Transcripts
1. Welcome!: Hello and welcome to this
class where we learn to create two different
abstract landscapes in a loose impressionist style. I created this class in celebration of the
International Women's Day. And so I chose to landscapes. I love painting landscapes
with two free-spirited women expressing liberation
in the midst of a vast and abundant field. Hi, my name is Douglas Street. I am an artistic soul with
a passion for teaching art. I have been teaching
acrylic paintings professionally since 2016 after quitting my corporate IT professional to pursue
my passion in art. I create acrylic painting
tutorials inspired by nature that are easy to understand and apply
by any beginner. If you want to know
more about me, please visit my website. They illustrate the art.com
and then hit onto Who am I. You can also follow me along
on Instagram or Facebook. This class is
beginner friendly and the step-by-step approach
can be followed by anyone and everyone
in this class. I share with you all my
tips and techniques to paint in a loose way
with bold brushstrokes. I'll start by showing
you all the art supplies and then we learn to
create both the paintings. First, we will start with
covering the background. Then in the next step, we will add some more layers and brush marks
to the paintings. And in the final step, we will paint the figures in a very abstract way without getting into too
much of details. I hope you're excited by now to learn both these paintings. Do not worry if you're
new to acrylics, I'm here to guide
you along the way. All you need is your
canvas, acrylic colors. You're interested in art and your time to
dedicate to this class. I look forward to seeing
you inside the class and create these two beautiful
paintings together.
2. Art Supplies: Glad you decided to
join me in this class. Now, I will see you all the art supplies
that you need for creating this painting. So nothing too much, just, just a few regulatory stuff for creating any acrylic paintings. So I just wanted to
start by quickly showing you the picture that
I got from pixels. And to celebrate
the Women's Day, I decided to create a painting
with a woman figure in it. So normally as you know, I don't really create a lot
of figures in my paintings. So I chose mine. We test mode of
landscape around it and then just run a film. But I don't think I'm going
to keep this figure like as big you see in
the photograph. Maybe I'm going to reduce. It. May be like this much. So I have taken a, A5 paper, but I think I'm going to create
it in a Polaroid form. So I will keep some space at the bottom to write some
woman state message. I think that would be fantastic to create it for the moments these patients get any regular
surface that you have. This is a pretty peak. So it almost like a cardboard kind of thing.
You know, it's pretty big. And I have a few brushes
that I'm going to use. Three plaid brushes. I'm not sure if I'll
use all three of them and I have
to round brushes. So we'll see as we go how, how to use each
brush, when to use. Again, I'll come into
actually colors. We are going to use
few basic colors, as you already know by now, if you've taken my other
classes that I don't really take too many
different shades of colors, just the basic regular ones. And then I create the colors
as I go ahead with it. So for this class, I am going to be using
Prussian blue, green, yellow, and black
and white and red. So I might be creating, as you can see in this picture, there is some violet
over here, right? So all this violet color I'm going to be
creating using mixing blue and red and even the
lighter tone of blue over here that you see I will create
by mixing blue and white. So you will see the different shades of colors that you see in this photograph coming up from mixing just
these few basic color. So I have only six colors
to go for this class. Okay, So let me start by
taking out the colors. I'm not taking up too much color to begin with
because as you know, I feel like paints
and dry pretty fast. And I will take out more as
and when I require more. But as of now, just this much is good
enough. I failed. And also one more thing. I am going to create
this painting in a loose impressionist
style of which I feel is really good because it
gives the viewer some gaps. So we're not going to create
it in very realistic style. So the mean, I like
creating paintings in lose impressionist
style is because when a viewer is looking
at your painting, it gives them some gap
in the painting to think through because you're not
painting everything for them. I made a mess. Just give me a second. This is why it's good to
keep some tissue paper handy because you never know when you actually
work with acrylics, what happens with meat? Kind of used to it. Okay, I got a little bit of
paint online. People also. It's good that I
haven't started yet. I am just going
to turn it upside the home and paint on this side. Yeah, So as I was saying, it's good to have who to do impressionist
style because you know, it gives you a viewers, a little bit of space
to pink to white. They are looking at your
painting rather than giving them all the details that
is possible to see, which is, what is a
realistic painting. Okay, and I go to my
masking tape here, which I am going to tape too. So taping though, masking tape
or polarity is important. I'm sure you know
already how to do it, but let me quickly show it. You go. I have taped on all
the four sides, as you can see on the bottom, I have I have kept quiet a
huge amount of whitespace. So you will see once the painting is done and
once I take off the tape, how beautiful it looks, okay, and a couple
of more things that you need for painting is obviously a glass palette
and a glass of water. And of course, good
fuel tissue papers handy to clean off
your brushes as we go. I'm just going to click it here. Okay.
