too small, but I would just add a little bit of peace, a little piece to that. And now, as I put those together, you see I came up short, but no worries. That does kind of adds to the peace. The texture of it solidus add a little, little tip there through the inside, underneath there, I should say the mushroom cap and we're good to go. So this is moving along pretty good. Probably still could use maybe a little piece there on the mushroom. So I will piece that end. And then we're ready to roll here. Alright, so mushroom cap is done. Now I can get back to where I was, which was the stem. And we'll get that placed in there. And think I will add a little bit of a bottom to that stem as well. I kinda liked that dark against the light. So I'm going to cut out a little another oval here. And then I will use for the end of the mushrooms and WhatsApp placed that in there you'll see is that gives it a little, a little a shape, a little dimension, and some believability there. And now I can move into the other mushrooms. So I don't want the mushrooms all the same color. So you can see this is leaning more towards a greenish tan color. And I'll get that place near the top. So with the mushrooms, I'm trying to shoot for three different colours. So kinda found this kind of an earth tone here, almost a Peter maybe. And I will now use that one for my third mushroom. And that's, you know, if I can stress and the one thing I think it would be to always change it up with your colors. And that way, when you're the artist's finished, you know, everybody can see that there are three mushrooms there, but they're all kind of painted the same. Then again, it's going to lose a little bit of excitement. I think the beauty of this style that I'm sharing with you is the kind of playful quirkiness of it. Nothing's really perfect. And I think it'd be tried to force things to be too much of the same, then it's going to have a little bit. It'll conflict a little bit with what style I'm trying to do anyway. Again, you may be a more formal or rigid with your approach or what you're trying to create and that's fine. You know, we're all going to probably do a little differently, but just kinda sharing some insights into things that are important to me. I'm, you can see on this one must stem is short and chubby. So the first one was kinda long and skinny. Now I've got to shorten chubby one. And now I'll make this kind of football.
33. Veggies Continued Again: In case I failed to mention in this piece is 11 by 15. So whenever I get to a subject where it's got no more shapes to it. So I've got a lot of different veggies in here. And each veggie has its own little set of detail. So you can see here I'm adding some greens stem sort of things to the tomatoes. And I am just shrunken it in there. So notice I didn't try to cut out every single leaf on the stem. I just chunked it in there knowing I was going to come back when I do the background and I'll chisel out those shapes. Alright, so as promised, I'm using a little bit of my green gold here and titanium white with a touch of the Cadmium Green as well. And I'm sorry, that's cobol green. And this touching in some peas and then adding a little glazing over the pepper. The peppers. Okay, I'm thinking that may have to have a little more color to it. It's such a big shape. I wanted to be more noticeable. So I may go a little darker there. And here I switched to a small flat and is made a little detail on the p's. And now I'll go to that cobol Green. And it's kinda drag it over the paper just to give it again a little more shape. I left some of that golden yellow behind, that dark green. At this stage, everything needs to be dry. So I've got some excess glue there. There's some shapes that I have painted on the peppers. And I wanna make sure that it's dry before I start with the background. So the background, I didn't quite nail it. I thought this kind of grayish, warm gray color would work. So I'll put this on first thinking that's pretty much all I'll need. But I once this dries, it's going to be a little bit too dark, so there'll be a two layer background, but I had hoped to do it in one. So just a little confession there. But yeah, everything is dry here. So then once it dried, I came back and just added more white to that mixture. So that shifts a little bit of bone black, a touch of yellow ochre, and then a lot of titanium white. And once I get everything painted in, I'm going to grab my exact DO knife. And big. Very careful if you do this because you don't want to rip the paper, but I am just going to make some lines. So it kinda drawing with the tip of my exact DO knife that I'll add some nice subtle details and line work to the piece without becoming too obvious, I could have easily used email, graphite, pencil, a piece of charcoal. I could've easily even use a really thin liner brush, but I decided to just scratch into the wet paint knowing that I had a darker gray underneath. So wherever I scratched it was going to reveal a little kinda rut and the paper and then also the darker paint underneath. I just going back over it now it is touching in some a little more paint and some areas where it's a little thin. Also that breaks up some of the line work I just put in so that, you know, it doesn't look like there's a line around everything. And here I've got a small detail brush a little bit of that same background-color, adding a little detail there to the, underneath the mushroom. I thought I gave it a nice addition. Again, this pieces and about details you can see I didn't labor over really anything. Everything was done nice and loosely and quickly. What didn't get too fussy about colors and things weren't perfect. And we want them to be, I just kinda let it ride. Knowing that the imperfection is as kind of part of the painting that I wanted to exist. So now wasn't trying to create picture perfect veggies and something that will be used for some sort of illustration book. I wanted to be loose, charming, and kind of naive, if you will. So, yeah, this is all coming together. You can see I'm adding a little bit of dark green here and there to the tomatoes, to underneath the little peas. Just to give it a little more dimension. And using a small brush to do that, but not, not too much, just, just a little bit to pull out a few small shapes and a few details, and that's pretty much it. So now I'm getting a little bit of light here. I'll add a, make that one. Pea pod. They're a little bit darker, lower on the green side, believing some of the original color as well. So all of this is looking good and I think we're pretty much done. So you can see I was drying this as I talk. So here's the piece. Again, image taken a natural light so you get a sense of the true colors. But how awesome is that? You can scale this way up. I mean, you could paint a huge painting like this. You can scale it down. You can make it a square format, you can make it a landscape format is so versatile in a so awesome, I mean, how cool would this be? Hanging in the kitchen or giving giving it away as a gift to someone that may be just moved into their apartment or a new home or whatever. So anyway, I hope you enjoyed the demo. I'll see you guys in the next one by.
34. Pink Roses: Alright, this is a little different. You can see a little bit on the stiff side, but it's nice and loose. Still. Call it a coloring book and I'll tell you why in just a second. Back to my acrylic ink markers. Again, these are refillable. You can use whatever color you wish. So pretty easy to clean out and use a new color. This is a medium-size marker, has kind of a chisel ending to it, but I'm going to use the point of it and get some consistent lines out of it. When I'm drawing this, I'm thinking of like a contour drawing. So I'm not gonna get too many details inside a shape. I'm just thinking more about the main edges and shapes along the outside of everything. So this is kind of where I get that coloring book idea, where I'm just drawing the contours. And then later on, we will go back and color inside of it. And as I'm doing this, you know, it's pretty random in terms of the composition. I'm not using an image, I'm just basically, I'll put it in things that I know will be simple, it will work. But also keeping in keeping it somewhat easy in terms of, you know, we're not doing a lot of different things. It's just one base and some flowers and leaves. The things I'd keep in mind as I'm doing this are the same things we talk about. And I've mentioned quite a bit is variety song along all the leaves to be the same size. That would be ditto for the flowers. So you can see we got different shapes, different angles. This is a kind of an easier piece to do, but I think it is really again, it's very versatile. I think you can use it for any subject has said you can go back and look at the veggies and different things we've done in this course. You can apply this technique to any subject. It doesn't have to be a vase with flowers. So again, acrylic painting ideas is, is about giving you different ways to create, different ways to do things that are somewhat easy, manageable. They're very versatile. This piece, again, he could scale up and do any sort of size square landscape subject, as I mentioned before. And he could take an image you find online and convert it into this sort of style. Very easy. So you can see that the drawing is done there and we'll move into the painting. I'm going to use this quinacridone, crimson and titanium white. And that will provide the initial background. I've got a medium-size flat brush there. I'm using plenty of water into this. I want to go around everything. But I'm going to come back over it with the white, some going to mix my paint on the paper as opposed to mixing the red and the white on the cardboard and then putting it on. So again, the idea here is I will put the red background very saturated on first, and then I'm coming back with the white over top of it. Now, very important to note here, I'm leaving a little area of white around most of the red lines that I drew when I want those lines to show and now am I covered painting over all those red lines? No, this is a hit and miss. So sometimes I could go to a smaller brush and probably get more of those lines showing so less paint over top of them. But I use this kind of medium-size brush because I knew I would be able to create a feeling of where some of the line or visual, where some of the lines were showing or that whitespace. And between the background and the red line, the outline someone be showing, some will be. And just because of the nature of the size of the brush that I'm using. So here you can see I'm using the titanium white and I'm blending right in to that red. And you can decide how you want to approach that if you want to premix your colors and then put on the background, whatever works for you. Again, I'm just kinda doing this as a different way of working. And i kinda like blending on the paper. Keep in mind this background. Crimson sort of color isn't going to be the final background. Whew, It's just put on as a base. It's going to create harmony. So the flowers will be a dominant pink, kind of the color of putting down now. And I know I'm going to go over this background color with this kinda muted grey. Well, I'm going to leave a little specks of that pink showman, and that's going to create harmony. So here I'm using a cadmium red as my pink. So I'm mixing the cadmium red with the titanium white. And again, sorry, I'm sorry for the bump. I just have to remember I can't film with my baseball cap. But we'll try to get better at that. But, you know, as I'm putting this pink on for the flowers, notice again how I'm leaving areas of white around that red line. So I want some of that red line to be visible in the final piece. That's kinda part of the charm of this sort of style so that you'll see this theme the whole way through. So I'll take a hairdryer, get everything dry, and then we'll continue this idea in the next part.
