Se brosser pour l'histoire : peindre abstrait avec des palettes de couleurs historiques

1. Introduction: Hi everyone. I'm Denise love, and in this class, we will be embarking on a journey through time as we delve into the color palettes of historical textiles. Drawing inspiration from the beautiful colors and patterns that have adorned textiles for centuries. As we explore, you can select the shades and colors that resonate most deeply with your artistic soul. Guided by your individual inspirations, will assemble a carefully curated collection of arcs Supplies. It reflect the essence of your chosen historical palette. Discover the freedom of creating Abstract Art as you unleash your creativity and breathe life into your unique interpretations of the historical color palettes. So let's get started. 2. Inspiration For This Class: To get started in this class, Let's talk a little bit about where my inspiration came from to do this class. I love working with color palettes. I'm kind of obsessed with them. I have color palette cards, I have color palettes I've created for my own photos. I have color palette challenges that I do. I've done the master study class where we talked about using color pallets from the masters paintings. I came across this book called Spectrum heritage patterns and colors. This is right up my alley for coming up with colors and color pallets from things in history, which is where the masters color palettes is so exciting because you can go back through the centuries and see what different types of art there were and what inspired color palettes and what was available then. And the same with tapestries and fabrics. And textiles. We can go through the centuries and see what were the different colors that inspired different time periods. So this book is super cool because it gives tapestries and textiles from every century, starting from about the 1800s. So that you can see, you know, what was created and the colors. And then I try to keep in mind that something that's, you know, from the 1800s, it could have faded over time. And so the colors could be slightly different, but it is gonna be the closest that we might get. Two color palettes that were used, you know, 567800 years ago. And so this book is so amazing because it goes through the centuries here we have the 1800s and then we'd go to the 50s, 60s, look at these bright colors. And then we've got muted colors. And then we've got like golds and tones that fit in that, which that fits up my alley pretty good. I like golds. And so in this with the color palette of yellow, I might substitute like a shiny gold in there because I can see golden this. Then we move into the 1600s and we get to see how the color palettes and patterns changed and what they looked like. And this book is so exciting if we just take a little flip through all the different centuries. And what I liked about this book in particular is it gave us the color palettes right beside it that we could possibly work from super cool. So this is the thing that inspired this whole class. I loved the different options here. So we're going to take some of these color palettes and we can create some abstract art. It doesn't have to be in the style of what we were looking at, where we're wanting to create abstract art and our own style. But maybe in this particular color palette like this right here, blues and greens, right up my alley. This is from 1,797.17 98. So this book is called spectrum, and it's put out by the Victorian Albert Museum, heritage patterns and colors by themes and Hudson. So we'll be doing a couple of pilots out of this book. But I also have created for us some color palettes that a PDF from antique tapestries and textiles that I found that I could then use and create a palette in Photoshop for us. So this PDF is available for you to download in your projects and resources. I'll put this pdf over there for you. And we may be creating a project or to using one of these. And I'll also give you the Photoshop file that I created this from, where I put the picture and I pick the colors out of the pictures. I'll give you that PSD file and you can create some of your own color palettes to then create from. If you use historical tapestries are fabrics or designs, I'd really love to see the color palette that you created from it. If you're using something different than what I've got here in class. But I've got a nice variety of colors and designs. And so surely there's something to interest everybody from the very bright to the very muted. So I love all of the range of options. And I did 18 different color palettes just to kind of get us started. So this is a document that you can print and holding your hand or you can look at it on an iPad or an iPhone like I am. And these are color palettes where I have picked up the tapestry or the fabric. And then I have just selected colors out of that piece to be the color palette. So these are gonna be fun to experiment and work with, and I hope you enjoy playing in some of those, but this is where the original inspiration came from. And I wanted you to get excited about possibly looking at those are coming up with some of your own color palettes in here from what I've given you in the PDF. So I can't wait to get started. So let's get going. 3. Class Project: Your class project is to Choose a tapestry or fabric from a specific era or culture that speaks to you. And based on that, tapestry's colors, curate a unique color palette for your abstract painting project, you can choose to include the original colors or adapt them to suit your artistic vision. Once your abstract work is complete, take a moment to reflect on how the historical tapestry's colors influenced your creative process. And definitely come back and share what you've created. I can't wait to see what you made 4. Creating Your Own Color Palette: In this video, I'm going to show you how to use the color palette template that I've included with your class. So in your Class Dashboard, if you'll come down here to the Projects and Resources page, you'll find some resources over here to the right. And you'll have to access this from a computer. You can't generally see this on the app, I don't believe. And over here you'll find a couple of files. You'll find a color palette Template, that PDF of inspiration, this color palette guide here. You'll find the template that I created for you and you'll find your mark-making ideas guide. You'll download this template, you'll unzip that file, and then you will find this document inside the file. This is a PSD file. It's compatible with Photoshop and Photoshop Elements. And we will use this document just to kinda show how you can pull colors out of a resource file in your PDF of the ones that have already made, you'll find under each picture, I've listed what that piece of fabric was called and I've given you a link to that file and where I got it from, and I got quite a few off of Wikimedia Commons. You can also Google vintage tapestry's fabrics, whatever it is that you're interested in, you can Google specific designer names like William Morris or some other historical name. You could probably find several different types of books for textiles in addition to the Spectrum Book that I'm using in class. And this gives you Downloads and tells you copyright information if it's available to be used in say, something like we're using it here, or if it needs to be licensed or what have you. But most of the time we're looking at this to be inspired by the colors. So simply looking at the file itself on the computer would be sufficient. You can look at this and say, Okay, I want some type of red that looks like this bill. Maybe a brown, maybe a cream, maybe two shades of blue. We've got some yellow over here, so we have a lot of colors that we can pick from and use for our source. So you don't have to download and make these templates. I'm just giving you some ideas and things that you can do. Then what we're gonna do, let's just pull one of our sources into our document. So I just have several in here. I'm just going to pull one in. And basically all you have to do is just pull it in and fill up the space. So I have gray boxes here for you. And you'll want to notice that there are several layers over here in the Layers panel. And so I want that photo to be right on top of that box, right there, that top gray box. And so if I kinda put it right here, click that layer over here in the layer panel and create a clipping mask. I can clip that picture right to that gray box that I created. And you don't have to do that. It just makes it pretty and it makes it where you could print it on your home printer and maybe have one to hold in your hand. It just makes it easier. Then I'm gonna come over here and just select this first box. I'm going to pick my paint can because I'm going to flood that box with the color I pick. I'm going to pick the color boxes down here on the lower left. And I'm gonna come over here and decide where do I want to start? Maybe I want to start with this red. And then I close that box and I can put the paint box right on top of this square and fill it in. So how often is that? So now I'm going to want to pick the next layer up. And maybe I want to go with this yellow. It's kinda like a pretty ocher. And you can select it by the layer. If I select it by the paintbrush, I would be painting in each square of the same color and I don't wanna do that. So Command Z, I could come back up here and pick the picker, pick the move tool up there, and select the next box. Pick the paint can, and then pick the next color. Just seems like a lot of extra moving around there. So I just come right over and pick the layer of the right box that I'm trying to next. Fill in. Just a couple of different ways to look at this. And a couple of colors I caught myself kind of picking colors that were too similar. So like if I pick this color right here and put that in, is that really enough variation? The color palette? Probably not. And so I will go back in and re-select to something that is different enough that I'm like, Oh, okay, That is enough of a difference for me to kinda keep on looking and Picking and seeing what else I can get. Maybe I want some of these greens. And also another thing see this is why you want to pick the box that you're trying to color in because otherwise you're going to fill in the whole frame. So let's pick the next box up and then we'll pick that last box and you can Control Z or if you're on a PC, it's Command Z just to backup. If you accidentally do that. And you can pick five colors if you only see five in this range that you want to work with. But I think picking six in the long run gives you more options. And it doesn't really matter the order of the colors unless you're looking at it, thinking, I want it to go from light to dark. You could do that. I do want a range of colors from light to dark. So like here I wanted a very, very dark spot and I wanted something fairly light, as light as it could get in that picture. Because I want there to be a range of values and addition to a range of colors when I'm picking out a color palette, This here is the color palette that I would then file save as a JPEG. And I'd say that as my color palette number one, for instance, I hope you enjoy using this template. I've tried to make it easy, as easy as I could for you. It's a 2000 by 2000 pixel file, 300 DPI. So you could easily print it. And it's about a little more than two-thirds of picture and a little less than a third of colors, or just trying to make something easy for you. I hope you enjoy using this and I'll see you back in class. 5. Supplies: Let's talk about Supplies for this class. So this truly is a class where I want you to try to work with everything that you have in your Art Supply arsenal currently. Just to kinda give yourself some practice with all the Art supplies that you might already have. And then if you see something I'm using that your ally who had a super-duper, cool, then maybe get one or two the supplies that you see me using. But my goal here isn't to have you go buy a ton of Art Supplies. My goal here is to get you to play and experiment and learn the tools that you've already got at your fingertips and how to use those in some different ways. So these projects that we're gonna be doing in class are gonna be truly Mixed Media. They're going to start off with say, acrylic paint or watercolor. And then we will pile some other goodies on top of that. And I want you to get out and be creative with as many different Supplies on each project that you can and just kinda push yourself in some new ways. So I will be referencing this Spectrum Book, heritage patterns and colors by the Victorian Albert Museum, Thomas and themes and Hudson. And the reason why I'm referencing this book is because I got it and got so inspired by the concepts that kinda came to me as I was looking through at the historical patterns and the color palettes that they've pulled out of these patterns. And you certainly don't have to have this book to do this class. I just wanted you to see where my inspiration came from and what I was thinking as I was flipping through the book and getting super excited. So I will be referencing a couple of color palettes out of here to do some projects. And then I pulled some vintage tapestries and fabrics for us together in a PDF. And I pulled the color palette out of these tapestries and I'll show you how to create your own color palette. Square like I have here where you have the photo and then some colors pulled out below it. So you'll have a video for that because I've given you this template that I created. But these are very easy to make. You could use your own fabrics that you photograph. You could use your own photos. You could do this with your own photos. I have some of those that I've created and printed. You could do antique tapestries and fabrics that you find in different sources that you can just kinda Create and look at and make some palettes for yourself. And you don't have to separate the colors out. You can certainly just look at a pattern on, say, a museum site or something and think, let me just pull some of these colors together that I'm seeing and use the color palette that way. I just thought for class purposes, it would be easy to take a look at some of the colors that I selected. So this PDF that I created for you is available in your projects and resources. It's a download for you there. You can print it, use it on your iPad. I personally like things to be able to hold in my end. So printing is a nice option. So I'm, I'm using a ton of things in class. So the staples are obviously your paper. In class. I'm using this stonehenge Aqua