Transcripts
1. Introduction: Hi everyone and welcome to
our back to basics class. Acrylic painting. How to create a
mood with Kohler. I'm Melissa hypo. So what are we doing today? Wow, I mean, I think you
kinda just framed it up, right where we're
painting in acrylic. But we're learning about
color and how color can feel differently
based on how you use it. So some colors can feel a
little bit dark and moody. Some colors can feel bright
and happy and Salvatore, so we're going to talk a little
bit about that today and practice using color in
different ways sonically. And we're really going
to play to each of our own strengths because melissa likes to
create sort of a dark moody on Bionics
and her work. And I like to be colorful. A joyful increases, so we'll just bring it all
together for you today. So today we're going to focus
on two different paintings. We're going to paint the
same subject matter. So today we're going
to focus on oranges. So we're going to
be panic fruit, but we're going to be pending
and very differently. So I'm going to walk you through one painting that will
have a certain mood. And Paulo walk you through a very different
painting that will have a totally different field. So before we start, we wanted to introduce ourselves and tell you a little bit about what
we do. Go ahead, Melissa. I always get to be
first, don't I? Paul? Of course, he
loves this game. So my name is Melissa
form and I am an artist. I've been creating
art my whole life. I started when I was 14, doing commissioned portraits
for people I knew. And that grew into a
full-time painting business. So I paint surrealist
of portraits, of people that I make up in my head and I create a
whole stories around them. I prefer realistic art. That's something that I'm
really interested in. I love detailed. I love painting a variety of different objects and subjects, and I love the natural world, so I bring all of
that into my work. I'm also in the
commercial field, so I'm an art director. I worked for a very
large grain company and I work with
illustrators every day. You do a lot of busy. Hey, there, my name is Paul
Richmond and I just paint. Obviously. I'm a painter. I painted, tend to paint in a
more expressive style, but I also like
painting figures and portraits and different ways of approaching human subjects. But I tend to be a
bit more colorful and use more expressive
brush strokes and paint with the
palette knife. So Melissa, I have
known each other or over 20 years we
went to art school together and found
that we really enjoyed collaborating and we have been doing that ever since. And now we are collaborating on teaching all
of these classes. And it's just so much
fun to know that people all around the world
are making art with us. That is a blast. So we're really glad
that you're here. We're excited to get started.
Are you ready, moles? I am so ready, Paul. Alright, let's go, let's go.
2. Projects: We want to start out by
showing you the two projects that we will be painting
in this course. Do you want to start with the
moody, sad orange, Melissa? Of course I deal. That's heard that survive. Alright, so here is that, this is what we'll be painting. First. You see there's a lot
of neutral tones, a lot of darker color. Also is in heaven
painting this, I love it. This fits my personality. And you'll see the next one feds Paul's personality very well. So we did a good
job of that today. With us. Let's show them
the second painting now so they can get over their depression from looking at that, how clean it is. It's beautiful. It is beautiful. But this is our like oranges go on a party or going to a
party kind of paints. Gray color is fun
little group being. So same subject matter, presented in two
very different ways. And evoking two completely
different moods thanks to the way
that color is used. That's really the
point of this course.
3. Materials: What materials do we need
today to make this happen? While you're going
to need a canvas or paper or something to paint on. And then you're going
to need some paints. So we just use basic
acrylic paints for this. So you don't need
anything very expensive. You can buy a kit that includes
a few different colors. So we used the basic
primary colors, blue, red, yellow, and then
also some earth tones. You're going to need
some burnt umber, probably some burnt sienna. I like to use a
black and a white obviously because
that will give you something darker and lighter and anything else that you feel like you really liked
to use in general, I mean, you could buy a green, you could buy a
few other colors, but we will show you how to mix everything that you
need and then decide from that you're going to
need some paint brushes. And I like having a variety of different sizes from
definitely had a larger, thicker ones, to me,
little detail brushes. And when you're
working with acrylic, I find that having a softer bristle is a little
better if they're too stiff. It can just drag the paint
around and make lots of lines and scratches
that you don't want. So, you know, get a good a few different brushes,
different sizes, give them the field test, makes sure that they're nice
and soft and ready to go. You're also going
to need a pallet. So something to put painting. I like working on these
little plastic ones because they have different
wells for different colors. But you can use Saran wrap, you can use a
disposable palette. You can use whatever you have, and then you'll need a
pencil for drumlins. Now a cup of water,
some paper towels. I think that's it. That's all you need. So go get all of your
materials ready. And then once you have it, go on to the next lesson
and we'll get started. I'm excited to pain
or in your Melissa, we will see you back here soon.
4. Moody Underpainting: All right, everybody, we are ready to get started painting. So in our lesson here, we're gonna get started
painting a very moody orange, which I am loving Paul. And velar. Sounds like it
could be a children's book, the movie the Right, Right. It sounds great to me. But we're going to paint an underpainting
and we're gonna do a quick sketch in this lesson so you're
ready to get started. Let's go. Okay, let's do it. Here we are. We are ready to start our dark and
moody painting, which I am so
excited about this. The boluses specialty, yes, it's my favorite
Paul's actually, it allowed me to paint something dark and I am super excited. When you're working
with someone, you have to throw
them a bone in case it happens every once in awhile, but not very often. Everything has to
be happy and fun. Whichever. Sad little orange. So how are we going to draw? Just give me my sap little moments every now
and then and I'm happy. Alright, so I know it
sounds very weird, but I swear it
makes sense to me. So the first thing I'm gonna do is I have my paper
all taped off here. So this is just the frame of reference that
I'm working in. And this is taped off in
this way because it's similar to the proportions
of my reference. And you can decide to work
in a square if you want to, you could decide to work
in a more vertical format. Whatever works for you. I decided to go with a more horizontal because
they feel like it, it makes this orange
feel even more lonely. It's going with my whole
dark and moody vibe. So I decided to keep it. And I'm just going to quickly
sketch in this orange just to kinda give myself a map for where I'm
going to be painting. And I started doing this
really lightly and I'm just gonna go back over some of my lines and hopefully
you can see this, but I am going to keep it
fairly light just so it doesn't throw show through
my final painting. I just wanted to give myself just a nice little start as
to where I want everything. Before I start painting, I just have a little
roadmap for myself, a little blueprint
that will help. It helps to kinda
work out some of the shapes to and make
sure things are in the places where I want them and all the sizes and
proportions make sense. So now's the time to work out
all the mistakes and the, all the little errors that you
make while you're drawing. And that happens to all of us. Speak for yourself, Melissa. Except for the perfect From
the start of every project. Yep. Yeah. I can't help it if it's true. So I'm just taking out some of the main areas that
are going to be painting in some of the
edges that stick out to me. So one thing to pay attention
to when you're painting is the contrast between edges. And that's usually what
we'll give you some kind of depth in your paintings. So the edges that are really standing out to me and
this where a lot of them are a little bit softer and blurred the edge of that table. So the corner of that table on the left really
stands out to me. And then all the edges
around the orange, That's really where you're
getting the most contrast. So those are the
things that I'm going to pay attention to
while I'm drawing this. And that will help me
later known where to focus and my painting as I'm
getting everything laid out, the orange and the
edge of the table. And then I'm just
going to sketch in that shadow of the
orange really quickly. All right, so we've got that. Next thing I'm gonna do is I'm gonna do a dark
underpainting for this because, you know, obviously it's dark. So it makes sense hopefully. Yeah. Alright, so I have
my burnt umber. I might mix it with a little bit of my Payne's gray
just so I can get something that doesn't feel too warm but has some depth to it. I don't really want to
use black because they feel like it gets
a little bit flat. So I'm going to mix
a little bit of burnt umber and Payne's Gray. And I have one of these
little plastic pellets. I just reuse these
over and over again. You can just scrape
the paint out of them after you've
used them once, so don't throw them away. And then I'm going to add a
good amount of water to this. And Paul and I are both
painting and acrylic today. So you're going to see
different approaches to similar subject matter, but the way you can create
mood through different colors I'm Jonathan acrylic and a different feeling that's her gonna be talking
about today. Color is, color is a very powerful way
to communicate mood. Don't always realize
how it's being used. Some when you see it happening. It's everything it's done
in movies and books, and illustrations and paintings. You can change the way that something feels
without changing the subject just by
shifting the coal is right. So I'm just going to start with so my darker areas in the painting and
get those light in. And then as you want to go lighter with the same color,
which is what we're doing. We're just doing a value scale. At this point that's
100 painting is. And it gives you a nice
basis to work on top of. Because you're gonna be
adding color and that adds a whole other dimension to some things that you want to get a nice foundation before
you add that color. That's what we're
doing with this stage. So we're just going to
be an underpainting. You just mix up the one-color
rate and then how do you get different shades? So the more pigment or
the more paint you have, the darker your paint is
going to be on the paper, and the more water you add, the lighter is going to be. So I am just adding
more water as I go. If I'm starting with the darker, I can start with more paint. And then as I'm as I keep going, I just add more and more
water and that will give me the lighter tones
as I keep working. So I'm just kinda
paying attention to where those dark areas are. Not really worrying about anything other than
that at this point. Not worried about
detail. I'll just kinda quickly