3. Painting 1 - Block the background: Now let's start by
sketching out the figure. I'm not going into
all the details of painting the figure right now because it's all
going to be colored and, and then we are ready to
come back and do it later. So at the moment, I'm just outlining the
shape of the lady on this. This is how hand is going. This is where the other hand is. Pretty much, I know
where the thing is, and I am creating the
horizontal lines. Sunday away here. That's it. We are good to go. Now. Like I said, it's not going
to paint the lady in detail. And anyways, it's going
to be colored off. Let's start painting. I'm starting with the biggest
flat brush that I have. A lot of white. Like I said, we are doing it in a loose impressionist style. So I'm going to create
big bold brush strokes. Mixing up a bit
of Prussian blue. You see I'm taking really
slow steps in filling up the sky and not getting
into detailing at all. Fresh blue sky color, but not smooth blend. You want all of your
brushstrokes to read, Isabel? Actually, I'm not even following
the photograph as it is. I'm kind of filling it
up the way I want to. Just adding a few
strokes here and there. Look at how I am twisting my
brushes and grab my brush and giving all different
sorts of strokes. I'm not really following
one particular direction. Here. I'm trying to
create a few clouds in loose impressionist way. I think that's good as of now. I'm going to leave it at
that maybe later I will visit and create
some more stuff. But yeah, this is good to
go for the time being. Now, we dumped the
washing my brush because I have quite a bit of blue and white in my
brush as you can see, right? All I'm doing is
okay, you know what, I'm going to cover it up and later anyways,
we're going to do it. I am taking a bit of
yellow on the same brush and blocking the color
of the field as well. So mixing yellow
and black to give me the nice olive green color. Again, I'm using very
loose brush strokes and I am taking off the
beetle, brown as well. Just want to lighten the background a bit
more suggest starting. I'm catching up with beautiful
yellow and white. So dark. And I love how you can see all the brushstrokes
that are happening here. And with that, our first step of blocking the whole
canvas is done. I think I am going to
fill it up here as well, where the woman is
going to be standing. And like I said, we will create the
whole woman again, once again on top of it. So the host field is done. So now we move on
to the next step.
4. Painting 1 - Add a second layer of texturing in the field: Next step, I am taking
this round brush. As you can see, it's not
a very pointed brush and it's kind of a
little blank brush. And that would be useful for creating all the blurry shapes that we want to add all around. Okay? If you feel
you are not able to manage a blurring brush
or if you don't have one, just use a regular round
brush that should be fine. Now I'm going to add some of the details are on
the background, not in a very realistic way. So what I'm going to do is mix up a beetle
that's a too much of black and blue and green. So it's a mix of
all these colors. And I would like to name
it by adding more white. And I'm going to go
very loosely and add some of the details
on the background. And taking a bit of
green and yellow to it. There are a few
greens at the back. Now slowly, I'm coming down
to match this with the field. So I'm adding more of yellow on the same brush
without even washing it. And adding a few random
strokes here and there. Now see, if you see the picture, the grasses are pointed
in vertical direction. So what I'm going to
do is with this brush, I am going to create some
of these graphs like this. Very less paint on my brush. I am picking up modals. White. Okay, that's a bit dark, so I'm just wipe off the excess. And remember, we don't want to cover up the background we have
