Transcripts
1. Introduction: Texture is one of the visual elements of art, is related to how something would feel if you are damaged. It defines the surface quality of an artwork, like the roughness or smoothness of the material from which it's made. Mastering texture will help you to create a realistic paintings as well as more abstract or a contemporary of billing business. Since it is undoubtedly one of the most versatile tools at our disposal. We experienced texture in two ways, politically, foresight and physically for Dutch. In the following lessons, we'll focus on the optical or implied texture. First, we will see how the texture is related to other elements, such as perspective and color. And then I'm going to show you a few ways to bring some of the most common textures you can come across, such as Ruth, fall, yes, grass, Metal and more. In this class is meant for beginner artists who want to learn how to create texture and how to successfully incorporated into their upbringings. So I hope that you join me in this class. I'm looking forward to seeing your projects.
2. Materials: For this class we need Canvas would be pair over Earth's surface. You want to work on oils or acrylics. I'm mixing palette or these different kinds of brushes. And finally, we are seeing vapor pencil eraser as some paper towels.
3. Texture, detail and distance: Atmospheric perspective refers to how the atmosphere affects how we see objects as they recede into the distance. It indicates that as an object moves away from the viewer, we see that object we've used clarity value on color saturation. In addition, objects in the distance appear to have a relatively cool color temperature. To grade the illusion of depth in your paintings, you should use more texture in the foreground, contrast against a much smoother background. This reflects how we actually see detail. When you're looking at our landscape scene, you are able to see all the tiny details and texture in the foreground. Although stones, grass, branches, leaves, and more, you can paint these details with increased texture in the foreground, both with a physical buildup of paint and with increased activity in your brushwork and colors. That as you look farther into the stance, all these details and textures and disappear as move out into a journal mass of colors and shapes. To illustrate these more clearly, I will use the simple image of a bush. In this first image, I alter the saturation value and taint of the original image to try to create two different planes. However, disagree of texture I left was the same in both planes, as you can see, despite having variety, most of the elements, it still seems as if one of the Bosch's is Joseph on top of the other. Now, check this other image here. I changed the textual level. First, I made the Bacchae much, much smaller than I applied a blurred effect to it to make it look less defined. Suddenly, the single change allows us to distinguish two planes separated from each other in the foreground, the volume of the washes can still be observed in detail. But in the background, we only have a general idea of the texture that we are seeing. Our brains assume that those muscles in the back are the same type of washes that we see in the foreground. Wouldn't know it for sure because we can't really seeds texture. That, that is exactly why perspective works in the second image and not in the first one. It looks much more realistic because as we move away from objects, it gets harder for our eyes to capture all the small details.
4. Value over color: Of the color implied texture can be achieved through the use of painting techniques and manipulation of line value, color, and tone to create the illusion of texture or A-flat Canvas. When we paint, it is normal to pay more attention to color rather than tone. Color is the hue of an object, and it is critical to decide the mood of an image. The primary colors are red, blue, and yellow, and can only be created for the use of natural pigments. On the other hand, the tone and value is how dark or light at galleries. And it can be obtained by adding black or white to the color. There is a common saying in art, value does all the work, that color gets all the credit. This is important to remember when painting textures. Look at these images, it is clear that the, you all represent the grass despite having totally different colors. The image can be pink and yet it will still look like grass. What makes something look like shiny metal is a great contrast between its values. It doesn't matter if it is silver, gold, red, or blue. The color can give us a clue about the nature of the object that it is in the north to create texture by itself. In some cases, 2D textures can look very similar and it is the color or even the context that differentiates them from each other. Color allows you to play with objects that it is not the element on which you should focus most of your attention. Keep this in mind because in the following lessons, we'll see how to create different textures and all flow will be using color. I will usually speak on terms of light and dark tones.
