Remarkable Relaxation: Easy Abstract Tropical Painting for an Art Staycation | Adam Palmeter | Skillshare

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Remarkable Relaxation: Easy Abstract Tropical Painting for an Art Staycation

teacher avatar Adam Palmeter, Artist / Comedian / Teacher / Author

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

12 Lessons (1h 3m)
    • 1. Let's Go!

    • 2. Class Project

    • 3. Supplies

    • 4. Blacking out Canvas

    • 5. Measuring

    • 6. Practice Strokes

    • 7. First Layer

    • 8. Correlating Color

    • 9. Gold Accents

    • 10. Finishing Touches

    • 11. Signature

    • 12. Final Thoughts

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About This Class

Welcome to the chill side of your day!

This class is all about painting and relaxing using simple abstract brush strokes in acrylic paint. In this class, you will create beautiful, tropical, abstract painting, using skills for all levels of artist.

We'll start by going over the supplies you'll need for today's class. Then, you'll prep your canvas and begin a meditative process using acrylic paint as a tool for relaxation. This class is packed with & tricks to help you create a stunning piece of abstract artwork while enjoying a little tropical "stay-cation" right at home!


Remarkable Relaxation Playlists:

Youtube playlist here

Spotify playlist here

Follow Adam Palmeter on Instagram here. 

*** Be sure to stick around until the end for my first ever BLOOPERS reel :) ! ***


If you enjoyed this class, I highly recommend checking out my other Skillshare class, Procreate & Chill!

Meet Your Teacher

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Adam Palmeter

Artist / Comedian / Teacher / Author

Top Teacher

My NEW stand up comedy album OLDER TEENAGER - Live from Playa del Carmen is available HERE ! 

Hello, I'm Adam. I am a visual artist, stand up comedian, author and Skillshare Top Teacher teacher living a little here, a little there, telling jokes and painting walls in as many places as possible. My professional background is in early childhood education and have over a decade of classroom experience in Brooklyn, Seoul, Ho Chi Minh City, Buffalo, and most recently, I have been teaching remote art lessons to high school students from wherever I am in the world. Education has always been my passion.

This is why I wrote and illustrateed the OPPORTUNI-TREE children's books, a series of educational books, lesson plans and activities that introduce youn... See full profile

