Abstract Techniques Revealed Vol. 2. Create 5 Large Modern acrylic Paintings. | Gino Savarino | Skillshare

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Abstract Techniques Revealed Vol. 2. Create 5 Large Modern acrylic Paintings.

teacher avatar Gino Savarino, Abstract Artist

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

    • 1.



    • 2.

      Transparency: Laying out paint


    • 3.

      Transparency: Adding fun accent


    • 4.

      Sky's the limit: Materials & Joining canvases together


    • 5.

      Skys the limit: Applying paint, spreading it around and creating our design


    • 6.

      Skys the limit: Spatter for interest


    • 7.

      Falling Pieces: Materials


    • 8.

      Falling Pieces: Applying the first layer of paint


    • 9.

      Falling Pieces: Adding the falling pieces


    • 10.

      Falling Pieces: Adding more fun elements


    • 11.

      Sinatra: Material List & Intro


    • 12.

      Sinatra: Cutting the image & applying gesso


    • 13.

      Sinatra: Let's paint


    • 14.

      Sinatra: Pasting the image on MDF


    • 15.

      Sinatra : Adding paint to the image


    • 16.

      Sinatra: Adding more paint to the image


    • 17.

      Waves under pink material list


    • 18.

      Waves under pink: Under layer blending


    • 19.

      Waves under pink: Adding the waves


    • 20.

      Thank you!!!


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About This Class

In this course we will be creating 5 colorful, large modern abstract paintings. I will show you step by step how to add texture, line and form to a canvas and give you the confidence to paint loose and carefree without the worry of making mistakes. I share my secret abstract art techniques that took me over 20 years to perfect.

I will cover the usage of unconventional tools and materials to add interest and excitement to your masterpiece.

Without spending a fortune on art supplies, you will see the paints and
brushes that I like to use and the different mediums to add texture and
depth on a budget.

You will grasp every brushstroke and every splatter. Even though I work fast, you can take your time, pause and rewind as often as you 'd like and watch the course over and over again. This is not your average, boring art lesson.  Get ready to be amazed at your ability to create your own art masterpiece.

Meet Your Teacher

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Gino Savarino

Abstract Artist


Gino Savarino was born in Argentina on December 3, 1969. His parents migrated to Buenos Aires from Italy   for a better life and in 1978 from Argentina to Chicago   for an even better life. Therefore, he's fluent in Spanish and Italian. Soon after arriving to the United States, he needed a way to deal with the culture shock and for him the best way was through painting, drawing and listening to music. After graduating high school he enrolled in formal art classes for two years and soon after he decided to do things his way

Gino does not believe there should be rules and guidelines in art. He adds, "If you truly feel what you've created comes from the  heart, it's already a masterpiece. There is nothing more rewarding than to experiment with colo... See full profile