5. Glass: The color of the glass is
determined by what's around it, what you see through it, what's reflecting the need, and how much shadow the race. Baiting glass is easier
than most people think. It might sound hard
because it involves many elements that interact
with their surroundings, such as reflections
on the glass surface, shallow casts and the glass
from neighboring objects. Highlights from
the light sources and objects seen for the glass. Take a look at this image. Blast usually has
different thicknesses in different parts
of the same object. In the thinner parts,
it looks transparent. In the thicker parts,
it looks grayish. Depending on its shape. Glass can be formed the
images we see in fluid. In this case, notice how
the bottom line not only looks higher that it
appears is slightly curved. If I put a bright color, objects behind the glass
can be clearly seen. That color of the object in question appears less saturated. And for the glass,
this is something to consider when painting
realistic works. Okay, Let's start by
painting this picture. The first thing I did was
make a simple sketch, including the warping in the background that
the glass produces. I start by painting the table. I bring the portion of the table that can be
seen through the glass, respecting the drawing
I've made before. This is especially
important when we work with a wet
on wet technique. Some people forget that
glass casts shadows. Just like Kanye
all their object. The shadows cast by class
have diverse qualities. Dark in some places and
invisible in others. Use a soft brush to blend areas that grant aid
from fail to dark. Once the table is already
a move to the background, which I bathed in the same way. That is, without dodging
my initial drawing. It should be noted
that I use a selfish in this area because
through the glass, objects tend to
look more diffuse. Therefore, the contrast
between hard edges and soft edges can help you to
convey the illusion of less. Now it's time for
the COP II makes a medium gray and apply
it all over the contours. I blend the edges towards
the inside of the glass, being careful not to ruin
what I have already donor. As the paint is to refresh. You can apply a lighter gray
and some RES of the cup so that they look like faint
shadows of the same gas. This will help you
create the volume. Lights sometimes
refracts through the glass, creating breads, spots and odd patterns and surface's almost like
water or fluid that's bathing as small as the glass. So to reinforce this idea, I mix a darker gray and
painted the edges again, but only the outlines. And that way I won't
pay what I did before. Finally, it's time to make
these really look like glass. To do this, I apply the highlight with a
normal statewide gray. The amount of reflections
that are crystal Haas will debate on the source of
light that it has around it. The more light sources that are, the more difficulty will be to obtain consistent
results in a painting. And of course, it will be
harder to get the right, Especially if you're a beginner. Okay? But neural
glass is transparent. This bottle is much less translucent and due
to its star color, meaning that the
objects we see fluid will not be as clear as
in the case of defects. Grass. In fact, if we place
an object behind it, the color of the
objects seem through the bottle will match the
color of the parallel itself. In this case, red and
green are complimentary, so the result is
a brownish color. If I place a yellow object
behind a blue glass, the result will be green. And the same goes for the
rest of the combinations. Now, I'm going to show you a very different technique that you can use to paint glass. For this image. I won't work wet on wet. Instead, I use the
glazing technique. A thing down debate
with linseed oil and turpentine and applied evenly over the entire
surface of the bottle. I glaze is a thin layer of paint that shows part
of the base code. To do this, I prepared
my background previously because
to make a glaze, it's necessary that
the previously or sulfate are completely dry with a darker color
and mark the shadows. And the areas where the
glass is much thicker, such as the neck and
the base of the bottle. For this practice,
I'm not trying to emulate all the tails
of my reference. Sometimes you just
need to rightly placed the main shadows and highlights to get that
back in and finish. With some vapor
tissue are removed, the excess paint in the
areas where the lights go. This way. I avoid dirty in the color. I add some white to my green. I knew suits for the lights. Avoid a blind pure white. Live that color only for
the final highlight. That may bring the
painting to life. For the image on the left, I use the wet-on-wet technique. It is one of the best
ways to paint the glass, since you can beat all the parts of the image in one seat. With this technique,
it is possible to consider the deformations
of the object, the reflections on the
surface of the glass, the shadows so need,
amongst others. And it is precisely these what
makes its results so good. Because it allows you
to take into account most of the elements
interfering with the material. Despite this, wet-on-wet, can be somewhat
difficult to handle. In some cases, such as
one would have to be the various objects
through the glass are when these objects
have complex shapes. For those cases, the glazing
technique can be useful. Many people find this to be a much faster and easier
approach to painting glass. Or further results
are generally not as good as with the first
technique I showed you. It can be quite a
good and very useful.