35. Pink Roses Continued: All right, pick it up here, we'll go with some greens. I'll have some cobol green. They're kind of somewhat of a muted dark green. I'm going to mix that with a little bit of cad Red. So that's going to muddy it up a little bit because they're opposites on the color wheel. So complimentary colors if you wanted to be technical. And I'll start with getting some of these darker greens. And first, that was a little bit to Brown for me. So I have a little bit of green gold on the table as well, again, on bumped the camera. So I apologize for that. The green gold and mixed them with that. We'll just kind of bring out some of the green in it. And also lighten that value just a little bit. Alright, and this point a little bit, again, a base, dark green here, a little bit of that cobol, little bit of the red. And this will probably be the darkest of the, all the leaves leaning more towards a brown. Notice how I'm leaving a little bit of that white line, the original outline. Also, I'm leaving a little bit of white space in between the line and when I'm painting now, just a little bit is hearing there and that's all you want to make this work. At this point, I'm going to move into some of the lighter tones. So still working with the green gold, adding some titanium white. And then a little bit of the cobol green as well. And I'll basically add a few that are just a few. A few levels lighter, I should say a few shades lighter. A few tenths lighter. There we go. And kinda getting a little bit lighter as I move around and there's no rhyme or reason here. There'll be a, there will be a cast shadow going off to the right, which is, as we look at it. But this painting really isn't about capturing a ton of light and shadow. So the flowers and the leaves and stuff, we'll just simply be painted as somewhat flat. But the cash shadow will be the only indication of any sort of light source. So I, so the name of the game here, as you know, is very variety. So bouncing around, the leaves, gone to some different greens as I go. That's a little bit of bone black. I'm willing to mix a little bit of the red and blue and with it, that'll give me a Black basically. And doing a terrible job of not hitting the camera. But ME. A note to myself is stuck it right on my computer and says, Do not film with your baseball hat on. So. There you go. And anyway, so I'll come back later and add some details to the blacker leaves, but there's not enough dropoff on this one leaf here. So I'm going to add a little bit of white to it just to lose too thin black leaves up top. Are the dark has values besides the vase itself, which I will do later on. A few green leaves, a smaller he now so working on a smaller scale, very important. So you get some large leaves. We have some medium-size, We have some smalls. So we're getting a little bit of everything. As opposed to one size and one shape leaf, which we know that is not really conducive to good painting. So you always want to think about that variety. I notice, again, I will repeat myself here as I add different colors and tones to these areas. As I basically backfill them. I am leaving some of those red lines, a little bit of white around them. And that's going to again, create a little bit of harmony and a little bit of interests and a little bit of uniqueness to this piece. I kinda like it. It's at the end. You know, you have a piece is done in this very tight painting style. Very flat. But yet it still has a loose, playful feel to it, which is kinda hard to do when things are so tight and formal or rigid. It tends to not have that kind of playful look to it, but I think this one kinda pulls that off. So I think they contrast nicely. I now mixing up another green, I decided to push this one tours a cool green. I'm adding a little bit of surly and blue to that mixture, a little bit of the white now and the green in late. Now once you put something down, if you, you start to put a color down that you think will work. Remember that things look different on your artwork. So when you're mixing things up on the palate, oftentimes you'll think you nailed it, but once you apply it to your artwork, it, then it's all relative so that color is playing off everything else. So that will tell you whether or not you have the right color. And oftentimes, I will do that. I will mix a color on the palette, thinking out nailed it. And then once I apply that to the artwork, just doesn't quite give me what I was looking for so often had to go back and make adjustments. So if you have to do that and that's fine. And then lastly, if there was a dominant dairy, light yellow, so I just added a ton of that dairy lied to the green. Again, autofocus is focusing on my hand here, but added some white to the one bloom there. So we'll have some mass of two flat pink flowers that are basically again morphed or a blended into one big shape. And then we've got the other lighter pink flower off to the left. And then we've got our, our little white one that I just painted. Alright, here I'm starting to add some details to the pink flowers. And I'm doing that by just adding a lighter value, pink, using the same colors. Just a little more titanium white this time around. The flower on painting now will be the lightest of the, all the pink flowers so that it will be a variation. So this will be it for this one. I will wrap this up in the next video.
36. Pink Roses Continued Again: Alright, I have added some lighter pinks, and now I'm going to move them with the crud acronym Crimson. A little bit of the can read and get something a little more rich and little bit darker in value. And just splash a little bit of that into bits and pieces of the pink flowers. So we've got the base peak, just added a lighter pink and now I'm adding a darker pink. So again, I'm not getting sucked into details and not being too picky about, you know, trying to paint perfect flowers here obviously. But just looking at what I have and just trying to make that interesting. So I'm, I'm basically just focusing, focusing on the art itself at this point, making that work as opposed to slave honestly, trying to paint pink flowers, which would be, you know, not really what I do in general. I tend to try to find lightning in a bottle if you will, or I'd like to take a subject and just make it exciting through how I painted versus getting sucked into painting it as I see it in real life, which doesn't really do much for me creatively and doesn't excite me and compel me to grab a brush and start painting. But when I start thinking about possibilities, about dawn things expressively or doing things unconventionally and things of that nature, then I start to get excited. So you kinda know your, your style sometimes and what your tendencies are hardest by what excites you. So anyway, I'm adding that little bit of a cast shadow I mentioned earlier. So I've got the dark blues in now, so I just use a little bit of that base, kinda green gray I had at us and blue to it as some reds, I believe just to come up with a darker value. Now I went in with some off white to paint the stripes, and I'll add a little bit of that grade to it, kind of a warm or red gray to it to get the white stripes, the shadows and the way you stripes, I should say. So that'll just give it that illusion of a shadow or the light coming from a slightly front and left. But again, this piece is more about capturing that coloring books sort of style and then making it somewhat flat. I now I'm coming up with a warm gray. And that will go over that background. Obviously, I'm going very fast here because this is all kinda grunt work, if you will. There's nothing really strategic. I'm Dawn here other than making sure I'll leave a little bit of that original background, pink showing threw in a few places. But look how that kind of that darker background really pops everything I've done at this point. But you know, it's, again, it's a very playful piece done. And it kind of a unique way. As I mentioned earlier when the video started, you could take any subject and painted this way, any animal. And I think what I will do later on, sooner than later, is I will take this style, this technique, and I will apply it to some other subjects just so you can kinda see it in action and see how you could possibly use it for some other things. But it's just a really cool piece. My wife wants me to do a larger scale version of something like this for our house. So don't tell her, but I'll probably surprise or on her birthday, she has one coming up in March, so I will certainly do that and I will maybe share an imager to with you of how that turns out, maybe I'll even film it and we'll share right here on the learning platform. So here going in with some richer colors now darker, I'll add a little bit of bone black to that. Quinacridone crimson. I'm also adding a little bit of water to thin it out just some. And I don't talk a lot about the basic fundamentals here because you have to assume that, you know, you know a little bit about acrylic painting, but adding a little bit of water to your mixture will allow the paint to glide off the brush a little bit. So that's something I'll always do. That's kinda sorta stuff. I don't show a lot on camera, but talk a lot about that and my acrylic for beginners class. So I'll link that in the description. So if you're new to acrylic painting, you happened upon this course. And you really wanted to try some of these ideas, but maybe you're struggling with some of the application. I putting, putting the paint down and getting them, getting the results you want. I'd be sure to check that out. That course covers a ton of information there. That'll be helpful to you. So again, that's acrylic painting for beginners. So a few small little dots there and the black leaves there just to spice it up a little bit. Here the images, again, taken a natural length so you get a better sense for all their colors and how that turned out. So again, a lot of fun. Again, high-end really enjoyed this piece and I will look forward to exploiting the idea of this thing later on. So we'll use red, maybe we'll use some blue lines. We will use the white of the paper and so on. But anyway, we're going to definitely expand on this quite a bit later on.
37. Collage Trees: Welcome to the project. Very simple but very effective. This is such a cool piece. My family loved this one so much. We're going to do two of these on a much larger scale than when I'm, we'll be demonstrating today for our home. So I'm I'll let the kids do all the work. But again, flirt with whatever colors you can do. A dark background with light birch looking trees. Here you can see I'm mixed and matched some light-blue and tan. But again, you can do whatever you want, whatever format it can be, square, vertical, landscape, whatever. So let's go ahead and get started. I'm using Bristol paper, and since this has a background tint to it, I will go ahead and put that on first. This paper is roughly 11 by 14 each. And you can see the first one, this putting down a little bit of light blue that is cobalt blue and titanium white. And now I'm using a little bit of burnt sienna. I'm mixing that with titanium white as well. So just a little bit of burnt sienna. I want the background Hughes to be very light and tone. And that should serve well for darker trees that will go on top of that, of course, this particular color here, the brown, just a little bit too dark. So I'm going to go a little bit lighter by just putting wipe down and blending that into the wet paint. Ditto that for the light-blue acrylic, this tends to dry darker than I can ever really adjust for or predict. And, but again, I wanted these to be super, super light and value. All right, everything is completely dry. Very important to note. And I've got some scrap paper here. Again, this is all old drawings, leftover paint, a smeared on scrap paper, and I just continued to put this stuff aside. Now I'm going to use a little bit of bone black. You can use ivory black. You can premix your own black, whatever your heart desires. And you can use dark blue, but I'm going to take a large brush here and just smear it on the paper. Now, I'm using a very heavy strokes on pressing down into the paper. And that's going to give it some brush marks. If you use too light of a grip or pressure into the paper, it may come off a little bit smoother. I find if I press really hard, I don't use a lot of water. And with the acrylic paint then attends to come off a little sticky and you kinda get these inconsistent layers of thick and thin paint. If I press into it. That was Karen doth crayons that I smeared into the paper. You can use oil pastels, you can use even acrylic paint, whatever you want to do, but you can use watercolor, pencils, whatever you may have about wanting to create some linear interest and some of this stuff. I wanted to create some kind of these chaotic looking lines and these kinda broken color. So obviously we've got the color on the collage paper I started with. Then I'll put the black, then I'll put different colors and with the crayon. And that's going to give it this kinda random feeling of color and these little pops of color are gonna play huge dividends later on. Now you may have noticed I took a dryer, hair dryer and drought everything off really well. Now underneath my collage paper, I have some cardboard using an exact DO naive. Now I'm going to start cut now tree trunks and you know, some will be straight, some will have branches coming off of them. Some will be thick, some will be thin. Just kinda mix it up a little bit and make sure that your trees are, are random and they're not too predictable. So you don't want all your trees to be the same thickness. I wouldn't think you wouldn't want them all to be the same shape. So just mix it up, sum, so that at the end, you end up with some trees that are, you know, that illustrate a variety of different sizes. So that's kinda where I'm going with this. And what I will do first is just kinda lay everything out. So I'm not going to commit in the beginning. I'm going to now get some cut and then just start to feel out how things are, are looking in and what I need. And then once I get most southern cut out, then I'll fall back and start glue in it. So at this point you kinda get the gist of what's happening. I'm going to just speed up a little bit and then talk our way through this first part, the beauty of this whole project and this piece is that you end up with some really awesome artwork. And it's just so easy. I mean, I think sometimes we, we over-complicate things. We should. I mean, you want to always kinda balance things out. You know, you want those good fundamentals and to study drawing and to study value and to kinda pay some due diligence. And then there's a time you just kinda branch away from it a little bit and get into some of these really easy fun projects that, or you can just kinda let go and have some freedom with it. And art to me is all about fun in that balance where, you know, I'm having fun and other times I'm more cerebral and I'm paying attention to the fundamentals and I'm learning figure drawing and anatomy and does different things. And I find that if things get too loose and to care free like what I'm doing now, then the wheels come off and just said at the same time if I get too technical and just kinda stress and now everything so strict and regimented and a burnout. So again, I just try to always balance things out. And I think these projects like this where you can get rewarded with some really cool stuff and just have some fun. Being creative without being too technical Is just a great way to let go. And again, I mean, these are all really fun idea you can branch out into and there's no one on the planet that can, should be able to tell you this is fine art or is it a craft or what I mean, this is very much creating awesome art and that's to me as well. I like to do, like to spend my time being creative, mixing things up, don't things different? And then, you know, at the end of the session, I've got something to show for it. And how I got there, whether it was easy, technical or whatever, you know, who cares. But this is again, just a super fun piece and I can't wait to do this again on a much larger scale for our home. So everything is pressed now. Now, I know it's important to let it dry so it doesn't peel up and everything. So I'll just press everything down nice and flat. And that should do it for this part. I will see you guys in part two.
