Golden Insights: Exploring Klimt's Patterns for Your Artistry (A Master Study)

1. Introduction: Welcome to the world of Gustav Klempt, where we will be taking a deep dive into the world of gold and patterns. I have designed this class to be fun and less intimidating than a traditional master study of an artist just like you. I'm an artist always looking to learn and grow the way I create and see things. So I'm going to break this down into easy digestible projects that will have you excited to explore and create. I'm sharing lots of ideas and projects to help you observe and learn how Klemp approached his pieces. And how you can integrate some of his ideas into your own art and workflow. You're going to learn about the colors he used, the motifs he incorporated into his work. And deep dive into the patterns you see in his work. I'm Denise Love. I'm an artist and creative educator and I'm excited to bring to you this fun and exciting dive into Gustav Let. I've also put together for you several idea guides and project reference PDFs that are filled with inspiration to get you started. So if you're ready, grab some of your favorite supplies and let's get painting. 2. Class Project: Project. I'd love for you to pick a painting and paint a project based on a portion of the painting that you chose to replicate. As we do in class, I'd love to see the painting you were inspired by and the painting you created. I'd also love it if you shared a piece of art that you created in your own style incorporating some of Lemp's elements. 3. A Bit Of Klimt History: Exploring Gustav Klimt, a comprehensive artistic journey. Early life, born in 18 62 in Vienna, Austria, Gustav Limps artistic genesis occurred within the hallowed halls of the Vienna School of Arts and Crafts. These formative years laid the groundwork for the prodigious talent that would later emerge. Klemp lived in poverty for most of his childhood, and his work was scarce and the economy difficult for immigrants. Artistic influences, Klimt, a connoisseur of diverse artistic styles, synthesized classical traditions with the Arvantgarde influences. This amalgamation of artistic pedigrees became the hallmark of his unique and distinctive style. The Succession Movement, a pivotal figure in the Vienna succession movement, along with his contemporaries, sought a departure from the constraints of traditional art. The movement championed artistic autonomy, herald Pardum shift in the Vietnamese art scene. The golden period enter the golden period a zenith in Limps career marked by opulent compositions such as the Kiss and the portrait of Adele Bloch Bauer. Here the use of gold leaf and the intricate patterns reach an hypothesis, creating an ethereal aesthetic symbolism in Lim's art. Beneath the visual grandeur lies a rich tapestry of symbolism, geometric shapes connoting unity and the portrayal of the them fatal as a potent archtype. Each stroke in limps work is laden with meaning, controversy, and critique. The audacious departure from convention invited both acclaim and censor. Lip's unorthodox approach stirred controversies. Yet it solidified his reputation as a visionary who challenged artistic norms, legacy, and impact. Reflecting on limps journey, we recognize a lasting legacy. His influence transcends generations, leaving an indelible mark on the art world. Limps enduring impact resonates in the work of subsequent artist, personal life. Beyond the canvas, Limp led a Bohemian existence adding layers to his enigmatic personality. His relations, intricacies of his personal life and profound impact on the cultural Liu in Vienna provides a nuanced understanding of the man behind the masterpieces. A lifelong bachelor Klemp has countless affairs during his lifetime, frequently with his models, and he fathered some 14 children along the way. His most enduring relationship, however, was with Emily Flogg. As we conclude this journey, let the story of Gustav Limp serve as an inspiration to transcend creative constraints. Art is an ever evolving expression and embracing its dynism, we find the true essence of artistic exploration. 4. Klimt Books For Inspiration: This video, I thought it would be fun to take a look at some really excellent resources for studying some of limps paintings and patterns to then use in class. You can of course, use online resources. If you don't want to purchase any books, you could go to the library and check out some information if they've got any at the library. I like Clem. Quite a while back, I bought this very large Gustav Klimt, the complete paintings by Tashan. Um, and this book comes a lot smaller. There's a smaller version, but I'm like, heck no, if I'm going to look at something as inspiration to study and then take into my own artwork, I want it to be big enough that I can see it. This book is actually even more gigantic than I expected. I love that. We'll look through that in just a moment. I also acquired several Gustav Clem coloring books. I'm not really a coloring person. Like coloring pages and coloring books, it's not really my thing. What I love about the coloring books is they give us line drawings of pieces of his artwork. It's almost easier to study pattern and design and art without all the color in there distracting from what's going on. So you can dig a little deeper into the nitty gritty of the actual pattern itself. I got the Gustav Limp to make your own art masterpieces. This is David Jones and Daisy Seal. The I think are probably all used. I got them off of Amazon, but they were from used booksellers and I don't mind that one of these three coloring books that I have is a very obvious favorite. I bet when you see it, you'll know which one is my favorite. It's not this one. I do like this because I can look and see pattern. But this is not my favorite of the three. But it is an excellent choice if it's the only one that you can find. Because like right here, this is the stock freeze. You can see in the embrace part of that larger freeze, you can see all the design and the pattern. And this would be the perfect thing to then look at and then be inspired by all the pattern going on. In here, you can actually see what makes up the pieces of the painting. There are excellent drawings. Again, the Stocolate freeze. This is the Tree of Life. I'm very inspired by the tree painting personally because I'm not a people painter and most of his famous artworks are the people that he has painted. But I like the tree. I'm feeling like my big project for study could be some type of tree painting in a combination of the trees and the patterns, but not necessarily trying to copy his exact tree of life painting. I want to take those elements into a tree painting of my own. We'll see. I am glad that's in there. I can see the different elements and things that make that up and the patterns, and it makes it very easy. This is another piece of that Tree of life. But it makes it very easy to see the different motifs and patterns that he's using. It's very Egyptian in the flare. There's lots of circles, there's lots of, there's a lovely bird in here that it looks like a black splot on Internet photos. But you can see it's actually got detail and pattern in there. I like being able to get a closer look at what is in that pattern, like the triangle, double triangle here. Would I have caught that? Maybe not. But now that I can see it drawn out as a line drawing, I can definitely see it. This is a good one. It's not my favorite one. Okay, this one might be my favorite. So let's look at this one first. This is Gustav Limped. It's a Peppin EPI in artist coloring book 16 designs printed on professional drawing paper. Okay, let me tell you what I like about this one. This one, the paper is really beautiful. If you wanted to do a paint by number type painting with acrylic paint, it's on a really nice, heavy duty, lovely paper. Again, I like it because it's large enough for me to see the details and the different elements that went into the piece. And the tree is my favorite. Again, here's that embrace. Apparently all of these people take after different ideas from each other. I guess are they're all taking the same 15 or 16 most famous paintings perhaps, and giving that detail. But check out this, look at all the detail. I'm not sure if it's showing up because that line drawing is so light. But look at all of the flower detail and leaves and little roses in here. That's a ton of detail. If you're just looking at a painting, would you have seen all of that detail? Maybe not Again, this one right here, look at all that detail in there. My goal is to take little elements of these and be like, okay, and maybe make myself a pattern guide. And I can take little sections here and use that as my inspiration. And then definitely some good stuff going forward. So many ideas. I just love it. Okay. This one here is my favorite. This is Gustav Klimt. Gustav Limp to color in the founder of the Piana succession. This is by Ham Lynn, HA, M, L, Y, N. Now, what I like about this one, I'll try to link these but there just may not be a valid link for wherever you're at or they just may sell the couple of copies that they have. But this one here is my favorite. And the reason that I like it is because it got a little info in here. But what it does back here, it's a info on the paintings, It looks like it talks about it. Then it has the painting and the drawing. I love this one the best because I can look at the painting and see what's going on. Then I can look at the page over here and see a line drawing that's very detailed so I can see all the different elements that maybe I'm not seeing as clearly over here. This is an artistic representation what they've seen and thought and drawn out, which is exactly what we're going to be doing, our own artistic interpretation of the different patterns and such. But what I truly love is looking at what somebody else has found in here that maybe I just didn't see how they interpreted that as a line drawing that I can then use. Because right here, this little area right here, these sink in together without having the actual painting in front of us. Without being able to actually get up close, say in a museum, and look at that painting like a lot of people that do master studies do. We're not going to see all the intricate detail that might be going on in this lower area. But over here I can see it's lines and triangles and vines, and I can see that detail over here. Flowers mixed in. And it's a little more simplified than what actually might be painted here, but it gives me a direction and an idea of where to go, look at all of these yummy details in there. Like I truly love these books. I love it, I love it. Not really my thing with the two ladies there. That's weird looking, but I do like how this book is comprehensive enough that they give you what the painting is, a little bit about it. Then you see the painting and then you see the line drawing of the details out of all the books. If you just want to have one for your inspiration, even talking about between the big one, if you just want one, this is the one that I might recommend. Because it breaks down the elements in a way that you can see it and draw it and very easily replicate something like that. And then take that into your own artwork. I know you're going to love looking through some of that because I'm going to love using this as my inspiration for pattern making. A little bit later in class, look at this one, the fulfillment. You can really see all the detail going on here. This is a great, big freeze on a wall. It's like a big mosaic piece. Then flower garden. Look at that flower garden that's right up my alley for abstract painting. And I can incorporate something like that into my own artworks, that would be an easier one in my view. Rather than painting people, I'd rather paint flowers than people. In my mind, I would either go for this or the Tree of Life, or something a little more abstract. For the people. You could, if you like to collage, you could collage a magazine face and then paint the rest. That might be an easy way to do it if drawing people and painting people is not your jam. There's lots of different ways that you can do an artist study, turn it into something of your own, like this. You could have the whole head and shoulders of a beautiful magazine piece. And then paint and collage paper and pattern all around. That would be super cool. Lots of good ideas. But I want to do trees and flowers. Personally, this is my favorite out of the coloring books, this Gustav Klimt. In color one, mine is used. I don't think it's probably new. And it looks like I didn't pay very much for these. Like less than $10 on some of these. Definitely. This one is worth getting. The big thing book. I love these. And this one comes in a smaller version that's like about this size which definitely would be more manageable tote it around because this thing will hurt you. It's so big. But what I truly love is now it's so big. I can see the details like that big freeze that's on the wall. I can see that these are tile, mosaic pieces that are tiled to the wall. How amazing is that? I don't really know how they did that because that's like a big seam here where that white part must be like a big piece of marble or something. That's amazing how they cut the marble out in one big piece and then mosaic all the gold pieces into it. Maybe it's painted, but I don't know. It's amazing. That's a lot of work on. See there's a big picture of the black bird. I was saying it looks like a black spot on paintings that you can see on the Internet, but that you can really see all the detail in the bird. Now it's the biggest piece of detail there. I like how I can see things much larger. Here in this book, I can see the paintings. I can see the details. I can almost see the pattern of the canvas up underneath the paint. That is what I love. This book is the complete works of Gustav, every piece he's ever created. It gives you a history as life. It talks about everything. Here's that freeze. It's a great big piece on the wall there. Look at that tree. The tree just keeps on going. But this goes through all the work. What's really interesting is he uses different shades of metallics. Maybe the gold is different shades of gold, so it's not one gold paint. Then there's these three dimensional patterns on top of that. I don't want to forget that that's there, because I might want to have elements drawn on top of my gold with some with some of this PBO relief liner. Definitely. I'm going to set that out so I just don't forget it. Because then I can paint the gold and I can paint some swirlies on top of the gold. And that's an element that I really like here in his pieces. This is another view of that freeze. I don't know what this place is. It's almost like a fancy bathroom. I hope it's not a bathroom. Optum Read and see what that actually was early in his life there he started off painting more traditional paintings before he got into the works that are more familiar. And this one right here, the portrait of Adele Block Bauer, is where you can really see the detail of the gold on the gold with the relief that's let me pull that even closer for you. There you can see it's raised up gold and all those yummy details in there that unless we had something photographed this large and very high quality there in this picture that I feel like I'm almost there looking at the painting now. I can see all the details where if I had the smaller book or an Internet picture, I'm not going to see it quite as nearly detailed as this right here. That's amazing. I can see all the circles drawn in the circles outlined. I can see the canvas texture up here. I can see so many details is exactly why I wanted this gigantic book. Because otherwise you just can't see all that detail. Like look at all of the different line work here in the shirt. It's like two or three colors that are in there that are drawn. Like we could do that with colored pencil, like several colors of white and gray. To get all that detail of that thing in there. Look at the detail there on that pattern behind her head. Like I'm very excited to dive in and study different little boxes with some dots, all different colors. I can see the detail here. He did have more traditional pieces along with his look at that right there. Beautiful along with his lovely gold period with all the pattern. I think it's very interesting to see the progression and see all the pieces and see what inspired him, a super cool, all the different little tiny dabs of color that make up a piece. I love that this is almost like an abstract expressionist of movement in here. And see he did some little villages and move on further. He did have some charcoal period where he did charcoal drawings and stuff. There's some of that in here. You can see the pre drawings of the paintings before they were painted. I love that. Look at this, this is pretty cool. It's like a charcoal with gold details. That would be an excellent thing to take into your own artwork is what charcoal drawing can you do and then bring in the bits of gold and shine. I love that. Got some drawings back here. I really, I know I flipped through a lot of this pretty fast, just to give you an idea of what these books have and what's in them and what you might can see. The bigger book, I can definitely see all the details of the painting. I appreciate being able to look at that. I can't travel. Look at that one. I appreciate being able to get this a look at some of the patterns and the details. Not all of us are going to travel and find these pieces of artwork in person, in person. Then the ba, the listing there of the paintings and more information. This book is amazing. These are what I'm going to be referencing in class. I definitely like seeing the details of the big book and the line details in the coloring books. Just to help me separate out what's really going on in here and be like, oh, okay, now I can see the different patterns. I hope you enjoyed getting a look at some of the resource materials. If you've got the chance to get one of these, If you only get one, then the coloring book might be the best option, just for breaking it down a little easier for you. These two are my favorite out of the four that I've shown. I can't wait to see what we're going to be creating today in class. And I'll see you in the next video. 5. Klimt Study PDF Guides: In this workshop, I have a ton of PDF guides that I've made for you over a variety of subjects. Definitely check out on the projects and resources page the PDFs that I've included. I just want to go through them real quick so you'll know what you have out there. We do study one of the paintings to just take a look at the colors that Let used in his paintings. And then I thought I'm all about color palettes and color palette cards and I love to reference them and create myself some painting challenges using a certain color palette and just seeing like, hey, what can I create today? I have included a color palette set of cards here in PDF form so that you could pick a palette and then create from that palette and set yourself some challenges. What you might want to create with that day. I've just taken sections of paintings and I have pulled colors out of those paintings to be my palette inspiration for each page. It also is an opportunity for you to see parts of the painting very large. This might be a good reference point for you if you're creating the little abstracts based on one portion of a painting. You can refer back to this PDF if you'd like. It has some colors in there that you could then pick and choose from and have a little guide. I have done 1011 in here for you in that guide. Then I do have some PDF guides that go along with some of the color and pattern studies. You can have the PDF of that piece of painting that I was painting from here in this PDF. Some of these I show the supplies that I chose to use. I definitely want you to pull from the supplies that you have on hand. But I do have this as some companion pieces. We've got the Kiss companion one, we've got the portrait of Margaret Stoneborough, Wittensteinie here. That's the large blow up of her painting. Then I have some other little blow ups in here that you can reference. Then other pieces to study. I do have a few other pieces behind that in this PDF. Just pieces that I squared off with my little matt piece and then took a picture for you to then give a go. That PDF does have some extra stuff in it. Then I've got the portrait of Adele Bloch, Bauer color pattern study, which this one I thoroughly enjoyed and I loved my little piece that I ended up with. There's a blow up of that one then, the painting that I did in class, then this one also has other pieces to study. I tried to vary them up. Each PDF has different sections. Just explore what we've got there in the PDFs. Then a lot of these you'll see on those color pallet cards because I then pulled from these photos to create those cards. It is a little bigger section of those paintings. And then I do have a PDF with my gold Swatch sheet just so that you can take a look at the golds that I have. I've tried to list what it is below each one. Hopefully you can read those and just get a look at what you might be interested in. If you don't want to purchase 50 golds, then I have my Pattern Idea guide. This is the patterns that I drew in class. I have some painting references in here that I was referencing. You can see we've got large sections here that you can zoom in and look at and reference for your paintings. You can see here, I did a little bit larger eyeball inside the pyramid. As you get further along, you'll see why I mentioned this because just looking at the painting in the book, I didn't see that those had a pyramid around them. And it really does help to look at a blown up piece of the painting. If you have the book yourself, I highly recommend you do what I did and take pictures close up on your phone and then you can zoom in even further with your fingers. Totally helped me. I've got lots of portions there that you can then look at and get ideas and patterns from. Then behind that, I have my own patterns that I drew in class. Those were what I was looking at with Adele Bloch Bauer. I've included the paintings that I was looking at for each of the patterns here on this next section. And there's the kiss. Then on this I've written down portrait of Emil Floater, Serpentine, the kiss. Water, spent the kiss. And the kiss, you can see close up what I was looking at. To then draw some of these patterns. Then I've given you a blank page. If you want to print that out or you can create your own obviously. Then I've got some painting idea guides that were created in, these are from mid journey. I don't like creating your original art or creating art in mid journey or some AI application and then claiming it as your own because it's not. But I do like to generate idea pictures and reference pictures to then guide me when I get stuck or give me ideas for composition. Maybe color ideas that I never would have thought of. I do like generating ideas in that type of thing. Then we're not using somebody else's pictures that are copyrighted as our inspiration. I like the concept of using AI for generating ideas and reference photos to then paint from. I've given you several guides of ideas just to get you through being stuck and determining compositions and looking at things in ways that you might not have thought of before. I've given you ideas for trees and forests. Because I'm painting a tree and the tree that I paint in class, I do, I reference photo to get us started. Then the trees two is in landscape orientation rather than portrait orientation. Just a different guide for you there to give you some ideas. Then I'll also give you an AI guide for different ladies if you like to paint people and you want to be clemped, inspired and maybe paint something a little different than his actual paintings. I do have some of those in here just to give you an idea. Then I also have some flower gardens in here. Just an idea guide for some flowers and the gardens and maybe there's a few trees in there. And I particularly like on this photo, all the fun details in the tree trunks. I think that is a wonderful idea to do to make it very clipped like and still be in your own style. Just some yummy ideas to look at and inspire you. Then I've also got one on just abstracts, A few abstract paintings in here where you're not referencing a flower or a garden or a tree, or a person just in case that happens to be your jam. Then I've also generated some coloring pages. And I did this to give you a black and white view of some ideas that you might consider in the patterns and stuff. I liked all the different ideas. Just like looking at the real Cmp coloring book, I thought seeing things in black and white really lets you see all the details and shapes that go into some pieces. And so I thought that was fun. I hope you enjoy going through the PDFs that I've included in class and really getting just that extra step deeper into your study and I'll see you in class. 6. Supplies For Class: Talk about the supplies that I'm going to be using in class, but what I would tell you is use whatever you've got on hand. This study is all about observing and looking at what Clinton does and how he does it. He paints an oil paints and gold leaf, I don't wish to paint an oil paints. It's all about observing and looking at the elements that he uses and figuring out how can we use these elements in our own work. We'll start off by creating several snippets of some of his paintings so that we look a little closer and we really see the details. But I want you to do these snippets and things in the art supplies that you have on hand already. Unless you just see something that you're like crazy about and then add that to your arsenal. But other than that, this is not about using a certain supply to create a certain painting. It's about using your supplies and figuring out what he does and how some of his elements might then be incorporated into your own work. You're welcome to paint on canvas, paper, panel, whatever it is that you want to use as your surfaces. I'm going to choose to use paper because I already like to work on paper. These are not pieces that I want to take up a lot of space and to then be hard to store or whatever it is that you do with paintings that you're doing studies on and stuff. I don't sell artwork, so I don't want to store lots of be canvases and I choose to work on paper. I'm going to be working on the Namule nine by 12 watercolor coal press paper. Because I like this paper. It is turned out after I've experimented on everything under the sun to be one of my favorite papers to work on. It's a cotton watercolor paper and I like the way the materials I choose to work with work on this paper, that is what I'm using. Use whatever paper that you've got on hand, it's not a big deal. And one big element of limps work is his use of gold, which is what draws me to his work because I already like using gold and I have several favorite gold items that you see me pull out time and time again, including my Retake gold Mica paste, and my Kuretak gold mica ink. These two are my favorite golds. They're very shiny and shimmery. It's these two here on my gold sampler swatch page. I have the Swatch book that I love. It's called the Painter's Color Diary. And I swatch everything out, and when I get a new gold, I can come at it to my gold page. And then I swatch other things out too. After pulling all the golds that I own from all over the place, and I'm sure I forgot a few. This is now all the golds I can come back and look at and say, oh, look at the color difference, the shade difference, the shine difference. What's going to work best on whatever painting I'm doing that day. But my very favorite ones are the cure Taki. That is what I pull from time and time again and that is what I love because they're Mica and they're just brilliant, shiny, brilliant. To go with that, there's now a new Zig acrylic liner by a talkie which is in pin form. It makes it a little easier than using the mica paste with a dip pin. This is my new favorite gold pin. It matches exactly these inks because it's made by the same company. I think these are, might be a sketch box exclusive right now. In the golds, pull whatever gold you have and play and use those. This PBO Cern relief is a favorite. If you pick one gold and the Cern relief, that would be fun. This allows you to add a three dimensional element to your work, which you'll see that a lot in Clint's paintings as we go forward, looking at his work, he does a lot of gold on gold, in different colors, and then some raised elements. This is what I'm going to use for that. It's excellent choice. If you just want to gold, that's easy to find. You can use some of these golden acrylic golds. Those are pretty easy to find no matter where you live. Also, these Artisa golds, it's a good choice. I do like the Artis colors and they have the gold, silver, and like a bronze copper color. That's an excellent choice, especially if you choose to paint with acrylic paints, on some of these paintings later in class. Because I choose to paint in some acrylic paints as we're going. I love the artizas because I have gotten a large quantity that came in a box with all the colors. There was lots to pick from and it worked out to about $1 a tube of paint. It's a good student grade paint. Especially for doing something like studies, I do recommend the Artiza sampler box that you can get the if you've already