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1. Let's Go!: Hello and welcome to the chill side of your day. My name is Adam Palmeter, and today you are going to be painting a tropical abstract painting for all levels. I started painting this style of work about six years ago, but it didn't take on this tropical flavor until I moved and started painting here in Mexico. You're going to learn how to paint just like this. Think of your inspiration as lush jungle and beautiful palm trees. In this class, you're going to learn my entire process step by step. If you're looking at these and thinking, oh man, I could never paint this. I'm here to demystify the entire process for you. We're breaking this down into a step by step approach. By the time you're finished, you're going to be pretty amazed at what you're able to create. I'm a self taught painter as well as a stand up comedian. This class is going to be that perfect blend of learning new painting techniques with a few punchlines along the way. I decided years ago that art was going to be what kept me sane. It just makes everything better. In a world where it's so easy to find things to stress you out, it's important to have an action plan to help you relax. For me, that's artwork. I mean, living next to the beach here helps, and eating tacos. But for me mostly it's art. But this is not just a painting class, this is an opportunity to chill out and really sink into a pool art project. I want to show you that this process can be a fun, relaxing, and calming experience because we could all use it. Meditative artwork is getting very popular. You're going to learn to create and recreate brushstrokes that will help enhance your accuracy. Plus it's going to help you grow more confident in your artistic abilities. But not just that, I'm also going to share with you a playlist I personally use to set the mood. Make sure to click that follow button just above so you're the first to know as soon as I launch my next class or have more cool freebies to share with my students. Let's grab those brushes and some paint and let's take some time to chill today, for a little tropical abstract painting and remarkable relaxation. If I don't see you on the beach, I'll see you in class. 2. Class Project: [MUSIC] For your class project, you're going to be uploading a photo of your brand new tropical abstract painting. Just like this. You're going to be using all the lessons, tips, and tricks that I use to produce a one-of-a-kind piece of artwork ready to be shared with the world. At the end of this class, just snap a quick photo of your work and upload that to the student project gallery. There we can all take a peek at each other's work and comment and support each other on this artistic journey. Pro tip, snap some photos throughout your entire painting process. That way you're going to have some juicy social media content to share later. I've found that if I share my journey from blank canvas to final piece, I get a lot more engagement on my posts. Plus it's just plain cool to see the entire art process summed up in just a few photos. If you choose to share on social media, please tag me @adampalmeter as well as Skillshare@skillshare so we can see your skills in all their glory. Now it's time to jump right in and we're going to begin by gathering our supplies. 3. Supplies: [MUSIC] All right, Skillshare fam, let's chat about supplies. First, let's talk about our brushes that we're going to be using today. I have five brushes. This big boy right here is going to be using for blacking out our canvas. I leave a whole layer of black paint across the canvas to begin with, and it's good to use a brush that you really only want to use for black. You can't really wash it out. If we're using lighter colors, it might bleed into those colors, really affecting how your paint looks. So it's good to have one brush for black paint. Today, I'm going to be using four brushes. Now, if you look here, they are all chisel tip, which means it is at a slight angle, and it has this bit of a point right here at the top. You can use flat head brushes or chisel tip for this project, it doesn't matter. Just for personal taste, I like to use a chisel tip brush. Now, these are all different sizes. We'll be using them at different points in our painting. First, for our dominant color, I'm going to use about an inch thick brush. It doesn't have to be an inch. It can be a little more, a little less, depending on the size of your canvas as well. Then a slightly smaller, five-eighths of an inch chisel tip, right here. Then again, a slightly smaller chisel tip, and even a smaller chisel tip. Now, you don't have to use all these different brushes. Again, this is more personal preference. However, the brush strokes are going to be smaller, as we go through the painting. We'll start with some big brush strokes, slightly smaller, slightly smaller, then itty-bitty brush strokes. You can use just one brush, and pay attention to the size of your brush strokes. But for my personal preference, I have these brushes, might as well use them. Palette. I just started really using palettes, but for this class, I'm going to use one to show you all the different colors that we'll be using right on top here. This is a brand new palette. If you don't have a palette, you can use a plate, a CD case, a laser disc case, a vinyl case, or anything else that makes you feel old. Palettes are usually used for mixing paints. But for the purposes of this class, we're just going to be using it to show you in bright bold colors what we're using today. Paint. I am using very simple, very cheap, acrylic paint that you can find at any art store really. I'll be using this black water-based acrylic for the first coat that I use on my canvas to blackout the whole thing. For my first color, I'll be using this, Color Shift, metallic blue flash brilliant paint. This changes color in the light. I love metallics, as you're going to find out. I think this paint right here is something special. Depending on where you are, where the light's hitting it, it can be blue. It can be purple, it can be greenish. It just has no idea what it is, but it is gorgeous. My next color I'm going to be using is this neon pink. It's super thick, really, really bright. I think it's going to play off this purple really quite well. Again, something just really simple I picked up at the art store. Back to metallics. My