Learn Acrylic Painting Techniques | How to Paint a Robin Bird

1. Lesson 1 | Introduction: Hello guys, I'm so glad you're here with me. I'm so excited to share this course with you. In today's course, we're going to learn six crucial techniques in acrylic painting. And then we're going to apply these techniques to a robin tutorial at the end. This course is designed for beginners and intermediates. The techniques section of the course is for everyone. For beginners it's a chance to learn new skills And for intermediate students a chance to tweak and further improve your preexisting skills. You already have the tutorial part of the course. It's again for everyone. But for beginners, I would advise you to listen very carefully to instructions. Don't rush. Take your time. And if you're not happy with the end result, I encourage you to do it again and keep going I hope you're looking forward to learning these six techniques and accredit painting and applying this is a robin painting. Let's start straight in. 2. Lesson 2 | Learning Objectives : Let's review the learning objectives for today's course. Number one, understand what the advantages of a crypt paints are. Number to learn two or more key pointers for the six different acrylic painting techniques. Number three, practice the six techniques on paper a couple of times. And number four, the challenge. Apply your understanding of the four acrylic painting techniques to paint a robin. 3. Lesson 3 | Workspace: What will you need your face? The first thing you will need are some paints. You can just buy an, a critic set of paints from any art shop. And they should have all the colors that you need for today's tutorial. But the ones I have a favorable or titanium white, cadmium yellow, medium hue, yellow ocher, burnt sienna, rule Amber, cadmium, red hue, permanent rose, Winsor blue, Prussian blue hue, phthalo green. If you don't have these particular colors in your set, that's fine. There'll be all types that you can use from the material you're going to be used in a canvas in today's tutorial and we'll be using paper to do practice. The different techniques on. This canvas is a canvas board, and it's a 15 by 15 centimeter Canvas. You can use a stretched canvas if you drove on. The stretch canvas is a little bit thicker. You don't have to use a 15 by 15 centimeter Canvas. You can use a 20 by 20 centimeter canvas or an A4 size. Just make sure it's not too big. Artist suggests a smaller size of the can, a canvas board or a stretched canvas was also fine. Or you can paint on wood. That's also fine too. Don't forget we need some proper art paper as well to practice the different techniques on, I'm using black and white paper, you will need some water. In today's lessons, we will be using mortar instead of other medians that are available. Like I said earlier, there's liquid texts. So liquid assets, you have air brushing medium, or you have slow dry blending medium. So there are other mediums you can use, but we'll be using water. You will also need your tissue or rag to draw any excess water from your paint brushes. Of course, you need your paint brushes as well. You'll need a flat old brush for one of the techniques. You need a range of smaller brushes and your need a large brush to yes. And you will need some pallets in today's tutorial. I will bes in to ceramic palettes and a plastic palette to you can also use glass as your palate. That's fine, but a plate will do the job nicely. Lastly, you will need a ruler. I have a 30 centimeter ruler. I think that's a 15 centimeter ruler. I will probably be used in a smaller one. But this is to measure the Robin to make sure that we get accurate measurements. That's all the materials you'll need for today. 4. Lesson 4 | What Are Acrylics : Let's repeat a learning objective for this lesson. Understand what the advantages of acrylic paints are. What are acrylics? Acrylics are water-soluble and the key ingredient is a Polymer. However, when acrylics dry, they become water resistant. If you try to add more water to, critics may dry it. They don't blend. However, we've watercolors. Once they dry, you can add more water and it will continue to blend. Although this fast drying characteristic of acrylics is actually a huge benefit because the credits don't take long to dry. That means you can carry on quite quickly under next layer, saving you some time. Also, acrylics are toxic free, which is fantastic for children and I don't irritate the skin I ever. What's fantastic about acrylics is you can paint on pretty much everything apart from glossy and oily services. You can paint on wood, clothes, canvases, and paper, which I love about that because I do particularly enjoy painting on what? Whereas watercolor, you can't do that. Also, you can use multiple different mediums, so different liquids to make with the accredits. The most common one is water. However, there are other mediums you can use to, There's a friend called liquid texts. You can use airbrush medium or you can use slow dry blending mediums. Acrylic paints are fantastic because they don't irritate the skin. There are false drying, affordable, versatile, safe, and durable, can be used on different materials. And lastly, can use different liquid mediums for mixing. 