got acrylic paints, then work with what you've got. Some of these little acrylic Metallic Blick paints are a favorite favorite is some of this aqua bronze pale gold pigment. Because you can add this to any acrylic paint to make it shiny. That's another favorite. I've just got a variety of favorite golds. I pulled them all together for class. I've got a couple silvers because there is some silver in climps work that we pull from, just pull your metallic options together and have those available. Does not have to be the same as what I'm using. Does not have to be the same pull from what you've got already. I also like working in mixed media work. I do a lot of watercolor on my base layer, and then on top of that I do acrylic paint work on top of that and then maybe gold on top of that. I like layering things and giving all that dimension. I will be using my cutaki ganz tab, art nouveau watercolor set on a couple of paintings. So if you want some reference guides, more so than just watching it on video, I like this Gustav Clinton color coloring book. It's used, you might not be able to get a new version, but what I really like about having one of these to look at it breaks down our pattern for us. Now we can look at this and say what went into that. And if we can't look close enough, we could probably look over here and say, oh, look at those different things in there, or oh, look at this. I totally missed that. It's a way of looking at, at the components of the piece of art. This is an artist's rendering also. Whoever did the coloring book, it's his rendering of that. But it just points out things that maybe we're, maybe we would have missed it. There's lots going on in these paintings. One of these coloring books like this really breaks it down nicely. So that we can then study a little further what's going on in there. Then we can paint our own sections. You could color these pages if you wanted to. What I also like about this particular coloring book is that it tells you a little bit about the painting before it shows you the painting, before it shows you the coloring page. This is a particularly nice example. My favorite limped book is this gigantic one. They do make a smaller version and that might be easier to look out for you, but I wanted as big a book as I could get because I want to be able to see the details and this book does not disappoint. This is the complete works by Gustav Klimt, put out by Tahin. It's by Tobias G. Natter. You can see the bigger that painting is, the more I can see these details and what's going on in there. Then I also like on some of these that has even a larger section of the paintings and the things that we have going on. I like seeing bigger details of some sections. This one has a bigger detail of. It also might just be right up here. But what that lets us do is really get a look at what's going on in certain sections of the painting. Maybe it's not right up here, it's in here somewhere. There was a see right here. Look at that. Now that little painting, maybe I couldn't see all the details of this particular one, but look at all the stuff going on behind her head. Bigger detail. I can see the brush strokes. Here we go. Great big detail. Now I can see all the stuff going on back here with these circles and I can really get a close look at this gold on gold with the raised parts of the pieces. And I can see some of these details that maybe I wouldn't have seen in just that bigger painting because there's so much going on in these. How can you catch it all? I like being able to see parts of it. It may be studied this part rather than try to create a whole painting. That's why I do little mini pieces of one painting in that was very manageable and bite sized, whereas trying to do this completely overwhelming. This is the reference I will be using in class. You are definitely welcome to get the big one. There is also the smaller one that's about this size. And I'm sure that would be just fine too. But I wanted the biggest possible. Also, I'm using a variety of paint brushes in class. You use whatever paint brushes you have on hand. I just have a bunch of these little Princeton select brushes. I've got the flat shader, several sizes, There's a four and an eight. This is probably the same size. Then I like this round blender, number six. I'm using a lot of these in class. I'm using a variety of stuff. I'm using one of these Trechl Desert Blazes number four round brushes. I think that might have came in one of my sketch box subscriptions or one of those art boxes that I get every month. But I'm just using a variety pull out some of your favorite acrylic painting brushes or whatever it is you're using to paint. Go for that. I'm also probably using in class this Raphael number zero soft aqua brush, mop brush, because that's my favorite watercolor brush, I do use that a lot. Just pull out a little variety of brushes and have that handy. Also using mark making tools. I may be using some pencils, I may be using some little woodies. Definitely going to be using some Posca pens. And you can use the Poscas different colors because they're acrylic paint, also using some graphite. Now that I'm thinking about it, I did a graphite and gold painting, which loved that painting, focusing on a black and white and graphite. It looks like a study that Clint did called Tragedy Further back in the book that we look at, I'm using the cura Taki fluid graphite, which is liquid graphite in a high viscosity fluid. Then I've got some graphite pencils. I like the 614 in that high. Any pencils that you have on hand would be fine, just start looking at the supplies you already have and thinking, okay, what could I use that I've already got that are going to work in these colors that I'm going to be using to paint today and then seeing what we can come up with. I'm going to show you lots of things. You don't have to use anything I'm using and I can't wait to see what you're creating. I'll see you back in class. Good. 7. Gold Paint & Pen Comparisons: In this video, I thought we would do a video about gold because I'm already obsessed with a little bit of gold bling, Bling in my paintings, having gold paints and a little bit of shine. This has become one of my favorite things this year, is gold paints. One day I did a little comparison, I pulled all the gold paints out. And I'm like, okay, what do I have and what does it look like? And I swatched a lot of them out. I have one of these painters dies. It's painters Color Diary. This is the watercolor pad and it's 100% cotton paper, which I love because I tend to love working on cotton papers in my artwork. Anyway, I just went through and pulled out every gold I could find. There's a Blk gold Liquitex basics gold hero Shimla, gold mica in the A gold mica paste the golden heavy bodied gold, which is one of these. I have a gold mica flake which is a flake in some medium, which I got to tell you in the end. I didn't really like that one, but I tried it. If you get the golden gold mica flake one, it's like flakes of glitter in a clear medium, like a glue. Then I've got the intapp. Let me tell you, the Aria gold ones had the really beautiful shimmer. It's inexpensive paint and I'm like fantastic choice. I have the Pinata rich gold, an alcohol in this Pinata gold, even though it's a really vibrant gold, it is a stinky alcohol in the alcohol, inks aren't really color fast, traditionally, with the regular colors. But I don't know if the gold would be color fast or not either, but it's amazing. Then I've got aqua bronze, pale gold, which is the powdered water color pigment there. Then the U, I love the Kuretake gold, it's water color gold. And I've got several more of the Cura Taki metallics, the Ganz tab color range. So I've got those on there. I've got stone ground which is watercolor metallics by the Stone Ground Company. The fine tech is a good gold, it's also a water color. Then we've got que acrylic, iridescent, bright gold. That's a Liquitex paint, which I've managed to hide from myself. I'm sure it's sitting somewhere that it's not supposed to be. Then I've got the PPO, certain relief colors. I've got the gold and the copper. So these are really nice because you can make that raised pattern. I've got the whole buying Gh, which I have Gh, I just didn't pull it out. Then I've got some heavy bodied golden colors. I did one of these twice because I did one up here, and then I got the other colors because I realized there are more colors, and I put them down there. Then I've got the F. I may not have one of those out, but the F is basically, oh yeah, here it is. It's this one. The drown placent acrylic ink, in color 117, which is a gold, that's a pretty color. Now the point of all of this is look at how many golds there are. I also have gold pins, which I didn't even put on my gold thing. I have this Stadler metallic gold brush pin. I have the Pascal. I have the Zig acrylic liner, which is a reminds me the most of these mica in ones up here. The Mica, I've got the Faber Castell, that's a smaller pasta and that was just what was sitting on my table. Maybe if I looked over in my pen, I would find even more those I want to sample out as a check out the difference in all the gold liners. But I wanted to compare colors and be able to look at this and say, okay, what is my favorite? What has the most brilliant shine? If I shine these in the light, you can see they all have a different amount of shininess. There's also a big color range. Personally, my very favorite golds that I use almost all the time are these Curatoki ones. When you're looking at that versus the color ranges of all these other golds, which is your favorite. I also really liked the golden heavy body ones. For the gold, they have a really pretty shimmer and I like the color tone, but it's amazing how all the golds are different. I would pull together all of your golds and say, what is my favorite? Sample them out and see which is your favorite. I want to do that too with the liners here. Let's just real quick do that. That's the zig and it reminds me the most of the Kura Taki ones here. But it would be really interesting if we go ahead and test it out. And just see this one is the Faber Castel. That one's nice. All right, and then we've got the Pasa Posca pen is acrylic paint. It, it should be like one of these paints, but I don't know. Then we've got this Stadler brush gold. I'm sure I've probably got some more gold. This is the ST deal one. Oh, see. Now that one almost looks more green. I'm glad we did that. Now, if I pick these up, I look at the shimmer and the color of each of those, which is your favorite? My favorite is still this a take zig because it does have the shine to it, more so than these, the posca one does, but again, it just soaked in a little bit. My favorite happens to this is new to me. I actually got this recently in my monthly sketch box subscription that I get. They're really good about introducing you to new stuff. They also introduced me to the Mica in they must have like a Ti deal going in class. I will probably use the Ai and I will perhaps use the Golden. I'm definitely going to be using some Pbo because it's lifted. If I feel like I need a range of colors in the painting. I really like the arts budget wise, the artisas are my favorite because they're shimmery and there's a nice little range of color, but they're different than the Mica gold color. It's just crazy how many options there are. Then you can get. I don't think these are on here. That might be what the Blick gold is right there. Because I actually have the Blick pale gold and gold metallic and just paints. You can also get golden in gold. And I've got this out. I actually want to put a bit of the iridescent paint out. That's way more than I intended a little bit of this bronze out. Let's just get a little scoopy of the bronze. This is the aqua bronze watercolor powder. Rather than mixing it with water, which is what you generally do, let me get a little paint brush here. Generally, I think this is that aqua bronze powder. You mix it with a little bit of water and you get a gold water color. I've already got that up here. But then you can just paint on it and you can make it as thick or thin as you need it, depending on how much of that powder you get mixed into that water. I want to see if I did not mix that powder into water, but I mixed it into an acrylic paint, like this descent, the golden, high flow little paint, what that would look like, because it's going to be different than the paint itself. Who look at that? Let's just paint a little bit. Would have been done nice to have a little base sampler. Oh, see look at how that changes that. Let me dry it. Yeah, that drives fast. Okay, Look at that. We can add just to give you another idea of something that we can do, we can add a little bit of a gold pigment if you've got gold pigments like the algebrans, which are metallic gold pigments in a watercolor binder that's already made to mix with water and a paint. But if you've got some of that or if you've got some mica pigment or something like that, you can mix these in with a gold or iridescent little high flow paint and get another look completely. And look how shiny that is. That was a fun little test and something that I've been on my mind as another option way you could get creative with all your paints and pull together. Say all the golds that you already have on hand. Or take a look at what golds that I have on hand and I'm showing you. Just decide what's your favorite, Which ones might you want to try. If you don't have any gold, this will give you an idea of what's out there and just see what one do you like? I'll just hold that, you can screenshot it. And I did the best I could there with the different names. Hopefully you'll see a gold or something interesting there that you like. All right, so let's set this to the side now and we'll now know what we can pull from when we get to needing some gold on our paintings. All right, I'll see you back in class. 8. Creating Klimt Pattern Guide For Reference: This video, let's start our own personal pattern catalog of patterns that we've glimpsed in some of clips paintings. What this is going to allow us to do is study the paintings in more detail and pull from the paintings the details that we want to use in our own artwork. I've got a couple of different ideas for ways that we could do that. I've made some pattern sheets where I've just drawn some squares on there. And I thought we could, like in the coloring book, we could do sections of different patterns that we like to come up with our own pattern guide. This will be very reminiscent of my pattern Swatch page that I created quite a long time ago in one of the classes where we just created quite a few patterns to reference and use in our own artwork. This is the exact same idea that I want to do with the clipped patterns. I already like patterns that works really well and things that I like to do. This is the perfect type of study to expand that work and go further into my pattern making and really add more depth into what I'm creating. I've got some pattern pages. I did include this template in your downloads. Once I draw all these out, I'll put all those in that template too. So that you'll have my ideas to go along with your ideas, just to spur more ideas. What I thought we could do, you don't have to draw boxes on your page if you don't want to. I just thought that would be a really nice thing for the class to bind me into different squares. You could start with a blank page and just draw a bunch of patterns. You could start with little cards and do one pattern on each card, and then you'll have little prompt cards that you can look at later for pattern ideas. You could also do these in a little sketchbook. What you might, could do is have several patterns on there or have one where you've drawn the pattern and one where you've drawn the pattern again and then painted it on the other page. That might be a nice way for you to record, keep, and book keep your different pattern ideas. I'm just throwing out some options for you. You can do this anyway that you want to. I'm just working on a piece of the Canson XL watercolor paper. This is inexpensive student grade paper. It's my choice to go to when I want to do projects like this. And I don't want to necessarily use my nice paper. If I'm to the point where I'm really needing to test out color and the way things are going to work on my nicer paper or canvas, then I will generally work on the surface that I will be later painting on so that I know exactly how things are going to react to the paper I'll be using or the canvas I'll be using. That's just some ideas for you. Another idea also is to paint some of the squares with your favorite art product that you're going to be using. Here's some that I have painted. If you're going to be using water color, then you might put down some watercolor bases and draw and pattern make on top of that. That could be your catalog. You might even do this as a way to color test and to swatch out and sample the colors that you plan on using in the artworks that you're going to create. But for the general pattern making guide that I want to give myself to start with, I want just a range of options. If I were setting out to make a really important piece of art, then I would swatch out colors. I'm really planning on using the materials I'm really planning on using so that I can get down what it's going to be. Before I get started, I'm like, aha, yes, this works. Or oh, I'm glad I tested that because it didn't work. You work out some of the issues before you start painting. The important piece, I have just painted these with Cuatki water colors. Clemped worked in oil paint and gold leaf. I prefer to work in whatever medium that you normally work in because I'm not trying to do a master study where I'm copying his painting. Exactly. I like doing master studies in different ways. I like to study the color palettes of the masters. I like to study the patterns and lines that they used and then think, how can I incorporate those into my own abstract art, or whatever type of art it is that you're creating? In this class, I personally plan on using watercolor, maybe posca pin, maybe pencils. Whatever mixed media options that I happen to like and have. I'm going to be using those as my study, but I want to be inspired by the patterns and the layers that Clint is introducing us to. That's my thought process on doing a master study. I'm not trying to copy a piece of the part of the painting. I want to get the elements that I feel I can take forward in my own artwork to get started. I'm thinking that we could look at a painting and then do some patterns from the painting in just pen and ink. Or pencil and ink. I was thinking maybe we could start out with the portrait of Adele Bloch Bauer. Because it's really popular, it's easy to find online if you're wanting to just look at it online. It's one of the more famous ones that we associate with him. It's in his gold period where there's tons of gold. I can also see there's silver in here. If we get in closer, I can see that there's raised pattern on here. It's not all flat. I like looking at all of these. There's like white and there's blue, and I see some silver, and I see some gold. And I see different shades of gold, like all the gold are not the same color. I see square blocks, there's like an orange red in this. We've got like orangey red, blue. There's a little bit of green up there. There's a little green down here. It's not just in the one spot. Because if you didn't see this down here and you thought, what is that one pop of green? Oh, we have it down here. That's something interesting to take forward with us. If you put it in one place and it's tiny, you might be confusing the scene and thinking, why is that there? Whereas here now we've pulled it in somewhere else. I'm like, okay, now I understand it's part of the composition and color. Even though there's very little color on here besides gold, it's very much an expanse of gold. I love looking at the different areas. He was very inspired by Egyptian motifs. Geometric shapes, squares, swirls. We've got some little half circles, we've got some little tiny boxes and squares all lined together. We've got big sections of circles in circles and out outlines around the circles. There's so much in here that we can definitely pick to make on our little squares. Then we've got long sections of rectangles. We've got long swishy lines in those lines. We've got little triangles. We've got little zigzags in two different colors. That would be really cool in silver and gold, because that's what that looks like. It's very interesting as we just rove our eye around the piece, what are the different areas that we can pull a pattern from? If we look at this piece in the coloring book, which I really like doing, because now I can see some of the different elements that this artist has picked out to color. You can see it's an artist interpretation of what we've seen in here. But it makes it stand out. And I can see, oh, I can see some of these different elements that maybe are getting lost in all the sea of detail. I can then look a little closer at this and I can be like, oh yeah, here's some swirls. We've got some dots out here, We've blocks of color. Got the more swirls, we've got the Egyptian motif of the eyes. I can definitely get in here and see some of this. Just to talk about the portrait of a Adele Bauer in 1904 at the request of Ferdinand Block Bauer, who made his fortune in the sugar industry and was the patron of many succession artist, Clint began work on the portrait of his wife, Adele, which he completed in 1907, the year of his exhibition. It took three years for the artist to finish this work, inspired by the mosaics of the Basilica of San Vital in Ravinia, particularly those representing the empress Theodora from the sixth century, forming a square of 138 centimeters by 138 meters. It is painted on canvas, in oil, gold and silver. You can see I was seeing all of that silver in here. I love that there's quite a bit of the two metallics. Personally, I like the shiny stuff, limped, makes invative and abundant use of gold instead of color. Five years after the portrait of Emily Flog, again follows the principle of large decorative surfaces with only the models face and hands standing out. The finesse of detail lavished on her face and hands prevents the subject from disappearing into the richness of the complex refined decoration. Portrait of Adele Bloch Bauer marks a major step in limps portraiture looted by the Nazi regime. The painting remained in the Bellevre Museum in Vienna until 2006. After a long legal battle, it was returned to Maria Altman, the model's niece, and it's now exhibited in the New Gallery in New York. How cool is that? How cool is that He took three years to paint this? That is not my goal. My goal is to pull from the patterns. I don't necessarily want to take three years on a painting. If I took three years on a painting, I bet I could duplicate it. But that is a lot. What I want to do is take our lovely painting here. I want to draw out different patterns and just see what is it that I can use going forward. I'm just going to pick a black pen. Hopefully I like the one I picked. This is a fine liner by graphics. I'm just going to work in black and white to see what's in here and how can I duplicate these? I really like the swirls. That's a pattern that I want to take forward. I just want to start practicing these and creating and just seeing like how does he create these? They're going in different directions. I can take this and then I can come off of this and come the other way. It's what it's doing all the way out there. And then there's some that just come off of there and make little swirls. We're just filling the area basically is what this is telling me. Maybe we'll come out of here and do that. Maybe we'll start some by themselves and just fill the space and just see what do we get. I could have done this in gold, but I've done videos with gold ink on white paper before and nobody could see what the drawing was because the gold is so light really compared to a black and white something that you're drawing. That's why I'm doing these in black ink. And it'll just give me a really good idea of what we've got going on here. The goal here, for me is not perfection. It's just to get laid down what I like about the patterns, You don't have to fill the whole square. You can do part of the square like I'm doing here, but that's the goal. The goal for me is not to be completely perfect. It's just to give myself an idea of patterns. I can see over here in this yummy little silver arm band that there are some swirls a little different. I might just go ahead and make an arm band, for instance, and give myself some parameters for a pattern, because those are little swirls that maybe I should have gave myself more room, but there's swirls that go up and down. I'm just going to do it like this because I can come back and add some black detail like we've got on this. It's not to be perfect, it's just to give yourself some ideas. Then another thing you'll see as you practice these patterns, your hand will get used to the motion of that pattern. The more you do, the better those patterns will become. If you see a particular pattern in here that maybe you love, the practice of the pattern is going to help you really master that pattern. It's going to give you some muscle memory, it's going to make it easy to duplicate. When you get to the point of doing the piece on your artwork. That's another thing I like about doing something like a pattern guide like this. Is you get your hand into the mode of drawing that pattern and it'll get better and better. But in general pattern going on that it doesn't matter if every line is perfectly straight or perfectly. Formed because it's all going to be part of the larger picture. As you step back, don't stress about your drawing skills. I used to draw tons and then I was a drafter. Now, drawing is not what I enjoy, it's more of a slog and I'm out of practice with the drawing. But as you pick up your pen or your pencil and start working on the different patterns and ideas here, it gets easier. Now we've got this yummy little triangle decoration here on her top. I'm going to be inspired by those, just drawing triangles. We mostly like V shapes that are all connected. If you painted those, these are all painted in some different colors. It really makes them stand out as the pre triangle pattern. Drawing these, they're almost like a diamond. Then looking closer here at our pieces, they are a diamond, but they're different color. It doesn't stand out as being like a diamond like it does on, say, a black and white drawing here. Just keep that in mind as you're looking at this and you're dissecting the different shapes in there in black and white, it might look like it's looking here like little diamonds. When really, once you get them drawn out and then painted especially, then they're going to turn into different shapes of triangles that you can define. All right? So there's some good triangles, all right? We also have some of these half circles In some squares I could draw out some squares and then do some half circles in those ideas might even be easier to draw the half circles and a square around it. Another idea for you there, if you're drawing and you're like, oh, I don't like my half circles, you're welcome to use a circle template and get your half circles even more circly. I mentioned that because I have drafting templates over here with my circle, If you're not loving my circles, you are welcome to use a circle template to get you. But what I like on stuff like this, I like the shakiness, I like that it's not perfect. I like that. You can see that he drew those in with a pencil or a pen or something that you can tell they're hand drawn, they're not perfect. That's what I like about that. Not perfect is what I like, I think because I did Autocad and drafting on a real drafting table when I was in school. And then I worked in Autocad in my job 2020, which is a kitchen design program. Because I did that for so long and everything had to be so perfect that I like the imperfection. Okay, now I see over here in the dress that we have yummy Egyptian shaped, almost like an eye. And then you've got like a little.in there. And then you actually have a circle around that and even a circle around that. There is some lots of details going on on these little eye shapes. I could even like common shape around that with some extra detail because there is a lot going on around these. That would be another fun shape to add to our pattern page here. And he's got them spread out, I'm going to have them just in this square as an idea. Then some of them even come like really far out. I might even add some of those ones, like they have the long edges rather than squatty. Just another thing in here to see as we're drawing. Then also see in here triangles. And then the triangles are, some of them are. Outlined, and some of them are not. We're back in here with this yummy triangle theme. We might draw some triangles here in our pattern square. I've spread them out, because in our piece here, it's spread out, then we have little squares here. In that case, I might draw little squares and just know that these are going to be in different colors. That's different colors of gold and some silver, which I like in something like that. We could use a little tiny paint brush, which I'm sure he probably did, because they didn't make these