Transcripts
1. introduction: Hello guys, welcome to today's lesson. So what we're going to be going through today is alcohol, ink, and doodle. I will be talking about in this class, the important, all creative play. I think that creative play is really underestimated on our artistic journey. We needed a space where we can be fairly so our art, we can express ourselves in a way that we're not constricted. I'm not worried about our end product. We're just invested in the process. And I think that Du Lin, or creative play of unequally and reading facilitates stock. It really helps to develop our skills as artists, as well as helps us find our style and our voice within the arts community. So if you haven't found your style, yeah, and you're wondering, you know, what is ongoing on Create plays a really good way to navigate through that process and understand yourself a little bit better. And I think that when people talk about Healon and art stuff, this is what we're talking about. Mostly when we can connect to the creative flow. Does an energetic flow that I believe made of just inspiration on energy. And as artists, we don't need external inspiration. We don't need to be inspired by anything outside of ourselves. And we can learn to connect to this flow. We can learn and to grow and thrive as artists on find our own style, on our own movement. So that's what I'm going to be concentrating on today. So I'm going to take a true just a basic an alcohol ink process that I like to do where I use alcohol inks on your full paper and I do too. Over the top of them are going to be talking about some basic color theory. And we're going to, once we talk about some tools that you can use, if you feel like you're ever stuck or Well, aren't just block some tools that you can use while you're in the creative process to keep Duflo gone, heaped up momentum, Goldman, we're painting. Instead of having to stop and our brain's kinda get an a, we get in our own way when paint and Songjiang show you some simple tools that we can get out of our own way on just flow to our piece from start to finish without any interruptions. So I will be going through all of the materials that were used at Oswego in the class in detail bug quickly, tell you what you're going to need and to participate in this lesson today. So I'm going to use an alcohol and isopropyl alcohol. So I recommend that you have a respirator. And this is really important because the alcohol is on the vapors from the alcohol can affect your loans negative you. So safety is paramount when you're working with these, especially if you would like to use them quite often like me. And you're going to need a respirator dot filters out organic and vapors. So what you're going to be looking for when you're shopping for a lots of use and isopropyl alcohol, this isn't 99.8% for unease strengths that you have won't make a difference. You can use any alcohol inks that you like. But in this class I will be using Ranger inks on. I will go through the colors we end the class as well. So I mostly using pinks and blues. I like wild plum. I planned met mermaid, fuchsia dot chromosome. But it's entirely up to you. Whatever you'd like to use is then is fine. We'll also be using some UFO paper. Um, this is the piece that we're actually going to be creating today in this class, I'll show you a close. It's basically just a rainbow alcohol ink with Posca pen detail on the top. So for this class I'm using white posca pen. I'm peach posca pen on a little bit of green posca pen. I recommend that you definitely have a white posca pen. Take this class, but if you wanted to use corners, That's entirely up to you and it's not necessary. You can and you can use them or you or you don't have to bolt. I recommend definitely you have white posca pen because it is, it's the most popular stones pop off the page and it gets the nicest effect. I have a color wheel here and I'm going to be taking you chew a little bit of information on the color wheel as well. Not necessarily that you have one of these, but you can follow along and take notes on it. And it will help you during your process, either paint them together. So I really hope that you wants take this journey with me today and let's get started.
