Free Expressionism - Painting like you just don't care, Flowers

1. Welcome to Free Expressionism!: Hi there, I'm Christopher Clark and welcome to my Painting course, free Expressionism Painting like you just don't care. Flowers addition, because yea, Flowers, they're super fund. They're bright and colorful and pretty and they don't judge you and they don't care how they come out. They're pretty no matter what you do. Because really you're painting yourself on the canvas, not the Flowers. And maybe you are a flower deep down inside. Maybe we all are. This course is really about letting go of all your inhibitions and worries and fears about painting because you're just having FUN and no one's watching you and no one's going to see this work when you're finished. That's all those things have very important to purge all your fears and inhibitions and really get your creative stuff flowing if you're having a block or if you just love having FUN with paint being are really don't know how. Or if you're not even an artist and you just want to play and want the excuse to just have FUN and not have a strict, rigorous Painting course with technique and all those really hard things. Anyway, let's run through the pieces we're going to do together because they're all going a little 20-minute studies. The first one we're doing is FUN sunflowers scene. Just some funds, sunflowers, that bright blue sky with some FUN dark purple, the green shadows and stuff. That's a good time than we're doing a poppy scene. In the video, I do two versions of this, so sneak preview wherever you get to see both versions of that. One of them I loved less than the other. So I'll let you decide which one's which. So beautiful poppy field. Because who doesn't love bright red poppies. And then we're gonna do these lovely white Daisies with some warm golden light cast on them. That's super fund with some dark purple shadows and stuff. Then last one we're doing together is these beautiful purple and red daisies. And all these are done with a very cheap materials, very cheap paint, cheap brushes, whatever tools you want to use, whatever tools you want to invent or experiment with. It's all about playing and experimenting and trying out stuff that you might be not sure about trying on a more serious piece. Or you're trying out of techniques that you've never tried before, never thought of when you don't have any inhibitions. Used to be surprised at the stuff that will come out. And I'm doing these unfairly large. Not like, you know, this is probably bigger than what you you can try doing smaller ones. Did you Quick little things? Spent five-minutes on each one or maybe you'll do, maybe someday you'll do great big ones that are just like super huge and splashy and fund. But I hope this will give you a start on how to process that kinda stuff. Very free and very spontaneous and also very cathartic, honestly just filling in paint and I don't care and take that and you smash, smash and whatever you want to do. It's really, it's very playful and you're allowed to do that even as an adult. With that, we'll get to the easel and we'll get started painting. So see you back there in a second. 2. Sunflowers: Here we are at the easel or the very simple setup. I've got a glass palette because I like it, cleans up very nicely and I can scrape stuff with a palette knife. I just got chrome yellow paper on a pad. This is drawing paper. It's 14 by 17. But you can use any size you want. Literally doesn't matter. And I've got just cheap old chip brushes from the hardware store. And I've got some, I like flat shapes, but they're just like synthetic brushes, like super cheap stuff. This is, this kind of exercise is not about nice materials or anything. Just regular, I'm using acrylic paint. So for this exercise, it dries much faster and it just lets us work really quickly. I've got all the colors here. Yellows, orange, brown, reds, purples, blues greens arranged in Oregon. On the outside of my palette. Super-simple. Nothing fancy at all. Whatever colors you use doesn't matter. What kind of paint use doesn't matter. This is about just having FUN and not really worrying about anything. So with that lets, I'm seeing just blue and green because this is a bright daytime Painting. I got a couple of little things of water over here. Dip it in there. Let me, let's get some nice bright font dislike, throw some, some paint on the surface here. We're using paper so that we can just do a whole bunch of these and not spend money on expensive canvases. This isn't about nice materials. This is about playing and expressing and just having FUN. And maybe you can do this as a study for a painting you're gonna do later. That's entirely possible. Maybe I want way more green down here because there's all these leaves and stuff. I just keep throwing the brush and the water. This is like a two-inch chip brush, totally cheapo, whatever I like to dislike. Hit it with whatever's left on there. Sometimes it make sure you're in a place, you can make a mess. I always like to go. Purple is great for, for plant shadows when there's greenery, purple is a great plant shadow color. And do nice big, try that out. Just have FUN like smack the paper and smush it and do whatever you want, do weird stuff. I got a piece of plastic over there. I'll use later, like like paper towels, different, you know, I've got a couple of palette knives. It doesn't matter. You're just having FUN. Let's see. I'm going to indicate where some of those floss sunflowers are gonna be. Let's just hit it with some. Lets see if there's one here. We need more paint than that. I got some some nice dark blue sunlight to hit this a couple of times. That's alright. There's sort of like, hey, there's some splotches, like squint your eyes and look at it. I do that a lot with my oil painting classes. Squint your eyes and look. You can see that's a big pile, orange right there. He's gently, gently close your eyes. I'm not measuring anything. This is really just to have FUN. I see big piles of yellow. I'm not even worried about making it look like a flower. Maybe there's some other ones in here buried just a little bit. It doesn't look like it's not a flower yet. It's just a pile of color. We'll make it look pretty like we'll make it look like something maybe later. And even if it doesn't, it's still fine. I'm just enjoying myself. Like it's just kinda funders to fling paint and not really care. I don't really care what it looks like. I can get it wet and it a little bit. It's kinda FUN. I can take a little more like a bristle brush with a stiffer brush is really good for this. I can just dip it in with a bunch of water on it. And take, I have a palette knife. I can dislike, smack it with the palette and you can use your finger, but it makes an extra super mass. So this just saves your finger and I got a bunch of paint on here. I can throw it on there. I could smash it around. This is your chance to play and experiment with some different techniques. And yeah, I get some, I get some orange down here because there's a few flowers down there, Haydn out. Let's see what we can do. Really just seeing, I'm just trying to get maybe there's some bright I'm just like really piling on a big pile of color there. I'm not worried about those like bright yellow little rims where the light with a sunlight is transparently you shining through. That's kinda FUN. Maybe I'll start to indicate those. Could all this juicy yellow paint. Again, what exact colors you using? It doesn't matter what color is my using. I don't know. Which is the yellow. Doesn't matter right now I can take this and sort of distributed a little bit, make some phon. I'm using both hands just to be quicker, but also then I can attack it both ways. And it's dripping and it's like, Hey, great, It's let the paint, let the paint have a good time. It's you and the paint. Those are the two people that the two entities. Whatever. Painting this picture, little guy back there somewhere. I'm just having FUN. Let's see. Maybe I don't know, maybe I can start indicating some of where those I'll wash the brush off. Where the dark whatever the seed centers are. You sure what you call them? I don't one black. I'm just going to hit some some purples. When a role in smush, purples, browns. I typically don't paint with black paint a lot, even in my oil paints because I like to make my own darks. One there. Actually, I'm not sure if I liked that one. That's okay. See, I can always