Acrylic ABSTRACT with a Palette Knife - Section 2

1. 04 Introduction to Abstract 1: Hello, I'm Gerald Ashcroft. And welcome to this acrylic abstract course with a painting knife. This is abstract number one in a series of three where each abstract will have a different killer theme. The color theme for this abstract is based on rich crimson's burnt oranges and lemon oranges. You'll be mixing these secondary killers, including a variety of tints, with the addition of white. To paint this abstract, I'm going to take you step by step through all the kalinic sing process so that you can see just exactly what you can achieve with crimson, lemon and white. Using pieces of rag is a great way to apply paint to your canvas during the early blocking . In stage, you can have great fun wiping the paint on on making marks. That can help to give some character to your painting. Once the blocking in stage is complete, then you'll be using your painting knife toe. Apply thick paint to your canvas. This is when the painting really starts to develop some character of its own, especially when you start to scratch some interesting shapes into the wet paint with the tip of the knife. And finally, you're going to complete your abstract by creating a focal point with a couple of bright color accents so that the eye is drawn to it. Now let's move on to dividing up your canvas, ready to start your abstract. 2. 05 Divide Up The Canvas: The first thing we need to do is to divide the canvas up into nine equal areas on using the rule of thirds 1/3 of the way, a pencil line on day, 2/3 and then along the top, 1/3 in 2/3 down the right hand side, 1/3 2 3rd on along the bottom, 1/3 and 2/3 again, and then draw your two horizontal lines on your two vertical lines. Now the reason for marking the campus up like this is purely as a guide to enable you to place the colors on the canvas may seem a little bit geometrical, but the abstract is going to be fairly free. It's not geometrical it all. It's just to identify where the various colors are going to be placed. 3. 06 Palette Layout: now, the next thing I want to do is to show you how I've laid out the colors on my palette. I think it's really important to organize your colors so that when you come to mix them, you know exactly where they are. There's nothing worse than having a palette, which is completely disorganized. In the top left hand corner, I've placed my crimson in the center with lemon yellow, which is the bright yellow Andi, of course, on the right, white right, But easy to remember, isn't it? It's a simple system. You'll also notice that I've divided my palate into to have have a left inside and the right hand side on. The reason for that is it's easier for me to see where I'm mixing my colors so that I don't have to hunt all over the palate for them. So on the left hand side, I'm going to bring out crimson and place the crimson here on mix crimson orange, which is that much deeper orange, and that will go in the left hand side and then going to bring out the lemon yellow and placed on the right here and mix lemon, yellow, orange which is a much brighter orange, so that will go on the right hand side, and I would be working with my white as well. 4. 07 Tinting the Canvas: and now moving on to mix and orange to 10 this canvas. Why do I do that? Two reasons. First of all, it's a good idea just to get rid of the white campus. And secondly, by tinting the canvas with an orange sort of fairly light orange, it means that that becomes really good under painting to enable me to start developing the abstract now. The other idea is that it's also good to leave. Some of the under painting showing through in certain areas of the painting at the painted developed don't have to totally obliterate it all, so leaving areas of white under painting can really add interest and character to the abstract. So let's mix this orange on my palette. Now I'm going to First of all, take some crimson, place it here like the knife on take some lemon yellow Andi, mix it into the crimson, so as you can see, it's given me quite quite a deep orange. Now you don't have to over mix this. I'm also going to take spot of white and just lighten it a touch. There's a really deep color maybe going to add a touch more lemon to it again. You don't have to over mix it, because once it goes on the campus, it's going to start mixing as you wipe it all over it. So now, taking a damp rag, make sure that the rag make sure that Iraq isn't wringing wet. It needs to be fairly damp, but make sure it's not dripping with water and take a good amount and start to cover the cameras. I need to drop more water from we go now. The idea is to get this color on as quickly as possible. It's a bit like cleaning a window thing you don't want to do is painstakingly go over it, so it's really all even. You want to leave some darker areas and some lighter areas, so just get it on, quick as you can. 5. 08 Line In The Composition: That's the tinting now complete. As you can see, I've left some darker areas, some lighter areas, even bits of the white canvas showing through. I can still see the pencil lines that I've put underneath because now I'm going to actually outline the composition for you. I'm going to first of all, do that using the same rat that I just used. I'm going to take some crimson, bring this out here and wrapping the rag around my finger. You'll do the same. Dip it into the Crimson and I'm going to start, first of all, on the top left hand rectangle here. I'm just going to draw in the actual shape of the first dark area. There's a dark area here. We're gonna have a focal point here where the lines intersect and on the right hand side would be a fairly dark area with crimson here. But we'll start on the left hand side, first of all, so where the line is, it's the third in. Just indicate about 1/3 of the or halfway down come down to an angle like that, about half way along the first line on Bring that down here and then you go into just come down to the second rectangle down here on day, into the bottom rectangle here on just bring the color out. So it's going to be larger, larger area of crimson Here, coming down the side. Andi just coming down into the bottom here. The idea is to have the color as a gration. So it's coming from dark to light. Next thing to do is where the two lines intersect. Here, the vertical line on the horizontal line. I'm going to place our focal point. I'm going to draw rectangle this slightly tilted to the left. Just indicated there on the cross section of the two lines is right in the middle. There, over to the right hand side, the top right hand Gle hear about 1/3 of the way in little vertical there, Andi, across the line. Just take that across there. Andi, down into the middle rectangle here, down to the line here, over to the bottom line. We're going to bring it into the middle rectangle here at the bottom is gonna be a thicker , quite a deep, thick areas there and over on the right, where the line is just drew online across and bring it down to the right hand side. So basically, all this area, all this area here, here a little bit into there is going to be a deep crimson into the right here. 6. 