38. Collage Trees Continued: Well, you've seen me do the one and now I will do the other. So here is the tan background. And I've got some leftover tree trunks from the first series or the first piece, and it's all will use that and then do the same thing we've done. So I'll start take the exact DO knife and just start cutting out some different shapes and have some fun with it. And just again, try to mix things up. I don't get too caught up in analyzing things too much. Don't look at the collage paper and go, I want some this or that I find the more random and less predictable approach you had to this the better. So I'm not really looking at the collage paper Santo, I want that blue in there, I'll want that orange in there. And as Grab and paper and cutting out tree trunks and Latin, the pieces fall where they may so to speak. So here I've got a couple of nice big trunks. I'm thinkin this point maybe I'll do one more, maybe thick chunky little one. Maybe this tree came across a bad storm and maybe it was knocked down in the storm. So I'll do a little trunk here are just kinda part of a tree and then I'll see how it goes. I, it's just my idea of, you know, that way not all the trees are, are the same height. And here I'm cutting one upside down. So that way it's again, a different way to cut. So again, if you rewind that, you'll see I've flipped the tree upside down, cut it out, and then paste it. So again, just kind of fun and different ways to make my trees. I got a little leftover there, so maze, we'll add another branch to that one. Out. Occasionally you're gonna find that things start to peel up a little bit. So always have a clean dry paper. They're like I have an old reject. I was actually a demo I did for water color class and just press it down so that keeps things nice and tidy as you go. And I still need some here, so I've got another. Now the p someone do a nice skinny little twig looking tree here. And I cut out a little V. And I'm going to now make that into a branch. So kind of a Y shape, a capital Y. We're going up. So, I mean, if you really look at that though, look how interesting all those colors are together. And if you remember how we created this or how I created it, just using scrap paper, black paint, and crayons. I mean, that is such a An interesting approach to dawn on it and to up cycle. You know, all those old drawings and all those rejects, paintings and all that leftover paint into the collage paper. How did we get here to this point? You know, she's really cool. I like, I like this is just something very rewarding about projects like this. Alright, so the trunks are done. At this point, I've found some clause paper that has some green. And notice I've got a little bit of blue saw found this sort of blue clause paper that matches similar to the background of the blue. So now I've got a piece a has some tan on it. So what I will do is add a little bit of a tan two the blue background. And then I'll add a little bit of blue to the tanh background. And in theory that's just going to tie the pieces together a little bit. So that's just creating, you know, a little bit, I'll harmony a little bit of a unity between the two pieces. So a lot of grunt work to do. Now I'm going to start adding in some leaves, some foliage. Not too much. I want to keep it very airy. Maybe it's beginning of fall or maybe as spring and the leaves are just starting to poke out. Nothing too dense for me here in terms of foliage. But I do want to add a sense of it. So using the exact DO knife, I'll go into some of these different greens and just cut out some abstract organic shapes. Some of those shapes I'll cut holes into. It's like for Sky holes. So sometimes you'll look at a mass of leaves and there'll be a little hole in the center of the leaves or somewhere where you can see through to the sky. So I'll have some of those in there. And again, this is about variety. Making sure each little piece I cut off is slightly bigger than the last one, maybe one slightly larger, somewhere in the middle, some skinny, and so on. So watch out for repeat patterns, watch out for repeat sizes and so on. And you know, the more variety you can pack into this, in my opinion, the better. So I will continue to do this and until I get what I feel is a good amounts and then a good variety. And once I have that, I can start to glue it out. Glue it, I should say. But first I will cut everything out and get it somewhat in the position I want and make any sort of small adjustments I want to make. And then once I'm happy with it, I'll go into what I'm doing now, which is putting some glue down and starting the process of making this more permanent. And it's pretty routine here. So I've got the video sped up a little bit. Um, I think by this point you understand how to glue things. We have done this quite a bit in this course. You can see I'm a big fan of collage, something I started experimenting with a few years ago and just dabbled and played with it. And then, you know, it would, it would disappear for a while. Then it would make its way back into my approach or into a technique. And, and then I started making my own collage paper. And I think that was kinda the point where I really started to get, become very fond of the idea because when you start to make your own paper and there's a certain authenticity. That comes with that because all the colors, all the strokes, everything there is just part of you. And then of course on top of that, you get a chance to recycle everything and use all of that, those old drawings and even the leftover paint on your palate. Even when I'm like putting down a large amount of paint, I've got some leftover on my brush. I'll I'll start to move the brush towards a water reservoir to clean all that paint off. I'm like, no, don't do that. So always have paper laying around that's handy so I can grab it and just use all of that paint and just smear it onto the paper without wasting it. And that's how a lot of my collage paper becomes what it is. That's how I create it. So I just really like the whole process of it. But let's pause right here and then we'll finish this up in the next video.
39. Collage Trees Continued Again: Okay, so we are moving right along. As you can see, nothing new to share with you. By I will reiterate, just cutting out different shades of green. You'll see some of those are very broken, some have a little red dots and, um, there's no Talen. What I'm going to get when I cut it out because I just simply look at the collage paper and say, okay, well that's green, that's yellow, whatever. And I'll flip it over and cut it. And I tend to get a more random results that way versus cutting it. If I'm looking at it. But I don't try to predict anything. I figure if it comes out wrong and I just want to use it and I'll just move on. So glue and everything down here, obviously getting these, this collage permanent. And then once I get that, I will basically flip it over, will press it down really firm. And and we'll kinda assess what the situation is once all that's done. And I'll get all that excess glue off the back so it doesn't stick to my paper there and just wipe off any excess here. The paint to the glue rather. And then kinda just making sure we're, we're at a point where things are looking good. And if I need to go back and add little specks of leaves or branches or whatever then, now as a good time to do it. So here I'm awesome. Little pieces of green and whatever that I've cut off along the way that we're just laying around on the table. I thought, well, if I don't use those, they'll probably end up in the trash cans. So I'll get a few of those on the paper and we're ready to roll. So this is looking pretty good. I think at this point, I want to cut off any excess branches or leaves that are hanging off the edge. I'll you may like that. Look, he may want those that collage hanging off the edges. Now again, it's totally up to you how you want to do this. But, but for me, I wanted to just trim off the edges just to make them make it a little bit cleaner. And once I had that, we'll be ready to move on to the next stage. So along the line, the way here, the backgrounds got a little bit muddy. I figured they would. When you're handling glue and paper and you're going back and forth between all of this stuff. I mean, it's so easy to muddy things up and to get little blemishes, especially on the background. So I'm going to eventually go over that one more time. But before I do, I had my little piece of compressed charcoal here. I thought I would add some really small twigs. And it was kind of a spontaneous thing. It was something I didn't plan to do in the beginning. I thought I would again, just give it a shot. I know I'm going to come back with a back another coat for the background. So I figured, why not give it a shot if I don't like it, they're not gonna always covered paint over it. But thought would just add a little bit there and then see where I'm at. And then again, we'll decide if any of those scribble marks make it into the final piece, but don't go too heavy if you decide to do this, just kinda, you know, keep it simple. And now I will take the same colours I used before for the background. I'm gonna go a little bit lighter and value for the tanh here. And just going around the edges, going around some of the leaves, not dawn everything though. Again, leaving a little bit of the original background color. I'm not trying to be perfect around the edges. I want things to look a little chunky, a little loose, if you will. And then, you know that to me lends itself well to the style I'm after. Okay, I'll repeat this. For the light blue background. You can see perhaps that some of those charcoal branches I added in the last stage, someone will make it in the final P. Some get painted over. And I figured that would probably be the case. So like how this second layer of the background cleaned everything up a little bit. This have a look at these pieces. Now, the finished art. So this is where we started, this is where we'll end so you get a chance to see how these come together. And again, this is so, so cool, so, so much you can do to tweak this and make it your own. And he could paint these a 100 of these. And if you do it with the same idea with the collage paper, the different things. I mean, no two pieces will look the same. It's always going to be unique. But anyway, it turned out really well, and I'm very excited about this demo. I really hope you guys give it a shot. If you do please post it, I would love to check it out. So anyway, I hope you enjoy the project. I'll see you guys in the next one.
40. Birds: Welcome to the project. You can see we've got a bunch of birds flying around, nice and free. Very colorful. And we're going to do this over some reject paintings. So I've got some artwork that she has been piling up in my drawer for a long time. And I thought it'd be interesting to do a bunch of these little birds, different, obviously colors offline in different directions. But again, this another interesting project you can do with a lot of options in terms of color, scale and all that stuff. You can use. Black backgrounds, blue backgrounds, whatever your heart desires. So here are the rejects. So this is Bristol paper. Each of those is about 11 by 14 inches. And what I will do is get out some heavy body acrylics. This is Matt. So as opposed to the glossy finished most acrylic paints had, this is a matte finish. And once I get a bunch of colors spread out there, what I will do is just start putting some of those different hues on the paper. And, you know, at first I'm not looking for any sort of pattern or design. It's just about getting some colors down. And then later on, I'll make some decisions on what to do with that color. Some of it will be painted over. Other Hughes will be used for the birds. So that is CAD red light. So I had a brand new jar and they have a little seal on it. And we pop that seal off. There's always a little paint on it, so I like to always use that. And I just smeared that on the paper to get it started. And you can see right away once you start adding this really saturated high chroma colors to the paper, things start to, these reject start to take on a whole new life now and they start to come alive. Here you can see I'm just mixing in some light, some white with light blue. I've got this white on my brush. I'm not clean them. I brush in-between colors. And what that does is that gives you broken color. So the different colors I use will start to blend in with each other, which is good. That's kinda what I'm after here. You may want your birds to be all yellow. You may want some of your birds to be all light blue. I'm going for again, broken color, so kind of a hodgepodge and mixed match of different color birds. Now, I don't want every bird to be painted as I did with the color. So I'm going to do now is grabbed some collage paper and this glue that right to the paper without really any sense of design. I'm not really trying to pinpoint any sort of bird yet or where birds will go. I just want to get some color down, gets some collage paper noun. And then once I have that, then I can fall back and start doing some negative space painting and create some, some birds add of these very random strokes. Now some of the strokes do indicate wings and a body of a bird. I get it. But I know I didn't really, again draw out anything or I don't have a vision exactly where everything is going to go. You know, she's kinda more in a random way. And that way, you know, that the painting kinda starts to pain itself and tell me what it needs as I get into it. And that is the beauty of this sort of thing like the birch tree or the trees trees idea with collage. You know how you can almost start doing anything and then it's so simple and easy that it'll come together in the end. But the approach is very free and kind of unplanned and kinda almost organic and how we get there. So again, just kinda playing with collage of God to a little bit of paint on my brush too. So I guess I'll get mixed in with the glue. But yeah, just putting a few of those pieces down there and not being too concerned if I cover up any of the paint that I put down initially. Again, this is just kinda all about being a little more spontaneous. So at this point, I've got collage, paper, noun and all of that paint is still wet. So as I press and to the collage paper to make sure that's all those corners and edges are glued to the paper nice and firmly. Someone that paint is kinda smearing around in different places to so again, very, very loose approach to this one. And again, later on, we're going to bring it together by painting the, the white background. So a little bit of finger painting here to reintroduce some nice pops of color. And that'll do it for this part. I will see you in part two.