next color is going to be this water-based metallic gold color. Just look how shiny and beautiful that is. Metallics are going to play off really well with the actual colors we're using. This is going to be used for our third layer. Finally, white. Again, a very simple water-based acrylic. Nothing fancy. This is good for mixing with colors or just on its own. But again, this is going to contrast really well with all the colors, including that black background. I'm going to be using these colors today, but you can choose your own palette. The name of the game of this project is to relax and have fun, and I really want you to do that. So pick the colors that speak to you. Water dish, very important for washing off your brushes, getting all the paint out, and also pretty delicious. Finally, canvas. Let's talk about canvas. This is not a fancy-pansy canvas. This is probably the cheapest canvas they had at the art store. You don't need to have a canvas for this project. In fact, if you want to put watercolor paper onto your desk or on the wall, and just paint on that, it's fine. I'll be using canvas, but you don't have to. This is a 50 centimeter by 70 centimeter canvas. It is fresh out of the bag. There is no gesso treatment to it. I usually just use a background layer of that acrylic black paint, and it gives it a bit of a chalky feel and not that smoother gessoed feel. But for all intents and purposes of this project, we won't be using a gessoed canvas, just something right out of the bag. Today, we're also going to be using a ruler, a pencil, and an eraser. We're going to be using these to create a border around our canvas that keeps all of our artwork in one place. So these are good to have. Finally, music. I love to listen to music while I paint. I got to set the vibe. To do that, I usually listen to a certain type of relaxing tropical music to get me into it. Maybe you have music you love to listen to, but if you're into it, I've uploaded a free YouTube and Spotify playlist that I personally listen to right inside the Class Assets folder. So feel free to light a candle, and listen to some tropical spacey music to help get in the vibe, or if you have your own favorite relaxing music, go ahead and put that on. Whatever works for you. 4. Blacking out Canvas: [MUSIC] Let's talk about blacking out our canvas. Now this is just regular canvas that I've covered in black water-based acrylic paint. Let me show you how I did it. I love to use a black background. However, I invite you to use whatever dark color you'd like to use. Maybe a navy, maybe a purple, anything works. I love how it's not really glossy. It's got that chalky feel to it, which I think adds a little bit more of a tooth for the paint to grab onto. When we talk about contrast of color, doesn't get any more contrasting than with black. Black contrasts really just about anything. But again, feel free to use whatever color you want. We're ready to blackout our canvas. I have my black paint brush, and I have my water-based acrylic. Now, we just pour some black paint on it and brush it around nice and evenly, to get a nice black coat on our canvas. [MUSIC] We're done. Thanks for taking my class, peace. Just kidding. It does look pretty cool and abstract. Let's use our brush now to make this nice and even across the canvas. [MUSIC] I like to do these even brushstrokes up and down the canvas. It's almost just as meditative as the painting itself. I also spreads it nice and evenly, and although you can still see the canvas, coming through the paint, you will be left with these directional brushstrokes that are not integral to our project, but just aesthetically pleasing. [MUSIC] Now I would like to go the other way. The important thing here is that it's evenly coated. Using long even brushstrokes can help that along. [MUSIC] I don't want to use too much paint. Using your brush, you make these long final strokes to pick up some of this excess paint. Now you can see with this canvas, it's very wet right now. It does dip a little bit to the backing, but when it dries, it should tighten right back up. Now that the front is finished, make sure to paint the sides of your canvas. If it's hanging on a wall in a gallery, it's really nice to have the entire canvas have a complete background color, just to make it look really super nice. Taking that excess paint, I'm going to run it just along the edges. Again, nice and easy, not too much, not too little. [MUSIC] We have these finishing strokes. It's already drying out. I'm going to do one more pass, up and down. [MUSIC] We have a nice blacked out canvas here. We're going to go wash our hands and get ready for measuring out a border for our canvas. Now, if it's wet, it needs to dry a little bit, but using this water-based acrylic, it should take no time at all. If you'd like to speed the process along, grab a hairdryer, put it on a low heat and keep it about this far from the canvas to make sure not to damage it, but just to help speed along the drying process. It could even dry a little bit faster if you leave it out in the sun, anywhere where it can dry quick. Let's jump to our next video. 5. Measuring: [MUSIC] Now that we've got our Canvas all blacked out, let's measure this treasure. That sound weird [LAUGHTER]. Now that we have our Canvas ready to go, these next steps, super-simple. Let's grab the pencil, eraser, and a ruler. I have my ruler here, and if you look at this painting specifically over here, I've got a border going around this painting. Not like these where it goes on the sides and covers the entire Canvas. This one in particular is the style we're going to be making today. What I like to do is take my ruler, and just trace a line along the edge of your Canvas. You can see the line right here, it's about that thick. You can choose whatever thickness you want. But for simplicity, I just use whatever thickness this ruler is, about an inch I'd say, it's probably an inch. Taking our pencil and a ruler, we're going to put a small border. Very lightly with our pencil, we're going to trace a small border around the edge of this Canvas. Let's start by putting our ruler in one corner. Now, this isn't going to be an exact measurement, but line it up with the side here. Take my pencil and lightly make a line. It's very faint, but you can see it. Now using my ruler, I'm just going to make a simple line around the entire border. Now you come to the corner, just turn your ruler over on this side, and do the same. The idea here is to give just a slight guide, a small border for our painting. You can see our very slight line going all the way around making just about an inch thick border. This border is really going to help refine our work and you're going to see that later on in the class when we're finished. I think it is about time to start with some practice brushstrokes. 