Transcripts
1. INTRODUCTION AND BACKGROUND: Hello my friends and welcome to this really special
class on painting, expressive florals and
an abstract shape. All the way, learning
to listen to your own unique voice as
we paint to get them. Before we jump into painting, I want to spend a
couple of minutes on this book of
women of abstract. It's specialists
and the artists JD feel and then phantom
kind of articles. Joie de Kooning, Krasner. These are all the artists,
abstract expressionism. The women artists who have not received the same particular
attention as that. Whenever starting this
era, we're studying this. I was highly inspired
by their pool embrace, their use of color and the way they express the
beauty of the subject. This era is one of my most inspiring us for me
and not the street. And I'm deeply
inspired by the L, are interested in not the street and beautiful subject for you. Can, I would usually
suggest you to give it some lovely broke and
definitely a visual delight. Starting off, I'm going to rush you to the journey
of my own abstract. As you see, yes,
doctorate offered very representational book. Then started moving
towards abstract side. I still kind of looping the
whole structure of plot. And then sometimes moving
between the exact looking LARC, some similar looking now at, and then also, I've used mixed media and all
these paintings and mix it with charcoal, all kinds of mediums. And then some very,
very presentations. But I focused on the
energy that I can get big.
2. MATERIALS & STARTING OFF: Coming to them with that brush
around, Gosh, keep fade. So four-stars agreements, most v-naught water and oil
phase to soft spinsters, different kind of
fence that you have. You're going to
have a good time to make sure all your media. The fourth step is drove this heat pipe lines,
finding florals. And you can see that lesson. So Mitchel, what
I'm doing is I'm just locking down
lines with the floor. So basically I'm not trying to copy the flower and I'm just trying to block
in the shapes and use the simple oil-based
in a soft pasting. You can use a pencil if
you're not confident. When I've used some colors, just to give myself an idea of how my bouquet will be placed. Pow and bend my flowers will be. Obviously I want my subject
to be in the central part of the page and then everything
else to be surrounded. Kind of pick up €1 character. For me it was the two or three. Now that you've seen implant and then obviously you
play along with it. I'm not trying to copy
something exactly. So try and build as much
creativity as you can. And also try to make this an easy process for you for the next steps because next
we'll go in without pain. So we want to have as
much clarity as we can. But we also want it
to be very intuitive. So we want to give
us some space. So don't try to go into detail, will be very simple and easy.
3. PAINTING FLOWERS : So what I'm doing now is I'm going to block the
shapes of the plants. And what you see in
front of q is basically each time to make a color palette as
close to the painting. So they'll show that I am using a flat brush to
basically block the shapes. And you can see, I'm trying to make
it look like a plot. I'm not trying to be a
perfectionist about this. I now added like darker
shades to obviously show the darker parts of the
Cloud and show some depth. I think he's doing this. I would try to be as close to the reference image that I have. What I have done here, you can see basically the sheets more than exact
representational state. A good way to understand shapes is basically
to be Veni vidi, very, very open about
the whole process. That is to not look at detailing
as your main intention, not to look at the
larger shapes. And a good way to look at shapes is basically
to squint your eyes. You wouldn't be able
to see something in a bowl shape form than
the exact detail. So as you see for
the yellow node, what I've done is I've
just blocked the colors. I'm using a round brush. Why do I use a square root
somewhere? Round brush. It's mostly intuitive, but
I'm sure as we keep painting, that is a process that
you keep on this topic. So I continue to do this. We often see flowers
and now I'm going into the next thing. I have white infant
and I'm trying to do a little bit of orange
to build my next one. Again, is it rose. I'm trying to force locking this time the shape of the nose. And then obviously I will
look into another host. Again. This one is looking downwards. So obviously that's
on my brush moves. So even though this
camera is spread out, you understand that the
brushes and I would really do need
request you to hold on and pause the video. I will see that you
are not able to ask. I'm now trying to add some shading shading
into plantation. It would be a DP
and about before. But in this time it means more or gender blocking off the sheets to
give them the depth. This is doing is really
important because it adds depth and texture dwarf. So that I could see no rules
like the part of the center of it on behalf about tonight. We'll have some shadowing them. So that's what I'm the
present themselves. And I will be doing this
across all my flowers. As in when, as I keep
moving from one, I have now moved
to the next block. Obviously the good thing
between these activities, keep waiting for
the last project. This is really important, especially when you're
doing a textured or more heavy, heavy work. So make sure you have them. Another very important point I referred as I've seen myself do this is basically I use this one to the amount
of water is very good. That is why there is a fixture. So that is why highly pigmented. And as you see this, I've taken this square flash, a mom trying to move this. You just basically
a flag with a lot of tendons and immortal
stem-like things. I'm trying to make this plot, and what I'm doing it is to
basically using a flat brush. I'm just dabbling it
is to get the feel of the flower more than having the
representational aspect. So be open and try.