just do that. Whoops, it's gone. This is Acrylic which does dry decently fast, but we're working so fast right now that it won't really have a chance to dry with what we're doing with it. Maybe there's a couple here and as they get further away, maybe they're a little lighter. Maybe there's a dark one. Maybe I'll do some darker. I'm just using the same brush. I don't know. Is that a stem? Sure. Just grabbed some of this green. There's some leaves. Maybe I can use my palette knife. Palette knife is great to make some super sharp crisp things or you can smush it. Let's take a little tiny trowel soon as you can use it like that and really push the paint around. And maybe that's a leaf. Look at that. Sunflowers got some crazy leaves. Maybe there's a leaf that's coming up or a stem, rather, this painting is all kind of zooming this way. It's kinda FUN. This gathering, whatever is here. Maybe I want some darker in the corner. I like the corners and the edges of my paintings dark. It kinda brings a little vignette quality to it. I can get this wet and a little more paint this way. Little more afflicted if an equity just filling it on there. Hey, look, I can add some leafy textures. I doing that. It's Fun. Maybe i'm, I'm gonna take some white, mix it in and make some actual purple like nice colored purple. Like not dark per called purple but a little lighter. Adds a little character. It's kind of vaguely looking like some abstract is sunflowers and it this way it doesn't matter what it looks like. It's more about that you're having FUN and you're just flinging paint on there and see what happens. We're not trying to impress anybody. Don't even show these to anybody. Do 100 of these and don't show them to anyone and just keep them for yourself. And you'll be surprised at how keeping it to yourself and not showing anyone can really uninhibited you. It can really let you loose. And like, I don't care what it looks like because no one's ever going to see this. Don't post it on social media. You could show your friends if you want to, but plan on doing it, not showing anyone. Really. No one. Say to yourself, like, no one's going to see this. Who cares what it looks like. I'm actually adding some petals. I like the light shining through the left of these. It's like that makes it translucent. There's some over here. And I'm using this big fat guy here. I love flat brushes because even you have a giant brush. I can do tiny little strokes. I can do thin ones or thick ones, whatever I want. Is got a paper towel somewhere over here buried. I sort of need a dark yellow. Dark yellow is basically green For I want maybe some of these that's a little too dark. Some of these shadowy areas. Is there some shadowy little sunflowers here? I'm leaving those strokes, I'm just letting them happen. There's like four colors of paint on this brush. I'm just kinda letting those, those strokes happen and that's really FUN. You get to just see all the beautiful things that paint can do and you just let it alone. Let it have a good time. Maybe it's a little more orange in here. I'm not trying to get it to look like the picture, using the picture as an inspiration. And I'm kinda like if I see a little bit of color, I'm running with it. But I'm not trying to like measure things and get it to look just like the photograph. That's a reference. It's just an idea. It's not to be used literally. It's just a starting place for you to see how far you can take it. You would do this with any painting, your references, just that it's a reference. You're not replicating it. You're just referencing it as a place to start from. What people want to see is your interpretation. They don't want to see you paint a photograph. They want to see. They want to see you as an artist. What can you show me that I've never seen before? I've seen a picture of sunflowers way big, big whoop. I've never seen the way you paint some flowers before. Like that's exciting to me. And that's what you're, your viewers want. You're telling a story. Not just painting some picture that I copied. I'm telling you a story. Tell me, you're telling me your version of these sunflowers. What do they look like to you? That's far more interesting to me than copying some picture. You know. Do I like this? Yeah, that's fine. You don't wanna do. I'm going to take my, where's my bristle brush here? And I'm gonna get some more yellow on there. Where's my palette knife? We need some more of this yellow. Sometimes I'll lay the painting on the floor flat and do this so the paint lands more flat right now it's like going down and I maybe don't want that necessarily. Right now. It's okay. But sometimes I'll laid on the floor and do this, put a drop cloth down or whatever. So I get a little derbies. If I don't want them, I can just take a paper towel and dab mount and it pushes things around anyway, it's kinda FUN. Picks up some paint and moves it. Dates like maybe grab some over here and move it around. This pickup. I'm just using the paper towel now. Pick up whatever paint leftover here. Let's phon yeah, that's looking great. I think, right? I don't know. Who cares. Maybe I want some, some of these leaves have some lighter sides to them. When I mix some paint. A lighter, lighter, yellowish green, maybe it's not that light. And maybe a little wider net. Maybe some of these have yeah, that's what we needed. We needed some variation in those. Leaves me behind. This one. You can see the paint is still quite wet. I'm putting a lot of it on there so it's thick and wet and I can still blend. I'm going getting surprising amount of blending considering this as Acrylic. There's a lot of paint moving around and smashing together which Acrylic paintings are known for being. Everything is dry and you recorded is layering, layering dry paint on top of dry paint. Well, in this case, where we're actually blending wet. Okay, I've got a few minutes. I try to keep these videos at 20 min. I am going to slow down and I like this yellow that I'm out of. My, my darker, more intense yellow put a little more on that. I can slow down if I'm getting to a place where it's like, Oh, I want to refine this shape a little bit. That's Fun. Maybe let's see about this 11 stroke at a time. Can bloom. Just pick up some more paint. This is just pure yellow. I'm not using any mediums with this. I'm just using water to soften things up. I don't have any medium. Not to say you can't use any, use whatever you want is just not at the moment. Maybe a little more orange. It's like right by the center, there's some FUN orange happening. I think I was missing that. I don't know if there's like, I don't want to using the back of the brush now. I don't want to dig too hard and make a hole in the paper because this isn't like super-strong paper is cheap, old drawing paper. Like I bought a pad of it for a few bucks. They're not expensive. That's cool. Maybe I've got a little bit of those. Some little specks. Have you all pick up whatever color I got here, makes it a little speck ease on there. And this one could be just about done. Maybe I want some white clouds. This is something that normally I would do first, but it was a last-minute decision. So here you go. I'm just hitting it with some pure white in-between. Normally you don't paint in-between. You do the sky first and you build your way up from there. But this was a last-minute decision. So why not? Look at that now I got some FUN clouds and that really changes the value range. Got some really nice bright values in there now, That's fine. Missing anything. I don't know. I got a minute or so. It's hard to say. I could just keep doing this forever. Of this pickup, whatever I got still on the palette. Smush it a little bit here. Some make a couple indications of another one there. And do this, tear it off and try another one. Maybe it'll be better and better every time you do it. And maybe you'll decide what colors work for your sunflowers and which ones don't. If you decide to do a more detailed version of this later, you'll have done it four or five times and he manual does whizzed right through it. No surprises because you've done it before. You paint on the nice expensive canvas. Crank out a few of these and just have FUN with it and see what happens. You'd be surprised at what you'll discover before you start to do the real version or whatever, or this could be at just for funding. So we'll call it we'll call that one done. I'll clean up and we'll get a new page and we'll start in the next one in a second. 