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1. Introduction: Welcome. Ladies and gentlemen to abstract techniques reveal volume to my name is Gino Submarino. And in this video course, we're not going to create one. Not two, not three, not four, but five different abstract paintings. We will create things on a large Candace as well as on multi panels. And also we were incorporated image of Frank Sinatra into one of our pains. Way will have fun creating these masterpieces without spending a ton of money. I will walk you through it, step by step without wasting any time. And get right to the point. Join the course with lifetime access so you could do it over and over again. With a loose and carefree approach, you will have the tools and confidence you need to create your very own master with over two hours of instructions. You will not be disappointed. Get this course today. 2. Transparency: Laying out paint: welcome artist. Friends were ready for another piece. This is called Transparency. It's on 30 by 40 canvas. It's going to be colorful. It's going to be full of life, full of excitement, full of character. Let's see what we come up with. Harry, Go. We're gonna start off with some blue thistles. Gonna be working out really fast, like always. Let's go with a little bit of medium blue as well. Some white Oh, yeah, And more white here, working it into the canvas, the fibers off the canvas. She'll recover any white start purple here now with were rubber wedge that we'd like to use often while the paint is still wet. That's one of my favorite moves, like the excess offer there. Here we go. Oh, that's when some of this paint off. Now we're gonna work on our next section, hit it with some yellow and a little bit of orange mixed together. Let's do that here. Look at transparency that you see the colors from underneath. All right that blew dried up pretty fast. It's not even blending in anymore. That's the beauty of working with water based acrylics. They do drive pretty fast if you do not spread any water onto the color, which in this case, we're fine with. But if you want, continue blending. You need to spray some water to keep that wet edge. All right, let's go. Some bread right over there. Just random shapes using our number 50 brush our big brush. One of my favorites, my go to brush. And I'm doing a large shadow painting such as this one. All right, so let's see here Wants this off. Gonna go with Magenta. This is a bright magenta. Get out of the bottle there. Yeah. This is a fast painting, folks, but a good one. All right, Here you go. Here, love it. Love the color combination So far. See the color underneath the yellow that we applied before the blue that's underneath the yellow. Making it some sort of like a turquoise color. Awesome. Yeah. Using the same brush. Maybe. Would dio switched to a smaller brush? If we do a little bit more of a detail work at the end towards the end. Yeah. Okay. Let's go without fluorescent yellow. A little bit there. Since my brush out mix the colors in this particular section, they will put their right over there. It was good. It's under a clamp right there. Transparency. Right here. It's just another layer are fluorescent yellow underneath our bright magenta, adding more layer to it. Here we go. Let's go with our bright red and right on edge combo. These patterns to the brushstrokes are just going fast up and down. Sexy side covering our white canvas. It's pretty. A little bit of yellow in there as well. We just coming up with any kind off pattern, any kind of design working it fast. I like to work as fast as possible. That's just the way I've always painted abstract. But what I notice is, when I do work fast, I get these shapes and patterns and loose brushstrokes that give my paintings the characteristics that I'm looking for. All right, So what we're gonna do here, we're gonna have some black to this red towards the bottom here. Why? I don't know. I feel is gonna give us some good details, so I decide to do that. Way to go a little more. Ready to the black. You've seen our paint onto the canvas. Very little to be premixed colors. I had a time, but I like to paint onto the canvas itself. All right. Next, I'm gonna go with this blue turquoise here, added here, user, just sections. These are the color is fighting for its own space, invading each other once in a while, making it all come together for one beautiful abstract pain picking up their fluorescent yellow there. Let's go to stop or blue here sort of emotions up and down, covering every bit of the fibers that are on this campus. We did not protect your eyes. It. We went straight onto the Jessel canvas, and it really absorbed the colors nicely. As always, I like to add one or two quotes of varnish, whether it's oil based or water base. Oil based seems to be a little bit more with a yellowish tint, but the water base always works real good. With water base, I usually give it two coats. For some reason, it seems that it's not as shiny as the oil based varnishes, so I tend to give a two coats when using water base burnish. All right, take care of a section below. Let's see what would go good here. Yeah, if we go some titanium buff. Okay, Generous. Richard paints Jeunet's Skimp out on it because it will show it'll show that you cannot use enough, and that usually gives it like a washed down look. And I don't know, like Teoh be generous with the amount of paint that I put onto the canvas. Unless you're going for that wash, look where you don't need that much paint, and that's fine. All right? Yes, There we go. We're done with that brush for now, and we're going to get palette knife. It's my big pallet knife. 