4. PAINTING LEAVES & FOLIAGE: Moving on. Now come back to it. I'm using green. I'm not using
green in its purest form. I'm adding a little bit of
blue and dark blue and dark green to give depth
and composition. As you see, I go into the round brush and I'm
being very direct and very, very spontaneous about this. I'm just trying to block in the shapes of the
leaves right at birth. And as I see that, I have completed
all the leaves now. And this is how the structure of my cookie looks as of now. I'm really happy with
the z the conference shows and I wanted to
have this advantage. It gives up it. I'm now going to go in
with shades of green. And I'm basically going to try and complete the composition. And I started off with
making the light green. And I'm trying to
build the shadows, the depth within the painting. And as I go to the
details of this, I will first start off with basically making the
highlights within the leaves. The leaves as they are. We can see the
lightness to darkness. And this is exactly what we're doing it as simple as that. And we're trying to
be very intuitive. So they're not trying to
be very representation. And we're not trying
to make exactly which you're trying to mostly blocking
the colors, the shapes. I'm also going to show
me the process of how I mix my paints because I think
that's a really important, especially when you
push out the docs. I hardly ever use
the black side. And whenever I do, I make it a form to use when Newman amounts of
dots, so forth, darker, needed to block
until the darkness of your work and basically
the depth of your work. In other words. So that's extremely important and it's what I'm trying to do. Within this painting,
there is a small NADH. It's kind of voice was
part of the Hebrew Bible. Where you are these small, tiny round file black shapes. To give them the effect, it's important that we can
give it a darker background. And this is what I'm doing. It is very similar in
the reference image. But obviously in
this kind of work, it's really important to know the creative language
or the creative freedom. And I think this is one of
the most important thing. This is also one of the
things that you've lost, the very importance of
creative levels, so rare, you can decide between something
which maybe in a week, in a particular
day in your life. But you've tried to paint in a completely different style. And unfortunately, this is not one of the techniques
which advantage, but it is only two. Giants and letters. We will try to be good to find out what works for
you and what doesn't. So do do nice. What I did was I added know what is the first time or to
reduce the amount of water. And because I wanted my
painting to Florida. So I'm using for posters
very similar to Bush, but I wanted to give
it a little shavings. So I added more work toward
you see me doing now. Obviously I've
added this edge to this whole composition here to tell you may not see with it. But for me, it showed through. And so I wanted to add
what the reason was. I did not want to add a field and adding a pure black and always be able to
stop choice to me, especially because it's kind of bizarre things progressing. So I've kind of tried to model and the problems
that I'm adding up, the shade of yellow. This leads me to my DPMO. And I'm trying to build
the composition around the 23 major flash that I see
in the screen to the next, a very interesting part of the screening things painting
the left side of the mix. And it's going to
be doing testing. Obviously the color that
I'm using, this Buffon, but I'm mixing blue and red in different,
different shapes. To me, you see the
amount of work and I've actually mixed will not suffice for that
monitor painting. I'm trying to make the number
of leaves it out for me. But the reason I've mixed on the amount of food is given to keep growing in
them integrate with darker and lighter
shades of focus. And as you see, I just moved my gosh, I'm appointed to
the picker file. Pointer. Clark got to give it a very beautiful BUT kind
of limited, right? So you really don't
have to sit and make the complete outline of
things that you can be very intuitive and very open
and very sorry about this. This is how we're going to
cover the complete box. And I will now show you how we are doing this with a little more darker
and lighter shades as well as you progress
in this widget. So my intention
here is to be as, as most of the real as possible, but also a part of
fantasy into its weight. And as you see, the darker blues have now tried to add darker
shades to this. Obviously the darker
part shows that it's more than one site of WPA and belied the path shows that it's more
towards the outside of it. And that is what I'm
trying to depict. It's also for you to understand this editor
really important and it is an element that will add the right amount of
contrast to the spin. As an artist, I think is a very important skill to learn is basically to understand which part needs to
be exaggerated and each box needs to be reduced. And I think this is again, one of the most
intuitive painting. I'd like, mixed
introduced saturation. Now I'm painting the night, obviously trying to
show the lighter part. So I will use need to be suggested to be as
intuitive as possible. Do not try to copy me to try and do whatever
you feel like. You need to really
get out the best. Also releases side here you just much closer to the
work that you can do. So try to do that. And I'm now going to push
off the right side of the, repeat things a
little more detail with some dry grass species. And obviously, I'll be adding specific kind of with leaves
and tendons and all of that. So again, December with the pointed
brush and you can see the, the, the d1 is being done. Again, I'm being very
loose with my brush. And I don't think I
can ever say this demo on how important it
is to really lose. We're trying to do
an abstract style. I also think that this
kind of work with food. And I did, or the muscle memory towards
understanding how to action. Because taking
something, because I'm, I'm making it up with
something that they're doing as starting like this
that is still there. Did I just took a broad
brush stroke and then move this brush rushes
break completely drivers for a non Lincoln was
a very doesn't make up dark greens and trying
to make the darker shades. Again, very important processes tried to capture the
feeling and the emotion. Do not try to be better. And to list them some
depth to the board.