6. Practice Strokes: [MUSIC] Let's talk about practice strokes. Practicing my brushstrokes is something I do every day. Either with a paintbrush or on my iPad I'm always practicing the same strokes because accuracy and brush control are skills that develop with consistency. They're never perfect and they never will be. But let's keep in mind that maybe that's the goal. Remember that this is a practice for you to have fun, relax, breathe in, breathe out, and brushstroke. Let's get to the different styles of brushstrokes that I use in my paintings. As you can see in my paintings, there's really only a few things that I do just in different ways. If you check out my painting here, you can see all the different directions that this is moving in. Some go up, some go down, some go in, some go out. I'm using a practice Canvas which will be repurposed into one of these beautiful works of art over here. But for now, I'm using it just to show you how I paint with my brush. For the first brushstroke we have, we're going up. I'm going to take a little bit of paint just on the end of my brush and using the pointed end, I'm going to have that right here at the bottom. In one swift motion, I'm going to go up. I'm going to repeat this brushstroke about five times in a row. We're going to start here with the point up, up, up, up, up. Have a look here. It starts very thick at the bottom, and as it goes up using that edge, you're pulling off of the Canvas to get these very wispy little points up here. Talking about that contrast we have, it's very thick black here and it goes away into almost this ghosty, dusty gray. Let's try going up again. Starting at the bottom, up, up, up, up, up. Notice I'm resting my pinky here sometimes. Now if this is wet paint, I probably wouldn't do that but I'm using it just for showing you to go up. As you can see, all of these, they're aiming in the right direction. They're all going towards seemingly a single point, maybe up here but the idea is to get that natural quick brushstroke over and over again, going up. Try it one more time, up, up, up, up, up. Now, re-mix, we're going down. Same brushstroke, different direction. We're going to get a little bit of paint on the tip of our chisel tip here. Just in the same way as we were going up we're now going to turn this brush to the point at the top here, and go down 1, 2, 3, 4, 5. You can hear it drag across the brush as the paint runs out and that's when you get this nice wispiness here on your Canvas. But just like we did in the up or all of these are heading towards the same direction same thing but the down. If we were to extend all of these, they'd probably end up around about here all in the same place. Let's try to aim for a place. They're not going to be perfect, they never will be, but that's not the point. One more time going down, 1, 2, 3, 4, 5, breath in, breath out, repeat 1, 2, 3, 4, 5. Notice my hand is just making the slightest bit of effort. It's almost like using chopsticks if you use those. Let's try one more 1, 2, 3, 4, 5. We have the up, the down, the ins, and outs, or really just side-to-side. It's all in the same brush, but just with a different direction and a slight adjustment of your hand. Now with ups and downs, generally, my palm is facing out a bit. For ins and outs, my palm is facing in, and just like it says in the brushstroke is going to come towards me. Again with my pinky here I'm going to pull this right towards me, 1, 2, 3, 4, 5. Sometimes it's good to take a full breath. Then as I exhale, I do as many of these brushstrokes as I can and 1, 2, 3, 4, 5, 6, 7, 8, 9. We've got up, down in, out now, what can out possibly be? Very good, it's an outward brushstroke. It is the opposite of in. Whereas in, I had the chisel tip pointed away from me as the brushstrokes came in, for out, I'm going to turn the chisel tip that way to go away from me. For out, take our breath and 1, 2, 3, 4, 5, 6, 7, 8, 9. These ones are a bit longer and you don't have to have five or six or 10 or any number, just whatever feels natural because if you look here at our painting, all of these are going to be fitting together like a puzzle, almost. We're going to begin with the larger brushstrokes and then go into that painting and fill in all the parts using either up, down, in or out. Let's get a few more practice strokes in. Feel free to practice your brushstrokes as much as you want, or just go back to college. [LAUGHTER] One more go with the out, 1, 2, 3, 4, 5, 6, 7, 8, 9, 10. Notice the curvature here. They're all pointing towards a point much like a palm tree. I like to think of these as my palms. They're all going towards a certain point here and your hand naturally curves as you're going with the brushstrokes. We've got our brushstrokes finished and you guys are looking pretty sharp out there. If you're feeling like you're ready, let's start by prepping our Canvas. 7. First Layer: All right class. Now it's time to get into the real fun part of the class, and that is relaxation and painting. We have our canvas all ready to go. I have my border measured out here in light pencil. Now, we're going to start with our primary color. This is that color shift, the color that I was telling you about. I can't figure out if it's blue or purple, but it is delicious. We're going to pop this open and I'm going to put a good smattering onto my palette. I'm going to put a nice smear. Look at that. Isn't that delicious? I'm going to be using this blue purple as my dominant color and it's going to be the darkest color I'll be using across this whole palette for a couple of reasons. One, it's beautiful. Two, it's best to have a darker background because you're going to start to get a nice corresponding contrast with the colors you're using on top of it. Once again, you don't have to use blue or purple, you can use whatever color you want. This is just my personal preference. For our primary color, I'm going to be using our largest brush. This is the one-inch chisel tip. It's going