41. Birds Continued: At this juncture, I have let everything dry. I am going to switch to my liner brush. If you have any sort of small detail brush, even if you want to draw, if you have like charcoal or crayon, you can use that to. The idea here is I want to start to put some little details like some heads, maybe some dark heads on some of the birds. Maybe some of the tips of the wings are black. Maybe some birds have dark feathers. But it is kind of a way to add some details and to start making sense of some of these very random blotches of color. So I'm just kinda scoping around looking at the piece, looking at what I have done and where are the opportunities on the certain. Take my time and just look at what I have. You'll see birds appear kind of out of nowhere. You'll say, oh, that nasa cool shape. That could be a little bird or that could be a bird and you start to make birds out of, you know, things that you didn't initially intend to be a bird. So it's kinda like thinking and letting your vision be a little bit playful here and let the birds appear out of these places. And then if I don't have a bird, then I'll do just ride, did their Raj's paint some wings. And there's my bird. And then I'll, you know, paints against some heads, some little feathers and tips of wings. But making sure I don't like get into a trap of like Dawn and outline of a bird. So I'm just kinda don't want a little hit and miss sort of idea. And you know, again, this is, this piece is so flexible that later on, if things don't make sense, then I can always just paint over it. There you see a hat, a little whitespace down there at the bottom. I'll put a black liner edge around it. And I've got a little wing there. So it's pretty interesting, like once you kinda start looking for certain things in a very abstract piece like this, they'll start to appear more and more. I mean, it could be the same thing if our painting, anything besides birds, you know, any sort of object or wine bottle, coffee cup. And if he really set your brain into okay, well, let me look at this and examined it. They'll go to start to appear, even though nothing was intended to be that way and then beginning so hopefully that makes sense to you. And that's all I'm doing. I'm just kind of playing with the idea now. Some, some shapes are starting to become more apparent and obvious. So I'm, what I'm doing now is taking very thick white titanium white paint and going around some of those edges, some of those shapes that look more prominent than they like. Okay, I definitely want to bird there, I can see it. And just negative space painting again to get that. So you kinda get the idea here. So what I will do is start to move a little bit quicker. So I'll speed this up around two times the real speed. And all I'm doing again is taking white. I have a small flat brush there, my roiling nickel, and I'm bringing birds out. Some birds are small, some birds or medium size, some birds will be larger. Making sure that I've got a variety of shapes. And for a variety of color. Some birds flying up, some birds flying left, right, and so on. So they're just kind of all mixed in terms of size and direction and colors. And if you find yourself your paint, never too many of them just smile, the paint's still wet. You can just spray, mist it with a bottle, ticket, clean towel, white balls to white paint and start over again. But, you know, I think anything goes here. This, if you end up with three birds as fun, if you end up with ten birds as fine because later on we can continue to make changes, add, subtract things as we need to do in order to get our vision down. So you can see the lot of the original pain up put down as getting covered. Some of its being used, some of the collage papers being used, combinations of both are being used. And some areas that were just the original painting or are being used to for birds. So again, it's just very, very interesting how, how free this PC is and how easy it is really. And just kinda having fun with it and Latin it kinda almost pain itself and making changes and defining things, bringing them out as I go. So here I really wanted that blue birds, so I'll just use a little blue, a little white, added some color to it to make more impact. Here I'm going to add a little bit of light green to this bird just to pull it out to, to give it more impact and to the piece. So things are becoming more solid now, making more concrete decisions and adding color just a little bit you now some of that original color to be in the piece. I don't want to paint over everything, but just kinda adding a little bit of color to it. Just again to emphasize it and to make those decisions more final. So letting the colors mix and bleed a little bit at that point is fine. So we get some hard edges, we guess some soft edges. Some of the white is blending with the color that I'm putting down now. All that's fine. And again, this is a nice loose approach and we can tighten things up later on as we get to the middle and final stages. So anyway, I think you get the gist of this one that we will pause right here and I'll see you guys in part three.
42. Birds Continued Again: So you got the feeling of what's happening here. This is the second piece, and I'm going to approach it the same way. Again, I will say one more time. The paint is dry. Okay. So everything I've done to this point is I took a hair dryer to it. I've dropped it. So that way when I put the a white into the background as Akuna blend with those colors. If you start putting this over the wet paint and and the black and the different things I've done, then it's going to start to get a little muddy. So just be sure when you're at this stage to let it dry, that's going to give you a lot more control over the edges, over the colours. And you'll find that if, if it's, then everything will start to get almost the same color because you're basically blending all these colors and with each other as you go around some of the edges of the birds. So important to note that there. And I'm obviously working faster here. So we've got two times regular speed, maybe a little bit faster. And you'll get the gist though I'm just looking at what I have on the paper and trying to pull birds out of thin air. And that's kinda what's happening. Some of these shapes were obvious, they were, the birds were painted more clearly. And then other areas, you know, I'm just kinda making it up as I go knowing that there's really no mistakes here because I can always come back and add and subtract birds accordingly. So you're just kind of getting this layer down. Give is important because it starts to bring some of the birds full word and then I can start to make decisions later on on what I need to do. So the first layer is a dry. I'm talking about the white background. And now I want to go over some areas of the white that are really thin. Acrylic is a transparent medium. White is more opaque, but even when it dries, you can start to see through it. You can start to see down through some of the layers where the paint was a little bit thinner than the others. So all I'm doing here is just kind of painted over some of those thin areas. And if I have an edge of a bird that needs more shape to it, to define it, then I'll do that. Alright, so I'm adding a bird here. So I had a little kinda of a blob shape. I wanted to make that more distinct. Into this kinda Greenberg flood into the picture here. I've got a little bird at the bottom here that I'll did know that something's going to break up the color though. So I'll add a little yellow to this one, to the head of this one. Now add some yellow to the body of the one in the lower left-hand corner. I've got a little black on the brush here and just kind of touching some details and to some of the wings and the different features. A thought we needed a little bird flying in from the edge here. So I'll add that as well and maybe a little wing tip at the top of the page. So now I'll look at the second piece here and do the same thing. So just have a little bit of black all my brush. Defining some of the wings by adding a dark stroke to it. And that's about it. So here I'm using the exact DO knife, very, very careful not to cut the paper. I'm only using the tip and the edge to create some really small details. And basically drawing into the painting by scratching into the wet paint. Now you have to do this again while the paint is wet. If you let that white dry, then you're not gonna get the same results. But this is a really clever way to add linear interests, to add the sense of drawing without making the drawing two prominent or obvious. So here I'm just kinda looking at a bird. I'm like, Oh well the wing, These would be bigger. Leg needs to be longer or the foot Neizha kinda come out a little bit and I'm just scratching into the wet paint to make those changes appear. So again, just a nice delicate way to alter and add drawing into the piece. So here I'm going into the second piece and doing the same thing. And we see this piece in person. It doesn't really come across on camera, but when you see these pieces in person, those scratches into the paint actually make a pretty big difference or a little more obvious. I'm in person than they are on camera. But again, it's a lot of fun to do so if you're if you've got a dark color over a lighter background or color than he can scratch into it. You make the lines lighter appear through. And this case, I've got darker colours underneath the white paint. So I can scratch into that wet paint and reveal that darker layer underneath. So kind of interesting way and technique to do to create line. So anyway, we'll pause right here. I'll see you guys in the next part.
43. Birds Final Layer: Ok, fourth and final layer, everything is dry at this point. And what I will do is come back in with the white and clean things up a little bit. I feel like there are a few birds I just don't need. So I want to make sure the composition looks good. So I don't want this a bunch of birds cluttering the entire piece. I feel like there needs to be some empty space so that the congestion of birds is kinda isolated in one area. Set everything was drop I guess. I didn't tell you the truth. There looks like I have a little bit of black there on that bird that was still wet, but for the most part everything is dry. And what I'll do now is just look at the design and make some decisions on some of these birds. So some of them will just be cleaned up. And then I'm also going to eliminate a few of these two and all the while, I'm adding another layer to the background that white and just kinda beef and up that background just a little bit. As you will see, some of the white mixes them with the yellow and probably have a little yellow in my white paint because I don't want to always clean my brushes when I go into it. So and that's fine. I'm not looking for pure, crisp, clean, white background. I want the color to be broken a little bit. And as I go around the birds, you'll notice that some of the scratching I did with the exact DO knife, some of those lines are being left alone, others are being painted over. And that way again, you kinda get nice, unpredictable and you're kind of a random weighed to show off those lines that were kinda scratched into the paint. So again, some are being painted over. Some art here speaking and painted over. I've got the other bird image here. And I'm painting over some of the birds. So it just, I don't, again won't birds and every single square inch of the piece I think is, works better when they're kinda club clutter nests on the word kinda. All more. So in one area, I can't think of the word I'm after here. Centered are concentrated in one area maybe, and then kind of open and loose and more free in the other. So yeah, just kinda making those decisions. Now that's what I meant earlier. You can always come back when you're done at this stage. Eliminate birds. You can add birds. You can change colors. You need to add a weighing makes something more saturated. Whatever you needed, you think that piece needs. At this point. So you see some of the birds overlap each other. Other birds are kinda more solo. So it's good to have some birds kinda touching each other. And you can see the scale. So I've got a big bird there, GSA medium guesses, small. And I decided here to add a little bird kinda coming into the left here, a little weak and head. And it's kinda using the edges. I don't want every single edge to to have nothing. I think it's good to use your edges. So a little bird token in there, I thought was fun. Right now. Again, just kinda looking at the pieces side by side. If I feel like, you know, areas of the background still need a little bit of white, a little bit of cleaning up, then I will do that. So that's pretty much when I'm doing kinda getting rid of some of the noise that's in the background. And you could start with white paper, you can start with paper that is white, that you just tone one color like I did the trees here, I decided to use the reject. So I think one disadvantage of using a reject, especially ones that had all that color and all that pain on them is that, you know, you're going to have to go over that and a Pena whatever color the peas needs. So there'll be a little more background work to do sometimes, but I still like it. I like the texture gives and the layering effect and so on. Speaking of layering, Now I'm going to go in with a small detail brush. Go back into some of the heads and add a dark head. Add some, a sense of some feathers, maybe some ads quality, maybe some legs are bodies that need a little attention. But again, important to not go too far here. If you add details and feathers to every single bird, then it's going to become way too hectic. If he suggested on one or two areas, then you leave a little bit for the imagination. And then the viewer can kind of envision areas that don't have details by simply looking at the areas that do and they kind of fill in the blank. So as far as definition, some birds and more defined, some birds are left very, very loose and undefined. Again, that's all about variety. I'm kind of playing with the idea that, you know, some birds are, you know, kinda jump off the page and you can kinda see them. And while others kind of are, are painted with, with less detail. And that's as good. I mean, that, that's what gives a painting. So it makes a painting more dynamic. If everything was painted equally, then the viewer sometimes doesn't know what to look at. But by putting details in just a few birds, a few black heads and the viewers eyes. They tend to be drawn towards that first. And then they starts, you notice everything else. So if you've got details everywhere, then the viewer doesn't know where to look. So their eyes are like, I don't know where to go, so it's just so busy. So again, it's about that balance. So figure since we had a few white details or dark details, I wanted to mix it up with a little bit of white. If you have a white gel pen, if you have a really thin liner brush and you want to use white paint, that's fine. I have a little my acrylic eat marker, and now I'm just using white acrylic IQ, which happens to be pretty opaque. And adding a few details, feathers, edges, different things to the bird. A few birds here in there. Again, very, very sparingly. And don't make it too obvious and too much. We can always put more, but sometimes it's hard to take away if you do too much at this stage. So anyway, finding that balance fun in that area where I'm like, okay, that's plenty of details. The painting doesn't look completely boring. Or egoless. Ego, well, it looks too busy then, you know, you did too much. So anyway, kind of assessing things as I go. And it's always good to know to kinda really pay attention to the big picture as opposed to it is one thing. Changing the shape of that wing. So it's kinda matches the other one. And we're pretty much done. So that's kinda revisit the image we started with. So you've got the two pieces framed out there and you kinda get a feel for how they look. And again, very, very, very interesting piece, very versatile in terms of color. Scale it up, scale it down, make it square, make IT landscape layout. So much you can do with a design like this and a painting like this. It's just a lot of fun to do. And of course they make great gifts and makes great art for your, for your home. And it's super easy, super fun. So anyway, I hope you enjoyed the demo and I'll see you guys in the next one.