sketching in some of those darker areas to give me something
to work with later. When you're starting
with a white canvas, everything is being compared
to that really bright white. So another advantage of this as you get to cover all that up. Yeah. Yeah, so underpaying them,
you really helpful for you. It's kinda just a value sketch, so it's one step further than sketching something
on your paper. It's giving you a basis
for your painting. Yeah. It's always the stuff that I want to skip because
I'm so eager to get to color, but yes, it does. It makes a big
difference and it does make it easier once you
start laying color on top. Yeah, even just with making the Canvas take
the paint better, it gives it another
little buffer between the the pink layer and
the rocky of this. Yeah. It's okay to paint over
certain details at this point. Like I'm just painting right
over that stem because it really blends
into the background and there's really not a
lot of value difference between that and
what's behind it. Yeah, I'm not, I'm not going to worry about certain
details at this point and you shouldn't either because it'll make your
life easier. Swear. Who are you Melissa? Telling people about? Detailed make trying
to make life easier. I it's like I don't
even know you anymore. My detailed time will
come up there yet. Yeah. I swear it will get there. I just keep adding more water to my little well of paint here. And that's just going
to give me a lighter. Now you to work with. You can always layer
this too if you feel like it's not dark enough yet. Layer two different values
over top of each other. It kinda ends up having
a watercolor you feel because you're just using the
water to make it lighter. So it's kinda nice to
just keep building, layering it until you
get it where you want. But you can also just take a
clean brush with water on it and scrub out some places if you need to make
them lighter too, you know, that could work too. You can take some input
it in another well or another area on your palette
and add more water to it so you can get different values apart
from your darkest value. All right, how far
along are you, Melissa, should we continue this
in the next lesson? I've got the basics down, so, okay, I think I
need to step it up. I might need a few
a few more minutes, add some details or things, but I think an okay place. That sounds good. I
will catch up then. Okay. Sounds good. All right, everyone. Great job. These underpinnings
are looking great. We're ready to move
on to the next step, Paul, What do you think? I am so ready? What is the next step? We are going to be
painting the background. See you there. Alright, let's go
5. Painting the Background: All right everyone,
welcome back. We are ready to get
started painting the background of
this moody orange. We could use lots of black. I'm super excited about that. Just having way too
much fun right now. No, you let me use black and
I am just in my element. Yeah, it's enjoy it
while that is true. All right, everybody,
let's go. Okay, what Mill? Step two, quality. We got our underpainting done. We are ready to paint
the background. So I am going to get
a larger brush for this just because I feel like that will make it
go a little bit quicker. Sometimes I think it's just
easier to get the large brush for the background or like
a large area of color. I think it goes quicker and it's just easier to
get things to blend. So I have my large
brush, my water, and I pre-mixed some colors here and we'll just go
over these really quickly. So I used some of those same
colors that I had last time. So I had my burnt umber and I had my Payne's gray to
do my underpainting. So I'm ex up a few
different versions of that somewhere a
little bit warmer, some are a little bit
cooler because we have some variations in
the background here. Our background tends to be a little bit cooler and then
when we get into that table, it's a little bit warmer. So I just wanted a
few little variations of colors for that. I have one that's a
little bit darker, so I didn't mix black into one of these
just because some of the corners and edges of
this are really dark. So we wanted to have some
variation in value there. I also added white
to one that was a little bit cooler and one
that was a little bit warmer. So I have a lighter version of the burnt umber and a lighter version of the Payne's gray. And then I also
have a highlight, so minds a warm white. And I thought that would be nice for the highlights because there is so much cool black in the background that some of those warm highlights might stand out a little bit more
on the edge of the table. So that's what I have. Here. You have all that. You spend some time analyzing
the colors that you see in the image and trying to mix
them before you started. That's why I did that actually
isn't good pro tip for us, Paul, analyze your colors. So take a good look
at your reference and analyze the colors. Analyze the shifts in value
before you get started. I think that a really
helpful thing is to have enough paint
ready for you, especially in acrylic before you start laying that
in the background. So you don't run out of
paint in halfway through. Yeah. There's nothing
more annoying. Yeah, it's very hard to mix
the exact same color 20th. It'll never get to
the exact which, you know, you might not
even need it to be exact, but sometimes it's just easier to have plenty
of paint ready for you. Yeah. So I'm just going
to start laying the paint in the
background here. I'm starting with the edges which are a little bit darker. So my black in there. And another helpful tip, shall we call it
a pro tip, Paul? Oh, you know, I
loved the pro tips. Mostly give us give
us another one. So in the underpainting, we did go very loose and
thin with our paints, so we added a lot of water. This stage we do not want
to add a lot of water. We want that full
coverage of the color, we want that impact
of the color. And part of the reason we did the underpinning was to
allow that thicker paint, that color to stand out. Or the value of the d values. So we do want to go thicker, more opaque with the
paint this time. Yeah. The underpainting is there. It's kinda like a guide for you but you're pretty
much covering it up. Yeah. And even though you're
covering it up, it really does shine
through and create a nice first layer for you
to lay paint on top of. And if you didn't have that, it really would be hard
to get this deep value. It would take a lot more paint. It would take a lot more time. Just be make your
life a lot harder. And that's not that's not what Paul and I
wanna do for you. Exactly. You can probably
tell just by how much easier it is to move
the paint across the canvas. Now that there's the other
layer of paint on there, It's very different than how it felt doing the underpinning. Yeah. We're just focusing on the
background at this point. I'm not including
the table probably. I think in this lesson
we're just going to focus on that flat color
in the background, getting some nice value shifts. If you really look
at this closely, you notice a value shift right above the orange
in that background It's a little bit cooler
and it's a little bit lighter right above the orange. So we want to get that in there. Pay attention to that. That's kind of our, our
mission. Right now. That's a very subtle thing. And when you first
look at the photo, that might just kinda
look to you like the background is all while. But that's a good example of how taking your time and
really looking at things, you can start to see more. Yeah. And like we said, your underpainting is just
a guide at this point. It's not anything that you
should be precious about. Just paint right over it. We obviously you want to, you might find too that
the values are different. Like, I know, I could not get the brown underpinning
to be quite as dark as I actually
want this part to be. So you're not stuck with
what you did before. It's just there to hope
that it's, you know, it's a blueprint, but
if you feel like you, once you start working on it, something else
would work better, or those values aren't
quite where they should be. Feel free to just
paint right into them. A little orange feels like it's just about to walk the plank. Maybe like standing on the
edge of a diving board or maybe it's good that
we started with this one. Because I need my
mood lifted up. I will put on a happy note. The story has a happy ending
for the orange, don't worry. Just goes through a rough patch. Yeah. Like we all do. Can understand that, right? It is interesting
how you can look at something that is so non human and still have it elicit different emotions just way
that you handle the color. It's pretty amazing. Yeah, you start to
feel something for this little orange too. It's kinda dislikes becomes the main character in
your little story. Yes. Sure. I can't think of any
stories about oranges, but I did love the attack of the killer tomatoes
movies when I was a kid. I remember those but I don't, I don't think I was ever
that into tomatoes. Shaw, such great slip, great cinematography,
such drama, such pathos. Yup, I can, I even still
remember the theme song. That's especially one
line in particular. It says, it goes like this. I sing this for my
sister quite often. I'm singing about
the killer tomatoes that are killing everyone. In one of the lines is, I know, I'm going to miss her. A tomato eight, my sister. Wow. Yeah, that's heavy weight. People tuning in for this class are really getting
their money's worth. You all are getting quiet. It's a mood. That's right. Yeah. Call establish that we're
sharing in this mood. Just trying to connect
to the subject, right? So I started with that
black and I just kind of blended it into so my letter colors that I
had mixed from the beginning, just to establish
a little bit of value variation in
that background. Do you have any
tips for blending acrylic gouache if you want a soft kinda gradation from
a darker till later years. Yeah, so acrylic is something
where you kinda have to build different values and you have to kinda paint back into colors
as you lay them down. So I keep adding more to this lighter area right in
the center about the orange. Just to kind of get
more of a value shift. I mean, it's very subtle. But I think with
acrylic painting back into wet paint is always the
best way to blend something. Yeah. Using I like to use the
long horizontal strokes to blend just because I think it
gives you a softer effect. Wet on wet is what we call it in the painting
world where you just, it's a lot easier to work into wet paint than it is to
work in a dry paint. It will allow you to
blend a lot easier. You can use a dry brush effect, which just means, you know, you're taking paint on your brush and you're
working on top of dry paint. And it will give
you more texture, but it won't give
you the soft blend. Usually. You can try that if you do want more
texture to your painting or, you know, you're going for
rougher texture overall. We don't want it to be a soft. It's just a different technique. All right. I think I have my background. Yeah. I think you've got that. We did it. Good job. Everybody. Good job paying that background. We have some black in there. I am very happy
about that and we are ready to move on
to the next step. Paul, are you with me? What's the next step? We are going to be
paying that table, so ready to get all
of that background established before we can
start painting that orange? I just want to paint the orange. I know you were so close. Okay. I'll see you then. All right.