done in the previous step. So we're not going to
cover up all of it, but keeping that in mind, we're going to add
a few colors in the background, playing
around with it. Taking a bit of yellow
and brown mixed up. I need more white. Okay. If you feel not sure what is happening
at this point, do not worry, just
keep following and we'll see where we enlarge. The distinct we are. I am going to add more white. The closer you are, it's
going to be more of dark. Okay. Num one small thing that
I'm going to show you is any name that you have. And very gently, I'm
going to add a bit of note that the color on
the age of the night and We're going to just give a few scratch marks on
the painting to show. So I'm mixing white and
all these green, brown, yellow mix color, adding a
few of this vertical lines. So what you do is
you mix up the color here and then pick up as much you can only
on the age of the life. Okay. And then you come
here, you have to probably pick it up multiple times because you want
people to pick up a lot. Because the age is really small. Over here I'm using
the complete back of the knife towards the bottom of the painting near this area. And how are you going? I'm using the age. As you can see, the stop, the textures that you're
getting with a knife is always better than the textures that you get with the brush. So it's good to start off with the brush because you know
how much to go where, and then as you progress gradually start
switching to the ninth. This is the reason I
have kept 23 layers of textures as masking tape you all because I did not want
it to come to mind. White area. All I'm doing here, giving a
bit of textures like this. I added just below
him brown yard. Because I'm trying to play
around with the colors. As you can see in the picture. Sure, It's kind of dark. So that is what we
are doing here. And adding a touch
of black as well. Black is very important. So you can see how
I'm developing gradually color after color, stroke up the stroke. And I'm just creating a few scratches through
the colors that I added. So these are becoming
my final gloss. Isn't that lovely? It's actually when you create such impressionist
style paintings, you don't really know what's going to
happen after sometime because it's all happy accidents happening one after another. And you just have to
go with the flow, just enjoy the process. I'm doing so many
things as you can see. After adding those lines, the monks scratching months, I'm adding a touch
of white through it, but I'm not going
to add too much of y because I am going to add the flowers very soon. But I feel this is giving
a really good idea of the glasses in
the field, right? Again, remember we're not
trying to create realistic, so don't worry too much about if it is not exactly
as the other photograph. Try to use few of
your own extra masks. Also, what I'm going to
do here is add a few of those on the distant am just
adding a bit of yellow. Consider this as kind of
guideline on how to go about creating realistic, sorry,
impressionist landscape. Follow my guidance and
then you can actually, however you feel guided, you can go along with it. So I felt see even if you don't see really too much of
yellow in the photograph, I felt like adding a bit
of yellow over there. So you have two instinct. Typically. Use your mind. Use your heart is you use your intuition to
see what's asking, what is it asking you to do? So go for that. It's not always going to be asked
for what you will see. Okay? So this is a good second
layer for this painting. So as of now it looks
a bit messy, I know, but trust me, it's going to
be all fine in some time. It's just I'm just
making sure that all the Hs are completely fine. Once we take off
the masking tape. Now we're going to let it dry before moving on
to the next step.