44. Cutlery : Alright, here we are going to do some cutlery and we're going to use a terrible reject painting. Here you can see it is a complete mess. To bring it to life, I'm going to use a little acrylic ink. This is yellow. And I'm going to just smear that on some of the areas that are lighter in value. So you can see that left-hand corner. I got a few little dots here and there on the right. And once that Incas on, I will take a hairdryer to it and this dry that off really good. So you can see it's a complete disaster. I've got a new jar of titanium white and took a little seal off their sum, spreading that paint all around. Simply can't waste that. That is Q valuable paint is crazy expensive these days. So everything gets used. Right now I'm going to start with the very first piece of silverware here or cutlery. And it's going to be a shape of a fork. And I'm not going to worry about the prongs right now. I'm just going to get the basic shape and I'll come back later and do the details on a prompts. Now I'm going to add a spoon. You can see I added a little detail at the end of that one. And as always, I made plenty of mistakes. I'm figuring out now that, oops, I did that way too close to the fork. And I have to get rid of some of this white that I put down because I had no room to put the spoon. So all of these are gonna be facing the same direction. I am taking some water from the reservoir there and just getting my wet towel or a towel and I just kinda wiping that off. So I'll try again, is probably a better idea to start with the top of the four-course moon. That way the handle is space where it needs to go. So some of these handles will be really thin. Others will become a little bit thicker. So again, a little variety and adding a little detail at the end of this one, this handle getting fancy, fancy here with my cutlery which we have nothing like that. Ours are all pretty basic and generic. But yeah, you can use whatever style you have. Whatever style you can come up with a good look through magazines. You can do knives, you can do any sort of kitchen utensil you want. You can do tools. Maybe you have a person in mind that uses hammers, wrench, socket sets, whatever, you could do a really cool piece for them. Again, you know, the sky's the limit here. This doesn't have to be one thing. It can be it can be wine bottles again, it can be anything. I used cutlery because I just thought it was so easy to do. And it's a great way to take these old beat up paintings and bring new life to him. Such a shame to take those things and thrown in the trash bin. When you can kinda make something cool out of it. And heck, he got birthdays, holidays, all types of stuff that, that come, that will come up during the year. And these sort of projects are wonderful for those seeking take these old paintings and different things and turn them into something cool. As always, you can scale this up, you can scale it down. Here. I've got a piece of compressed charcoal and I'm drawing into it here. I've got, I'm showing you my small liner brush, a signature brush there. And I'll will use that to add the prongs. But as I was alluding to earlier, you can use a red background, a pink blue background. I mean, it really doesn't matter. I would say the only thing to keep in mind is looking at your reject. In this case, I had a reject, it had mostly dark hues on it. So I knew coming over that with something light like the white would be perfect. I had something that was a very light value, dominant light value that I may want to go with a darker background, something more rich, like a dark blue or something, or a black who knows. But always kinda look for that contrast. If you're reject is kind of plopped right in the middle. So it's not light, it's not dark. I'm you can always glaze it with something darker or maybe even hit it with something lighter and then come back with the appropriate background tone for the piece. So anyway, I was looking for contrast and I love how random this looks. You know, it's just, you know, a bunch of just crazy colors and everything scattered everywhere. But there, there's unity. Do it to it. If you look from the spoon to the fork and 48x to the spoon, the colors kinda carry over from one to the other. So has just, they really has this kinda cool harmony to it, even though she's done with something that was just a complete disaster. So now I'm going back over the white here with my compressed Charcoal, just adding a few edges, a few details here and there. And nothing too big by just a little more entrusts to. So the background gets broken up a little bit with the little scribbles I'm adding to the silverware. So the one thing I didn't get on camera was the light blue background. I use that. I mixed that color using cobalt, turquoise, and titanium white. I did it in hindsight. I was pretty much finished, finished with the piece and was white background, but I decided to put a little bit of color to it. But again, I apologize, I didn't get that on camera, but it's pretty straightforward stuff. Painting in the background as I did with the Way.
45. Graphic Cherries: All right, I'm very excited about this next project. And you can see is a very simple, very cool. You can mix and match whatever fruit and veggies you wanna put in this, the piece I will be painting in this demo will be the cherries. So pretty, again, easy project but very, very effective and very customizable. Beak. I'll begin with using some cad Red Deep. So think of a nice rich, dark red. I have a small a roiling nickel flat brush. And forgive me for showing that, but that was just using the excess paint off my brush. I don't like to waste it. So instead of putting it in water and losing all that lovely pigment, I always have a piece of paper or canvas or something underneath my work, and then I just recycle anything leftover home, I brush again. Forgive me for that tangent two as well. But I know that the other color on the table there as quinacridone crimson. So think of Alizarin crimson. And just to mix it up a little bit, I'll put a little bit of each color and the Charybdis. So again, it doesn't get too flat. Here I have some collage paper. You can see I've found this sort of neutral, kind of a warm neutral. Now I'm cutting out some pits. So I'll, we'll get two of those. And once I had them cut out, I will use some mod podge and glue that to my surface. The surface is Bristol paper. The size is roughly seven by five or eight by five. Again, you can scale this as large as you want to or a course you can make it even smaller. Now I'm using some bone black. He could use IQ. You use light blue, whatever color palette you want to go with. And also, I have a small liner brush. So that will help me create these horizontal lines. Again. Now I'm a little rough around the edges as most of you know. So I'm not shooting for perfect lines and perfect thickness. But for those of you that are a little more precise than me, you can go with a thinner line on, you can go with a preliminary drawing and then you'd have to go back and erase it. Again, whatever style, you know, suits you as fine. You can go with thick and thin lines. You can go with thicker lines. Again, very easy to make whatever changes you want to make with this. And you can even do a little small mockup. Just to make sure your idea gels Well, on the page, you can see the horizontal lines are just basically running parallel with the center axis of the cherry. So you can see the one I'm painting now is moving in a slight angle as the first one I did is more horizontal. Now, I'm using the same brush and I will do a few stems. As you can see, I've gone all nice and thick here, so just keeping it nice and rich with the pigment. If you go over a little bit, if you mess up, I mean, it's not a big deal. You can always come back later, which I will do in a moment and paint the background. So I've got half the leaf red and then the other half black. I could have gone with a neutral gray to match the pits of could've gone all red on one side, all black on the other. Off could have collaged it with something like the pit to. So again, pretty much anything goes is very simple palette. As long as you stay, you know, keep it simple and then stick with the main cuz you're gonna be fine. Now, for the background, I'm used a habit, a little bit of the black still on the paper. So I will mix a little bit of titanium white into that. Am shooting for something along the hue, the pit. So that pit has a little bit of warm to it. So I'm going to add a little bit of yellow ochre and to get a huge, again that similar to that. So I got, I want to make it a little bit darker here. So I'll just add a little bit of black. Now as I go around the edges, I will leave a little gap of white. You could have easily, I could have easily started with a piece of paper that wasn't white. And maybe I could have toned it a light blue up, could've toned it a yellow. And then I could have painted over it with this sort of neutral. So again, I mean, you can mix and match layers. You can add late more layers. I wanted more of a white outline around everything. So again, I'm just using the white of the paper, but feel free to experiment and come up with your own changes. And that's the beauty of these pieces is that they're just simple ideas that can easily be done. They create some pretty awesome artwork. And let's have a look at this one real quick so you can see it by itself framed out. We'll make a lovely little piece. So that will do it for this one. And I will see you guys in the next one.
46. Graphic Apple: It is time for our lovely granny smith apple here. You can see it all by itself. We're going to change the background color. But again, this is part of a project. I will show you that one more time. And again, this is a really fun one to do. And let's get started with this one. Pretty straightforward. I'm going to use some green gold as my base green. And we'll come back over that in a moment and use a slightly darker shade. But I will have also have a small detail brush there that I'm using just to get my drawing in. And now I will switch it to my modeling Nicole. So this is my medium flat. And again, it's kind of getting some hew down here. And again, that's probably a little bit to lighten value. I wanted something a little bit darker in the end, but I think for just a base coat, this should work just fine. It should give the apple a little bit of a glow. Once I put a darker hue over it, I'll use that same hue to estimate where a little leaf will go for the stem. Now this is my acrylic eat markers, and it has a chiseled tip on it. And I do apologize for the bump. So bumped the camera there, but we'll get that stabilized and then move on. And again, you may want to use a light pencil mark as to where these lines will go. And I am like totally moving this thing all over the place. But hopefully you can still see what's going on. It's pretty against straightforward stuff here. I'm just using horizontal lines to estimate the right-hand side edges and contours for that piece. So this will match what we did with the cherries and of course what we do with the other pieces. And if you come up a little bit light, that's better than coming up a little bit too strong. So if my lines are too long, then I have to reduce it. Whereas if they're not long enough, I can always come back and add a little bit over it or to it to make it bigger. So I'm going for that kinda outline look around my subject. So I wanna make sure I don't go to too long because then I had to come back with white and, and patch it up. Alright, so this is cobalt green. So she's, And I'm mixing that with a little bit of white and leaving a few specks of that green gold showing. And I just give the apple a little more depth. And then I'm going to use that same darker green for half the leaf. Alright, so quinacridone crimson here. So you can think Alizarin crimson, that would do just fine if you don't have an acronym, crimson and titanium white sticking with my my medium. Roiling Nikola there and again, going around the edges but not touching. What I wanna do. We're, I'm sorry, not touching the actual edges of the apple and thus I did it by accident. So pretty straightforward stuff here. I'll speed this up a little bit. And you know, you get the idea was happening. And you'll see at the end of this piece we've got lovely apple even by itself and makes a really interesting little piece. But I kinda did this with the idea in mind that you could take these four pieces, join them together, mount them on like a piece of foam core. And or, you know, any sort of bored really. And then frame them together. But you can frame them individually, certainly, and still come up with four pieces hung near each other that would give a room a really nice little pop of color and a nice fresh look. So hope you enjoyed the demo and we had two more to go.