2. laying down ink: Hi everybody. We're going to begin our piece now. So I'm using a piece of paper, few stains on it, but it's not going to be an issue for the piece that we're going to be creating today. So I'm using range or alcohol inks. So I'm going to start putting them into my shot glasses just two squared. This is wild plum. Some orange torque wise egg plants. We're now going to add some isopropyl alcohol to each of these ink copes to dilute the color and help the flow easier and blends together. Now I'm placing some isopropyl alcohol down and I'm going to pull some of my aqua alcohol ink onto the, directly onto the page. And we're going to move this around gently. And we're going to add the rest of our colors, then you can do this anyway, it, you're like, so there's not a specific color scheme that you need to be using or in a SAM pattern. Because alcoholics are kind of at the wildcard to unpredictable. And you put them down on themselves book, or sometimes referred to my color wheel because the colors on the opposite end of the color wheel are complimentary. So if you're looking for to complimentary colors, you go to the color and go to the tree directly opposite. For example, if we are looking at yellow, the complementary colors are violet and blue. So you can keep that in mind when you're put into corners together so that you have a nice contrast on the page and you're having complementary colors next to each other. It just gives an extra pop knee. You can go intuitive with this as well and just go whatever way you want to look at a chart. Well, I recommend that if you're a little bit nervous about using bright colors, which some of us are not. You refer to your color wheel just to help you. Oh, it's just a tiny little tool. So I'm adding some eggplant concentrated on top of our already mixed colors. And I'm going to add some isopropyl alcohol directly onto this. This is because I want some darker segments, so this is going to be a little bit more concentrated. Put the isopropyl alcohol is just to help it move around a little bit. Now I'm going to tip my page slightly just to help all that color blend together. I want that almost most of the page. I do like a little bit of negative space and most of my paintings before this one, I'm going to make sure that I get every corner and spread out as much as possible. A little bit of negative space is at no harm. We want a lot of detail in this, so we're going to try and cover up every single bit of it. So I'm going in with a bit more ink on the edges that haven't got so much liquid on it. And you can see in our gotten some beautiful blends at these colors are common, scatter gorgeously, gorgeously. It's not a work beautifully. So just happen to know a little bit more now by moving around using my paintbrush just to drag some of that concentrated color, true? At the blues, some Dragon my eggplant up a little bit. You can see it's tipping off at the side of my page here, but I have a tile underneath my paper. So any ink that spills over, I'm open to an open I have just so it doesn't go onto my floor. But you can put your piece down on lattice spillover because it will just wipe off your tiles so you're not ruining your work surface. I'm going in with a little bit of orange concentrated. I'm going to move them around. I went my paintbrush just drag and a Trudy, Alex, you don't want to blend the two colors too much because you don't want to mucky color sometimes when all of the alcohol things mixed together, you get this kind of muddied war or look, especially when you're using oranges. Orange has a tendency to deal with. So we're just going to make sure that we gently mix them together. And so once you're happy with that, we'll move on to our next section.
3. bubbles: Once you've let your piece dry and see all these beautiful patterns start to emerge. We're going to go in with some botanical green mixed or isopropyl alcohol and a paintbrush. So what I'm doing is I'm dipping it into the ink and I'm just tapping onto the paper and you can see it's coming out into lovely big blooms. You can also do this by placing it down gently tip and the alcohol ink with a wet brush while isopropyl alcohol on it. And then you can have, you can be more in control of where you want your bones debate. If you take the paint brush and just scrape it off the side of the glass, you're going to get finer details. So this is just kinda like spectrally stars. It's almost like a galaxy. So there are three different ways to create a bubbly kind of effect or just adding some texture to our piece before we go in more detail and after. And I'm using a Posca pen now this is a 0. I'll just go get that. Here it is. And so pH posca pen. And I'm going to add some Dalton into the darker areas. That's I'm using a lighter color on this darker patch here where it's kinda gone a little bit muddy and I want to brighten them up a little bit. So I'm going in with some dots. Now this is a part of the process that is really open to interpretation we're going and where our detail and on our doodle in. And you can really go as crazy with this or scale up OK, as much as you want or not at all. If you'd like your piece, you don't want to go any further with it. You can keep it as an alcohol ink piece. I just loved to add detail and texture on elements to my pieces. I think that makes them interesting. And also it's quite meditative, is that award. It's a really relaxing process to go in and just DAW or swirl and onto your piece. And I find it really, really relax them on. I think if you immerse yourself in the process, you'll find that when people talk about how art can heal, this is what they're talking about. Just take yourself out of the finished piece. Mentality, don't be thinking about what's going to look like and enjoy the process of painting and just be in the moment we are art.