Coldpress. It's a 12 by 16 inch sheet of paper pad and you can use any paper. I just happened to have gotten this because I had some black paper of by this company that I liked and I thought, oh, let me try the white paper. So it was sitting beside my desk when I sat down to start doing projects. And I'm like, okay, let's use this one. So any paper is fine. The Canson XL paper is a good one if you want something more on the less expensive range. The Canson Heritage, the Aqua Coldpress here by Stonehenge, Arches. Any of the hundred percent cotton papers are excellent to work on. The reason why I tend to work on nicer papers now is because he need to practice on whatever paper you consider to be the good paper because you don't want to be creating things on inexpensive paper and figuring out how that paperwork. So now everything looks good on that paper. And then think, I'm ready to make a nice piece of Art. Let me go get the good paper. And then you go to use it. And it doesn't work the way you thought you can't accomplish your painting like you thought you could, because you haven't practice on it and the properties are different. So whatever paper is the good paper to you, if you get larger sheets, the larger the sheet, the cheaper it is really and you can cut that into smaller sheets. I want you to start practicing or whatever paper it is that you wanna do. Nice projects on when you're working. So just thought I'd mentioned that. And then I'm using painter's tape in class. You can use painter's tape or Art tape to tape things down. I love taping things down. And just to give you some ideas of some of the things that will pull out in class. And I'll try to give you a complete list with each projects on your project page. Acrylic paints. You can do student paints like our teaser and Liquitex basics. You can use nicer acrylic paints like charvin and Holbein, anything, golden, Winsor and Newton. I mean, the choices are, you have 1 million choices. I also like different things for mark-making. So the Neocolor, two crayons or one of my favorite go-to sources. Chunky Charcoal and graphite, another favorite source. I also love oil pastels. I've become obsessed with oil pastels lately because they add a different texture and dimension to the piece and they give it some, some deaths. I love that. Any of your watercolors or fine to use, I really like these Curate talky Colors. I'm for creating things with lately, that's my new obsession. You can use Daniel Smith, you can use Artists colors, you can use student colors. Really, the goal here is to play in Color Palettes. It's not necessarily to play in all the supplies that you're sitting on my table. Also like to have just so when I'm doing Acrylic paint, the gesso makes the paint blend double and different ways, which I really love. And it also makes the paint really gritty so that you can layer some of these other mark-making things on top of the paint. And I always have clear gesso and white gesso by Liquitex available on our table for when I'm ready to use them. The other thing that I want to talk about is Finishing your pieces. You know, a lot of times I don't actually finish my artwork depending on what's on it. If it's just got like acrylic paints on it and maybe some Neocolor, two crayons and maybe some posca pen. So there's things that aren't going to really ruin or anything if somebody touches it, I generally will store those in an Art sleeve. And I'm not going to add any other finished to it. If it's got a powder to it, like any kind of soft pastel or one of your chalk, you're kinda surfaces like soft pastels. I will be using some soft pastels on a project. These are the sennelier, they'll have sticks. I love using those. If I use a soft pastel on a project, I'm going to use the sennelier Fixative for soft pastels on that, usually at the top, just a light Spray of one or two coats of that. And that'll make that powder stay. It's not going to like adhere it so that you can't smear it probably you could probably still smear it around because it's powder. There's nothing you're really going to be able to do about that. But this will add a nice thin film on top that then keeps the powder from moving around dramatically. So it is a good way to fix it and keep it in place for you as you continue to work it. The other thing that I might use to fix something is this vanilla Oil Pastel, Pastel Fixative? Because the oil pastels, they never really seem to dry. They stay creamy and you can smudge, I'm pretty easily this stuff kind of makes the top of it Create a hard surface like it's dried and fixed. So I do generally use that if I'm doing a lot of powder things and I want something to fix everything to keep going on top of it, I'll use a workable, fixative. And then if it's a piece that I'm done and finished with, I might finish it with a varnish. I prefer Matte varnish is. So you just have to decide if you want shinier matte, but I kinda prefer Matte varnish is so just depending on what you can get. And I like them are archival kind of finishes. And this one, this UV archival actually has some UV qualities in it so that they're not going to fade with the sunlight and it's Matte, but I don't know that they make this anymore. So you might have to get a shiny, but that's only if you absolutely have to. I personally don't finish things unless they've got the Pastels on it and then I'll just use a Fixative so that, that stuff kinda sets up and doesn't keep shedding. So I hope this gives you an idea I really wanted because I use so many different things in each project. I'm going to list each projects supplies that I used out separately in case you see something that grabs you. But I just wanted to give you an idea, look at all of the things that you have. I might even used Acrylic Ink in one of the Projects. I forget. I've done several projects before I got to this, but Acrylic Ink is another option that's fine. And gold. If you've got gold ink, gold paste, any of those kind of options, I consider white-black, gold, and silver to be neutral items. So I'll use a color palette and then those are my neutrals. If I want to add some other contrast or extra element to it, I consider those four colors neutral. So I hope this gives you an idea. Look around all your different supplies. You don't have to pull every color out in a paint. Maybe some of the colors in your palette or a paint in some of the colors are a Pastel or a pencil or Neocolor, two crayon or whatever it is, you have that maybe you can come closest to a color. I want you to be creative in the things that you pull out to create today. Alright, so let's get started. 6. Tapestry Inspiration From Kronborg Castle: Alright, I have pulled out some colors I'm going to use. I have taped down a piece of 12 by 16 Stonehenge Aqua cold press paper. To do this project on as a cotton paper, you can use any paper for this kind of project. This is something I'm just recently obsessed with and I thought we'd go ahead and do this on one of these. I'm taped it down with a one-inch painter's tape on the edge, half-inch painter's tape to make my boxes. Because it's 12 by 16. I marked him at 4,444.4. So I've got little squares and when I peel the tape, I can come apart and have 12 delightful little minis. And here's our inspiration color palette. I'm using whichever page this isn't here with the people dancing. It's called a crown board castle tapestry. This is from about the 1800s. So I think that's pretty cool. And as with all the color palettes that I tend to experiment with, my goal is usually not to be exactly exactly. My goal is to just be close and work within a color palette that I'd never pulled together. And it's really cool that this would be a historical kind of combination. So I'm just mostly getting as close as I could. If your thing is learning to mix color and doing color mixing and getting really deep diving into a project like this. And you want to take it to the next level, then definitely, you know, print these out and use them as a guide for mixing colors and doing some further work in your study, my goal is to create fun the pilots play, see where I get with that combination and see if it's something that I might want to use later in my work. I have pulled out a mix of supplies. I'm a mixed media fans, so I like to do lots of different things. So I've pulled out a lot of these Liquitex basics because they have a lot of colors that I can pick from without having to mix. And this one is not bulk. Naphtha Carmen, Carmen. So it's a red. And then this color here is a very light lavender. And so I've pulled out sharpen ash violet because magically that looks like about that color and I happened to have it pull whatever you've got to work for them. You don't have to have the same paints that I'm working with. Definitely. I would prefer you use whatever you've got on hand to pull your colors from and just experiment and play. I've also taken this dark gray in this color palette. And I have pulled up cuter, so it's a slight metallic, which is kinda fun. So that's the Blick Matte Acrylic in the Peter. Again, pull from whatever you've got. This is Liquitex basics green, green, deep, permanent. And then I've got magenta, medium magenta, Naples, yellow hue. For this yellow, I've also kinda pulled out my underwent extra-large charcoals because I liked the yellow in here as part of that yellow maybe is something that I could use to mark make. Also pulled Neil color twos. I pulled malachite green. And this one is sepia because it kinda fit within I thought it was gray, but I pulled CPO. Well, that's close enough. I'm going to leave that kinda sitting to the side. Also like doing stencil work on top of these lately, just my own personal thing that I'm kind of obsessed with. So a lot of times I will paint on here and then come back with little stencils on top. And it just kinda moves the abstract to the next level sometimes and you can make your own stencils. I've got my own class here on Skillshare for making your own stencils. So don't feel like you have to buy any. They're very easy to make. And I'll put out some of our colors and we're going to just start playing. It's not about worrying about getting anything exact. I'm not trying to create any kind of little masterpiece here, although when I'm done with these, usually it's magic. You cannot do come out like little masterpieces. It's amazing. And I use this for ideas and composition ideas later, all kinds of neat stuff. These little color palettes have, like this one had six colors on it. But if you want to pick, say, five colors out of that grouping and leave a color out. You certainly could do that if that's how you want to set up your own challenge. I consider these like art challenges. I like to deep dive into an idea and challenge myself to see like, what can I come up with if I'm using these colors and I'm doing this format, you know, what can we get? And then always consider white, black, gold, and silver to be neutral colors. So I do, this is clear gesso. I do reserve the right to use white-black, gold, and silver. So I like to just so out here because I like to mix the Jess. So in my paints because acrylic paints kind of plasticky. And I like the gesso to mix with the acrylic paint. It makes it makes easier and it makes it gritty so I can draw stuff on top. And to get started with this, if you're looking at this kind of blank page, you're like, Oh, where do I even get started? Um, you know, pick something like a pencil or a chalky thing like I've picked out or a pastel, looks like I got Gesso on that paper. It doesn't matter. I'm not worried about any drips or anything that I've done at this point. I'm just playing. And then with this I actually sometimes we'll take a paintbrush and start kinda wedding these and seeing like what can I can read if I move this around? So that's kinda fun just to see like where we can get started. And now we have gotten rid of our white page. So it's already messed up. We don't have to get stuck with creating. I like to dive right in by doing something like that. So probably going to use my Princeton, Umbria filbert, this a five ancient filbert to just start laying down color and experimenting. Just see where we can get. So now you might look at these colors and think, okay, what do I want the dominant color to be? Like? What is my goal here? And I might not have a goal really, but I'm kinda dig in this ash violet with that yummy Ochre. We'll call that ochre because that's what that looks like. And sometimes too, I'll treat this piece like one great big giant painting. And then I just kinda pretend the tapes not there. And then when we're done, you'll be amazed when we pull that tape, what it ends up like super fond. Just relax. Play some music. Start moving this paint around and just seeing like, what, what are we going to end up with? C Now that right there already, just want to leave it right there. Oh, my goodness. I don't want to go any further. Let's get the yellow because we know we liked the yellow. Because what if you take the colors that you like the best and you make those the most dominant. And then if there's a color in here that you're like, Whoa, kinda hate that color. Let it be like a little touch. Just a little dip your toe in. Just so it's there. You can say you used it. But it doesn't necessarily have to be like the most dominant color that you see in your piece. That's super fun because you can take this experience and work this into how you work with your pieces. Let me put some more paint atoms will keep on painting here. Another way you could do this is because we have 12 pieces here. You could take whatever your least favorite is and say, okay, let me throw this in on this one that I don t think I love and just see what I get. And instead of doing 12 with all that color on it, you can do one of that color and decide if you like it. Just so just really let you mix that color around. It makes the paint pan of gritty, makes it a little more matte. I love declared just so when I'm working on these thinker might do is pick one of these colors and pick a palette knife. And maybe palette knife, one of the colors on here maybe read. I could work with something like that instead of a paintbrush. Don't be scared to get out some different materials and start kinda putting those paints on with something other than a paintbrush. Tell you right now, you can almost figure out what's my not favorite color of this palette. And I love gray because, you know, I'm all about graphite from old graphite ones that classes I've done. So what color do you think I'm avoiding here on this color palette? But green Get to creating and you're like, Oh, I just can't stomach that color. Tried on at least one of your