Transcripts
1. Introduction: Hi and welcome. Thank you for joining me today. I'm Jackie. Go via. And in this video I'm going to demonstrate how I created this abstract landscape painting from start to finish. I'm gonna talk about the different tools that I use show you some techniques that I've learned along the way and also talk about the specific colors that I used in this painting . I'm gonna keep things really simple. And I hope you learn a lot of stuff and have lots of fun. Thanks so much.
2. Tools & Materials: So before we get started, I just want to talk about the tools that I like to use when I paint. Um, obviously I have my easel. I've had this easel for several years on, and it's nice and sturdy, but when you get started, you can use anything. This happens to be a little bit more expensive easel, but you can buy things that are just tabletop. If you're getting started, you can buy things right at Michael's that aren't that expensive. Um, my canvas. I tend to like a canvas that has a lot of texture on it. It's a heavyweight cotton canvas and its rapids gallery wrapped in voter inch and 1/2 thick . Because I paint the sides that way, people don't have to frame it if they don't want to, because I use acrylics. I always have a spray bottle on hand. The room that I'm in now tends to be dry, so my paints dry quickly. Um, and you have to kind of keep your environment in mind. If you're painting on Ah rather muggy day, your paint a Ghana. It's gonna take longer for them to dry because they're going to be a little bit superior. So when I'm if I'm painting in a dryer environment, the spray bottle comes in handy because I can keep my paints wet, and I can control the consistency of them. Um, I also use two types of Jess owes when I pain, I use a clear Jess Oh, which is clear. It doesn't really affect the color at all, but it helps me to kind of get some fluidity with the pain and the clear. Jessel also has a small, tiny grittiness to it again gives it a texture that I like to work with. The other Jess. Oh, that I work with is white Jess. Oh, I tend to use Jess. Oh, as my white. I do use a titanium white, but especially when I'm working on big paintings. I use Jessel as my white because it gives me that ability to really mix up big the big spots of paint. So that way, when I'm working on a large canvas, I can move the painting. I can move the paint around, so I like to use Jess. So as my white, you know, it's acrylic base. It mixes well with my acrylic paints. So my paints themselves. My favorite brand is M. Graham and Graham makes both acrylic and oils. Um, this it's more of, ah, probably a pricier acrylic pain, but because I sell my paintings, I like to have quality products. Um, and Engram, their colors are gorgeous. There really vibrant there, really rich. And they're great to work with. My palate might. So my palate is basically I think it used to be in a picture frame. At one point. It's just a piece of plexi glass. Um, and it's Aiken. Clean it really easy. I spray it down, I can wash it off. I keep my palate nice and clean. And when you see how I mixed paintings, I only mixed one painting one color at a time. I don't have a bunch of different colors, so I mixed the color that I'm gonna work with. I use it and I clean my palette off. So I like to keep my palate nice and clean because it helps me keep my colors nice and fresh. I also use palette. Nice. So I used the palette knives to both mix pain and also apply paint on my canvas, and I'm gonna show you that in the video later. How I actually apply some paint on my canvas with a palette knife and then last but not least, my brushes. So I buy really cheap brushes. I know when you can go and you can spend a ton of money on brushes. I used to do that, and it just didn't make sense for me anymore that with the way I pain So I buy these brushes at like a lows are Michael's. They're super cheap there, like maybe a dollar. Um, and I really work my brushes hard. As you can see, this little study brush used to look something like this, but I like using both of these brushes because this is this brush is really soft. It gives me one sort of technique that I like to use, the way I apply the paint. And this brush that's really gotten worn down in stubby helps me really kind of scrub in areas. If I want to lighten things up, if I wanna kind of pull some of the paint off, you know, I get to use these kinds of brushes. This will wear down to a point where I really can't use it anymore, so I throw it out. But again, I use really, really cheap brushes, so let's get started.