6. Painting the Table: All right, everyone, we
are ready to get started. We're going to paint that table. We're gonna get one step closer to painting the orange.
Paul, Are you ready? I am so ready. Let's do it. Let's go. Here we are, step three of
our dark and moody painting, so we're ready to
work on the table. We have the background done, we worked on our underpainting. So I mixed up two little colors that I could possibly use
on the top of the table. And that is an orange
and a darker orange. So like a medium orange
and the darker orange for that reflection onto the table. So if you look really
closely and again, back to our pro tip about looking really closely
at a reference. Before we start here, I am just going to
pay attention to all the different shifts in value and shifts in color
on the top of my table. Think about that
before I get started here and kinda come
up with a plan. So I know that my reflection of my orange is going to
be in the center here, so I'm going to use some
warmer colors there. A table gets darker
once it fades to the right and then a little bit lighter once it
fades to the left. So I just want to have
a plan going in here. You forgot your theory. Yeah. So I used I have my primary red here and
a primary yellow eyes. It equal parts of each. You might need a
little bit more yellow depending on which read
in which yellow you have. But that's how I got
this medium orange here. And then my darker orange, I used a little bit
of burnt sienna and then mix it with a little bit of the orange that I mixed myself. So I'm using a slightly
smaller brush this time because I want to
get some detail in here. Okay. I think that's another pro tip. Paul will use the
brush that you are killing it with a different
set it up properly. Say Hey, I see it
here, here it is. Alright. I got to be confident
in my pro tips here. Pro tip. For this lesson. Use the
brush that you need for the size of the part of the painting that
you're working on. So you're working on
something more detailed, something smaller, something that isn't as
large as the background. He's a smaller brush. You use the brush
that you need for the size of the part of the
piece that you're working on. Beautiful. Always good to switch it up a lot depending on
what you're painting. You do not have to use the same brush for
the whole painting? I would not suggest that. No. It's going to take you a long time and it's going to
be way more difficult. Sometimes I forget that and
I just keep painting with the same brush that I remember
and I get a smaller one. It's like, oh yeah,
this is nice here. So I'm going to start with
some of the value shifts on the far left side of
the table just to get that established as I'm
working across the tabletop. Uh-huh. I I just don't want to lose out on that little edge of light. So I'm gonna put that in there. And I'm gonna go with a
slightly warmer highlight. Then what I have been using, just because I want
that to stand out. So if you're doing
a warm against school is going to
stand out a lot better. Another good things to think about when
you're talking about using color to create mood is not just necessarily what
color is your choosing, but also what temperature
of the color, meaning how warm or
cool is that? A lot? Yeah. I really am shifting around a lot as I'm painting this because I'm
really paying attention to, like Paul said, where that
temperature shifts in color. So I'm using the
colors that I mixed up depending on where
I'm at and the table. So some areas are much darker
but they're also warmer. Some areas are not quite as
dark but are much cooler. So I'm just blocking in
those colors where I see them and blending
them as I go Using the same color and
it doesn't look right. You can always paint over it, changed it don't just
don't feel stuck with it to see what
you chose for. Yeah. Definitely definitely gets darker as it goes up towards the background that tends to kind of blend into
the background there. So I want to use something as dark as that
background I just painted. You-all didn't notice just
how complicated this was? A lot. Yeah. Yeah. Yeah. I am jumping around a
lot here just to make sure I get a lot of those colors blocked
in that I know I want to have in my painting. I tended to sign is it go finally started to use some of the oranges and I was like, thank goodness they get
to use a color now, gray, gray, and black. That's an interesting thing to point out that
all of our calories, as we're talking about
color and creating mood. And so sometimes using a very limited or
neutral color palette overall can make the small areas of color really stand out. Uh-huh. Yeah, that's true. I can give emphasis to them. So I made sure to get some really dark darks in
that shadow from the orange. And everything around it is
a little bit lighter and it also gets a little bit cooler and some of those lighter areas. Looking encourages. You notice how all
of this is making you saved the most
fun part for last? If I was painting this, I'd be 1/8 to the orange. No, no, no, no, no, no. Everything else for a little
more self-control. The knee. I know that's a general rule for painting and it's
hard because you really want to
break it and do the do the exciting thing first. But I do think there
is merit to it. Like I think, you know,
obviously you can break the rule is once you
start making your own artwork. And I don't really believe that things have
to follow certain rules, but I do think it will
be easier if you start in the background with
most of your paintings because it's hard to
paint around stuff. Like if you get that
really perfect orange and he loved the way it looks, and then you have
to go and feed the background and you
have to worry about painting around this perfect
orange and not touching it. It's going to be tricky. Yeah, it's not gonna be fun. And also, if you painted
the orange first, you'd be painting it as
it's surrounded by YES. Or surrounded by
the underpainting colored if you did that. And it will look totally
different than how it looks against the true
color of the background. So it really does help. Yeah. That was very
relative. That way. Yeah. Definitely. Yeah. Some of those
lighter details. Now, sir, it gets some
texture. That table, a little bit more funds
on that reflection. And I think with the step, alright everyone, fantastic job. We have the background done, we have the table done, we're ready to move
on to the next step. What's the next step, Melissa, is it painting the orange? It might be painting
the orange, Paul. Yeah. Alright. Let's go. Alright, let's get started.