5. Painting 1 - Paint the Woman figure: Now in the next
step, I am going to, I got my Darwin's painful. So it's a set of
pencils that I had. Now I'm going to roughly
sketch out the woman. Okay, So again, this is a
very, very rough sketch. And again, I'm not going
to make it too big. So my, my plan is to keep the figure from
here to here. Okay? So string do create that same sketch I
did at the beginning. So it was kind of like
a practice for me. So that's denote this time
I can do with a little bit better or I know how it
is going to come up, see if you've done something wrong if
and just wipe it off. It's a fever. Okay. I think I've pretty much got
the flow of the trace here. And here is where
the head is coming. This is what the hand is. This is where the other
hand is some flour. So we will get to paint all the flowers in a short while after
creating the figure. I think the figure is done. Now. I will start with
this small brush. Now watch it how I'm doing it. I will start with, okay, I need a read before I start. I am using mostly white fast. As you can see, I'm
starting with the hat. So it's almost like creating the hole woman
with white first. And then gradually
we will go and add all the other colors. Now, I am not going
to be too particular about creating it in a very
realistic way, like I said. So I am just going
to go very loose, not defining the hand and everything you not
really proper way. This is the skin. This is for her dress gums, which is why each already. So I won't have
to do much there. You see, I'm picking up
little thick layer of white so that the moment I am adding
the color on the canvas, It's taking up the shape of the paint to create
the picture for me. I'm picking up quite a bit of paint till this is where
her dress is coming right? Then I am just
shifting the paint alone to create a trustful. So I feel that race
is already done. But we'll see later if we want to change something into it. And then here or here is the lake. Okay, that's it. We're not going to define the
bottom of the feet anymore. And this is where
her hand is coming. And that's the hat. So I think it's
pretty much done. Now. Before it completely dries off, I am going to add some of
the colors very softly, very gently, not getting
into too much details. For the skin color. I'm mixing white and
a beetle, brown here. Okay. Adding this green color. Maybe just a bit more brown. So I am adding with the Brown, I'm adding a bit of shadows. So I think that's done. And the DRI spot, I'm just adding a bit
of brown patch up here. Okay, and that is done. Now. Same brush, I'm not really
white washing off the brush. I am keeping. Watch it because I don't want so much of
brown coming here. I am going to mix
a bit of white and black to create some
Greece. Greek Hello. Here is my gray. I'm adding a few of the colors over here. Same thing. I'm adding just a bit of play in the Pakistan to show
the light and shadow. All right, so that's done. Now. I would create the hair
mixing brown and black. And you see she has a bit of red tone also
in the head over there. And then bringing
it down to here.
6. Painting 1 - The Flowers: And now we're going to
paint all the flowers and the flowers in her hair and everything that we will
not do with the brush. Now I'm going to use my knife again, which Washington kept. So I am going to
mix a color with my brush and then use
my knife to use it. So I'm mixing it teal, blue and red, white. So you see I got all the shadows over here, shades of purple. So this is a little
bit of darker one. This is the light one. Let's start by adding
the headphones. So you see there a lot of red flowers along
with trade and we'll do mix a bit of white also. Remember the distance. They are a smaller they are. If you've taken my
value of flower class, you will know what
I'm talking about. So over there, I teach you guys to create value of flowers with
a lot of flowers. I'm going to mix a bit
of yellow and submit it. And I am going to add
some weight as well. So you probably don't see
white flowers in the picture. But who says I found add white? Now I'm going to add some of
this purple that I mixed, mostly coming from her hand. Could you show the same color? I'm going to add your own. The yellow over. Sure, I can just replace it with
a bit of green. Okay. Now, let us add a
bit more of white, white, red, and mix whatever
color I feel like adding. I'm just adding a few more. So I am adding a touch
of pink with it. It's not like I want to
keep it absolutely white. And I'm adding it in a very loose weight
rather than trying to create absolutely
realistic flowers. So more down and coming
on the painting, I am adding more white. So you see what I'm adding? So what I'm doing is using the back of the neck completely and faint of roughly
that you need us office. And let me take a bit
of purple and mix it up and use some of the purple
tones here as well. So at a building as an calm
when I am going to it, there is no particular
idea that I have in mind. I just falling the
photograph to start with, but now I am pretty much
moving in my own direction. I like the journal
of poeple actually. So I'm adding more of it. You can see how less paint
and picking up every time. Now, the final thing
that I want to do is just see all the
flowers are done. I'm just going to use my
knife to go through it so that they all look connected
with the backdrop. So just I didn't get married off because strokes with
a bit of white in it. Going on top of her
dress also to add a few flowers to
make it locally. I think that's going to make it look nice and kind
of blended in. That's the oil. I think
I want to add a few more of this light pink
color on her head. I think that's fantastic. I'll just make these flowers
also a little bit more. So I'm using the back of the knife to add
some more dabbing. Again, remember, we are not
trying to create a realistic, you're not going to define
all of these anymore. And I think that's done. We don't want to create
too much into it. What I'm going to do is take off the tape now and I'll
see if I feel like adding anything more
to it. I can do it. Okay. Just before I take it off, I think I want to add a bit of white with a
knife in the sky, or should I just
leave it as it is? I think let's flip it.