3. Transparency: Adding fun accent: Here we go. We're gonna add nice bright orange through these three sections right here. Skim through it. Nice and light. That's what this is doing is bringing in the two sections of colors together by adding it to both the turquoise and the hot pink and also adding interest to the painting it out on. I think we're gonna go with some black as well, and then we're gonna add and maybe a little bit right here. Yeah, just the accents that the painting means towards the end with the same palette knife. What we'll do is pick up a little bit of white step away for just one second, And why not a little bit more? Spread it out of here. Find all the colors together with one common common denominator, which is the white in this case, here we go will leave these lines there for interest. Now, one of my favorite callers is the There is gold working off the white off Pat and I first on with this gold. What I'm gonna do is just straight onto the palette knife itself. This like so wait here with red is reading both always looks nice together. a little more that okay into the blue. It's looking good. Looking good. Sponge on a stick. Little circular sponge on a stick We're gonna do. Let me show you this while we're at it, What I have here because I buy a lot of my paints in half gallon jugs. I have this divider, which works great with a lid on here. So it keeps the paint from trying out. At the end of the day, I just use the, uh I feel them all up until I'm done with him, and then we fill them up again. It works. Great. I think it's just one of those craft divider. Tackle, box slash plastic container, which it works. Great. It really close. Is it? Nice and tight. It seals it to where no air gets in and it's awesome. So work right out of it, Container. So a little bit of white hair and I'm gonna dip it in a little bit of black as well. And we're gonna at one so core here, give it 1/2 a twist. Another one here, half a twist for twist and one more here. Oh, yeah, that was good. All right, What we're gonna do now is grab a medium brush right here and I feel that this section needs a little swish or something. So we are going to go with media mood dipped in a little bit of white and that's all you need. Little accent, middle swish. Sign it and of ownership ain t edges black or leave him wide if you like. But I'd like to give it a nice finished look by just rolling a a nice foam roller towards the edges. Black finished. No need to frame. Hang it as this for a nice contemporary look. And, of course, the most important thing of all. Once you're done with your paintings, make sure you always always, always sign your name Most important thing. So everybody knows that you created this masterpiece that this belongs to you for the world to see. Thank you guys. We'll see you next time. I'm general. Several Rego keep on painting 4. Sky's the limit: Materials & Joining canvases together : Welcome back my artist friends. Today we are creating a painting that consists of four panels. Canvas Megan Greene 12 inches by 24 inches each, for a total of 48 by 24. What we're doing here is lighting up the back side of each campus panel and taping them together at the scenes. So when we create the pain as one, we do not have any kind of separation or members, which can affect the overall look of the pain. Over. Begin almost blue stars fining throughout for a little bit of texture, squeezing some lines throughout all four candidacies and this X as a texture factor, which is not to eat too thick, brize free, much slightly raised. Nothing like that we would accomplish with. That's a car that we did before, or any kind of off medium to add texture. This is just They are. Rise will raise. That's their lines, which are ads, excitement and interest to our panels. What about more throughout you? See how close off we'll let this dry overnight 5. Skys the limit: Applying paint, spreading it around and creating our design: and this is what we come up with. So we're gonna start by applying off fluorescent blue Just any Which way? Random, We've allowed center off the canvas is running out of time, but not enough. Next was a blue be kind of generous with people. We're gonna spread it around, mixing all the pain together. So you need to have quite a bit of pain. You campus here, we have powder move taking it up a bit and 12. Find it a bit. I guess by now it's 20 million blues. A little bit of white for the end are famous rubber wretch We're gonna spread and mix Ofri moves around the campuses making some cool random patterns It was skipping throughout right up blue lines We get our recess in fact, where the paint itself skip through the taps off through the strait of blue and pretty cool with you always to the edges. Some areas just keep spreading without some interesting patterns and you have to create the same accountable designed that I'm right here. You could just experiments on your own. The key here is just on this landings. The effect they were trying to troll for, And that's just a plain three different colors to start off with and then let me come in together with a wedge. You could also use a street small street. You feel I Teoh spread the pain around or been an old A news credit card, anything with a flat surface. But if you guys well know, I love using just lovers wedge because you livermore control not too big, not too small, and it pushes and moves the pain around perfectly. So any access we just white back and splatter back onto the pain using any of the extra paint. Wait, Teoh that have any waste Teoh site for whatever extra is left hand wage itself. Areas just go over any space that you want to be filled and leave negative areas with just plain white background off color with gray like anything rice. But in this case, I decided to be canvas untouched at the beginning. So just using the wife fine back. Yeah, can you? Spreading colors around, lending with wages just a matter of infusing the colors together and giving you that feel nice attract instead of having one Blaine Bori blue intertwining all three interesting look palette knife to scrape off excess and apply it back to. Can you bring out some of the areas with a palette knife? Sure, many thick slabs, unless that's what you want for that is perfectly fine. Way 13 Separate the canvases. You have some little bit of access paint on the edges on the sides, and then you just let it run down so it gives it more of a day. Gallery Rats field with menus. Image continues along the edges of the sides of Champions way. Have some blue, dark blue India, a way with the eyedropper that it comes with to drop a few drops onto canvas. Don't overdo it for just a few areas. Straightening going to splatter. Finished a little bit here, jump over spray. 