yummy pins when he painted this in the early 1900s. But we are so spoiled now, I could take every gold pin I have and a silver pin, and I can make lovely little squares. But you could also take a little tiny paint, brush with your gold and silver paint, make different color squares with something like that. I'm just in my mind thinking, okay, here's the pattern and then how might I paint this pattern later on my painting? You could do little squares with pencil, with pastel. I'm going to be working with whatever materials it is that I particularly like. I want to incorporate this in my artwork as I go forward, different patterns and designs and ideas. That's why I do these master studies and really deep dive into a subject in today's fast paced world, how many times do we take the time to be a student and study again like we would have done when we were in school, most people just are like, I don't have time. Let's, everything's fast paced. Let's watch a fast video. I really want to dive deeper than that. I want to study. I did a lot of that with my photography and I would deep dive into different subjects with my photography. Still live food, flowers, and I would just do a big, deep dive into a subject. I love doing that. Now back with my art practice, which I've been doing art since I was a kid, I took art classes in all of my levels of school. Then had basically a creative career, Interior design and kitchen bath design. I stayed within a creative field my whole life. Then I did photography, and now I'm going back to the art practice. Just because I'm burned out on the photography stuff. I feel like I was in one long 365 day project for 12 years. Now I'm like, oh, I need to bounce back into some creative art stuff. You can see I've done different ways to do this squares. I've drawn individual squares, and then I drew lines and made squares, and then I made a grid. There's several different ways that we could do these little boxes, but once you get to painting, then you'll end up with a yummy little grid. Yeah. I love now picking something like I love clipped. That was my very favorite and I'm like, okay, I'm going to go over here to the circles. I'm like, okay, that's the first master that I want to do a deep dive study with because it's one that I've always loved. I think it's the gold that I love about it. I want to see how I can incorporate that into my own work, which I already use a lot of gold. But how can I do it in a very clipped way, with more pattern we'll see. But I also want to do like degas ballerinas and some other master studies out there. I always feel like that I'll have a nice project, something to deep dive in. I like having that goal because then you actually sit at your art table and create. Whereas, if you're just watching a video and you're like, okay, now I think I got it, but you never sat and did it. Did you really get it? Maybe, maybe not. I've done plenty of going to the craft fairs and being like, oh, I could make that and then you go home and could you make it? Did you try to make it? Did you spend $100 to make something that really should have just cost $5 and maybe you should have just bought it from that person that already did it? So funny, these are fun. And then right in the middle of this yummy, fun circle thing, there are some large circles with raised swirls. That's fun. What we could do is throw some of those in here. And I draw the swirls first because then you can come back and add the circle around it. And it'd be a little easier than trying to fit this in whatever circle that you drew. See how much easier that was, trying to fit it into a line like I did up there. That's fun. I definitely want to incorporate the color on color with the raised stuff. I'm digging that. All right. So we got some of that. I do like the random bits of circles. I like that as a pattern with different colors. As you get closer and you look at these and you're like, look at all that stuff in there. Holy cow. You realize today our art practice is I'm almost lazy because I like to do a painting the day I sit down. And when I sit up from my table, maybe I want to be done. Maybe I don't want to come back to it over and over. Maybe I'm like, okay, there's my 30 minutes. I've got a masterpiece and he spent three years on this. It really makes you think and dig deeper in yourself in your art practice. It makes you slow down and start thinking deeper in what you're creating. Okay, like that. What else do we have in here? We have quite a bit of just a modeled pattern. We could do something like that with just some scribble. Basically, that's more of maybe we've put the paint on and then maybe we've removed, we could do that with a sponge, we could sponge that. There's lots that we could do there. I'm going to represent a little modeled pattern, but I'm thinking that could be sponge stamped, like we could take an artist sponge and stamp that on and get that pattern. That's what we're going to represent here with this little bit of a scribble here. If you pick a different painting to do a painting and a different design in every square, I've left room on my little grid to note what painting that we've been painting, what we've been doing. But I could also just write here at the bottom of this page, because I want this page just to be this painting so that I know what it was that I was inspired by. Okay, another thing that I notice in this painting is we have these long lines implying fabric. In the flow of the fabric, I definitely want to incorporate some lines and things like that in maybe something. I'm going to go ahead and represent that here in our block. They're not straight, they're indicating movement. Whichever direction you need some movement to go, this is a great way to imply movement. Then there are shapes in the middle of that. If you wanted to do one with shapes, you could. But there are shapes represented in there and a little tiny triangles. We could actually even come back and put some tiny triangles in here so that we remember that there were triangles in this particular pattern. Part like that as you think of things and then you do it and you're like, I just got more exciting. I love that I could have one side with little triangles and one side without. Just to let me know there are some options there, then let's see what else we've got. We haven't done these yummy little squares over here, now I'm thinking definitely some squares. I'm just going to draw these out a little easier with my pen. Again, I'm not looking for perfection. That's why I'm not drawing this with a ruler. Then that'll give you an idea of what you can paint. Some of these have painted squares in them, Some of them have a dot. There we go. We've got painted squares, we've got a painted squares, we've got a dot. That's the first half up here. And then it switches down here where we've got different painted squares and different outlines. We might do some of that here on our pattern to denote, hey, there was a couple of different ways that was interpreted in the painting that we studied. What would really cool, there's that. Then let's just go ahead and do, we've got different size squares, we could outline them like that. Feel free to, if you see something that you like and you're like, oh, I like it but I'd like it to be like this instead. Definitely go ahead and make those changes as you're deciding because then you personalized it, you've studied it, but then you've personalized it into what's really going to work for you. What would be really cool. Which I will probably do study several different paintings and see if you can get 12 designs out of each painting. Like this is the portrait of a del, the net one would be Judith. Second, maybe there's 12 ideas in here. The next one could be Lady with the Fan. I think this is Lady with fan. Just see how many patterns can you glean from this piece. And then that's going to let you know that you really studied these pretty hard. Now I see some long elongated pieces like this in there. They're just randomly spread about. We could have some of that. Then I also see in some of these elongated pieces, some raised pattern. There's some that are like this. Then there's some pattern in it. Would you have noticed that if you hadn't looked at the detail and thought, let me draw one little section of this. You could even take this section and be like, okay, I'm going to copy that section and get all those details in that section. That would be another fun way to study these and make your squares. I just spit balling ideas as, as I do these of ways that you could turn this into your own study. Okay, I love that. Look at that. We did it, we came up with 12 different items out of the one painting for our pattern idea guide. I would like you to continue where I've left off and I'm going to continue to, I'll give you some other idea pages of the different paintings that I decided to study. We'll have some ideas to brain storm off, but I want you to pick a painting, put it on your computer if you want to look at digitally and just see, can you come up with 12 different designs out of each of the paintings? And what's your interpretation of those patterns that we can then use going forward? Hope you enjoy this fun practice because this actually is really fun. It was meditative and if I were not talking all the way through it, then I would of course gone a lot faster probably in my drawing, but maybe not. This is something you can do while the TV is on in the background. It's just something fun that you can just sit here and study and admire what's gone into this. And then think, okay, what can I glean from this? From my own patterns? All right, I can't wait to see what patterns you come up with. And I'll see you back in class. 9. Color & Pattern Study - The Kiss: Let's take a look at the color palettes or the colors that let uses in his paintings and do like a little color palette study. You don't have to use these in your bigger projects. But I think it's very interesting to at least look and observe the colors that an artist used in their paintings. We're looking at the Kiss from 19078. I'm going to do these with my little Artiza paints because I had a whole little box of them that I got off of Amazon at some point that are pretty inexpensive. And they average about $1.02 It's a nice student grade paint to play in when you're doing studies and artist studies like this. There's a large range of colors. You're not trying to mix all your colors, because if you throw too many elements at your learning process, you might just get stuck. I like the range of colors and that we don't have to worry about just mixing every single one. I've just been digging through my little paint bucket here saying, okay, what colors do I think I see in here and I see some blues. And I was pulling out some blue here. I've got cobalt blue and prussian blue. There's more blues in my little stack here. I was just looking and comparing like, which really would be the closest here to what he's got in here. The thalo blue is nice. It could be a mix of one of these colors. One of these colors would be fine, feeling like maybe the cobalt and the Prussian might be a good choice to pull out to play with. I'm just digging around in the colors. The serilium blue is a good choice, but I really feel like it's bluer than that. I'm sure somewhere on line it tells you as colors. But this is about observation. Just figuring some stuff out here is an emerald green and I see some pretty bright greens in here. I also see some darker greens. I might just pull some of these out to see oh, yeah, see like this Paridian green. I can see some of those down in there. Let's pull that out then. We've got some oranges and pinks over here. Let's take a look at some of our oranges and pinks that are in our collection and just see, do any of these look like what we need? I definitely need a white because some of these colors are super, super light. We'll definitely want to mix some white into that. I'm almost thinking definitely this orange, red, maybe even oranger. That one is more of a salmon color. Let's see what else we got in here. This one is like orange, orange. That's Indian yellow. It could be a mix between these two though. For these flowers up here, that might be an opportunity. I definitely like this Bordeaux red. I see some deep burgundies over here. And these flowers, the rose, you see a bunch of colors right in here. Let's maybe not that, maybe we'll keep the rose matter and the pink. Let's keep those right there. I like that. Definitely got some orange color there. Let's see, what other orange do we have? Orange, red, orange, red is a good choice, but I still think, I still thinking a mix between these two, possibly. Let's leave that one out in case. Mars yellow. Oh, Mars orange. I can definitely see maybe some Mars orange here. Let's leave that one out. I'm also seeing gold and silver and maybe some bronze in here because I can see some different shades of metallics. I did pull out the silver, copper, gold in the arts, that's definitely in there. We've still like my other golds that we've used in some other videos. I like my metallic gold to add to maybe some of these. This is that aqua bronze, pale gold powder that we could make things into a metallic. But I like the direction that we're going here. Let me pull out a pallet paper that I can put some of this on. This Gray matter. Pallet paper. Jack Richardson Gray matters. And there's a bigger pad of this. I use the little pad here. Here's the other one. This is the one I was already using. I use the little pad here for these because it's easier to fit into my filming frame. But this does come in a larger size thinking, why don't we make some of these with our Canson watercolor paper. This is probably the color palette of him, but we're going to call this the kiss. I want to make them smaller and cuter. I'm actually going to make these a little smaller and just see what we can do here. Maybe 4 " by 6, ", that'd be a good size. We could actually do several of these if you wanted to study every painting and then give the painting a name. Oh, yeah, 4 " was good because it gave me the the third. Let's see, these are 4.5 ", probably would be right and a half. Yeah, this might be too small. Let's just take a look. There are too many colors for a little one that is feeling like this should be a big one. Okay, just playing here. And then this outside bit, that could be like a green with gold on top color range. I'm just going to pull paint, brush out, just swatch out these colors. You don't need a lot of paint. You almost even might put these paints out of the tube on your brush, but we're just doing like a little sample card here of colors. The write the color under each one. If I don't get these out of order, that would be wise. Let's start that like that. We could go ahead and write the kiss, then the colors that we've used. Let's just go ahead and say, we've got a yummy one there, we'll go into the next color. Oh yeah, See, I'm definitely seeing that over here in these flowers. And then we've got a blue oh, yeah, See now, that one's pretty good there. I like that for these blue flowers that we've got over here, this is the opportunity to say, well, could I add that with this other blue and get even I like that, that feels like right on. I like both of those blues. What I just do with my pen. Here we go. This green, this neon pink is not right. This is exactly why, like doing this, That's not right at all. So I'm not sure how I got that color out of there. Let's put that one back. All right, let's come back to the pink now. I'm thinking that the pinks to be different shades with the pink and the orange just wiping off some water. Oh yeah, I'm feeling that one. I'm just going to go ahead and speed this up a little, but I'm going to sample these colors out. Here we go a tiny bit faster, but I am going to mix a little bit of that pink with the white for that really light pink that I see in there. And it could almost be a white on top of the pink doing that. But I'm going to mix a little bit and get that lighter color. Then I'm going to speed these up and just sample out these and reason out what colors I think I'm seeing in here. Again, this is not to be completely perfect. This is more of observation. And just seeing how do we get to each color. What could maybe mix if you need to have some color mixes in here? And see how could I get to the range that we've got in our painting? On this one, I put the scarlet red down because there is a little bit of a darker red in here, which could even be like a mix of scarlet red and maybe bordeaux. But there's also this orange, which is a little different shade than the oranges that I've got straight out of the tubes. I'm thinking it could be a mix of Indian yellow and scarlet red. I just put that on my palette paper to get a mix to see, did I get to this orange? I think that needs to be a bit different than that. Not quite. Maybe this color on top. Let's see, this is the Mars orange. Is that a little se that's almost yellow. Ear Brownie, maybe even a little bit of white in there. See? Because it's a little brighter even. It's just about playing, trial and error playing. It doesn't have to be perfect. It's about observation. And just seeing what's even orangier than that. Like it's orangy. If you don't have the right colors, it's not a big deal. It's time to observe. Oh yeah, there we go. More Indian yellow. There we go. Now I'm happy. So don't get frustrated mixing color. Just mix a little more and play and just see like, how can I get closer? Because if you play in the mixing of colors and experimenting, you do get closer and closer, it gets easier. Let's just call that scarlet, red, Indian, yellow, orange. I think a little bit of the Mars worked, but there we go. Now we can see how we got there. I don't really feel like this orange, red is in there, so I'm going to put that back. That's not feeling right then at the bottom of our piece. It would be nice if we could just take a little section of something here, create that. We do that in one of our projects. But it might be fun to look at it on this piece too, just to give us an idea. I've got some little pieces that I cut out when I was making my little grid page that we could just use one of these. Isolate out a little area or maybe because I was looking at these little flowers and stuff, maybe I could isolate some of that. I think that it would be fun to just take a little area and replicate it down here. And just see like how did we do? I'm going to take this round thing of flowers here because that would be easy to look at and observe. And we've got circles, circles, and circles. And just see what goes into painting that little area. Because I can see myself including something like that on a painting that I want to do, incorporating that pattern into my work, I can see myself doing that. I'm not trying to copy it exactly like I don't have to have the exact same number of flowers in the same spot. I just want to come up with the idea of what's going on there and observe what's he got in there. Because if we look a little closer, if we look, let me just take a picture of this and we can look closer. Because I find that very helpful. If you've got the book or something really close up, you could take a picture of that, then we could actually zoom way into that. And I find this super helpful because Sometimes I can't see everything that's going on in that piece. Like maybe there's the other piece where I looked at the eyeballs when we were making patterns. And I didn't see that those eyeballs were within the shape of a pyramid until I zoomed in and I was like, oh, there's like a pyramid there and I couldn't even see it. Just looking if you can zoom into something like this, that would be super helpful. Okay. We've got some flowers. I've got way more flowers than he had. I could even come back in with my eraser if I wanted to actually like this. This is the needed eraser. But I also have up here, whoop, well, I may not be able to get to it. That's all right. We'll just use this. I have a different eraser up there that's handy. I might just a flower out of here because we can see there's a lot of greenery and stuff in there and maybe we don't need as many flowers. This is what the art of observation helps us with. It helps us look and then see. And then say, oh, okay, maybe I want to do it this way instead, let's do it like that. Take a few of those out. We've got some green leaves and different shades. I almost even see like a pretty like army green in here that I now that we've zoomed in, this is why I like to zoom in. Almost see knocked over some books, but I almost like an olive green in there. Yeah. For zooming in, because we can either mix colors or we can look again and add to our collection. Oh, that chromium green is a nice choice. I also feel like I have an olive green. I thought somewhere here we go, See I'm feeling like we've got that color in there. Okay, definitely that. All right. Now I feel like I need to add an olive green up here. Because now that I've zoomed in and can see that, I think that would be a good option on our color palette. Yes, yes, yes, yes. You see how doing a sheet like this where it's a little bit longer, you can keep adding to your stash here and getting some different shades. I like that. Now that we've got this little area, we really zoomed in, I can see some different colors. Now it's almost like, okay, can we go ahead and paint our little sample here? What we might even do when we're done is surrounded in gold. To say, look here, it had gold everywhere. You could paint the whole thing as your project sampler if you wanted to use something like that area as your painting example. But it's fun on these little pieces to do a little tiny pattern places so that you can replicate the color a little easier. We do a larger project coming up where we do like the whole square. But I just want to do an element on these pages. I definitely want some of these greens. Let me put that green that we just came up with out here. You can see it doesn't take a lot of paints. That's why you want to have these paints just a little bit. You don't have to have too much out. Want this white over here. Just a little extra white. We can do the gold last. I've got the greens. I got a little of the red, but I want more red out here. Maybe brighter, orange. Beside that, I've got the burgundy. Let's put some of this Bordeaux over here. I can almost see some purple right there. Now I know that maybe I'll need a little bit of a burgundy or red with some blue, it's always good to get a little closer. Maybe I'll put a little of that there. Maybe a little extra white. Down here in the center of those is something really dark. So we could have, it might even be black. Which I didn't pull a black out. Let's just go ahead and see what we've got and we might go with that. I think I need a little bit smaller brush, maybe maybe I'll start painting the flowers. I know there's a purple, Blue. Green. Yeah, Yeah. Yeah. Right there. Oh, look at that. And I can see like a little blue in there. So I can definitely see that he mixed colors there. Basically, I almost feel like I need even a smaller. This is the Princeton select number four. This Princeton select number two, I was using the round shader, the round blender. Six Princeton select when I was doing my samples there. If I didn't mention colors almost like that's an ivory and not really a white. Just observing in there. You know what you could do too. You could get creative with your other art materials and supplies and you could color these in pencil. You could have done this project with Posca pens. There's lots of different options there that we could have used instead of just acrylic paint. Don't get hung up on what I'm using. I want you to get creative with what you think is going on in those. Just use whatever art material that you want to use. I just think it's fun to experiment with different art materials. I probably don't plan on using the Artisa on my bigger project. I'm going to go ahead and make this more of how can I incorporate into materials that I already use. I'm going to want to change it up when I get to other art projects, but I do want to get as close as I can when I initially start looking at it and studying it. So that I don't get so far off of observing what that master did and then I don't even learn the lesson that I was setting out to learn. That's why I do something like this. But I choose to do it in acrylic paint rather than oil paint on that because I don't want to paint in oils for these projects, personally. If you feel oil is the way to go, definitely pull the oil paints out. You don't have to, but you could just more options. Because I almost feel like for my big project, I want to paint the tree I want to do. The Tree of Life. Might not be exactly Tree of Life that I end up with, but I am feeling like I want to do Tree of Life. I'm going to start feel like just idea generating right now in my mind. But I feel like I might start with watercolor and then do acrylic and stuff on top of that. That's where I'm thinking I'm going to go, okay, that's fine. Let's go back up here to these greens now. Get some white out here. Now that I've done that, I can see a little bit of blue in here a little bit. And now I'm just going to start filling in with just some other shades here. Okay, What's the lesson that we've learned here? Studying a color palette by Clint. We have learned that there's a lot of colors in this piece, number one. Number two, we are learning that there's no area of one color it, even though you think, oh, that's green. When you get closer to it, is it green? Because really it looks like 15 shades of green. It's like, oh, now that I've gotten closer to that, I can see all of these different shades, shades, maybe implied leaf shapes and triangles and colors. There's a lot going on in there that maybe we wouldn't have seen originally. And then that is surrounded by some lovely gold. Even in the gold, there is lines and shapes and other colors in there. Even the gold is not like a solid color. As we go forth and think about that in our own work, how can we Add more pattern because that's where we're going with the clemped stuff. Lots of pattern. Then how can we not have like one solid color, Maybe it's an abundance of color in there. Not saying that when I'm done, that's exactly where I'm going to end up. But it is interesting to at least make that observation, try to come up with something out of the painting to solidify that information in our mind, basically. Then as we go to our abstract paintings, like in our own style, what can we pull from these lessons? What information can I pull from Clem to enhance my own work? That's why we do a master study. It's not to do everything that they do, It's to take the elements that we like into our own work. There's our gold. I can see in the gold there is some making. That mark making is almost in a gray or some darker shade. Let me move this little paint thing out of my way. You know how I like to stick my hand in paint. So let's dry this real quick. Okay, I have a silver pasta, which I don't think I've opened. I don't know if I have a silver one that I've opened. I may. Maybe I do. Wait a minute, Let's see. Nope, that's something else, maybe not. All right, let's get this started. I feel like this could be it. Okay. Feel like we've got that started pretty good now. The gold. I just want to draw some lines if you're a dip pin lover like I am, and you've got some silver ink in a dip pin, that would work great. But we've got lovely little sets of lines here. Now I'm thinking in my own work that I could do little lines and little clusters of these circle on circle on circle flower shapes like I'm already imagining part of this. Can I take into my own work? I'm getting excited. You see how the power of looking a little, trying to do a little bit of that for yourself. You all of a sudden see all these things. Now I can see like some type of silver clump in here, circled in black. Let's see, we could do that with the silver paint. Let's get our little paint back out. Now we've got little clumps in here which we can then circle in black. I'm going to set this so I don't put my hand in it. Okay, Let me let those dry. All right? It might not be dry, but let's give these a try. And we're just going to circle that with some little black pen. Even the elements like the colors, we talked about the colors not being solid color. We could see a range of variegated color in that color. Even the shapes are not like one simple, single shape either. The shapes are in a shape, in a shape surrounded by a shape outline. That's interesting. We learned that there is a wide variety of color in his work. Within that color, there are many shades of those colors. In his work, we talked about creating one element of the piece just to look deeper to see what is that doing. I highly recommend if you get like an Internet picture that you blow up part of it. Or if you get to look at a book, take a photo with your phone so you could really zoom in and see all the details that are going on in the little section that you're trying to paint. Because looking at a little tiny picture is just hard. You can't see all these details in there until you zoom in. Look, I didn't even notice this if we zoomed out a little bit. There's also big circles of gold and silver also circled out there in that gold. This is part of her dress that we were painting on the kiss. But you don't see some of these details like the squiggly lines. Maybe we might not even noticed some of this until we zoomed in and concentrated on one piece. I don't want to concentrate on the whole painting when I'm doing a study because that's overwhelming and there's so much there. But if we concentrate on a little tiny section of the painting, now, we're like, Holy cow, Look at everything that's in that. Let's paint something like that. I'm not looking to be perfect. I'm looking to observe and come up with some ideas and use some of the elements and understand everything that went into some of his. I hope you enjoyed this little deep dive, color study of the Kiss, deciding colors with me, even though I was using the artiza, you can certainly use any paints that you have. The goal of this is to just observe what colors we have in here. What are the marks, what are the mixes that we may need to consider. Maybe do yourself a color card like I've done and a piece of the painting at the bottom to really cement these ideas into your mind. So I can't wait to see what you pick to do for your project and I'll see you back in class. 