3. Poppies: Alright, we're gonna do something FUN on this one. Beautiful red poppies scene who doesn't like red poppies, right? I'm gonna, I'm gonna take a chance here. I'm going to coat the whole thing. Red. Super-quick. I'm going to paint not the poppies. That makes any sense at all. Maybe it will in a second. I'm going to paint the negative space around the poppies just for Fun. I don't know an experiment. These are all fine experiments. Don't be afraid to do weird stuff on these because this is your chance. When no one cares. I don't care. I'm not going having FUN. This is some cheap piece of paper, cheap paint, cheap brushes. Let's see what to start with. Let's, let's do some palette knife. I literally just pick the tool. And I'm going to start with some pink. I probably need a lot more value than that. And I'm going to find where those are and paint around them. Yeah, this is a interesting experiment, adding a little bit, a little bit of pink. They're a little Alizarin. The paint is still decently wet. We'll see if this palette knife is fast enough. Maybe I'll hit it with a brush afterward to I'm estimating where those are on the page. I'm not really measuring. It could be way off. I probably am, but that's okay. This is just an idea. You can take more time to do this if you want, or you can try to plow through it. You can time yourself. Like I've mentioned, I tried to do these videos in 20 min because that's the length of a video that works well for these streaming ideas. These online painting course is 20-minute videos. It's a nice little snippet that people can, can digest. So I tried to keep them to that length. So that helps me edit like, Oh, I've only got a few minutes. I better just edit this and think less than paint more. That's what you're doing right now. There's that there's plenty of other times where you will, the opposite, you'll, you'll really think and ponder, what am I doing? But for this exercise, we're word. We need to not care and we need to dislike, have FUN, and really not pay attention. This is, I don't know, some sort of darkish greenish, something. I need to fill this. I'm starting to using green and brown. This is this distant pile of green underneath our a little poppies. They're this is one of those like flat palette knives like this is actually a Bob Ross palette knife. I just like his stuff. You don't have to get his version though. Maybe we're starting to. Not that I'm doing the stems yet, but I'm just going to grab some of the wet paint and yank it up. Because why not? I want this vertical. I gotta be careful. I don't want to cut a hole in this paper. If I was doing a canvas or wood panel, I could really push a lot harder. I don't want to cut this paper through. So you could do a piece of cardboard. I've painted on. I painted on the cover for the notebook that when I finished the notebook, I just painted the cover and turn it into a landscape that was beautiful. Like a sun, some sunset, cloudy, things great. There we go. Now what if I actually hit this? Let's do this palette knife instead. Let's take some just juicy. Here's one that's super dark. Well, this will be the base. The base has or a little dark. Maybe it will do that. Right where the where they meet. And I am smearing it around. I'm going to borrow some of that paint. Use it over here. Maybe I use a little too much Alizarin. Oh no, oops. Happy little accidents, right? Right, Bob. Happy little accidents. That's right. You never know what you're gonna get. Bob likes to comment. He's always hanging out with me and my studio. And there's one there. Now I'm just going to grab some red, just some juicy red I think poppies were just made for palette knife painting. Then maybe I'll have to fill in a little more of this sky around them. It's alright. Kinda attacking them from both sides, negative space. The painted a pain to the space around the poppies. Now I'm painting the poppies. It's a zero chance to play and having a little experiment, you're allowed to play. It's very, very healthy to play actually, it's good for your mental health. As adults, we forget how to play, or we think we're to grown-up or good for it or something. We tell ourselves, childish and silly. And then we just become sad people because we don't know how to play anymore. It's very important that you don't forget that. Let's take another brush. I think this needs to be a little lighter, but back here, I'm going to push that little lighter. Just got some white. Maybe down here is sort of gets yellow is it's sunset area. And it's picking up some of that green from those stems. That's alright, maybe their stems and the distance, I don't want to smoosh over this whole thing. I like it. I don't want to beat down these great brushstrokes that I made. I just need, I need a little more light in the sky. So that's what I'm doing. I hope it works. Don't know. I think I needed those poppies to jump out a little bit more. Versus the the sky needed to be a little darker. I'm sorry. The sky needed to be a little lighter in order to allow the poppies to stand out more. Stop and take a look in a mirror to put a mirror behind you. Or I've got my monitor here. I can look over at my monitor. What does this look like? It's very helpful actually. Maybe these stems a little more definition. I got my trusty flat. I don't want them to wobbly. I liked that there's sort of thin and spindly near there's a whole bunch of them. The paper is buckling a little bit underneath my all the water and stuff that's in here, so that's okay. There's lots of little little things happening here. Marks that I've made through the paint with different tools. Red that's still left poking through the from the beginning. I don't want to forget to go at some angles. You don't want them to go all up. Or maybe you do. I don't know. I'm just playing here. Some of these have little little seed pods on them or something. It's kinda FUN. Little detail. Connect some of those, yeah, those little seed pods or PFK-1. And if with this big thick brush, I just do a couple of strokes. And there's a little seed pod. Has that look, That's looking Fun. Yeah, I think, I hope maybe I want a little more definition. It's got their abstract. But they're definitely, you can tell what they are. Hope. If not, who cares, this is really we don't care. We're just having FUN, we're just filling in paint. We just wanted to see what will happen. Maybe I'll put, maybe I want to define one of these a little better. Maybe this one's a little bigger. Maybe this one needs to be some of these. Maybe it needs to be defined a little better. Running out of red. I've got more over here, but I like to have enough to finish my piece. Don't be afraid to use some nice bits of color on your, on your palette. Don't be miserly with your pain. This is still very wet. I can really smush and blend some of these colors together. It does dry super quick though. That's looking Fun. Let's look at it. I've got a few minutes. Can I tried to keep these at 20 min? And do do 100 of these if you don't like the way it came out, try another one. Maybe this going in reverse wasn't the best idea. Maybe I could have defined them better if I had painted sort of a gradient of yellow to pink and then added the Flowers afterward. I don't know Maybe you've discovered some really cool way to paint poppies that you've never done before. That looks really cool. If I don't like the way this came out. It's 15 or 20 min of a very, very educational experience and totally worth it to me. I feel like I want to add a little more red here, maybe another one here and pick it up. Some of that green. There are some that are like in the distance. I if I don't like the shape of something like that, I want to separate those. You can just play and you can refine things a little bit. If I like, I can let this dry and then glaze over it with some other colors. If I'm thinking it needs a little more definition still, without disturbing any of the brushstrokes I've made. It's a little drier now. That is, I'll hand it to Acrylic. It dries super fast and you can go over it with layers and layers very, very quickly. I'm also by out of white. Let's get some more that keep your paints handy. Yeah, this is coming out really good. And I'm just having FUN. So again, it doesn't matter how good it looks. That's a really terrible way to up to measure this exercise. It is just FUN. We don't care right now. If we cared, we would