5. Lesson 5 | Technique 1 | Dry Brushing: In the next few lessons, we will be exploring these two learning objectives, learned two or more key pointers for the six different acrylic painting techniques. And practice these six techniques on paper a couple of times. Hello and welcome to technique number one, dry brushing. We're going to use this technique to paint some lovely white fluffy clouds. So acrylics usually have strong pigmented tones. So it's recommended that you dilute them with some water to soften his colors. This technique will give you the effect of an uneven brush. This can create some really interesting effects and in some cases, depth fulfilled. So what you'll need is your tissue and an old flat brush. You only need to use a little paint. What's great about this technique is that you can use the texture of the canvas more on this later and the brush to create some interest in ethics. For now, it'll just use the brush to create some cool textures. But in our robin painting, we will have the Canvas as well. Okay, so let's begin painting these white fluffy clouds. I've pulled some of the white paint into the brush. You should wipe most of it away using or tissue. We want little paint on the brush as we don't want it to be too wet. This technique is great for painting waterfalls, clouds, and blurred out backgrounds. Today we are going to paint some fluffy clouds. Remember not to wet the brush until the very end, until you have finished your painting, because we want to keep this brush dry. Dry brushing can take a toll on the brushes. So I'd recommend using ODE of brush. If you have one, you can use circular or crisscross motion with your brush to add some cool effects. With these clouds, I'm using more circular motions. And dry brushing is about layering and not blending colors. It's great when using a credit because the paint will dry very quickly in-between layers. As you can see with these white clouds. I'm just using circular motions and occasionally is and Chris colors, patterns as well. I'm just building the cloud around, up and around and I'm going to drag out those colors to decide as well. As you can see, I'm being quite harsh on my paintbrush. That's why it's really important to ratio. You have an old paintbrush and flat as well. Instead of bottom, I'm just creating some, some myths underneath the clouds using the dry brush technique. And I'm using a brush here which is completely dry, just to drag out those that worked paint a bit more. I'm using titanium white. You can use a slightly gray or white if you prefer. So, yeah, I'm just adding in some highlights using this dry brush effect. And I'm just going to do one layer today. However, if you want to add two layers, this is what I'd suggest. Once this layer has dried, I would use this titanium white with some moss black. Just make a slight gray color. Make sure your paint brushes dry and make sure you dry used in the tissue paper or your rectangle. Then with that dark gray, you can add it to the bottom of your Cloud to add some shadows. And then you could do the same, but we've just pure white and you're adding an extra layer of white on top to add some highlights to the top your clouds. Today I'm just doing one layer and it's quite useful to have a black background. So the black background actually adds some chateaus already to the clouds, which is why I wasn't too bothered about adding some shadows using a darker color. Although if you're painting on white paper, perhaps you could make a gray and adding our own shadows as well. The shadows are going to be at the bottom of the clouds. I'm just adding some more clouds above the bigger crowd I painted. And I'm just dragging out that paint. That's really, really important that you drag the paint out. And we've cloud is going to be a lot smoother, a lot lighter at the edges as well. Here, I've added probably a little bit too much paint. That's okay. I've dried my brush and now I'm just going to drag that paint out, out to the size. And in hindsight, that white blob could just be a highlight as long as I keep dragging it out along the edges. So here we go. That is your clouds. And that's the dry brushing technique. You can use dry brushing, phone array of different things. In our robin painting, we are going to be using this dry brush effect to create some really lovely green bushes in the background. I hope you found that useful guys. And let's get moving on to technique number two. Once I've finished painting these clouds, there are three key pointers for dry brushing. The first one is to use no water and little paint. Dab. That's meant to say your brush dry and the tissue before you leave your brush in a circular crisscross or dabbing motion to create really interesting effects. 6. Lesson 6 | Technique 2 | Adding Water : Hello and welcome to technique number two, adding water. This one's a little bit easier, but it's always great to practice it. Water is a great medium to use for diluting the strong pigments of acrylic stem. Adding enough water to the paint will result in a translucent coat. And I loved this effect and it comes in handy when adding subtle shadows to your work. Okay, So what would be great if you pulled from the white out and mix it with some water and make sure you fall slowly. Mix the paint and the water together. And he usual tissue to dry some excess water off your brush as well, then you are ready to apply it to your paper. However, if it begins to look a little bit dry, then you can just add some more board or to really dilute it down. And if you drag the water and the paint out and continue to add water, it will actually make the white lighter. So you can create shadows using this technique. You can create lighter areas where there's more to her is more diluted and darker areas where there's less water and there's more of the paint pigment. And so I think adding motor is a really good technique to use for adding shadows, pad in depth, and adding highlights as well. It is a really important skill, actually quite simple, but probably one of the most important skills you can use in your painting and one that we'll be using quite often in the room pattern. I hope you found that useful guidelines and I hope you are ready to learn more about technique number three. The two key point is for adding water. Use the water to dilute and spread the color. And number two, create a gradient using water. 