6. Foliage: Painting foliage is one of those things that require randomness. There are all kinds of foliation nature, and this is one of the most common textures when painting landscapes, both for distant planes and four points of interest, is start by painting a large dark mass. Make sure you get the proportions correct and pay particular attention to the counter, which should be irregular. For the base color. Avoid using black as this makes the final result looks very unnatural. Instead, you can use a very dark green. In this case, I mix green with our number and the result is warmer than if I use some black is built from dark to bright. So once you are done with the darkest, start adding the medium tone. For the first example, I will use our round the natural bristle brush. I apply the paint by holding brush perpendicular to the surface. Use short brush strokes like DOPS and try not to cover the entire area. Always lead part of the previous layer to show. If you're painting a tree or a bush. Imagine how the volume is distributed on the object and tried to highlight the most protruding areas so that it acquires the shape that you want. To add, the lighter shade, you can use the same brush or a smaller one. Don't try to use a bigger brush than the y-you use previously. Apply the paint using DevOps or even dots. If you want, you can give more definition to the leaves, but only to some of them. That way you can keep the painting simple. To finish. Are the highlights bad? Don't use pure white. Sees, it will look out of place in your beanie. Instead, consider using lite versions of other colors. Light greens, yellows, oranges, and so on. Also, make sure you don't overdo the highlights. At most, v should be strong accents, and of course, they shouldn't start taking over the mid tones. For the second foliage, I'm using the same brush, but now my brushstrokes will be different. Cs, I'll be holding the brush at a very low angle. This way, the marks left on the paper are much less delicate. Apply the other tones following the same type of motion. I remember that when holding the brush in this way, the idea is not to paint with a toe bout with the belly of the brush. For the third one, I'm going to use a technique known as stippling. To do these. I choose are fairly worn-out synthetic brush. It is essential that it rose has already lost its original shape and load the results with the bank. Remove the excess. Then I apply it by holding the brush perpendicular to the surface. Don't apply a lot of pressure. Or the bain will smudge and it points will no longer the Luke well-defined. You can also apply this technique using a small brush and adding point-by-point. However, it would take you ages to finish a single bush. So it's not very effective. I think this is a great way to use old brushes instead of discarding them. The following example is one of my favorites. I'm going to use bristle brush because soft brushes don't work very well for this, as they tend to leave well-defined lines. Hold a brush or high angle and apply the paint is smoothly without rubbing the bristles. Also, you can paint some bush marks on the outside of the base code to make it look much more natural, like branches sticking out of a tree. The one that follows is a variation of the previous one. I'll use the same brush, but lowering the angle at which I hold it. Now, instead of just dodging the surveys, I strode down to leave longer marks, apply high pressure first and then release it. As you move down. Remember to leave barred of the medium dark tones, as these are the ones that will give depth to the foliage. This type of brush stroke is great for creating the feeling of leaves hanging from the branches of a tree. To finish, I will use dry brushing. I'm using enough flood hogs bristle brush. Your brush should feel dry. A hold very little tiny quantities of paint. Tried on a spare piece of paper before painting, saw you make sure that you won't be any lines or your drawing. You want only a really subtle shade. Hold the brush at a low angle degree, and scrub back and forth until the surface. For this technique, the base color layer must be dry as we don't want the colors to mix. This technique will allow part of the texture of the surface you're working on to define the texture of your work. This means that the result will be different depending on whether you are working on canvas, hot press paper, cold press paper, and so on. Use the same technique to add the mid and light tones and even to add some highlights that are countless types of trees and bushes. And each one has its own characteristics. But I think that the examples are a good start for painting folios.