4. details: Okay, so we're going to begin detailed on our piece on today. I'm using posca pens. So I'm using a variety of colors. I'm is in green and white on a pink and our peach that we already used. So good tip for your posca pens is give it a good shake until you hit a ball. Mixing the paints, it could be stuck at the bottom, give it a bang on the table, then pump your nib down off of the page. So usually I will do on the tile that's underneath the UBO crepe paper or a spare piece of paper, so it's not leaking all over your page. So this is my favorite part of the process by far. And aldol, I'm going to show you how I progressed on this piece. It's not necessarily that you follow exactly what I'm doing here. For. It gives you a good idea. Sometimes I find when I'm doodling, you know, we can run out of ideas and you can kinda gotta block and not know where to go next with it. So you don't have to copy exactly what I'm doing here. I'm plus equipment because your piece is going to have worked itself out differently than mine. You won't get the same shapes, you won't get the same colors. You will just get a kind of hopefully something similar to this. So I'm going in with a darker areas and what I usually do with darker kind of areas like the purple at the top or the bottom is I add, add dots on a kinda gives me like a galaxy field. That's how we think about it. So I'm going to do kind of load lines, little dots on Partha like that are darker and the lighter ones I usually go with a little bit of a bigger shape like a square or a large circle. And not always, it's, there's no hard or fast world with the Instapoll. That's just my tall process as I'm going through. So I am going in now with the white. This is a brand new one, so I'll show you what I mean. We're gonna take our wrapper off. I'll show you what I mean about starting off because a lot of people have asked me, you know, how does your, you, how does your posca pen not bleed all over the page? So I'm just pumping the hair on the side until I see a little bit of white commode. It's kind of like use in ink on a quill pen, your definite to decide and then you're going to go in onto your piece until it kind of goes drawing, take it off the page, pump it again, but never pump it on the page. And you're asked them for a recipe for disaster. So I'm going in with some lions air at the top. And I'm bringing them around and kind of just a sweep and motion. I like a lot of movement in my pieces and I like soft lines and I generally keep my squares or triangles to a minimum unless I'm doing kind of a geometric and pattern, which I'll show you later on. What our y's, It's curves and circles. It's, I'm just completely obsessed or so later in the lesson, I'm going to show you a few different types of doodles. Because like I said, when you're in the process, it can be very hard to immerse yourself, but once you connect to the flow, and like I was saying in the last section, without thinking too much over how it's gone to look in the end, you want to connect to sultan Beck gives you that kind of mindful process where you take your brain, your brain allover, and you just become immersed in the process on into feeling of actual paint and instead of worrying about making mistakes or have your processes. So what's happening here is it's a little bit wet underneath on what I wanted to do was I wanted to turn my page. But you need to be careful of this because when it spills out the topo drawing but anything underneath stay wet. So this is why I was talking about as well earlier when I said we have our tile and we can just wipe it clean so we're not ruin our walks or FAS. So why I'm torn in the page here is you don't want your hand, like the Posca pen will take a little while to dry so you don't want your hand some magenta over. So what I like to do is do less action. Turn to page, then doodle a little bit more and turn the page. So I'm looking here and this is where my mind is when I'm looking at a piece like this, how would I go about it on to the next step? And I look and I think these are just segments here and we have an orange segments. So I'm going to treat this like a jigsaw puzzle. And each patch of color, I'm going to treat as a different segment of my page. So I'm taken an orange slice here, and I'm going to do my doodle in all the same all the way down. This SAM, this orange ARM. It can be hard to decide what to do next. So I will go through some different doodle, do it, Yeah. And we can do some practicing and give you some ideas. So I'm picking a section. I want to pick the blue section here and go in with some dots. So we can see here this section is blue and it kinda matches this section here. So I'm going to treat them like as a uniform, and I'm going to treat these two arms of the human form as well. So what I do in the force blue section, I'm going to continue with true to the second loop