6. Skys the limit: Spatter for interest: our white paint a squeeze bottle. Add our final accent. You are for peace panel that's here spraying throughout and whatever comes out, that's what it is. A little tricky because if you're not happy with the way the splatter comes, it's not getting to control. You have Teoh my years. Any squeeze bottle that doesn't give you a little bit more controlled. Just usually stir stick Teoh. Whether some pain this'll help of bottle gives it a little bit more, I feel in this case and create a swirl a few dots here. This is one mistake. They happen. It's a little bit difficult correcting, so take your time with it. Don't overdo it, because then it becomes way too busy and, uh, could be too distracting for naps. Redskins Way. Separate the panel we want. You just make sure that we don't have too much pain in between each canvas panels, because then wait. What we do is we with the Taliban has just people. Some of the access people call you careful with way more last panel way access as well way once there, paint dries. After that, say 12 to 24 hours will go ahead and remove masking tape from young money. Separate our panels. I usually like to hang these about an inch on Incheon reporter apart from each other. If that does give it a really cool look to it. You have multi panels, especially when you're dealing with abstract, and it all looks like it flows together. But in reality this is the best way to paint them. Put them all together, no matter how many panels you used. Take him from the back, create painting and then separated once and drugs through this pain is just about complete . Did not take too much time to create. You could see the close up effect. Just let it dry and varnish. Hope you guys enjoyed it. I sure did this once. Sky's the limit way. 7. Falling Pieces: Materials : 8. Falling Pieces: Applying the first layer of paint: Welcome back, Artist friends. This painting is called for in pieces. It measures 48 24. We have a black background and we're going to start by just randomly putting color on the painting as our background and then we're going to add are exciting elements to the front, to the foreground once that first layer is complete. So first things first, let's start by adding some white to our canvas here, just flying around them throughout. Just one wife, a little literal. It was a nice calm Boeing in the blue and white with a black pain and background. Our colors tend to be more bold on the background once they dry. Suppose you're having just a quite fine canvass. The colors tend to be brighter once the pain. Dr. This is really going for in this case, her voice. We're right. Froth first after Lavery pain background It is our flight. Close it all the way. It is drying up on these. So how did goes? Way? Got a difference. But white here, there which way? And it's all gonna come together nicely. Yeah, they're pretty generously our go to rubber wedged. I like to use so often. First Ray only processed, looking pretty fast. There's always you guys take your time, Of course, the way I choose to do it from a very impatient person, as you well know. So I worked kind of fast times. Want to take it slow, But for the most part e like for work rapidly moving. And Addie, the nice thing about this way removed. Thank you. Added elsewhere. Whatever you pick out in one section, you could build up in another. We're making random. I had 100. We know you let some of the black shank through in certain areas from our initial coat before we started painting well, and because we went it down and sprayed it down, it makes it He's here for the pain you removed where needed. You could be added in other places, but it also makes it easier to use the wedge get up way moving too much paints kind of glides nicely. You could walk a campus. All right. I'm gonna stop talking for a while, which is sometimes difficult for me to do. You continue with my removal. - You know, it's pretty good. Our first step is done. We're gonna let it drive and, of course, is always because we are working with acrylics. You could get a hairdryer and speak up the practice by drying it within a few minutes, and then we'll come back and proceed with our focal points to the painting. 9. Falling Pieces: Adding the falling pieces: Now that our first layer somewhat drive, we are going to start adding our elements, which are going to be what I call fall our fallen pieces. That just going to be a regular random shapes throughout the painting, as if though there cascading falling through decide. And then we're gonna carry on through the bottom of the peace. So let's see what we come up with. And I start creating random shapes with all different kinds of problems. No. And why some there? You know, we're using a rock. Morning rush, gold one. Anything. So I think I'm gonna hold container with pain. You hear going all Call it well for family. Careful. Hello there. Brushstrokes and apple brushstroke, if you want to All kinds of bright colors, too. Well, then we will grab our we'll go market smaller, - just tapering off to next . We will use our number five Romney brush so we could come back and do a little bit of retailing, not do some clear shapes on top of our random brushstrokes and in some circles. And we're gonna use our create special paid black hair brush use for detail with break up. You think that we have born on already. Back up, Get inside color or just alone. You could fill it in wax. - Violent One circle. Well, whatever pattern you, Theo. He wants to apply German trying those circles, whatever you want, just to make it interesting as always, black really stands out as you well know. Creative one laid down on the floor. If you want some pain between Mike, you towards me I'm gonna go with a lighter color back to the buff. White, soft body shape to be able to swirl there colors using our number five rounded brush. So we're gonna make a bigger using a very smooth wear. Wait, wait in this area, Pretty much hoping for now. But we'll see when we do some splattering later on. Maybe will we'll add some or interest to this big open area or believe it along mostly what we decide as we go along again. Most of the paintings that I create are all through trial and error. If I'm happy with that, I leave it. It's fat pain over well paying over certain sections. That's what gives it a loose and carefree approach. You're not thinking about it too much users personal trading on the process, and whatever will be will be. We're gonna stop with the shapes for now and concentrate on a little bit of a splatter that we talked about. So let's let this dry a little bit and come back and add another element to the peace. 