47. Graphic Watermelon: Alright Tom for the watermelon. I loved this piece. I didn't really center it to well, I could have either probably made it a little bit smaller, but it's still effective. And I will go over how I created this one is, so I've got some collage paper. You can see it's just different shades of red. And I'll flip that over and draw out half of a watermelon. And with this one, I wanted to do it a little bit different. So some of the, a few of the pieces are very simple and not very many details. I thought with the watermelon because we have seeds and then we get the Rhine and different things that are just kind of a unique and a little more interesting about the watermelon. I thought it'd be fun to put a little more complexity into this one. You don't have to do collage. Obviously, you can paint the watermelon. But again, I'm just showing you different ways, different ideas, which is what this course is all about, about how we can get to the end point. So with this one again, I will, I'm going to mix collaging and then I do some of the other techniques that we've, we've done as well. So I've got my half a watermelon and they're so we're good to go. I'll place that somewhere near the middle. And now I'm taking my cobol green, so think of a dark green and I'll thin that out with some water. And I have a small detail brush. And I will guesstimate where the left hand side of that watermelon is. And then pull that right owner round, leaving a little bit of space there in between the peak and the green. Now I have my marker. So if you want to use pencil, if you want to use charcoal, you can use whatever this these are refillable markers and I'm using acrylic IQ inside of that, and that's just a black. And for each line that I use, I'm going to add a little c to it, alternating in-between one seed and two. So again, this just kinda breaks up the idea of using lines, that sort of graphic look. But it does it in a slightly different way. So anyway, you can see I'm just trying to alternate the seeds just a little bit there. And that's going to do it. So that is a pretty cool piece. We still have some seeds. But I'm going to go over these lines a little bit. So the ones that were a little bit thin, I'll beef them up. And once that's looking pretty good, I will move into the seeds for the opposites side. I decided to throw in another color. So I found some yellow collage paper. And if you're not familiar with this collage paper, I went over in the beginning how I make collage paper. But I does basically use leftover paint. There, there are times when I'm setting out to do a piece and I don't have a particular color where I'll just grab some color graphs and scrap paper. And just intentionally making a certain collage paper that is for a very specific project. But once you do start accumulating collage paper, you'll find that you've got pretty much and he sort of hue at your fingertips. Which is kinda nice. So again, you can see I'm alternating the seeds. If you looked at the first line on the left, it's got a long line with one seed. So I started with the collage seeds on the right and no, alternating the two one-to-one. So I'm doing them and a vertical line. But I'm just alternating how many there are. So I'll get these little yellow seeds placed. I decided to put the glue directly on the artwork. That's going to create a little bit of glue kinda smudging out towards the edges and a little bit of over painting with the glue. But I'm going to come back with a dry, clean cloth when the seeds are in and clean that up around the edges. So don't know if you do it like i doing puts your glue directly down on the paper. Just be careful there not to get too much because you don't want too much of a mess to clean up. It was just easier for me to do that and then try to put glue on individual sees which tend to be a little bit clumsy and have big old, clunky hands and I just have a hard time with that. So now I'm mixing up a grey. So using titanium white, yellow, ochre, a little bit of the bone black. So the exact same background color as I did before. And you can see I'm speeding through. This is pretty straightforward stuff, leaving a little white gap around the edges. And again, I wish I would have made this one a little bit smaller scale that in a little bit cuz kinda smashed and they're, but it's still pretty cool. I really like the piece, how to get Tom paint that and that takes care of that. And we have one more to go.
48. Graphic Pear: Alright, one last look here at all for so we can get that feeling of where this project is going. And this one, I will do the pair which kind of looks like an avocado too, but we're going to go with it as a pair. And I will begin by using my acrylic ink marker. Again, I could have easily painted this with acrylic paint, not going to use water color. But this is all about acrylic painting ideas. And I want to disuse as many different techniques as I can. And these little markers are wonderful for getting some color down, which is all I'm trying to do. And of course introduce you to different ways to paint into apply color. I'll make a few adjustments. And then I will add a leaf towards the top of the stem. And then I am ready to cut out the core. So the pair has that little core. Not very prominent, like some. But I thought it would be good to know just create some harmony, some unity between the pieces under the cherries. And I think the, I think that maybe it have course and I cut out line. And of course, as with most of the things I do the first time around as completely to wimpy, I wanted to, I think it needs to be a little bit bigger. So I'm going to cut out another one. And here we go. So that should serve the purpose of a core. And now I'm going to switch to my small acrylic marker and create some vertical lines that will fill in the left-hand shape of the pair. This is a tricky shape. So and I am winging it without any outline, but I've could have easily gone in there with a light pencil mark and created that or maybe even cut it out with some paper and kinda like use it, a edge sort of thing. But imperfection is kind of where I'm at and what I appreciate. So I don't mind a little imperfection or quite a bit and my artwork, or now that the light green ink is dry, I'm going to move in with the same cobalt green that I've been using. And that's going to give it a nice rich green. And there's a little bit of that light green poking through. That kind of gives it, illuminates it a little bit so it doesn't look so flat by using the marker. Now I'm going to make a few adjustments and that's good. So at this point everything is completely dry. And I'm going to use the same pink I've used before. And the other demonstration and paint the background and again, leaving that little bit of a white border around everything. Obviously this is not real time, this is four times the normal speed. This is very kinda routine stuff. You kinda know what's happening here. So again, this is the pair you can see. It turned out really nice and very, very simple. But I think when we pair these together, no pun intended with the others. And you got yourself a lovely little piece here that would be suited for a dining room kitchen. And again, very easy and interesting gift idea for friends, family, or yourself. And again, very customizable, scaled-up, Scala down, tweak it, use your own fruit, vegetables, whatever you come up with, I'm sure it will be fine. So have fun and I'll see you in the next project.
49. Fish Stripes With Collage: Here's an awesome project he can do with just subscribe collage paper stuff you can make. And I think when you're done with this, you're going to be amazed at how cool and versatile and easy this project is. So what I'm doing right now, as I'm putting some mod podge down on the paper and I'm going to start gluing the strips. Now they're irregular shaped strips, they're not like perfectly straight. In. That paper I'm using is basically just cheap drawing paper. And you see there's just a bunch of random color on it. So whenever I'm painting, typically I will put down a piece of that paper and they meant they're pretty big there, about 24 by 18. And I'll put that down underneath my painting. So when I'm mixing paper, if I have leftover paint on my brush, things like that. Instead of just cleaning my brush off and a jar of water or something, I'll just take the extra paint and just sort of rub it on the paper. And then when I'm mixing paint, instead of using a traditional palette, I'll just use the paper. So I end up with all of these really interesting pieces of paper that has all this kinda random colors and strokes on it. And it makes for really cool collage paper. And you can see I'm mistaken that paper and I'm ripping into strips, so different lengths. And it's sort of coming down the page and leaving a little bit of that original watercolor underneath. So when I started that, it was just a a watercolor gone bad. And I love using those as a starting point for projects like this because they just, they, they kinda enhance the abstract qualities and it'll become part of this finished painting. So you can see most of those stripes are vertical, but I'm also dawn some horizontal as well. So you can see I've got one on the lower right-hand side, and now I'm going to add another one. So again, if you were to look at that, I mean, she's very random the way I did it, I didn't cut paper and place any colors or shapes in any particular size. I just simply started filling in the gaps. And it's putting that stuff down. This let me go. And once you get all glued down, give it a good Press, and then take a rag and clean rag and try to wipe off any excess glue. Now I'm using mat mod podge, so that's going to dry relatively flat anyway. So it's not going to have a lot of shine to it. But it's good to wipe off the excess anyway, just in case. All right, so I'm going to do another one here. And then I'll use again the same, same idea of so you can see that paper there. It's not like a planned that collage paper. I mean, all that stuff again, was just created by putting down paper near my painting when I'm painting something and just wiping off the excess. And then again, I use it as a palette. And I just put that stuff aside and I have stacks of it. And essentially, good way to recycle paint because normally and what I did in the past and what you probably do, again as eaters, probably when you're done. No painting a shape meatus. Take your brush and you stick in water and you clean it. So instead just start wife grab a piece of paper. It can be, you know, sketch paper can be something that's already used. Doesn't matter. But just something that's just sitting around and just start cleaning your brush on the paper before you stick it in the water. And that's going to do two things. Actually, it's gonna give you some really good collage paper. But it's also going to allow you to create this really. Or it's going to keep your water a lot cleaner to. So if you have a lot of paint leftover on your brush and you put in the water, then obviously the water will get contaminated and dirty much quicker. Whereas if you, you know, use that excess paint, apply it to something and get most of it off, then the water will stay a little bit cleaner because it sounds much paint coming off your brush. So it really is. And I love all this collage paper that I end up with. And it's going to help Alice going to create some pretty amazing art, as you will see, once we move a little bit closer to the end of the video. All right, so now we'll go back to the first one. And that's 100% dry. Okay. And allow it to dry because I don't want the edges of the paper to Payola. And as painting the edges on this one in the background, the other one is drying too. So this is sort of a two for one deal here. I could flip that paper in any direction, it doesn't matter. I could flip it the opposite way. It would work just fine. So now when I'm done as mixing up some nice kinda of a vivid blue, I'm going to just go around the contour of the shape of a fish and it don't try to think too much. I'm just sort of have fun with it. And whatever happens, just let it happen. So I'm not going to try to force anything. I'm just going to kind of take what it, what it gives me, so to speak and go with it. And you'll find that there's, if you work that way, there's tons of abstract qualities. And the piece. So cool. And when you start looking at it, when it's done, you'll see that there is some continuity. Now there are some, a lot of harmony in this piece because your stripes and I put down the vertical stripes, they sort of flow from one to the other. And you'll start to see that now, as I put this background and you'll start to notice that the fish, even though there are just random colors and shapes and all types of crazy collage paper. There's just a ton of harmony and flow between them because a lot of that collage paper was applied in those vertical strips. And that's what really gives it that harmony and that kind of continuity. And it just really cool. I'm, I'm glad I kinda discovered this way to use the collage paper. And this sort of stuff is what excites me, you know, and then it becomes a challenge like, okay, well, what else can I do with it? You know, and I know that's kind of a, a video and a lesson for another lesson really. But I've already got my wheels turning to see, well, what else can I paint with this idea? And this are these vertical strips to create another subject. Because I do think it has a lot of potential to do that. And the results are just so much fun. It's playful, it's colorful. And anytime I can recycle bad art, create a collage paper out of what would have been just paint discarded in a jar of water, and drawings and sketches and badness, things that were just sitting around in a drawer and just completely forgotten about. So anytime I can create some cool art out of the stuff and, and have fun like really discover new ways to create and paint. That's a good day. And that's, those are the things that really excite me about being an artist. So anyway, so now we've got the backgrounds and, and it's time to move him with some detail. But I wanted to be sure I don't add too much detail because it has a lot of character as it is, and it's easy to just do so much detail that you just completely lose all of this excitement. And so I'll just add a few eyes, a few fans, maybe some scales here and there. And let me know the official up there. And just keep it simple, keep it keep it flowing. And be sure I let the get out of the way of the art. Don't want to impose too much of what you wanna do with what's there because it's so easy to, again, does ruin a beautiful thing like this. And all of the character has by just doing too much. So it really, anyone that looks at that nose, okay, well, yeah, I'll see fish. So that's what it's all about me know. And I'll sign this one and then we'll go to the second one and add a few details to that one. So I'll do the same thing just using a little bit of a dark purple there and fuse loosely painted scales. Obviously that's a really kind of a very small, skinny kind of a signature brush. And as perfect for this sort of paint strokes that I need. And if you've happened to see where the collage paper and everything you've done sorting has an I or already has some sort of feeling of a lip or offend them. Don't, don't go over it kinda let that happy accident become part of the art. I already had that in this one, but sometimes that will certainly be the case. You can see that's so cool to see those, that kinda of that flow and our harmony you get out of using those vertical stripes and a design like this. So vertically stacking a subject and then using those stripes left to right. I think really just a fun way, again to create N2 makes an exciting art. And this go ahead and have a look at the finished pieces here. So again, this, these images were taken a natural light so you get a better feel for the colors and everything. But I enjoyed making this again, my wheels are turning to think about the next project. I want to do with it, but a lot of potential and I hope you enjoyed it, right. Bye.