to be the largest brush, it's going to have the most dramatic and larger strokes that I'm going to be using for this painting. Let's start with your biggest brush. Now, we don't need a lot of paint on our brush, but let's mix it up a bit, and let's get our brush nice and saturated with the color we're using. Let's get started. Now, going back to our practice brushstrokes, I'm going to choose an area central in my canvas to begin. Let's start with some simple downstrokes. Load up my paint here, 1, 2, 3, 4, 5, 6, 7, 8. For this color where the paint is thicker, it's actually a bit blue and where it's thinner it's a bit purple, but it's still a nice dark, rich color. Look at the contrast here with the black. In my artwork, I like to make palms. I like to think of this as half of a palm. I've done all these down-strokes going towards the right, now I'm going to do some downstrokes going towards the left to fill out the rest of this palm here, 1, 2, 3, 4, 5, 6, 7. Breathe in, breathe out, begin again. As you can see, this curvature almost comes fully around. They've overlapped a little bit, not a problem. I filled in this space and now I want to do another palm just below it, and I'm going to use an opposite brushstroke. I'm going to be doing some upstrokes and aiming towards this same area here, 1, 2, 3, 4, 5, 6. Again, we've gone from left to right, let's move from right to left, still utilizing that same curvature, as well as that same aim towards the center. Now, let's make a palm right next to it. Let's say we'll do an instroke start. Turning the point of my chisel tip away from me, I'm going to bring this stroke all the way across the canvas. Well, not all the way across, but close enough.1, 2, 3, 4, 5, 6, 7, 8, 9,10. Feel free to let the paint run itself out of your brush. You don't need too much, but I think that contrasts between the thickness of brushstrokes is another interesting and engaging angle of this tropical abstract art style. I'm getting up against this border here. Here's a little tip. Even though we have a very light pencil border here, sometimes I like to paint right on top of it. It helps establish the border with a little bit more boldness and helps to remind you to stay within those borders with a bunch thicker stroke versus a very wispy stroke. It ends up playing with the composition a bit more if it's too light towards the edge. What I'll do is load up on paint here, and I'll make this one initial stroke. This will help me stay inbound, and also create a really rich contrast along the edge. Now, moving in, 1, 2, 3, 4, 5. Feel free to overlap. Those intersections and overlapping of the lines also help with another contrast, that directionality we were discussing. This abstract art works pretty well because so many parts of it are moving and contrasting, so we're going to keep on paying attention to that and making that our focus. Moving on to another palm. Starting here with 1, 2, 3, 4, 5, 6, 7, 8, and look at this, I'm leaving room for a little bit more of a dense border. That last stroke, I'm going to load this up a little bit. Now, for this palm, we have a full circle palm here, we have a small half palm, a small half palm here. I like keeping it varied that way. Instead of doing a full palm here, I'm actually going to go the opposite way, starting above it, 1, 2, 3. I'm going to leave that space. Now, what's your painting is also just as important as what you're not painting. When we rely on this contrast, this space between these lines here, it's that contrast that's going to start playing with your eye and draw you into the artwork. You can always paint more, but you can't paint less. One, 2, 3, 4, 5, 6, 7, 8, 9, 10. Here's something to pay attention to. Another formula contrast is the size of our brushstroke. Not just in thickness and the amount of paint, but look at how long this one is compared to how small that one is. This really helps draw your eye all the way down to the end there, so I encourage you to play with size. Now let's go through and continue to fill up our entire composition staying within this border. One thing I like to do, and again, this is my personal preference, but if you're brave enough to go over the same brushstroke, you can add a little bit more paint just to the tip of it. As you can see here where the paint is nice and thick and juicy, it adds a bit more texture and a color change in the way where the beginning of the brushstroke is just so much more thick and rich and saturated. But again, it's that contrast we're looking for, and that's the overriding theme here is contrast and continuity. Notice all the different directions we're using. Am trying to get into every little corner that I can and fill in these spaces with even smaller versions of this brushstroke. This is where that accuracy, it really starts to come into play. We've done quite a bit of this already, you should feel loose, your hands should be feeling good. Let's get into one of these smaller areas here and just do really small space filler petals or palm trees or leaves. Let's get right up in here. For this one, it looks like it might only hold a few, but I'm going to aim for this little area here with each of those brushstrokes. Even maybe just a little baby brushstroke. It's good to be able to help sharpen your brush a bit and then you end up with a nice sharp tip again, and you don't waste any paint. Now the corners, here's a little personal preference for me as well. I love the fact that this is in a square, but the corners have an opportunity to reach out of that frame and it's a little bit more noticeable up at the top as opposed to along the edge here. At least two of my corners are going to have these nice bigger bursts coming off the edges. I just think it adds a bit more drama. Going through just filling up all the space, whatever feels right. Now here comes the fun part. This is almost like the little treasure hunt away. You try to find all the little small parts that need just a touch more color. What we want to do here is balance our composition. Have a look at this painting over here. How everything seems to be pretty tightly connected and that's because what we do here is we take just a little bit of this paint, find all these little sections, then you just a little love. You're adding just these very almost delicate petals. I want to get in there and almost just like a little swipe, a slash, and you'll be