squares. Before you give up on it, you have to try at least once. And then you can say, Okay, I tried it and now I know I didn't like it. But you tried it. It's kinda like try everything on your plate once before you give up on eating that broccoli or whatever it is that you don't love. And at this point to, I could start doing some stencil work in here. I don't have to do them all the same. What if I wanted something like this? This is the crafters were the crafters workshop, I believe. Yeah. The crafters workshop.com. And this is stencil. Let me get my magnifying glass. Oh, my goodness. This is T CW 456fs, as in Sam. I think it's sketch lines might be what this is called. But what if, let's take some of this red and we do some red sketch lines instead of root there. Oh my goodness. Okay. Hahaha. Totally, totally made everything exactly like I wanted. So I should have started with the instill a little sooner. Oh, my goodness. That totally just made my day right there. So I'm just going to work this into a few we don't have to have them all the same. I do like them being like similar because then, you know, when you've got similar things, they've got cohesive like that. You've made a collection like they kind of fit together. We're pulling it together. What color definitely. But we could also pull it together with marks and different decisions that we've made. Oh, I love this little red. Yeah. And if you can't find the particular stencils that I'm using because, you know, these I may have had this for awhile. They might not still be out there. Look around and see what stencils look good for you. I like everything that looks a little bit grungy. Sketchy. Line marks aren't perfect. I like it to look worn. Dude. This is okay, let's put the red up. Alright, also like I'm still avoiding that green. What can we do with the green? Gotta use it once. One of my favorite thing is this Tim Holtz, half-tones circles. Alright, let's do the half-tones circles. Let's try green one. Which one do we not like? I like them all he okay, let's try this one. This one. This one is less. A little bit less. Okay. That's okay. We'll say I tried it. I avoided green for a reason. What if okay, let's, let's, let's push this. I'm just going to push that gray right into here. And let's use some of these half-tones, circles. Super fun. Oh my gosh. Really in that color palette, our inspiration piece, I don't even know where that green came out of there. It might've came out of like the undertone of the skirt. I don't feel by leaving it out that I have strayed too far from this color pallet of this tapestry, some steel, actually. Very happy that I'm staying true to the colors that I've got going on here. I think the gray probably comes out of the background too. So you could look at these pieces and think, Okay, what's the most dominant color? Let me use that the most. What's the least dominant color? And let me use that as the accents. That's another way that you can look at some of doing this. Look that either so Fun Home, My gosh. Oh me, So good, so good, so good. We could do little circles and half-tones and other colors too. You don't have to pick just the one color. But man, I'm loving it. I'm getting a little ghosting underneath too. That's pretty fun. What if we just turned it over and tapped it? Okay. Just a grungy kind of look. There might not have enough paint on there to really pull that out, but it did look a little grungy. They're tiny bit in the corners. All right. Love, loving that, loving that We can also come back in here with our Neil color to crayons. Put that sponge in the water. You put this paint brush in the water. You know what we could do? I'm sitting here thinking a little bit out loud. We could take like an old credit card or an old card and dip that in some paint and come back in here with some lines. Oh yes, he looked that super fun. Could do that with a catalyst wedge to that might be a good choice to do this with two. And if you don't want to use any stencils, you certainly don't have to, but definitely making stencils. Making stencils, it's super fun. I use UP paper for that and basically draw my pattern on the PO paper. And I've got a map that I can cut things on. And he's my little exact dough knife and I just cut the pattern out that I drew on paper. And then I've got a stencil that I can use over and over and over again. So we could also take this and use it like we did our palette knife and kinda drag a color onto our piece. That could be fun. Just kinda thinking of some different ideas with you here. Alright. Super fun. Okay, so we could do some drawing. I could do some. What I want to do. Let's think about this. So I could do some just random little scribbling. If your marks and your lines are too perfect and you're like, Oh, I wanted to be a little more organic. You could do that with your non-dominant hand. Look at that. Oh, I like the little circles. Let's see. Let's do that right here. See, I could kinda go from one to the other. We don't even have to have those on all the same one. We can just have it when we peel that tape, it's two pieces that kinda were buy-side each other. So I like doing that. I like things that kinda come out of you don't know where they started and ended. Kind of allows your eyes to move off that and imagine what the rest is. Keeps as it keeps going. Like What would that have been if you had kept going, it gives your mind that impression, that thing keeps going. It gives a distance and alright, again, no, I don't know about this, but actually I do like it better as this crayon than I did as the bright green paint. So because I pulled it out, I did use it once. I actually didn't mind that. Let's go over here. And you can use anything you can do mixed media like this. You can use watercolors, you can use soft pastels. Okay, I didn't like that. Let's put that pencil back up. What if we do some stencils on top and white? Because again, white, keep white and reserve. Why does also a nice way to push some of the color back if you're like, whew, I got way too much going on and I need to push some of that back. How can I do it? Something white on top, preferably dry because I just made it pink. Again, it gives your background a little more dominance because the background was white and you're pushing some of that back. I like that. He liked it. When I'm using a stencil, I'm not going edge to edge. I'm being kind of organic around this tensile, but I'm not trying to get edge to edge on the stencil, just my own preference and the way to use it, but I feel it looks a bit more organic and it kind of looks less perfect. My goal for abstract is usually the imperfections or what's so exciting. So I don't want it super perfect. Got some layers go in here. These are probably some of the craziest types of little paintings that I do. The sum, when you peel them, they're amazing. And what can you do with these? People were like, What do you do with these? You can make these into gift tags. You can make them into micro pieces of art that you can frame up and make very exciting framed. You can use them as color swatches for future pieces of art. I use them also for ideas, for compositions, for larger pieces. I've got green paint on my hands where that come from. All right, so let's just see what we even have here. Do we want to do anything else to it? Is it dry? Does it need any sparkle on top? Did you want to add some gold? If you want to do some gold on top, here is the time to do that. We could also do posca. If we need some posca pen, if you feel like you need more pattern than you already got going on. But I feel pretty patterned up here. I could do some over here though So mark-making, just pull out all the stops. Experiment play. Don't even hold yourself back. Just be like Okay, I'm going for it. Alright, let me hold this hand up a little bit. All right. Let me let me just get my paint stick out here. I want to put my hand so this is my paint stick through Micah stir stick to stir. A five-gallon bucket of paint. But I like to use it as a hand rest when I'm getting out here and they're still wet paint going on. Because now I can secure my hand and I actually do exactly what I wanted to create, like dots or something. I can do that. Like that. Oh, I do like the dots on that one. Do I need dots anywhere else? These other ones are kind of busy. I feel like that one was like a one-off. So yeah, I keep all the stuff that I make but you could sell these. You can make little less peel tape and see what we even got. Peeling tape reveals what you've got when you're done. Now if your tape is tearing your paper, then use your heat craft gun and see how that peeled off really easy. And there's no paper on my tape here. So use that will heat gun if you're tearing your paper. So I'm going to peel these. Alright, got all the tape off, the heat gun, just let that adhesive release. And this is my whiskers paper cutter. Then I'm going to cut these into little squares and then I can kinda look at it and evaluate, what do I have? What do I love? What do I want to take forward in my art practice? You can just kinda, I like companies where they have that little bit of a white edge. These are so delightful what a super fond color palette that this created like for reals. Look at this. We've now peeled these apart. They've been magically turned into amazing little compositions. Look how good these look. Holy cow. Like these two right here. Total gorgeous set. Love it. And peel and tape and cutting it is definitely magic. Like for real, for real. And then you can kinda turn and seek. Do you see I like it that way right there. These are amazing. I was doubting it there for a bit. Now, I didn't doubt this quite as much as some of the other ones I've done like this, but this color palette, that green in there, I don't know where I pulled that out of there. But for this, I'm glad I didn't make it a dominant element, so I'm glad I took the other five colors. Look at these. Oh my gosh, these are amazing. Alright, let's check out what we got. These are definitely something I would take forward for compositions. And I can turn them around and look at that. I like this little set of lines coming in from the side on that one. I like it coming in that way. Which one do we have? I like it this way. I like these little lines that we did over here. Oh, I love see how this kinda comes in and makes you wonder like, what is out here, what did the rest do? Give your mind and your eyes something to look at, contemplate and think about these. Look how good these are. Oh my gosh. Look at these super fun color palette. This is what working in color palettes outside of your comfort zone. I really liked this one a lot. I almost like it because of the simplicity of it. Let's go this way. Because it a little simpler almost then, or maybe it's less vivid or bold. I don't know. I love this one. I like that these are coming in and they're just doing some fun stuff. So I like working with things that are way outside of my comfort zone. I never would've pulled I definitely would have pulled ocher and pink. Those are colors I like. But what I have paired that with dark gray, kind of a light lavender and this red, Probably not. I would have kind of gone with these and maybe the gray like graphite, but I never would've pulled these pups have other colors in. But look with the pops of other colors. Do I mean that pop of red in there totally gave it some interesting contrasts that it probably would've been lacking Superfund. How did we do next to our color palette inspiration here, I think we did pretty good. So I'm looking forward to seeing what you do with that color palette. And I'll see you in the next project. 7. 1797 Blue/Green Palette Picking Colors: In this project, I'm going to be working out of this spectrum heritage book. I thought I would do this green, bluish, grayish palette that looks so delicious and I really love it. And so along with some other things that I do Palette Inspiration From, my goal is to get as close as I can and work within this color palette. But I don't just limit myself to being exactly, exactly. And if you're wanting to just be right on the money, definitely use this as a moment to experiment with color mixing and stuff. But my goal is to get close to a color palette work within a range that I might not normally have thought of. And to see what can I create that day, then I usually consider white-black, gold, and silver neutrals that I can then add into any piece that I'm creating. But I'm gonna try to stay fairly close to this color palette and maybe consider white and black will see. And I might do mark-making in white or black pen, that's always fine option. So what I've done is pulled out my color sample swatch book. And he loved these books. This is the painters Diary, painters Color Diary. And what I do is I mark what I have swatch down in this book and I'll swatch them out. And what I like about it is in-between each page, is this like a wax paper separators so you don't get anything on the back of your other page. And I love these. And so what I've done is just looked here, I'm gonna be working in Daniel Smith watercolors today. I thought I would just do different types of abstracts that I enjoy doing for these projects. And I've kinda matched up my colors to Serpentine Genuine, which is this color and I think that kinda matches this color over here on the end. Sorry, Serpentine, Genuine, the middle color is what this one matches. Then I've pulled Rich Green Gold, which is very similar to this color here. And then I've also pulled Sap Green, which is my third Green here in this palette. And then I have pulled Blue Apatite Genuine, which is this color and the lightest in that shade is very similar to this grayish blue. And I thought I could add in possibly a little bit of Buff Titanium to get it right over there. And the Buff Titanium could maybe be this lighter shade. And I pulled Sepia and Buff Titanium to maybe make this kind of medium taupe color. So that's the colors that I have put out on my palette today. And I've put them in that order. I've got the Sap green and then the serpentine green and the Rich Green Gold and that Blue Apatite Genuine. And the Sepia, the Sepia and the Buff tightened. So that's the colors I'm working in. I also pulled out because I like them. Some oil pastels to just mark-making on top. Maybe. I've also going to possibly be using white or black pen. So I've got posca pen, I've got like a Kings Art pen or you could use like a pigma Micron pen. I've got a couple of black Pens I might use. And then we'll just, we're just kinda paint intuitively and just see what we can come up with as we're going. But in these Sennelier, I have pulled out several