10. Color & Pattern Study - Portrait of Adele B: This video I thought we could do is pick a painting and create ourself. A little photo maat thing. We could move this photomat all around and we could pick a different section or a section of one of the paintings. And this is the portrait of Adele Block Bower. And we could just pick a section of it and paint that piece of it as a master study rather than trying to paint the whole thing. I want to paint abstract and different elements like that. What if we just picked one little section and you could move your view finder around and be like I like this or I like that. Let's try this piece or that piece. I particularly like the scrolls. I do like the little squares of dots. I like these circles up here, you can see how if we pick one section, we can predetermine our composition. We can look at it as far as rule of thirds, we've got a piece over here and the rest over here. And nothing is directly centered, and this is broken up in thirds on this direction. Also, we also have some good movement because it's not all equally divided. You've got this piece coming in from the corner, You've got this piece leading your eye through, You've got these pieces at the end. This might be a fun section. I was looking at the viewfinder before I turn the camera on, and I had it stuck a little further down. But now that I'm looking at it, I'm feeling like we could get a nice variety of stuff in here. I feel pretty good about that. I'm just going to let me tell you, I want to tear this page out of this book so bad so I can put it flat on the table rather than it's still being in the book. I almost did. I thought, do I care? But I do love this book. I didn't do that. I'm working on a piece, personally, of the Honam watercolor, 140 pound press paper. Because I love this paper this year, I've experimented with lots of different papers, and this one seems to be one of my very favorite. I have just cut this in half and created a six by six square. Because ideally, I would like to do several little studies of parts of the paintings and just see where we can get. What I really like about this is there's a lot of color there, but is there a lot of color there? What we could do, this might make it easier for us too, is while we're working, we could take a photo of this with our phone or our ipad or something like that. Then what we could do is then zoom in even tighter and look at those details that we're seeing in this square. If I zoom in, I can really see like bronze. I can see like burnt umber. I can see some dark putery color. I can see some darker gold. I can see some lighter gold. I can see some blue. I can see some silver. I can see some raised areas. When you start to look, especially at a particular spot of a painting, then you start to say, oh, I didn't even see this bigger square in here. Let me tell you the perfect example of that. When you go to your drawing pattern guide resource, on the resources page that I made from the little patterns that we were drawing. I made you copy of those and put it on the resource page. When you get to the one of the Egyptian eyes in the piece that had those, was that this piece? It was this piece. Let me tell you what I did not notice and I'll show it to you now. But when I was drawing the eyes, if I had zoomed in and really studied that a little bit better, let me zoom in on this. If I had really done that, then I would've noticed that the eyes are encapsulated in a triangle. I didn't even see that just by looking. It's almost very beneficial for you to be able to have a larger piece of the art to look at or even the original, then zoom in and look at the details because I completely missed those eyes are in triangles like they're in the pyramids. It's a pyramid with an eye in there. It fits in with all the other little triangles that we see all around there being able to Zoom in on a particular area is so helpful because look at the details that I missed on that one little element. I thought that was very interesting. Now I'm looking at this, I can see this is two shades of gold and I'm feeling like I could paint a base layer and we can top that with our upper layers. I think that's what I'm going to do. I'm going to start with a base layer. I'm going to use water color as my base layer because it's convenient and I can get the whole base covered. I'm using my cura Taki water colors. I've got all the colors and shades out here and I can just swatch some out on the paper. This is what I'm doing with the other 3 " here that I've got. Just see like what's the right color of blue? That one's bright. Let's see what this color is. That's green. I do have my sample Swatch book, but it's just easier here because it's almost like, oh, look at that, that's it right there. I feel like that would pull in a really nice or I could do burnt umber. I see umber under there. We could do it brown. Do we want to do the whole bait? Yes, let's do the whole base as brown. I see a lot of that element in here. And then from that, I can layer with different golds on top and just see what we get. What color was that? That was this one, wasn't it? Yeah, let's just do that. What color is this? I like it because I almost thinking like indigo would be a good choice. Number 67. Indigo. There we go. All right. So that is where my thinking is. I'm going to set that back down. I'm going to just cover my whole surface with the water color and let it dry. And then I have something to start with. We've dove in, we have gotten past blank page paralysis. I'm not even worried about how neatly I put this on because it's very obvious here on our piece that we've got lots of layers. I feel like I'm going to work in different golds, obviously. Maybe acrylic paint and maybe pencil. I've got some choices or Posca pen and maybe even that PBO. Let's go ahead and let this dry then. Looking here at our drawing, let's think like how far over is that? Where are we going to start that? I'm just using a mechanical pencil to visually give myself some parameters of where that's at. I'm going to say it's about right there. Then about this far up is this area with the swirls. Then coming in from the corner here, we've got this bubble with the circles. Then we've got some random square piece here with some diamond shape in it. There we go. I think that's going to be my composition. Now we can start looking at the different ways that we want to separate this out. I know I started with blue, it was just to get something on the page, I almost want to have some of my gold paints. Maybe I do like Mica paint, that might be an upper layer, All my little golds here in a yummy little bucket. Let me see if I've got some bronze. Because I really like these Blick map paints. I'm feeling like those are a good choice. Let's move that back over here. See, I can see this color in here. I can definitely see this color in here. Now I'm like the Blick Matt acrylics might be a good choice and I'd like to have a bronze. Let me dig through my paints and I'll be right back. All right. I've just pulled some paints. I pulled out the blick, pale gold because I like that color in there. I've got gold metallic because I can see some of this orangey color in here in the square part. I've got the Blick matte, acrylic, silver, metallic, and pewter. I also found a burnished copper, I was thinking because I can see like a dark burnt color. That I wanted, like something dark. I showed you in the gold video, mixing the aqua bronze gold powder in paint to give you a different look. And I, and this might not work. I'm thinking through the process with you here. I'm wondering if we use raw umber high flow fluid with the bronze powder. Would I get more of that bronze look, I can see in there that we're going to experiment with that. I could have all this figured out and do this without you, but I want you to see how did we get here. I don't want to paint the whole thing without you. And then you think, well, how did you get there? I can't figure out how to get from wherever I'm at to wherever that is. Okay. I can see right now that this pale gold is translucent. That's very interesting. Was the blue the right color to start with? I'm just using Princeton select, this is a flat shader. Number eight, was that the right color? Let's just have to think about that for ourselves. But I'm just going to follow, in general my very light pencil lines. I'm not going to worry about erasing those. We're going to be going on top of all of the base layers with texture and pattern. I'm just trying to, in my mind, break it down. What is that base layer and then what could I put on top of that? I almost feel like this base layer here could be the bronze. It's questionable about what that could have been. That could have been silver. Because I can see silver coming through that. If I pull my picture back out that I took of that close up. Let's just do that. Let's take a look at that close up that I took. Here we go. Then I can see there's some of that silvery color down in that. That's what I'm evaluating. We're never going to get it exact, but we could certainly get it as close as we would want for like a study. That's all this is. It's a study. It's just an exercise in observation and problem solving to see how close could I get, what could I do to get that texture or that pattern, or that design, or what have you? Let's just rinse that gold out. I use these microfiber cloths for everything. They're amazing. If you don't have those, you need those, they're amazing. Feeling like we're going to do a silver base here. Every artist is going to problem solve in a different way. You might have looked at that blue and thought, oh, wrong choice. In that case, what I want you to do is you pick what you would have done it. How would you have done that? What would you have started that with? It doesn't have to be the choices that I made. How would you problem solve to get to the next bit, would you have used orange? That's a very common underpainting color. We might not even see the underpainting, but it's like, let's do this coppery color because I do see a lot of that in there. Maybe I'll do that Silver. Okay, I'm 11, where we're going. All right. You might have different painting experiences than I do. This is what problem solving and seeing how you can duplicate and get something. It's about observing and seeing those fine details like the eyeballs and the triangles. If we're just glancing at a painting, we don't see a yummy fine details. We miss all that. That's why this is an exercise in observation, not an exercise in making it perfect. I'm going to just paint over this and I can come back and put that box in there. Because quick looks and studies, just visually, you just don't get, you miss a lot of stuff. And if you're trying to actually paint, it doesn't matter how far off you are. But if you're trying to actually paint it, then you start to notice, oh, look at this item here that I would never would have saw if I was just looking at it. While I don't want I finished paintings to be like a copy of a clim painting. That's not how I enjoy doing painting. I do want to maybe pick a section and observe it very closely and see details that I would have missed. And then go, oh, okay, how could I take this into my work and what could I use with this information that I had gleaned by observing? Okay, I feel like I've at least blocked out color. I want that to dry because now I want to put color on top of this. I can almost see like two colors in our blend there, but I really want to use the Mica. The Mica, this is my at gold mica paste. Which is basically a water based acrylic paint, but it's shiny. That it's my very favorite gold in the entire world. And anytime that I get low, I get on line and order two or three little bottles, it is like the gold gold. I love it. But I'm seeing a couple of colors in here and you don't have to use this gold. Just pick out some of your own favorite golds. But I am seeing, I'm going to do this first because I'm several. I'm going to tape it off. Make it easy on myself there. This painter's tape, it comes off of your stuff. Hopefully, I blended that. Hopefully I drive that enough. If you have a let's do this little bit of color first. If you have a sea sponge that would be a good texture for this. Like the natural sea sponges, they're usually in the bath area where you can get those in the stores, but we're going to use, I'm using the little round artist sponges and this was basically a circle that I cut into squares but it has some texture to it like you can see that there's some texture to the sponge. And then I just keep washing these, we're using them, they last forever, but you can see how I'm getting some good texture in there because we're starting to problem solve and see what texture is in there, how can I get that? We're starting to try to figure out what elements are there. All right, now I've got that and now I want the really gold gold on top of it. Oh my gosh. Look at that. Y se definitely don't get all the texture going, but now we're talking, and there's really even more texture in the piece then what I'm achieving. That might be another element where you're thinking, okay, do I need to have a rougher sponge or do I really care if there's more texture in there? Really what it could even be is there just needs to be more layers. Pick the different metallics and continue to layer in there until you get a texture that you're like, okay, I'm feeling really good how my texture looks compared to the sample piece that you judging it from. It's a really good opportunity on something like this, especially to play with different materials that make texture. You may try a brush, you may bubble wrap or seran wrap, cardboard or anything like that that you think, what can I use to get different texture with? Okay. I'm actually really happy with that. It is different texture than what we have on climps. I'm okay with that. That was that was a fun problem solved. I'm going to just throw that sponge into water so it can do its thing. Now, I'm going to move to a different area here. I am going to, let's do the circles up here. I'm going to use a Princeton select round blender brush. I can see that these circles are different colors. I like this brush. Don't put your hand on the paint. Gosh, I can't tell you about at that. We could go ahead and of course pull that tape off. I like the way this particular brush lets me make circles and shapes and stuff like that. I'm going to start up here, You can see it just lets me for whatever it is that I'm trying to form, I'm going to put that right up there. Just coming in from top part. It's got some raised part on it that's a silver color. This is more translucent than I like, but because there is an element on top of that. I'm just going to let that be the underside. These just look like ovals or circles in different colors. There's also a blue in here. I need to pull out a blue paint. I've got a bunch of these little Artis paints. What I like about the Artisa paints, especially on a project like this, is you can get a whole box of all these little colors for practically $1 or so, a tube. That's what I have and I'm just going to pick out this Prussian blue. I like the range of colors as I paint in my book. There we go, I feel like I could get some little blue dots. Oh, yeah, that is, that's the perfect color there, right there. Okay, perfect color. I like the variety of color. There are some metallics in this also, which would have been a good idea for me to dig through those and pull those out. I like those paints, they're a good choice. Okay? There's a little bit bigger circle right over here, like big, big, really. It takes up the, this whole section. I'm almost thinking too small when I'm looking at these circles and ovals. Because look, that's pretty big right there. I need to go bigger. That's another interesting thing about observation is I was about to make that a little circle, but was it a little circle? Absolutely. Was not. Was a big one. Did I go too small on these? Maybe, But we're going to have enough little circles in here that it might not matter. All right, let's just keep on adding some circles here, ovals, whatever we want to call the um, get those going. And then to be perfect, we're not looking for perfection. We're looking to cover the space, see what it is. All right, that's pretty interesting right there. We got a lot of color in there. We're going to come back on top of that with more. Don't fret about what you've got going on. It's all about layering. And what other layer could we add then when they're dry, We may make some more choices. Thinking though, on this little tiny squares, we could use maybe one of these brushes, smaller one. Let's see, there's a smaller one feeling like, well, maybe this one. Because again, I might be thinking too small. All right, this is Princeton. Select flat shader number two and flat shader number four. I think I'm going to start with the number four. It's just squares, We're just going to have to maybe do some squares every other one thing. Then we can come back in and fill those in. Yeah, see, there we go. Now we can come back right here. Again, not looking for perfection. We are looking to get close and observe. Then you can appreciate how much detail that that artist did, like, how hard that was to do all the pattern and stuff. I mean, then we might see why it took him three years to paint these paintings. Okay, my squares are definitely not as square as his. Again, not super worried about that, Just an observation. Now, I'm just mixing them up, filling in the squares, because why not? Because they do go to different colors. There's this square here that I'm about to paint over. Let's make a big square here that we can come back and add gold diamonds into it, or a diamond shape. I'm going to let that be blue. I can see blue shining through that. There we go. We did not forget it. I also said, let's just do a little bit of this before I forget there's some darker in there. What if we took the umber and a tiny bit of This gold. Aqua, bronze. Which is this a water color? We can use it just like it is if we want or Okay. I'm going to mix these with my brush here and just see what does that do. Look how pretty that is. Oh my gosh. That did exactly what I wanted. Yes, yes, yes. Look at that. I'm going to pull this a little closer here in a minute so you can see. You don't want to mix up a bunch of this just like what you're wanting to use. But that did make that into a lovely dark brown metallic. That is something to consider too. If you don't have any metallics at all, maybe you can make some metallics with a little bit of like a bronze aqua gold powder. And this is the pale gold that I've got. You can see how much is in there versus how much we use. This would last forever. You could make all your metallics and look how shiny that would be. Oh my gosh. Oh my gosh. I totally made my day. Now. I almost wish I had just made all my metallics myself. But just a fun little element as we're trying things out and experimenting. Who would have known that that worked out so well? Look how good that is. Look how good that is. Oh my goodness. Now I wish I had made all my Metallics. That was a fun learning thing. And see if we had not been doing this, we would not have discovered that that is super fun. Wow, I'm just thrilled. Now you're going to see this come out in different art things. All right, let's come back and throw silver in that, all right? So mine is definitely nothing like his. But what you could do, if it's really important to be exact, is work a little bigger, which I choose to work a little smaller. What we could also do, we could have drew a little grid and you could have filled that in with pencil. You could have got a real fine paint brush, much finer even than what I'm using and really got in there with the details. I think working bigger would have then the big difference because these are gigantic paintings. But I do like what I got, I'm not hating it at all. I'm actually loving this. This part down here is all little swirls and some gold mixed in. I'm almost thinking that maybe what I should do is get some of this mixed in on top of that silver and let that be a model background to work on top of. Just add to what we got there. I'm just mixing the different paints here. We're not going to have one exact color in there. I don't know about you, but when I think of doing something like a master study, I think, oh, that's hard work and sometimes I'm in the mood for that hard work and sometimes I'm like, wow, that's hard work. They come and go. Like sometimes I want the easy way and I want a 30 minute abstract and be done. And sometimes I'm like, let's actually stop and study and learn something. That's what I'm in the mood for now, is to stop and study and let's learn something for this moment in time. I know you're thinking, oh, it seems like such hard work, but man, you learned so much and these are actually fun. Okay? I'm loving that. Now I'm thinking, this up here is probably dry enough for me to start doing some stuff on top. And I've got lots of different things that will give us some different looks. Just to give you some ideas, I've got some of my gold Mica Inc, which is my favorite in the cure Taki, it's the same as that paste. I've got some gold mica ink that I have put into a fine line bottle, that is one choice. If we take a little piece of paper here, we can, oh my gosh, why did I do this? Let's wipe these pins off. Move the paint. Move the paint. Tell yourself, move the paint, because I think I'm done with the paint. There's no reason for that paint to be sitting there anyway. If I paint in my book, I'm not too precious about everything. So there we go. Let's move that out of the way. All right, let's try this again. We've got the Posca pens. Which we could do. Let's just do some little samples here. We've got the fine liner. What I like about these is it gives you a lot of a nice application, but you have to use it with the bottle almost completely flat with the paper. Because this stuff, if you use it like this, it comes out too fast. If you use it to the side, you can control it. That's an option which I might be using. It is very uncontrollable. That's a hard option, but it is an option. Got a bigger fatter Posca pen, that might be a good choice. This is the larger 0.09 to 1.3 millimeter. And this one was 0.7 millimeter, it was smaller. We've got the Stadler brush pin. I don't know about that one. We're going to say no to that one. Put that one away. Then we've got this acrylic zig liner which is basically in my mind that Mica in, in a pin. I also have a pin somewhere over there where it was like a fill up your own marker pin. And I put that ink in that pin. I wonder what I did with that is somewhere right here on my little table. But that pin is from a company that's like a little company. I don't know where I've put it. It's over here somewhere anyway. So just be aware there are markers that you can fill up out there. You might search empty markers to put ink in. But I feel like that's what this acrylic liner is. It's acrylic. It's got that shimmer of that mica. In if we look at these in the light, I see that this one has a beautiful shimmer. And this has a beautiful shimmer, of course, because it's the ink. I really want this one to work. I'm going to use this one. Really get a lot of ink coming out of that. We're going to make some marks on some of these. It's basically a circle in a circle. In a circle. We are drawing more circles in the circles. In the circles. That's what I like about his stuff is you've got so many layers that you have to look and say what's comprising those, what's making those up. And then it'll make us think in our own work. Think how can we do that with ours? I might just have stopped with the circles on my own work, whereas I can see that there's so much more that we can add to our piece. Okay, I'm like in that I do see that there's some silver in there. Let's see what is this. Because some of these are not gold, they're silver. Let's see what this is. This is calligraphy, quick dry, permanent by Secura, trying to get it where you can see that. But it's, I've never used it, it's came in, I get the monthly art boxes, the sketch box. A lot of the fun elements that I get are different things that I get in these boxes. Look at that. It's definitely got a calligraphy tip. It's a long tip, but now that I have put this on the paper, it's got a really nice shine to it. So that's a good one. I can see that the center of some of these are silver and I could do that with silver paint or I could just do this with this pin, can also have another layer around some of these. Okay, I'm feeling good. I like different pins and different metallics. This is one I've not had up out, so it's fun to give it a go. It's like the center of all these are silver. Now that I look at that, see how observing a little bit closer, you see things that you just weren't going to otherwise notice. The center of these blue spots are silver. I wouldn't have maybe even noticed that. Let's get a little silver.in. There then I feel like, see this is silver. But it could be raised, but there's an edge on it. I feel like I want to do it in the gold. I've got the B, which I may have to get a needle in there. Let's see, to get it started sometimes. Oh, there we go. Hang on. I've got this clay thing that I've used before. Let's you can do it with a needle or the clay tool. This clay tool looks like an ice pick. Do people even have ice picks anymore now that all the refrigerators have the ice in the fridge? Okay. There we go. Okay. This one you got to practice a little bit and get All right. Let's fold the bottom up. How about that? That would help. Okay. And then get a good little motion going, and then you got to see, this is called Rich Gold. It's a different color really than I thought. You got to get a feel for how it's coming out and how you could not stick the tip in it the whole time. Okay, that might be a challenge, but we're going to give it a go anyway. All right. So I feel like I've got a little bit of it. Let's just see, it's got this color underneath it. It's just like a color on a color. It's not a huge deal if it's perfect or not, because there's more going on in this circle than just this. Look at that, That's super fun. I felt like some of these could be raised. All right, so it was only perfect on the one. That's okay. It's all about play and experiment. Don't get overly excited. I'm going to put some little details in here. You get creative after you get going, like, oh, I think I want to add this to that piece of art or whatever. You could definitely play and get creative. It doesn't have to be exact. It is a master study, maybe close. But you could then get creative and see what else could you do in there. Okay, there's that. Let's get this here now. We've got swirlies over here. I almost feel like those need to be even stood out more than what this does. Let's just see, I'm going to start over here. That's not really standing out very good. Let's see about the fine liner. I want them to be shiny and we'll just do the best we can. Let me move this out of my way. Might be helpful to have your rag handy to get the tip off a little bit. I could have done this with dip. I totally should have done it with my dip pen. That's okay. Trying to give you easy options that you would have easier access to. My dip pen that I love so much is like $50 for the pin. But you could use different dip pens with that ink. It doesn't have to be like this liner, but I like the liner. Definitely takes a little practice with the liner. Okay, I'm feeling pretty good about that. Now, we need to let this dry and then we can evaluate, are we done? I'm going to let this dry and I will be right back slide. I'm back already. But what I just realized was I didn't put the little diamonds in our blue box here. I'm going to use the pen and draw that on top of that ink and try not to touch what I just did, which I'm the best at. I'm the best at sticking my hand right in the stuff. All right. Now we've got that. Oh yeah. Perfect. Okay. Now we're going to let this dry. All right. I've let these sit for a while. Hopefully we're mostly dry. Maybe that raised stuff would be the only thing that would take a long time to really dry. But I'm curious to see, once we peel the tape, what we think. Again, the goal is observation. It's not necessarily to become a master forger with our paint skills. I definitely would never make it in the art forgery world. I just don't get things that tight. But look at that. Now that I've got the tape peeled, I don't think we did too bad. Check out, love it, okay? The goal of this exercise, it's all about observation. Rather than trying to take a gigantic piece of a master's work and try to do all that stuff, which that would be overwhelming like that would take a long time. That's not the goal of this exercise. The goal is to observe, look at the details a little closer, see things that maybe you're not noticing just in a first glance. And maybe replicate one little corner. This little box that I cut out of this piece of paper is not very big. It was 2.5 " by 2.5 ". I replicated that on a six inch by six inch piece of paper. So it went a little bigger. But I think just in the goal of what we were trying to do, see the details, See things in there like the little dots on the circles that I wouldn't have normally even noticed. Along with the circles in the circles, the outlines that are in there, the little bit of blue with the silver dot on the blue. You see how we start to really dig into just one section and be like, okay, what's in that one section that we can maybe learn from and maybe paint and just experiment with? I don't think we did too bad. It's not about making it identical, It's about observing and coming up with something fun with your piece. I hope you enjoyed watching go through the process and making the decisions. I could have painted a couple of these ahead of time and been like, this is how you do it and then you don't really see how an artist works through the problem solving of getting that piece created. Wanted you just to see it all raw from start to finish. I hope you enjoyed seeing that process and our thoughts as we went and seeing that don't have to be perfect. We're trying to get close and observe what's there. Pian, enjoy painting one of these and I'll see you back in class. 