7. Grass: Grass is created. You see short directional brushstrokes to give the feeling of movement. A simple but effective technique is to use the rational brushwork which matches the form and movement of the grass. For example, if the grass is pointing upwards, then use worse, worse work. If there is a strong wind, knowing the grass to the left, then work your brush to the left in the same way. If you only paint a patch of grass like this, you can start with the darkest shade and draw short lines from down to top. As with the foliage, try not to use pure black. Sees, it will look unnatural. Instead. Try you see now darker shade of green. Okay, next, I take the midtone and continue to trace each leaf individually. Use a lighter shade each time as you get closer to the front. The idea is that the leaves intersect naturally and half are organic and loose lines. To make the tip thinner than the root, you should apply more pressure at the beginning of the stroke and then gently release it. This effect is most easily achieved with a round brush, but can also be done with flat brushes, filbert and daggers. Well, this is a close up of a small portion of a metal. Knowing how to paint this type of texture, It's very useful for working with large formats that it is completely different to paint a small patch of grass and to paint a grassland. So now, let's see how to achieve the right texture is start by filling in the background with a gradient going from light tone to a dark tone. The colors are up to you that you can use different shades of green, yellow, ocher. And this recitation doesn't need to be super smooth. It's good to use lots of different strokes. Scenes, grass has many textures. Next, use a small brush to add the darkest places. When painting a grassland, you don't need to render every single strand of grass. It is far more effective to identify and focus on just a few important areas and simplify the rest. I mix green and black together to get the shade for these. And then I apply the paint using a dry brush, stroking from bottom to top to create the blades of grass. Notice I'm using the same kind of strokes that I use for the grass portion that in this case, I'm not detailing too much. Also have in mind that the objects that are closer to us should look bigger than the ones that are farther. And that means that the spacing between the grass patches should gradually increase as we get closer to the foreground. This can help us to create a better sense of perspective. And as you can see, there is no need to cover the entire area with grass criminals in order to simulate the texture of grass. Then using a small brush, I add light green and thick strokes to the foreground or the area that's closest to us to create the scribbles of grass. The final step is to add details. She's laughing brush, that's only on a few RS. Remember that the farther the view is from us, the less detail days and the lighter the colors will be. So I add more of the light shades here and there. Just add details on the foreground. Some highlights will make it look more realistic. And if you feel like you've got carried away and more of the darker areas, go back with a small brush and fix the shadows.
8. Tree bark: The bark of a tree is an extremely rough texture. First, think about what type of tree you are going to paint because there are all kinds of VD. And that is when the subject of fixtures become intercede. Cause. If you don't seek to create a 100% realistic images, you can get creative and you all sorts of things. There are trees with auras or with bar x-dot seem to fall apart. Just look for different references and get creative. For now, I'm focusing only on the most common types. Look at this image, as you can see. Although they have different shapes, they all share something. And it's dull appearance of being covered by a cracked layer. The base code will always be the darkest color. The colors are up to you, but burnt amber or yellow ocher, our common choice. This bark will have horizontal texture. I load a frog brush with a medium shade and applied following the natural curvature of the trunk. So hooray the volume. Then repeat the same process from the other side. Another interesting detail when painting tree bark is that the agent should not be completely straight and smooth. Instead, try to create some imperfections. You seen a brush that is not heavily loaded with paint. And in this way, the results will be much more realistic. Okay, in the middle section, we'll keep the values clearer, which I add using the same type of movement. You can double load your brush to add more nuances. I agree the much more interesting effect. If you make the colors too light, you can always go back to the dark color and adjust the bank. Side it in here. Okay, now I add some yellow ocher to the previous mix to make the intermediate tone, which I apply using short, broken, and vertical strokes. Now we are going to enhance the texture by adding the lighter shade to do this and make some wide repeated previous process, redrawing the same areas. But keep in mind that sees while we are looking for is to enhance them, we should not completely cover the midtones, but only part of them. As you can see, I'm not baby lights and shadows randomly, but I'm following the natural volume of the trunk. In this way. If the light comes from above, then the highlights must be at the top of each fragment that makes up the trunk. For the last example, I'm using a gray shade. Are something similar. The base code should be dried to achieve that crack the variance. And this occasion, the base color is much darker. For these, I mixed burnt umber with a pinch of black. Now I use a very light gray, almost white, and it is all important database isn't mix with linseed oil or any solvent. As for this one, we need a dryer texture. I apply the paint in the same way as I did for the first example, using a flat brush. But in this case, I didn't carry if the final result looks almost white because that's exactly what I'm looking for. Well, these are just three examples, but I'm sure you can use them to create a lot of different tree bark textures. Just strike changing the length of the line and the colors you use and see what textures you can get.