10. Falling Pieces: Adding more fun elements: all right. So what I decided to here is a little bit of spray paint, different covers so well sprayed after a stir statement and just splatter it. I'm through sections where our falling pieces are some white spray. Some magenta move goes first. Sure, you're well done in there later. No, because actually, when you look in the spray paint, you don't want humans to be something to get believing. And so what happens by spring after your shirts that first a little more control, you're able to have fine predators and also a little thicker ones. Attendant on how much you flick the actual starts the interior of the campus. But it's frank. I already have pain in time. You will continue with a little bit more. Wife mom. Magenta gente On top of all the other splatters of the prison like that, you can use a paintbrush and tap me stir. Stick onto a brush and you'll get If you do it in a fast motion, you'll get more smaller. That's and gives you a little bit more control when you're capping against either another stir stick or a brush. So without squeeze bottle, we're gonna add some black left side, more girls letter and some white as well, and that those two colors kind of intermix as they dry. We'll come back with a little bit more spray paints on. Go over. Our black and white lines are last of our splatter in this painting is completed. 48 24 Falling pieces. What's your next time? 11. Sinatra: Material List & Intro: All right, everyone, Are you ready for this Really cool painting? It's going to be a mixed media collage, but not really, because it's going to be just one image with lots of layers of paint on MDF board. So what we have is an image of Frank Sinatra that's pretty big. What we do is we get an image and we blow it up and have it printed on a large format printer at your office supply stores, which they use printers to print out blueprints on the goes wide as 36 inches. And as long as you need, um, this particular piece is going to be 48 by 24 on MPF and the F looks something like this. It is just regular quarter inch on DF by 24 by 48 you could find at any home improvement improvement store, but this to decide, and what were you need to do is private first on, because it is just a regular raw wood. So we're primate, and then once it dries, we will do a first layer of paint andan entire image in top of it. So before we get started, though, we need to cut out our picture of Frank Sinatra. And I do have to say that if you are Freni images from the Internet, you have to make sure that they're not copy written, because if they are, you are not able to sell the painting with the image on there. So if you are painting it for yourself, that's one thing. But if you're gonna profit from it, you have to make sure that the image is not copy, right? Okay, so let's get started. We'll cut this out with our exactly knife, and we will begin our painting process. 12. Sinatra: Cutting the image & applying gesso: So with our exactly knife, we make sure we have a nice sharp blade and we begin to cut out the outline of our franks and try image. And this is gonna take a little bit of time. So just you should take your time cut all the way around. Uh, - so our MDF board is now trying, and we are ready to lay down some paint way are going to start with a base coat of different colors, let that dry, and then we're going to paste our image on top of it and then proceed with more colors on top of that. 13. Sinatra: Let's paint: so we'll get started with some orange, chrome orange, some fire read coverage doesn't have to be great, because this is just our initial first layer of paint and let's get some yellow going. Okay, random color, the war yellow. So this board really absorbs the paint very, very quickly, So it's also a good idea to spray it with water as you paint, because it really drives very, very fast. So the majority of this is going to be covered up. Now you'll see that as the paint dries with a little bit off the miss, you pick up with a brush and you get the effect that this and shows the white underneath in little specks. And it's a pretty cool effect. Great, maybe. Would you a little bit of the yellow here, get some island blue? Put it in this corner here, mixed in with yellow, and there's that effect. The gun was the paint dries, picking it up with the brush, lifting the paint, adding some really cool effectually, and we're also used island blue down here with our yellow it will go. So go with let's see here, Ultra marine blue mixed in as well Bill White to our blue fast. There's always working real fast, getting the broad brush strokes. It's, uh, a little difference than working with canvas. This, like this stuff, really absorbs really, really fast. That's why we have to keep any some water to it so it doesn't dry out too quickly. And let's go some aqua green right about here for the first initial coat. Amusing are two inch brush throughout. Let's see here, fellow turquoise as well. Look there. Stay with some yellow and keep our brush with the same paint and just work it in without written. Seen it out in this one. Okay, a little bit of white down and then just work it in There. You see? You get some Bozano vertical just to cover up the whiteness of our primes board. We're young over here. Like I said, the image is so large that it's going to cover most of this. But then, with the same colors that were using here, we're going to apply it on top of the image as well. Okay, since it out, we're gonna play a little bit of line green right here. Break down a little bit of that red lifting up as the paint dries lifting up again the color with our brush. Been getting those little specks you're seeing used quite a bit. Another technique. You could go throughout the painting and spray a little bit more water to do it like so let it set for a while, and then we'll lift it up with our red, and, uh, we'll get that white coming through once again. So let it sit for a few seconds, absorbing it like a Spanish lifting it up there. You just love the way that picks up like that. Just gives it that interesting effect. You don't want to overdo it. So we got a little bit here that I've been there a little bit here, some there, and I think that's good for now. We're gonna let this dry, um, again because it is on prime board. It will dry fairly quickly. I would say within an hour or so, we'll come back and we will apply our image of old blue eyes Frank Sinatra and see what we come up with. 14. Sinatra: Pasting the image on MDF: All right, so now our paint is dried and we are ready to paste our image right on top of it. It's gonna go around there. So what we're gonna do first, though, is give it a coat of wallpaper