11. Color & Pattern Study - Margaret S: In this video, I want to do a pattern a little different than some of the others just to give you some ideas of the ways I might be thinking of going as I get closer and closer to creating my own piece of art with my own materials. Just being inspired by the patterns of limp. This is a detail of the portrait of Margot Stromberg Wittenstein, 1905. Sorry if I said that wrong, I think we can see the full thing on page 219. Let's see where that page is. What I like about this? Oh yes. It's a great, big portrait and what I really like is this little detail behind her head. Now that I'm looking at it, I wish we had this side of that detail, because it cuts it off right there where I want to see it. Because I actually want to do the detail of that little piece. I want that stripe of gold with the swirls, and then I want this piece of the gray or the silver with the little circles and the dots. That's what I'm looking at. I'm not looking at doing her head. But I do want to concentrate on this area here where we've got the swirls and the dots. I've pulled some Posca pins, because I like Posca pins. They're acrylic paint pins. I'm still working in acrylic paint and we can get a lot of these colors that I can consider doing with this fun pattern. I thought what I would do is paint a section of gold, paint the section of silver, and then fill in with that particular pattern. I love just looking at the details of these paintings and just seeing like, hey, what can we do? This is another piece of that six by six hono mule paper that I cut out of the great big pad of paper. I cut the other one, I cut this in half, and then I cut the little edge off. And then I had two of these sized because I wanted to work in a square as I was taping off a square of pattern. I'm just going to pretend in this one that her head is not there, like we got that other side of that painting and just see what we can get. I've really enjoyed coming up here to my art room creating these every day. I've got several gold. I've got the golden, acrylic, iridescent gold, and iridescent gold. I also have iridescent bright, but it almost looks like super shiny gold. I could either go with my U Taki gold, which is my very favorite. I could do that on top. I could do just a couple of colors of gold and get that metallic look in an acrylic paint. Which is what I think I'm going to do because it's just fun and different. I like to change things. There's a gold that I always go to and I'm thinking, hey, let's not always do the exact same thing every time. I also have this Artisa silver and we could make that silver or we could make that gray mixed with white. I'm feeling like silver. I'm going to put the Artis silver out. I do have the Artisa gold, which we could have used that just playing and mixing it up here. I'm going to pick a paint brush and we're going to paint. I'm going to tape this off because I do want this line to be as straight as that line is. I feel like because on the original portrait, the silver part is much larger than the swirly part. Then the gold part, I feel like it's such larger that I want to offset that. I'm already thinking of how do I want to compose my six by six sample of that set of patterns. I'm using my little blank prompt hearts that I just cut out of junk art. I'm, I've got some in here that are blank. I've got some that have art prompts on them, which I show off quite frequently because these little jar hearts are fun. But I have some that are blank that I haven't put little prompts on the back that I'm marking pages with, so I can flip back pretty easy. Let's just mark that page. I want to have that about a third of the way over. I'm not getting exact, I'm just eyeballing it, but I'm just thinking about right here. And then this will be the gold part and this will be the silver part. Let's just start with the gold. See, I might just mix these gold because why not? And then we'll get a pretty shimmer on this side. Once I've got that gold on there, then I can let that dry and then come back with paint pin on top of that. I'm almost thinking because these are such almost perfect circles that I might consider using a circle template to help me get that perfect circle. All right, let's dry this very quickly and then I'll come back with the silver. That's a nice thing of working with acrylic paints. These don't take long to dry at all, Then if I accidentally pull some of that of tape, I can fix it. All right. So let's do that and then I'll come back with the silver. I'm just using my Princeton select oval mop brush. It's a half inch brush. I just picked a random one out of here to play on these paintings because I'm just spreading the paint. It's not like I'm doing anything in particular at this point. I'm color blocking our colors. Basically, I might put a little more of the silver out the paint here on the piece. I can see that it's not like perfectly painted. I could leave some white or some brush marks. He's painting on canvas and I'm working on paper, but I can still see some of the background canvas shine through. It's not perfect. We could definitely make sure to leave a little of this texture in the silver part rather than making it perfect. Because his paintings are all about texture and layers and not having a perfect, smooth palette. Let's see if I pull off, look, I did not even pull off the gold. It's even shinier really, than the gold I've used, but that's okay. It'll still shimmer in the light. I could put the mica on top of that if I wanted to, because I can actually see like what we should do. We should just do that. Let me find where I've put that. Here we go. I like the gold mica paste. You could use that. You could probably do that with the bronze powder, aqua bronze, pale gold powder, because it's super shiny too. Just depends on what you've got on hand that you like to use. I didn't buy anything special for this class. I just pulled the stuff that you already see me using in a lot of different projects. What if we take a fan brush now? I want to make sure this is dry, but you're just seeing me pull supplies that I already have on hand, I already use. And that's exactly what I want you to do too. I want you to use things that you have on hand that you already use. If you see something that looks super fun, then definitely go for it. But don't go buy a bunch of materials to do studies because you're just looking. The goal is to observe and see and look at the layers. The goals not to mimic what he's using. Because if I was trying to mimic what he was using, I'd be using oil paints. And if you were trying to mimic what I was using, you could buy all the stuff. But really, the goal is to figure out how you can work things like this into your own artwork with the materials that you already work with. Okay, just making sure what I'm thinking. Because it looks like brush lines in there with that gold. I want to have that brush line look, I'm going to do it with the Mica with a fan brush look at. That's just part of my own observations here of the piece. The Mica stuff will shine differently for me in the light. I like that the fan brush will give me the streaks that we can see here in this piece. I like that too. There we go. I think that's what we're going to go with. I like it. I like it wipe our brushes off, and now I'm going to dry that. And then we'll be ready to do our Posca pens, our little designs. Let's just see what we can get. Really, you could do that brush on this side too. You could brush in a little bit of white if you wanted to get a little bit of white in there. I think the silver is going to shine, no matter which direction you're looking at it in different ways. I'm okay with the way I put that silver down. I have an architectural stencil over here because years ago I was a drafter in college. And wanting to use my stencil that I already have to get just a little than I might get drawing it myself. If I'm looking at these, what size circle is going to get me an even number? I think I'm going to go with this size circle right here, which is a seven eighth of an inch circle. That's what I'm going to go for. The way I'm thinking here is I'm just going to start and swirl it into the swirl and see if I can get it or might even go like the one larger. Then I was thinking, let's see, Well, that get me that might be too big. But yeah, I might start off because I think at the bottom I'm going to be a little bit of. But if we're not, that's fine. But I'm thinking maybe I could start here and then swirl it around. Look at that. That's what I'm thinking. Mine are a little bit thinner, possibly, than they'd be if I were doing with a paint brush. Because I can see it's definitely with a paint brush, but that's okay. I definitely want to make sure each one is dry before I move to the next one. I got two colors here because I'm thinking this is two colors and I almost want the other one to be even darker than I was considering. But maybe we'll just do that in the almost like a dark, dark purple or brown or it's not quite black. But I think I'm going to use the black because that is the darkest that I have. My little posca, dark pints to blob. I got to be careful here. Okay. I just noticed if you heat up your stencil, your stencil does heat up. Oddly, I might not want to heat the stencil again. Just all good observations. How far over did I have that? Okay, I had that about half that line over. About I'm looking at this little line here on my stencil. And now I can see that this one goes the opposite direction of the one I just did. There we go. If you get a thing where you've got some going under your stencil and you're like, oh, no, guess what we can do? We can just grab a little bit of paint and we can just fix that and let that dry and keep going. Don't fret about anything like that, it's just paint. And then we'll keep drawing wet paint that dry first. Okay. And then with these, I observed well, let me keep that out. I observed that, you know, they're just opposite of each other and they're opposite colors as we're going. So I did try to make sure that I did that also because that's kind of how he did these. Maybe not, maybe he did go in the same direction. Going the same direction. Okay, there we go. In that observation, I was thinking that they were backwards of each other, but they're not. I don't know why I saw that they're the same direction. But going down, that's interesting. I don't feel like still I don't feel like I've messed it up. But if I want to change that, it's acrylic paint, you could go and paint that layer right back on top of that. This is definitely the observation part that I wanted to practice myself. Because initially I thought, oh, they're backwards of each other. But now that I look at them again really closely, I can see they're going the same direction. Just opposite color. Same direction, opposite color. That is a good observation of, oh, I did that backwards of what he did. Now I see that I did that. And I can take that learning lesson going forward and I'm okay with that. Not a big deal now. I'm going to go ahead and leave it. I'm not going to paint over and start again because I learned my lesson that I was wanting to learn. These are a bit smaller than the circle that I just did. I might come back through because now I'm doing these little different circles here. I'm going to do these with pins. Might do there's green and there's blue and there's gold and there's pink. There's plenty of colors here to pick from. What I might do is just pick a smaller circle and get it started again. I'm going to try to make sure that I'm not going on top of wet paint. As I go to the next circle, I might just do two or three in the same color and then switch colors. Two, there's this bright green. That's a couple of these. The paint pins dry pretty quick, so I'm not worried about the paint pin really staying wet for a long time. It's not like we're working with oil paints. There's this pretty light pink out here. There's like a gray in there. Do I have a gray? I think I do. It's a little bit bigger pin. We'll see if that gray shows up. Yes, it does. It's a silver but that's okay. It says deep gray is the color. But on top of that silver, it just looks silver, doesn't it? I like it. All right. And then get it to the point that you like it and you're like, okay, I'm there. I could even do a black circle. I do see some black circles up here. Then once you've got it, where you're like, okay, I feel good about where everything is. There's also, I got some gold. Here we go, I got a gold, that's one I haven't used. Let me find the one that's been opened. I got a couple of these because I love them. Maybe the one I've used I've used is in there. This one is my favorite. I've ordered several. They ran a little sale at the holidays too. I got them half price. All right, let's go in with some gold ones because we don't want to leave the gold out. This gold is the same company that makes my mic. It's the same amount of shininess that we did with the fan brush over here where we brush some of this mic on. It's brilliant gold. And I'm not worried about little, just going for it once you've got all of those on there, now some gold has the gold. In the center, there's some little gold dots. All the golds have a gold.in the center, then there's a few gold dots. Then there's lots of other colors. There's that all the colors that we made as circles are in here. Let's go in with some dots. These are just different colors of Posca pens. You want to go and hit up your Arch store and just see what options they've got. None of these are actually touching. Even though that one's touching, I'll be careful with that, not to touch anymore. Let's see, we've got really dark dots. I don't really see any pink dots. I've got pink circles, but not pink dots. We've got gray and then there's some black dots. You can see how closely. I'm trying to observe what he's done in his painting, even if we're not doing, if it doesn't look 100% like his, we at least made an attempt and got close. I would definitely never make a good art forger. Because no matter how hard I try, even if I see something I love and I'm like, oh, let me just copy that as a study and see if I can get something close. Mine just never looks like whatever it is I'm trying to duplicate. And I'm okay with that. Okay. Let's go ahead, let's peel the tape because even if ex it's close, the lesson here was to observe. And what did I didn't observe very good with the swirls, because I did backwards of what I intended, what he did. Even on the mistakes, we learn good stuff. Okay. Somehow I touched something in there. That's okay. All right, so there we go. How did we do in our duplication of his pattern? Actually, even though my swirls are different, I got the gist of what he did and I learned a lesson there in the direction that I didn't observe. Very good then. We definitely did good with the silver and the circles, and the dots. Those are some fun patterns that we learn from the portrait of Margaret's Stoneborosigstein. Hope you enjoyed that. I'll definitely add this section to our PDF so you can look at it a little in our little study guides. And I can't wait to see if you try the same pattern or a different one. I'll snap a few pictures from different paintings in the book and I will see you back in class. 12. Color & Pattern Study - Judith II: In this project. I thought it would be fun if we took one painting. This is Judith two salome 1909 oil on canvas. And this is 70 " by 18.5 ". It's very long, large. I thought, what if we took two sections out of one painting and did a little two different abstracts from the one painting? I wanted to do it from this painting, and I thought it's not close enough for like say just the flowers or just this section here. Then I was flipping around in this great big book over here. They had a close up of the painting. I actually want to do like a square of this orange and a square of these crazy flowers. That's what I'm going to do. I'm going to take this one painting, I'm going to do different squares of the painting and just see like what can we get. And I was thinking maybe I found it easier almost to take a photo of those, like a cell phone photo. I was trying to just block off some color there, but I almost found it easier just to take a cell phone photo of each square I wanted to concentrate on. Then I could really get in and see more detail. I found that to make it easier for me, and you might consider doing that for your pieces too. But most of these pieces, I actually put these in the projects and resources for you. And so you can see the blow up with me. But it is very helpful actually to be able to then zoom in even closer. That's what I'm going to do. I'm going to look a little closer and then I can see what's actually in this detail. And by doing that, I can actually see that that gold line up there isn't always solid, like you can see where you drug is brushed through it. That's good information because I can just take that and I can feel okay if mine does that because his is doing that. And I like that. It's an all over color with just the gold and the squares. It makes a nice little abstract to have all the movement and the way I compose the part of the painting that I would like to try. And then getting in a little closer with these flowers, I can now see that there's a little bit of green in there where I actually wasn't looking for the green. There's black. And then the flowers are more like ovals rather than circles and they've got different centers. It almost looks like the whole background is black. And then we've painted these things on top of it because I can see the black shining through our color. There are white and our red. That's interesting because that's not the way I was going to approach this. I was going to approach it just starting with the circles. But I think now that I've zoomed in and looked a little closer, the whole thing there needs to be black. And then I can come back with the ovals and the circles and make it roses. And I pulled some colors out already, but now I can see that I didn't pull a green out for the leaves. And I almost want that to be like, yeah, this is a mid green that works out. I also pulled out rose matter. I pulled out white. I was thinking there was blue in there. But now that we can zoom in and see that that's the black shining through there, I don't think there is any blue. I'm going to put the blue back. You see how taking that picture of the section you're wanting to do and zooming in and really observing and looking changes your view about how you might decide to paint this. I mean, that makes a big difference. And then I've got Mars black. I'm just using these Artiza paints because I've got plenty of them, all the different colors for this, I'm definitely going to be using my gold paint. And then I also need some type of orangey red. This vermilion red is really pretty. I might mix that with another shade because you can really see more than one color in there. It's not just a solid one color. Oh yeah. How about this carmine red? I can maybe mix the two and get like a variation. And then we've got gold, we've got even a little bit of white or silver right there, and then we've got a little black. I think I'm going to approach this one by painting the whole background like orangy shade and then top off with all the colors I need. On top of that, you can see how photographing it, zooming it in, might change the way you approach each of these pieces that we're going to be painting. That's how I'm going to approach this. I'm going to leave those there. I'm going to paint on top of the book to keep everything in frame, I think. And just do the best we can. Maybe keep that right there. Got our palette paper over here. I'm just going to go ahead and start with a new sheet. I like this pulling multiple sections out of a painting because the Kiss and the portrait of a del block power. Those paintings really lend themselves to multiple abstracts as we're painting. Maybe I'll set the phone back there. They definitely lend themselves to lots of things. As we're painting, you could pull like 20 different abstracts out of those. I like that. Let's put down plenty of the black. I think I'm going to need it then. A little bit of a white. We don't have to have 1 million colors, We can just have three or four. And really get our point across with what we needed. Maybe this white over here. Then I've got these little Princeton select brushes I'll be using. You could do this project too. I think I'm going to do black and then orange. Maybe I'll go ahead and put this over here also just to have these out. Actually, this is less orange. Let's see, Might not be orange enough. I might need to pull a bright orange out. I think I will. I think I need a bright orange. Oh yeah. See, that's not orange enough, but maybe I'll be using it. Let's pull out, this is orange. Yellow. Is that the right shade? Let's see, bright, let's see what other oranges we got. Orange, red. I'm feeling orange, red, filling, orange, red. Let's go for it. Oh, yeah. Orange, red, orange, red, for the winner. Okay. Actually, I'm going to do orange, red. Let's do that over here. Let's just go ahead and start mixing these. And just getting that out here on our square. And that can be drying while I coat the other one in black. And this is just that Princeton select two inch oval mop brush. I feel like I need more or I'm really off in the color. But really it's not my goal to be exactly exactly, because it's not like a master study where I have to mimic the whole painting exactly and I spend months getting every detail exact. It's more a project about observation and just seeing the different elements that went into his paintings. And then seeing what part of those elements can I bring into my paintings after we spend a good amount of time creating my stuff like this? I'm definitely darker and now I almost see, now that I've got that on there, I might come back and do this. On top, I can almost see that there's a yellow in there. I can really see that there's almost a yellow in there, bringing that out, which is a good lesson. Let's do this. Maples yellow because I like it, that's a really good lesson. How many colors did he have to go in that? Like, how did we get those brighter ones in there? Yeah, yeah, yeah. Feeling it as we're painting. We can even observe like, there's some nuances in there. Maybe we're not getting with that initial layer and we're going, what is it missing? Then we look a little closer and it's like, oh, wait, I do see maybe some yellow in there now. Okay. Now I'm feeling pretty good about that. I'm not trying to be like the brush look in there. You know that he's got lots of patterns and layers as he's going into his. That's what I'm mimicking, the I'm feeling good about that. We're going to let that one sit and dry. We'll get some of this paint out of my brush. I'm definitely going to need more black. I can already see that because now I can see how much paint that orange took. Let's just go ahead. Can tell I like the black here because I used quite a bit of it. But I feel like I'm going to definitely need that. Let's get that going so that it can be drying. I set my thing right on top of my oranges added to the pattern there, but I did not mean to do that. I need a big six foot table. That I can just really spread out on, but then of course couldn't get all that in my camera frame. But I like to spread out. When I work, when I used to work in a cubicle, when I was a kitchen designer, I worked in a gray cubicle designing kitchens and baths and things for builders all day. I had like eight feet of countertop in like a little L shape. I spread my work out in all eight feet because then I could get all everything organized and I could have different jobs sitting out with different notes about what I needed to accomplish on each job. Okay. Maybe I didn't need that much black, but there we go, we got the black. Yeah, I just had I had all kinds of stuff going on. I loved it now that I work at home. My little tripod set up that this camera fits on is three feet wide, Give or take a little bit. I need all the space. Okay. Now, I'm going to set that to the side. I'm going to need it in a moment with the orange almost dry. Let's try this. Yeah, with this, I've got about three feet, I've got about a half foot on each side of that. And I think, man, I need like a whole another five or six feet over here to the left of me so I can have all my stuff sitting over there. I'm just thinking about like why did he start with black hair? And I think he started with black because her hair is black and maybe there was black hair down here and he put the roses in her hair, like, is that what that was? It could have been what that was. I flipped back to that painting. That could have been like a swath of her hair coming down and then he put that those flowers in her hair. That could be why that was black, possibly. Interesting. Okay. I'm going to start with the orange and I've got the Inc I'm thinking gold Mica in. We could do it with paint. I might not like the gold mica ink, but I'm going to give it a little try because I'm thinking, here's a little tiny brush, this is a chisel blender number four, we could draw this out ahead of time. If we wanted, we could have done that and then followed it. But I think is this going to be thick enough at debating here? We've actually got like a square. I got like a square in here. Let's just see, where's the square? Okay, I've got a square there. Just to visually tell me, this starts about halfway and then ends about halfway. Maybe it goes like from here to here. Let's see what if we mark this a little bit with like a white to give us some little direction here to go. This is just a white jelly pen that came from sketch box, I can see that. This. Look at that. Tell me I'm doing that on the black one. Oh my gosh. Stop that right there. Just paint that back black. Oh my goodness. Oh my goodness. To get when I start talking. All right, let's start over. Glad I didn't go very far with that. Hello, doing the orange one. Oh my goodness. Were yelling at the screen for me because I feel like I needed that. Okay, back to the orange. Okay, so we got a square in here. Let's just just eke that out. Then this one, it actually starts from here and goes up to the middle. And then comes over here to about the middle. Then we can see that it comes around and comes around, there we go, building that. That feels good. And then it comes over here and then comes around and comes around. Okay, I like that. Then it's starting right here. We've got some little swirls going off the edge because this goes further. We're just picking a little square of the painting. I know it keeps going, and we know that this comes over here. It goes around and around. I'm not trying to pick all the elements that are in here because I know it keeps going, this goes here. And we could even go a little further if we needed to. I can see here on this one, I didn't quite come down far enough. That's okay. If I need to come back and cover some of this with the white paint, With the orange paint, that's not a big deal. All right, let's try this chisel brush and see I'll come back and cover up any white that we don't love. Okay. So the ink, you know, the inks going to be kind of thin because it's ink thinking. Did I want to do the paste or a paint? That's your choice. It is a good. I still like the white. I still like the ink though because it's easy to work with when it dries. It might just surprise us at how good it looks. Okay. So there's that then. I'm