7. Lesson 7 | Technique 3 | Stippling: Hi and welcome to detect neat them for free stippling. I hope you've enjoyed the other technique video so far. So let's get straight into it. This technique is great for painting flowers and feathers. It's also a handy skill for creating highlights and shadows, is essentially creating numerous dots on a surface to create your imagery. And these dots tend to be random. But as they go from lighter area to a darker area, the dots or increase in volume. Today we are going to be creating a stippling effect using a critic paint. And let's get right into it. You need to hold your brush, clean. Your brush needs to be dry and you apply a W motion to the paper. I'm using an old flat brush. And by Desso it creates of random dots all up while the counter use a single brush and rate each dot on its own, which I will also demonstrate later too. You can blend colors together using this technique. It doesn't need to wait for the layers to dry. You can simply add another color on top if you wish to create different colors. With this technique, you create areas of light and shadow just by using dots. And for darker areas, you apply a greater number of dots and you keep them close together. And then for progressively lighter areas, I would suggest using fewer dots and space them further apart. So right now I've been creating lighter area. Here. There are fewer dots and a bit more spaced out, but I'm gradually adding more and more dots to the area and allow them to be quite close to each other two. And by doing so, the era appears darker. And basically, with this stippling technique, you create a gradient. And it's a really interesting effect. It adds lots of texture and it just makes your painting that a bit more interesting. Here I'm using a brush with a fine tip just to add in the individual dots. You need to try our best to make them random. And for the lighter area you want the dots to be smaller and more spaced out. And for the dark areas you want the dots obviously to be closer and they can't be longitude. There's two different ways you can do this effect with acrylic paints. You can either use a slightly larger flat brush by applying the paint to create multiple dots at once. Or if you want to be more precise about your dots and how they're positioned next to one another. You can also use a fine brush because you can really pinpoint where those dots are growing on your paper. Perhaps you want to use both. Perhaps you want to sort out with the large brush. And then towards the end we added in the fine details, you want to get out your final paintbrush and just add in those final dots, but you feel like the dots are missing from the piece. That is technique number of free stippling. It's really cool. It's such a great way to add loads of texture and an interest in effect to your painting. In the robin painting, we won't be using this technique. However, if you want to incorporate it into a painting, then by all means please do. It's such a lovely effect, one that I personally would love to explore more. It's a really interesting and it's a great way to add a gradient to your paintings. I hope you found that useful guys, and I'm hope you're ready for technique number four. The two key pointers for stippling are for the dark arrows, you apply a greater number of dots and keeping them close together. For lighter arrows, you apply a fewer number of dots and you keep them further apart. The last one, your brush needs to be dry and you apply a dabbing motion to the paper. 8. Lesson 8 | Technique 4 | Blending: Hi and welcome to technique number for blending. This is another really, really useful technique to use in your acrylic painting. And one we will be using very much in painting the Robyn. For blending. You should always make sure your strokes are in the same direction or smooth and try not to load your brush with too much paint. So you will need to use a fair bit of water with this. Use your paper towel to dab any excess water as well. If the paints that you're applying to your paper is too dry, you can just always add a tiny bit of water just to loosen it up. Ever so slightly. Great way to get rid of any excess paint on your brush is to roll your brush. So there's an even amount of paint loaded on. You can, once you've loaded your paint onto your brush, you can roll it onto the tissue paper to just to remove any excess paint. Once you have your colors down, you can use a dry brush to blend the different tones to give her. As you can see here, I've got a lighter color and a darker color. You can either use a dryer paint brush to blend those together. But sometimes it's worthwhile adding a tiny bit of water. So you can use some water between the different tones to blend those together to here I've just applied a little tiny bit of water just to blend that dark area with the tone here on prime, that darker color. I'm just blending in with the gray color opposite it. Now I'm just used in some motor to blend the colors with the lighter area. To make the blending smooth, you need to use two techniques. You need to use a dry brush and a wet brush. And you have to be able to judge when to use one or the other. If there's too much water on your paper, I would suggest using the dry brush to blend that and vice versa. There's too much paint on your paper. Sorry if there's not enough water on your paper, I would use wet brush just to blend in the chorus. It's getting the balance between using a dry brush and a slightly wetter brush to blend the different tones to give them. It may take a few practice trials first, which I highly recommend doing before attempting the robin painting. Quick quiz, what two techniques can you use to blend in the different tones? If you said using a dry brush or a wet brush to blend in a different tone, you are correct. We're done. Keep practicing our practice maybe one or two times, use different colors if you want, just to get those different tones blended in really nicely. I hope you enjoyed technique number four. And we are now going to move on to technique number five. Once I have finished painting. The two key pointers will blend in our use a dry brush to blend different tones of wetter paint. And use a wet brush to blend different tones of dryer paint. 