paste. We're gonna just rolled it on to our bored with this four inch form brush. And we're just going to apply it directly to the MPF board and just roll it on where we feel that the image will cover. So this stuff dries clear. So obviously, if we pass it, it's OK. A little bit of painter that's not 100% dry, but it's okay, so make sure you have enough paste to cover the whole backside of the image. So I think that should do it right there. And then we apply it carefully with, uh, bottom. So we're gonna go. It's gonna be directly in the center right of it. And so if you have wrinkles or creases once it dries completely, most of them should go away. But again, because we're going to layer it with more paint. We're not too concerned about that. We have lots of creases while it's what. So you're gonna need a little bit more. Here. Thanks. You go over it with roller smoothing it out again because this stuff dries clear. Good again. Not too concerned about these creases. It just adds texture to it, which we had more pain to the paper. It will become all part of the painting itself. Okay, then we could use something like like our flat rubber wedge to smooth it out and again does not have to be perfect. Get some of those air bubbles out started from the inside out. You see some of the pace squirting out. That's quite all right, Y p access off. We'll just leave it there and make it part of the painting itself. But this rubber wedges works very very well. When it comes to getting the pieces and the air bubbles out from under, you could also use much pie. If you want to use water down glue, you could also use water based varnish. Also works well and of course, clear medium. Also, X is a very good that he's a to place any image down to canvas or in this case, and the airport. All right, so that looks pretty good and this definitely needs to dry overnight to make sure that the blue underneath is completely dried. And then we'll come back and add more paint to the image itself. And that's when the fun begins. Doesn't see this painting take shape. We'll see you in 24 hours. 15. Sinatra : Adding paint to the image: All right, so now our image has dried completely with our paced That's completely cured. Many. What we're gonna do is paint on top of this image all way around except where their skin tone. So we're gonna leave the face alone. We're gonna leave the hand alone, and then we're gonna paint everything else around there so we'll keep even though the pants at black, which we're gonna go ahead and panel black adding maybe, Ah, a little bit of other colors as well. So we'll start by going a little bit past the edge. So we tried to the skies the paper itself. You have a number two. We have our one inch angled brush. No. And to this, we're gonna add a little bit of from marine blue. A little bit of very a little bit of Natalie. So this is where we hide any off the creases that were left when we apply the wallpaper paste. So wherever there are increases, you could, you know, add a little bit more picker pink becomes part of the texture. Okay, Come back and do the shoes later through, and we're going to make it seem like the jacket being that we really cannot see the cut off line. We'll make the jacket come up to here. They're actually really jacket a different color just to give it more of a fun feel to it. This is more like a top arts whimsical painting. Nothing sensible should be completely realistic. Except for maybe the face. And, of course, the hand capacity guides a little bit. Uh, that's to hide the paper. Yeah. - Okay , here we go. Pants. I've done right there. Okay. It doesn't have to be perfect, but there you were gonna come back, and problem may be outlined. The whole thing with, like like, a brighter color, maybe a white, you know, we'll see. All right, So far, Jacket we're gonna use Incorporate some of the background color, which is this line green. Start with again. It's gonna be more of a transparent color. You're gonna see the black on the neath, but we're just layering paint on top of our paper. Addison, keep yellow here. You could see a little bit of his other hand, his right hand right there. So we're gonna leave that alone. Like I said on the skin tone, which is gonna leave image of the paper. Go should be jacket. Forgot to mention that one. I cut out the image. I forgot to cut out the opening, and I realized that after I pasted it on. So while it was still wet with the Exacto knife, I went and I cut out the, uh, this area, and you could see it tears up a little bit of the paper because it's not the easiest thing to do to cut with an Exacto knife, while the paper itself is wet due to the wallpaper paste, so we'll see how we could disguise the edges or we hear later on. But I wanted to do that because, you know, you just want the image itself. You don't want anything in the background except the underneath colors of the paint come through. Waded here on that area there way would have to do the same for his. He has, like a quote that's draped over his shoulder, and we'll see. We will go with a nice, transparent color on that. So obviously this you could do with image celebrity. You could do it with a photograph of a family member. Just go to your local Kinko's or office supply stores that have a large format printer used for making copies off blueprints. And they will be people Just save your image on a last drive, and they will be more than happy to print it out for you. Do it on your dog of your pets. It's, uh I've done a few commission pieces of people's cats. Looks really, really nice. All right, so yellow on line green. Uh huh. And we're gonna let that dry a little bit before we apply other colors to it. Okay. In the hand itself. I think we're also going to keep black with other colors as well. This out? No. Careful with the fingertips. We went over a little bit too much there. Well, it's still wet. We went in off the vehicle. You could use a smaller brush, but continue going with this one in andro. Yeah, maybe we will use 1/2 inch angled brush for these smaller areas here. Yeah, so here, we're gonna just a little bit of white here. Just give it a little bit of a highlight. Go back with the black. You gotta drop in his face there. You gotta be careful with that, because part of the pain there. Okay, so we're gonna work on the overcoats that he's got. Well, the shoulders there over his shoulders. That's okay. So we're going to use a fluorescent orange, which