7. Painting the Orange: Okay everyone, welcome back. I'm so happy because we
are about to work on some details which
makes me thrilled. I am ready. Let's go. Okay. Okay, here we are. It is finally time to
paint our little orange, dark and moody little orange. So I'm going to get
a couple of forms is the symbol of Melissa. Yeah. My, my, my little
soulmate, orange here. Alright, so I have a
couple of brushes. I want to go smaller, obviously, because I'm painting
something smaller. I already had some of
my oranges mixed here, so I'm going to use
the same oranges. I put out a little bit
of white because there is a little bit of
white and this orange. And I want to have that to make sure I can paint
the highlights. So I'm going to get out
my smaller brush here. I'm going to start with
some of these darker tones. So again, you just want to pay attention to where the
shifts are in color, where the value shifts are, how the orange changes as it
goes from shadow to light. So we have a lot of
the darks already here in our little underpainting. We're going to work up to
those warmer dark oranges. Start establishing
some of those in here. It's pretty dark in the shadows
like kinda like Greece. Yeah, you're probably going
to use people might feel weird using a color
that's not orange. Orange. Yeah. So honestly like pro tip, here's my definite pro tip. This is one of my favorites. Okay. Let's hear it. Don't pay attention to
what you're painting. Pay attention to
the color shifts and the value shifts like it
doesn't matter what it is. You're always going to paint the way the color is changing. That is a pro tip. I like it does not
matter what it is. So this could be an apple, this Covey oranges
could be a human face. You are just going to
look at the way the color changes and how it wraps
around this object. And that's, that's
what you're painting. No matter what your painting. Be, trivial landscape,
it could be anything. I feel like that's
even extra tricky with this one because
the name of what we're painting right now
is also the name of the color they
expect to be using. So you're really fighting your internal impulses here to just make everything
bright orange. There is some green here though, like if you look at some of the shadow areas like they get a little bit
greenish, there's some, there's some bluish tones in there, even in
the highlights, I could do notice there's
a little bit of green in the top left of the orange. If you look closely, you're
painting all of that. You're not just paying what you think that orange should be. Your painting. Everything you're
seeing, not what you're thinking. You're seeing. A big part of this is training your eye to look
closer and not being afraid of painting the colors that are there instead of what
you think they should be. No guarantee of you paint what you see instead
of what you think you see. You're going to be way more successful in all
of your artwork. It doesn't really
matter what I mean, as long as you're going
for a realistic yeah. Yeah. And to do that, you have to keep looking at the reference. You know, that
sounds pretty basic, but I mean, that's it. This class is called
back to basics. So that's fair.
You're constantly looking at what
you are painting, then you're not going to notice all those little things, right? I'm just really
paying attention to the colors that are
in front of me. The colors that I'm seeing. And then adding colors where
they fall on the orange. Blending as I go
with small strokes. There's a lot going on,
on this little thing. There is, yeah, I think that's
why people love painting. Fruit is just like all the little color
shifts and the textures. And it's actually really interesting when
you get into it. So try to notice
where something gets a little bit cooler versions
a little bit warmer, where it gets a
little bit lighter in the shadow areas versus
the deep shadows. I'm trying to capture that Sometimes it takes
more than one layer, so if you get it
on there and yeah, you're quite right,
you can go back to it. We're rushing here to
make this work well for the time constraints
of the course. But don't feel like you can't keep going
or keep adding to it. Acrylic is kinda
meant to be layered. Definitely, yeah. And they think I'm painting
over some of that. Under painting if
you've got it to darken certain areas which i'm I'm struggling with that
a little bit right now. It's going to take a couple of layers to
get it to where you want it to be or where
you feel it shouldn't be. Color wise and value was. That's okay. Honestly, acrylic looks better when
it's layered anyway. It's a cool medium because
depending how you use it, it can look like a lot
of different things. You can make it look
like watercolor. You can make it look
like an oil painting. You really can do a lot with it. It's easy to use. It's a little bit more
approachable than oil painting. Yeah. No. Cost-wise and just
practicality wise. I am just really
paying attention to where all those
colors change and just kind of going through
the different colors that I mixed for myself. I'm blending them as I go, mixing some of them to reflect the different
values and seeing, layering them to get different effects were big part of painting really is
just experimenting, trying different things and
seeing what works for you. And I think Paul and I have only gotten to this point because we've done a lot of
experimenting over the years. Yeah, don't be afraid
of ruining a piece. It's always better to
push it too far and try something rather
than stopping short. Right? And you can
always keep adding. I think people
tend to get above, if it doesn't look great from the beginning that I will tell you that most pieces of artwork don't look
right from the beginning? No. Except for Melissa's. Well, that's not true. If only they knew you the
way I do, They would know. Well, I think they can see what I'm painting right
now and knowing it. No, it's, it's
definitely not perfect. Yeah. You all just hate when people
are like perfect and then also humble
about it too. So definitely want
to make sure I'm capturing the highlight
at the top here. And that's something
that definitely gives anything depths. You want to capture the shadows and you want to capture
the highlights. I do like the way that
it's looking now, but there's some orange on the canvas against
all of those grades. That's it. Sure is that, that orange
definitely sends out. One other thing to think
about as you're painting, this is just the edges. So thinking about how we painted the background and
how everything blended into something else. So it was all very soft. There were no real hard edges except maybe the
edge of that table. And the orange definitely
has hard edges. You definitely want a clean edge around that orange so it stands
out from the background. And I think that's
something to think about as you're putting
the orange in here. That will definitely
help it stand out. Pop from the background. And then as you're working
within the orange, pay attention to the edges so where one color
blends into the other and how soft that is versus is it a little
bit more hard? So is it a, isn't it abrupt
shift to shift from one value to the next or
from one color to the next, or is it a softer shift? And I think that depending
on what you're seeing, you would change the
way you're laying the color on your
Canvas or your paper. How much you blend
it versus leaving it kinda chunky, Exactly. Yeah. We're taking it into
high gear here. I'm Alyssa doesn't
actually paint this fast, but take all the
time that you want to add the details
to your orange. And then when you're ready, move on to our next lesson. I a great job, everybody. We've got some details on that. Orange is looking beautiful. We're almost ready
for the last step. Step. This went so fast. I know, right. I'm glad. I'm fine. What are we doing next? We're going to work on that
leaf and the stem and is going to be almost
finished. I'm so excited. Oh, okay, let's go. Okay?
8. Painting the Stem and Leaf: All right everyone, welcome
back to our last step. We're getting some detail
on that leaf and that stem. We're tying everything
together and wrapping up this dark
and moody painting. Alright, I'm excited. Let's go. Okay? Okay, We are at the leaf.
We are ready to paint. So we've got our orange in
here, we got a background, my data table painted kind of the last steps get that
stem and the leaf painted. So I have mixed up a
few new colors here, just some greens that I'm
going to use for that leaf. And if you are mixing
your own green, if you don't have
a tube of green, you want to use start
with a yellow and a blue. So I have this primary blue and I use this cadmium
yellow medium hue, which is kind of a
warm yellow mix. Those two regret any
more blue for this, then you are yellow because
if you look at the reference, that leaf is really more blue. It's very cool. So just enough yellow to get
a nice green tone. I mixed a little bit of the
Payne's gray in there just to tone it down a little bit because it is not very bright. It's more neutral. It
has some gray in it, so you want to tone it down. You could also mix
a little bit of a warm tone in there
to tone it down. So I mixed in a little bit
of burnt sienna to just to make it less saturated. So I have my greens here
and then I have some darks, and then I have a
little bit of a warm white that I'm going
to use as a highlight. Started laying some
color in there. Another color. Another color? Yes. Something other than black. All right. Yeah. So you can start wherever
you want on your leaf. I'm just going to start laying in some of these highlights. You can start either with the
shadows or the highlights, whatever works for you. I just want to get some of those lighter areas established. Some of mine did end
up getting covered during my painting phase. So there's a lot of the underpainting
and can't see anymore. So that's where I want to
start with the lights. Just kind of get those in here so I can see
where I'm working. You must have been
being a little reckless and crazy when
you were painting. I now can you imagine
it over here? This is what was out-of-control. Looks most out-of-control you're going to ever see why we're
so different, aren't we? It's really quite amazing. Now, quite amazing.