Let's take it off. There you go. I think
it looks fantastic. I loved the loose
impressionist style that I have tried doing here. I think on the trace, I just want to add a few
final marks with the brush. And the heroes of which
make it a bit more pinkish. And that's done. I really loved the Polaroid look that speeding is giving because
of this broad space here. I hope you enjoyed creating
this painting along with me. Thank you so much.
7. Painting 2 - Cover the background: Let us start with
our second project. Here is the photograph. It's actually it was a
landscape photograph, but that's just cropped it on
the side broadly to square so that I can be entered
in this amount of size. Okay, so again, I have
pasted mine if I achieved onto my board in the exact same fashion as
we did in project one. Something different. Let's talk about the brushes and the colors that we're
going to be using. I have kept exactly
the same brushes that I had taken out
in the previous step, three of my flat brushes
and two small brushes. Nothing different.
I don't think we will be needing the
knife in this project, but I'll still keep it aside. So all I have done,
I have cleaned up the last pallet and change
the water into clean water. And that's all. The colors are also going
to be pretty much the same. So I will start taking out while I'm talking about
the colors required. The first color is blue. I am using Prussian blue. Feel, feel free to
use some other color. As in cobalt blue
or ultramarine, whatever blue you
have, any Lewis fine. Next, the most dominant color in this painting is
green, dark green. So I'm taking it
out quite a bit. And one more color is yellow. Now, we're not going
to use too much except the girl's dress to
touch a little bit to make it appear like pink. So it's kind of like pink color. But we are going to do the goal in a very
impressionistic way. We're not going to get into
the detailing of the lady. We will just add a
little touch of pink. I think that will make
the painting look really vibrant against this blue
and green background. I think these are good
to go to start with, and I will take out a
little bit of brown. Okay, so that's all I'm keeping it so that you can also have a look at
it while I'm painting. I'm starting with my flat brush. Before actually starting
with my flat brush, let me just quickly do a
little bit of sketching. So this is some poison. This is where the
mountain is becoming. Smaller heel. This is a distinct mountain. That's it. See, just a few lines and your basic sketch is done. Okay, now rather than using this biggest flat brush
that I've taken out, which is number eight. I think I am going to use a
smaller flat brush this time. So that way I can
just move around and play with it a bit more. This is size two. Actually, I'm thinking if
I should use size four, so this is the size for okay, So I'm going ahead with size
four brush, flat brush. Starting off with two
white and a blank. What is happening when I'm using size four and not size age. The one that I used
in project one is that with a with a big brush
with just one or two stroke, my entire sky was done. I could not make as many
mosques I wanted to make. Now this time I can make a couple of more months
because my brushes small, so I have to go
over it a couple of times to get the color. So again, I am mixing
up the blue and the white and creating couple
of strokes like this. I'm able to make so
many more strokes this time because my
brush is smaller. So you see you are
getting to understand how just a little change in brush actually gives you so much
difference in your painting. Now, again, it really
depends person to person. If you feel those
big flat strokes or what wives with you, by all means go
for a flat brush. It's not like I don't like it, but I just want you to
try something else. This time we're doing
the second one. And I want you to
see if I like it and I think I quite like it. See the broken lines. I love them. Okay. So very loose,
impressionist way. You didn't look
laws or anything. As you can see in the picture. It's pretty much fully
in one solid color. But we are not
keeping it like that. Instead, we are adding so
many nice brushstrokes. Okay, that's all for the sky. Let's say in this
tape we are going to block out the entire canvas. Let's lock it all out. So I am going to come to this middle section
a little later, but we block out the
bottom section first. Actually, you know what, it's easier to do it with a, with a bigger flat flush
so that you can cover up quickly for more than the speed. What I'm looking at is an
impressionist style painting is having more marks. So that is what I'm
more focused on. So again, you can see
I'm just going on one place just once,
not even twice. All I'm trying to do is my
focus is on covering up the whole Canvas in
the fastest, easiest. Kind of blocking it up. Mixing a bit of brown as we go. See my hook and
practices covered. And I think that a little