the fluorescent paints usually are. Matt burial Paige. So we want to see some of the details from the code. So we'll pry orange translucent feel and were able to I see the outline off the court itself. This gives it a little bit of that Peter Max pop art painting that he does with images incorporated with layers and layers of paint. You could still see the details on the need because it's not no paper paint. There we go. - And then the inside liner will do a different color, also the transparent color, so we could see the the pattern in the liner as well. 16. Sinatra: Adding more paint to the image: Yeah, so for the liner will go with a You're fluorescent magenta that Oh, yeah, you can see right through and pick up the black lines of the pattern. Perfect. Yeah. So the fluorescence season. These are Blick brand like acrylics or called very affordable paints and lessons. Usually our parents work well for this type of technique, okay? And then the shirt itself and get a tie. We could also keep the shirt white, make the pad and go along with the pattern of the shirt. Their collar? Yeah. You want to add a little gray or little black for some shattering outline There, underneath the collar gives that shuttle foot careful on the tie. I think we will also keep it black speaking, it stands out. Raval, that's not really tied. Got just two strands here inside of the jacket. Here we go. And against that, that magenta really stands out. We'll finish up the shoes there, but really dark areas of the shoes will go with the black paint, and we'll hit the highlights with a little bit off white two. Needed into a gray, I guess. A little bit too much white there, but it's OK We could also add the shadow underneath the shoes there on. Do the same here. Yeah. Okay, so that's done. Now we just add little accents to it, the front stuff. And I think that we will outline the pants. She here with Island Blue baby blue. This one you want to be a sluice is possible in this, Given that pop art's feel now, we don't have barely see the edges of the actual paper, which is exactly what we want. Okay, You think we're gonna add a little bit more layering to the path to the jacket with our palette knife? Bright orange? Yes, a little here inside here. A little bit there, skinning through it. It's good you seem here. It was good. The cigarette. I think we'll leave alone because if we painted white and might stand out of it too much next to do the fresh being that we're not doing much with it now. We could also try to paint the eyes, you know, blue, But I don't want to mess around with that too much because I don't want to do something that I regret. So but that's a thought, right? I had some outlined to the jacket. Do you think A little bit of white. We're gonna go with a real small brush. This is a 1/8 they were gonna use with some white outlining the jacket real quick. Fast motion. There you go. Do you try to hide those jagged edges that I had when I cut the opening out while the paper was still what? What they will do the trick. - Nothing to uniform. Just roughly going through the edges. Go loosely. Okay. You know, I think we're gonna hide the edges on the neck and the hand on the ears. Also with some white. We're not trying to make it look like we painted the image. We know that it's the natural print on top over painting, and we're just indulging. It's whipped acrylic paint on top of it. All right? It's really coming together now with the same lighter island blue, which is going to give this pant leg here a little bit of craziness. Here we go. What of it there putting the brush and that's flat side in, almost like a palette knife. And then we will do the same with maybe a little bit off Aqua green here. Just a random spots. Okay, I think we'll use fluorescent yellow court here. Okay. And the rest were just going to use craft paint with a nozzle tip. Do a little bit on the outside as well. Standing some lines there. That's there. Random with a squeeze bottle. There we go. We'll get maybe a bit of blue. Just drop if you dropped here and there. Yeah, there we go. Take a little bit of white on a little bit of he. Just some interest there. Some excitement right there on a little bit. Right there. This painting is done. 17. Waves under pink material list: 18. Waves under pink: Under layer blending: this'll is waves under pink, 72 by 36 inches. A nice large painting way are going to have a subtle background consisting of four different colors. On it were Eugene White. We're also going to use hot pink, a medium pink as well as a light peak for the background color. Just a plan to paint that and forth up and down in every single direction way did missed the canvas, had a time and would do so throughout the painting with some water. So it gives us a nice what EJ keeps our paints flexible and able to blend without drying too quickly. You can champagne in the edges on top, and I will subdue short on the sides with the same colors. So it appears to be what they call a gallery rap, where the image continues along the sides along the edges, for one continuous. Sometimes what we do is once a finish, painting eyes, um, completed will just go and paint the edges on a nice black. Or he got great to give it a more finished look where you do not need to frame the painting . It's a modern gallery style canvas, so again with our brush. We're just adding white with three different shades of pink and uncover the entire canvas with a subtle, cloudy effect. It's almost like the nice, muted wash up, down, working fairly quickly wedding down the paint as we go along. Because especially when you have a large painting like this one, you want to make sure that your paints do stay wet and not dry too quickly because you will lose that whole. The fact that we're trying to achieve by climbing it, commuting it down, I have to apologize. There is some focus issues with this particular video. I believe the camera was set on automatic focus and just zooms in and out and tries Teoh focus whenever it feels that much movement so, but I think we'll be all right. So again, paying the sides of the same colors slow motion effect right here for dramatic purposes. Get a feel, an idea of the fast sighted side up and down strokes look like in a slower sense, because I do like to work fast, as you could see. You know, for the most part, it's a, uh, long stroke. Whether you're going from top to bottom or left to right. You do wanna work fairly