We've gotten this far. I think that's
maybe the key, is, I think yes, with
personalities like ours, we need some balance. We're both kind of
like really extreme, just in different
extreme opposites. You a good friend who is your exact opposite
and you will, because you will no
longer be a sad, lonely little orange sitting
on a shelf somewhere. You want to be, I mean,
that's totally cool. I like it. You would have to say that. I got to defend those little
orange because I feel like I have been this little
orange throughout my life. It's a beautiful little or yes. But just wait till we get to
the next the next painting, we'll see another, another side of our little
orange friends. Yes. We'll see Paul's life story
told through oranges. It's gonna be like the
orange goes to Mardi Gras. I know, right? This is like my life story told
through an orange. Then we will get to Paul's. You could probably expect will be the exact
opposite of this one. Yeah. Yeah. But it's a very good example of how color changes everything because that's pretty much
the only difference, really? Yeah, really. Yeah. I mean, we're
we're joking, but you can use it
to tell a story. You really can. It creates a certain mood you
feel a certain way. The more we talk
about those orange, the more we feel like
we know this orange. But if you're painting
a portrait of someone and you
use certain colors or you used a
certain background, maybe a lighter background
versus a darker background. It would take on a
different feeling. Than it would if you know,
did something different. So it's just something to
be mindful of as you're creating your artwork is just different things that
you can be mindful of. N different feelings
you can create through, you know, a lot
of different mean through use of
color specifically. Yeah. Yeah. So I have some color blocked in. I'm a leaf here.
That just gives me. So I am going through
adding a few more details and then I'm going to
start painting the stem. Definitely going to get a small brush for painting my stem. So I like a small round brush that has a nice point on it. This is a number three brush
and this will just those small enough that I can get
some tiny details in there. If you look at
that stem, there's a warm highlight on the
left-hand side of it. So I'm going to start
by painting that. And that will just help me
define where that stem is. I think that's one
thing that can really pull a piece together is paying attention to the light
source and how it affects each little part of it. Consistent with
that, it will really start to feel very believable. Yeah, definitely. I always like to say you can
do whatever you want with color as long as you have
the value figured out. The important part
is that all give it depth, sense of dimension. I think that's one of the, one of several benefits of
doing the underpinning. You kinda get to work
all that out before you have to think about color. Oh, look at this
happy little leaf. It's common to go. I know I felt like the
lethal adds so much. It will really make this look. It'll turn this pumpkin
into an orange. I kept saying no, it
looks like a pumpkin. Yeah. A little magic. Stick with things. Eventually they will work out. I'm going to add some of that
same highlight to my leaf. Some of the edges, and get separate
from the background. Give it some definition. Well, yeah, I loved the
little sliver of light on me and on the leaves that
just gives it a nice, Yeah, nice, real nice highlight at the top of the stem
kinda defines the, the top of it, the
very edge of it. These like finishing
touches are always the thing that brings the
whole thing together. I think that almost sounds
like a pro tip, Melissa. I'm eager for it. Another one, give us a clue. I don't even know. You said so I'm gonna I'm
gonna let you have this one. Okay. Pro tip from Paul. Don't rehearse those
finishing touches at the end because that is usually what makes the piece come together. Yes. For sure. Maddie, happy, too
happy to help. I appreciate you
jumping in there. I didn't do it out of charity. Now, you owe me one pro tip
when I'm doing my painting. Now that I think that's all. I got to be smart.
Oh my goodness. So much pressure. Alright, few little
darks in there. And then I think this little
moody orange might be done. Slaving, know, right? Kim Lopez, happy
little, sad life. As long as art
elicit some emotion, it doesn't matter was right. I mean, any emotion is
worth portraying, right? Got it. Got appreciate the dark. In order to
appreciate the light. I mean, like, I guess like great literature and
films and stuff would probably not be quite as interesting if everybody was
just happy all the time. Right? Can you imagine? But I would appreciate it if they could get
things resolved and worked out by the end so that there is a
nice happy ending. I don't have to be depressed. Me more than getting
on a bus in a movie than having it end in tragedy? Don't appreciate a good Tragedy. No. There's enough of those
in the real-world. Oh, wow, That is
true. That is true. Well, yes do is read the
news every day, you know. Alright, well, I'm
gonna do one more. Try anything which is paint a little shadow on my orange
underneath this leaf. And then I think you
can call it quits. Right? About there too. So that's pretty good for that little orange storage's full, beautiful job, everyone, we have such a traditional looking, beautiful, deep, moody,
dark painting. I love it. That was a lot of
adjectives. So many things. You feel the richness in
this painting, I love it. Yes, absolutely. And now we're going to go the total opposite direction
and start a new painting. And guess what This time I'm
in charge, so get ready. No, no, no black note. See you. Okay. See you soon.
9. Underpainting and Color Mixing: All right, Hi everyone
and welcome back. We are starting on a
brand new painting now. Similar subject matter. We're still painting
the lovely orange, this time a few oranges
because we thought they looked a little lonely in
that first painting, right? Yeah, yeah, friends
now, which is so sweet. But we also wanted
to really just demonstrate how
different you can make the same subject matter feel by changing
the color scheme. So now we're going to
put away that tube of black and start working with
some really bright colors. Are you ready? Oh Paul, I don't know. You can do it. Let's go. Okay. Alright. Now, it's my turn to
be in charge there. Any it's going to
be a part of UT. You can see our
reference here for our next painting is a little more paul
than the last one. We're going to end on
a very positive note, these oranges are having a ball. They are there. And they are now, pardon? Yes. We'll just pretend
the one on top is the one from
the last painting. And finally she
found her friends. Okay, so just like last time, I am going to start by
doing a very quick sketch. You don't need to spend
a lot of time on this. And I am cropping mind to
more vertical composition. But you are welcome
to do it, however, works best for you if
you'd rather have it be more horizontal or square, just think about that. It's always good to consider
how the proportions of your Canvas compared
to the proportions of your reference and then figure out how you
want to compose it. I'm just going to do some very quick little light sketches of the oranges so I know about
where they're going to be. And then I'm going to
draw the slanted line for the back of the table.
And that's really it. You don't want to press
very hard with your console because we are doing
a different kind of underpainting on this one where we're gonna be kinda
covering the whole Canvas. So if you go too dark, the lines will smear
and get all groups. Yes, no girls, no grocery, this one, there's there's
your first pro tip for this. Actually. Draw lightly to avoid gross. Spoken like a real pro, right? Yeah. Sounded very
professional to me, bro. Oh, good. Thank You. Always always my goal. I could tell. All right. I just have my oranges in, draw the slanted
line behind them. And I'm even going to be
an overachiever and draw a little bit of an indication of the shadow that's going off. Oh, wow, and get you home. Now you're a pro. I well, I had to follow you, so I'm just trying to step
it up a little, please. All right. Okay. So that's all I
am going to draw. And this time instead
of using brown and painting all of the different
shadows and highlights, we're just going to cover the whole canvas and
I am using yellow. I would choose. If you have yellow, I would try using that to you. But if you want to pick
something different, you can, just like before the underpinning is
going to get covered. But because this is such
a bright colorful image, choosing a bright color to start with will
actually make that a lot easier that just kinda shine through
the other layers. If you start with
something really dull, you'll have to fight
against it a little more to get to the real brightness. So I am going to water it down. I don't want it to be
just like pure paint. Want it to be a little
bit then are kinda like our last underpainting. So let me clean up my brush. This is where I
light sketch will really help you because it is going to show
through the yellows so you don't want
anything too dark, especially with something so bright like we're
working on here. Yeah. Yeah. You can see how I've really
thinned it down with water. And I'm just kinda
cover the canvas. I'm back in my happy place
now that I've got break. So much of it kind of
dipped into the underworld. Their son has come out and just paint
right over your lines. The fewer brushstrokes
you can use, the better because if
you scrub it a lot, it will still make those
pencil lines smear. One thing that you can do If you, if that becomes an issue for you on other paintings, is to use spray, fix spray fixative like
what you would spray on a charcoal drawing or a pencil drawing
when it's finished. You can actually spray the Canvas once you've
made your sketch and then the pencil won't
smear when you paint over it. It says a happy little snowman. Right? Now I want to give it a face and some arms again for that, but we can totally do that. That's what Melissa thanks, but she's not in
charge of this lesson. I am drunk with power eight now. Yeah, but your seat
belts on everybody. Just about to get us oriented. I'm using a big brush. I should have mentioned
that earlier, but when you're just filling in, bigger the better so you
can get it over with. So you can get it
over with faster. One way to put it. I have got my canvas covered and we need
to give that a little bit of time to dry before we
start painting on top of it. So since we still have
a few minutes left, I'm going to go ahead
and start mixing up the other colors that we'll
be using for this painting. If you're not planning
on jumping right into the next stage after
finishing this, then you might not
want to do this part until you're ready to
come back and do do more. All right, let me get
some more paper towels. And we are going to need that really bright blue
that's in the background. We'll need more
yellow for the table because right now we just
have a thin layer on there. And then we need
to mix up some of those colors that
are in the oranges. So let's start with
the background color. I have my primary blue here. So I'm gonna put
out some of that. The last little bit in this. Here we go. And I'm also going to put
out some titanium white. You can use any brand of
acrylic paint that you want. I'm actually using this very
inexpensive basics brand from liquid tags
because I think it's, it works just fine. The biggest difference is that this kind of paint is a
little bit thinner than if you bought more expensive brand or it's
something that says more like heavy body
paint and you'll have more actual pigment. This has a little more like
a filler, but that's fine. Yeah. I think perfect paintings that it does the job.