09 Rag In Crimson: Now I've done the outline. It's time to fill in the areas still using the rack, taking some more crimson. You can put quite a bit quite a bit of crimson on the end of your rank. Just why Peter in again? The thing is, you don't want to obliterate all the under painting here, so just take it over to the right and want to leave a space in the center there, like just a little window. And this is really quite a fun from part. Should really enjoy putting this on as well. And if there are darker streaks in the crimson, don't worry about it. Wants to be darker at the top along the top. There. Make it big, darker. Andi towards the centre. Just leave a a window so you can see the independent. Even a line there might just leave that. So taking it down a little bit further, making it a bit thicket. It takes a more criminal, must be a bit deeper there and even just stuff from the edge there. Now the thing is, at this stage, I don't have any really sharp edges. That's what we don't want. You want to keep all the people the edges really soft. To see how this got a nice gradation here. There's no hard edge. It'll just keep it really, really soft because we're just establishing the main, the main areas of deeper killer. At this point in time, let's take it down here. Left inside on a little bit over to the right. Now into the base of the picture. Gonna have a little bit more of the bottom here. I will just leave that you're a bit of a window. I think that will. That will do the time being. I'm going to come over to the right hand side here, starting with our little shape that we've got here over to the riot. Have fun with this again. Don't obliterate the under painting, even allowing few areas of the white campus to show through that. You see how they're some streaks here? Some areas. A darker, nice little dark area. They're similar Lighter, nice soft edge here on along the top. She might take that across the top, creating a window angle that and bring this down. Okay. Along the bottom. Here, just taking, taking that across. And as we come over to the bottom center rectangle. Just bring this on an angle into the not quite into the center and you can even bring liberty. Not too much. There. Down down the right hand side. Just blend it in. So the edges. Ah, fairly soft there. 7. 10 Rag In Focal Point: and finally, we want to establish our focal point here. Give this in hit. Now, this will be a bit darker on the top on a little darker on the left. Inside on the top is well again. Don't be too concerned about getting a perfect rectangle. Doesn't matter. I'm gonna leave a little window of the under painting just there. And as you can see, it's a little bit. It's a bit a little bit lighter on the touch of the under painting showing here so darker on the top and dark on the left inside. Now I'm going to mix up in orange on orange to go around this area, which we're going to cover the majority of the campus because at the top here is going to be more of a yellow orange, which I'm going to bring down in the center. On the top right is going to be a crimson orange tint, which will be much lighter and that will go here, will bring some of it over the top here. Andi, further down here 8. 11 Deep Crimson Orange: starting with Cem Crimson again. Bring the crimson out at some lemon, get a good mix. Now I'm going to add a touch of white to it this time just to lighten it, but not too much. This is more of a going to be more of a burnt orange. Took more lemon in that. Now, when you use the rag, you don't need to put it on your finger this time, Just clump it up into a bit of a pat. You can be fairly light here with it and even overlap. You can even overlap. Some of this crimson here even take it over the edge of the focal point. Just overlapping. She's gently, not too much in the top again. That actually might just leave that there. So you know you can create some really interesting streaks. Sometimes just some swirls doesn't really matter. It all takes him up on this site, allowing some of the evening some bits of campus shone through. I'm not pressing too hard a tool because you can even put more on later if you need to fly it more thickly. Just a bit of a light coverage over the top because there's a lighter color Cruz and Tim Kaine to comes in. There are no hard edges, all the edges of blended together. Some I've taken some of this pain and overlapped it. Aren't you going to bring some of this into this area here? Just just blending it again? In fact, it might leave might leave some of this area just some of these marks. You see the marks that I made here with the original Crimson with the rack. It's all do a lot of character, even little mark down here. You don't have to obliterate it. Once you start to do your own painting, it will develop its own character because you're the artist. 9. 12 Mid Orange: Now I'm going to mix a slightly lighter orange and bring some of that out into the center above the focal point on around this area, up to the top. I'm going to take some crimson again. Not as much more Lemon this time probably used all that. Now the thing is, you are going to have to replace. See, I've run out of the lemon. So I'm going to replace that intimate and you'll find the same thing as you're mixing and years you're using more paint. You will have to replace it into that. I'm going to add a touch of my name. What? I used to like me today again. Just make a pad and you can wipe What? The paint off Gonna bring a little bit down just into this area here, Nearly focal point. Just even overlap this. Bring it over the top here. See, it's a little bit thicker here than it is. Even now we're seeing some of the under this color showing through underneath. It's like painting and legs still creating Morris a foundation full. The next layer of killer. Come on, keep it really light. Don't press hard, but you're gonna have some air thicker areas here. Some darker areas here. This is where it will start building up a little bit. 10. 