able to fit all these little petals to these really tight little spots here. It's like you're almost done with a puzzle that's taken you forever and you're just finding just the right things that just fit perfectly. That was nice, that looks good. Oftentimes it can be hard to look at a composition and wonder, am I done? Is it enough? To that I say to keep in mind that we have a few other colors that we're going to be adding. So not to fill it up too much, might be the way to go. If you look over here, there's still plenty of black space between the colors. But it has the pink, it's got the other pink and it's got the white and it has the gold. Just keeping in mind and planning ahead in a way, we'll discuss more about composition as we move on through the layers. But if you stand back and look at your piece of work and think it's about there, maybe it is. You can always add more. It's hard to add less. Another thing you can do is the squint test, is you take a few steps back, close your eyes squint them, and you see if there are parts that have a little more color or a little more black, and you should be able to see what it looks like. We're going to squint. Let's squint. Look at this. You know what? I think we could use touch more of these smaller petals right here. Just adding this little detail. I think one just coming down here. How about right there? I think now my painting is looking pretty balanced and that's what you want to think about when you're wondering about this composition, do your squint test, have a look at it and think, is it balanced? Is it heavier on one side or lighter on the other? That's a great way to be able to tell should you add more or add less. Now we're ready to move on to the next color. I want to make sure my paint is dry before I start painting with the next color. Now you need to ask, is your paint dry enough to paint on top of yet? Probably not. I usually like to give it a few minutes. If you want to speed that process up, maybe even a hairdryer. Keeping it away from the canvas a bit will help speed up the drying process. We're not really doing a lot of intense painting, so really just getting a nice light drawing of a first coat should be enough for what we're doing. I'm now finished with my dominant color. The first one down here, I'm ready to move on to my complimentary color, which is this beautiful neon pink, and so pinky and I will see you in the next class. 8. Correlating Color: [MUSIC] All right, class. Now we're going to move on to our complementary or corresponding color for our purplish blue over here. We got this neon pink bad boy. Now, here's the thing, and I'll let you know about neon colors. Neon colors, while they look delicious inside the tube here, they actually dry a little thinner with a little less saturation than it looks right here. How can we turn up saturation? Well, what we do is actually add just a little bit of white paint. I'm going to spare some of this. Not too much. Look how bright and beautiful that is. Wow. You want to put a candle in it and sing happy birthday, I know. But we're going to take this, and now we don't need a lot of white. We're actually just going to use a touch of it. What that white does is actually give a little bit of structure, a little more backbone to the actual pigment. It's slightly choppier, but as you can see here, the way it dries, it looks very good. It's still super bright. This is not going to be as bright as when it comes out of the tube. Let me grab our white, and again, just a tiny bit. I'm just going to take literally just this little dab right here. I'm going to put that, I'm going to mix that with the pink. To be honest, I'm probably not going to use all of this paint. But looking at it, you can see how the white blends with it. It's still nice and bright, but it gives it a little bit more staying power after it dries. There we go. Let me just put this white down before I drop it or drink it, we'll see what happens first. Now with our next color, I'm going to actually switch brushes from the big one inch one, to this three-quarter inch brush, or is it five-eighths of an inch? Slightly smaller but same chiseled tip, same brush because I'm going to be using a smaller brushstroke this time around. Let's mix up some of this paint right here. Now just like last time we started in the middle, and I'm going to do that as well. But this time I'm going to be paying attention to what I already painted. Mainly the direction. If you look at over here, all of these palms are heading that way. We're going to add contrast of not just color, but direction. As we see, these ones are going up. I'm going to come in, at a bit of an angle right here, and go over this middle section. This nice bright thing, 1, 2, 3, 4, 5, 6, 7, 8, and it just fades out. Now I'm going to put a little bit more paint onto my brush. As we went to the right, now I'm going to continue this palm to the left, but not too far. I am using actually smaller and smaller brushstrokes. This has a lot of contrast in it for a lot of reasons. These are really small, very dense brushstrokes, and they get more dense, little bigger, less dense, until they just fade out. Let's try that from another angle. See over here. These are going that way. These are going this way. I think an upstroke will be a really nice contrast for direction there. One, 2, 3, 4, 5, 6, 7, 8. Again, the same thing. I'm going to go to the other side of this palm I started and just finish it out. See, one, two, look at that. It's nice, and saturated, and small. I'm going to continue that. I'm actually going to make an even smaller one. Color at angle just right along the edge. I'm going to come from this side. One, 2, 3, 4. Just a little bit more paint. Six, 7, 8, 9, 10. Now I'm going to come in here and add just a tiny one on the end. You know what, maybe two, one. This is cool. These colors working together bring almost like a vaporwave aesthetic. It's got this midnight looking blue, this neon pink, and then impressed against that black background, that contrast, I love it. I don't care. Let's get into this now. Here we go. Now, again these directions all going this way. I'm going to come at it at an angle, and we're going to go 1, 2, 3, 4, 5, 6, 7, 9. Now, we have to pay attention to the spacing. That's part of the contrast. Again, when we do that sweep test and you see just how even it is, we can see that this is a pretty large