3. Paint Colors: So before we actually get started to paint, I'm going to talk about the paint colors that we're going to use in this painting. We're really going to restrict it to four colors. I want to keep things simple. So one of the first call is that we're gonna uses ultra marine blue. This is a really great color. I use it a lot. It's probably my favorite blue. It's very rich, but it has a warmness. Want to it That is really, really rich, you know? So Ultra Marine Blue is our first blue that we're gonna be using. Um, the second blue that we're gonna use is cobalt blue. This, as compared to ultra Marine, is colder. It's a little bit cooler. In its sense, it's lighter, it's I tend to think of it more as icier because it's just a cooler blue. So we're going to be using that along with the ultra marine blue and the two of those values together work really nicely. So those are my cool colors. The other color I'm gonna use is all of green on. All of green will be my neutral color. And when I mixed this with white Um and we're going to mix it with some cabbage and arms, which I'm going to talk about in a second. It creates a really nice, earthy color. This all of green is also a very, very rich, dark color that we're going to add to the painting at the very, very end. Again, it's just a really rich color. It's great to work with, really earthy in the last color that we're gonna work with is cadmium orange. I use cabinet and orange a lot. I mix it with cobalt blue, which we're going to do. I mix it with the all of green, which we're going to do, and then sometimes I use it right straight out of the two, which we're also going to do. It has a really fresh, bright, vibrant color, and it works really nicely with the blues. All right, so we're going to get started right off the bat. I'm gonna stop mixing up some pain and, um and we'll stop painting
4. Underpainting: So the first color that we're going to mix up, we're going to just kind of get a base on our canvas. It's going to be like are under painting. Andi, I'm just going to mix some white. My using my just so the white gesso with some ultra marine blue. So I'm just gonna put a little bit of just so on my palette Add in some ultra marine blue. Captain, I'm also gonna add just some of my clear Jess. Oh, spray it down. I like to have the clear just so, especially in the beginning again because it gives it that texture on guy keep. I like to keep my paint a little bit on the west side when I'm getting started, and then I'm just mixing it up. And if you know if if it's not mixed all the way through, that's fine. I don't worry about it, and then I just take my brush, dip it in, and then I just start applying the paint on the canvas. Now I'm not doing anything specific. I'm not painting in any specific way and I'm not covering the canvas completely. I like to add the painting to the canvas in different directions just to give it some variety. And like I said, just keep it really loose. Don't worry about covering your entire canvas, because we just want to kind of get some sort of base on here. So at this point, I have my canvas covered. I have my, my, um, under painting done.
5. Horizon Placement & Composition: At this point in the painting, I start to think about a couple of things. So I start to think about one of things I start to think about is where is my horizon line gonna bay most of my paintings. My horizon line is about 1/3 of the way down. I don't measure it. The canvas is a 12 by 12. I don't measure it. I just kind of eyeball it. And so sometimes when I do a painting, I put the horizon line really, really high or I put the horizon line really low. But in this instance, I'm gonna keep it at that typical 1/3 of the way down. So because I know that I want to already start kind of breaking up the values between the top part of my painting and the bargain part of my painting. So I want to kind of lighten up gray up the top half and on the bottom half on the bottom side, I'm gonna make things a little bit bluer, darker, start pulling out that blew a little bit. So with the paint that's already on my canvas, it's are on my palette. It's already pretty much dried up and I want to kind of clean my palette at this point because I'm gonna mix up some other color Teoh, stop getting that top part on. So I'm just gonna squirt my palate down, wipe it off. And now I'm gonna mix up, um, some white with my cobalt blue and just a really tiny tiny touch of my cadmium orange. And once we get it on their, well, we'll get to know whether or not we needs more orange or not. So