bit of white moths I can see just the distinct area. I am trying to make
it a little lighter. Always, the bottom is dukkha, the district area is lighter. So that is all I'm
trying to do now. Just a few strokes here. See again, once it is done, we're going to come back here and we are going
to do them nicely. But see in the
first truck itself, it just looks so good with all the brushstrokes
being visible right? Now. Before moving on to
the green over here, what I'm going to do is I'm just adding whatever
leftover color. This is how I don't waste color. I'm just adding the excess
color that I had over here. Now, I'm going to do this
distant mountain first, and then I'll come back here
and I'll add the colors. To do that distant
mountain color. What I'm doing is
I'm taking blue, white and see, because I
already had a bit of green. It's already coming up so I don't even have to
take out some green. So remember again, this is
just blocking of color. Leader with a small brush, we are going to go and add some more of the details
and the colors. So this is pretty much like green, blue mix color even saved. You know, why not right now, while we're coloring this area, I'm just going to
add a bit of white to make the texture to make the mountain look
like mountains. So let me just finish the border line once again because I'm
trying to do it nicely. Okay, Then now just a bit of white on the same brush,
not changing anything. Just add, you know, how easy it is to be able to create such
beautiful textures. Just have less paint on your
brush and you're good to go. See how lovely the
mountain is looking. Alright, next, before moving on to this green area at
the front green portion, what I'm gonna do
is I'm going to add this small green
area that you see, a yellowish green on this side. So it's very vibrant. Green. I'm adding this mode
of like yellow. I'm adding it to very
loosely, very, very loose. I'm not really getting into
any details over here, just adding the color. And with quite a bit of yellow, I'm just adding few dabs
of paint on this area. Okay. That's it. That now On the same I know
I'm going a little bit fast, so feel free to pause it
in-between and watch it. And then on the same brush, I am picking up diagram
and see what I'm doing. I'm kind of being in teal. See I'm not creating one
smooth outline, right? Okay, and I'm going to take
out some black as well. I'm kind of taking
it in an uneven way. I'm doing the pretty
much blocking area with this small brush size for taking a bit of black
in this bottom line. And basically what I'm
doing is with the, with the small age
of this flat brush, I am creating kinda
small strokes. That's all I'm trying to do. Okay? So this one is done, and let's do one more here. In a very random way. I'm going adding dark green
and black alternately. Because this is more distant, the right side is more distant, and the left side is a
little bit in the front. So adding motive
dark in this one. And as we're coming down, let me bring the darks
down a little bit more. You see, I'm just moving
along my brush like this. And it's so fun to do this. And taking little
bit of downstream. So moving around my brush, play around with it. Don't take too much tension, just have fun with it. It's so fun to do this. Okay, so let me come all
the way to the bottom. And this is my
final horizon line.
8. Painting 2 - Add loose brush strokes: Okay, Now we're going to do
a little bit of detailing, but in a very loosely C, on the same pressure picked
up a little bit of yellow. And we're going to create
some front bushes over here. It is a loose way. Maybe just maybe just a bit of green with it to
make it look fresh. Maddie, a bit here as well, even though this part
was completely done, is no harm in adding
a few more actions. Okay? Now that the background
part is done, see what I'm going to
do is I'm going to take this Cambridge
that I had and see what we have to show the
distinct and the front ones. So for that, what I'm doing is this is the front one, right? So I'm adding a few
trees like this, which are like in the
left one, left side one. And as if a rude is going here. So zooming into the
photo and ticket, it's like a road
going on from here. How beautiful is that? Just by adding this
one small line, you are able to create
so much depth in that. Do you see that? Over here, our three columns, I'm creating a couple of
chunks of it. With black. Again, we're not going to get
into too much of detailing. It's, the tendency is always to get into
more detail in when you work on such kind of worst
lose impressionist style. But for a change, I want to create it in
a very loose style. Okay, So I'm just creating
some random strokes. So why are you covering
up our first layer? It says we have done so
much of the stuff here. So now I am just adding
a few more lines. I think it's starting to
look beautiful already. And now you can see the