That's for sure. Yeah, definitely. I am also going to put out just a little bit of
brown burnt umber. That'll help me darken
it up in the shadows. So I've got my bright yellow. It's cadmium. Cadmium yellow is what I used. And then my primary blue, my titanium white, red. I have this crimson red. And then I put out burnt umber. Alright, let's do
some color mixing. Are you ready? So I'm going to start
by making the orange, which is probably three-quarters
yellow, one-quarter red. I'm going to try that. That's my guess because the
red is pretty powerful. Yeah. That red can take
over pretty quickly. Oh. Oh, as it just did. Okay. So if you do what I just did, then save some of that
because you do see there are some spots on there that
are kind of more reddish, but I'm just going to pull
a little bit of that over and add more yellow
to it because the, the majority of the orange
is pretty yellowy orange, but it's on the yellow side. So they need a lot more yellow. Try that again. So, so drop of that
reddish color. There we go. That's
what we want. If you're mixing and you
don't get the color you want, you can always add more of either color to shift
in a direction. So it's it's never
lost. Never lost. You know, you can always yeah. Like do you like
what I just did, take a little piece of it and save the other one
is you want to use a little of that or
you can just add, add more to it to adjust it. Alright, so now I've got
a nice orange color. I'm going to take a
little bit of that. Separated again. I'm going to add
a little bit more yellow and a little bit more white so that we get
a really nice light, warm, yellowish orange
color for the highlights. We go Beautiful. And then let's mix up the background color
really quickly here. So that is, I've got
my primary blue. And I'm going to start
out by seeing what happens when I just
add white to it. But I think we might
also need to warm it up a little bit. A
little more white. It's pretty light backgrounds. And I'm going to add just a touch of this
lightest yellow, orange color to it. You don't want to do much or
it's going to turn green, that if you put just a smidge, it'll take the edge off of
that bright blue and make it go a little bit more towards the color that you
see in the picture? There we go. Gorgeous. Oh my gosh. This is like the most
refreshing, colorful, right? Last one. Smooths. But you know, both
have their place. Alright, I think that's all
the color mixing for now. And then in our next lesson we are going to start painting. Great job everyone. All right, we have our
bright yellow background, we have our colors mixed, and we're ready
to start painting some bright happy
oranges next time, are you ready, Melissa? I'm ready, Paul. Okay. See you then. See you soon.
10. Painting the Background: Hi everyone and welcome back. In this lesson, we
are going to be continuing on the painting of our happy little
oranges by painting the background and the
table. You're ready. I'm ready. All right, let's do it. In this video, we're going to start painting the background. So we already have
our colors mixed. And this one is a bit simpler than the last
painting. Thank goodness. I need to do all the hard work. Is you get the simple
one. Of course you did. I didn't plan it
that way at all. Alright, so the background is just a flat color and it's that blue that we made
in the last lesson. I just use primary
blue and white. And then a little bit of this light yellowy orange
to kinda warm it up a bit. So I'm using a big brush
because we're not really, There's not really any
details or anything. We're literally just
painting it flat. Yeah. Just some
pretty blue in there. It's feels very
tropical already. Does feel like
we're on vacation. I know, right. I'm ready. I'm ready for one. I know. That sounds wonderful. Let's do that. At
least we can pretend. Yes, exactly. We're creating a very
happy little place for these oranges to tell him this little orange
snowman to live. I'm just kinda turning my brush around as I go so that I'm, I like painting with
these flat brushes. So position it however it
works best so that you can get the nice clean edge around
the oranges in this case. Yeah, so this is an example. You want to paint
around those oranges. You don't want to
paint through them? Yes, because the orange is
a bit more transparent, so it would take more
work if you had to try to cover up the balloon, you could you could do it, but why me, why make it
hard on yourself, right? Let's go for easy. We're on vacation, remember? Yes, we've made it
through our dark patch. Now. We are partying it up
in the sun it out people. Okay, I'm almost
done going around these oranges and
then I'll just kinda fill in the background quickly. Try to get a nice clean edge. That's, it takes a
little more work than you might think to
really get a nice sharp, clean edge, but it's worth it. It will make it
easier when you go to paint the oranges next, right? Have you don't want to
use a smaller brush or around the oranges
if you're not as comfortable using wider
flat brush, that's okay. Use the brush that you
feel works for you. That sounds very
pro tip is to me, I think that it will be a
pro tip for this lesson. Don't be afraid to choose the brush that's the
right one for the job. Making sure that the line for the table in the
background looks like it lines up with the other one
on the other side. Yeah, that's important. Filling in the background. It may take a little
bit of work to cover up all that yellow layer
of blue on top of blue. Yeah. If you paint one
layer and it feels like there's still yellow
showing through, just let it dry and paint another layer where you
might find that you like it. I mean, that's totally fine too. Sometimes it's nice to
let little hints of the underpainting
show through in places if it kinda
contrast what's up above. Just completely
changes the mood. Just with the colors. Sure. So we've, we've sort of showing you two extremes in this course, but there's a lot of, you know, in-between
options to just like how humans have more
complex emotions than just happy and sad. You can create more Subtle kinds of mood
shifts in your piece. You can even have
more than one mood. You can have an area of your
painting that is darker and then lead the eye over somewhere to a brighter,
more colorful spot. I mean, it's really
endless options. Yeah, definitely. And sometimes you can use
unexpected colors to bring about a different mood than someone would
normally expect. Like sometimes pastel colors
can create a really eerie, uncomfortable nude
where you would expect something
soft and pretty. It just depends what you're meaning and how
you're painting it, and how you use
color within that. Uh-huh. Yeah, that's all right. I've got my background on there. Let me just touch
up this one spot where the yellow is
showing through bids. Okay? All right, now I am going to do another coat of yellow over the table because right
now it's just got that very thin layer
that we did initially. And yellow is one of the
most transparent colors. So one thing that
I do sometimes, when I want it to be
a little bit more opaque is to take the yellow, just going to scoot
some of it down a little bit right
here on my palette. And I'm just going to add a
little bit of white to it. The white will. I'm not putting enough that
it's going to really change the color very much if at all, but it will just make it
a little bit more opaque. So that's, that's
helpful when you're using any really bright, a warm color like this, like yellows and reds, they tend to be
more transparent, so choose lighten it up a bit, anything with yellow and it basically is going to be
a little bit transparent. It just tends to be
thinner. General. That's true if you're
if you're going to go ahead and you buy you buy yellow paint at
the hardware store. It's semi thinner. It's probably gonna take 1 million coats to cover your wall yet. So don't do it. It's not working now. Alright. So I've taken some of
that yellow and I put it aside because I want to also mix up the color for the shadow
that's on the table. So I'm using a little
bit of the brown. I'm adding that in. And I'm actually going to
also put a little bit of the blue background
color that we mixed because you can kinda
see that the shadow on the table is picking up
a hint of that to you. You don't want much or
it'll just turn green. But if you do a little brown and a little bit of that blue, you'll get a nice shadow color. That kinda feels like it belongs in that space with
the bright blue in the back. Okay. Ready to paint the table? Let's do can make cover all the bright yellow
part first and then do the shadow last. Make sure if you're using the same brush that you
really clean it out, otherwise you'll have
that bluish tinge to it which will not
be be pretty green. Yeah, so clean out
your brush really good to get a new brush and then just go right back
over top of the yellow. We can see how this one is much more solid than the
last two coats. I'm not using any water either. I'm just using the pure paint. Yep. That's similar to how
we painted the last one too. You want to go more opaque over top what we already put down. So I'm going to paint
everywhere except the shadow. And then we'll do
that part last. Is a little hard to tell which
parts you painted it in, which parts you have,
but it is more, it is, it is important to do. You don't want it to look
like we're all campuses. I'm just painting right
up to the shadow. Now one thing that I do notice is that the table
looks like it gets just the tiniest bit lighter
towards the very bottom. So I'm going to just grab a little bit of white
and put it on my brush. And now that I've
already painted that yellow color
all over the front, I'm just going to add
a little bit of white and paint right on top
of that in blended in so that it'll just make
that subtle little shift. And the, It'll make it
just not look as flat. It'll kinda come forward a
little bit more in space. It's very subtle though. You don't really
see a huge shift, just gets a little bit
lighter down here. Finishing up your low back here. Okay? And then for now, I am just going to paint the
whole shadow a solid color, even though there are
some other shifts in it. We'll do that later. So I'm just going to take the
shadow color that we mixed and cover the whole
shadow for now. You can see how it
goes all the way to the left side of that
bottom orange just a little bit rate rate
to wear it right past where it looks like the
orange is touching the table. Shadow on the Cooper. And I think it makes
sense that we put that shadow in flat first-party. That's a good tip because
it is going to be a little bit transparent because it does have so much yellow in it. So we probably aren't
going to have to build up that shadow a little bit anyway. Definitely. Just
like with anything, you just do that with layers. You just keep keep going
back and getting it. Right. That should let me
finish that last liberal. All right. Great job everyone
and great job. Melissa, are you ready to
continue on to the next lesson? I am ready. I am joined
a happy little oranges. Oh, I'm so glad. And that is exactly
what we're going to be painting in the next lesson, we will be blocking in
the color on the oranges. So I'll see you soon.