13 Lemon Orange Top: Now I'm going to mix up more of a yellow our engine. I'm going to bring that more of a feature down into the center, created a separate area here and then finally mixed a lighter tint, which I'm going to bring over here on brings him into this area here and probably a little bit down here. And then once you've done that, that's basically the foundation done. And then we can actually get on to using the painting knife and they getting some thick paint on the canvas. So first of all, let's mix up this lighter orange. I'm gonna work on the right hand side of the palate now, Gonna bring out some lemon Andi at if the touch of crimson more lemon to you that taking your damp rag Just leave some of the the under painting showing through it could be figuring some areas in the center. Bring it over to the I've kind of sign a little bit Here. We're working our way down into the center here and over to the right a little bit and bring it down a bit more. Take it over into the top, right right hand side here don't need to go all the way. This is just to establish. It was an idea of where this this'll white lemon orange is going to eventually go with palate life. We're probably going to go much lighter there, but again, this will serve as it's just an under painting and that's what we're doing, even bring just a touch of it just down into this area. 11. 14 Crimson Orange Tint: Now I'm going to mix crimson orange tint so to go, to have more crimson in this going to be fairly light and that's going to go on the right hand side on. I will overlap it here as well. So over to the left hand side again. I'm going to bring some white over to the left to start even going to put it into that mixture there. So take some white, but I get some tissue. Take the knife. Such of crimson, you know, really quite pink. Good amount of white again. It is quite pink, so I just want to add Took to the lemon, Do it a little bit more. Put a touch more of the lemon into it. I think that will do. Aliant ist area is going to be on the right and have a gradation over to the left. Probably just overlapping here a little bit. But you see, we I don't want to obliterate all this either, because you see the wonderful constancy. Look at the shapes. Now, just with the rag. Look at that amazing area there. We've got the really light tone against this rich deep color underneath. He's going to bring it over over the top of here down into this area, it maybe some. Yes, down here. This is probably where the horizontal line waas we're gonna have a light airy of the mate may paint over this afterwards. With this color. Just blend this in a little bit more of these shapes without obliterating under painting underneath. But just soften some of these urges. But there's some really nice shapes happening there around the focal point area again, keeping it very soft. Blend that in. It's going to be light here. Well, if you're applying your your pain, especially with the Iraq, you're working fairly closely, so you're just seeing small areas of time. It's really good idea just to step well away so that you can see how far you've got on how well the painting is developing. 12. 15 Knife The Crimson Left: the paintings now really starting to develop. And that is the blocking stage complete. As you can see, there's some really good contract happening with the darks here on Dhere on the right and also our focal point on. We've got really good contrast with the light areas on this strong lemon yellow lemon orange that's going to be in the center. First thing I'm going to do is start with the Crimson to reestablish the darks, taking some crimson. I'm gonna actually place it just here. I'm going to start in this top area. So loading up the knife, let's start on the left hand side in the top corner, Bring it over to the right. Don't want to obliterate what I've got in the center there. Now have your rag handy so that you can So from the edges again, because this stage, we don't want any Still don't want any hard edges. They don't nice and thick, so it's really quite done. He's putting a line across there. Bring it right over. Even. I saw from the education here in the bottom out of there takes him or crimson Bring it out . I want this top area to be really deep and fairly intense, but it can have a gradation here see wage lighter and is going to go eventually into the orange. But in the top here, down the left hand side on, down into the bottom want to keep it really quite thick, so it's quite deep in color. Once I thought this zone, we're gonna put some marks into the paint because I really need to do that one still wet. You're going to find that you're going to need quite a bit of paint, because as it's going on thick, you'll use quite a bit of it. You may need to squeeze some more pain touting that you whilst this is still wet, I'm going to use the tip of the knife. Makes him random marks because that's going to start to add some character. And these could be any marks that could be lines that could be squiggles. They could be circles, rectangles, whatever you want to do. 13. 16 Scratch Marks into the Paint Left: now, once you reach this stage, applying the first bit of thick crimson to the left hand side, it's time to get really creative and shapes like this. Anything goes, really, and the thing is, you don't have to copy this, but I'm just putting any type of random shape, not really thinking too much about it. But the thing is, don't overcrowd it. Don't put too many shapes in there just enough to give some visual interest. And as you can see the great thing about it as you scratch with your knife, you reveal the under painting, and this will really add character to your abstract. So just have fun when you come to do it. You don't have to copy it, but this is just a suggestion, and you can see there's only three or four shapes. I've not overcrowded it simmer larger and some a smaller 14. 