okay. I'm almost thinking that was okay. But what I've liked a brush like this a little better because maybe I could. I don't know. Let's just try it. This is the Princeton select pointed Filbert. I'm wondering, should I go around, move it as I'm going, if I were doing like the gigantic painting, it definitely would be different than trying to do this one little section on a six inch square here. See there. Now I did like this. Okay. This worked out really well, actually. There we go. Come back in here, okay. This one just playing and figuring out how can I take the elements that he did into my own work, and this is the way that I would probably do that. I'm trying to figure out some of that even as I'm studying the things that he did. I like that challenge that we're setting for ourself and figuring out what can I use that's going to work for me. It's a good way to figure out your own supplies and the stuff that you're working with. I've never used this Filbert brush. Now I'm like, okay, now I know how it works. I'm thinking this is a good one for when I need something as a point. And maybe when I need some directional help when I'm doing something circly around. Which I might even use like a dip pen for that. But playing in the different tools that I've had, figuring some of that out also, let's start the square with that and then we'll come back in. The square is not perfect. I'm not trying to get the square perfect, because this square is not perfect. If we look a little closer here at our piece, I can see the squares is like not perfect at all. These little pieces that were going around are not super perfect. I don't have to be perfect, and that's okay. Okay. I'm liking what we got going on there. I do need to come back with some white and black to fill in that. And then I think I'll be really close. This wasn't a super hard painting, but what I could do real quick is come back over the white now with some of my orange. And just fill in where I drew the white guiding lines. I'm actually just mixing there the orange that we already had out and the naples yellow. Trying to still keep some of these colors, I don't want it to look obvious that I've come back and filled that in with a red line on top of where we made the colors variegated with that yellow on it. I don't want it to be like super obvious that we've come back over it. You could have used something. We could have used some type of chalk, and then we could have rubbed it off. You can get creative there and how you decide to make things on your paintings. You don't have to do anything I'm doing, I'm just winging it as we're going. And then I might come back and put some of that in. Like there's more areas like that. It's not obvious that I've touched any areas up. I don't want anything to be like, oh, what you do there If a little bit of the white line shows, I'm not concerned about that. If we have a tiny bit can just be part of the design. And that gold dries pretty fast. It is drying up there pretty good. Something else I like about these little Artisa paints, they're not toxic. If you need to get your finger in there to work up some stuff, you could. I like that about that. Why did I just move that gold around? Now I'm overworking it and making it really obvious. And his paintings aren't perfect. I can see brush strokes and lines and places where he's come back and filled stuff in. I don't feel like I'm getting too far away from how he did his painting when I come back in here and add some other elements. I don't feel like we're getting too far off of how he did it. I like that. All right. I know that I've got in there some white and then we've got up to the black. As I throw the lid down. Oh, I put white out on my thing. Hello. All right. We'll just have to remember to find that lid in a bit. We're crazy. I know it, but I want to show you as I'm painting, like how I work my way through problems. Because some of the problems you create for yourself, some of the problems are going to be things that you're discovering in the painting. How are we going to work our way through that? It doesn't bother me if it's not perfect. I'm not being perfect as I'm filming it. I could film it all completely perfect and then make you think that when you're having a whole bunch of issues that you're the only one having the issues. And I want you to not be intimidated by doing something like a master study and then getting caught up in how I did it versus how you're going to do it. Let's put out a little bit of this iridescent gold fine paint. I want you to know that we all have funny little issues as we're painting and not to get stuck in the process because you're not doing anything wrong. Okay. That didn't quite show up as much as I wanted it to. That's okay. For this. We're there. I feel like I understand what he did. I want to move into the other one for a bit. We can always revisit one of these if we need to. All right, now we're painting the flowers. What I want you to do, what I really want you to get in the habit of doing, to set yourself a timer and give yourself 30 minutes per square, or 5 minutes per square or whatever time amount you feel. I want you to set yourself a limit on the squares so that you don't get overly concerned and stuck in creating. I want you to observe. I want you to get it down quick. I want you to get these paintings done in one sitting. I want you to just play and figure out like, oh, how did we do this? Okay, this is great big ovals. I'm just going to start painting some great big ovals here on this. And I can see on there is black show through on some of the paints. The goal is not to be perfect. The goal here is to just get some flowers down in a big oval. I imagine these to be like roses. We're going to paint them different shades of the pink and the white. Then there is some green in there as we're coming back. Just go ahead and very quickly get some of these shapes down and you get what you get. It's not important to be perfect. I like creating in this way. It takes a little stress off of us. We're not trying to match as brush strokes, We're not trying to match the exact composition. I'm working within this and I want to be close, but if I don't get my exact roses in the same spot as his, that's okay. I'm just learning a technique here by observing his. All right? We've got some white in here, got a lot of white up here. Got more white right in here. Flowers aren't something that I've really painted a whole lot of. This is a nice little learning experience here too, on how I might paint flowers in some paintings Going forward. I actually appreciate this bit that we're doing here. Okay, let's go ahead and add some more layers. And I might just not even paint black in there because I can see his blacks not really painted unless of course, I cover everything up like I just did is more like showing through the stuff he's already done here. We're just layering some circles and ovals in here and we're letting that black do its thing. Okay. I did cover up a lot of the black on that top. One that I might want a little more black in here. Well, that was dumb. I just didn't even paint it as an oval, Did. There we go, look at that. I like it. I like the messiness of the black on the top. It's fun. The stuff we learn as we're doing that. Good stuff. People, good stuff. I did get the black out there further than I intended let. Scoop that back in, see like that? Yeah, yeah. Okay, look, here we are. All right, now we've got some leaves in here, and then that will be an easy, I almost want you to set yourself a five minute goal there with that, because wow, this one came together super fast. Let's put a leaf right in here. Oh, yeah. Okay. I'm feeling good about that one. All right, so let's just see what we ended up. Let's just go ahead, take the plunge. Give yourself 15 minutes on each one. Set yourself a timer. See how fast you can do it. Let me drive this one real quick. This is not completely dry, it's very close. I'm actually super excited about these because now I want to paint some abstract flower paintings that just totally inspired how I would love to do that. You could do it with the flowers covering the whole squares. You could do it with the flowers in a vase. But that was fast. It was easy. It was a simple technique. And look how cool it is. That was pretty cool. I wake up every day while I'm filming this class and I think, okay, one painting today. What do I want to paint? And I do that one video for that day, every day, I'm really surprised at where I thought I was going to end up and where I actually ended up like exciting look at those, those come out. Oh my goodness. Oh my goodness. I'm like surprised every day where I start, when I'm like, okay, here's what I'm going to pick and then where are we going to end up? Look how good those look. I'm actually super pleased with that. I want you to try this. I want you to pick one painting, pick two spots out of the same painting, and look how different they are. You wouldn't even know those came out of that same one painting. I want you to see how different squares that you pick can possibly be set yourself a timer, 15 or 20 minutes. If you've got something that you can simplify down to what I did and just see like what can you create today with that technique? This was a super fun paint day. I'm thrilled at the flowers. That's going to be a technique I take forward with me. You're going to see that showing up again. And if you take this class, you're going to be like, aha, I recognize that. Then this just speaks to my abstract heart. I already like gold. We're definitely going to be doing some yummy gold details and swirls in my own work going forward, that was super fun. Can't wait to see what you do on this project and I'll see you back in class. 13. Klimt Inspired Tree Painting: Let's paint something inspired by Clem but not necessarily a part of Clips painting in your resources. I've given you several idea PDFs for tree ideas and little villages and some lady paintings and things like that that are AI generated. I want to use those as just some ideas and directions on things that we might consider doing in some of our paintings. The tree ones are some of my very favorite. They don't mimic, limped exactly. This is the idea, guide trees and forest. They don't mimic his paintings exactly, But what they do is bring in elements of what he uses in his paintings. A lot of round circles and we've got a lot of swirls. And we've got the tree motif, which is very inspired by his Tree of Life painting and some of his other nature inspired work. I want to do our own personal project of a clem inspired tree or forest and see how can we bring some of these elements into our own work. I like these idea guides because it played with colors, it played with different patterns, it played with different quantities of trees and the different decorations that maybe you could consider putting on the trees. Because you'll notice in the Tree of Life painting, there's lots of decoration on the ground. There's lots of decoration in the tree itself. There's lots of swirls. And then even within those swirls, there are some elements that you might consider using. There's different shapes, there's clusters of flowers, there's all kinds of interesting things that we can glean from this tapestry that's on the wall. I think it's like a mosaic. Like a ceramic tile mosaic. Because if you look at the larger pieces that are in the book, you can see that it's pieces of tile or something. That they have mosaic on the wall, which is duper, cool. I want to be inspired by the different things that are in his style, but not necessarily copying exactly what he has done. It's a master study of pattern and themes. You could pull his colors in or you could deviate from the colors. I just have a lot of ideas to get you thinking outside of your comfort zone and outside of your own box. When you get stuck in a certain spot, you can come back and say, oh, what if I did this on the trunk where it's got some circles and swirls on the grounds. Now you can go a different direction or you can come back to some of Clem's paintings and observe some of the things going on in his paintings and be like, oh, okay, now I don't feel stuck anymore. We're going to paint a tree or a forest in my project. You can take your project in any of the directions that you want to go, but I have given you lots of good ideas to look at and then hopefully inspire a direction for you. All right, I'm going to get out some paper. I'm going to start, personally I think I'm going to start with watercolor. Then maybe I'll top it off with paint, acrylic paint, maybe pencils. You could go. Definitely, some gold in there. Pull together the supplies that you might normally work in. And that's what we're going to do in this project today. I'm just going to look and admire and see some different elements in here and get some good ideas from that and then we will get started. All right, I am inspired by the idea of the single tree and the top part being lots of swirls and designs like his Tree of Life, which was a big tree with lots of swirls and stuff. I think I've stopped on an idea similar to something like that. And we can see as we're looking at that, that we've got lots of pretty swirls at the top. We've got the basic tree shape in there in the tree. We have a lot of variegated colors. It's not a solid tree trunk, which I think fits right there with what he's done. And then we have different decorations within those also. Then the back is just modeled circle type shapes. I'm thinking what I'm going to do is just an all over wash of water color. On top of that, we can come back with acrylic paints and all of our other materials and go from there. That is my plan, that's where my inspiration started. In the end, I'm going to have something that looks nothing like this, I'm sure, because that's just the way I roll. But I do love at least having a starting point and something that I could refer back to if I get stuck. Let's start painting. I'm going to set that to the side. I've got my cure Taki water colors over here because I do actually happen to really like a lot of these colors. And I'm thinking that that might be a good starting point. I'm working on a nine by 12 piece of the no mule paper. You're welcome to work on canvas or whatever surface that works best for you. Loving that color right there. Maybe some of this blue feeling like some of this neutral color towards the top. That's where my thoughts are going. We could almost just pull these out for a moment and have them available. I think I'm going to paint the whole thing in these tones, work my way from dark to light. We could even have a little bit of darker shade there. I feel like that's my color palette to be inspired by. I'm going to go ahead and let those down. You can see from our inspiration piece, the color palette that I've pulled out of there, that I will then build from. When we get to our upper layers, really we could do all water color and then different things like pencils on top of that. Lots of directions that we can go. I'm pretty excited. Think I'm going to have an all over color that I want to start with. We might even start with wet paper, which I never do, but it might give us a nice wash to start with. I'm going to do that. I'm going to start just with wetting the whole sheet down. Let me see if I can see that the water is all the way on it. Then I'm going to just pull some color and work my way up like a gradient and just give myself some starting areas here because the paper is wet. These are really going to mix in with each other and blend as I go up. And that's my goal then. I'm already loving that. You can see from my inspiration piece, how we can see the different colors there that we've gotten started. I almost want more of this blue down here. Maybe I'll come back and just lay some more color in here while it's wet and let that do its thing, then I think I'm going to let that dry and then let us get started on how we want to do stuff. We could also let it dry and then come back and lay some of those circles in on top of that with more water color because it'll reactivate and do some different things. For us, I was just using a Princeton Neptune number eight mop brush just to get the whole thing started. Now I'm going to stop for a moment and let that dry. I feel like I at least have a little starting point at this point. We could also take a pencil and map out the direction of our tree to give us some directions. I'm going to let this dry as we think about that. All right, This is mostly dry. I tried really hard to not touch it. Just let it do its own thing and just see how could we get that as it dry. Just let it do its natural thing with the water color so that I could then come back on top. I'm just using just a pencil and I'm going to map out like where do I want my tree to be? I know that this is like some type of flower garden, or round circles or something down there implying a landscape. This is our twirly swirly bit up there, implying the tree branches and leaves and everything. I just need to decide how I want to take that. You might just map that off with a pencil that before you start painting, you're not just like hitting the ground with the paint and then thinking, oh, I have the wrong portion. Or I have the wrong whatever it is, I'm feeling like the tree is going to come to do something like this. Then off of that, there will be plenty of little swirls. And I might not draw all the swirls on here, but I do want to get an idea of where things are going. Then you might get right here and think, where do we go from there? And that's where the idea guide might give you a good idea of how to take that, like not get stuck right there at the opening of the tree there. And this is a case where maybe this was a branch off here where we went. And now I can look at it and say, okay, maybe the tree continued here and branched off again. Maybe that branch was from there. You can see how now you can make some of these decisions on how you might paint that and have that tree continue on. It's not that you have to follow that exactly, but it is nice to at least have some direction and some scale as you're going. I'm like where we've gone and we've got maybe some branches that come off from the side here. There's some that come off from the side here. Then we can fill in with pattern and swirls. There we go, I feeling like this is our direction. If you put a line down and you're like, oh, wrong spot, one of these needed erasers, you could just come back in and you can get rid of your pencil marks as you're painting later. You can scrub off your pencil marks. If you've got something showing where you didn't intend. Even here, I could start idea generating on the tree if I wanted to say, well, what am I going to be putting on that tree and where you can definitely be idea generating as you go and just giving yourself some direction before you start laying down your other mediums up to you on what those mediums are. I splayed my tree out, but I can see now on my inspiration piece, that tree was straight and came up. You never saw the actual ground part that I feel like that might be the direction of my tree. I am to map this out a little bit, I'm using a hard pencil. This is a, an HB pencil, which is the same as like a number two pencil. You could use like a two H pencil, that would be good. The H means the lead is harder, the B means the lead is bolder. The HB is like, right in the middle of the hard and soft leads. If you use a really soft lead, that bold lead, it's going to be really dark lines and it's going to be very hard to cover those up as you're creating, and you don't want to get yourself stuck with some lines that you didn't really want. I like using a number two pencil or an HB pencil or something that's right in that middle so I can map things out. But it's not so dark that, that I can't re, erase it and get rid of it later. Just some thoughts there on your leads. Now I got to decide, do I want this background to have like dabs of water color or do I want it to be dabs of paint? And we could just continue on with the water color if you wanted to do some of these lovely dabs of color. And I can even see in these dabs, there's even like some light pink and there's some light green. I love that. Even on these idea guides, there's a whole bunch of nuance in there that if you zoom in, you can see I almost think there's a little bit of pink and there's some green that we could then add just some washes here in that bottom part and then we can go from there. I almost want like a palette. Let me get a watercolor palette, because these are really faint colors. If I go gang busters like I always do, and dip right out of the container here, it's a lot darker then I might normally want to work in. I can lighten that up. If I have a little palette here that I can pull from, then I'm just going to start dabbing color in here. Maybe working fast, they might not be perfectly round, I'm fine with that. I just want some dabs of these working their way into our little background here. I am keeping my inspiration piece up, I could keep my clipped. Pictures up. If I had a if I wanted to have the Clint book open beside me, I could do that. I am just keeping everything, all my ideas. I could have out my mark making guide. If I thought that was going to be helpful, I would pull that out and have that sitting here beside me that as I'm creating, I'm keeping all of the different elements and things in mind. I'm staying true to the inspiration, but not necessarily copying Cms painting. Exactly. I'm going to go ahead, continue just picking up different colors and dabbing that into our piece with the water color. Okay. So I'm going to let this dry and I'm going to show you some inspiration pictures. I'll be right back. You'll notice here on my piece that I went with dabs and they're not circles and that's okay. I'm going to scoot this out of the way for just a moment because it's all wet and I don't want to set the book on top of it, which, you know, I'm prone to do. See, there we go. Let's hope that doesn't fall off. If we look further back in the book, even though inspired by the Tree of Life, Clint did quite a few landscape things in his career. If you go back further in this larger book, you get into his landscape series. Let me put a piece back there. You can see that the modeled look that I've created on my Tree of Life looks a bit more like the landscape studies and things that he did. I might go back and be further inspired by actual pieces that he did. This is Garden Path with Chicken. Even though I have inspiration guides to get us started and help us through the hump of what should I do next and give you some ideas. Also still want to refer back to the paintings that Clip did through his life and say, okay, I've done something that's very reminiscent of say, this painting right here. And I can veer a little into that direction as we're going. The thing that I was inspired to start with may not be lead me to my end painting, but it definitely got me in the direction that I was needing to go. Like this one right here has that same look that I was creating on the bottom of that watercolor piece. These gardens like this right here totally looks like the speckles. I can see myself coming back in to the piece and drawing flowers and stuff down there and bringing out some more definition as that dries because really part of limps work is all the layers and patterns that went into the piece rather than being overwhelmed by looking at the whole painting. That's why we were looking at different sections, zooming in to see, okay, what went into that layer. To create that layer then, that's what we're going to do on our own pieces. We're going to put a layer down rather than get stuck and not know where to go next. We're going to be like, okay, what is the next thing I can add to this layer then what is the next thing that I can add to the layer on top of that? You just need to think of it as many layers. If it doesn't feel quite right yet, you don't have enough layers. Which I say that in my own abstract art, if it's not finished yet, if you're like, okay, I don't know if it's done, what else do I need to do? Then you need to add more layers because you're not there yet. I already go in with that philosophy and feeling, see this right here looks very much like the blobs of colors and stuff with more detail added and some more definition going in there. I love looking at his landscape period and his tree of life and be inspired by that and create like my own version of that. We're just getting started here with our tree that we're painting or that I'm painting and then whichever version of the abstract that you're painting, just early layers yet. I'm going to let this dry and then I'll be back. Okay, that's mostly dry and I feel like I want to get a base of that tree started. I'm going to do that with acrylic paint and then I may do pencils or Pastel pencils or something on top of that. I've just pulled out some of these artizas. I've got the Mars brown and raw umber, just so that maybe the tree is not all the same color. I think I'm going to work it with maybe a smaller brush. When I get up here I can get something a little better in direction. This is a number six flat shader feeling like this. Where I want to go, I'm working on top of the book here. I'm not bothered if I get something on it. I'm not precious about stuff like this, especially if I'm doing studies and stuff. But I want to be able to then refer back to some of my inspiration as I'm painting and just see where might this, where might we go. I overlapped some of the watercolor background there onto my tree so that when I came back to flush the tree out, I could just cover it right back up and it wouldn't matter. That's what we've got going on there. Then again, this is base layer on this tree. This is again, not even where we're going to end up going, but I am getting some base layers and some direction for our piece mapped out here. Okay, I feel like we've got a start of our tree base and then I'm not really worried about anything being perfect at this point. Because remember this is just a bottom layer and we'll be adding to stuff on top of that. We're going to let that start to dry the tree. What we might do is come back and start working on some of the details. Maybe in the bottom part perhaps, then I'll have to be really careful to not get all on top of my wet tree. I think I'm going to use my carbonthalo chalk pastel pencils because I like working in pastels. You could use regular pencils, But what I like about the chalk pastels is I could come back and lay on top of that tree and such too, I think, and do pretty good. I'm wanting to lay some detail in flowers down here in the bottom. Probably should work from the top down. Maybe maybe I should work from the top down. Because up here I'm going to do swirls. I'm maybe going to do gold pin. Really, that's just acrylic paint. Let's just dry it. Just throwing my ideas out there as they're coming to me. Rather than coming and being like, here's what we're going to do and just getting started, I want you to see how did we get to where we got. I don't want to just get there and then you know how to get there yourself. In the thought process and the way you work on your pieces, we're mostly dry. What I'm thinking too, we could always do pasta pin. Just shooting some ideas out there for you. I know we like a lot of gold. If I'm using pastels, I'm going to have to use a pastel fixative. I will fix that with the senili, soft pastels. Because if you're drawing on top of pastels later, like say gold pin or what have you, we might have a trouble adding to that actually, While we're looking here, let me look at my inspiration photo. Let me think about directions. I can see that there's in this particular piece a lot of blue, a lot of yellow and gold and silver. Perhaps even though I started with a brown base on our tree, it really was that just a base. Now I want to start filling in with blues. Maybe I do want to do that with Posca pen and then layer on top of that. Again, I'm feeling that you could do that with acrylic paint and a paint brush. You could do it really any way there that you're feeling inspired. Think, let me set that bit there so I can keep that in mind. Paint might be a good acrylic paint. Acrylic paint would give me lots of color variations. Now that I'm looking at that even further, maybe we pull out several blues from our artiza paints, knocking stuff around. Okay, so I really like the Cerilian blue. Let's do this. Let's pull different shades of blue. We've got sky blue, I'm going to need some white. Okay, I'm feeling better now sometimes. You just got to think through, you just got to think through where you want to go. Here's some pearl sapphire. I like the idea that it's shiny. Here's some cobalt here. You see why I like these little things of the artis. There's 1 million colors. Let's stick with these like these. I'm going to set the paints over here to the side, and I hope I don't knock them off. Okay, Sometimes you just got to think through what materials do you have, what direction do you want to go then. There's more pattern even on top of this, that might be the place to then do pencils. On top of that, I actually have some other pencils too that I might consider favor Castells Polychroma pencils because they are really soft pencil that I wouldn't have to put spray on top of. Just lots of different things I'm thinking through as I'm working my way through this process. Something