palm here. This one is pretty dominant. This area, if I were to put a more dominant palm with a lot of heavy saturated paint, it would start to crowd a bit, and the complementary colors and these corresponding colors are really meant to just help lift your background. We want to give it a bit more depth. That's why you have this contrast in color where it just gives you that extra pop, that extra 'zaz. Over here, I want to be careful not to make anything too big. Let's match on this side a little bit, and then see which way everything's moving on. I'm just going to do a few small ones, 1, 2, 3, 4, 5, 6. Just enough. Here we are. This one, which way should we go? Let's go this way. Nice. We can hear that holding of the brush as it runs out of paint just along the canvas. When you hear that little dragging noise, you know your paint is on its way out of the brush, and you're getting these wispy-ish go strokes, I guess you can call them. Just like we did on the original layer, I'm going to double up sometimes. I don't know, feeling good. Let's take a little bit. I'm going to double up on this stroke right here and just make that pop a little bit more. I'm going to give that extra layer of this neon, make these strokes just a touch more dominant here. By now, you should really be able to get a sense of your composition, and the idea of making it balanced, making it level. [MUSIC] I'm going to give this a little squint test. That is pretty. Let's see, I'm seeing a couple of weaker areas, maybe right up in here. Maybe a touch around this area, possibly over here. Again, we don't want to overdo it, but sometimes you got to live on the edge, baby. Here, this is that filling in the puzzle piece part again, where you're just using smaller, and smaller brush strokes. Well, I think this passed the squint test. I like how some of the areas are still open, because we're going to be using two more colors still, and we want to be able to give them a little bit of the spotlight. Your composition should be looking something similar to this. We're going to be leaving some of these pockets open for other colors because we still have two more to get through. Speaking of which, it's time to move on to our next video, and it is all about gold. 9. Gold Accents: [MUSIC] It is the golden hour. It is time to paint with one of my favorite colors, gold. Gold is just so shimmery and lovely and tends to compliment and accent really just about any color. As you can see, super shiny, a bit watery and we're not going to be using a whole lot of this. I'm only going to put a little touch on our palette here. Now what we're doing, same thing we've been doing, relaxing and painting. Now because we have a smaller brush, what does that mean? Smaller brushstrokes. Same brushstrokes, just a little bit smaller. This gold is going to look really good here. What we need to do is again, same rules. We're going to be filling the gold in where it best adds a contrast. Now this is our second metallic color, but it is much brighter than our first metallic color. Sometimes it can be tricky blending two metallics in the same compositions but I find that gold accents just about everything pretty well. We're going to find places that either just touch on the pink or outside of the pink. I'm going to start concentrating on places away from the pink. Let's see again, right in the middle. [MUSIC] Now we're experiencing a few different types of contrasts. We have the directionality, we have the color contrast, we have the contrast and the thickness of our brushstrokes. Now we have a brand new metallic contrast. Now here, I'm going to be going up here. I'm going to start doing some crosshatching across the pink. They just come in at completely different angles and you can really see a good contrast. Now if your brushstrokes aren't coming out as straight as you want them to or as perfectly as you want them to, practice. I do this just about every single day. Still not perfect, but I'm pretty relaxed. [MUSIC] Back to the squint test. Let's see how our composition is balancing out. I see a few areas that could use just a bit more. Keeping in mind, we have one more color after this. I think we've got just about enough gold here on our composition. We are ready to move into our final color, and I hope you are ready to join me in our next video when we explore white. 10. Finishing Touches: [MUSIC] All right, well, we've made it to our final color. I hope you're ready to enjoy a little bit of white. Hopefully feeling at this point pretty relaxed. I know I am. I'm going to take out, again, not a whole lot of white. We're really not going to use a whole lot. I'm just going to put a little, watch out for those pigeons. Now, moving on to our final color means we're using our final brush. This is the teeny tiny brush, still a chisel head brush, just like the others. It's just pretty adorable. Smaller brush means, you guessed it, even smaller brushstrokes. Now, these brushstrokes are going to be small. I call these petals. We're going to be doing a few just petals around just to decorate it much like this one right here. We don't see long exaggerated brushstrokes with the white, we just see teeny tiny petals and I think those are going to be the perfect accent to this. Let's see, let's find some places. Here we go. We'll start again in the middle. One, two. We're only going to do petals in either one, two or three. Just to keep it small. Let's find another one here. One. As you can see, these little white petals pop right off the page there. This is probably the most contrast you'll see when dealing with the colors. Obviously, it's fairly dark with some lighter spots, but the overall composition is pretty dark. This white just jumps right off that purple and black in such a dramatic way. I save white as my final accent color for this reason, it's just so overpowering. Anything that goes on top of the white is really just kind of ending up muddling the overall composition. Now we'll continue. For me, it's these brushstrokes that take the most concentration and more focus, however, usually around this time in my painting process, I'm pretty relaxed, I'm in the flow, I'm in the zone, and it's just good to breathe in, breathe out, and just do very delicate small brushstrokes. Again, we want to pay attention to the spacing we're putting in between our brushstrokes and just let them dance across the canvas. All of these petals