9. Lesson 9 | Technique 5 | Flickering: Hello and welcome to technique number five, flickering. This technique is really, really fun and it can be used well. We've had critics as it can with watercolors because they are water soluble. What you need to do is hold the brush parallel to your painting surface and tap it across with one finger. Tapping gently produces a pattern of mostly small round dots are random size. Tapping harder produces larger spotlight marks. And also, if you tap harder, the paint ball traveled further. So just keep that in mind. Then matter how you use it splatter is a great way to add extra touches of excitement to your art. Two key pointers for a flickering are. Tapping gently produces a pattern of mostly small round dots of random size and tap and harder produces larger splits like Marx. 10. Lesson 10 | Technique 6 | Detail: Hello and welcome to our last technique number six. And this is detailing, this is my favorite technique and one that I use most in my paintings. For this technique, you need quite a few small brushes of various sizes. You can add the tiniest detail to your painting. Your brushstrokes should be slow and intentional. Need to wet your brush, debit dry a little. And remember, you only need to apply a small amount of paint. Wipe a tiny bit of this paint away as you don't want too much paint for the tiny detail. You need a little water and it'll paint, although you need your brush not to be too dry because you need to follow through with a stroke. White paint can be used to create lights or reflections, and dark colors such as black and grades can be used to create the shadow areas. There are two key pointers for detailing are your brushstrokes should be slow and intentional and wet your brush debit dry a little. And remember, you only need to apply a small amount of paint. 11. Lesson 11 | Introduction to Robin Tutorial: Hello and welcome to the robin tutorial section of the course. Well done for practicing those six crucial credit painting techniques, make sure you have practiced it numerous times so you fill in a little more confident for painting this robin. If you're a beginner, take your time, pause videos often as you would like, and just try your best at painting this Robyn. And if you feel like you'd like to have another go by all means I encourage you to do that. So today we're going to apply these techniques to paint a beautiful red Robin. 12. Lesson 12 | Robin Painting Tutorial | Dry Brushing: Hello and welcome to the robin painting tutorial where we will explore dry brushing a little further. Just to make you aware that this tutorial can be a little advanced if you're a beginner. But by all means, give it a go. And you never know, you might surprise yourself, but if you're not overly happy with your under result, just put it down to practice. Try again another day and each day you'll get better at this. So I just want to say that this part of the course is a little bit more advanced, intermediate, you should be fine. Beginners, take your time. Really listen to the instructions given and don't be disheartened if you're not keen, if you're finished, result. Try it again another day. In today's tutorial, we will be focusing on painting our Robin and I've painted the background with some phthalo green and Mars Black. Once this is dry, we are ready to use our dry brushing technique. I want to create a depth of field or some green bushes in the background. Perhaps there are some pink flowers amongst the bushes to want this background to be blurry. It's like taking a photo, the robin will be in focus and the bushes in the background point B. So let's just go back to basics from the technique video. Do you remember what you need for this technique? The fitted may give it away. You will need some tissue or a rag and a flat old brush. Remember important, your brush must be owed because it will take a bit of a baton. Next question. Do we need to use much water for this technique? If you said no, you're absolutely right. We don't need to use any water for this technique. In fact, it's forbidden. How are we going to create some texture? Do you remember how we would create texture? If you remember, I said we will have the canvas and the brush itself to create some interesting textures. As you've seen the footage here, we only had the paintbrush to create some interesting textures, but we will also have the canvas to create a really interesting effect. So let's start by making a softer green. I'm going to mix phthalo green with some yellow ocher. I want to make a sap green. You may already have some sap green in your credit paint sets, in which case you can just use that directly. Or if you want to change yourself, which I always recommend, give it a go and make your own sap green. I'm just going to take some of the phthalo green with a dry brush and some of the yellow ocher. And I'm going to mix it into the phthalo green. And I should get a nice sap green color. Remember I'm not using any water, just the paint and the dry brush. The paint itself is probably wet enough if probably a little too wet, which is why we need to debit dry afterwards on the tissue paper. Do you remember what sort of emotion paints to be moving in? If you set secular or crisscross motion, that's fantastic. You can even use a dabbing motion for these brushes. I found that quite helpful. For clouds and waterfalls, a circular motion seems to be more appropriate. But for brushes, the dabbing motion almost creates the individual leaves, but slightly blurred out, which is the effect that we're going for. But later on I will mix in a little bit more because at the moment, I think Netflix, a bit too bright. If you're green does look too bright, you could perhaps add a little bit of Mars black to darken it ever so slightly. By adding some Mars Black to the sap green that you've made, it will darken the color, bring the contrast down, and it'll blend into the background a lot more. Simply, you could remove more of the paint from your brush. Perhaps there's too much of this sap green on my brush and I just need to dab it away too much as our answer has needed to dab it away a bit more. And