again, I'm just going to add some white onto my palate a little bit of cobalt blue. And like I said, just a riel need my just a riel small spot of academy and arm and just to get started. So this makes up like a really nice, uh, more of, ah, grayish color, which is going to start lightening the top part of my canvas. And I'm gonna leave my brush that I just used with the ultra Marine blue. I'm gonna leave that alone. I'm going to use ah ah whole another brush, A different brush, a clean brush for this color. So again, I'm just gonna take some of that color and just that, throwing it really loosely on the top part. And I'm not going to cover up the entire top part with this color because I want some of that ultra marine blue that we already put on. I want that some of that to stay there because I want some of that to kind of bleed through this little bit more grayish color. Okay, so now that we're at this point, I'm already thinking, Okay, I want to start drawing out that blue from the bottom. And I want that to be a little bit deeper because I want there to be a clear separation between what's going on on the sky area and what's going on on more of the water area. So, you know, while I'm doing this while I'm building up my layers, I'm constantly kind of thinking where my values at and what do I want my values to bay. So because again we're working with acrylics, the paint's dry quickly. I you know, I just put on some of the top part. I already know the bottom part is dry. I'm gonna start working on the bond pot, and then I can kind of go back and forth and figure out where do I want my values to bay? So I'm gonna take that bottom part and I'm gonna stop building up some more of that ultra marine blue. So again, when it's kind of clean my palette clean the palette knife And this time the first time that I mixed up by paint color, I actually put down white first. So because I wasn't too too worried about exactly how the value is but because I know I want the ultra Marine blue to be a little bit shopper and to be a little bit darker. Now I'm gonna put the ultra Marine blue on my palette first, and then I'm gonna add the white because now I want to control that color a little bit more . So I'm just gonna add on so ultra marine blue, and then I'm gonna just very lightly just kind of dropped some white on there again. I want to control inputs unclear. Just so I want to control the value of this blue a little bit more than I did on the first round. So if I add the white slowly, then I can much better control that that blue and it's still looking a little dark to me. So when I had a little bit more white, so now I can see that I have a nice dark color, you know? And sometimes what I do is I'll take. If I'm not sure where I am with the value, I'll take some of the paint put on my palette knife and just kind of compared to what's on my campus and that right, they will kind of give you a really good idea of. Where am I with the value. Was this dark enough? Is a too dark What do I need to dio? So, as I said before, sometimes I apply the paint with my pal. Nice. Since I got a bunch on here, I'm just going to kind of throw it on the canvas, sweeping across. I'm actually just basically cleaning off my palette knife, but there's no lots of paint on there, so I'm gonna use that pain, and then I'm just going to kind of go in with the brush and kind of blended in a little bit . It's getting a little bit dry, so want to kind of wet, wet it with my spray bottle. So that way I can move the pain around, and once again, I'm not going to cover the entire area because I like I like there to be some sort of transition and some depth of here Some light areas here, some dark areas I don't like. I tend to not like certain areas are my areas to be completely opaque with color. I like there to be a variety.
6. Building Layers I: so And I'm already I'm already thinking I have too big of a mass here of one straight color , so I'm gonna light in that up a little bit. And I'm also going to this time add some white, but I'm gonna add a little bit of cobalt blue in there because I want to kind of break up that blue color. So adding some cobalt blue well, again, just give me a little bit of variety. So I'm adding more white, adds more full, well blue right into my mix. And now I'm getting, you know, a slightly lighter color, a lighter value. It's very subtle, but it's there. So when the paint starts to dry, you'll be able to see that there's some nice variety there, and you're also noticing. You're also starting to really see where the value