never get anything done. We'd be so stagnant. This is to break you out of that, that caring, that over worrying and the inhibitions and so that you can just be free and throw color down and you'll get more fluid and adept at it and it'll be more intuitive. And you, when it does finally count, boy, you will be so much more prepared. I'm just taking a little bit of this fund gold color and this is decently dry. I'm not pushing too hard. But when you've done this a couple of hundred times and blown through a several pads of paper. You will be amazed at how much more fluid and confident you'll be. When you wanna do the one that counts that you want to show the world or sell or give to someone whatever. You've done this so many times, it just comes out of you. And boy, is so much FUN when you are confident with your brushwork and with your color choices. I'm gonna do that again and add a little purple. And I get some paint on me yet. Hello. All my shirts have paint on them. Mark of an artist. I just wanted this a little darker. I love all this stuff happened here, so I don't want to cover it up entirely. By this. Wanted to add a little more dark in there. No really, not really any leaves on these just little tiny stems. Maybe I can do more little tiny stems. I've got a little tiny brush here. What happens is yeah, this works. A little tiny brush. Sprinklers just came on. Don't mind them. I wish I had a poppy field outside that was getting watered right now and that would be fine. Maybe I'll do a couple of more of these little seed pods I can do like this. Maybe. Different different brushstroke for some variations. Yeah, that's good. I needed a little more that different variety of texture. And then maybe some of that or like a little lighter and the distance. You see how quick this comes together. When you're just playing. And don't think too hard. This isn't about, this isn't the time to think. This is the time to just experiment. Let's see, do I like the pink? I feel like the pink up here is competing. Maybe I wanted a little more blue. I think I wanted, I wanted it a little less red. The pink itself is competing with my poppies. I'm going to throw some, just some water and a little bit of white and some blue here. Not a ton of paint. I just wanted to see if I can maybe tone down that red a little bit. The red and the sky is competing with the rest of my poppies. So I'm glad I noticed that now while it's just a silly little paint flanger of a painting. Before I've been spending hours and hours on it. I'm like, Oh, you know what? I hate that color. So now I've I've tried it out. And if I really didn't like him, I go that was a bad idea. That's okay. It only I only spent 20 min on this. I could do another one. That actually helps. I think that helps to bring out my poppies a little bit. Yeah, that's fine. And even if I'm doing oil later, this is a good guide. This is just a good study. And man, it's fine. This is just a really good Release. Get, get the day out. So if one little poppy field, I think we can call that one finished. Soon as you step away and look at it and go have a cup of coffee or walk around the block or something and see if anything needs to change. And we'll indicate I'm one or two more in the distance there. Because there are sort of like going away from us. Yeah, that's fine. That helps me. There's one there. And at this point I'm not looking at the picture anymore. I'm like, What does it what does my Painting need? So yeah, we can call that one done Littlefield, the poppies. Who doesn't love bright red poppies as PFK-1. So cool, we'll clean up again and we'll come back and we'll do another Flower Painting. Alright? 4. Poppies version 2: That's going to test 12. Okay, This is the video to take two. This is the second version of the poppies. Okay, we're gonna do a little something FUN here. I'm going to try to take to, on these poppies. I didn't really love how that came out. Doing the reverse sort of painting around them. So I'm gonna do a little more straightforward approach it and see if I liked that better. I'm just so you guys can see that that happens and that's why this stage is important. I'm gonna try going in with all actually paint the sky. First. We'll do a little more straightforward how I might actually do it. I'm just sort of inventing this right now. I don't know what color this. I don't know. This great little sunset Easy thing is happening here. I did like how the by going a little more blue. I'll do that in a second here. On this very top level of the sky brought the poppies out a little bit. So I learned that and I liked it. So I'm going to try that this time. Just whatever I got left. Throw it in there. Yeah. Maybe I'll do a little little purple. Maybe that's a little too much. Letting my brush strokes really come through there. Yeah, that might actually help. I forgot to turn this light off. There we go. Sorry about that. Now you won't get the glare on the paper. That's much better. Yeah, a little more straightforward there. And let's go ahead and add some of this dark green in the yeah, I'm going to hit that. Just mix some font and color here and bring it up one stroke at a time. Those are some really FUN. Then I can smush some of them. Maybe as they get up there a little, they fade into this yellow, orangey color a little bit. Maybe this is a good time for my hunger plastic. This is literally a piece of plastic that I've saved off a package or something. I can just use it to help me smush paint around back-and-forth and they'll scratch the surface a little bit. I don't want to tear this paper because it's just paper. Again, if I was using wood panel or canvas or something, and I'm going to continue this up a little higher even span. I want a little darker still in a very, very foreground. So we'll mix a little bit of purple Enos. I know in the picture it doesn't have purple in it, but I'm not trying to reproduce the picture. I'm trying to make my own version and my own interpretation. I remember I'm telling my own story. These poppies look like, that is looking nice already. I liked that a lot. I'm just dipping the plastic and a little bit of water. And like middle cut through some of the paint that hasn't dried yet. A couple. Some of them, some of the little stems and some of the rhythms of these plants sort of flow at an angle. They don't always go, just go straight up and down. They're very organic and all kinds of stuff happening. That's fine. But that aside. And let's see if I can, I'll try adding some poppies with just a brush like this. Let's do a little more conventional. So maybe I care a little bit about this one. I know we're Painting like you just don't care. Maybe in this case, I do care a tiny bit. So I didn't love how those other ones came out. So I'm going to still do a FUN expressionists version of these, but just a little more precision and focus. The other one was a good experiment. And I did learn a lot I'm glad. I'm glad it only took me like 20 min. I can try out something different. Here. Maybe I could get some some watery ***** on the brush and let her have it. Just for PFK-1. If I don't like some of those, I can dab them out with a paper towel little bit. Who knows? Nice. Then maybe some of these really close ones. I did like the palette knife approach. Let me try that, but I'm going to try to be a little more a little more precise. There's one. Here's another one. I'm just literally taken some red. Whatever the brightest red you've got, give me the strongest thing you got. And here's this juicy one right here. There's one over here to here. And I can depart from the, from the reference if I decide I want another one somewhere else. Let's, let's do some of these STEMI, stems here. I'm going to use this guy again. Let's get some sort of greenish something for these stems. Let's say I do want something a little more precise. Again, the papers buckling a little bit. That's okay. We can handle it. I want maybe some of these stems will overlap. There are a lot of them going every which way. This one comes in. Maybe I want I'm going to add a little bit. Make it a little closer to the distance sky color so that it looked further away. That is looking a little more control, a little more crisp. Not Chris, it's not looking, Chris, it's looking crisp. I can do some of those seed pods. I have a smaller brush for that. I think that worked better. So maybe the super mega abstract version of this was a little, a little too