therefore it produces a lighter effect on the counts. Here we go. I am adding some crisscross motions with my paintbrush to really mix those colors together. And what I would advise if your paint is a little bit too wet of Z, allow it to dry. It won't need very long whatsoever because there's so little paint on there. Before adding another layer. Perhaps even add a darker layer to the bottom, a brighter layer to the top to create some highlights. Really be creative with this. I mean, copy what I'm doing but add your own personal touch to it as well, make it personalized to you. So here I'm adding some highlights to the top because this is for me where the light would be. I'm adding a lighter shade of green. By, by a lighter shade of green, I'm just adding more of it onto the background. What's nice about painting on the dark background is that it contrasts really beautifully against the paint. I'm continuing to use now circular motions to move the paint across my canvas. I've used slight dabbing to begin with. And then I use a crisscross motion and followed by a circular motion of the paintbrush to really move the paint across again and absolutely no water on this. And a little paint on your brush too. Don't forget the paint itself is also quite wet. For the pink flowers. I'm going to use permanent rose with a little mask black, just to darken them ever so slightly because the permanent rose is quite a strong pigmented color. So I would like to add some mass black just to bring that tone down ever so slightly because I don't want my background to be bright. I want it to be a dark color. Remember that you are going to wet most of that paint away using your tissue. And we want little paint on the brush as we don't want it to be too wet. I know I keep repeating myself, but sometimes we do forget these really important bits of information. I'm just mixing together the parent rows and mafic. I'm wiping it on the tissue, removing any excess paint. Now I'm going to apply it to my Canvas. Straightaway, too much paint on the paintbrush, therefore, removing more, use my tissue paper. Little better. Now I'm just mixing it using circular motions to mix it into the green. Again, I want the appearance of the background to be blurry. Out-of-focus. Little more permanent rose. My pennant Rose was probably a little too dark zone. I want to add more of that color. These will be the highlight areas on the painting. Paper remove excess paint. And then I'm adding in some little highlights. Too much paint, wipe it off. You'll be back and forth between the parent is switched paper and your canvas, adding in some little highlights at the top. I did stop for a little bit because I wanted to paint to dry it again. It didn't take very long because there's not a lot of paint on there. And once it was dried, I then started to apply a second layer where I just wanted to add some highlights and some shadows to the piece. Continue to do this, continuing to add the paint, very little paint, no water circular motions. Sometimes I don't emotion and criss-cross motions to and eventually you'll get something that's out of focus. But you know, when you paint the bone on top that some greenery behind in my eyes. These would be the bushes. That's the robin paid-in tutorial. We'll brush dry brushing. Let's go into the net technique. Again. Don't worry if you're struggling with this. Just keep practicing is all about practice and having belief in yourself. 13. Lesson 13 | Introduction to the Outline Video | IMPORTANT: This is the introduction video for the lesson on drawn the outline of the robin. I just wanted to describe to you what you will need outline process, why you should adopt this method to your drawing and some side notes. Your equipment. Photos method, you will need a ruler measuring no less than 15 centimeters. You will also need a white pencil or some white paint and water. I use titanium white with little water, you will need a small brush, a size one would do. The outline process. This method is unconventional, boy, incredibly accurate and relatively quick. I take measurements of the length and width of the bird. With these numbers, I can determine where it needs to be positioned on my campus. For example, this campus is 15 by 15 centimeters. The higher the bird is 11 centimeters. So I want to allow two centimeters above the Robbins head and below its body. This same rule applies to the width of the robin two. Once I have these general measurements and I'm happy with how I'm going to position a bird on the campus. It will begin taking measurements of the eye and head. I always start by taking measurements around the head first. For example, I know I need to leave a two centimeter gap from the top of the canvas to the top of the bus head, from the top of the bird's head to the top of the bird's eye is nought 0.8 centimeters. I have my first two points. Then I take the measurements of the eye, both width and height. Then with these measurements, I can begin to draw the shape of the eye. Once the I is in place, I build everything else around this point. You can see a very detailed account of how I do this step-by-step in the next video is very far up with lots of measurements are devised, listened to the next video in its entirety, and then apply this method to your drawing. Watch and listen to the next video and then draw the bird. Why should you adopt this method to your drawing? This method is a great way to ensure accuracy in the shapes and sizes of your drawing. Not only this, it is also very quick. With time. However, you will be able to draw a lot of shapes with just using your eye and the occasional measurement just to check certain areas. Some side notes. Please note that the picture that you get maybe a different size if you print your picture out than a measurements will be different from mine. If you have your photo on your phone and then the measurements will be smaller. The measurements you take from the Robin photo may be different if you're using your phone, smarter