11. Block in Oranges: Hi everyone and welcome back. We are continuing on with
our happy little oranges, and now it's finally
time to start blocking in some color on the
oranges themselves. You ready to get started? I am probably this is going
to bring everything together. All right, Let's go. Okay, so we have our colors
that we already mixed. You should have an orange and then a really light
yellowy orange. And we created that
just by mixing red and yellow and then adding
white to lighten it. Okay, so in this lesson
we're going to start blocking in the oranges and then in the next lesson
we'll finish them up. So we're just using these
two tones. For this one. I'm going to use
this slant brush. It's like three-eighths
of an inch, so it's not too big. I can get in and
make some details, but it's also not so tiny
that it'll take forever. I like to start with the
darker color myself, but totally up to you. When you look at the photo, you can tell that the
light is coming from the left because all the
shadows are on the right. So I'm starting over
here on the right side. This orange is pretty thin, so it might actually
need another coat. Also, when we go to do the
final steps, That's alright. To get, have to get the paint on there
and then see what it does to know what
you have to do next. Yeah. That yellow under
painting should help to at least give you a
little bit more coverage. I think if we were just painting
orange on top of white, it would take awhile. Yeah. Nobody has time for that. Now, let's make our
lives easier for Kenya. Alright, so I'm just
going around anything in that darker color
first kinda all the way down the right side, a little bit along the bottom. And then of course at
the top where it's being overlapped by
the next orange, you get kind of a cast
shadow underneath it. Okay. Then I like to
paint a little bit past the spot where I want to, where I want it to blend. So I'm gonna go a
little bit farther, then switch to this
lighter color. Actually, I'm going to maybe
because it's pretty light, so I'm going to mix a little of my darker orange with it and Save the Pier yellowy
one for the highlights. So this is kinda
like an in-between. That works nicely. Okay. I like your colors do not have to be
exactly like mine. Just find what you think
looks right to you. Yeah, you could use different
colors too if you want. You don't like the blue
and the background. Feel free to use anything else. That's what, that's nice
about using references. You can change whatever
you don't like about it. Yeah, and that's actually
a really good way when you're first
starting out with the painting to personalize
it a little bit. That's a good pro tip. Actually, when you're
working from a reference, you're not tied to it. Find ways of inserting your own ideas, your
own preferences. That'll just help you feel more connected to what
you're painting. No. It shouldn't just
be about technique. I mean, art is also
about self-expression. But you feel right for you to reflect how you like to paint and what
you'd like to look at. Hello? Yes, this orange is very thin. As you can see. It's okay. But just getting
those bright colors in there, look at how nicely the
orange color contrasts against the blue background. Because those are
complimentary colors. So that means they work
really well together. They're opposite each
other on the color wheel. So that is something that adds some energy to this one and a bright happiness
where it feels very different from the
other one is that the colors do
contrast each other. I mean, they, they
work nicely together, but there are some
contrast there. So you feel a little
bit more energy from those bright colors
being so close to each other. Yeah. Totally, totally
different vibe, the same subject, but very
different feeling. Yeah. I'm going back in
while it's still wet with my lightest color, just to create that little
highlight on each of them. Starts to make them feel round. Okay, now to undertake the time, you can see how on
each one the shaping of the shadows are a
little bit different. They're all on the right side. But it's has to do with just
the shape of the orange. None of the oranges
are perfectly round. They all have little bumps and variations that affect the way the light and shadow
fall across them. So even though it's
a very simple image, if you can pick up on some of those little differences that'll add more interests
and variety to it. Switching over to my lighter color Moves. Okay, Then my super
highlights, super highlight. Alright, now I'm gonna
give you a minute to dry. And since we still
have a little time, I want to go back to the
shadow that's on the ground. And for starters, I'm
gonna go a little bit darker near the
point where it is, like touching the
bottom orange you can see that's where that
shadow is the darkest. So I'm using some burnt umber
that I have on my palette. I'm just going to
start right underneath the orange, using that. And then blend it out into the shadow color that we mixed, that darker, kinda yellowish,
grayish, greenish color. You can also see a little bit
of what almost looks like a red tone in the shadow there, but we'll get that next. Let's just go wounds that. But there's definitely
some reflected color from the oranges. Once you get closer to yes. That's what starts to make a simple image like this a
lot more interesting when you start using those
reflected colors and looking at all the
subtle things like that. Okay, so I'm just
painting this dark tone. And then I'm grabbing my lighter shadow color
and blending right into it because this is
about the point where it starts to shift to
that lighter color. And while I'm at it, I'm
gonna go ahead and do a second coat on the rest of the shadow to
make it more solid. It's the shadow gets a little bit yellower and lighter right back here on the back side
where it's against the orange. Do you see that?
It's like there's just a little bit of white. It's kinda must be hitting that spawns still darker
than the table, the rest of the table, but
it's lighter than the shadow, so you want to do bad. Then. One last finishing
touch I'm gonna do this lesson is take a
tiny little pointed brush using my burnt umber again and paint the little hint
of a stem on that top. Orange. Alright, awesome work everyone. I am applauding you. And we are almost
to the finish line. In the next lesson, we are going to be doing all
of the finishing touches to make this a masterpiece.
See you then
12. Finish Oranges: All right everyone,
welcome back. Now we're going to finish up our painting of
the bright, happy, colorful oranges by doing some finishing touches and
maybe a little bit of detail. So moles, so we'll be happy.