section. So in this case it's going to be our dots. And I think this gives some structure to the craziness of doing an abstract piece like this. It can be quite difficult to create something like this that's pleasing to look at and doesn't look like a lot of my pieces are very busy and have a lot of detail and they walk because there's some sort of method to the madness. And we keep some sort of rules, not too many, because like I said, we want to be lost in the process. So you will get used to this as you, as you practice down pieces like this and this is kind of like creative play as well. Helps develop your AM, yourself as an artist and helps you find your own style. And you'll realize Azure gone through this process what looks good and what doesn't look good. And it's really just a layer in a core of, and I think it's really important to do a lot of play, creative play. And as you're developing your artistic practice, I think a lot of people, they just want em, the fantastic finished piece and we all want to be awful finished piece. But if we want to get there, there has to be a lot of artistic play to help develop our style, develop our eye for color, and just to help developers as an artist in general. I don't think up an office sad about creative play. It's definitely part of the practice. It's like it's a journey to develop yourself as an artist. And this is one of the steps. So this is the geometric triangles that I was talking about earlier. Generally don't use right angles. That's just that's not like anything. And he will they have it's just I like circles and I like the flow of curved lines. I pick usually a really multicolored section of my piece to do this geometric pattern because I think it kinda looks like GOD or diamonds. So that's why I'm picking this light one here. It's purples and blues and greens one and TRO. It's quite light. So that's usually the area that I would pick for something like this, but you can pick a darker area as well. It kinda looks good. This is just my favorite wave down. So yeah, I think as artists we need to spend as much time in creative play as we do. Am trying to finish. Like, I would say like genuine pieces or, you know, pieces that you would display in an art gallery or you would sap. That body of work is important for creative play, gets you to the place where you're ready to display your work like that and you're ready to show it to the world. And these pieces and this doodle in the and alcohol ink play, it's beautiful in itself. So we're just continuing inward. Do votes. Clinton, each part of our paint and as a separate entity. And it will come to category itself at the end as a coherent piece. Our, or. It can be difficult as well to know when to stop. As an artist, I hear a lot of artists talking about how do I know my pieces vanished? Doing creative play like this is a great way to learn how to finish your piece because you're not put in a rule on this, but gone as far as we can with this. And we're going to just cover the whole entire page. And you will start to get an ALU for when is the right time to stop? By? Just watch and what you're dealing with a piece like this. You can see that, you know, you'll get to a section and you'll think, okay, that's a, it's dawn. And the more you do this, what your creative playing, you don't put ruled on it. The key near Ali will be to null. This piece is finished. Now on, is just an invaluable lesson you'll learn when you do creative play.
5. details pt2: Now guys, I don't want to bore you to death. So I'm going to let you watch the rest of my process here, doodle and I'm going to speed it up. So you can see what I'm doing for you don't have to obviously Situ at a whole lot of air. And then at the end we're going to go through some methods that I use for Dolan's. So some practice in we're going to go through some techniques. They use some doodle deals and you can get practice in on them before you start your, your own piece. Just so that you have a little bit in your toolbox in regards to start in your doodle and process. I think it's kinda like one of those things. I want you to start on it and you kind of get into the flow of ideas. Keep on common ports, just that initial, it's getting into that initial kind of pointing the pen to the paper for the fourth time. So to help you out with that, we'll go over some different doodle techniques and styles. And then you can start your own piece. So enjoy the rest of this little process. While I speed it up free. And if you're not interested in watching the rest of this and watching the process sped up. You can just skip to the next lesson. Okay, We've come to the end of my piece now and I think I'm happy with how much detail and I have put into it. I don't want to go too much further away. And I'm going to move on in the next lesson to practice lab Agilent together. So we can get started on your own piece.