9. Wood: There are all kinds of foods and the coming very different shapes, sometimes with a very soft appearance and sometimes very rough. However, the characteristic that represents with the most is the veins. These veins are usually darker than the rest of the word. So the first thing we'll do is take the light color, which in my case is yellow walker makes with Burnt Sienna. I apply it over the entire surface, either uniformly are grading the slight variations in tone. Then with warranty and I begin to add texture. The wood's grain. Things to have kind of Sr. was movement on the ground itself will often go from thick to thin. Variety color intensity, and even adding some broken lines. Some roots have shorter and more delicate veins. To paint them, I use the side of a flat brush. This time, the lines are almost straight and they are made of a darker color in contrast with the background. For the third one, I used a more reddish color by adding cadmium red to the previous mix. And I use are rigger brush to paint much more continuous and fluid lines. This kind of texture may be necessary when painting tables, chairs, logs are any other type of element. It's important to know that one thing is the texture of the wood itself, and another is the texture of the tree bark. Despite being part of the same element debated in a very different way. That is why in this class they're presented as two separate lessons. Now let's paint this lock. When buying a log, sometimes we can find arias markedly darker than the rest of the wood. These occurs because the interior of a tree trunk is divided into two parts. The sapwood and the hardware that the subunit is the lightest and hours most part, while the heartwood is usually much darker. When a woman blank shows both bards, very interesting textures are formed. This cylinder is a perfect way to understand the texture of food. Longitudinal veins should give the appearance of flow. And throughout the object, Martin, turn, we see how these veins form concentric circles inside the trunk. When it comes to wood texture, It's important to think of the grain as part of the wood itself. And notice trenches, that is when gradient now volume like this cylinder, the lights and shadows should affect the entire piece in the same way. Very different than what happened with cracks, which, as you know, have depth. In general, the wood texture is quite simple. So we can add some flaws like knots, cracks, or names to make it look more interesting. Keep in mind that veins may have different styles. You can use long flowing strokes that form uneven powder. You can use short straight strokes that together form a larger string. And you can also create more random streaks. You see lines of different thickness. Avoid creating very regular figures.