much, was it wasn't as strong as I was hoping. Maybe for some of these, I can get a little precise and some of them not. When I do that at flings back at me. I gotta be careful. I don't want it to be too perfect and trying too hard and too obvious. I don't mind it if it's like some of these are a little wacky and brushstroke. It's fine. We can decide which one we like better. Which version of this painting we like the best. Lets, lets hit these with a little dark. This paint, this red paint is still really wet. I'm trying to do this in as few strokes as possible. Let me get it there where it's darkest at the base and push it out. And leave some of those Fun little moments. When the paint breaks. Maybe we can see down into this one. Let's see, maybe this one I can see just a little side again. I use a little bit lighter version of that for some of these here. Nice. Maybe we need some more sorted as Poppy shapes. I'm going to scoop up whatever crap I got here. Maybe there's more just in the distance. Let's see if we can. Yeah, this is looking nice. I'm gonna do a little more my splatter East bladder because I like it and maybe this could you use a little more sense of abstraction? I don't want it to crisp necessarily. I don't know. Yeah, it's got some motion to it now. Maybe we'll add a little second, let this dry and add a little more vignette coming in from the sides. I do that just a tad. That's a little dark. A little too much paint. The paint is dry so I'm dry brushing over it by doing some FUN directional stroke his stuff here. And it's grabbing some of that paint from the poppies and pulling it a little bit. That's fine. I'm switching hands. I'd like to just the direction of the stroke that it makes with this hand. In this direction. Maybe in the future. If I did this, if it did it a third time, I won't do it for this class, but if you did, they go Well maybe I'll do that vignette to start with me. I liked that, that vignette quality earlier on. Maybe we could hit some light poking through some of these places. Right at the bottom of our are sunset sky. Maybe that needs a little bit of that. This is all an experiment. You try out what you like. Try out what you think my, it looks good. And it might not. Like I had to say I'm liking this one a lot better than my first one. The first one was a study. I tried out some things I didn't love. It was okay. This is better. If I was gonna do a proper nice painting. I'm glad I spent 20 min on that before doing it for 3 h socks. And that's what these are for. And it also was just really fine. I totally admit it was a good time just filling and paint that reverse sort of idea of painting the whole thing red and then painting a sky around the poppy. That was a cool idea. I don't know, I just thought of it well, just for a minute before I started painting. I'm Mike. That might work for another another. I'll keep it in my mind. It might work for something else. Just because it didn't work here. Doesn't mean I won't ever try it again. This is definitely, I think, a stronger Painting. I could use some more stems. I think having some go and other directions is helpful. Some more of those seed pod things here and there. Yeah, I think that this painting is a little more intentional feeling. And that's what maybe it needed. The other one felt a little two random. That puppy has no seat and it has no stem once. Okay. So sort of a poppy fantasy. Anything can happen. Maybe there's some of these seed pods in the foreground that never quite made it. There are sort of slumped over who didn't do a stem that comes off of them to maybe i'll, I'll, you know, you could try a different one that's way more abstract than this. And it could look great. I think doing a tiny bit more precision has helped this attempt. I liked this one better. Just looks a little more crisp, little more strong. This is dripping down like that. I don't know. Sometimes I might, I might not care, but in this case, It's taking away from my shape. I like the shape of that poppies, so I'm going to clean that up a tad. Yeah. Yeah, I definitely like this a lot better. So hey, I wouldn't call the first one a mistake at all. It was a great learning experience. And I learned a few things that I applied to this painting. And I might try it again in another future. Peace. Sign a mistake at all. Don't beat yourself up if it doesn't go the way you want. Because clearly it happens to me, to, yea, happens everybody. You do something like I tried that and I saw that differently in my mind somehow. And then when I did it, it was like that happens to everybody. So just go with it, do a study like this, and try that weird idea when it's just cheap painting on a cheap piece of paper and you spend 20 min on it. That way you're not worrying about it. You can just have FUN with it. However comes out. If it comes out great, like, Oh good. I'm going to explore that again and now's the chance to get these ideas out and try them out. When it's a much more free, carefree, whatever situation. Definitely good exercise for this. I'm trying to now I've just sort of I got a couple minutes. I'm staring. Excuse Anything else I want to do to it? I like it. If I were to let it dry, I could add some blurriness and here, I mean, I could do a little bit just with some splatters. I want a clean brush because I want this to be actually nice and golden. I don't want there was like purple on it or something. Again, I can do this on the floor. I could lay this down on the floor. So the splatters would go more straight right down onto the paper. Right now they're falling down. If I don't necessarily want that, I could just take it off the easel and lay it on the floor. If you're doing this a whole ton, I would recommend a respirator. So you're not inhaling like little particles of paint. I'm doing this just for a few minutes. So not a big deal, but especially when we're using oil paint and solvents and stuff, I definitely have a respirator that I where I'm not breathing in little particle particulars of paint. But that is adding a little bit. It's phon yeah, I like it. Maybe I can take a paper towel and dab some of those little specks that I didn't want. In general, that's looking great. I liked this one a lot better. So thank you for joining me for part two of poppies came out much better. And I hope you try them both. Maybe yours will. The diverse version that paint around the red like I tried, maybe yours will be better. Just an idea. Try it out. Try it out in the future, painting, whatever. So just a thought, anyway, this one's better. Yeah, we're done. Now. We'll definitely come back for Painting number three, Cool. 5. White Daisies: Alright, we've got a little more soft, glowy, nice. Highlight these warm colors. I'm going to start with some, some of these warm, earthy tones here. I liked them. This one's got a lot of flowers in it, so I hope I can get all these in there. I have to move fast. I suppose I could do two parts of it, but that would defeat the purpose of this exercise. Maybe I think it's going to turn to a little purply on the edges here. I'm gonna do that vignette and now I just love that. Again using my big old giant two-inch chip brush is one of my favorite brushes, especially for this level of stuff. Alright, I'm gonna start hitting some of those darks. I'm going to find the negative spaces around some of those flowers. I like the arrangement here, so I'm going to try to stick to it up. For the most part. I dig it. Dig it. You know, maybe there's even some green in here. Nice big fat brushstrokes. I'm not too worried, I'm literally just finding dark, dark space. I am painting around. I guess I'm kinda doing a little bit of like what I did with the poppies the first time. I'm painting around them. And then I'm going to paint them in the space that I've made. We'll see hopefully it'll work better this time. Because it's a cool idea. And I've done similar things before. It looks, it felt right for that one didn't quite work out. But that's okay. It'll work better on this sort of technique. I am doing this squint a lot. I like to do this. This is where you dislike gently relax your eyes and you just sort of almost like you're going to fall asleep. Look at your subject and that will make it up here a lot less convoluted. And it'll get rid of a lot of the details that you don't really need. That's helpful. And a lot of ways to see it as a simpler version of what you're looking at because there's so much going on