17 Knife the Crimson Right: now moving on to the right hand side. This is really grateful from the same. Once you start to ladle the sun with the knife and without obliterating everything that you from there before see, even though not as you putting the paint on the knife itself starts to make some marks, don't obliterate it. Just allow it to happen. Doing this down a bit here and then down into this area here. I want to put this on, get him going to just soften all these these hard edges now with the lines. But I really like that shape. It's happening really good contrast without obliterating the windows that we've got here in the center A little bit more, I think from here, take, I use my finger. 15. 18 Blending the Edges: just very gently going over. The edge is just barely touching. The pain is just really to soften the edges, so there's no hard edges that let the rag do some marks as well. Doesn't matter. There's a nice strong shot. Just want to soften that edge completely there makes all the difference. And again, that might just leave that one here. Hard edge there. I'm going to leave that there was something really quite nice happening. And they see this is quite an interesting shape. The whole area there. I think I might just self from that a bit. And on the right hand side, yeah, bring that. Just bring that into this end. Make sure that you stand back and have a look. The interesting structure happening there, and I'm really pleased about these these windows here see, even some of the original white campus is showing through there, which is great. It'll shape there, but again, as you as you do your own, these random shapes are just going to appear because using a piece of rag, sometimes the end of your finger you can use. But that's all going to go towards developing and creating the character of your own painting. 16. 19 Knife the Focal Point: Finally, I want to concentrate on the focal point and really start to bring that shape out. Taking or crimson going to on the top. Here, Have you with a piece of rock? Just some from this? Yes. You may see what happened. Got the quarter of the rag has made a mark there. That's good. Like that. Take it up. 17. 20 Scratch Marks Right: now over to the right hand side. Let's continue making some marks in this area. Now the paint is still wet. I think maybe in this area, this top area, they put a little shake. You want here Something over here? Let's see. Line. Think of him. Just put some verticals. 18. 21 Deep Crimson Orange: So now I'm going to start mixing crimson orange, bringing that round here into this center area. I'm going to actually mix it. I think this is dry here, so I'm not going to bother wiping it off. I'm going to just mix it into that area. So take some crimson, little bit more, lemon. I'm going to have to put some more lemon into that. All right? So I'll try some of this. What a deep I'm not going to cover whole thing. I just want to get someone down here. You see what happened there? Leaving that little bit crimson showing through, uh, bring it up into that area. I'm going to use the edge of the raggy game in a little bit into this area. Just around this focal point. Once they've got that killer there at more Lemon used introduced that Maybe not as much to go a little bit. More conditions just bring that into was to overlapping. I'm going to use my rack to go back into 19. 22 Blending: once you've got your deep crimson orange on there, time to take your rag again and start blending the edges. Yeah, and you can see here just some of the independent original under painting that is their leave that all these marks and as the knife goes down, and as you move the paint around with the rag, it's going to leave different marks. But I do suggest that you go back into it and do the blending before the paint dries, because you do want to keep the edges a softest possible, and it will all add real character to the painting. See the little bit darker there with the crimson leaving this, even some of the original like canvases showing through. That's fine coming, covered in this left hand side here again, just blending those inches without losing the character of what's come off the knife. This seems to blend quite well, using pieces of rag this way to blend the edges. You're almost painting as well, but the whole thing is, it really helps you to keep the technique free and loose. Rather than concentrating on any particular details or any part of the painting. You see just here. There are some sharp edges with the knife. It's really good just to to spread those out and soften them. That's brought much warmer and richer orange now into this area again without obliterating everything that's been done underneath is still some of those areas of the under painting showing through even bits of white campus here, in here and here, I can see specks of white campus closer on some of the original that first washed the first my tent even showing through here. 20. 23 Mid Crimson Orange: you got to take some lemon, place it, yeah, crimson into that. See how that goes this time? I'm going to add some white to it, a bit more lemon, such more crimson and without over mixing it. Just a touch more white to that. Just take the knife. Do that a large area there, and the purpose of this is to place some large shapes. You don't have to go overboard, but you can see instantly how this color is much lighter than the orange of the red orange underneath. And that's what you want to create at layer that is lighter or has more contrast than the previous color. That's in the neath, and this is working quite well, so again, just starting to blend those edges without destroying the shape catching the edge. So you see how there's some really nice shapes there, and the other interesting thing to see is that because these shapes I've still got some sharp edges. They do tend to stand right out in the picture, and this is why it's good just to blend them unless you really want the any particular shape, too, have the parents of coming forward. I'm just continually blending those edges so they just sit well within the picture and don't add any particular focus to the picture. This is the really fun part of the painting now, because different different elements are starting to happen as we've got the rich orange, the rich, deeper orange here against this much lighter crimson, crimson, tin and see how that's really quite nice there. But again, no sharp edges. And