50. Abstract Flowers On Canvas: Welcome to the demo. This is the piece I will be painting. It is 11 by 14 on Canvas. Now its unstretched at this point. And I've got a little kind of a practice study there I've worked on as a starting point, but you can have a blank canvas. It doesn't really matter because we're going to pretty much cover all that up eventually anyway. I'm going to lay out just the table top there and then a rough shape of my vase. And I have a sum, a little study I did there of a whale. For class. I'm just going to use that blue as my vase. So I'll lay it over top of where I laid out or drew in the vase. She has to give me an idea of the size and scale that I need. So after I cut that out, I'll add a little glue to it. And the glue I'm using is mod podge. And that works fine with Canvas and paper or whatever. I haven't really found a surface. It doesn't stick to. So really good glue and then it dries matte too, so it doesn't have a shine to it like a lot of glue does. So there it is. So we are sort of got, got the ball rolling here. I'll get off the excess glue around the edges and then we'll be ready for the next phase. The next phase, I'm going to just use some scrap white paper on that shifts the reverse side of that whale. So on the backside of it there was nothing. So now I can just take some random kinda torn pieces there and start scattering them around for my flowers. So I'll just go directly onto the canvas here with the glue. And I'll put a little bit on the back of the paper to that's going to help the edges from curling up. So sometimes I don't happen. So just so you know, it's good to get plenty more glue down than you think you need. The last thing you want to do is for the stuff that peel up later on. All right, so laying out the flowers and just get them in an arrangement that looks good. Try to avoid symmetry, so make sure your flowers don't like go in a circle or that they're kind of evenly spaced, left to right. So does have some sort of interesting shape with the flower. So if you were to draw a contour around all of your flowers, that they would It wouldn't make it like a snowball or something that would become an eyesore at the end. So just make sure again, you have a good shape and then have some various sizes. You don't want all the flowers to be the same size. And of course we're going to change, alter the size later on because we're going to do some negative space painting. So there you go. So we've got the vase. You've got the flowers. And now I'm going to start putting it a little bit of hue there for the tabletop. But that's just sort of a, kind of a grayish purple. And they're keeping it slightly darker. At this point, then the blue vase or the blue base will eventually change down the row. We add a little bit of detail, but for now just, you know, don't try to pinpoint the exact color you think you're going to want. For the tabletop. Just sort of get a color down. That's somewhat muted in the ballpark because we're going to come back later and change it a little bit. You can see here I'm just focusing a little bit with a table color. I decided to lighten it up a little bit, so I thought it was just a little bit too dark for what I wanted there and it was blending in with the vase a little bit too much. All right, so now I'm moving in with a little bit of green and we'll mix a little bit of alizarin crimson with that. So when you mix red and green, you get this sort of brown. But I'm adding a little more green to it now, so it's sort of an earthy green color. But I guess before I do that, I'm going to add another or a handle rather for the vase. I thought the handle would look really nice. On the base, kinda add a little more interests there. And once you do a white sauce sort of matches the flowers. And of course, once that's cut out, I a little bit of mod podge there. And we'll get the handle in the end, and then we'll be ready to roll to the next step. And again, don't, don't panic about getting a little blue on the different areas of the painting because that's going to clean up and we can paint over it and it's not going to be It's not going to dry. In a way that's going to ruin the art. Alright, so good. So we had the handle and notice that the shape of the flower, so we get this sort of diagonal feel going on. And then we have a sort of an odd flower up there kind of popping out towards the top. So top right there, I'm going to round down. So that's that's what I meant about the shape. I mean, it's so easy to get a boring shape whenever you do the flowers. So just thing loose, abstract and interesting in terms of when you look at it. And if you divide it, align and divide it or draw it down the middle of the flowers and the vase. Make sure it's not symmetrical. And those are easy mistakes to make. My now discuss sort of scribing in a few little branches and stems, things like that. And that's just going to give me a little guideline as to where I want them to go in the future. So we're not scratch into that wet paint. That's just going to reveal that dark purple that was underneath. If you have a bite canvas or a toned canvas, and obviously yours is going to be a little bit different color. But again, I'm going to paint over that later on, so it's not a big deal. At this point. I want to mix up a little bit of pink. So that's Alizarin crimson with a touch of white in it. And it's a rule loosely paint some centers to the flowers. And now I'm going to add a little bit of detail to the vase. So I wanted to do some verticals here coming down. And that's going to add a little interest and give the painting a little more excitement and the composition as well. And that's just a really small signature brush I'm using there. And now putting in some earth tones. So just some yellow ocher mixed with a touch of red alizarin crimson. And this varying the hugest a little bit. So you wanna make sure that all your earth tones aren't the same. So it does have some that are more lean more towards the yellow. Maybe some that lean more towards a red. And those, those are sort of subtle things that I think artists tend to forget about. You know, so easy to not think about shifting colors just a little bit, but think when you do that, it just gives the painting a little more depth. And visually it's just a little more striking. So you can see I went to, took my small liner and I went around the edges of the flowers just to sort of get some interesting petals, some interesting shapes. And now I'm getting some nice dark brown here like an umber. And I'll draw out some of these stems and sticks. And now give it a little more of a vertical, vertical entrust. So that's all that is. So I am, when I'm drawing these, I'm kinda keeping the same idea in mind too, is I don't want symmetry. I don't want to the same size. Sticks and stems, left to right. I want to make sure they're they're unique and they're different from each other. And if I again drew that line down the middle, they wouldn't, you wouldn't have a symmetry problem. So now I'll put the signature on it and let's have another look at it here. So again, this, this finished image here was taken a natural light so you can get a better feel for the actual colors. You can sort of see the different browns, the earth tones. So you've got some dark, some light browns. And the handle is nice because it sort of gives the vase, because it's kinda plopped in the middle. So a sort of gives a little more weight to the right-hand side. And one thing I will say I didn't mention in the video because I didn't have an old camera, is I went back with some darker blues and between the white stripes on the vase and dismayed that a touch darker. Now thought that anchored the vase a little bit, little bit more. So anyway, I hope you enjoyed the demo and I enjoy sharing it with you and I'll see you guys in the next one. Bye.
51. Horses With Acrylic & Watercolor: Right, bringing me behind the scenes here, just showing you some of the stuff I'm creating and how it's made, and why I'm doing it. Now, why did I pick the subject? So this is just a demo I did for water color class, showing some transparencies and different things like that with watercolor. And it's great as a wonderful beginning for like an abstract painting. So what I'm going to do is create like these, like horses sort of running. I'll have to go back over that with some sort of background to define everything. So I had this one and this one too. So I think this would have worked for a very similar thing. These are 15 by 11, so they're more of a medium-sized painting. And I'm sure if you dig through a lot of your paintings and studies, you'll probably find you'd have pieces just like this you can use. Alright, so now it's time to start putting down some color. So I'm going to rotate this horizontally and get this in the orientation that I want. Now my colors, I've got opera pink, I've got some burnt sienna, a little bit of cerulean blue. Also have some Alizarin crimson and a little bit of neutral tent. All my palette is just a bunch of leftover paint. And you can see she's neutrals, grays, this different stuff, a bunch of mud really. But then that's fine too, because horses are very earth tone. Now I'm going to use allow those browns and different things are there on the palate, those neutrals. Because that's really all I need. And then I can sort of just drop or charged those colors I by dropping some different hues into it. So I'll start to just loosely paint a horse running here. Again, don't try to get too much detail added this, I think a painting like this works better if he just sort of think about the contours, the apnea, the shape of it, and just get the flow of a horse running. Some horses, you know, sort of like rearing down so that the Catholic Heather next sort of curl down almost like an a bucking sort of position. And when I'm doing this too, I'm getting different opaque and transparent quality. So some strokes to be really transparent so that I can, we can see those shapes underneath. So the beauty of using a study like this as a starting point is that we get these really random, my transparent qualities of those things layering underneath the horse and it'd be a shame to use opaque paint and cover all that stuff up. Because I think that's what's going to add to the charm of the piece when it's done. So just think about when you're doing this, the horse is indifferent running positions on the ASAM with their heads up some and full stride sum, again, sort of raring down mouth open, mouth closed, and be free with the colors. But I will say them overall. Only point I want to stress is that you mix up those transparent equalities. What the little bit of opaque. So you, when you see the mean, you look at the strokes I'm putting down now, a few of those strokes are more opaque than the others. But in general, I would say, you know, at least over half of it is very, very transparent. So that's important. So that way the painting and the horses have a more interest versus just being transparent or just being opaque. So when, for Dawn watercolor, we want to capture the characteristic of the medium and what are color obviously has those lovely transparent qualities. So we want to use that. We want to capitalize and manipulate that. So now moving in with the arbitrary colors, I guess. So I'm putting a little bit of opera pink and alizarin crimson into the one gray horse. Think, you know, taking those risks and having a little bit of fun with the color is important. So that we don't end up with in a very predictable horse colors. And I think if you don't wanna kind of a whimsical abstract piece like this. And we want to make sure everything is cohesive. So if we go abstract, we go expressive than some of the colors need to be expressive to. So you don't want things to be too predictable if in fact we're not dawn of very tight. Representational painting that make sense. So everything sort of has to be cohesive. The colors we mix that brushstrokes, all of it has to have a theme and desaturate a little bit of flow to it. Alright, so the first layer is done, and I'll do the other one while it dries. So for this one, I'm just Q a little bit of music. You sort of get the gist of what's going on here. This is not going to be any different than when I share with you in the last video. It'll just be done on a different piece of paper. So here's a little bit of music and then I'll chime back in when this initial layer is done. Next up we have at the end in this manner. So the second was done and again, let that dry and then I'll come back into a background. Okay. So for the background, I have just some white indoor house paint. So when we purchased our house, the contractor has left us a bunch of leftover interior paint. This was just some white trim paint. So actually it's more of a ceiling paint, so it doesn't have much of a shine to it. And you can see I'm using a big house painting brush too. So the house, and the reason I've picked a big brush for the background is I don't want to get suckered into details about how to have a small little detail brush trying to do the background. Then it's going to take a ton of strokes and then also It's going to probably encouraged me to do more details. And I mean, So I want to keep the background chunky. I want to make sure that some of the original demo I did that was from a water color class. I want to make sure some of that those colors shine through. So again, just sort of ballpark in the contours, but not trying to, again, cover up every single thing. I just want to get the gist of the subject and not get, again, end up with something that looks too rigid because I want the flow to be loose and expressive, okay? And don't try to finish it here either. So at this