differences are between the top half of the painting and the lower half of the painting, which, you know, this is what gets me excited. This is when I get inspired by landscapes. I tend to be drawn to areas with his shop color changes or shop, um, shop value changes. You know, the dark where the dark meets the light. So this has given you a nice good area where you're seeing the top half is now really standing out as lighter than the bottom half. So again hearing him at a point where this part here is a little bit wet. I'm gonna give it a chance to dry someone to kind of go back up to the top because I want to stop pulling in, um, a little bit more warm, So I'm gonna want to get some more of that cabin on cabbage and orange in there, So I'm gonna work on the top half, so I have tons of blue on my palette. I'm gonna clean this down because I'm going to be working with, ah, whole different that value. And I'm going to stick with creating adding the white, the COBOL blue, And I'm gonna add a little bit more arms this time to get a little bit more brave. Mixed that together. And the cobalt blue was cabbie in orange. It makes a greenish grey, but it's a warm color. It's a really pretty gray. It can be used a lot of paintings because it, you know, it kind of starts getting a little bit on the neutral side, so I'm just going to take my brush. It might be a little on the dark side, but for the green side. But that's okay. We can always way can always change it. So if I put it on here and I think, uh, you know, it's it's a little too much on the green side. That's fine. You can go back. I'm gonna mix up a little bit more with just the white and the blue, the cobalt blue, and go over it and that will stop. That will start lightening up. So the nice thing about pain is you can always paint over it, especially with acrylics where it dries quickly. So I'll just take some white. And this time I'm just going to stick with the cobalt blue and I'm just gonna lay it on top . And I'm fine with some of the green showing through because it's warm. So I'm completely fine with that. But it's just a little too green for my taste. So I'm just gonna cover that up a little bit, and I'm actually going to take some of the same color. I'm going to kind of add it to the bottom. I like kind of adding, When I have a color at the top, I like kind of adding it at the bottom just to make the whole painting a little bit cool. He suit works together and again. I'm noticing that my my canvas is getting a little dry so I can squirt directly on the canvas just to stop moving that pain around and to kind of stop blending, blending some of the colors in. So I want to. Definitely. I like the way that this this blue on this side is really nice and rich and dark, so I don't want to touch that at all. But I do want a kind of kind of give it a nice transition into from the dark into the like . So again, like I said, just to kind of give it some variation. So it's not all one flat color. So now, on the top part, I'm I'm looking at this and I'm like, OK, I have a nice transition between the bottom part and that in the top half there's a nice value change here, which is great, but I do want to add just a tiny little bit of more warmth in the top. So I'm gonna just mix up just a little bit of my white and cadmium orange, and I'm just going to throw it in here again, keeping it really loose. And it's all it's all based on. I just want to add just a little walk to the sky area. So I'm just mixing up a really tiny bit of white and canned me an orange. I'm taking a clean brush brush that doesn't have any blue on it whatsoever. And I'm just gonna lightly add it to the top again just to kind of give it just a little bit of warmth and just to kind of break up that area somewhat gonna add a tiny bit more white just so late in that up a little bit more. I have one of my older brushes, so I'm just kind of scrubbing it in. And one of the reasons that I do like the canvas that has more of a texture, is I like how the canvas itself, the fibers in the cotton. It picks up the paint in certain areas and doesn't pick it up in certain areas, especially when I use my palate like knife. You're really gonna notice that, Um, so I like how if I'm just kind of lightly brushing it onto the canvas, the canvas itself is kind of picking up the paint, some places and not another. So it's not like it's not a flat, opaque area. It's it's giving it some dimension in some texture and where it's, um, lighter of some areas doctor and the other, and the canvas is helping create that effect.