interesting to notice here on our tree with our pattern just as an additional layering, it goes from darker to lighter. We might consider doing that on our piece. Go from dark to light and there's some other colors down there as we're doing that. Just more things to keep in mind. I'm going to pull maybe this little bitty Princeton chisel blender number four. That's a nice choice, I could. Let's see what else we've got over here. I've got these Princeton select flat shader. It's about, that's even bigger than the one I was using. All right, let's go a little because I'm thinking we want to come and make our way down. I'm going to do that. I'm just going to mix all the blues and get different shades go in here. Then I'm going to work my way in and let the color be variegated as we're going. I like that it goes off the tape. I purposely made a gigantic border on my tape because I love peel on tape when I'm done. I want this to be a definitely defined, lovely piece of art with a big frame on it, like a big white frame. I did that on purpose. I like that. You don't have to do that. I'm just telling you my thought process and how I got to that great piece on here. A lot of people are like, why do you do whatever it is you do? And there's no reason what was I inspired to do that day is what gets me to the decision that I made. I was inspired to have a lovely painting with a big white border and then when we peel that tape, it's going to reveal something amazing. I'm confident if it doesn't, that's okay. It was a study in working in the style or being inspired by Gustav Klimt and how much work maybe it takes to really get all the layers and the heavy pattern that we observe in his work to really develop an appreciation for how much work an artist puts into the pieces that he creates. And I want us to get that same appreciation. Whereas I generally create, or what I enjoy creating most, it changes through the years, but what I enjoy creating most is abstract art that's less defined. Maybe there's a lot less going on in the piece than we have in a piece like Gustav limps. Maybe I'll sit down and finish a painting in an hour, a half hour, maybe 20 minutes. I like that speed and that abstraction and that intuitive painting style. Whereas something like this is more planned out, you're looking at it thinking, okay, what is my next step in the piece that you're painting? It's interesting to work in different ways like that, to broaden your horizons basically, and your thoughts and how you're thinking of composing pieces. It might take you down. Into a whole new collection or a whole new direction in the way that you work and the appreciation that other artists put into the work that they're doing. I love just seeing other people's process and determining like how did you do that and why did you do that? And some of it's just being inspired by whatever is going on in the day. I'm going to continue building in the tree here with the blue and I'm going to look at my inspiration again just to get an idea of where I'm wanting to go. And I can see as I zoom in that I'm making these lines and maybe I should have been making these more splotchy. I think I would have liked that. Let's just come in and do a better splotchy job there. Splotchy job, come back in with some of that a little bit in here, really give it that extra dimensional layer that I was almost smoothing out too smooth. And I like that coming back and saying, oh look, if I did this, oh look, if I did that, it may start off doing this, but I might come back on top adding in some yummy texture. That's what you're going to see me doing here. And I'm going to speed this up so you don't have to slog through every paint stroke. I think I'm going to add a little green in here just because as we get further down, it did get a little darker. And I might like to, who don't knock that off the table, I might like to see a little green start being introduced as I get further down. That's what I'm doing there. So I've painted most of this with the chisel brush, but I really like this round blender brush number six and it's got a different tip to it. And so I could actually be using that for these different kind, more rounded rather than chiseled shapes. That's another option too. I could come back in with that. I like the shape of this brush. I maybe even should have been using that one. Experiment with your brushes and see which ones are giving you the shapes and is it giving you the shape you wanted? And just see how's that working for you. Because I do like this round blender brush number six by Princeton Select. I might, for giggles, switch over to this brush for a bit and finish up and see how that does, as far as giving me a shape I like in that paint. I was just telling you where I was thinking there, switching this brush and just thinking this might have been a good choice. Okay? Actually love that. I love where we're going. And now we can start, maybe I'll let that dry and then we can start doing some swirls and twirls and all kinds of fun stuff here at the top. And then filling in some details. How about that? 14. Klimt Inspired Tree Painting Finishing: I've got a couple gold pins, the Posca pins, Faber Castell pins, I've got my favorite new zig pin that's shiny like the gold mica ink. I also have the gold Mica ink that could be a good choice, might need to move this paint out of my elbow because I'll stick my hand right in it, Set these blues to the side, because I'm thinking that it might be good to draw these with a pin. I could do it with a little paint brush if I wanted to, but I feel like I have more control with a pin. I have some other colors. It doesn't have to be a. Let's start with this one. This is a bullet shaped 0.091 0.3 millimeter in Apricot. If we look at our inspiration, we can see that there's tons and tons of swirls in different colors, in the blues and the oranges, and the yellows and the golds. I'm going to try to incorporate that. There's just a lot going on, it's not just a little. And see how can we fill that in, similar to our inspiration that we're going with. Maybe we start with this right here because it's not like super duper in your face. Then I feel like we can draw on top of it, it's acrylic paint because we're working with a paint marker. Doesn't have to be perfect. It's probably not going to be perfect. We can draw right on top of our blue more than anything. It's a little chaotic and you're just making your way to a finished painting. But the more and more layers that you add a color like this, it blended in before we even got going. So it's like a nice sinking into the background color. Okay. I'm already getting excited with some of this, so now I'm just looking at my different Posca pens that I got back there. I got a brown, so let's just kind of keep on adding One color you might do is an all over background color like I kind of did. And then come back on top with all these other little colors. And then maybe we'll top this off with some gold. See that Taki Gold really had to shimmer in there. I know it feels like we're all over the place here. But that's the nature of his paintings all over the place. It, it's all in good fun and in the nature of studying what another artist has done. That's why we do a master study. You could of course, copy his Tree of Life exactly. If you feel like going off on your own is a little too out there for you. At the beginning, it's all about tailoring your study to what you feel good with. I'm feeling pretty good with that. I also want to look again at my little inspiration piece and see that we've got some circles and some definite color with the circles inside the circle. You remember when we painted like the roses with the different colors inside of those colors? We could go back in there and do that. I could do that with the Posca pen. But it might be easier just to draw as some ovals with our paint brush feeling like. I had some Naples yellow. Maybe there was a pretty like Mars orange or something like that that I liked. We still want some blues, some of these kind of orangy tones. Oh, the slight Apricot might be a nice, that's about the same color as what I just used. Hm, Indian yellow. That's a good one. Oh yeah, that looks like that color right there. All right, let's start with those. That pulls out. Oh, you know what else we could do? We could pull out some of these metallics. Like maybe this gold acrylic could pull some of that out. Yeah, yeah, Yeah, I like that. If you're starting to paint and you're like not getting the look I want, keep adding some layers. It's not a big deal. See, that's why I like this thing here, lets me do a little circles like that. Then maybe I can come back in the middle of that with something else. Got water droplets, I feel like it's going to drop on my piece, maybe the center with another color. I could do that with a round brush to if that would be easier coming back in with some details, we could do that with a little brush like that, with a tip if you feel like that might be easier. This is a number four round by tracheal. It's a random one that came in one of my boxes. I like being inspired by my picture here because then I feel like I don't get stuck. This is, there is some like rainbow lines here almost. That's pretty cool. Oh yeah. Like a round brush. That's actually even easier. I like that even better. Okay. Then we've got some of these that are like round with a bull's eye. They almost look like a bull's eye. Like there's more around it there. I like that. A little extra dots in there. Good choice, like that one. Now I feel like I want some other color besides what I've got out here. But I don't know, I almost want some pink because there is some pink kind of out there that's just called pink kinda matches that Posca marker over there with the Posca pen. I'm trying to keep in mind all of the pattern and pattern within pattern that we've got with the Clint. And there's a lot of little areas where there's little dots that fill in some spacing. I thought that might be a nice point to add in some extra little dots in going along the piece. I loving using dots in my own work that does fit right in with the work that I enjoy. I'm definitely going to pull colored dots and different things into my work more than I already have. But that's another way that I can then add some extra pattern and dimension to what we've already got going on here. I might do that with more than one color just to be in the spirit of extra layers. I know as you're going you're going to be like oil, hot mess, hot mess. But that's okay. We're working our way through the hot messes. Might come back and add some extra little lines and dimensions here to our circles, like our roses that we've made there. He does a lot of clusters of flowers. I might even come in here with a bigger cluster of the circle, circle on circle flower shapes that we've got going on there. I do like those. I really like this section of the tree. There's a lot going on at the top, but there was a lot going on in our inspiration piece. Also, I'm feeling like maybe I want the extra, extra mica gold. This is my cura, take gold mica paste that I love. Because it's the sh, shiniest gold I've ever had. We could come back in here with it and do gold on top of everything, because it's going to be the ****. It's like that pen that I was using, but in a little bit thicker paint form. I like that and I can get maybe some super shine as it hits the light. I'm just adding that in there and this brush makes it easier to make swirls. Number four, round brush, good choice. That'll get us some extra shine out here. See, now, you don't discover some of these things until you give it a try. Like if I hadn't looked up and thought, what about that brush, I might not have figured out that oh, okay, this was a good choice for doing swirls and stuff. You just got to play with some of this. Then you can, as I shine that in the light, you can really see that come out. I like that, I almost feel like I got too much going on in the background up there, but that's okay. It is what it is. We're just going to add a little more on top of there when we get done. And we've got enough gold on top when we peel that tape. A lot of times that's where the magic is. For me, it magically turns a hot mess into something amazing. I reserve judgment until I peel the tape, but there is a lot going on here. Your first piece that you do is a master study like this. It's probably going to be the worst piece that you paint. Maybe paint one and get the worst one out of the way and then come back and paint more and then the yummy ones then start being made. Just realize that the first piece you paint definitely going to be the worst piece and that's just fine. Want some more of these rod rosy flowers in here now that we got that going because those are pretty. Might just make some of those in our tree up here randomly. Then we can come back with a different color in that and then circle them with our Posca pen. I'm almost thinking, let's try that a little bit. Almost thinking maybe this darker shade. Oh yes. So we do got a lot going on there now. We just need to decide, do we want to add more? Do we want to add more? I'm kind of feeling like maybe pull the pastel pencils out possibly and come in here with some details in our grass down here. These are those Stabilo Carbonthllo pastel pencils. I just layer some pattern just on top of the pattern that we've already got there in the form of some little circles or swirlies or like little flower areas like we see in our painting here. I could come in with some grass shapes if I wanted to pull the grass shapes in there. But I'm going to start layering some of this now. In just different shades. I'm just going to keep picking up different colors and saying yes, this next color. And we could throw some grass shapes in here. Picking up from the inspiration from these photos here that I'm using, you can see why a pencil or even like that round number four brush a good choice for something like this because you have a lot of control. You can come back in with lots of shades and colors. I'm going to pick up some of these yellows and greens here as to work in more by color blocking that whole bottom section with water color. Maybe I don't need as many marks filling it in as I might have if I were just doing it with pencil. That's something consider. Okay. If you wanted to do a garden, this right here is turning into such a lovely little area. It was not hard to create. We could just do a whole garden. I should just cut that out. And that could be our study of this garden right here. Come on, that's amazing. Now I'm like, oh, now I want to come back and do a garden study of this little rose garden here and just do this whole thing like this. That right there is beautiful. Looks like a totally separate painting than the rest of our painting. But I don't even clip paintings outrageously out there. A lot of times that even if you had other things going on in different areas, they don't necessarily all match each other. I'm okay with that, I'm good with this. Some of those paints still wet, but if the paint dry, we could draw on top of it. Now we're almost there. I feel like I could almost be there with this piece because I like what the bottom is doing. I don't even have to have it do anymore. I like what the tops doing. Got to look at it and decide, do we want to do more? If I look at our inspiration piece, I'm there, I've got more swirlies. Our inspiration piece started out have a lot of fun things going on with the trunk. It's a tiny bit brighter in spaces than maybe I originally intended, but I'm still digging where it went. I almost want to peel the tape, see where we're at. A lot of times you might look at a piece and evaluate it and then think, oh, I need to add some extra areas in there. The little flowers down here is my very favorite. Let's just peel tape and see where we're at. It's just about discovery, seeing what we get versus what was inspired. Oop, I have some running water color. That's all right. That's why I like a big border because then I have some space to do stuff with. I could deckle the edges. That would be pretty, oh, look at that. There's a lot going on there. I really like the way the colored pencil part of this. Turned out that was a nice choice. A little brighter. A little brighter at the top. That's fun, fun fur. That is super fun. I almost want to go ahead and decor the edges, but look how pretty that is. That's actually really pretty. I like the shine that we get in the sun. It was a nice exercise in starting to add pattern and just seeing how we do being inspired by Clem themes, but not necessarily copying a painting that was a fun piece and I'm going to call it done today. The next project I want to do is creating an abstract in your own style, but incorporating some of the things that we've learned throughout class. I hope you enjoy painting something inspired by Clem, maybe a landscape, maybe a flower garden. That flower garden would be really pretty to paint. That's the Italian garden landscape 1913, especially all in pencil. Doing this technique that we did here at the bottom, you could easily do that whole technique here, fill in with pencil, fill in with flowers, and you would have that painting pretty dead on. I hope you enjoyed seeing where we went with the tree. Even though it is a little bit of a hot mess. I do still love it and I can't wait to see what you're creating out of these and I'll see you back in class. 15. Klimt - Tragedy Graphite & Gold: In this project, I want to do two paintings done in our own style of painting. I was really inspired by the charcoal, the dark piece with the gold accents. What is that piece? Let's see what this piece is. That is tragedy finished drawing for allegoriumew foliage 18 97. This is black chalk smudging pencil wash, heightened with gold and white. I already like working in graphite and gold. This speaks to me in a way that I could maybe incorporate some of the graphite and gold in my work. And I can see some lovely patterns here. I like the vine down here that looks like it's a vine with heart shaped leaves. I like the swirls and swirls that we've got going on. I like the different elements in here. And I thought for one piece we could do a graphite and gold piece. And then maybe for the other piece we could do some colors with some pattern. I thought we would just go ahead and do our two piece painting. We could split this video up. That's my intention. Let's do that. That's my intention. For the last two pieces that I want to create, I want to create a piece inspired by the charcoal and the gold, or the graphite in the gold stuff. I'm going to paint an abstract piece in a style that I like using some of these elements here from tragedy in 1997. I want to keep that page in mind, but I also like being able to see a little bit larger drawing of it. I've got both pages here where I can see them. Let's just do that. This is going to be the graphite and gold. And then the next video, we'll paint something with some color. Because that way you're not stuck trying to watch through two whole projects to get to part that you might be interested in. I actually have liquid pencil and graphite and different types of we could paint with gray, we could paint with tinted charcoal. That we could paint with tinted graphite. Let me just pull these out of here. This one is my graphite box. It's different shades. Now what I like about these, I'll probably stick truer to the painting. But what I like about these is there are lots of good colors. Again, I'm not super precious about my books. I don't mind getting anything on them because I like to play and do stuff like this, and I don't get too stuck on what I've got going on. This is graphite also, but I think I Ten charcoal. I've got ten charcoal and graphite. We've got some choices here. I also have liquid pencil. You could just throwing out different ideas here for you. You could also work with dark black inks and water those down in different quantities. I also have up here fluid graphite. I'm just throwing lots of ideas at you to see what you've got and what you might want to work with. I'm going to work with graphite. This might be the original graphite set. There's a newer set, which would be this other set. This is the win graphic set. What I love about the graphic ten set is there's lots of colors. But what they've done is they've now taken out the solid graphite colors. I want the graphite colors. You can do this with charcoal. You can do this with fluid graphite. This is the cura taki fluid graphite, which is a high viscosity graphite material. You could also do it with liquid pencil. I've got some sketch box signature liquid graphite, it's like a liquid pencil. You could also do a project like this with some graphite powder or some graphite water colors. There are the cura taki graphite water colors that are a good choice. Lots of good options here. I really feel like I want to make something that's abstract. I did get that on my paper when I spilled that graphite over. If you get a little bit of graphite where you didn't intend, just take one of these needed artist erasers and that gets that right off your paper. I'm feeling like I want something organic and different shades of gray now that I've got all of this out. Another thing I like about these is they're water soluble. What I might do is start out with a brush. I might start with the fluid graphite, just because it's nice and easy to dip my brush into if I wanted to. Let's just see, I could dip into it and just get something going. Thinking like maybe some organic shape flowing through maybe one of my bubble pieces. The bubble pieces might be fun. Let's do a bubble piece. You could use water soluble graphite pencils for something like this. You don't have to do the project with any of the supplies that I'm using. I'm just pulling from all the, umm, supplies that I have here available to me. But you can certainly use whatever whatever you've got handy feeling like if I do some different little shapes of these, I can come back on top with some of this other graphite and maybe even with some pencil. I'm not doing anything in particular here. I might be touching the bubbles to see if those will spread into each other. But nothing specific, Just organic, odd shaped, maybe maybe we're coming out here on the page. This a way up here, I'll go out of the page with some mark making. Could come back on here with some little marks. I could let it dry and come back on here with pencil. So many options, I want you to just create something in the style that you would normally create. But I want you to also consider creating in the style of clip really like this, but I think I want it to be darker. Come back on here with some pencil graphite, fluid graphite. I really want this one. I want some dark and some light. I'm going to get some water on that and I'm going to get I'm going to get a tissue because that's what's handy. But sometimes I use that was water. I'm going to pull some of this out so that it's lifted back up. How we lift some water color, is that a piece? Let's see. Got a little drop right here, but it's pencils, so it so a then if it doesn't erase your satisfaction, you can go back and mark make on top of that. I really like how light that is. I want to come back and maybe lift some over here. Oh, super cool. All right. So we're going to need to let some of this dry. I just got to decide, am I done with this? I think I am done with this. We're going to start with that now. I think so. Do we want to do some of this on top of that? Because we could look at that. I like it. We've got some drawing on top. Then we can start looking into our clipped stuff and we're going to let this drop, we start looking into our clipped patterns and now I'm thinking, what do we want to do on top of this? I'm going to let this dry, okay? We've got some lovely lines with some swirls on it, and we've got some lovely earring pieces. Let's flip over here, where we can actually see some of those gold details that we could consider using. We've got circles, we've got some diamonds in here. We've got some rope with some little triangles in the rope. We've got the bracelets down here on her arm. I'm already feeling inspired by the circles. Of course any gold pen that you have you could use. I'm going to use the Zig acrylic liner by Kuai. Might be a sketch box exclusive, but it's the same color as the Kuai gold Mica in the Kuretake gold Mica paste. If I were to use these three items in conjunction with each other, they are all the same color. I already want to be inspired by those. I'm also looking here at our pieces that we created earlier from different paintings. And I'm really inspired by the circle and circle and circle pieces. That could be a really super interesting element to add to here and maybe go off the page. Or out of the elements that we've already got also inspired by the vines with the little leaves on it that we got out of one of our pieces. Or the vines with the triangles on each side. Which is the similar feel as that. I'm looking at our guide of pieces that we created. The elements that we might consider using some of these circles. I want to use thin lines. We could also, if you don't feel like you can do some circles the way you want it, then you can use a circle stencil if you wanted to. Almost feeling like lovely thin lines. All right? So I love that, I love that, I love that. Okay, that was a good choice. Then I'm thinking, do we want to do, let's just grab a little sample here. Here's what I'm thinking on this. Now, I could go ahead and add some of our, our little leaves and vines. Look, I could incorporate that feel into our circle here with some dots on each sides of those lines. You can see where I'm being very inspired by what let has done, but not necessarily copying exactly some of these elements. Keep that in mind too, like take the parts that you're feeling really good about and incorporate that into your work. You don't have to take it exactly. You can as an artist say, okay, this is the part I like, how can I change this up for my own work? I love this. Oh, yeah, Yeah, yeah. Some of these elements you're not going to see until they shine in the light or you might not see them. See if we get real close to that. Now you can see that shiny bit in the light. You might not see them either until you get close and take a look and think, oh, what is that element we've got going on there? I do like that like circles with pearls. It's one of my things that I'm already drawn to. This circles with the double pearls on either side of a line, definitely appealing to me there, that's a good choice. I'm thinking with these little circles that we got out of one of our things that we could do a whole bunch of little odd shaped circle bits as a pattern. Just testing that idea out here and seeing what do we think about that. I don't remember what painting we got that out of, but I do remember might have been some of the roses, some of the flower things. And this will be like our gold version of that. But you can see as an exercise in repetition here, how cool that element would look in our piece. I'm definitely liking this pattern. I'm going to pull out my paint stick. This is a paint stick to a five gallon bucket of paint that I got at the art store. I'm going to do some of these odd shaped circle pieces over here. And then I may do it in another place, but I feel like a cluster of those could add to the clustering I've already got going on here. I might just go ahead and do a bunch of shapes, get my idea cemented as to where I want that. And then come back and do the inner rings and dots that those have displayed there, that could just be extra circle detail, More circles in our circles. I like that a lot, thinking down here, we'll just work that idea out as we're working. They're not circles, they're more like ovals. That's what I'm going for there. I'm not trying to get a perfect circle, I like that. That's a yummy choice. Okay. I'm going to go ahead and do that circle in the circle, and then some of those even have a circle in that circle. I'm sticking to true to our color palette that we had there with the gold and the graphite. I love it. A speaking to me there. Then I have another idea. As I'm adding these, I do like dot, there's lots of dots in clips work. So I do feel like we can do some dot work on either side of some of this and really pull that in further. Your goal for this project is to do something graphite or charcoal colored and gold. Keep that to a very monochromatic feel like we are inspired there by the tragedy painting there. Okay, look at that already looking very lovely. I'm going to do some dot work on either side of those. Extend that pattern a little further. I like going outside of the painted elements. I think that's really to let you know that that artwork keeps on going. Just my preference. You do whatever rock your inspiration at the time that you're going to do your own piece like I'm doing. But I do want you to play with this limited color palette. That's pretty pencil to me. Could be very grungy, but I've just really led it up and made it very pretty. I love it. We could, we could do another, something in a gold circle, but not necessarily with a line drawn around it. We could take a circle template. This is just an architectural template from when I was in school. We could take this and do a circle shaped gold element, because these were elongated and clustered. We could do something like that. Wondering what if, let's look at our