people, or larger paper. So in conclusion, take your own individual measurements and apply my method to your drawing. Lastly, I unfortunately haven't recorded a small section of the outline video because my phone storage got used up. This was incredibly annoying at first. But I think the footage of me explaining each step we were apart, drawn bird was actually really helpful and concise. So watch the entire video next and then applying this method when during the bud. 14. Lesson 14 | Robing Painting Tutorial | Drawing the outline: This picture of the robin, I is around no, 0.6.5. Now I know the top of the head is around 0.70.8. I know the distance from the top of the head to the top of the eye is no 0.8. I also know that the entire length of the budge from the tip of its beak, this is roughly around six. From here to here is about six centimeters. Also know from around here is around 11. I'm going to position it in the middle, around nine at the bud is not at the bud is around 11 centimeters. Take 1115, which leaves me with just slide. The tip of the head is around too. To me, this is a mock two centimeters and we get hit is no 0.8. So the tip of the eye, remember, this is no 0.6 mark. And then you can move it around and drew the shape of the RN. Next, I need to know the distance from the edge of the beak to the edge of the eye? I don't know, 0.6.6 lymph the beak important for about 1 for the edge of a lake. Then you can draw the shape of the beak. This is the top of the head. The distance edge of the head to the eyes. We can draw a shape all the way up to here. Also see this pattern that we can just roughly draw. Now for him to hit that where it goes. Measuring about one form of our head. One way, no, that's where it goes in and I just talked to come out. We also know from 4.5. Then from the edge of the eye is you have this milk and this walk. We can move this down. I want to know the distance from here to here. That's round six, around six market. Then we want to know the distance from here to here. That down, that's around 1.5. So I'm OK. And then you just follow the pattern down to the point in you marked. Then I want to know the distance from the tip around him, which is bound to how deep that is, 0.5. So you can see he's which went up to about two. Also need to make sure there's about four or five roughly. Know what I'm going to do is measure from gotten no point for going to follow it is round. Then we need to know at a distance. So from there, just around here. I'm gonna discuss in how much does it, the m by two just comes around like this. This really just follows it round. Sorry about, let's say from the tip which is around here, it's just below, just below about five centimeters long. So just provided from this apex to the edge. Bringing this down very close to the body is quite straight as well. So we need to we need to bring it out in the tool. Let me go straight down, roll it to this part here, then roll it. You could measure this one if you wanted it to be more accurate. It actually bringing his buddy out. Because I can see that this gap here, so not sworn on and then the gap bar I provided. Then we can bring this out like that. Then this little wing here like that. Then how long is the title from here to here? Let me bring this down. This isn't the corner here. So that's in the corner. Just go strike down. Let's see what this is. That lineup lines up with the tip here. Him bring it down. We can start the leg around. Like itself is about it's about 1.3, roughly speaking, ready, cute. At the moment, I must say, if we have a look at the foot from the male to top is about 1 free. I can just draw in the nail. Then this part of the foot. Then we go from the top here. 2.5. Welcome to split. The answer comes up. Chris, hey, you could even measure the creases and then, don't forget this is the NAOH. Then from here a little toy comes out. Then there's a little toe, you can't really see it for well, it is a little toy here as well. Then we can work on my light and when we're painting. Okay. So that's the foot lots of measuring on the foot. I would advise you to measure each of the segments out. If we're measuring from about 1.5, then we have the 0.5. Then we have these parts. We can just build the rest of the third round, or I would recommend perhaps measuring those out as well. And then this tiny claw. Just add the details vital. Get this ledge and I want it to be straight as I can get it. I'm just going to bring it out. Maybe. Not just feel like having more of a letter to the science because it wasn't it wasn't quite central North for me. Don't see the target of this foot ledge. I'm happy with the position of the face. Haven't included this raphe, but yeah. Just did about two centimeters. We know it's gonna finish him. Some fluffy feathers here. That was beautiful guys. And let's move on to some cut on his coat. 15. Lesson 15 | Robin painting Tutorial | Adding Water: It, so we're going to do add in. First thing, you need your brush. When you, if you look at the bird, you can see it's kind of a blue, tiny bit at once in blue here. Let's try to solve as we go, white and a tiny bit of blue that's too bright. What we will have to do is add a tad of black. You can add a little bit of black. We're getting closer to the color. I would even argue a tiny, tiny, tiny bit. Some cadmium red hue, slight purple tone to it. Maybe we can fix the cutoff of it now. We've got some white, some blue, white. What color do you think I need now? I want to eat some black. Then we've lost that purple time we meet, so we need to add some more purple. Ready even to produce a more purple tone, that color there is perfect. Right here. This color is really good. I use some cadmium red hue. Once a blue, black, titanium white to get this color and I'm much happier with this cotton. Now, let's go with adding water to our paint in. The blue is quite a lot of this blue color. And here I'm going to add more water to my paint. Broadway. Use a tissue as well if you need to. Straight