make sure that you stand well back from the picture from time to time so that you can see the painting as a whole. I did mention before that whilst you're working so close, you don't get an idea of the overall feeling the overall Look off the painting, so stand back and have a good look at it. See, Look at the shapes that we've got here now, one overlapping here, a little bit of white, actually from the mixture. But I like this overlapping the way. This is much lighter against the deep our engine, some of the crimson coming through. So now, just continuing with this crimson orange placing these shapes, if I would too, place some of these shapes down below underneath the focal point, the I would immediately be drawn to them. And I don't want to do that. I want to leave the base of the painting fairly deep with the orange going into the crimson providing a good contrast for the middle on the top. It's a blend that out right away, up. So it's the edges of feathered. Look at that nice shape there that's developed. Now we've got this nice highlight coming down this lighter area here, blending into all this. 21. 24 Lemon Orange Top: I'm going to remix this lemon yellow this much light in lemon yellow and bring that down the center on, overlap it a little bit into the center just to have a bit more character in a bit more brightness to it. So into that same mix, take the lemon yellow here. Such a crimson a touch of white. I need some more lemon. We can afford for this to be fairly bright, so it really does stand out a little bit more. So, like in the knife, much more lemon. Let's have a look at this now. Test a bit of the top, See how it compares. It's fairly bright, possibly a little bit too bright, so I'm going to make some adjustment here. Now. I'm just going to add a touch crimson just to knock it back a little bit. Not too much, maybe a little bit more crimson. It's all trial and error. There's so many variables with killer mixing. There is no formula. There is, um, basics. But there's definitely no formula. As you can see here, it's trial and error Gist. If it's too strong, add a touch more white. And if it's not strong, enough that it took more of the color and just play around with it until it looks right and then just committed, then to the canvas to taking the knife. I'm not doing lots of areas of color, just specific spots on keeping them broad. I do want to bring some of this down into this area here. This crimson orange here at the bottom is providing another area of contrast, but it does complement the area, the top in the center. But I don't want it to have the appearance of standing out too much as much as the area at the top. So keeping the it just feathered a game by blending. And I might just stand back in a minute and have a look at it and reduce this color by by blending a touch of crimson over the top of it, and it will actually reduce the strength of it or give the appearance of reducing the strength and just using my little finger to take a stripe over to the right, creating almost in of the window. And that's the great thing about it. You can always use the tip of your finger for blending But you can also drag the color to make some additional marks. So keep standing back to adjust so that you can see where the pictures going and you see the whole picture. And it's far easier to decide areas that need adjusting as you're painting along so you can see here. Now. I've just introduced some mawr crimson into it, and it certainly sits far better in that section down there. Let's go to the top. Now again, with the rag softening these just lending it further further the edges right out, even blending the edges this way. The color this lemon orange is sufficiently strong enough to give the effect of coming forward, and it's all a matter of creating various layers, one layer on top of the other. I'm going to leave that little accent, and when these marks appear these accidental marks with the RAB don't be tempted to obliterate them. Just leave them because they do add interest to the painting on. This died in a line here as well, creating another shape. Three spots of original. It's not canvas, but it's this light tone still showing there. So I think I'm going to leave that 22. 25 Lemon Orange Strip: I'm picking it up with the, uh into the knife. Just just a line of that in it. That going to bring some into that area as well, there, taking Iraq again. By the time you get to this stage of the painting, you'll be quite experienced with using the Ragin, seeing exactly what happens when you blend one color over the top of another, and also especially on the edges, where you blamed the edges where the killers overlap, it goes fairly transparent and allowing the killer underneath to show through slightly. And just by wiping that strip to the right, it's revealed that fine crimson line underneath again, adding a touch of character and interest. Now I'm going to take that same color and put a mark down here on the right. Just just enough. Probably take the rag on. Blend that to the right, taking it over to the right 23. 26 Lemon Centre: Now, with that mixture that I've got there, I'm going to add some white to it. Now, Now, I've loaded up the knife here. Andi, in one movement, just placed the color on. The thing is, what you don't want to do is to keep going over it because you'll lose the spontaneity if you do that. So now, placing a 2nd 1 underneath and I'm going to put one just over the top. And you can see because this lemon mixture is so much lighter than the color underneath, it really comes forward in the picture and really helps to give another dynamic to the composition onto the overall color scheme. Just blending these edges. You see, this edge here is jagged edge here. Now that waas the knife just bringing that one movement over to the left. It left that jagged edge, so just softening these edges now again, I mentioned earlier on in another previous video that the lighter the killers are the lighter and brighter, the more they have the appearance off coming forward towards you. The top of this first block of lemon that I placed on with a knife is quite thick, and so spreading it out now, creating a curved line and now a diagonal line down to the right and really creates some interesting shapes. Even just with a little bit of paint on the on the rag, they're just coming out to the left inside. Oh, there's a there's another mark, but to see it really all adds interest, and you got the under painting showing through between those lines. 