patterns here. Or even our little piece here. Something like that is really pretty. Just thinking out loud, looking at my different ideas here, we could do one with triangles. That was fun. I really like this circle dot thing that already have some circle dots. This line with the ovals is real fun. And it's a little different than what we've already got going on there. What do you think we do that right here. And then we could extend further out if I see something else that I need to do. But that is more of like some long, ovally, leafy shaped things that are lined up like that. Let's just do that within the shape a circle and see what we think. Oh, look at that. Okay, that was a good choice. I like that. Look at that. Okay. Yum, Yum. Okay. That was a good choice. Now, kind of almost, what do you think? What do we think? Almost? Do we need another one of those, Maybe coming out over here, over here, going off the way. So that like that idea like that it's solid too. Because we could do something different. Doesn't have to be the same. But we could do something a little out here. Maybe we could just do all, maybe we could do this dot. All right. We're going to do these. These right here, little circles with the lines and the dots around it. Let's do that. Okay, I like this pattern, like it feels good. It's looking good. I can see myself using this again again, which is the purpose of a study like this. When into clim work, what can we observe and then take into our own work? He has so many lovely patterns in all his stuff that I definitely want to his stuff for inspiration. Oh, look at that. Than, that's pretty all right. I'm loving it. Do we want to do some little swirls? Do we feel done? I almost feel like the circle element needs to be in a second place. I've got it in that one place, but maybe it needed to be somewhere else. Like perhaps coming in from this side because I've got so much going off the page over here, but nothing really going off the page over here. I could have done this here, Chris cross and what I've already got there. But I'm just using this as an element. I could also, I did like that actually a lot. And we could even do our thought on each side of the line, just tying it into that. Now we could also do pencil. I've just got some graphite pencils and stuff. Let's see, I've just pulled a random one. This is my art graph, six B. I could do some more mark making because remember, part of climps work, like what makes it so amazing is the incredible amount of details and things that he's got going on. Like there's layers and layers. Not every layer is just a solid color. Let's sharpen this. I'm just using a fiber Castile sharpener there. I like it. Get a nice point. Then some of what limps work has in it is like lines. What if we added like a line in this darkness that really you're thinking what's going on there? Can I see something in that darkness? And as you get closer, you're like, oh, there is more detail in there and it's not just a solid color. Yeah, yeah, yeah, yeah. I'm feeling good about that. Look at that. Okay, let's zoom in and see if you can see the little bit of lines that I've added in there. Can we see those? It's very subtle, Beautiful. And I'm going to go ahead and just go ahead and finish filling that in. Then another thing on that tone, on tone color, some of those lines had dots in between them. We could come back in. It might be so subtle that you never see it. And at the same time it might be like, oh, there's another something in there, some dots, doesn't have to be every set. But just again, incorporating another design that we saw in some of his paintings. That might be cool. Oh, yes, see. And I can see them too, so I'm going to zoom in and see. Can you see the little bit of extra line work in that? This is going to be a pretty piece. Okay, so that's super fun. Is there anything else that we want to do? We want to do any swirls. I feel like let's not do swirls. But I could come back with a little extra pencil mark. Just again thinking because even when you're like, am I done? And then you look at clem stuff and you're like, well, he wasn't done quite yet. But I'm feeling good about this. We've used patterns, we gold. We were inspired very heavily by tragedy with the graphite gold colors. I'm feeling good about this. Let's go ahead and peel the tape and see if we're at a good point because I am pretty happy with this and just see what our piece inspired by Clem, but in our own style, has turned out, as I kept my supplies really quite as simple as I possibly could. It's not about using as many supplies as you can. It's about playing and seeing what you can create with this inspiration. Oh, look at that. This is a lovely piece. It isn't the style that I like to make these bubble abstracts that do fun things. It doesn't have to be the style that you create in. But I definitely want you to see if you can get in real close there, do the lines and the extra details in some of your pieces. I want you to be inspired by several of the limped patterns that we created as we were working through our pattern guide. And then working in some type of gold, lovely color palette and inspiration. Hope you enjoy playing in this project where you're just taking inspirations from limped and creating a piece of your own style. I can't wait to see what some of those look like. I definitely share that in the class projects and I'll see you in the next project go. 16. Abstract In Your Style With Klimt Elements: All right, in this project I want to create another piece in my own style, just like we did with the graphite and the gold. But I want to, being inspired by clem patterns and colors and shapes. I'm thinking another abstract piece, maybe using the Kuretake Ganzi tab art Nuvo set. I'm almost thinking I want to be either in these pinks and purpolis or the blues and greens. But I think I'm leaning this way now that I'm looking at it. I've got a painting open here in the book of the Adele block Bower close up. Because I like being able to look and see the patterns pretty big here. And I want to be able to use that, some of these as my inspiration. We've got some swirls, we've got some lines with dots. I really like that right there. I don't think I've used that anywhere so far. I like these triangles. I like the lines that are squared into elongated shapes. Then with some gold fit in, I like the circles with the circles around it that really speaks to me and a style that I use a lot of times when I use pastels. We could do that with pasta pins, we could do that with paint. A whole bunch of good ideas in this painting. I'm going to get started. I'm going to paint here with my colors. Let's just go ahead, this is the colors I want. Maybe that one may, the pinks. I'm just going to activate all in those colors right there. The greens and these pinks and these purples. Now that I've done that, I think I want to start off with this medium purple. Let me move some of our ink side of the way so that those are here with us. Okay, we'll start with this. On this type of abstract, I like coming in from the corners and working my way towards the middle. Not necessarily starting anything right there in the middle. I'm just going to fill the piece with the different colors and opacities that looked the same. Let's come back with this pink here. Maybe we can go down this way. I'm just going for a lovely, intuitively painted abstract. Let's come in with this color. This color is very striking and I like how it adds an extra pop to our pieces. It's like a green gold. And I like it's come in here with some lighter pink. Maybe a lot of times too, I'll start mark making on the paper before I put the paint. But today I didn't do that. I had an idea in my mind of wanting the paint to be on top. That was my thought process there. That's where I went. But if you've got white page paralysis and you're like, oh, I don't want to mess this up, then definitely consider starting with some mark making on the paper to begin with. This was actually a little more elongated even than I have done before. I like that little bit of difference here. Maybe some extra little green pops. I like the way that this water color blooms out. If you put some more water to it, it'll bloom really pretty. That's always fun to test out. I really like where it's at. I'm going to add maybe a little more purple in here. And then I think I'm going to let this dry and then we are going to start doing some yummy marking. I'll be right back. All right, our piece is dry and I want to be inspired by some stuff that we've got going on over here in this painting. I really liked some of the swirl patterns in here. I really liked the circles in the circles. There's lots of colors going on in there. I could do all kinds of good stuff with that. I also like the squares. This is the painting that's got. On the squares and stuff in it we can pull back and look at that painting a little bigger if we need to. It's just right over here. There we go. We've got these squares. Things that we could do. I don't really feel like that's my style. We've got the whole section of the swirls there, that would be really fun. We could incorporate some of the pyramid triangle motif if we wanted to. Like this zigzag pattern that we can see down here at the bottom. I also like the silver lines with the half circles. Now that I'm going a little bigger and can see that thinking maybe that possibly it's almost like it's a double line. We could look at that and say, okay, what do we want to do to draw some of that in? Let's just hit the paper. Sometimes when you're like, I don't know what I want to do, just start talking to the paper or your friend or call a friend or what have you and just go for it, like put the thing down and go. That was rather exciting. I think I'm going to use my gold zig pen again. Pin with your ink, you can use all stuff we could use. I do have some of this si here because these are silver lines. I could be inspired by that. I've got this hero Arts glimmer, metallic silver stuff. Let me just shake it up. Let's see what it looks like when we open it. Okay. Oh, it's a little tip. We maybe let me clean this tip off. I'm glad I looked at that. Squeeze what's in the bottle. Out of the bottle out of the Dauber there and then just see it's thick. I could do that with a paint brush. I don't feel like I can do it necessarily with that tip. Maybe I could, but I'm not feeling it because it is thick. It is very thick inside. That one might be a little bit dry. I also have a speed ball ink in silver. I also have a Katie in silver. Just giving you a lot of options here. You have to shake these up. You can use acrylic paint too. There's plenty of that. I like just throwing out some options for you. I think I'm going to use the silver and maybe a dip pin, this is just a regular dip pin, this is just silver in you could use whatever's handy to where you are and we could just get it started and be like, okay, do we like that? Is that what we were thinking tested out? I do like that. It's got a nice shine to it, so it could be what we're thinking, it fits in with what we got going on there. Which, what we could even do, something like a woody. I got a silver woody. See, I'm just throwing lots of, oh you know what, Maybe we should just do the Woody. Silver looks good too. Or silver pencil if you've, now that I've pulled all that out, thinking the Woody, let's just clean our dip pen back off. I know I just went several directions on you, but that's what creating art is all about. Making these decisions. Looking at what you've got, deciding is this the thing that's going to work for this painting? Oh, yeah. Yeah. See, okay, good choice. Sometimes you just reason it out. These do look double line in the painting. You can tell it's more than one line in there. I like that extra detail and that it was something super easy that we could use. Then it also has in here some half circle shapes with the line through it. Some of that is on top of gold squares. Now that I'm looking a little closer at that, it's all on top of gold squares. Now that we've done that, we could do some gold squares. I have the mica paste. Let's just get this out here. This is just my favorite gold use. Any gold you have, you can use the gold sheet that I gave you to pick one out that you like in your projects and resources. I did. I gave you a PDF with my gold sampling of the different golds you can pick which one you like. Okay, I'm just putting this on with the Princeton select flat shader number eight. And look at that, It made a really good square. Let's just go for it and then we can let that square dry. And then we can draw on top of it. That's fun shape that I've never used in any of my work. I'm glad that we're giving it a little go today and just seeing what we get. I'm not trying to be perfect, didn't have to be perfect little squares, I'm just playing and just looking at it. And some of these are doubled on top of each other where they've got different patterns in there. I'm going to come back on these and double sum up and we can put a different pattern in each of those. This is getting, as you look at these and you make these decisions, it's exciting, it's like, oh, I love that. Or ooh, that's fun. I've never done this before. Can't feeling good about that. Okay. I'm going to let that dry and we will come back into this and add some other stuff. I'm almost wondering, do I need another one right here. Y as you're thinking it. Put that brush down and just do it. Save yourself from the stress of wondering, do I like it, do I not like it? Okay, now I'm almost thinking some cluster of something because I want to use some more of his ideas. Let's just draw this, let me finish one idea. Mentally dry those. If we look here, it's just half circles, two halves of a circle. That might be one thing that I include here. Let's just do, it might not be 100% dry, but I'm using my bold pencil and it's doing pretty good. Look at that. Yes, Yes. Okay. So I do like that. I like that good stuff. Okay. I love that. Okay, That's fine. So let's look and see what other stuff we have going on in here now. I have some swirls and some stuff. That's thing we could do that. I've got that PBO, the PBO Cern relief. This is that one. This is the one where it's got the raised. Let's see, What color is this? This is the rich gold. It is very thick. I've had this a while. You got to push, it might be clogged a little bit. Let's see if we stick a sharp thing down in there, we can clear that out. There we go. I felt there we go. Maybe that will clear out the clog then I just clean that off. Definitely worth practicing a little bit before you move on to your actual piece. Because what I want to do is maybe make a little bit of some raised pattern on here. I can see it's raised, maybe I can get some raised pattern. All right, so now that we've done a little bit of practice work, let's just do it. I almost want it even finer but that's okay. I've got like a different color came out. All right, Where's my paint brush now? I can see a little under color came out of that. Let me just make that back fresh. There we go. Sometimes you got to get these things started and going. There we go. That's going okay. Now we've got let's go up here, some little o with a dot and a dot. Oh, yeah. Yeah, Yeah. Okay, there we go. And a dot. That's this little piece here I'm in, that it's going to be raised, it's a little bit different colors. You're definitely going to be able to see it. Super fun. Then we could do that in the little swirl, because some of these are swirled. I can see the swirly bit in there. Maybe I want this one here to be swirled. So good then it's almost to like some of this is a paste you've dragged through. But that's okay. We're going to do one with some lines, because there is one with some lines right here. Maybe, maybe we'll do the lines on this one. And it's just an element. And then we'll put the lid back on. It's just an element that's going to be three dimensional. I'm going to have to be very careful. That was discern relief by PBO. You could do that with two different colors of paint. Doesn't have to be something that's raised like that. Just a fun element that I've not really done before. You can see I like that little difference that we get there. Now I've got to be real careful not to put my hand on that. Let me see if I can dry it a little bit, then let's see what else we can be inspired by. I like the swirls. I like a lot of the pattern that we see in Cles work. I'm almost thinking if I pull out, because I'm already going to be working with some pastels. I feel it, feel it in my bones. What if I work with a little bit of pastel pencil? I've got my carbonthlostabilopencils over here. I like those because they are just a nice set working with pastel like you do pastel drawing and stuff. It's just a really nice set with lots of colors. In this case might give me some interesting marks and stuff as I'm getting into maybe some of this area because a lot of clips paintings, there's like no solid painted anything. I almost feel like I could get away with adding some pattern in my pattern, maybe in a light color. So it's not like overly done, but maybe we can. Oh, there we go. I'm feeling that this is in the idea of clem, but maybe a mark that I like and I'm feeling in areas of the painting so that it's not just plain. What about that? Then, of course, if I'm using soft pastels, this is a pastel even though it's in a pencil form. Then I'm going to finish it with a fixative spray, like I've got the soft pastels. I'll finish the soft layer with the soft pastel fixative just to set it. Then if I do oil pastels, I will then do a layer of the oil pastel five, this will make the oil pastels firm up and you don't have to use anything at all that I'm I'm just giving you some ideas as we're painting, how I handle some of the obstacles that I know people are going to ask like, oh, I don't like pastels or if I use pastels, do you fix it? But you don't have to use anything I'm using. The purpose of this project is to create in your own style. Bringing some of the climped ideas that we have studied all through class into your own work. And I know that clip does no really solid colors. And bringing in a mark that might be mine, but in the style of repeated patterns really fits in with the way that Clint worked. And I feel like I'm bringing some of those ideas into my own work by using some of his motifs and some of my motifs and some of his ideas of filling in all the space with something. Okay, I like that, that looks like a pretty skirt with some pattern on it. I do have my paint stick out here so I can make sure as I'm working in the wrong direction, I can have something to put my hand on. This is a five gallon bucket of paint stir stick from the paint store. I'm really loving what I've got going there. I almost wondering if I had another color in here. I can't really see that, so that's okay. What about this yummy mustard fills in a little bit of a gold look. But yes, this definitely one good one, just another element. Because remember, limps paintings are like patterns on patterns on patterns. It's not even like just one single pattern. Sometimes I'm liking that good one, good one. Okay, so this was such a lovely color, I can't read what it even says on it. So these are part of the Stapillo colors in a lovely like lavender and gold. I can't read what was on the side of the pen though. Okay. I feel like that corner is done out of all of it. That's a good one. What else do I want to do, feeling like we could separate this in two different patterns just to give ourselves something fun? I don't know, Just thinking here, I almost feel like I need to bring that silver and that back up here somewhere. If we come back with the oval flower looking things, let's just see. Just put the pen down and commit. Now I'm getting inspired by hoping those are, oh good. I didn't want to mess up my raised parts, but I'm being inspired by the circles here. We're just going to draw into these. Then I might come back and do these as different colors or maybe not, we're just getting our bearings here. Okay, now I'm just going to come in and fill circles in. I could do that with the pastel pencils. As I throw some pencils down on the floor, I could pull some pastel colors in. I could also do it with oil pastels, which I'm feeling I've got Mongo oil pastels. I like this set because there's so many colors and it's not super expensive compared to some of the other ones. Or I could just do woodies. Just, again, throwing lots of ideas. I know we're all over the place, but sometimes when you're creating, maybe we'll just stick with woodies. I do feel oil pastels coming though, but I want to feel some circles in. Don't necessarily have to have anything specific, but there's lots of colors in there Now, spitballing ideas with you and taking you wherever my brain is thinking at that moment. This is gold. This was a pink. You can see how I'm taking his idea, but maybe slightly different. Making it my own, doing a little different doesn't all have to be exactly identical to his. But you can definitely see where that inspiration came from and then decide how can I take that into my work. Oh yeah, I like the woodies. Let's do the woodies purple. I'm just pulling out colors that goes with our color palette. This is more of a intuitive painting that we're doing today. We're just going where it feels good, even though I'm throwing lots of ideas out at you and telling you some of my favorite supplies in the end, maybe we'll use them and maybe we don't. It's just about play and discovery, and seeing what it is that we like as we're creating and ideas come to us. Ooh, I like those. Okay. Those are super fun. Almost feel like there needs to be maybe some. I'm thinking here, I almost wanting you might have gone, who would you just do? But I like some big marks too. I don't want it to just be little things getting stuck there. See now, there we go. Now I feel good about that. You might not have liked that, might not have felt as good to you. But I do like where that went to, pulled out some other movement and pattern for me. Now I'm just looking at it, thinking what else do I need? I like white dots. Even though that's not specifically climped, He does these lovely circly things. I almost feel like I could top that off with white dots. This is punchinella, which is sequin waste. I found some of this on Etsy. I've seen it rolls on Amazon. There's also some stencils that look like Punchinella. If you Google Punchinella stencils, there are a few that come up. I'm feeling like I want to do that as one of my own elements. And this is just white paint. I want to pull some white back. This is heavy body Liquitex, titanium white. I like it because it's not supposed to be see through. I just put this on with an artist sponge. I have these little round sponges that I've just cut into quarters and I just keep them over here. And that's what I'm going to put this on with. And I'm feeling like we need some organic white dots. I don't ever do like edged edge. I fill in and do it where it just feels good. The. What's underneath shows through. That's okay. I'm not being super picky here, I am just organically going there. See, there we go. That's what I wanted. You can do that in gold. You'll see me do that in gold a lot. Let's overlap what's over here. Oh yeah. Feeling good about that. Okay. There's one of my own layers that I would have done, inspired by Clem, but not necessarily something that he would have done or had access to. Let's put these woodies up here thinking what could we do on top of that? Now I'm still looking and thinking, let me grab a Posca pen. Maybe we want some lovely little dots. I'm all about little dots and we've got plenty of reference photos in our Clint paintings where he has some dots and do motifs. I feel like we're still within our inspiration of Clint. All right, now you see we're building pattern on top of pattern and bringing in other elements. I like that. Now let me just think for a moment about where I want to go from here. I'm going to be right back as I kind of study this for a moment, are we are not done? Would I rather cut a piece out of this? Do I want to turn it around and go other directions? Oh, look at that now. That's fun coming in from that way. I'm, if I actually cut this down further, I'm all about cutting up my artwork. If I'm creating and I'm like, I don't know, I almost feel like I want to cut this up and then see if it needs any more embellishment. I really like it this way. Let's peel the tape. Let's do this. Let's peel the tape, then I'm going to see, let's just see where it's at. Sometimes you need to peel the tape and evaluate the. You can always keep adding to it. You could retape it back down sometimes if you're not sure where to go or if you like it live with it for a while, actually like it like that. Look at that. I like it. I do. But I do want to, in the spirit of checking it out, I'm going to get out some of my little frames. Got several of these. And we can just look and see, do I like this bit right here? I'm feeling that right there. I like the way things move through. I can check out the composition, I can move stuff around and see, do I like this better, Liking that too. This would be the perfect project if you did a great big sheet with all these elements and then came back in and cut pieces up. I'm really filling this right here. Then even I can see doing a little pastel mark making on top of that to finish it off. Let's see, now that right there, oh, now maybe I just like it cut in half. See, that's just not very exciting. I haven't got enough going on over there. I've definitely got plenty going on right there. I could come back now with the pastels if I wanted so many choices. I feel like this one right here might be the piece for today though. I'm actually cut that. I'm cut in half because I like that. I think I'm going to cut this in half. Just grab our cutter. Let's see this, nine by 12. So if I cut that in half, I am using the Namule paper still. If I didn't mention that and needed these videos, I just used half a sheet of that on both of these projects of my own style. Definitely like that right there. See now we could look at that framed out, loving that right there I am loving that right there. I'm going to go ahead and cut the white off of this. Since I did that, then it'll be ready to frame up into a frame if you wanted. Okay, that is super cool. I'm going to go ahead and cut this out of its white also. And I might finish it with something else. We'll see. Like I could now that I know that I like the way that I've got on this one that I cut that in half. Not really. I didn't measure that out very good. I could because I like those lines in the gold squares. On that one, I could come back here and add some lines. I could do some gold squares. I could make it match. I could just come back on this one with some gold work. Now that we've cut those out, we could be inspired with our gold pen. Now that I've thought of that, I feel like that's a go. Now I'm, what am I thinking? Do I want swirls? I could do swirls or I could do circles. I do like circles, thinking circles. Let's just come here. Going off the board, let me get some more gold paint. Going here on this pin, maybe our little double line of gold like we did on that graphite gold piece. I'm feeling pretty good about that. Maybe we can even do some gold work over here, because this is the stuff that's going to shimmer in the light. That's super fun. I almost feel like I can do one more element on top of this. I'm going to come back here to the Ngos and look at this and say, okay, how about this color? See, now that's a fun element there. That was a crazy bright yellow. But I am feeling it, I feel like we're still pulling in the gold dish. But it's not necessarily like gold. That was super fun actually. I do like that and I've got some pink. I could come back in with some pink a little bit, but I don't know. I f like I like where that went. It was very similar to these squares I did that. I feel like at the moment I feel like for the moment we're done. Okay, that finish that off for me. Okay, Today's project and you just never know where you're going to end up unless you're very specific in the way that you create and consistent. But I like to create very organically today's project. I pulled different elements out of limps paintings, especially this portrait of Adele Bloch Bauer with these lines and these circle motifs and the gold. And just some different elements that we've noticed with the raised gold on gold. And just played to see what could we create in our own style of work and using clipped elements, what can we get? That was actually a fun project. I can't wait to see what your abstracts end up looking like. Definitely come back and share those and I'll see you back in class. 17. Final Thoughts: As we wrap up our artistic escapade into the world of Gustav Klemp. I'm buzzing with excitement about the fantastic journey that we've taken together from decoding his patterns, to infusing his essence into our own creations. It's been a blast exploring the nuances of Klemp's genius. Remember, art is all about the journey, not just the destination. So whether you're rocking your own version of a clipped inspired masterpiece or weaving elements into your signature style, you've added a splash of clipped magic to your artistic repertoire. Keep creating, keep experimenting. And most importantly, have fun with your new found insights and until our brushes meet again, happy creating.