colors that just kinda matched what I had going on there. So I've gotten number 15 because I don't see a name on these. Have gotten number 46, number 206, and number 88. So that's the four I've pulled out that kinda fits within my color palette. And I'm working in smooth this to the side. I'm gonna be working on a large piece of 12 by 16 paper. So I've already just taped it down and then cut it in half with my tape. And this is the stonehenge Aqua Coldpress paper that I'm using here. Because I had it near my table and I thought, Yeah, let's use that. So let's 12 by 16. So that would be like eight by 12 bias. 88 by 12 would be the final size. But I'm probably going to work in the middle. And I'm a cut these down at the end. So let's take one last look at our color palette and then we'll jump in and just see what we can create here. So I'm going to set the book to the side. And then we'll pull that back out and see how we're doing I've got a number for Princeton Neptune. So I'm gonna get started just by laying down some of these colors. And I'm working on all cotton paper. What I like about the cotton papers is the water seems to not immediately like soak in as fast like it almost repelled that first bit of color that I was putting on there. So I added more water and then gives you a little bit longer dry time. And it works completely different than regular wood pulp paper. So I'm just going to go in with each color here to get started. Not really thinking about anything. Look at that. Those two colors almost look the same, don't they? Well, that was very interesting observation there. That there was not a big difference in the two greens that I picked out. I mean, there's a little tiny bit different. So we may see a variation in granulation because I already see that granulating a little. That wasn't quite what I thought. I thought I'd really get a bigger difference there. I love making these discoveries as we're painting. I'm just things you didn't expect and you're like things that make you go. So I'm just painting kind of intuitively what feels good where I want to put these. And then we'll just see where we end up. Alright, moving over here to the blue, I'm kinda a little offscreen. Let me just move these over so you can see me dip it into this pretty bluish color. I love that one. That one. Kinda save the day there, didn't it? I liked that. I'm just putting it in some areas that might blend in with the colors by it and it could take on some of those properties. So that's very funny and interesting. Watercolor is very transparent or, you know, if you use it really thick, it can be a lot more solid and give you pretty contrast. I love that about it. And I tend to use it a little thicker. Alright, so I'm mixing these Sepia and the Buff Titanium over here to get a lighter shade. Let's just see what we get there. See this is definitely work your way outside my comfort zone here with these colors. This is not quite in my mind what I was thinking. What about you? I totally like went Whoa, as I'm doing this, like, I don't know. That completely. It looks different in that picture because I'm using it in different quantities. But how interesting what colors do? Like, I mean, like while. Let's just come back in here and dip some of this blue. I'm using it in a very heavy, darker scenario than our original inspiration piece, but that's okay. The goal here is to step outside my comfort zone, work with color palettes that I never would have pulled otherwise. And just see what can I get. And then at the end we'll see how good we did work in with historical palette. Just how close or how far away did we stray? Super fond though. These are crazy. And this Rich Green Gold, that one just pops off, like I didn't even expect there. That was kinda crazy, wouldn't it? I'm just now lay in some other back in here just to see and just kinda give me some texture and some variations here. I like it when I can see variations. And some different little interesting areas and the watercolor, because then you've got places to mark-making. You've got some different areas that are light will do and some different things. I love that. So if we compare this right now, it's our Inspiration Palette. I know the book is a little bit dollar than the paint with Paints not dry. But how interesting is that I think we've got good color going in there in different ratios than what we had an original piece. But still pretty darn cool. So I'm actually kinda loving this. I'm going to let this paint kinda dry. But before we do that, now is the time to go back and lay in texture so I could come back with some water and where the any, anywhere where the paint is damp. You can then kinda repel and make blooms in the watercolor so you can make some good texture that way. Once it's dry, you're kinda gonna just make a splotch with a circle around it because you're reactivating watercolor that was basically already dry. But we can come back in here and get it to do pretty blooms if I catch it while it's still damp, not too wet, still kinda shiny and damp like you can still see it's not completely dry then that water will do some pretty spreads. We could do some mark-making in watercolor. I can let this dry and come back on top with some extra marks and watercolor. Or I could do true Mixed Media, which is what I enjoy doing and do other things on top. So think I'm going to let this dry and we'll be right back. 8. 1797 Blue/Green Palette Adding Marks: Alright, I've let this completely dry and now we need to decide what do we want to mark make on top of this width? And I think I'm going to mark make on top with different paints and maybe maybe some stencils have gotten where lately I love using stencils because it's a way to really quickly add some of your favorite marks. And if you want to make some of your own stencils, you can do that. I've got a class on making stencils here on Skillshare. You can also use purchased insoles. It's just your preference there. But I'm kinda feeling like we need some movement. We need some pattern. So I want to pull out some of my favorite patterns that I like to use in my mind. And just to give you an idea, there is another class on Skillshare where we do a pattern page like this. And it hangs up on my wall behind me. If you don't know what patterns and doodles and things that you like to add to your mixed media work. Start collecting some ideas and stuff. And I will put this pattern guide for us under your projects and resources so you can grab a copy of my pattern guide that I like. And these are just patterns I drew on a piece of paper and then cut out of a pretty stamp with a pretty stamp and stuck them to this paper so I can add to it, I can make some more pages. I can just have some fun, but it just gives us some ideas of what might we continue to add to our piece. I like dots, I like vines. I like lines with little pearls on them. I like little hash marks. So I like a lot of different things. And that just kinda is a little guide that you could look up and get some ideas, some I said this over here to the side. And maybe I'll start with, actually maybe we'll start with some color on top. Perhaps. I really liked some of these crafters workshop stencils. This one's corrugated cardboard. This one's Cubist. I like this one. I think this one is sketch lines. And then Tim Holtz, this one is half-tones circles, this one of my favorites. So I might grab some acrylic paints. I've got quite a few over here in my drawer beside us that I'm sitting beside. And I'm almost wondering what I want some white on top of this, or do we want this to be in a color? Or would we want to be gold? So many choices? So, you know what I might do as I'm, I'm just brainstorming with you right now. Here's all the different things that you could possibly think of doing. That's my goal here, is doing some brainstorming. We could also do, should have pulled these out. Can also do some neo color to crayons. Try not to get anything on my painting. I'm terrible about that. So we could pick out some colors of neo to color crayons also, that's one of my favorite things to do. So who do? We got so many choices. So let's pull a few of these out that are in a similar color palette as what we've already pulled out. So I'm thinking this one, it's kind of a bluey gray though, so maybe that one. And we've got these yummy greens. And we could pull our book up here to get real close, even closer, but that's okay. We're getting we're getting pretty close. I want like that sap green. Let's use that one. So now I've pulled out light olive. This one is dark gray. This one's beige. So I've kinda pulled some of these out. These are fun because they're water-soluble so you could mix it with water on top. And I gotta be real careful. I'm real bad about getting something on my paper that I didn't intend. Let's see what is this. Let me get a little. There we go. Make sure terrible about doing that. So I like these little neo color to crayons because now I can come and draw like that. Alright, so we're gonna, There we go. We've jumped right in. I'm making almost like a ladder of lines there in a contrasting color than what I've put down. Oh, yeah. There we go. Got it started. And then I could come back in. Maybe we got some circles. And some of these are gonna be so subtle that you're going to not even see it til you get up close and then you'll be like, oh, look at that cool detail that I didn't even notice till I got really close and looked. And some of them you could do on a contrast the colors so that they definitely show up right away. Your choice there. I just like having some surprises as you get close and some pops as you're far away And when you lay the color, if you're thinking, oh, I don't know about this as a hot mess, man. I think that every single time, if it's not good enough or you don't like it and it's not there yet. Add more layers. It's all about the layers with something like this. Let's do this dark gray. Let's see. Maybe we could have done this in like graphite to, but I couldn't do maybe just some fine lines, little hash marks. These are lines that I usually like to do with pencils. So that's another choice. You could do these with pencil, which now that I've thought of that I might still get a pencil out because it's a pretty gray. The line is a little finer than using a pastel. The layers on these abstracts that give it the interests though. If it's not good enough yet, maybe you don't have enough layers yet. Keep on, pile on the layers on and adding colors that you like and colors that you're like. Oh, I didn't even expect that. Another way you can think of these colors too. I just started at one end and went down the line. But let's say the blue is your favorite color, like your favorite color, the most dominant color in this scenario. So blue is your favorite color in this palette. Start with the blue and make it more dominant. I just kind of started with one direction and went with it. But what I should've done is picked my favorite color. Let's do some posca dots. I should have just picked my favorite color and started with that. Again, just throwing some ideas out there for you. Things to consider as you're going. Little white dots are just magical. I do a little white dots through kind of magical. I also like pretty black lines. That pin is not the one I wanted. Let's see. Maybe this one. And I like intertwining lines. So that's kinda fun. Something like that. And you can kinda tie a ribbon at one end to make it have a good reason to have a little start. Put like a little loop on the other end maybe. And then I can do a little pearls or I could do little leaves and make it pretty little vines. The hat. That is so pretty. Let's do that over here. Wish I had not looped that one, but that's all right. All right. Those are pretty now we could do unlike some stencil work, maybe some of these yummy lines here. And I'm almost feeling like maybe I want these in a color. And I've got some random fusion paints. They're just these little mineral furniture paints. But I'm almost thinking like something like this dark color would be a pretty contrast with this dark color. And you can pick whatever kind of paint that you want when you're doing these. I just happen to have a bunch of these. So use what you have on hand. Don't go get a lot of paint to do different projects with, unless you're just absolutely gaga over some of the stuff. I want you to kinda pull colors that you already have on hand and different materials so that you can layer and see, you know, what am I going to get if I use this on top of this or what have you, Let's take a look for. That's what I wanted. This is a stencil girl products didn't sell actually S two to seven. And it's called corrugated cardboard. So you could use cardboard to which I thought of that. Aussie, that looks fantastic. Now that I thought about it, that I do have some corrugated cardboard right here We could brush this right on it and see what that looks like. I'll see now, more paint isn't definitely needed there. Oh, very interesting. So definitely more paint. A little bit different than the stencil, but I want to give you some options. But I want to give you some options here. I want you to be able to grab some things that maybe you could just have on hand. Super fun. Okay, so corrugated cardboard, I like it. And then the little sponge I'm using is just an artist sponge. And there is just a little round sponge that I've cut it into quarters. And I just thought water until I'm ready to wash it off and then I just keep reusing those same sponges. Okay. So I really like that. I also feel like these could do with a touch of goals. So I feel gold and our future. And I want to do that in the circles. So Let's just do it. Let's just do, let me get. So I'm going to use my favorite gold, Micah paste this as the cure talk ego. Micah pace. Sometimes it's easy to get and sometimes it's hard to get depending on how many people have watched a class and then want it. But you can use any kind of gold paint. I've got lots of different gold paint options, including just like some metallic acrylic paints. So your choice there? I like this particular one personally because it's such a pretty shine. Another gold paint that has an extreme amount of shine is the Jaccard Kenyatta alcohol ink, gold. So that's a good option too, if you happen to have some of that. So let me just grab a sponge and I like to kind of rub the stencil, but you can dab the since the paint did this tensile, your choice there. And I use a sponge dry and it works better with thicker paint, not the real thin ink. Just some just some observations that I have discovered as I have done quite a bit of stints willing this year, I never use