7. Building Layers II: I'm just going to take a little step back, take a look at the painting, figure out where we're at, figure out what I want to do. Um, I think I want to add, um, where I have some of this warmer color at the top here. It's almost like a gray day in the sense I like to add again. I like to add that sort of color that walk down on the bottom just a tiny little bit. So I still have some paint on my palate with this orange in it. I'm gonna add a little bit of the clear jessalyn there just to kind of loosen it up, because I want it to have a nice fluid consistency. Again, I'm just gonna really lightly brush it along the bottom park. Just so there's some cohesiveness between the colors across the entire canvas. So I got some warmth at the top. I'm adding a little bit of warmth at the bottom, all right. And then, you know, I still I still feel like I want to break up this blue. He even though I really love this nice, rich, ultra marine blue color, I think I want to kind of emphasize that it's kind of getting lighter on on to the right side of the canvas. So I'm gonna again mix up some. I think I'll mix up some whites of ultra Marine and some cold ball and stop just kind of loosely laying in on here. So what I'm what I'm doing is when I when I'm painting, I'm building up my layers because my very final thing that I'm gonna do is I'm gonna add some pain right on the top of everything. And I want to kind of strategically think through what my final painting is. And how am I gonna build up with layers to get to that point where I'm just gonna lay some pain right on top of everything else. So I'm trying, Teoh. I'm trying to work out this bottom area. So that way that is done. So when I lay on that top pain, the area down here is already kind of thought through. The area appears kind of thought through. You know, you can always change things as you go along, but I am trying to kind of work through building my layers to get to that final point. So like I said, I'm gonna I'm gonna break up some of this area here with, um, some different values of the of the blue. And I'm gonna mix up some white, um, some ultra marine blue and some cobalt blue just to see if we can kind of get a little bit of different variation of values and blue in there clean and my palate like I always do If you notice I I only makes one color at a time. I know some people like to put various colors on the palette. I like to mix one color at a time, use it clean my palette. It keeps my colors nice and fresh. So here's some white. Here's some ultra marine blue and here's some cobalt blue. I'll add some clear, just so when there again, Just try to keep things, um, a little loose. I'm noticing, especially today, that the paint is drying very fast, so I want to kind of keep it wet so I can kind of move it on, and I'm going to keep it really like the way I'm laying the painting down are laying the paint down, just kind of brushing it on. I'm kind of blending it in as I go. This gives it a little bit of a lighter value. And now I know I want a kind of blend in some of these urges some of the edges of getting a little, uh, rough for me. And I wanted to kind of look like it's water and it's flowing and it blends blends nicely together. So I'm gonna pull in some of the straight ultra marine blue. So I just got to take some ultra marine blue for a little dab it on my palette, wet it a little bit, and then I'm just going to go straight in with that color flayed on. And as you can see, I'm starting to just kind of soften the transition between that ultra marine blue and the blue mixture that I just created. All right, so I'm still thinking that this is a little bit on the gray side, and I do want a more of a really good pop of a lot of, ah, strong, a blue color. So I'm gonna focus on getting more of a, um, white and ultra marine blue, but, um, trying to get some of that gray. Also, I'm feeling like it's a little on the gray side to me and I want to kind of get a nice color, a nice blue color in there. So I definitely want to clean my palette. Put some ultra marine blue on here at a little bit of white. A little bit of the clear. Just so I'm gonna mix us up with my palate night, and I'm going to take this up and I'm gonna bring it up to my canvas and I'm going to compare it and say, Is this the blue that I want to add here? And I think I want to go just a little shade later. But I wanted to be a nice fresh blue. So here we go. Here's a nice, nicer blue. So I'm just going to kind of lay it on there with my palette knife and then I'm gonna go in with my brush and again, he was my brush to just kind of soften enough, all right? And then I'm basically gonna do the exact same thing. But this time I'm going to do it with the cold ball blue. So this is gonna give you. Ah, good. Um, example of the difference between using cobalt blue and ultra marine blue with some white added to it And how they kind of all they kind of worked together but still have different properties to it. So again, I'm gonna add some white and some cobalt blue, and I'm going to do the same thing, just kind of lay it on the canvas and take my brush and just lightly blended in a little bit. All right, so now we have Ah, really nice. Based on the bottom of our painting where we got some nice variations between the different values of the blues, you know, get a strong ultra marine blue a little bit later. And then we got some COBOL blue on the end here. And, you know, if you wanted, you could go in, you could blend them Or if you wanted, you could lighten things. Mawr. I kind of like the way it's looking right now, so I'll kind of let that set