here. You need to simplify it. Maybe we're getting a little more precise for some of these. Instead of a little paint clingy, Maybe I'm getting a little more deliberate and that's okay. I'm still being loose and i'm I'm not agonizing over every petal. I'm still kind of just seeing large, big shapes and really lay in some FUN paint down. And it's gonna be this FUN abstract sort of journey around this thing. And maybe it'll make more sense when I finally lay in some of the dark centers of some of these flowers. And then those bright, bright highlights around the edges. I think this kind of thing, you can agonize over everything. And that could be one approach, simplifying them into much larger abstract shapes. This is how I would paint this anyway as a more involved, complicated, precise oil painting. I think we're taking that approach this time. Now I'm hitting more of the super mega darks. Once that first layer dried. And I don't have any black. I love making my own darks with whatever colors I've got. Humic here. You can make flavors of black with purple and green. And whatever Brown you're using. Boy, you can get so many great flavors Of black black paint is helpful sometimes to I don't discount it at all. It is a great mixing color. You can get some colors that you can't get any other way. As even some pink and some of these, some of these spots, it's pretty grab a little bit of alizarin. They're dancing around the painting, filling in some of those areas. Maybe I'll use a smaller, now use this little bristle brush guy. Maybe I'll actually find some of these centers now. I'm just tapping them in. Just tap it in. Tap, tap, tap rule. I'm dating myself if you know a movie that's from yeah, Let me, some of these centers now are a little more apparent. Modify. I like style of brush, I'm gonna use another, this is this acromial bristle brush, the ones that are just crap. I don't throw them away. I saved them. Because sometimes you need a crap torn up brush. Because let's face it, using Acrylic paint destroys brushes, right? We all know that. So I save my destroyed brushes and I use them for Acrylic Painting. I'm adding some of these really great juicy son. Some highlights here where the sun is really hitting these, these petals hard. It's great. I notice I'm using the overhand grip on this paint brush. You could do this also. I find I'm have more versatility by just turning the brush over, putting it, putting my hand on top. And I can do so much more versatile stuff with it. And I can use the flat end of the brush. I can still use the tip if I want. It is a really fast way to really get some mobility and different angles and stuff out of your brush for sure. I can tell if I was doing this as an oil painting. I can get a lot more glowy blurs out of this. Acrylic is great for this exercise where I'm just throwing in some paint and some color and seeing what happens. It dries very quickly and what end up doing, of course, I'm layering dried layers of paint on top of each other, then I'm not really getting any blending stuff. Like I would if I was using oil. I can get a lot. He's beautiful blend glow is I'm all about the glowing lows. But this is fine for this. And if that's, if you can get it to work to your advantage with this quality of paint layering, then yeah, go for it. That's looking nice. I'm using the using the paint to help tell the story of these petals. I'm, I'm implying the petals, but I'm not really painting every single one. I am definitely letting, letting the paint tell a lot of that story for me. I'm taking advantage of the texture of the paint to imply a lot of detail without me necessarily painting it. Again, maybe if this one I'm being a little more precise, little less paint flinging and a little more like, oh no, I actually want these shapes to look precise. And that's okay. Every, every paintings, different groups. That's my light one. That's looking really lovely. I'm gonna go back and hit it even darker. For I'm just gonna go like solid purple, green I can use this to carve in the other direction some of my shapes. I guess what this is turning into is less of like an abstract version of this and more like a study for what I might wanna do if I was actually going to paint this more thoroughly. Let's alright. So again, maybe for this one I am carrying a little bit. You can not care as much as you'd like. This one seems to want to be cared about a little more. I think just like those poppies did. I needed I needed to be a little more loving to how I I implied them. So it's yeah, it's looking nice. Because you use a little more this sort of blue color. Are some of these. This white in shadow becomes blue. Maybe there's one down here that I haven't done yet. Yeah. But you start to see like something that you think is white, is certainly white until it gets in shadow and then it turns a different color. That's called local color would be what, what the thing is. In nice bright light. But in shadow, it becomes something else. And it's up to you to figure out what that is. Maybe there's one more little speck of a center there. Yeah, this is looking really great. I got a few minutes left. Yeah, this is, this is becoming a study, less of an abstract. I mean, I can splatter some stuff if you want. I like where it's going. A quick study. Maybe I want some of this nice dark to, maybe hit some of these inside's a little bit quicker, a little heavier. This is my, it was one of these brushes that I cut with a pair of scissors or something to like make it even thinner. And now it's thin in bristly and pokey and I get all kinds of Fun little textures out of it. It's great. You can create your own brushes. As my teacher, he had a thick Russian accent. Would say, you can give it here cut. That was rather endearing via deem Zan Guinean was one of my first teachers, brilliant impressionist artist. There's a little flower here. Then I've been ignoring poor little guy down there. Didn't get no love. Nobody knows me. Well. Here we go. I gave them a little love. Now. He's joined the party. Yeah. Yeah. She did with me. Good. We're going places. It is is about coming to a place where I'm running out of things to do at this at this quick gestural level. This is like a gestural version of this painting. We'll call it that. I can add some, some of this just to live in and up a little bit. Because it's FUN. Know how I like fund. If it's too much, I can take a paper towel and I can smash away some of those splatter East bladders that I didn't like. But they're still there halfway. Just add a little bit of life to it. A little bit of movement. Maybe what this painting needs. I liked some of those pink colors. Let's do that. Let's do a subtle, a subtle pink Another kind of flower in there. I don't really know much about Flowers. I can paint them. I couldn't tell you what species these are or anything. Share some of you who are like your head and your hand, those are, of course, these are these species we at it. So thank you for keeping that to yourselves and laughing at me. And the privacy of your on home. So yeah, just some just some subtle pinks. Some other Flowers in there. Kinda like that. Well, this is lovely. And a quick more of a gesture study. Really loose and not agonizing over every single petal and everything. Just really think about big shapes and just getting blocks of color out there. Starting with this golden, glowy gold, this nice sepia tone colors. I could just see those inside those Flowers and then find the big shapes, Chevron the darks down there, bringing the lights out. And nice, nice study. Nice very gestural abstract study of this piece. I cared a little bit. I didn't, I didn't just not care. I cared a little and it was nice and it was still fine and I didn't I wasn't overthinking it or overworking it. And I think again, this one just needed a little more attention. Sometimes they do. Sometimes your your abstract thing can work for certain scenarios, but not all of them. That's okay. Sometimes you just got to slow down and be a little more precise. I'm hitting this with a little bit of paper towel. Just finding some areas that needed a little more crunch genius, I don't know. Subtle will cool. This came out great. I was actually wondering how he's going to pull this one off. I'm like, wow, this is a complicated. This is a tough piece to, to just slam together in 20 min, but it came out good. So we'll awesome. We'll clean up again and we'll come back for one more final flower piece. I'm always like the last few seconds, what can I get in? And needed to separate that or something like that shape. Look at it in a mirror and you'll start to notice stuff that you hadn't noticed before. I'm looking at it in my monitor, my screen here and I can see things like, Oh, I needed to change that. And let's try that. I could play with it all day and I'm going to stop before I do. Okay. See you back here in a few minutes. 