24. 27 Light Crimson Tint: and then it takes him white over to the left. Because this killer's dried doesn't matter crimson into their on and a touch of lemon. I have to add some more white to it because we do want it to be a fairly light tint. Much more lemon touch, more Cruzan potential fairly thick here, top right hand corner. I don't want to obliterate this, so at least some of that, uh, bring it down here down the side of that down the side of this crimson here. Time to do some more blending with a piece of rag, not obliterating that under painting, leaving all those lovely shapes that are there because if you cover them up, then you just lose all the character. So just be aware of that constantly. Lemon yellow was still wet so we could blend the edges and further the edges together. There's no hard lines let down to here yourself in the edge go. So just so you're catching the edge of the paint, I think you will find this whole process of using a piece of rag to spread color. I think you'll find it really interesting because it is amazing. Just what you can achieve. I did say early. It's a bit like painting with a piece of rag on. It is, in a way, even though you're spreading the color and blending, it is, well, it's important again. Stand back so you can see the whole picture to see the effect that you have produced Now, with all this blending the various light colors against the dark colors. 25. 28 Additional Tint Top: Now I'm taking some of that original crimson tint that I mixed before on the end of my finger here and placing strip. You see this highlight? Now see that that really stands out as I spread it out over to the right. I don't want it to be too strong, so just going to blend it in a little bit more. But that really adds a nice highlight and just lifts. That area is a stripped. I'm going down vertically now, and it also adds another point of interest in the bottom. Right and part of this painting, That little highlight there. You see how that stands out on going to leave? That not going to touch that? A toll? Just leave that there a little bit more blending here so it feathers out to the right city more stronger on the left and more transparent to the right, allowing that deep crimson to show through. Looking at the painting at this stage, I decided to put one more patch of this light crimson 10 at the top. To finish it off, you'll also notice that I've contained this light crimson tint to the top right hand portion of the picture. Rather than putting patches of this all over the painting, it's important to be aware of that. Otherwise the I will just start from one area to the other. And that's something you want to definitely avoid. No new hard edges along the edges of feathered. But we left this area here, which some of the original under painting showing through in spots here and here. I'm letting it show through here, even some streaks there underneath where the highlight is. 26. 29 Lemon Orange Bottom Right: still got some of this yellow yellow orange here. Just going to bring some of that down here. I think it needs nice shake, uh, in taking the right to when the edges. This makes a complete new shape. Think I'm going to leave that just that sharp edge there. You should leave that. But look at all this. That's really lovely shape there and see how this comes forward. But this is the original. Some of that's the original. I think the original tint that I went actually tinted the canvas that's here, and I remember making the original mark there. 27. 30 Bright Accents: Now it's time to place the accent in the focal point. So what we're going to do is take the end of the knife. Sure. Knife is clean. You're just going to take sport of the lemon onto the end of your knife just on the end of the knife that I'm going to create in one movement about 1/3 of the way in, just in this area. You just going to do yes like that to add a second accent Takes him white over. Yeah, Just add touch of crimson. You just want to put it on the tip of your knife, so to scrape it up, you can see how much is on the edge of the night there. We're just going to place it into that area there. 28. 31 Focal Point Highlight: just to bring out the focal point a little bit more. I'm just going to mix up more of this light orange and bring it down here and possibly add just a touch of white as a highlight just to bring out shape a little bit more. It takes him white lemon, crimson, white name with the right hand underside edge of your blade. Just take a small amount of this light colored in place line underneath on the left hand underside edge of the blade. Take another line of color in places just here around the focal point. Bring it down because we're going to blend all the way around. Yes, the final bit of blending, I think here again, finally softening this because we don't want the hard in our line there. As you can see at the moment around this, this deep crimson window that we've created with this bright accent and you can just smudge this into the base of the painting, just feather it right out and then going to take it up the right hand side and over the top . They're just softening the baseline here, keeping it defused and at the same time by adding this strong highlight. It's totally accentuated the area of this focal point and helping it to really stand forward in the picture in the bottom left hand corner of the picture here. And it also complements the treatment at the top right hand corner, where we place that light crimson tint. It's a nice compliment, but it really now helps the I to go to this focal point. That's the whole purpose of creating this particular final part of the painting. The eye is really drawn to it because of the strong lemon accent and also the highlight that surrounded now just taking some of this blended killer just up the left hand side just a little bit more. The final blend. The left hand side. I think that will do. 29. 