stage, you know the background color as n is not done. But it's a good point to pause. So I'll put these horses aside and then do the same thing for this one. Now I'm not gonna do this any different. I'm going to start with my big brush here. Get the, get the edges and make any corrections that I think need to be made. And that's it. So I'll cue the music and then I'll chime back in. When this background is finished. So let's assume this is true as much as possible in this lesson. So on, so forth. So as with most of these are, so the background's good to go, it's still wet. I have a kind of a compressed charcoal, their pencil, and I'm going to add a few details, just some scribbles into a few of the horses to get that kind of sketchy look. And he sort of legs or shape that needs to be corrected. I can do that with the charcoal. And being compressed charcoal, this stuff doesn't flake as much as like a brittle a vine charcoal. So this stuff is kind of almost feels like a wax pencil or something. So it just because all nice and smooth, it doesn't make a big mess. But here just kinda playing with some contours, playing with some legs and different features. Adding a main on a few of them. Again, I don't want every horse to look the same. I'll think every horse needs a main. I don't think every horse has to have a tail. So again, just sort of keeping it loose and making sure the horses don't all have the same features and details. So, yeah, just kinda having a little bit of fun with drawing here. And you can see this horse on the edge. And these little work almost looks like a falcon flying into the scene here, but that'll get corrected later on. But actually the pencil I'm using is a China marker. So that's that's what that is. So at China marker, I'm not sure if his wax based or what, but they're they're really good for drawing into wet paint like this. And you can see to get into loose with it because I know I can come back with my out, my background color and chisel out whatever edges need to be chiseled out. And he always had that in your back pocket. Now that's not to say you don't want, you don't want to do this too much. Now you don't want to end up with an over painted piece, but just knowing your painting, these things, you can always come back with your background and sort of make any corrections that need to be made. So that little Falcon don't have to be addressed later on. But for now, yeah, just kinda get in getting the background and given the horses to a point where I feel like there, when you look at them, they've got a nice interests to them. And then it looks like they're just having fun and just kinda being wild and free. And, and that's kinda the gist of what I want this painting to have. And this horse coming into this picture here, it's still giving me a hard time. So I'm just working with a little bit here and they're trying to make it look more like a horse and less like a canine. And so I've gotten rid of the Falcon, but I've created a dog out of it and doesn't quite like ours. So I'll white smear that away because it was all that paint was just getting too thick. And I'll try again so that one looks little bit better. And I'll let that rest. And then I'll just sort of take my negative space painting, my white paint, and it's kinda go around that. And this one's starting to come together. So again, remember we started with that sort of landscape with this one and the background as more painted then the other one. So there's very little of that original watercolor landscape as visible. But if you look at the transparent qualities of the horses, it is underneath some of those strokes. So there is bits and pieces and a little hint that landscape. So, so it helps, you know, helps to have those kinda arbitrary sort of random beginnings like that. But this one's a little more colorful obviously because we started with something that wasn't to gray. So this one had all those lovely yellows and blues and purples and pinks and whatnot. So now has a different appeal to it. So that's kinda something interesting. Think about whenever you choose your piece to paint over. Some, some of your sketches and demos will be more colorful and some will be more muted. So each one you do will be different courses that this can be anything. This could be a series of cats. This could be a series of dogs or whatever fish. I'm, this happened to show horses and hopefully the idea of using your sketches and old paintings and rejects as a starting point will become more appealing to you. And you'll start to sort of take this idea and run with it. So coming together here in just a few details, a minor corrections, a few shapes. I do like those darker strokes I just put in that sort of linework. And that gives the horse is a little more character, gives him a little more movement. It's really easy to over paint here and to go too far. So I would encourage you just to add a little bit and then step away, let it rest. And then if you feel you need more, you can always add more, but less is best. And now here, I really want to make this one horse that I'm working on. Kinda pop. I want to make that one that sort of catches your eye. I think it has had a really nice shape to it, has a lot of character to it. And I think adding a little, a few darker notes here really enhances that one so that you're maybe even drawn to that one over the other ones. So again, just using my liner brush to do a few corrections at a few legs here and there. A main. But, you know, just being sure not to do, go too far with it. So now I'm just cleaning up a few edges here in there from the changes I just made. And then once I give this background cleaned up and it while I'm doing the background to remember what we want to leave some of those colors from the painting underneath because they're so light in there so they don't really compete too much with our subject, that they're fine and they actually give the painting a little more character. So anyway, I think this is working pretty good. I'll go ahead and put my signature on it and let's have a look at the finished art. So there you go. So again, I think my images and natural light so you can get a better feel for the hues. Hope you enjoyed the demo that it inspires you to break out your old drawings and watercolor sketches and have a little bit of fun painting some animals or whatever subject you feel is doable for what you'd like to paint.
52. Awesome Abstract Cow: All right, welcome to the demo. In this one that'll be starting with a kind of a scrap piece of paper here, but it was used for teaching demo. And then just has some random strokes on it where I was just probably has some leftover paint on my brush and I will just smear it on the paper. And now I'm using some watercolor. Now the watercolor doesn't have a ton of water in it. But the brushes a little bit wet and there's a little bit of moisture. Their e-mail of course, on the brush. And that's going to help put some nice long strokes down. The paint is too dry, then you're not going to get much coverage with it. And now I'm just having fun just using different brushes and is putting some random strokes on the paper. A little pops of color. You can see I use the red to go around the building and not really trying to do much with it other than, you know, just kinda having fun to want some abstract stuff, kind of letting the moment takeover. And I'm just experimenting. But ultimately it's going to be a cow painting. But I think, you know, whenever you're painting loose and abstract art and you know, it's good to have a little, a different approach. So if I were to attack the cow painting right away, and then sometimes it just becomes predictable where you see here I'm just playing with that little building. There's some umbrellas and now I'm adding some darker colors and just exploring and creating that abstract layer, that kinda chaotic sort of random brushstrokes where you wouldn't ordinarily do if you were just setting out to paint the cow right away. And I talk about this quite a bit. And you throw out my courses, especially the ones that focus on loose painting, is that layers are, are really important. You want to build the painting up in a way that he sort of had this kinda random colors and strokes down. And then over top of that, you can start to put in the subject. And the subject could of course be anything. It can be a cowl, flowers and whatever. Um, so at this stage you can see I'm moving in with the white of the cow. So this we're now looking at the Cal face there. And the white is not water color. That is some leftover indoor house paint that was basically left behind. And for us, whenever we purchased our house, the painters were generous and I guess it has some leftover stuff and they decided to leave it for touch up, but there's a lot of it and I wanted to use it for art. And why not? I'm English is good. Why you paint and it's a great way to use it without it drying up in the canon so to speak. And hear. My use it obviously for the cow. But just in a row, no short period of time here. I'm always able to create this abstract cow. But know that it's really the beginning that, that approach of sort of doing some random mark-making in creating those layers, having that sort of drawing underneath where it was just a demo and just adding those random brushstrokes and colors. And then over top of that, a letting that cow appear over the chaos, so to speak. And it's important when you paint this way to know, allow some of those under layers to be a part of the painting. And don't cover everything up. If you cover everything up with the final layer of the cow, then of course there's no need and even putting those initial strokes down, so be sure to let that stuff live in the painting and don't paint over all of it. Okay. Hope you enjoyed it.
53. Blurred: All right, I'm excited to show you this one to you. So starting with some watercolor that's painted over just some leftover paint. Us actually what that blue and the yellow. I was painting a piece I didn't like it, so I'll turn it over and a smashed it into the paper. But all that blue and yellow that is dry. And now I'm going over that with some water colors using appointed around. And again, just working with that gesture, you know, getting that torso in there, getting the hips and trying to exaggerate a little bit. And it seems like no matter how much I exaggerate, I probably could have gone a little bit bigger. And if the marks and the this initial strokes and stuff I'm making up a, they don't capture exactly what the figure is, Dawn. And so for an arm is not bent or in a place where it is in the image. That's OK. Now I just want the, the image to be inspiration to paint. And, but I always look at the art. Now take what the art is giving me. So in other words, I'm not going to get married to the image because I'm more concerned about the end results. So if I feel like what's on the page is exciting, it works. And it's not exactly what the figures don't want in the photo, then that's fine. Because in the end, the viewers never going to or the, wherever this painting ends up. Well, they'll never know or see the original image. I mean, you'll see here in the video, but chances are it's not going to matter to anyone. Because in the end, it just, it just needs to work well. And it needs to have a little bit of excitement and some spontaneous creativity going on. Now I wasn't, well, what I'm doing now is working wet into wet. And this is just house paint. This is indoor White House paint that I'm using and using a big brush there. So I don't get sucked into details and trying to get some interesting edge quality. And the watercolor is still wet so everything is bleeding into each other just as it would if you are working with watercolor. But because I'm working on 90 pound drawing paper, I'm not going to get the exact results. You would only say like watercolor paper. So here are just not crazy about that leg. I felt like I was a little bit too short. So you can see this quickly making that change. And now I'll try to go in and get the look I'm after. And just arbitrary colors, right? Is playing with colors, not trying to get caught up in matching colors. Obviously, there's an orange, yellow. Any of those colors, none of those colors are rather are really in the figure. Maybe they are, but they're in more of a gray and subtle way. But what I'm doing is just again, responding to things you notice I started out with some yellows and reds and sorta kinda took that theme and went with it. And then that's just kinda being aware of harmonious color palettes, things like that. So if I'm working with grays and midtones and sort of earthy colors tend to gray things down. But if I'm working with more of a saturated pallet chromite chromatic, then I'm going to pick colors that are obviously a little more chromatic. So anyway, that's the end painting and I really liked it. I thought it just has a nice quality to, is fresh, loose, it's colorful and I think it's a nice little piece of art that I enjoy creating a hope. Hopefully someone will enjoy having it. Part of their collection.
54. Projects & Recap: Ok, well, I hope you enjoy the demonstrations. Again, this will be an ongoing class. Look for updates in the future, but there's plenty of here to sink your teeth into. So please get started. Do these projects because I know you'll have fun. You will expand your repertoire and you will create some amazing art. Drawing it again, if you have suggestions, please let me know. But again, I have plenty of ideas and tricks up my sleeve. So look for updates and then near future, I want to thank you for your interest and support. I couldn't do it without you take care and I'll see you next time.
ROBERT JOYNER, Make Art Fun