road that is going inside. Alright, so now we're
going to revisit this field area and add a few more strokes
on top of this. Now, I'm not going to
make it go completely because the previous
layer is fantastic. So I'm just adding
a few strokes. Very impressionist style
in a very loose way, especially making it
dark at the bottom. By now, you probably
would have known that that as we come down, we had we make it more dark, as we're going off, we make it more light, more yellow. You will actually feel
the freedom when you do paint like this. You won't have a pressure
to go in a certain way just because the photograph
shows it in certain way, you should be able to go in whatever direction
you want to go, however you want to go, just have fun with it. Is solely breeding. Deciding a little patch
of brown here and there. Just adding a bit of
grass, more yellow. I love making these
marks here and there. It's just kinda go on
actually for a long time. As long you want to
play around with it. As long as you're not
satisfied with it. Mode of Brown. And I am going to
leave it at that. So I did the whole
painting in one stroke. So you saw, I never washed
my brush until now. The whole painting was
done in one stroke. Without washing your brush. This is one of the, one of the things that I love doing all the time that I paint. It's like, you know, I, I don't like to wash
my brush to mass. And the small brush, I
think I am going to add a few more detailing over here. Okay, so we're done. At this stage. Let me peel off the tape and see how
it is coming up. And in the next
step we're going to paint the woman in it. So not to worry about this, but it happens quite
a few times with me. All you do is go back. And the column. That's it.
9. Painting 2 - The woman figure: So now let's paint
the woman here. I got my Darwin
festival pencil y. And let us very loosely sketch
out the woman over here. Again. We are going to do it in a very loose impressionist
style, right? So you're not going to get into too much of the detailing. I love how Costco is flowing. This is where her legs come in. This is for the
hand comes this is where the other hand is, where the head is, but it's mostly hair
flowing through. Okay. Let's start doing it. I know you are
scared to do this. So am I. But we able
to do this together? Don't worry at all. So just
like our previous project, we are going to start with white and block of the entire woman. Let's start blocking it in. Remember you are painting in
a loose impressionist style. So don't be too bothered if it goes a little
bit here and there. As long as it's
understandable of what you're doing, it's totally okay. This is done. Let's
come to the skirt. This actually helps also when
you paint with white first. Because, you know, as our
background is dark green, I mean, not that great, but it's kind of dark
compared to wage, right? So when you start painting the color
directly on top of it, it's actually listen to people
to get the color as it is, the color to be visible. So by painting it with white, there are two things
that is happening. One is, obviously
you are getting good understanding of how to
read the structure is how, whether skirt is where the
hand is, where everything is. So you'll get a good understanding
and at the same time, you are actually providing a
white canvas to paint on it. That's the beauty of painting
with here comes my hands. I'm just creating one
line, simple, that's it. And then we come to the lake, Dan. And now we go to the hair
and we just keep it like that because the
head is going to be a little bit of
brown, yellow first. So I'm just adding that part. Because if I do it white, it will be difficult
to understand. A little bit of
hair flowing out. I'm going to do much
because I'm going to do it with darker color, black, and brown mix. But this is just for my understanding sake
where the hair is flowing. Okay, just a couple of
lines going out here. I quite like the structure of
the lily that we have done. So now we don't want
to really distort it. So now this is our sketch that we are
going to follow, right? We're not going to
go outside it at all because I liked the structure
that I have created. Now, if you don't like, if you feel there is
something that you want to change by all means, feel free to change it now. So I'm starting by painting
the skin color first. This is where her hand is. And let's do that. For skin color. Feel free to do whatever
color you want to do me up. Not necessarily. You have to follow
the exact color. Okay, So this is the
indo 4 ft, okay, So we can do it some
other color just to make it understandable
that it is not the feet, it is the slipper or
whatever she's wearing. Not so much weight. And we can add this color a little bit here as
well, just to show it. So the skin color is pretty
much done, as you can see. Now comes the dress. But now for the dress, I'm washing off my brush. I don't want to
change it too much because I totally loved