the pencils before. And I was using them in some other videos that I was doing just to save some time basically. And then all of a sudden, you know, in these pencils I've had for years and years, all sudden, I'm like super obsessed with stencils because it does speed stuff up. And all of a sudden I can get like 1 million things more done a lot faster. And I love that. So I've made some of my own stencils and I buy stencils and sometimes I use them and sometimes I don't, but I do like the versatility and when I'm using a stencil, I'm not using the whole square part of the stencil. I'm kind of using bits and pieces of it, so it's a lot more organic in the feel of what you create. More natural. I like these are getting better and better. And then let's pop this off with some pastels. What do we think? I'm kinda feeling like? I really like this green gold color. And I feel like I could use some type of yes. And you know, these ones, they are very creamy. It's like drawing basically with some lipstick. The only thing about oil pastels is they never really seem to like dry. So a lot of the pieces I don't finish. I kinda, you know, put it in a plastic sleeve like this and I'd let it live in the sleeve until I framed it. But if I'm using an oil pastel or something like that, I would use this Emilia oil pastel fixative on it because it then has some additive in there that hardens that pastel up so that it's more permanent. Look at that though. I'm loving this mark on top. I like the texture that you get with oil pastels because it's very three-dimensional. I like the color. I liked the feel, I just like the extra element on top. Just my preference there. That's super fun. I liked that a lot. When you come back with some more for thinking, what else could we do? Maybe some down here. Maybe I don't like that as much. But we'll just go with it. Or maybe I do. Sometimes I'll come back and look at something and think, oh, I love that way more than I thought I did. Just a way to get another layer in there to add that interests. What do you like that a lot right there. That was nice. Yeah. I think out so for this one right here is my favorite. He usually and this is why I like doing more than one at a time because one is usually my very favorite and one is usually Mike. This one is definitely a favorite. And almost feel like because I have this black line down here and now I'm going to be drawing over pastel, so it might not work as good, but I'm almost feeling like I kind of needed some more of that up here to balance it. Whereas this one went through the whole piece. This one's looking for some balance. So let me put some little pearls on that one. And then we'll take a look at these and think, how did we do? There we go. Look how pretty that is. And if I'm shining it in the light a little bit, if I'm shining a light a little bit, you can kinda see how that gold pops off of there. It gives me that little bit in there. I love that 9. 1797 Blue Green Palette Finishing: So now what I'm gonna do is peel the tape, then this cotton paper is kinda soft and I don't want to tear the page. I'm going to cut these in half. But if you start peeling tape and you notice any paper coming off on your tape, gets your craft gun and peel the tape. What to craft gun. Look at this gorgeous. Okay. Let me cut this in half and then we'll pull our book blackout and just see how did we do working with our inspiration color palette. And I do emphasize inspiration. It wasn't inspiration, it wasn't. Let's make it exact. But if you want your project to be exact and I'm just kinda measuring over to halfway across the paper here to see, actually think this has got a ruler that comes out. I guess I could do that. Let me get the paint out of the way because I'm going to get paint all over a piece that I didn't intend to because I actually love these now that they're done. I mean, I loved level. Amazing how that happens. There we go. All right. So this was 16 by 12, so I'm gonna go ahead and catch that directly in half. This is my fiskars paper cutter. I really love it. And I can see that I can cut a little bit off the top or the bottom or, or check this out. We could do Deckle Edge on this. And I, you can even do it with a plane ruler. But my very favorite way to do it is with this, with this dual Edge Ripper. So Ripper ruler. And so you might do this on say like your least favorite first and then do it on your favorite. And I would probably go ahead and Spray your piece with this newly eight he's in and let that dry for a few days. Let's do it on this one first. And let me get a piece of wax paper. Because I'm going to tear it upside down and the wax paper will protect anything I'm leaning on from that, it getting on there. So what am I do? It's kinda measure up. I want to tear it from the back side. And so I might just measure up how far do I want to be? Maybe an inch and a half? Yes. So let's do this first Edge at her inch and-a-half. So we can mark it on the back just so that we kinda know where we're at there. And then the Ripper or has a straight corner on here. I can line it up with that right there if I wanted to. Then you just tear the paper up and towards the ruler. And the reason why I'm doing it from the backside is because this will have an edge on it on one side that you tear it up towards. But if you flip it over, it's got a smooth torn edge without that lip on it, which is kinda what I love. So that's what I'm going for. Okay, so let's see if I flip this over. You know, I've got a good half inch there. So if I want that half inch there, I need to tear this at say just a quarter of an inch over on this side. So eyeball that will get about right there. Then had to be exactly, exactly. But I do want it close and I need enough to grip. So half inch Here's can still have enough paper there to grip. It's less than that. You're gonna be really hard tearing these papers. Actually, I've got the wrong edge on this side. There's two edges on this ruler and I just used the other edge. Doesn't matter though. Just is more terror than this one. But let's look at the difference. Now that I've done that spawned to do tests and see what do you like better. So that's the bigger torn edge and see if you do make that mistake. And you use one that's not as Torno one that's very torn. It still looks good. You might not even be able to tell that you did that. So I don't want you to get upset if you accidentally tear and Edge wrong. But if you do that, then do the extra movement over here and then do the plane went over there like it was all on purpose. See, you can fix anything. So again, about a half-inch over. So I want that to be about an inch and-a-half like I did on the other side. I'm just going to mark that with a pencil that I've got a spot to look at. All right? So we want the extra, the Extra on that one. So let's just do that right there. And I'm just eyeballing it to make sure I like where that paper is going to tear. If you have anything like this where you're like, oh, too much. Right there, we can just flip it over and we could just tear it down if you needed to fix something like that. So looking pretty good. Got a little more white over here than over there, but I don't even care. I like it. I like it. And kinda gives you an idea on your rip ruler how to use it. So an inch, inch and a half fish. Let's do right there. And I'm back to the smoother edge. Just to kinda eyeball on it. There we go. Rip ruler, favorite little gadget. And then uh huh. Okay. So it wasn't as good on my sizing on that side and that side, but that's okay. I just wanted to give you an idea on how you can do a pretty Deckle Edge. And then I'm going to Deckle the edge of this other one. So I have to Deckle the edges. And let's say you did that and you're like, whoa, no, how do I fix that? Because look, I got right up on the edge of this one. You can just come back with your rip ruler. And we've got enough there to rip a little more. I don't want to be ribbon right onto my Art, but I'm just saying Look, here's how we can fix that if we did it, It's not the end of the world. See. And then we get a lot closer. So we can mount it like this, but I actually think it looks better like this. So let's just take a tiny bit more off this edge here. We'll do this other side here, tiny bit more off here. We'll just get it closer. And you can be a lot more exact and the way that your mark in it, I'm just trying to be in a hurry because I'm filming this, but you can definitely take your time, measure exact and get that right where you want it. But I wanted to show you how fund the Ripper ruler is. Ha-ha. There we go. Okay. Then I'd sign it somewhere. I would take it outside. This way. I'd take it outside and spray it with the sennelier Fixative Spray, and then I'd be ready to call that one finished superfund lake at the two pieces that we created today, I actually kinda doubted when I got those greens on there because that's not necessarily my favorite color palette. But check it out. There's our finished pieces and here's our inspiration color palette. So how super fund is that to be inspired by the color palette that was made in 1,797.17, 98. And this is a furnishing fabric. It was a luxurious relocated silk in the neoclassical style that was manufactured by Camille parent, parent, parent on, in C In Leon. It's an archive sketch of the pattern from 17, 97. And it's a noted probably made for Carlos, Carlos the fourth of Spain. So how cool is that? Totally different style. But I think it was super FUN to work in a Historical Color Palette. So I hope you enjoy testing out this project and have Vonn with maybe these colors. And I'll see you back in class 10. Block Print 1800-1860 Picking Colors: For this project, I think I'm going to be inspired by this yummy cover backing from 1700s to 18 60. It's the plain weave block printed cotton from iran. And it was chosen as a decorative backing for a quilted and embroidered Matte or cover. If features are very popular motif consisting of flowers and a short curved stem with an indication of roots below. This motif has the same profile as the Persian Botha, a variation of Bush, shrub or cluster of leaves from which Western Paisley textile designs are derived. This piece was purchased in Tehran in 18 73 as part of the Victorian Albert's first large acquisition of Iranian textiles, ceramics, metal works, and inlaid woodwork. So how super cool is that? This is a color palette that I have never actually put all together myself. So I love working outside my comfort zone. So I have pulled out my Curate talky watercolors. I have the 48 piece set and Art Nouveau set that I'm pulling from today. Some of my very favorite watercolors to play in because the colors are just so fantastic. And they're made with a little different binder than Western watercolors are made in Japan. And it gives more of a mix kind of look between like a gouache and watercolor. It's kinda like a cool mixture. So I have pulled out number 19, potters pink, and I've pulled out number 12, rows beige. And number 47, raw, umber deep, and 304 Alizarin crimson. And 49 yellowish brown. And for O2, mars, yellow and 303 Moff, taupe. And I think that's pretty darn close, just pulling straight watercolors out. And then I also pulled out some Neocolor, two crayons. I've got Carmine, I've got ocher. I've got salmon. I've got Van **** brown. And what is this? This one is where's the color on this one? Crimson. Our isn't Owls are in crimson. So very similar color wise, a little tiny bit different because it's in a wax medium versus a watercolor medium, but it's very close. And then I have my white posca pen and my little black Pens. Any black Pens are good. I like these Micron pens a lot, so I use those a lot. Also get some of these Kings Art pins that I've been using lately because I got them in one of my Art boxes that I get monthly from the subscription that I get. And then I got to posca pen. And I'm just going to work in this color palette. And I am again using one piece of that stonehenge paper. Let me let out just because this is the pad of paper I had beside my desk. So this is what has been using for these projects. Stonehenge, Aqua Coldpress. This is the large piece in the 12 by 16 Size, which I thought it'd be fine if we did a bigger one. Let's just do the 12 by 16 and see what we can get. So I'm going to activate these Watercolors. Got them over here on the side. I'm going to zoom out some so I'll be right back. And then you can see my color is off here to the side. I'm just going to activate these with some water to get them ready. And I'm gonna do another big kind of abstract watercolor that just happens to be what I'm obsessed with lately. You could do abstracts and acrylics and watercolors and whatever happens to, strike your fancy, I like the Mixed Media and I've been obsessed with these watercolors. And so what I'm gonna do is think, because I'm working on one big piece. What I want that composition to look like. I want to think about my paper in thirds so that I don't put anything directly in the center. Maybe I want to come from the edge. Maybe I want to make you, maybe I want to have a large piece here, but maybe some dominant pieces kind of off to the sides. I'm just always in my mind kinda keeping some of that kind of in my mind like where, where am I wanna put that? And then I'm just going to start laying down some colors. It's all about what feels good. Not really thinking super hard about all the stuff I just talked about because the longer you do it, the more it kinda comes a little more naturally like you just start thinking and off to the sides and moving things more to the third, you just start kinda thinking in those directions. And I think it helps to that I did photography for so long because I just automatically offset things And I'm just going to start laying these colors in here. And then the further we get along, the more we'll start to see where maybe the pieces headed. I don't start off with a clear idea of what I'm planning on creating. I, I'm kinda let the piece guide me and where it wants to go. This time I did start with the colors I liked the best instead of going down the line like in the other two that unlike in the one that was more green, I thought wish I had started with that blue this time I am. So I did kinda start with the colors that I loved and I'm going to come back in and use the other colors as we go. So far though, look how super fund this is. Alright, let's come back in with whatever this brown is. And just see if you don't lay it in a little bit and think, do you like that? If you don't like it, then just use it a little like let it be a little tiny punch of color. If you love it, then use it a bunch. Let's see what