5. MARK MAKING & CONCLUSION: So now is the fun process, and I really personally
love this process. I'm sure you will enjoy it too. And my two suggestions for you, your net yourself loose. I know on the screen
you can see me painting and completing
the bouquet. Obviously you can
take the reference there as well as I move up. But now you see me coming out with the
direct strokes, right? What I did just before was basically I just took
a random dry brush. I just put it on the route. And now I'm doing the details. Again, the similar
detailing what I did in my previous video. I'm just trying to complete
the whole composition. And I'm doing this more freely
than the earlier videos. So what I'm trying to say is, I like, choose to
complete the painting. I go more free with it. That is, I try to be
more originally did it. I tried to go away from the whole representational
style and the whole egg being exactly
the difference in its style. I tried to capture the essence. And a lot of times this
is related to the fee. My life is shaping. There are times
when my flowers are absolutely sad and
they are not as happy. Colors are not beautiful. And essentially I feel that is a presentation of myself
at that point of time. And what I'm doing now is
I'm making a more energetic, happy kind of a Florida
obviously that is again in the presentation of my life at this point of time. And I always feel the way
the flowers are there, more than just these
delicate deals that they are representations of
our own emotional world. Now going in directly
and painting the single leaves and grasses that you see
in the painting. But I'm sure I don't need
to detain that out to you. I'm sure what I need to detail more is the feeling behind this because I think that is one of the most important things
when I'm painting this, painting like this,
I always have a hold of the feeling that I'm feeling behind when I
moved to this painting. So I'm trying to
give it a coverage. I'm trying to give the
booking fee and trying to give it a coverage in
terms of grass across a DVT. So in terms of
elemental coverage and giving it a drunk to
pivot emotional coverage. I'm just trying to be very
detailed about this stuff. Now, I'm going to
show you the mixing. This is really interesting. Take out all your
fixtures, soft vistas, oil-based, charcoal,
anything that you do enjoy. What I'm doing this, I'm
basically going ahead and making the beautiful outlines. Now, again, it's not
an outline that fat. It's a very kind
of announcement. So don't be specific about it. Hold your pen,
paper, and pencil. Very likely. Do not try to, as you can see very closely are some places I go even above. Some places I go down, some places I touch the
paper someplace they don't. So there are parts of it. There's no complete line is like a fluorine is when
you're making the beam, there are parts of white
showing through the lungs. And that is what we're trying
to you're trying to be as, as V as we can. I'm done with my salt crystals. You can even use oil
distance at your car. And now I'm going to go ahead
and do some more detail. Now. Here again, I have my Stock-Based is I'm trying
to give it some details. The smaller flowers you
see, the central area. I'm trying to make
that foot soft. Again. I'm trying to be
very gentle with it, but I'm also trying
to be very heavy. My strokes where I am. What you see here is I
put I'm using a charcoal. I'm definitely some amount
of charcoal is a really, really important to be used. If you've not used it before, I would suggest you
do a try write. What I have done is I dipped a little bit
amount of water, and now I'm getting some kind
of darkness and lightness. So where am I adding it? And I didn't get
basis what I see in my reference image
in terms of shadows. And this again is again
a charcoal pencil. I'm using the charcoal pencil
again, given the strokes, the brushstrokes, the
fields of the flowers. And I'm trying to be again, very intuitive and
very free with the, we're trying to work
with my mediums. You can use any kind of brushes, you can use any kind of pencils. Now you and I'm using
the goal, right? It's truly good foot
on a simple, bulky. If you can add paths and
cool, it looks really, really good fruit
and it's one of the most beautiful processes of how I ended up
particular painting. Now, the last part,
adding splatters. This platters, something
I really enjoy adding. I have used white. I think I could use gray, I could have used a different
set of colors as well. Now as I think of it. But I really liked
using the gray. I'm again going at reusing
shapes, mixed mediums. And I'm trying to
give it a look. I think in my personal
language would be competing. Again, because you have
your own language, so you try to build
it in your own style. I think that would
be the truest way in which you can
make this painting. I have gone ahead. I've used silver and gold
in parts of charcoal. This charcoal offensive,
oil-based is soft. I use paints and I think I've almost every other medium that I particularly know of in
this particular painting, in terms of the people, I just want to speak a
little bit about the people, the paper I've used
them mixed media paper. You can use an
acrylic sheet or so. It would be fine
using a large sheet. Because it helps you give v3 no strokes and
with your hand, if you can do that,
that would be lovely. But if you want to do
a trial version on a smaller sheet, that
would work as well. So that and all things like a complete part of
the whole painting. I hope you liked and
enjoyed this word glosses. This is the final painting. I hope you've come back with a piece that is
truly unique to you. Please do share your projects. Please do write them with your comments or any
questions that you have. I'll be very happy to answer it. This is a truly happy work and I hope this happen,
this comes to us. Well, let me know and of course, please follow me for more.
Pallavi Saxena, ARTIST | EDUCATOR | DESIGN