the way it is flowing. But rather than you see here, through the white little
bit of green is visible. So we will just go with one
more layer of white veto, tiny bit of pink. Now, if you don't have pink, mix, red with white, and you will get fantastic pink, okay, so don't worry
if you don't have it. So all I'm doing is adding a bit of make sure I am
actually focusing too hard not to go anything
outside this line. Okay. This is our final line. Now see what I'm doing. I
am taking a lot of white. That's being and let's
paint her dress. See, while I'm
dragging my brush, all these trucks are automatically forming
because I'm actually taking quite a bit of paint and
I'm dropping the paint on the trace to make it look
like the shape of the dress. You see what I'm doing? Now, if you're using
thick body paint, it's going to be even more
easy for you to do that. Again, there are some folds
of the dress coming here. So I'm going to
use the thickness of the paint to flow here. Give it a look of the Chez, how to produce that. Now I'm picking up just white. I have a little bit
of pink already, more white. And going all the way
around the Scott. So that green thing that was
showing through is gone. The shapes are
very much visible, the folds of the skirt
or pay much visible. And since we're doing it and
lose impressionist style, even if little bit
is here and there, it's totally fine because we're not we're doing it in a blurry. We're just trying to
make it a bit darker, like just to give a little
bit of shadow here. How cool is that? I totally love the way
the trace is looking. And now the final thing is I'm not washing my
brush because I'm moving to darker shades. So mixing up black and brown. And let's go color her hair. That's it. Done. So see what happened
is because I did that brown and yellow
in the head before. It's not completely blending
up with the dark background. So if you feel it
is getting too much blended into it,
this is the trick. What you do is take
a bit of yellow. Yellow is all mixed
up with green, so just take out a bit more. Okay, Just a bit of yellow and mix it up with brown so that you get
this blonde color. And you go around
spatially where it is touching the green area, and you add a bit
of this column. Okay? Then whenever you feel you
need to add the dark one, just go in between
so it will give a good highlight in the hair, plus it will differentiate
from the background. Also. Two-in-one benefits always. I'm loving how the
hair is coming up. It's looking so
much like my hair. I'm loving creating
these two paintings that I did today to celebrate
the woman's day. So today is March, by the way. And I think that's
a I don't want to go over it again and again because I just don't
feel like doing that. Okay. Just one short round-off, yellow and brown on the
side. It's too dark. Just wiped off my brush
and just a bit of on the side to it. Maybe just a bit more black. Inside, not outside. Okay. I'm just adding a few brushstrokes here just
to show the strands of hair. And we are done. How pretty is this? Now? What I'm going to add adjusted
because of the lady is very wide standing out there to balance it
with the background. What I'm going to
do is add a bit of white in the background. You can add a bit
of yellow with it. So 12 and a few bite
marks here and there just to balance the whole
painting so that it doesn't look to alter the place that, I mean the lady and just a few light
strokes sharing there. And one final thing that I
wanted to do is add the green. So the field of
specialty that is coming on top of the yellow. Just a bit more
nice. Just the age. Just adding a few
strokes here and there. This is good to go. That brings us to the end
of this painting tutorial. I had so much fun painting it. You should totally
give it a try. I can't wait to see
what you come up with. And I'm so excited for you
to create this painting. I really hope you got a lot from this class and that
you enjoyed it. And if you did, make sure to
follow me on Facebook and Instagram because
I have a ton of new courses coming
up in the pipeline. Do share your artwork that you've created out
of this class. If you're sharing on
Instagram, use this hashtag. They will 3D art
projects that I can see all your artworks
if you like this class, I appreciate you writing
a review for this class. I also invite you to explore all the different classes
that have created for you if you want to apply
while you're painting scales and create some
amazing landscapes, you can get the complete
list on my website. Make sure to check out my blog. I share helpful step-by-step
instructions for beginners on how to create
easy acrylic paintings. Along with a lot
of valuable tips. I appreciate all the
love and kindness from you guys in terms of
review and reading. Thank you so much
for being here. Thank you once again
for joining me in this class and happy painting.
Debasree Dey, Acrylic Artist & Educator