quickly. Sometimes I work a little true fast. It's up to your individual preference that that what ej you will be all right if you go slower or faster. You notice that there are trying to quickly on you were right ahead and spray some of that water. Continue throughout trying to somewhat stay consistent with different shades of pink throughout the entire campus. But there will be some areas where, of course, I'm gonna be more darker or lighter than other areas in the campus. But a lot of Latinos, but a bit through the center is going to be covered with our foreground design. Wait. A little bit of the canvas to do lift up the usual holder right there again some Ah, a little bit of the focusing issues. Way to adjust that in the future way. You know, the engine out of the of the lens. This is more of a delicates background, you know, geared probably more to the famine and I, which is we just find this was a custom piece that I created for the hair salon, one of two, actually, and this is the local. They wanted something subtle in the background, more dramatic foreground, which we will get to in just a few minutes again covering the entire section. Entire canvas spraying the water, getting that nice move landing field. Right now, we're using a number 50 brush on its same brush throughout the entire background process. Over. We will use a dry brush from time to time. Once we applied all of our our paints so we could go ahead and even more of a nice smoothing fact where we hide brushstrokes very much. A simple technique where you pick your favorite colors. You could do 234 When he calls as you want. Just go ahead. Try to stay consistent throughout just through your blending What on what? Keeping that wet edge. So you do not run into a situation where a portion of the painting starts to dry on you and then you try to add some more, and it just does not have the same feel to it. You don't give you more of a hard edge. So right here we have our dry brush and just going through areas of the painting have likely most like motion that we're just trying to do away with any kind of brushstrokes that we have again providing a subtle field. At that point, if you missed if you feel that you missed a little area where you use a little more pain well, let it at some or just blended right in way. Could do crosshatch up, down left, right circular motion you could even use. 19. Waves under pink: Adding the waves: soft rag like the T shirt material to blend in. So right now we have our campus lay down straight, flat onto our table, and we are going to apply some black as well as metallic silver cap off and get his much shine there as we can on, we're focusing more on the left side of the painting, and we're gonna add some air guessing gold as well were not being careful here at all. We're trying to just lay out some different colors and then with our trial, are flat country trowel way are going to spread our mixture around and come up with some really cool pattern for our foreground. And this is our accent part of the painting, and we try to also that the side so like with the effect that it's running through running right onto the edges of the painting. So it's all one continuous image. Then we have our rubber wedge with just a flat wedge. It's pretty flexible, and you could spread the pain around as well in this fashion, that meat. So we are using a spatula plastic spatula. We have our flat growl and also rubber way, and this is how we're manipulating the paint that we applied on top of our background spray , a little bit of water continue to splatter and which are paint around, find just random patterns on, See what we come up with. A lot of this is just guesswork. Siri's, if you will, of mistakes, and hopefully it'll turn out something pretty cool. You are not happy with it. It's, ah, little bit tricky in this situation, because what you would need to do is, uh, redux the background as well. So you would have to Jessel over the entire painting once it dries on and start all over again with the subtle background and re creating patterns on top of it that you will be happy with just reading the pain around the mixture of the three different colors black gold as well as the sober. And then we'll just go ahead and splatter some more paint with our two were not being careful where they were. Just way feel way could add more interest to it. That's random. You throughout give it ripper effects. You see, the painting is weighted heavier towards the left of it, and there's no particular rhyme or reason for it, but they just wanted something that was not center balance. So excited to focus more on the left side of the painting. And then, like I said, we do have another piece that we created similar to this one where weighted more towards the right, so adding some or ladder. We're emptying out our gold jar onto the piece, screaming circles here just my impression, and then add a little bit more metallic sober and lending to with our plastic spatula. Go ahead and fuse it onto the black. You're CIA. Once I'm done, we will have a close up of the unfinished, uh, blending. The fact that we have here are our top players a little bit more with our trial way, leaving just a few impressions there from the edges and then working it back into We're just going to spray a little bit of spray paints and add some more contracts with more excitement to it on. We're gonna run. Some lines are crossed. A few from left running too. Right bottle here. One more. There. Give it another one across there. Yeah, this is decided to call it waves under pink. I guess we called the top section here. Metallic waves. This is what it looks like. Close up drives. We give it to coats of varnish and it is ready to hang in our hair salon along with the other piece. That's the same size. Very similar to it. Jelling up all three colors as we spread it out with a different trials on different Robert Wedge making all the colors come together. I hope you guys enjoyed this one once again. Waves underpinning. Have fun with it. Thank you. 20. Thank you!!!: All right. That's it, my friends. Thank you so much for checking out. Abstract head meets revealed Volume two. I hope you had as much fun as I did creating these five paintings. If you haven't done so, please check out abstract techniques revealed Volume One and also be on the lookout for more instructional videos in the near future. Thank you so much. Keep on painting. Have a great day. God bless.