this orange does because I really do love pink and orange. So maybe a little orange splash would be real pretty. I don't know. Do we like the orange? Oh, okay. So I still got brown. I want to get all the colors in here and then I might start laying some others. Might start doing some more other stuff. We'll see. And I picked all the colors in watercolor to start with, but we didn't have to do that if you only liked a few of the colors and you wanted to say, now that I've thought about it, Oh, come back with some Acrylic Ink. I've got a whole bunch of acrylic inks back here. The Sepia would have been absolutely gorgeous and given me a really nice deep, Let's just do it. It'll give me a really nice deep contrast in there that the watercolor kind of gifts me but maybe isn't as dominant. But just check it out. We're gonna make it really, we're gonna give it some some rural pizzazz. And again, I'm still not being super specific about where I lay the color. I'm kind of working intuitively here. I do like those pops that gave such a pretty contrast that I'm looking at thinking, Oh, isn't that beautiful? While son of this is damped, we could come back in here and create some water blooms. While it's damp, not dry, not sopping wet. But once it gets kinda dam, we can come and tap some water back in here and let that kinda bloom out. Which is really pretty. And we can put salt on it if you're a watercolor and salt lover, that might be a FUN texture to add on here. If you'd like granulation, you can add some granulation medium. Let's sum them up. That's super FUN, which I think could be basically saltwater. But this Winsor Newton granulation medium creates pretty granulating in the watercolor. So just strategically running back in here, adding some texture. And then is there any color in here that you're really loved and you thought, oh, I didn't get enough of that. Now could be the time to add some more back in here. Or you could do it on top after you've let everything dry. So you just kinda wanna think of the different layers and what we need to dry before we add more back on top. So I'm just a little more water in here to spread that out a tiny bit. Account pretty well. So pretty much prettier than I was thinking. It's gonna be different shape than I was even thinking. Super cool. Alright, so I'm going to let this dry and then we'll come back and mark-making on top 11. Block Print 1800-1860 Adding Marks & Finishing: Alright, this is almost completely dry and I cannot even explain how obsessed I am with how beautiful these colors came out and meshed together. Look at that most beautiful color combination. Totally unexpected. Just kinda, let's just revisit our color palette inspiration. And I say inspiration because that's exactly what these are, were being inspired by color palettes that have been used in the past. Look how gorgeous that is Amin in sanely beautiful, totally a color palette. Just looking at it on that piece of fabric is not one that I would have thought was gonna give me this. So I'm also wondering if we had some splatter out here. If I would like some splatter. So I'll put some water and a little bit of color on our PR piece here. And I'm just gonna do a tiny bit of splatter out on the edges in that pink. And maybe like, how about this orange? How about the orange? And I don't want it to be like overwhelming. But I do want it to be looking at that. Oh my gosh. So pretty. Okay. So while we've got that little bit of splatter going, I just wanted to touch didn't have to be a lot. I'm going to scoot our watercolors over. Those are perfect for this type of project. And let's pull our little neo color crayons and our pins and do some mark making and stuff because now I'm kinda filling it. Like this is really beautiful. And I might even do oil pastels on top. I'm just obsessed with my oil pastels and I didn't pull any out for this project. We could do stencils too if we wanted. I mean, all the options, holy cow, all the options. I do have some different pastels, you know what, now I think I'll pull those out. These are the Neo, these are the Karen dash Neo pastels. Like the number one is basically because these are the Neo colored pastels. Number two. The number two or more like a crayon, like Crayola crayon kinda. But they're water-soluble. The colors are beautiful. The number ones are the oil pastels. And a little different than this an LEA, they're not quite as creamy, but look at these yummy colors like I can already see. This is very close to the ocher, so I can definitely kinda match up some of these colors to the ones I've already identified and pulled out as ones that will work in this color palette. So I love that. So let's use the Karen dash ones because we got them. And I'm looking for maybe a maroon because I liked this maroon. Okay, we'll just set this to the side. Just wanted to introduce those because they are kinda new to me. I haven't had him very long. And now let's just do some yummy mark-making. And again, if you're kind of like what Kent, what Marx can, I do, don't forget to refer to our yummy PDF of ideas that I've already started for us. And then I want you to continue making marks and ideas. You can have yourself a mark-making book that would be ideal. So you can kinda look at that and get some ideas. I'm just going to start making some yummy marks. I like lines that looked a little bit like a ladder line. So I'm gonna do some of those. I'm gonna be real careful not to hit my splatters hopefully. Who were like You're right there. He what do we want? I want before I get too much on here, maybe some of those yummy lines. I like maybe a circle and gold. Okay, so this might be the time to get the gold ink out. Also because I consider gold and silver and white and black kinda neutrally, neutrally options, but definitely feeling maybe some gold. And maybe I could do, let's do some mark that we've never done before. So maybe, maybe we could do like the V's, like they look like little birds almost. So we might put some little birds in here. And this is that micron O5 pen. And I might just pick a little swash of a watercolor that's got a transition in it, but kinda gives me a very nice stopping starting spot to do that little pattern. Look how pretty that is. Look at that All such a good mark. Okay, I'm liking that one. Alright, so here we go. Let's keep on going. I like that enough to use it somewhere else. So maybe right over here. Yeah, hahaha. I love that. He then I could come in with some little maybe I'll maybe a line. I like the lines. I think I'm gonna do the lines in the king's art that, I've got one that looks like a brush. Pull all your black pens out and just pull the one who see now this one's a cure talkie. I'm kinda like a really fine brush pen. I really like this one. This one came in and art box that I get, But I haven't been able to find more. So this one may not be available. Pick your favorite pen. No, But this one of my favorites, so I'm going to use it. And I'm kind of thinking, maybe my fun little, little lines like this. And I could do a little leaves are a little pearls. Kinda ended off. I could do like a little loop at the end to kind of be like, Look, it's ended with like a little do lolly. Started off with a little do lollies. So it didn't just come out of the air. And I think I'll do a little pearls on here, but I've also done it where I've done little leaves which I really love. And in this instance, we could pick a second spot to do some of those if you feel like, oh, it needs more, we could pick another spot to do it. I think I'm gonna do something too wet right there. Let me get my handy-dandy five-gallon paint bucket paint stirrer from the paint store. I like to use this to rest my hand to hold it up off the paper with my other hand. And it gives me somewhere to rest my hand. That's not directly on wet paint. Look how pretty and girly these little bubbles of black do it makes it look like a bracelet. I like bracelets. That's what that gives me a little pretty feminine feel though with that, I love that. I mean, almost feel like I need another one just like right over here. So I'm going to start a little rib, anything? And we'll just have a little bitty one, just as like a second little focal spot. So it wasn't floating out here by itself and you're thinking that element doesn't match or go or feels like it's out there, kinda lonely by itself. This is how we can, if we'll put it somewhere else. So you can kind of prevent some of those moments where you're like, I feel like it's not finished. What did it need? Maybe that's what it needed. An extra little decoration over there. Look how pretty this is already he super pretty. Okay. I'm actually not wanting to do too much to it because man, I'm loving it. I didn't wanna do a gold. This is my cure talk ego, Micah paste. It is pretty easy to get on Amazon. I'm sorry, go Micah ink. The ink is much easier to get than the pace, but the paste is one of my favorite. And you can put this on with a dip pen. I've got irregular dip pen that I like to use sometimes, but I also have my favorite dip pen, which I'm high, which is hiding from me. Here we go. This is my cat, Gomorrah brass nib and it Scott, um, it's unique for a dip pen because it lets you do circles and stuff. But you can use a regular dip pen. You can get a little paintbrush to do a little patterns. But in my mind, I'm kinda thinking we get a piece of scrap paper over here. Kinda thinking I want to get it started and do like a, some circles. I like circles. And I just like to kinda start it on piece of paper rather than my piece of art first, just to make sure not gonna drop a big dab onto my piece before I got it going. And then I just moved the pin a little bit back and forth as I'm creating these little circles. This is the prettiest piece. I think I want a third one like right over here. And they're very subtle like you might not even see them from far back, but trust me, when you get up close or the light hits these, you can totally see them. Shimmer or our love it. When I come back and I start doing some dots on these little things just like I did on that black. Just something very delicate. I mean, it's a delicate pink. It's very pretty in here. I feel like these colors can handle the yummy delicate details like we're heading or not this super pretty. And then I might come in with some more gold dots about the piece, just like I did with the white dots. A lot of times, I come in with gold dots. So this is like a signature thing that I really love doing. And the more art you create, you'll find these little signature details that you're going to love doing. Just takes playing and creating. You'll get there. So what if we do some gold dots out here in this brown? So you can see how you could use like a really tiny paintbrush and you can make gold dots with little tiny paintbrush. I say that because this node is kind of pricey, but to me it was totally worth the investment because it's my very favorite art-making tool besides all my other favorite things. But man, I have just used the tar out of this thing and it has totally paid for itself over and over and over again. And when you get new brass nibs or dip pens, they come with an oil on it from the manufacturer, like from just creating it and they have oils on them. And you'll want to wash that nib off with like an old toothbrush and some toothpaste will do good. Sometimes dawn soap is good. You could jab it into a potato. Let it sit for about 20 min, and that's good. I'm just kind of releases the oils off of your nib and let your nib then be ready to hold ink because otherwise, soon as you get it, the ink slides right out. And you're like, why is this not holding the ink? Because this net is really cool. It holds ink longer than a normal dip pen. And man, I like inks like this that we can dip our pin into because you just get colors and mixes that maybe you don't have available in a paint. I just love it. That's again, that's one of my own little signature things that I like. Let's put this up here. In this. I liked, I liked that we're doing the gold in this little brown area, really sets that off. And then to wash these, I just in some, in some water really good. And then I've got my microfiber cloth that I keep here at my table that I absolutely love. You've never tried the microfiber cloth seat or cleaning cloth in your art room. They're just amazing, so valuable to me. Okay. Now I'm feeling like we're getting somewhere loving what we have going on. Could come back with some of our other things or other, Let's see mark-making. Let's see what do we want to do? It's so pretty like it is. If you get to a point where you're like, okay, I don't know what else to do. You feel like I'm about to ruin it if I make the next step, set it to the side. There's nothing saying that you have to finish every piece the day that you sat down. Let's use this gold over here, this kind of yellow ocher. You could, you could set this to the side, live with it for awhile because, you know, it could be done like right here. In my mind. It could be done. But I don't want to give you some ideas of things that you might, could do or think about or consider inspire you. So you don't have to have any of the supplies that I'm using. You could have substituted anything in your art room for everything that I just did today. And I want you to look around and start thinking, what do I have? What can I use? What can I create today with these five tools that I've pulled out? Like I did, I like pulling stuff out and then saying, all right, here's what I'm going to use today. Then I reserve the right to add, like when I thought it needs the gold, it needs that black. I reserve that right to add and be creative and make those decisions as I'm creating the art. But it doesn't have to be all today. Like I could set this to the side until I'm more comfortable or more confident about the marks that I feel like it needs. Or maybe I've got a new supply that I'm like, haha, this is what that needed. I definitely want you to wait. If you just feel stuck, live with it for a bit. I like how that yellow just added a little touch into the lighter browns. You're not even going to know it's there and unless you get real close almost nose to nose with it. But it added an extra little depth and dimension to that color. And I'm always looking for ways to really make that color more complicated and interesting. A couple of you that is Now one nice thing about Neil, color to pastels versus the oil pastels. If you don't have the big glob of oil pastel, that never seems to drive that. You definitely need to use a finishing spray on. I could just leave these not without any finishing spray and it'd be fine. So that is one