away, That's too much time adding more water. I'm adding more water to get rid of the excess water on my tissue. Too much water. Too much water. Drag this water out. Get some more water. And just drag this color out. This is just a foundation layer. We need to add layers to this and that will go hand-in-hand mom at in more detail. But this color is perfect. I didn't say maybe a tangible right? Actually. Of course some paint on there, but it's too thick for this stage of painting. Just put a tiny bit of water on my brush and I am now pulling that color away from that spot and just using the water to dilute the color, to drag it out across the errors in that column needs to be there. You can see how I'm using the water to drag out the color too much or denounce, I'm dumping my brush, dry it. I'm utilizing the water own painting to really just pull that out. There is some moral here. So I'm going to start as water, my brush, just go across and then we can leave that area for now. I believe there are some around here as well. So I bought on the brush, pick up some cutoff, get rid of any excess water on your tissue, paper tissue even. And then apply a boy, you see the cover. I see the current here. Get rid of the paint. Get rid of the excess water from my brush. And what do I need to do? I need to drag out this paint using water on my brush. Put more water on my brush, damp the axis pulled off. Using a water to pull from the era where applied onto the campus. We almost get a gradient forming from the adeno photo. I'm happy with that where the paint is. I'm going to let that dry. And I see a tiny bit of this color on the nose here. I'm just going to add a little bit of this color head. Again, wetting my brush, get rid of the excess water on the tissue, and just drag that color out. Here, we've added the bluey purple color, we've made a few twice already blend out. So this is the first layer. When we go in and add more detail and more blending of colors, we will add more of a kind of hair and become more prevalent. That is adding water. 16. Lesson 16 | Robin Painting Tutorial | Blending: Next up, we need to blend some colors. I'm going to blend that the red chest with you guys. I've already got some red on my palate. So if I wanted to make an orangey color, what do you need to add? We've read the yellow fantastic. So I'm using yellow, cadmium, yellow, medium hue. Newton brand. Just put a little bit of that on my palette. So-called Red, got some yellow. And I'm also going to apply sienna onto my palette. I'm also going to apply some yellow or I think if we start with the yellow most part which is here, I'm going to add some white to the yellow just to soften it because as mentioned before, credit paints have quite strong pigmented times. I just don't want to bring that yellow down a little bit in terms of its color. Adding more white here. Figure it out because I've now got too much water. Just try that. First layers. You can see there's two, not yellow and the saturation is not high enough. Adding more yellow, so that's a little bit better. Then we can do the detailing. We can add more yellow to this. This is the foundation color here. I can see that there is a yellowy color all the way down. Bring it up ever so slightly. Now what I'm gonna do, I noticed that blending, but I'm going to utilize my water. And I've added water to my brush. I've dried any x's and I'm just going to pull the yellow was a slightly up like that, kind of blends it. Now we've got a foundation with the yellow. I'm going to make a orange. So I'm going to use some yellow. Red. Need more yellow, more yellow, more yellow. A little white, perhaps. Maybe some yellow. Just play around with the colors until you get a card that you're happy with. A bit more white tad of water. Get rid of the excess water on my brush, on the, from the brush onto the paper. Now we can apply this orange. I'm just gonna put it to me that's too light. It's Anita, make this orange darker. I'm going to add a little bit more red. Might even tad black. Smallest amount. Yeah, that's cool. About maybe some burnt sienna. Yeah, that's much better. Then we've got the yellow hear me kind of just want to blend it together. Pickups in the other and our brushes as well. Bring this out. Bring it down. And you notice blank plot here. Clean your brush completely. Get the paint color off and then dab it dry. And then we just want to pick up some yellow and white mixed, mixed, mixed mix, little bit of water. Then we're going to blend this collar hearing aid with the yellow paint brush. Added a car. And you remember to blend, you can use a dry brush or slightly wet brush. Sorry, I clean my brush completely getting the color off. I'm going to now mix these two colors together using a slightly damp brush. I'm just going to bring this out a little bit using some of the water on my brush. Now I'm going to add more of this burnt sienna orange color made. Just add it down. I'd even argue adding a tiny bit of red to make it a little bit more red. I don't know if you've seen avoidance chess, but sometimes it really orange. I must remember that. Let's say in that case I'm going to add more yellow to my paint brush. I'm just applying the color RSEM about a constant blending of the colors and the application of more columns, mortar, a dry brush to blend, and then a wet brush to blend. It was just slightly. I'm just adding this color here. More confident with this color, though. Hence why I'm applying it with more confidence. I do see this kind of hair as well. It is a little lighter, so I'm going to add a bit of yellow circle made. Just going to mod are more paint on my brush. I'm going to blend these two colors together. This one down here bring up is slightly blend, blend. Because the background is dark, you can see the color coming through this foundation level. Obviously, we need to apply thicker paint afterwards. And more detail will come with time to get the basic colors down first. Then I want a little bit of burnt sienna. Here. I'm using black