Are you happy about that? I'm very happy about the detail. Thank you. All right. You are so welcome. Let's go do it. Okay. Welcome back. Let's finish this one up. So I'm going to
start with some of the darker shadows on
the oranges because I kinda like to see the full
extreme range of value. And then we can go back over
what we've done so far. So I'm going to use my burnt
umber that I have again, because that's just
a nice dark tone that works well with the orange. So I'm going to come
underneath this top one first, right where the top orange is sitting on top
of the middle one. And I'm going to use
the burnt umber as the shadow that's
right up against it. Then I'm going to kind
of blend it out to this very reddish orange
color because it does get, you can see how as
it moves out from underneath the orange,
it gets redder. So we're all along there and I'm using a smaller slant brush so I can get in this tiny places. Alright, now I'm gonna, while
that Brown is still wet, I'm going to grab this red
and blend right into it. You want that effect
of that warm hello. Then you see how it kind
of, as you go to the right, it just kind of like starts to round down and
follow the shape of the orange and goes right
into the shadow that is along that right side. So for that, I'm
taking my burnt umber and I'm mixing some of
the orange into it. I'm going to just
continue all the way on down on the shadow
side of the orange. It's good idea to always
look at how the color of the object compares to the color of the background
that's next to it. So you can see
over on this side, on the right side, the orange is darker
than the background, but on the left it's lighter
than the background. So you wanna make sure that you, if you're going for realism, you want to try to match that. And then just blending it back. So I'm going from that dark and I'm putting
another layer of my darker orange and
blending into it. I might go up a size
and brushes now. Then, yeah, see how with the second code it
covers so much better. Yes, Thank goodness. Can be very frustrating. Sad looking orange there for it. We are in business, not as orange is the orange. Yeah. Orange has seen better days. He's alright. Then it gets lighter. And then we get to use a
really bright color over here. There that's starting
to really look round. And it's okay if
your brush strokes aren't perfectly smooth. I mean, I'm not painting every little speckle
on these oranges, but if you have a
little bit of texture, even just from your
brush strokes, it'll actually probably
make it feel more like a real orange than if
it's perfectly smooth. Yeah, I think a little
texture here would be nice. Yeah, I'm putting in using white to make
this little highlights and I'm kinda implying some of the little speckles there
because you really do see it. Then that just kinda makes
it feel like they're also everywhere else too, without actually
having to do it. Yeah. Alright. I'm going to
grab my burnt umber again and start on the
shadow on the bottom one. And burnt sienna can really
come in handy for this too, because it does have
a lot of red in it. So if you have that fuel savings that I know Paul
doesn't have it, but feel free to use that. You have it. That's
a good, that's, that's also a brown color, but it is more towards the
reddish orange kinda side. So yeah, that's a
very good option. And I'm just going to blend this one out
into the red also That blends into
the orange pro tip. Whenever you're trying
to blend two colors, they both need to be wet. So if it helps is
dropped my brush, if you are painting the shadow and you want it to blend into the orange
that's next to it. You might just have
to put a little bit more of that orange color down so that both sides of the, of the transition and R
are active and wet paint. It's looking nice. Looked at how on
that bottom orange. You can see how
the very bottom of the oranges also
got some of that red in it all the way
along the bottom. That kinda blends up. And while we're down here, I'm gonna go ahead
and put some of that red in the shadow
on the table too. And it's kinda just right
here in the sprint part. It's like it's just reflecting the colors from the
oranges. Yes, definitely. You will see a lot of
red in the shadows here. Would you normally see a
cooler tones and shadows, but I think since
this color is so bright and you're seeing
so much of it reflected. Yeah. Reflected color
is a great way to make a painting kinda
pulled together. You have all these
different sections, like the background is
blue, the tables yellow. But when you can start
getting those colors to mingle a little more and
interact with each other. That's when it really
starts to be a little bit more harmonious and interesting. Little speckles on
this bottom one. Beautiful too. Touch up where I put some right here on the
table by accident. Not you fall? Well, I did it on
purpose, Melissa, so I could show them how
to correct the mistake. Teaching tool. That's me. Your whole life as
a teaching tool. Have a lot of those moments. Alright, I'm jumping up
here at the top one now. There's not a shadow
really on the top like the others because there's nothing sitting on top of it. So just starting over
here, the darkest part, it looks like it's kinda
right in the middle, on the right side. Using my brush to go
right up and try doing, trying to preserve
that nice clean edge. And then I'm going
to blend it out into the orange color first and then we'll go
to the lighter color. Okay, so I've got my
lighter color now. I'm going to blend all the
way over to this edge. If any of the edges of your
shadows just feel too sharp, you just want to blend them out. So you don't really see sharp edges inside of
the oranges where it, where it goes from one
value to the next. It's always like kind
of a more subtle shift. See a little highlight right here where it
looks like there's kind of a little ridge and
the orange are little bumps. I'm going to put that
in just to break up the perfect roundness of it. Okay. And putting my little white
speckles on the top one. Okay, I'm just gonna do one more quick pass on the
shadow side and I'm going to put a little bit
of the blue from the background this time
in with my shadow color. Just so it feels
like it's wrapping around and picking
up some of that. You can see it in the
photo there is some, like we were just
saying, reflected color, color is very reflective so you can even exaggerated
some if you want. Yes, it will help to tie
everything together to, I think to pulse
earlier point it will have everything feel united. If you do have a little
bit of that blue in there, you don't want the orange
detail so separate from the background that
they don't feel like they're part of the
same composition. Yes, when you have that in a painting when everything
is just kind of its own color and the colors aren't interacting like this, then that's referred to as
more like a local colored. Meaning every color kinda
just stays in its own place. And that's okay if
that's, you know, there are no rules
like we always say, if you want that and sometimes that is what
you want, that's fine. But for a more realistic look, definitely want the
colors to play together. Just kinda blended and do one more quick pass over
that middle orange color just to get it as nice and
solid as I can. With you. A little bit of red
in it. There we go. Oh, look at that. Now. That's an orange. You are a little orange.
I knew you had it. Okay. One more up here. Just about finished. Of course you can keep going as long as you want with this. Don't feel like you have to be done just because we argue, if you're into it, keep on. You can definitely go way more detailed with
this than I have. But I just wanted to
get the basics on here, mostly those so you could
see the difference in how the color changes the mood
with the same subject matter. That was kinda the point. The poll and I were
trying to get across and hopefully, hopefully
that worked. Well, you can see
the difference. I think when we think
we know what you think. Yes, we're very pleased
with ourselves. We hope you didn't you alone. I'm putting a little bit of a yellowish reflection here on this bottom right side of each of the oranges
because you can see how it's reflecting up a little bit of the
table color there. All of those kinds
of little touches that make a big, big difference. Alright, that does it. We got two different paintings. So different. Yeah. Great job everyone, you did it. Congratulations. Now you have two very distinctly different
paintings of oranges. Congratulations, congrats everybody, thanks
for hanging out with us.
13. Closing Thoughts: Great job everyone. Thank you so much for
taking this course. We hope that you got
a lot out of it. Did you not been Melissa? I did. Paul, I feel like we created two totally
different paintings, but with the same
subject matter, just different colors and hopefully everyone
felt the same. Hopefully you can see that
reference that color really makes when you're
creating a painting? Yes. And that rule applies
to everything too. I think now that you've been so intentional and focused
on it in this course, you will start
noticing everywhere how color is used to
evoke different emotions. Whether you're watching a movie, looking at illustrations and a children's book
or advertisements. This, these concepts
are everywhere. Even in your favorite
brands and logos. Look at the colors they used and think about why they
use that color. It's everywhere in
color theory is something common that we deal with every day in our lives. Yeah, that's from the
outfits that you wear to the colors that you choose to surround
yourself in your home. Color is in such an
essential tool for artists. And we've shown you two
different extremes, but there are a lot of
in-between moods that you can create two or even having more than one mood
and the same piece. Yeah, and we're excited to see all the different
ways you're exploring color and everything
you created in this class, please share your work with us. It's so exciting and
so inspiring for us to see what you're
creating, please do. We love that? And
I think it's so cool for everybody to get to see how different artists
interpret the same thing. You got to see how Melissa
and I both painted the same subject matter in each of our paintings look
a little different, and everybody else out there that's working
on their pieces. If you'll share
them, you'll get to see lots of different examples. So it's a win-win. Definitely. I think
it's inspiring for everyone to see what
everybody else is creating. It's just makes it
so much more fun. And we loved the
idea of creating a community where we can
all make art together. Absolutely. So if you
enjoyed this course, please leave us a reviews, give us some feedback. And most importantly, come and take some more
courses with us because we have so many ideas that we want to share with you. And we love getting to hang
out and paint with everybody. Definitely. And Paula loves to hang out with YouTube.
So let's do this again. I like hanging out with
YouTube, all of this. We will definitely do it
again until next time. Happy art-making everyone back, everybody See you soon
Paul Richmond, Everyone is an artist.