advantage. If you get one or the other, get this. The 2s, the neo color twos. They are the most versatile art supply. And they come in so many yummy colors. Alright, that is super duper yummy. And I think at the moment before add, anything else to add? I think I'm actually very happy with where this piece has landed. Look how pretty that is. And it's not often that I do pieces this large for you in a class. And so it's kinda fun to go a little bit bigger. And so you might just look at these and think, okay, I think I'm feeling pretty good at this point. And I might call this one done for the day. And then I could revisit this one later. We could have had drippy paint. We could have had other supplies if I found something else that I thought was interesting, but I actually think this one is done. I like that it's not overwhelming. That it's kinda soft and pretty. But as you get closer, there's all these yummy details. I do feel like I could have done a white posca pen, but we can continue adding things at later points in time as we get secure and thinking like, Oh yeah, that's exactly what we needed. Like now that I'm even saying that. Let's just do it. Because sometimes you'll be looking at stuff and thinking, all wish I had done this or maybe I could do this, but let's just go back before up fully pull that tape off. Let's just add some whimsical white dots to it. Oh, yeah, I see. It did kinda need that. All right. That's what I wanted. Ads, just such whimsical little touches when you have sweet little dots. That's beautiful. Now at this point, look how pretty that is. And you can see the little shine in the light. This piece is beautiful. But we can also turn it around and think, who do we like it this way, a little better? Or this way? Or this way? Because it is kinda fun in other directions. Some actually really, really loving it the way I painted it. And I really like it this way. So very interesting here on changing directions as to what we get. And let's compare that to our inspiration palette. In our book over here, we can kinda see how did we do compared to what we were inspired to create with. And I never would have guessed until I did this. This might be one of my favorite color palettes that I've used. Look how gorgeous that is. And I never would have done that without this challenge. So that was a super fun challenge. And I loved the piece that we created. So I hope you had fun with this piece and I'll see you back in class. 12. Holy Grail Tapestry C1890 Picking Colors: In this project, let's do one of the color pallets from the PDF that I gave you. It's under your projects and resources if you didn't download that already. But I thought this will be fun. This is a tapestry called the goal holy grail tapestry, the arming and departure of the nights. It's from circa 18, 90. And the color palette really spoke to me. So I want to encourage you use whatever you have, pull-out, a color or mixed colors in whatever you have in your art room already. I'm just pulling out things that kinda matched that were fairly easy to play within this color palette without deep diving into color mixing. So I have pulled out sharpen raw umber for this first color. And then I've pulled out sharpened and sap green for this green color. I've got Holbein lamp black for this black. This green actually randomly had a fusion paint, which this is like furniture, mineral paints. So you probably have that and you can mix the color. But if you do have these, these are super fun and the colors are beautiful and it was that perfect shade of green right there on that piece. I was really excited to pull that out and we're gonna be using it. I also pulled out liquid texts, basic red oxide, and this is a flesh color. So I pulled out Naples yellow, which is a little more yellow than this flesh tone, but I'm gonna, I'm gonna go with it. And again, my goal is not to be 100% exact. And if your goal is to be 100% exact, definitely make that a challenge of your project. My project is too, at least work within a color palette and just see like what can I create with this set of colors that I might never have put together? Otherwise, I'm going to set that right there to the side. I've already put our paints out here on our paper. So we'll move these over and got the fusion paint here. I'm not going to forget that it's such a pretty color. Also will pull out some other mark-making for the top, maybe mark-making for underneath. I really like these, create a color, chunky charcoals. And so it might be fun just to get our page started. And I've put down a piece of our Stonehenge, Aqua cold press watercolor paper again, because that's what I've used throughout the whole class and I've just taped it off into six equal sections to do this with. And I might come back on top and do some more mark-making. It's just very interesting to just put the paper started. Sometimes I treat this as one big piece. Sometimes I treated as six little pieces. Doesn't really matter. It's just fun to get started. And I'm not thinking too hard about composition and things like that. At this point. At this point I'm thinking, let's just paint and have some fun. Alright, let me set those to the side. And I keep microfiber cloth handy here in my art room. It allows me to get chalky stuff off my fingers without going to wash my hands. And now I'm not going to be scared that I'm putting red stuff everywhere that I didn't intend. Now another fun aspect of doing something like the charcoal underneath, just to show you is they're water-soluble. So I could just come back with my paintbrush and kind of switch that around to do some more stuff. It's really pretty when you do it that way, it's like a mark within some watercolor, almost, but it's just really delightful to do a little bit of smearing with some water. There we go, like that. Okay, so I'm gonna be using my filbert, Umbria, five-eighths inch Princeton brush probably for a lot of this because I like it. You open that green. And then I'm just going to look and see like where do I want to get started? What's my favorite colors? What's my least favorite color? So whichever one is your least favorite, maybe use that last or in the smallest quantity that you can. Or, you know, we could treat these as six different pieces and let a different color be dominant on each. We could treat this as one big piece and just paint all over it and then see what we get when we peel the tape. Where we could do like a little collection of all similar pieces in the same colorway. Lots of different options for you there in how you approach painting the split up pieces. And I'm just trying to move some paint out of the way there. Okay. So kinda fill in like the green is my least favorite. Maybe if it were a green black, not just black because extra, after I pull the colors together, we're free to play. We can just go whatever way we want to go. Now, what I have off here to the side of this is clear gesso. And I like mixing the paint with Jesse because number one, it makes it makes easier number to it makes it gritty so that you can mark make on top. So I like the I like that And each one you might start off a little different, like maybe in the edges, maybe this coming from the centers and just see, you know, when we're finished, what compositions did you really like? The best? So that's kinda fun to experiment there with composition and where you lay the paint down. Then you start getting really good with how you like doing your little abstracts. Because then you might get into who I like starting on the edges, which this is where I tend to like starting so that you do see me probably do that a lot because it kind of I don't know, it starts you off not centered, which I like that because putting your subject directly in the center of your paper is not very interesting for a composition. You see how it is clear. Gesso just makes that paint go. I didn't love it. It makes it maps, so it's not super shiny. Hello, that about it. I like matte paint. Yeah, just start playing. Get that first color laid on there. You might have a couple of paint brushes handy if you want to still use that color some more. I'm going to draw that out and we'll just come in here with some yellow. And you don't have to cover up what we did underneath. Like see this is shining through. I love, I love that it's shining through. I want to see that maybe we did something underneath. There wasn't my intention to put that down and then completely covered up and never see it. I don't mind if we get shine through bits of what we painted underneath. That's what it's there for. It's to add the layers, the dimension to it. It got us past our white page paralysis, which is the main goal. But it's also marks that look interesting stuff. And I like doing more than one at a time. So this is why you always see me work in multiples. Because when you just paint one, if that one was terrible the whole day, it was a terrible paint day. But if you paint many at the same time, then that day was a fantastic paint day because a couple of these are going to be amazing and a couple of these are going to be terrible. And you're not gonna be stuck with the terrible ones because you had some amazing ones in there. Okay, So I did mix the green and the black. We kinda combined those. It's going to be my dark contrast in here, I think. And whatever color it is, that's your favorite. Use the most of it. Least favorite, use less of it. But you know what? You never know the colors that I thought were my least favorite and some other pieces ended up making the whole piece. So I want you to at least double the colors in every one of your pieces today, just to say you did it, even if it's the tiniest little mark, put a little bit in every single one of these. And I'm I'm not worried about it. I'm just going to get what I'm going to get. Don't really care where I end up, which is how I like to paint. I like to be spontaneous. I like to just kinda think, you know, where are we going to go? It's not a big deal to me. I'm not getting stuck. Look at that mineral paint completely different. Look and feel. I like that because it's true mixed media that I end up doing when I paint with different mediums, which you never know it could completely ruin your piece. But if you start off with the, where am I going to end up? Attitude, not knowing what you're going to end up with. Nothing has really ruined. You're just like, oh, I didn't expect this. That was a fun surprise. That's what I like. Delightful surprises. And never know where I'm going to end up with when I sit down to paint. It's not my purpose. It's not my goal to paint something specific and end up in a specific place. That's just not the way I create. Let's take a pencil and make some marks through this wet paint. And I do it with the lead out so that if the paint is wet, it just kinda drags the paint. But if the paint is dry, then it leaves pencil mark. And I like pencil mark. So I do like scraping through paint, but I also like leaving pencil mark. And again, this is just giving me some interesting layers to the piece as we look at it and we think what's going on there. All right, I like that. Alright, what are we not use? We have not used the brown, so let's come back in here and put some brown. It's like puppy brown **** brown. And it's acrylic paint so I could come back and paint on top of here. It's not like this is our final, final, final. I really is like a puppy brown. Alright, now, now let's take a look at this. Let me put out some more clear just so if it's not so hot mess right now, if you're not in a space where you're thinking, who I love that or who is good enough, I love it. Let's, let's call this finished. If you're not in that place yet, maybe you don't have enough layers and you can come back and add more to the top of your pieces. Also kinda, you know what, now that I've done some of this, also want some white. I'm gonna go ahead and make that white be the white gesso. Because just so it was basically acrylic paint with grit in it. And what if we come back on here? Oh, look at that. What if we come back on the top with white? I consider white, black, silver, and gold neutrals. So don't be afraid to tweak your color palettes as you're working. The goal is to get you started in an antique, vintage, yummy color palette. But it's not necessarily where you have to live and stay. Let's just go back in here with some more. I love this. It's to just get you outside of that comfort zone. That's place where sometimes you get stuck. I just want you experimenting and kinda growing what you'd like to do and your skills and the tools that you're using to do it. And play in some color palettes that you just never even imagined you would ever even like or consider. That's my goal. I want you to have fun and experiment. And this was just a starting place with these color palettes that we found in historical fabrics. But if you want to stay true to the challenge and do the color is exactly definitely do that too. It's all about your own art practice and experimenting. Kinda. We've got some hot messes go and now I agree. Say, Oh my goodness, all right, let's get some of this green. We don't wanna do this with the green and the white. Oh, look at that. Let's do that again. Actually liked that. Green mixed in with the white. Just so awesome. I'm with you here. It's a hot mess. I start every painting thinking, am I going to pull it off? This video, ever see the light of day? And somehow magically we do it. I don't know how it's amazing. Just be brave. Keep adding layers. Let's see where we can end up. Alright, some of these are kinda crazy. And I do want to put some stuff on top so we can draw on top with whatever it is that you'd like to draw on top width, whether that be neo color to crayons. Mike come back in here with some more pencil marks. What did I do with my little handy-dandy pencil? Here we go. We can come back in here with some pastels, soft pastels or oil pastels. Let's just come back through here and start doing some mark-making while we've got wet paint to work with. And then we can think about what's next. Oh, it's these lines and things that you dragged through the paint showing underneath paint. That's super cool. I get some more. Out there we go. Oh yes, see, this just makes it when you have these extra interesting places to look at and think, what is that? Like that I like circles. Let's do some circles on this one. I like it. Alright, we got dashes, we've got circles. What else do we want? Maybe some interlocking squares. How about that? Oh, super fun. I like that right there. Oh, that's super cool. Alright, we need to let this dry for a moment. Then we can see what do we want to put on top of this? 13. Holy Grail