10. Shiny metal: The trick to making an object appear metallic is showing it's reflective or semi reflective nature. Observe the material you are painting very carefully. Reflections are variations of shapes and colors of things adjacent to the metal object. So don't paint the reflected objects are saturated as a real object. The colors of the reflections are affected somewhat by the color of the metal object itself. Have in mind that the shapes be reflected are distorted by the shape of the metal object. The reflections are not the same shape as the object being reflected. Because usually the metallic object is not flat like a mirror is. There are sharp lines of value and color change in highly reflective metal. And this is what helps to convey the xin. The more reflect TVs, the moral views, the change of value is. Observe how the reflection of the figure changes as I change its distance to the jar. Not only its shape become more elongated the farther away it is from the job, but also it's colored looses saturation. If, for example, I place it on the opposite side, the shadow that the tomato projects is reflected on the surface of the jar. And since the parts of the tomato there is reflected is the one that is backlit. Their affliction itself looks much starker. Okay, this is where I'm going to paint now. The first thing I do is to capture the darkest darks. Remember that this is a smooth surface, so you've seen floods, vertical strokes can help you achieve this look. Then at the lights and the variation of values in the mid-range soften the edges for more than a KT effect. As I mentioned earlier, the reflected object should have less saturation. So I mix red with some green until I get the desire hue and apply it over its place. Note that if part of the reflection matches a shadow on the job, that portion of the reflection should be equally darker. Before painting any metallic object. To analyze the sediments that will make the process of fainting much easier. To get a better result, remember that not all the light stripes are equally light. Choose a main stripe and make it lighter than the others. This will help you to create a greater sense of volume. In general, making any type of shiny metal is exactly the same. You can vary the colors to paint the gold or copper objects. Or you can even paint being core blue metal objects. In all those cases, you should follow the same process, creating contrast between the dark and the light tones. For gold, I would mix lemon yellow, yellow ocher, burnt umber, and ultramarine blue to mix the darks. For the base cupboard color, I would mix burnt umber on cadmium red with a bunch of yellow. And for a good highlight, mix, cadmium red with either cadmium yellow, cadmium orange add a little white if needed. Many artists find that blending as trade the white over the mixture adds a nice punch to the highlight. For shallow arias makes the base color with burnt umber and ultramarine blue, adding a dosage of black if needed. As you may have noticed, when you put these colors in a gradient, they don't give the appearance of being metallic. Metallic Baines can be tempting. Back at the end of the day, they just make the final piece, Luke flood and out of place. The best shiny metal effects are achieved by the correct application of paint.
11. Stone: Stone texture is one of those things that doesn't have many rules. It is generally rough and can have both smooth and sharp edges. Histones can have different shapes. Personally, I prefer to use other colors in addition to gray. This stone is much more interesting way you add some burnt umber, green ocher or sometimes even blue. I start by adding the darkest value, but in this case, I didn't cover the entire area, only the shaded parts because usually the texture of the stone doesn't have as much relief as for example, that of the tree bark. Now I continue with a myth and light values respectively. For now, I'm just painting a random cube adding tonal values as if it were a generic surface. That once the base is ready, it's time to add details. The brushstrokes doesn't need to have any particular direction as the stone doesn't necessarily follow a certain shape. You can also add some hints of green or ocher to make it look more interesting. Taken into account that I'm painting a cube a modified its edges to make it look more natural. Indeed, Athena few cracks or a bead of mass can be the key to making something look like stone and not just a perfect concrete structure. Okay, In the other hand, if you want to beat a stonewall, processes a little different. Usually this type of structure has more rounded shapes. Ortho again, that is something that can vary a lot. And in general, it depends on the reference you are using. With the darkest value. Trace each of the stones using a regular lines and different thicknesses. Also tried to form small triangles were several lines meet to give it more realism and create rocks of shapes and sizes as different from each other as you want. Once the shapes are well-defined as the medium color, these walls are formed by the visual stones. So it can look great if you mix a least two or three colors to make the stones look less similar. Finally, makes the light shape and apply it using loose brushstrokes. There are no rules here because stones can be flat, round, or completely irregular. The important thing is to make it appear that they drop out of the dark background. Okay.
12. Project: For the project, you should paint some of the textures that I showed you in the previous lessons. You can even try incorporating multiple textures into the same painting, such as a still life or a landscape in which you may find foliage, grass, trees, and stones. In the resources section, I left the photos that I use a sample just in case you want to use. I hope you enjoyed this class and found these lessons useful. Thanks for watching and if you liked it, please lift good feedback and follow me for future updates.
Martin Jaramillo, Artist