32 Highlight Strip Right: So I'm going to with the edge of the knife going to place a highlight here just on that Take it over a little bit, furthering it out. So it's a little bit What is heavy there and one into this area that needs with the high line here and with your rag blended in always blending could bring it over the top You know , a bit into the make up If you are marks here. See, I'm just using the thank you That rag we live in a paint on. 30. Summary: this abstract is now complete, and I really want to thank you for taking this course and hope that you received a lot of value from doing it. I designed this course with a fairly simple abstract because I wanted to focus more on showing you some color mixing techniques and also just what you could achieve by using a very limited range of colors. If you feel that you've really learned some solid color mixing and painting techniques using pieces of rag on the painting knife, then please would you give me a positive review? I would very much appreciate your feedback on this course. If you have any questions, please contact me. And now get your smaller knife ready to have a go at the additional many abstract exercise . Thank you again and I'll see you in the next video. 31. 01 Mini Abstract Introduction & Crimson: Hello. I'm Gerald. And welcome back here. I have an additional exercise for you and many abstract. Same color palette. Same way we lay the killers out. The same colors, same color mixing. It's just something else for you to do and hopefully you'll have a re a lot of fun doing it Now. This is a much smaller canvas. It's 20 centimeters by 25 centimeters. As you can see, I've already pre tinted it with a light orange, and I've already divided the canvas up. Now, on this one, you need 12 rectangles. So if you go along the top, you divide it 1/3 2 3rd But the left hand side, you divide it into quarters. So if you go half and then split the half into quarters, you've got 4/4. So you want a total of 12 altogether 333 and three. Now, this time, unlike the big abstract that hopefully war got through and you really enjoyed it. You don't need to use the rack to do any blocking. In this time. We're going to go straight in with the knife, not even doing any blending, so that will be interesting for you. quite a bit of a break. So the first primary color that we're going to use, I'm sure you know what it is. It's crimson. So you're taking a little bit of crimson on the knife. Go straight into this square. Here. Bring it over. Spread it out. No. Going to press too hard. I'm gonna bring it over into this. Next score. Bit wall on down into the middle. Bottom square down here. 32. 02 Lemon: So the next prime a killer is. That's right, Lemon. Here we go. Now, this time I only used quite a bit of lemon because I'm going to put it in this square. Full strength. So here we go straight on lemons. Really strong, as you can see. Fantastic killer. It almost looks fluorescent, but it's not now again when you put your knife on because you've got the tint already on the canvas. Allow some of this to show through, as you did with your large abstract. Because all these little areas that you do leave adding depth. Andi. Interesting character to the abstract. So I've got two small patches here just going to leave him on. This is going to bring this lemon slightly down to the square underneath. 33. 03 Burnt Orange: the first secondary color is What's that going to be? The burnt orange? And you probably know this off by heart now. So over to the lemon, take some lemon. Going to put that right here again, taking the crimson and giving, giving it a good I'm not going to over mix it. I think I might put a touch more lemon in that and that's going to go in this square here. We'll bring that across. They're actually there We are. I'm good to go to leave that slight window on a little tiny little rectangle. They believe that they're What I'm going to do is bring this orange into this area now and up against the lemon. I'm just going to create a shape here, right next, the lemon bringing it down. Yeah, taking it over the top like that already. There's some crimson actually mixed in with that, but just going to leave it because that's all part of it. So the thing is, with this one, just have fun. You don't have to follow this A. This exactly, it's it's going to be your abstract. Just treat it as play, have some fun with it and you can follow along with me if you like, being that I want to bring a little bit of that down into the bottom area here, some lemon, some lemon has been on the end of the knife and just brought it over. There doesn't matter. A couple of areas here where they tend to show through here and here. That's all going to work now about this far. Bring that slightly into this. A little bit war. Spread it out. What? I will do it. Just press the knife between the lemon and the crimson there. That's the sort of blending and bring it across some really bright streaks of lemon showing that. 34. 04 Crimson Orange: now the next killer to mix is the crimson orange, which is going to go down here. Let's take some lemon again. Quite a bit crimson there. I want to get this quite deep. Not too much lemon in this one, probably. I'm going to have tiny amount of white just to lift it slightly. Maybe maybe a little bit more. And remember, keep that tissue handy all the time. So you're keeping your colors fresh, clean on bright. Let's have a look at that. Maybe even a touch more white. Hopefully, by this stage, you won't be. You won't be too sick of mixing killers because by this, by the time you finished your big abstract because you did you color mixing exercise first . And then you've done ALS color mixing for your abstract. Hopefully, you won't. You won't be fed up of it. So I really hope that you do this as well. That will do. I'm gonna put that into this area here. You know, that really works. It really works Well, I like the difference between the contrast here, the dark on this light of color. Let's just here drop the knife across where the two killers meet. And actually, you can see if you look closely here, you can see a line of crimson there and one underneath. Maybe I'm just going to leave that like that. Bring the touch of that crimson into this doesn't have to be straight. There we go. A few months. That's looking really good now. So please, the way the contrast of the really deep crimson against this crimson orange down here. 35. 