are fat and short, like everyone in my family. Now even though we're near the end of our project, you might feel a need to rush a little bit but I implore you to just take time with these brushstrokes. I find that if you focus on these really small brushstrokes, it helps you hold your breath, you feel more focused. I think it's a great terms to become a bit more accurate in your brushstrokes. When I do these petals, I like to envision them gently falling from the sky, like flower petals, but more at the pace of a snowflake. See when you do a squint test now, you can really see all the white popping off. Maybe just a couple more. Small, subtle, but with a lot of contrast. Now I'm really just adding a few more single petals. I think we might be done. One more. Perfect. I am pretty happy with this composition, I have to say. I love the colors, I love how it all works together. I think there's a lot of contrast. I think we did a great job, class. If you've made it this far in the class, congratulations. It seems you'd like to hang out with me. I just want to take a little bit to talk about the composition and why it's working so well, and what we've discussed in our class. First, color, between the black and the white, and then neon pink, the gold, and the bluish purple, there's a lot of color contrast there. We have cool colors, we have warmer colors, and then the classic black and white, those really pop off each other. Now let's talk about the contrast of our brushstrokes. We have these really large ones in the back, dominating the whole canvas. Then we have smaller pink ones, smaller gold ones, and of course, small white ones. It's a great variety of contrasting sizes, and as well as our next point of contrast, directionality. Which way all of these are going. There's up, down, left, right, in, out. All these different directions help pull your eyes into different sections of this composition. I believe this type of composition offers a lot of movement, which is I think a overall large defining factor of abstract art. Using certain layers and different contrasts, your eyes start to move with the painting. There's a lot of energy in this, although this is a relaxing and chill class, there is still quite a lot of movement, a lot of bright colors. This is just one color palette option. This one is roughly the same. This one is a bit different. I like pink. This one is kind of inside out. I began with a white canvas and then did colors rainbow and then added black on top of that. Same style as this right here, and if you'd like to learn how to make these rainbows, you can take my first Skillshare class, which is making beautiful abstract rainbows using highlighters. I'll drop a link to that class down below in the description. Last but not least, we need our final touch, which is your signature. 11. Signature: [MUSIC] All right. Now, it's time to add the most important part of the painting, and it's time for you to take responsibility for your actions. That's right, the signature. I sign just about every piece of artwork I do. It is letting everyone know who painted this. Take some time, take some special care. It might just seem like a signature at the beginning, but really, it's pretty important. I'm going to be using the same small brush and some white. I usually pick bottom-right corner to sign my name. The number 1 quality I want in my signature is legibility. This is the most important because, if I paint a mural, or a canvas, and someone sees it, I want them to be able to find me. When I paint murals, I want people to find me on social media. My signature is actually my social media handle just, @ADAM PALMETER. I also like to stylize my signatures so it feels more consistent with the painting. As you can see with my signature here, it's a little more abstract, a little more out there, but I think it flows well with the artwork itself. I had the same thick and thin lines that you will see in my artwork, that I incorporate into my signature. Some artists like to date their work, and that's totally optional and up to you. Well, now that we've got that all packed up, I have a few more things I want to share with you in our next video for today. 12. Final Thoughts: [MUSIC] Well, I hope this class has been as fun and as relaxing for you as it has been for me. If you enjoyed this class, please let me know in the reviews. If you didn't enjoy this class, come say it to my face. [LAUGHTER] But in all seriousness, I do love reading reviews, so thank you for that. I also love hearing back from students, either here in the SkillShare discussion thread or on social media. In fact, if you decide to share your project on social media, please tag me @adampalmeter as well at SkillShare @skillshare so we can check out, comment on, and share the magic of artwork with the world. Last thing, please don't forget to follow me here on SkillShare by clicking that Follow button right up top. That means you'll get a notification as soon as I launch my next class, or if I have some cool freebies and resources to share with all of you. I hope you enjoyed this meditative and created painting project. Also if you're looking for a digitized option of this class, maybe in Procreate on your iPad, please check out my class, Procreate and Chill. It's the same vibe, a lot of the same skills, and I think you'll really enjoy it. Thanks for hanging out with me, hope you had a great time, and I will see you in my next class. Adam Palmeter, over and out. [MUSIC] I think we got enough to throw together. That's a wrap. Confidence, confidence, confidence dance, confidence, confidence, confidence dance. Is that rolling? You can eat monkey meat, well, most monkeys, but not all of them. This blue, brilliant, flattened [NOISE] mixing [NOISE] I got paint on my shoe. Well, they're not mine. [NOISE] Let's talk about our practice. I wonder how many dogs are being walked right now. Feel free. Canvas. Canvas. Now Canvas. [BACKGROUND] This is about having fun, relaxing, trying to align your chakras. We found what was out of alignment and the answer will shock you. It has a nice chalky [NOISE] You got this? You got this. This is a Canvas. [NOISE] [LAUGHTER]This is Canvas. [NOISE] I want to take a minute to talk about this painting. It's pretty cute. It's pretty special. It's a circle. That's about all half. I think we're good. I think we're good. [NOISE] Let's end on a high note. [NOISE] [BACKGROUND]