6. Purple daisies: For all you purple flower lovers, we've got some FUN purple daisies. These will be interesting. I'm going to actually, I'm seeing a hazy green color to start off with. On this one. I can fill in some nice flower colors later. But I always like again to start off with a whole surface of something. I would never, ever just like, well, here's a purple flower on us. White surface that's boring as ****. So I I always give it a good good ones over with something to start with. Maybe I'll do a little more. I want the purple to stand out. So maybe my typical go-to way like dark purple, purply greens, maybe I won't. I'll do it more of a brown or something. Try that. I don't know. Then maybe maybe in here I'll start to do some purple illness. I think I'm gonna kinda, yeah, here's maybe something similar to the last one. I'm painting around some of these shapes. Don't know. Smashing happening, a lot of smashing. So maybe the purple is like in the bouquet. The darks are in here, and that's cool. There we go. It's a good place to start. Yeah, boy, this this dollar chip rush really earns its, earns his living, man, I swear. Okay, I'll do a continue that purple a little further. Yeah, that's looking. Then here we go. I love this part. Can get a little more harder you're filling. It. Depends on how much how much paint is actually on the brush. If there's hardly anything left, really got our but he just really recently dipped it in some stuff. You just gotta give it a little bit of a flake. It doesn't need much. It takes my piece of plastic, my trusty free tool that I saved some things from the garbage because it's really handy. Maybe I'm going to start adding in some of these, these lovely blue I like the blue ones. There's one there. And there's one here. And there's a wider one here. I'm definitely going to need to go make some make the darks darker. I'm just put in some color where there's, where there is color. There's Flowers there. Here there'll be Flowers. And I can, maybe these might want to be more precise also. We'll see there's one here. Just a blob. There's a nice juicy dark line there. I didn't see that one yet. Painting is really a lot of observation. Yeah, there's some dexterity and stuff, but it's more observation than anything else. You have to really learn how to see things. You have to unlearn what you think you know about something and learn to see it differently. There's no, there's no Flowers On area. There's just blobs of beautiful color. That's great. Maybe I'll do this brush for there's some great pink ones. There's one here. And There's one here. And then there's something much darker ones here that actually might be a little more. In the red. A couple back here, hiding and shadows. There's a few float around. And maybe the further ones are way make them look like they're blurred. I can blur them out a little bit. That's fine. This isn't the distance to just blurt out. I love this, This duo, duo wielding. And there are actually a couple legit like rich purple ones here. Really, we're running the gambit on all the purples. Very cool. Let's, I'm gonna go in with a little more chiseled brush and just hit some of these darks a little more. Maybe I can actually like define some of these petals by coming in the opposite direction with the dark. You know. It's kinda FUN painting around it. There's some weird little blossoms or what do you call Mike little buds that we'll get later. For now. I'm just filling in. I'm painting around the flowers. I just need it to be darker to get those to really stand out. And now it's like I'm painting the negative space around these flowers. I'm painting the part that's not a flower. And we'll see, maybe, I'll, maybe I'll keep my darks here. Maybe I don't, maybe I'll leave this sort of a lighter green and I kinda like it. I'm just playing around with it. Because if it doesn't come out Good, I don't care. I'll do another one. We've already seen me do that once. I don't mind. I'm not hurt. My feelings aren't crushed. I got to revisit the poppies again, that was PFK-1. So if it doesn't come out good, You do another one. No big whoop. Have that dark fade out a little more. Let's, let's maybe add some of those centers. Those are some interesting, an interesting cool yellow color. I'm using my weird little haircut at brush. Sometimes the center of course isn't, right? It's not like concentric circles. We're drawing a satellite dish shape. And as you, as you turn it, the center is actually going to move to one side of the other. So remember that when you're doing your the shape of your flower, if you're trying to get more precise. I mean, you can see I'm not super being precise with this. I am smashing it on there with the big weird brush that I mutilated. But just little things to keep in mind. Almost like there's a whole bunch of them. There's this guy here. There's one there. I sort of several indications of other Flowers and the distance that when we don't see. Yeah, so I am paying a little more antigen. That's looking nice. Let's take it. Presses are flying everywhere and let's, let's hit my one of these sort of bristle brushes. This one is a little lighter. Getting hit with a little more sun, I guess. To scoop it out, whatever blue I got here. I'm moving pretty fast on this. But I'm really just trying to be gestural. I'm I'm trying to be not terribly worried about what I'm doing. Just let the the thoughts come out. And whatever feels like, let it be intuitive That's a better way of explaining it. Let the process just happen. Without scrutinizing yourself too much. If you see a weird color like I think that's green. Yeah, go ahead and grab some green and shove it in there. Maybe there is some greenback here that I'm missing. Yeah. What did that that actually adds a lot a little more water. It's kind of a soft green. There's these little little buds. Maybe I do want some darker greens. And some of these places. Yeah, there we go. Look at that. This little brushes, wonderful. How it gets these great scratchy strokes. Or I can stop and be more precise and get some sort of details. But it's just got this organic quality to it. That makes some really FUN, gestural, scratchy sort of stuff happen. I love it. Let's take these other same bristle brush and maybe I can define too much paint without getting super refined with a tiny little brush. Let's see if I can indicate some individual petals here. See I can be gestural and a tiny bit precise. And still. Let the painting breathe a little bit. Yeah, that's looking nice. Just glanced over and my little monitor. Do dad I think I just killed my center. This one. Bring it back. Bring it back. Bring it back. He's bring it back. There's no such thing as the mistake. Me, I like that better actual ICU. That's a nice bright yellow that I wasn't expecting. It looks nice. Let's do some stuff with some of these darker purple action things going on. Oh, you know what, I forgot entirely is the center of this flower. This purple guy, I need something. There we go. Supposed to be around. Ish. Yeah, that's looking nice. Maybe. A little bit more, a light, not one. And then here we get some dark. Again, this is a gestural version of this painting. I'm really just like letting myself go of I see a spot that needs something. I'll hit it. I don't even necessarily wash the brush every time. Let's, let's get some nice really intense blues on some of those. Some of these main event flower is here. Need something a little heavier to make them stand out. Sometimes it's several layers. You get a little more, you can get a little more precise with each layer if you want. The first layers can really just be slapped down anything. As you go a little further, you get a little more precise if you want. And then of course, we can have a little FUN. Let's have some FUN. Some water, some blue in some splatter. Oh my God. I have no idea what's happening here, but it's fine. Maybe get a couple of those, couple of those diktat and that, and that Where's my other one of those? I lost