05 Crimson Orange Tint: Whilst I've got that mix, I'm going to add some white to it and bring it into this bottom square, which will be crimson orange tip going to be lighter. So with that mixture, already have some tissue ready and go over to the white again. Take a to that white. Do you want to have it quite a bit lighter this time? Look at I think that will do. I'm going to other. Took to the lemon, too. I can just about see the line there so that that works better. That's that. It's a color. I think it sits quite well against this orange here. 36. 06 Lemon Orange: But the next color now is to go in the top two squares here, which is 11 orange. So again, the lemon orange. I'm sure you'll remember. We'll have a predominance of lemon in it. So I'm gonna take all this lemon here, bring it over to the right hand side. Such is the crimson back into it. The good old crimson. A little bit. What? Crimson, maybe need a touch more crimson. I'm going to add such a white with it as well, just to give it a left. Why not? There are no rules. You can just tested as you go along and make the adjustments and see if you like it a little bit more crimson into that. Bring it down into the these two here. Actually, you see this area here totally left the a tent on the canvas. There's a small portion of white paint. Was a tiny window there. Just going to leave that just leaving that window there. Andi, bringing this career towards the centre hurt quite thin. Now, where this Levin orange meets with the crimson. Just take a clean knife, make sure the knife is clean and just drug it over the to bring it down onto the Crimson. See what happens almost mixing on Congress do. That looks really quite good. I'm going to leave that. There's slightly deeper tone of the orange there, but I like the way that little windows off the the tent on the canvas. This tint is actually showing through the white mark. 37. 07 Lemon Orange Tint: in the top two squares. I'm going to mix a lemon orange tint. So actual fact, I've got that killer there on the palate. I'm simply going to add some white to it. Good. She's much lighter now, and maybe it's much more lemon. Was that no white again? And maybe with Lemon not going to over mix it. Bring that over the top there. Bring it down. Take it up to the orange. Now you can bring. You can bring it down by the side of the orange. Here, into this area. Bring it right down. It takes more. You can bring it across. She's posted nine. Almost mix and blend it with the knife. You can take a take a little bit of across, actually bring the knife just over the to, but just suffering the edge just a little bit. Got a little window of orange there, So leave that 38. 08 Crimson Tint Blob: What I'm going to do is the killer that I mixed here. I'm going to bring just a small amount of that up into this area events a little bit deeper than it was last time. So Linus, lightly job limit into it. That's that's very similar. I'm just going to bring small packs just in this area here. And it could be the simplest just making a mark like that. Nothing more than that. 39. 09 Scratch Marks: all right. I think if you a few marks here, Incan scratch scratch you marks back into it if you like. I don't have to One of even some lines. One here puts him. I just had such more of the dark crimson down here to keep it Keep it really dark keeps keeps a really good contrast. Then don't be afraid to experiment, but just got to be careful that you don't go overboard now that you've got the Crimson. Don't be tempted with the dark to put some here and put some here and then put some here because you will just fragment the painting. You'll just break it all up and it will confuse the I again. Remember, you want to draw the viewers attention to your focal point on In this case, it's going to be up into this area here 40. 10 Focal Point: now finally and going to put our dark crimson. It's really a blob of paint of the crimson. So take take a small amount of the paint on the end of your knife like that. And this is where the first to line the first vertical on the first horizontal line intersect, which is about in this spot. No, I'm going to do is put your knife on on. Do this on. Just make a mark just like that instantly. You can see how for that really stands out now because of the tremendous contrast, especially because of the brilliant lemon that it's sitting right next to and course. Those two colors, a full strength, are taking a touch of white into this. Have already mix before, maybe more crimson into it. This is full. The accent. Remember the one that you did in your large abstract painting? You put the lemon straight on as an accent, and this was the 2nd 1 that you mixed it. Just a small amount. This is going to go right on top of the crimson. I'm going to take some pure white, actually, and do I like just here now is some white small amount of white on the end. Your knife. I'm just going to put that right right by the side off the crimson. Here. Do you know how well this works together? This little area here as a focal point really stands out. First of all, because of the deep crimson sitting right next to the lemon, both primary colors, both at full strength. And then we've added this light creams and tint here, but then adding that pure white highlight really accentuates that area, so the I can't avoid looking at it. 41. Summary: If you've got this far and completed this exercise, then congratulations. I hope you had a heap of fun doing it. You've made it your own, and you've put your own marks on it at the same time. Now I want to give you a short preview off the killer theme for my next abstract course, which will be part too abstract, too. The killer theme for this next abstract is a complete contrast to the rich. Warm crimson's on oranges in abstract one. We're going to use a combination off vivid greens and blues and to mix. The greens were still going to use lemon, but this time we're simply removing the crimson and replacing it with cobalt blue. I hope you'll join me next time. For part too abstract, too. With its cool color theme of bright lemons, I agree part too abstract, too, with its bright color theme off with its color Feen. What part too abstract, too. With the killer theme of bright greens, I hope you join again next time apart. You have to do with its cool, colorful its called Caliphate on. I hope you'll join me next time for part too abstract, too with its cool color theme of bright lemons, greens and blues. If you haven't already done so, please, would you review this course? I would very much appreciate your feedback. In the meantime, keep the knife moving and have a great time.