6. doodlework: So the purpose of this lesson here is to put in place a little bit of a visual and key visual trigger for you. So it's just kind of a queue. It's hard when we're in the process of paint into kind of think of what we're going to do next, what design we're going to do an extra quarter we're going to do next. And what I find really helpful is to have some of the doodles that I like to do already laid out in front of me, visually Sadat icon, remember, and are not taken out our flow state very easily because I can just like a reference. I can just keep on checking it if I don't know where I'm going to go next on my piece. I'll check what doodles could I do? Some of them I do so many of them you forget. So I recommend that you do is that you get a piece of paper and divide it up into a grid. So I have a grid of tiles boxes here. And what I'm going to do is I'm going to start by doing some bubbles. And that's what I'm doing here now in the top-left box. And I'm going to fill each and every one of these boxes are the different doodle. And you can use the total IMUs and, or you can use your own. You can do 12 boxes, 24 boxes, as many as you need it. This is really, really useful. I would not underestimate how useful this tool is to keep you in the flow state when you're painting. So these are just large below small bubbles on their own. And the fourth box. Now in the second box, I'm just going to do and these waves I know is that when I am painting my alcohol and you got lots of these kind of folds. And I find them really beautiful. And when I paint with alcohol things out, I'm down to doodle and I often lead to design that has revealed itself on the page. When it's dry. Guide me to where I'm going to do my doodles. I'm usually following these core of star just naturally occur in with the ink. So I like to trace around them. This particular doodle reminds me that that's how I approach it. Sometimes I would approach it like a jigsaw, like we talked about in the previous lesson, for different colors blend into watercolors. So you have two colors, each color are looking at it as two separate pieces. But also I'm looking at the folds and the bands and the movement in the ink to help guide me into where I'm going to do or what lines I'm going to put down. So this is a really nice one to use, especially when you use an alcohol income, especially when you use an alcohol on your drawing it with a heat gun or a hairdryer. Because when you use that method of drawing, got law faults in your app piece, it's not so much when you're drawing laterally put silently when you use an Anaconda heat to dry quickly. So I'm going to the back dots so I don't bore you to debt way that doodling, and I don't bore you to death, but my ramblings, and so why I suggest that you do is make your grids sit with it for awhile. It's a great process. It's a great process for relaxin, say, which are grids and even wider watching the tally on your absentmindedly and do the best time to there because again, you're moving your own way. So you sit while you're watching something or and even when you're talking to people, it can be a way of for me, it helps me focus, helps me listen to people better when I'm doodling or have some today with my hands. So set which are your grades and doodle to your heart's content. And you will have these data as a reference for your future pieces. You can hang them up on your wall and from 20 or painting, or keep them handy, just adds a little quick inspiration. So I hope you enjoy the rest of this process.
7. colortheory: Here's something that you might not know. Sir, Isaac Newton invented. The corner we have. The color spectrum wasn't a new idea, but Sir, Isaac Newton was the force on that place that on a color wheel. And in 1666, the killer whales roots, they get back to the mid 16 hundreds. When his work with white light lead to discovery of the visible spectrum of light. And Newton observed the way each color of light would bend as it passed through a prism. The cutaway does a powerful visual communication TO and landed her to master can take your artwork to the next level. Understanding that brings freedom to your process. I was once terrified of color so much, I never even use that in my art. I was a black and white artist. I would use pencil and pen only are just the toss of using corner absolutely petrified me. I felt like I could run my work. I wasn't confident. And why was Dale and what it doesn't have to be to schedule a meeting with the power to make or break your work. Simple tips can help you better understand color and build a relationship with it that can bring great value to your work. I think am having a working relationship with color and respect and understand them for I can only add layers of creativity and beauty to your work. So what we're going to be talking about here is just the basics of the color wheel. This is a really simple understand another, and it's just, it's just a start. As you're building your relationship. Color, it's like any relationship you started off slow. And as you become comfortable, you add different elements and you start becoming a little bit more fearless. And some of you probably are already there. But I'm speaking to the ones who like myself at the start of their journey were held back by fear of color. So the basic understanding of the color wheel, we have our primary colors. You might have learned this in school. Red, yellow, and blue. In traditional TV, all colors can be derived from these trees shade. So that's why they call it a primary colors that are the building blocks of all the order coronas that you're going to make. These colors cannot be created by mixing on the outer corners. So there are primary colors. Under the basis for all of the wheels. Are secondary colors are green, orange, and violet. In addition to the primary colors, they can be created by