8. Building Layers III: and I'm gonna tow. I'm going to take a look at this top area again. I'm feeling like I have a certain section. That is, um it's too. It's 21 No, basically. So I want a light in this up a little bit. You know, when I have on my palette, I have a little bit of this mixture of the cobalt blue going on. I think I'm gonna add a little bit of that to the top again. Just to kind of break up this area. That seems a little flat to me. So I'm just gonna added tiny bit more white, give it a little spritz to keep it wet and then yeah, absolutely. So there it is. Break in this area up definitely looks a little softer. And as you know, hopefully you're noticed when I paint. I always hold my tools very loose. When I started painting, I usedto grab onto things I would white knuckle my palette knife and my my brush. So you want to kind of keep loose? I always stand when I pay because it keeps my energy flowing. Um, and I actually sometimes drop my tools when I'm holding things so so loosely. So you know, because it's to painting to me is it's relaxing. It makes me feel good. So I don't want to be stressed out when I'm painting. So I liked it. I like to be nice and lose. I'm gonna take just a tiny bit of white and kind of throw directly right on their blended in. Layton that up. All right, so that, to me, is looking really great. So we're gonna move on Teoh, Um actually adding, Ah, whole different value. So from the painting that we want to complete, I'm gonna add in, you know, Ah, little strip of land mass right through the center. We got the blues going. The bottom That looks great, That blending nicely. We got the top part. It's in really good shape. Um, it's, you know, I've broken it up a little bit. We got some nice warmth in their um so now I'm gonna add a whole different value. So now we're gonna work with are all of green in our cab, me and orange who mixed that together? That's going to help me build like this more of ah, landmass or sand or nice beige that were just gonna lay in the center on the horizon line again, keeping it really lose. So I'm gonna clean my palette. I'm gonna add some white, a little bit of the cabbie and orange, and then a little bit of the all of green and the all of green is what's going to give it some really earthy tones. And when I mix this together, I'm gonna get this beautiful, warm beige sand color, all right? And I'm gonna just kind of lay the paint on a little bit differently. So I'm gonna scoop up some pain and I'm gonna have, like, a nice beat of pain right on the edge of my palette knife. All right. And I'm gonna take it, and I'm just going to kind of cut right across that horizon line. I'm going to start. I'm not gonna start the very edge. I'm going to start somewhere inwards a little bit, and I'm just gonna really loosely drag it across. And once again, I'm gonna let the canvas kind of the fibers in the canvas kind of pick up where the paint is gonna fall. I'm not gonna force it to be anywhere if I wanted to connect the areas I could, but I tend to, like, just kind of let the paint get onto the canvas and let it sit. So now I'm going to go in here and I have a nice color. I have this nice beige color going across the horizon line, and I'm just gonna go in here and really lightly take that color and just drag it down with my pal. Night. Just gonna drag it down real loosely on all these kind of three areas with a paint has been picked up. Drag it down. I get some pain on this other side. The blues a little bit wet, which is fine. Just gonna blend that in a little bit. But again, when you when you drag it down the canvas, the fibers in the canvas, the texture, which is what I really like is picking up that paint in specific areas. So it's not completely opaque. It's not completely, you know, the same color. It's getting picked up, and it's leaving little specks here and there. Um, which is which I really like because now the Candice is kind of dictating where this color is going so, uh, take a little bit more pain. Same thing. Drag it down. I want I want to drag it down on kind of different variations. Um, like I dragged this one down a little bit longer than the other ones. I don't want it all to be, um, all in the same same length. Just give it a variation, and then I'm going to take my brush. And in some areas, I'm just gonna very lightly drag it across. The pain just kind of blended in a little bit. Keep it really, like, really lose. It looks really nice. This beige color. I always love the way that it sits on top of the ultra marine blue. It's such a beautiful combination. So I still have, um I still have some mixture of this beige color on my palette, and I want to add kind of like what I did with the blues. I want to add, like, a different value off the same beige color going on. So with the paint that's on my palette, I'm just gonna add a little bit of a little bit more of my all of green. This is gonna docking it up You know what? If you're thinking if you think about sand on the beach you have some areas that are wet. So they're darker, Some areas that a dry so they're a little bit later. So again, I just want to kind of add a little bit of variation in this earthy color. I'm sticking with still combination with the all of green and the cab me an orange, But I'm just making it a little bit Docker. So same thing. I'm just adding some to my palette knife. And I'm just going to kind of pick an area to kind of lay that across just being really light, letting it fall where it wants. You know, I'm not bringing like this time. I'm not bringing this color all the way up to the horizon line because I like the way you have. Like, the three color is going on right now. You get the lighter area of the sky, you still have some of that richer, ultra marine blue peeking through. And now you have this this more earthy, darker, um, sand color that's laying on top of everything. Okay. And I think I will take some of this and just lightly add it to the edge. You know, if we think about kind of like a sand bar at the beach, you see the sand kind of peeking through different areas. So at this point, I have been happy with how this painting has been turning out. Um, I have, you know, my two main areas. More of a grayish blue mawr of ultra marine cooler blues going on the bottom. I have my earth colors, my neutral colors in the center.