my brush. Got only a couple of minutes left on this one. Maybe I'll do a little bit of that stuff. For some of these stems that is looking lovely. Maybe some of those yellows are now a little too much. It's okay, I'll smush them out because we're just playing around here. So it's okay if something isn't, something isn't perfect. But that's quite lovely. I can hit some darks, a little darker. Maybe I do want some. Yeah, those purple is yeah. I'm getting close to my my 20 min here. So this is another FUN little gestural version of this painting. Just to exploring, if I wanted to, I did a green which kind of gave it are kind of a somber look. The lights in here look kinda cool and mellow. Maybe if I wanted to try something a little more lively, I might do another one and have it be pinks or do the whole thing blew like and paint around it like I tried, you know, those poppies. Maybe these these centers could be a little more, little more lively, little more bright yellow. That's helping. Not all of them. Maybe there's the ones that are like facing upward. And we'll leave the other ones. Maybe they're sort of curling down into the duct. Is that bit of dispatch. Okay. Yeah. Indicates that some some petals by sort of cutting in where they separate. And there it looks like a petal, like I really haven't painted much detail this at all, but it looks like it. I'm all about implying detail. And there's just so much abstract piles of paint everywhere. It's really freeing just to put it in a blob of color and paint around it and see what happens. You know, don't, don't think too hard, just paint and it's get all your good All your day's activities out onto your canvas and leave it there or paper or whatever crummy surface you're painting on. Anyway. This one's about done. So cool, thanks for, for joining me for another FUN session of this abstract expressionism. And hope you guys had FUN painting. And we'll come back in a second for a little recap, you know. Yeah. As I continue to paint and continue to noodles. So anyway, yeah, so you guys back here in a second? 7. Summary: That was a really FUN painting session for a little 20-minute studies of some FUN beautiful flowers. Let's run through all the ones that we just did. We started with this great little sunflower piece. Everyone loves sunflowers. I do anyway. I love the colors. I loved the way the light zinc is through the pedals. There's all kinds of yellows and oranges in the flowers themselves. But then like the greens and the blue sky and a lot of FUN things happening there. Looking at some of the paint splatters here, they almost look like little bees flying around. Just kinda FUN. Yeah, really spontaneous, scratchy, slinky, letting it all out. The flowers are very non-judgmental subjects. They'll never get angry that you didn't paint them, right? This is really a FUN place to play, do whatever you wanna do. I love painting flowers because, because they're very bright and phon, and happy and very forgiving subjects. This next one, this is the one that I tried to takes on. This was the first one which I decided I do actually like this one, but for different reasons. It is a little more steeply and broken with the paint, which is actually kinda cool. Didn't like it at first and I did a second version just so you can see that like, hey, I did a different approach. This is the one where I tried to paint the negative space around the flowers first. And then I left. I did the whole surface read and then painted in everything around the red and left that space for the flowers, which was a Fun Approach. I might actually try that and a different painting, a different context. I liked the idea. I wanted to try different version of this. And I'm glad Dix was a very different approach to it. This was a little more straightforward version where I went ahead and just actually painted in some gradations of color first, and then painted the poppies on top. Just like you might do a normal subject. I did that back to front. The farthest away things. You approach, the closer things as you get closer into the landscape. So that was a different version of that. In a different quality to the flowers are more crisp. The colors are a little more even, but there's less red and pink distributed around it. So different version. So this exercises like, Hey, let's do a quick little study less than 20 min to see which path I want to take. If I was gonna do this as a serious painting, maybe a larger painting. I'd like to know that what path I'm going to follow before I'm hours into the piece and I don't like where it's going. So these are fairly large. These are 14 by 17. You can do much smaller versions of these and of the same effect of discovery and experimentation and trial by error. Do a smaller one and might only take five-minutes, then do like four or five of them. You might discover some really cool techniques. You never would have tried if you were only doing the finished serious painting first. Here's the third one. We did just some beautiful like white Daisies, more like a cool, warm light shining on him. I loved the purple background. Cool contrast. This was a funny way just to see those Flowers as one big block of shape and all those darks as one big block of shape. You can fill in some details later once you've ironed out where everything's going. But I really find a way to experiment in those shadows. I added some purples and greens, blues and touches of red and pink and all kinds of Fun stuff. If I didn't like it, I would do I try it again just like the poppies. You saw me. Not make a mistake, but not necessarily love where I was going. So that's okay. That's, that's what this is for. To really try things out and see where it goes. I liked painting the shadows, painting white. Things in shadow means you get to explore different kinds of blues and greens and purples and stuff, which was PFK-1, pfk-1 one. Then lastly, something a little more blue, if you like, blue flowers, purple flowers, some sort of purple, blue daisies, which was Fun. Again, lots of PFK-1, deep purple, green shadows with some more. The light blues and the light, and all those little hello centers sort of poking around everywhere. Really. Just Flowers are just such a celebration of color, I guess by their very nature, they're a celebration of springtime and the world coming back to life. Maybe this can be you coming back to life with your painting or with your Art, or emotionally. You're just letting yourself be free and uninhibited and allowing yourself to play and whatever you come out with on the paper or the canvas or whatever will be beautiful because it's just your soul wanting to be colorful. And it's FUN to do that. And to not show these to anybody, to just have FUN. And you don't have the judgment. Or you have to worry about how many likes you get or whatever comments. And it is just so much so freeing to not necessarily show these to anyone. Really important part of the exercise. You can if you want to. Of course I'm breaking that because I'm instructing. But man, it really is great when no one's going to see. It's just my own private little Art Journal. That's just me and my conversation. And you can do whatever you want and it's really freeing and really FUN. You'll probably learn some great techniques that you can use later in a more serious painting. You can, your process will flow so much better as you get more confident with color and the less worry you have in less inhibitions. As an artist in general or in life, I don't know, will only work for four more serious pieces later. So you have to say to yourself, just like I said, kinda became a mantra like the painting is going to turn out just fine. Just like your life, right? Very, very meta, very, very function way, all those things. So anyway, I hope you had a good time. We do a lot more of these, do 100 of them, do a couple of day and see what happens. Do any pictures you can find or you have, or go to the park or wherever. Painting have FUN and see what happens. Find all pieces of cardboard to paint on. Don't use expensive things, use cheap stuff that you don't care about. That'll be so much easier and more FUN to just let it go. So happy Painting, do a whole bunch more. And I really appreciate you joining me for my class. Free Expressionism, Painting like you just don't care. The Flowers addition because yea Flowers, right? They Flowers. So I'm Christopher Clark and happy painting, and I'll see you next time.