Tapestry C1890 Mark Making & Finishing: Alright, these are 98% dry. And I just wanted to revisit our color palettes so we can see how did we do working within this color palette so far. And I know there are a hot mess. We're just going to add some more layers on top of that. But I wanted to just revisit the color palette for a moment and kind of thing. How did we do? And I think we did pretty good trying all the colors and staying fairly close in the color palette. I love that. So now it's time to Marke make on top. You can do that with any of your mark-making stuff. But I'm thinking in my mind, maybe I wanna do it with some pastels. And I'm going to try to pull some pastels out that still stay within our color palette. And just let me mark and play on top of this. And then when you use a soft pastel or any chalky stick like the charcoal or whatever. I do seal these with the Pastel Fixative on Acrylic paintings like this. You don't have to, but it could continue to smear. So even like one light coating on it would lock those in a little bit better. And then I store these in clear plastic sleeves with maybe a piece of wax paper on top of it just to keep it from being damaged. So just giving you ideas, they don't Finishing. And then when I'm working with the chalky things, I keep the microfiber cloth around to keep my fingers fairly clean. So I'm going to start pulling a few of these colors out and remove these paints out of the way. So I can set this a little more to the side. These are all Sennelier pastels. They were from the Half, the Half Stick box that you can get. And you can put them on. You can wet them with water. You can smear him with your finger there, just so versatile on top of something like this. We could also do, let's just pull it out while I'm thinking about it. Let me finish using that on this one. You could do something different on all of these. I think it's just find a play and experiment. We go, we could also use the Neocolor two crayons. You don't have to use soft pastels or anything that I'm using. You can use whatever you want. Like let's just pull out. Let's see which one's kinda that Sam, any color that we have one into your kinda like that. They're all let's see. What do we have? What about that Green? I don't see that Green. Oh, this is kinda close. Let's do this. This is all of Brown's kind of green in there. Let's just see if we wanted to, what the difference would be. Drawing on a piece with one versus the other. So there's a definite difference in intensity. These are a lot more intense and bright and vivid than these are. These you don't have to seal though, so there isn't advantage to that. So I thought that was definitely interesting to just try and see what would we like. And I'm doing like a color block. You could do splotches of color, you could do mark-making. You could draw in this piece. Like maybe I want to have some interesting lines and marks like that. I loved that actually. I like that enough to do that again. So these are perfect for picking a color and doing some lines and marks. Super fund. And you see because we use that, just so we got enough grit that paint to hold onto any color we're trying to put on top of it, which normally you wouldn't have that. The paint is acrylic, paint is plasticky, so it wouldn't give you that that Grid lossless. Look at this one. We're all yummy, yummy color. I think I wanna do some more of that green out here though. Maybe I want to do some overhear. If you've got any that you've kinda lost a color in there or maybe it didn't show up because we mixed black and green. You know, this might be the time to add that back in there with the Pastel and get that color that maybe you missed. And Pastels go everywhere. So keep that in mind as you're having Pastel, don't blow the Pastel and everything that you've got going. Wait until you've got all your Pastel kinda marked on your piece. And then pick the piece up and tap it and you can put like a paper towel down and tap all that dust down and that will keep it from contaminating your whole desk area. There was some class that I did. Somebody's like you didn't make it clear enough. You didn't really hone that in. So I want you to hear me when I say this, anything that's a powder It can go everywhere and it will contaminate your workspace. And you want to try to avoid that if you can. But yeah, I got cracked up at their comment because they were like, I know you said this but I guess I didn't believe you. I just started laughing the way they phrased that it was hilarious. I'm loving the green. But I didn't love it as because I was painting and not funny how when you use it as a different material is suddenly starts to take on a new significance and you're like, Oh, I love in that. So this is a way to emphasize some color. It's also a way to do some mark-making. Maybe some pattern. Look at that. Look at that totally made the piece right there. Oh my goodness. What butt right there. You knew I'm crazy. Just go with it. You gotta have some FUN while you're painting. This is the way that I like to paint and have FUN. Different artists have different little styles. Mine, my style is all about experimenting and playing and having some fine and just being a nut. One of my videos, somebody made a comment of, oh, I love seeing your experiments, but let's see your real Art. And I thought this is my real Art. Experiments is my style. Even when I did photography workshops, I decided on a personal project that I wanted to do. And then I created a whole workshop around me doing that personal project. And I just dragged you along on the personal project of whatever I want it to deep dive into. Sometimes that was flowers or macro or still-life. And so even my photography, it was all about experimenting with different subjects and different lenses. And I have brought that into all my Art Workshops. It's about experimenting with supplies, which I've always been addicted to Art Supplies. And now I'm using all of them way more than I ever did before. Because I like to experiment. And if I say okay, here's a color palette that I want to work within. Let's pull out colors that we can make did in this color palette. Then I'm truly getting into a Mixed Media kinda feel I like watercolor, I like acrylic paint. I like pastels. I like, you know, different markers and paste and gold and you name it, it's out there. Look at this one was the most exciting out of those I loved it. What else do we got here in our Pastels? While we got the Pastels out. We could come back with some black. If we wanted to really hone in some, some darkness, we could go ahead and do that. Some people are like, Oh, it's not a piece of Art till it has a spot your black. And I'm like, so limiting don't be, don't be like that. But we can get kinda do a little tiny touch of black and give it a little contrast and vocal in here. If we wanted to. Kinda wondering this one, let's make it a Marke. Look at that. That was actually a pretty your Marke than I intended. Kinda wanted. Yeah. Let's just go with Pat and I was so good. Such a surprise. But let's just go with it very pretty. Okay. Maybe some some darkness over here. And the only reason why I pulled the blackout is because it is in our color palette. So we're in or color palettes still I'm not using it as a neutral because white and black and gold and silver thinking all these are kinda neutrals. This was actually enter color palette. So yay for us for sticking in our color palette. I'll see, you know, I'm kinda feeling like all the way up. Just go with the flow. No worry about what you're going to end up with. And then every day is a good paint day. I used to sit at my painting table and I get so mad because I'd want to masterpiece and I couldn't figure out how to get there. And I had that white page paralysis and I'd get stuck and I put a little color down and then it wouldn't be what I imagined in my mind, it should have been. And then I got up angry and I left my table angry. And you don't know how many years that actually happened? And I don't know at what point I decided that I love to cut up Art Might've been some random project that I did. And I'm like, Oh my God, I love this so much that then that became a staple of my creating. And then node, no Paint day was a bad day because I can cut it up and do other things with it, especially like collaged pieces and stuff. It's the perfect way to get collage stuff. I've got several collage classes on Skillshare. If you want to dive into that, because I start all my Art now with the thought of I can cut this up. So it doesn't matter if it's something amazing when we're done or not. I kinda feel like I want some of this dot action right there. So what color is going to work best to give me some dots. What about what about this crazy almost yellow that we were using like the ocher who see now broke that. Okay, So let me show you real quick how we're gonna get this Pastels off of here without making a mess of everything. I've got some shop towels. I'm gonna go ahead. And because I broke that Pastel on my piece, and we'll go ahead and tap all these Pastels off of here. And basically, I pick the piece up, just get real close, tap the tape, and then leave it alone. Of course, I'm getting it all over my table here, so hang on. A little messier when I'm talking at the same time. But now we can then get all of our pieces off. I can clean the table with a wet wipe. But now I have a surface where I'm not blowing lots of powder. And so let's try not to do that again with the yellow because I broke it all off, but I'm feeling definitely yellow dots. Hahaha, totally what I wanted. And you can take it outside and blow it off good after you're finished, if you need to. I really loved this color in here. I'm kinda wondering if I would just love it a little bit on the yellow that's over here. Now that's slightly veering from our inspiration piece. But once you're creating, go where it takes you, it's alright if you deviate super Bon, oh my gosh. Bce. This is, this is some super fond stuff like that, like it is. Okay. So now we definitely got a hot mess. Is there anything else that we wanna do to these? Feel like I didn't have enough going on up there or did I I don't know. You can always cut these apart and decide later if you need to add more to it. Because I just did that yellow on there. I could take it outside and blow it, but I could also do one last little tap off the pastels. And then I would definitely finish this with the Finishing Spray because I'm I Pastels everywhere if I didn't. There we go. Excellent. At this point. Kinda thinking, how would we do watercolor palette? I'm loving where we're at. I want to peel the tape and see what I got and maybe cut these apart. So I definitely want all the Pastel off my fingers. And if you start peeling tape, the tape terrors your paper, get your craft run out because the heat will release that adhesive. You look at these, never judge the piece until you peel the tape off. Oh my gosh. Crazy good. These are crazy good. Like I'm not even expecting what we got and they're crazy good. Let's cut these apart because I want to see him with a little white frame around. Oh my gosh. These have turned out way better than I was even thinking. Like fantastic paint day. Holy cow. Look at this one. Look at that one. I love the light pink that we pulled in when I mix that with that darker red. And we can turn them and see which direction do we really love them? I love that. Oh, this one. These two, really the one I thought was gonna be my favorite probably isn't. And these that I thought hot mess. Oh, no, look at that. Totally got color where I didn't intend. So that is the drawback to stuff like this. But let me show you. If you get something on one that you're like, love, love, blow it off, get all this stuff off your fingers. Get one of these that kneaded erasers, these artists erasers. And you may be able to just erase that bit that you didn't like. That slipped out on their lookup lose and you can have them move. I didn't mean to do that. And you can have them framed right up to the color. And then you won't see this white part. But I do like seeing it framed out with the white around it because it makes it look like a finished actual piece of Art. This one is gorgeous. This one is gorgeous. Look at those pretty scrolling lines that I didn't intend to make. So pretty and scrolling totally made that piece. Look at this one. Totally love this line that wanders lazily through there. And it kinda goes off. Keeps going like you wonder like, Oh, what's out there? It kept going. Love that one. This one, super cool. I don't know if it's finished with this section here. And I can turn it different directions to see kinda like it this way. So that one I could revisit and add some more mark-making to this one I thought was gonna be my favorite. And funny enough, these three are my favorite, and this one's not the favorite I thought it was going to be, but I do love it. Again. Last piece. I like these pieces that come through here and they kinda go off the frame and you're kinda thinking what's going on out there. So I have three pieces that I'm like, Okay, I like them but I don't love them. And I got three pieces that I love. Like I would frame these three right here. And check out how we did with our color palette. Always FUN to double-check, to see. Did we stay true to the colors that we were originally working with? Two, we kinda veer off of it. And what do we create? And these are, just actually think these 3-state better in that color palette and he's got a little darker, but I love him anyway. Hope you had Fine applying in another color palette here from the PDF. Can't wait to see what you're creating with these. And I'll see you back in class. 14. Final Thoughts: Throughout artistic journey in this class, we have delved into the world of historical textiles, uncovering the rich tapestry of colors that have adorned textiles for centuries. As we come to the end of this creative class, Let's take a moment to reflect on the remarkable artworks we've created, the connections we've forged between the past and the present. Each abstract painting is a testament of the power of inspiration drawn from the tapestry's of bygone errors. Your unique color palettes and brushstrokes have breathe new life into history as the emotions and impressions evoked by the ancient masterpieces find expression on Canvas. I'm so proud of each and every one to you for embracing this journey with an open heart and a curious mind. Your dedication and artistic courage have made this class a truly enriching experience for all. Thank you for being part of this extraordinary exploration into Art History and abstract expression.