9. Finishing Touches: the last step that I tend to do on a painting is I start to add some colors right out of the tubes. Okay, so I like to talk. I like to add, um, in this case, add some all of green along this horizon line because all of green is your really, really rich dark color. So that's where you're going to get that nice contrast, and you can do it two ways. You can either take the two of itself and kind of draw right on again. Let the paint fall where it ever, where it wants to. Or you can put some down on your palate and you can you can add it with your palette knife , adding it with the palate night gives you a little bit more control. Um, but if you want to be a little reckless and you want to be a little risky, then you can do it right out of the tube. This this type of paint had the tube opening is a little bit larger, so you might have a lot of pain that comes out. If it does, it does. It's no Big Dale, so I'm going to go and I'm gonna be a little risky. And I'm just gonna take this and I'm just gonna I'm just gonna add it right along the horizon line gets a nice dark color on there. So as you could see, it's the darkest color on the canvas. It's sitting right on top of everything, and it's drawing your attention. And it's drawn that viewers attention in, um, and it's, you know, it's got a great contrast between the dark, all of green and then the lighter beige. So again, it's a spot where here's the nice contrast draw that viewers I write in. So then, on top of that, my very, very last thing that I tend to love to do is add like a just a little spot off cadmium orange. This color is my sunshine. I think of it as a drop of sun. Um, it is another way to kind of draw that viewers. I in here is that pop of color. You know, you hear interior designers always talked about all. I work with neutral colors, and I throw pillows in there for a pop of color. That's this is my pop of call this cabbie and orange and again I'm going to take it right from the tube. And I'm just gonna find some little spot that I want. I'm gonna put on a little little blob of pain, squeeze it out, and then I'm just gonna flick it down and again, I'm just gonna let it come down, let the cameras pick it up and let it fall where it wants to. I'm not going to control it. I'm not gonna force it. I just want to get that color on there for that pop of color that makes that really kind of makes this whole painting one final piece and it makes the painting to me, it makes the painting complete because you have some grays. You have some neutral colors. You have your cool blue colors. You have some contrast there, and then you have a really, really nice spot of a warm color and all those pieces together to me A what? Make the painting a balanced and complete painting. So I think I'll add a little bit more here. You know, sometimes I like to go in, add the orange, a couple of different places. Um but overall, we're done. This is this is my painting. This is the painting. And and I, like I said, I wanted to keep it really, really simple. Um and you know, we did a law even though we worked quickly. It's a small painting. We got a lot accomplished here with adding different values, Um, and adding some contrast and adding some complementary colors between the orange and the blue.
10. Final Comments: So one last final thing that I want to mention is, um, the techniques that I used in this painting are the same exact techniques that I used in my painting. Settled whispers, Um, you know, settle whispers is a 30 by 30 painting. So obviously I took probably a little bit more time and how I was developing the different values. But the techniques that I used in what I showed you today are the same techniques very similar to the same exact paint colors that I used that I used in settled whispers. So you can apply this technique. You can apply this what you learned today on bigger paintings, smaller tiny paintings, Um, and, you know, take it and run with it and have lots of fun. Thanks so much.
Jacquie Gouveia, Abstract Landscape Painter