mixing the primary colors. Are next type colors are probably the lesser known tertiary colors. So tertiary colors are colors that are created when a primary color is mixed with a secondary color. So an example of tertiary colors are blue green, red, orange, and yellow green. So next we're going to talk about color schemes. And color schemes are a combination of colors used together. So some of the color schemes are as follows. We can have a complementary color scheme and this is when opposites off the color wheel are used together. That's a complimentary color scheme, so these colors compliment each other. The next game is called a monochromatic color scheme, and that's using various shades and tones of one color. So if you use blue and light blue, dark blue, this is a monochromatic color scheme. The next one is called an analogous color scheme. So this game is use using tree called his diary adjacent to each other. Then next one is a triad color scheme. So it's a scheme with three colors that are evenly spaced around the color wheel, like so. The next one is a split complementary. So it's when you use a color scheme that uses tree colors. So you pick one color and then the colors are on either side of its complimentary color. I used there as well. So this will be a split complimentary. So some tips to keep in mind when we're creating our piece. How we want the viewer or observer of our artwork to feel. What kind of emotion are we trying to convey in our painting? If our painting, we want our painting to come across as warm and inviting on how the physical descendants. We want to use warm colors, I'm warm colors would be reds, oranges, and yellows. If we want to give a cooler kind of feeling, we're going to use coat colors and this is greens, blues, and purples. And this might seem like a really simple concept for it. Once we, once we have these guidelines understood, we can go our peace with our blocks taken down. So when we're creating our piece, we are not too hung up on what colors we're going to use or shapes or don't use where we're going to go, our doodles. This is all part of a process, the pool, these, you'll put these understandings in place. You don't have to be hung up on them when you're in your painting, in your process book, when you have a basic understanding of them, it's like putting them into a closet in your mind, dark in there and when your paint and it will translate to your painting, you haven't understand enough this now, so you will subconsciously. Be picking colors based on the understanding of how you want your observer to feel into looking at the painting while motions you're trying to convey, this is an easy way of doing a so we, we lay down these basic groundwork for corner understanding and our doodle concepts later on. And we can go out our piece in a more flow kind of stay. This doesn't work for everybody, but I find for me and I might be talking to people who think like me and who process and instructions like me there to people I'm talking to here might not help everybody. Some people might find out and too simplistic or too complicated. And I'm talking, in my personal experience well has worked for me to help me connect to that flow state is laying down these fundamental rules forced, gotten a brief understand enough to and then go into my painting and from that place. So we also have an, we keep in mind as well that certain colors will block out watercolors. So we have our complimentary colors, bowl dark colors that won't go well together. So when you're using reds and greens together, they generally kill each other. And yellow is used to mellow our law colors. And yellow and orange in alcohol and in particular can cause moodiness are brown and when used together. So at to avoid this, why would say, well, all you do is I would, I would dilute these colors a little bit more than the rest of my colors because they're quite powerful. Red is a powerful color and it can overpower your paint. And so you keep that in mind when you're, this is the kind of the technicalities of it and I'll paint and were alcoholics, you keep that in mind when you're deciding how much isopropyl alcohol to dilute your darker colors with eggplant as well as the same as that. It can be. It doesn't really cause a moodiness, but it can be quite overpowering. So you just remember that these are just guidelines on not real. So ask yourself what colors make you feel happy? Wanted to kind of colors that make you stop and stare. What kind of color schemes do you like to look at? How do you, how do your favorite colors make you feel embraced a color or more fields vary for you, but most importantly, have fun way to experiment and be fearless in your use of corner. So where am I going out the piece? We don't want to this lesson. Here's just a brief overview. Again, I'm going to, I can't stress that enough. It's not a real and that you have to follow. The color schemes are not roads. They're just a way for people to get out their own way when they're starting their piece. So if you're having trouble opening yourself creatively, It's a little bit of a guideline to put in place so that you can connect to that file. Once you connect to that flow, you'll find that you'll be thrown the color schemes on your color wheel out the window. And it won't matter anymore because you will move into, hopefully you will move into an intuitive place of paint and under the Freedom. And so this is just a tiny little guideline on a little kind of recap on what you might have already learned in school or are known already. It's a refresher on how color works. And gas tin can again about how it makes us feel and, and what we're trying to convey when we're painting. But like I said, I wouldn't give it too much tall. Just put it into the back of your mind, have it in there and have fun with your painting.
Stacey Oflanagan, Thecolourfulheartist