and burnt sienna. Burnt sienna other than black, that is just applying a little bit of red as well. That's a burnt sienna black and red is great combination to make something really dark parts of this bird. I quite like the color combinations. I am also applying that down here and I'm going to put some more water to my brush, get rid of the excess water and blend that color with the color in front of it here, as you can see, this paint here has already dried. I'm not going to ask for lender in very well. I would have to apply more paint, more paint on my brush. This is the burnt sienna of black and cadmium red hue. Dog errors. For the dark areas, you want to use burnt sienna, black and cadmium red hue. Then we can add some highlights on top of that when we add detailing. Part of the lesson. Also around the face. The feathers around the beak of zoom a bit darker because some shadow being created around a beak. Also around the eye ever so slightly here. Now what I'm gonna do is I'm going to grab one of my lighter colors. Blend in with the dark. I apply it at the bottom. A lovely blending going on here, the darker tone and then laboratory now we've made, I'm actually using water to blend together. Again here I'm going to add a little bit of the lighter tone around. This is more than the orangey color. Then I'm going to pick up some yellow mixed in amongst all this ever so slightly and then we can blend it all together. There is somewhere around here. So now what am I getting rid of the color? Draw any excess water on my tissue paper. And now I'm just going to blend really needs to get rid of the water because quite a bit of water on my campus as is. For blending, you need to continue to add different shades of color you see. And use the dry brush to blend the colors together if they are too wet. Or use a wet brush to blend the colors together if they are a little too dry. And it's just simply about balancing the two. And continuing on. 17. Lesson 17 | Robin painting tutorial | Detailing: Detail in some base colors down with blended them altogether. Now let's add in the crucial details and go stop the chest. So I'm going to start around ahead because the head hasn't had a much hasn't had much attention. I'm going to add in some of the highlights around the top of the beak and the top of this part here with some yellow. I'm using cadmium touch of white, tiny little bit of white. And I'm just going to very slowly, this technique is very slow. Make sure you're not no rush to go anywhere. Really slow. Just take your time. Listen to some music. Ready, enjoy adding in the smallest little details. Because it really is a small details add up to make the picture really pop. I'm just finding the highlights around the beak. Very fine strokes in one direction. Very small, very fine, small and first slow. Just adding in those details. Tiny bit of blending and adding water needs to go on. Sometimes the skills too much to give her, but I will try my best to stick to just detailing for now. If we focus on here, basically small brushstrokes. Sundays could be individual feathers here, especially around the getting the detail around the eye is really important. But if you don't apply the correct amount of detail around the eye and in the eye. The painting just lets off. So I would spend a lot of time around this part of the painting. You'll add in detail. I'm just going to add in some of these yellow highlights I see at the bottom of the eye. The top as well. Very small, thin. You really do need us a tiny brush if you want to add this level of detail to your paintings, make sure you don't have too much water in your brush, has nothing too much water is never good. Make sure you tap it dry on your tissue. And then just slide it up in the details one at a time. Going to add, I'm going to make a new girl and what a peachy color. White, little yellow. And I've made a very light peach color. I do believe it's quite peachy around this suddenly I even do an add tiny bit more red. Type it up. I don't have a lot of water on my paint brush for the detail. When I have a lot more paint, as you can see, it's thick wall and much less water. Because it's not about blending is about adding layers on top with the fine details. Sometimes you will need to wet your brush just to blend in some detail parts around him. For me, this is too harsh. I am going to wet my brush. I am going to just pulled up a little bit down. With your detailing. You want to make sure you don't have as much water on your brush, but enough to make a decent brushstrokes. Brushstrokes need to be small, intentional, and slow. This is about taking your time and enjoying it as much as you can. It's very, very red accident. Even to watch, even to watch people do this slightly peachy around here. So I'm gonna grab some page of the course. Applies in detail, run some PHP code here. I do want to blend it tiny, tiny bit. Let's add some detail around here. Need cadmium, yellow cadmium and read it. Black for the shadow with the detailing is about adenine and the shadows and lights. Lights, you're adding more white. Demo black. I don't want this to be a little bit more on. Those need a little bit more water. Let me just put in some orange highlights. Excess tissue paper. I'm just adding in some highlights with this lighter orange I've made also around a little bit too much water on the paintbrush. You can just to the tissue paper, paint, find small brushstrokes. I didn't in the highlight areas. Awesome. Some done here is I didn't highlight brooch brushstrokes. These highlights are orange and then we will add white highlights as well. If God is about what is just about adding layers added in details, it's not just one sweep and it's done. You need to work on each layer. I need to work on the mortar or the brand in detailing. Much orient is a lot more insurance. Foreign strikes, orange feathers of him. I'm going to now I'm going to add some white to the orange. If you want, you can make the paint editor FEC just add some texture to the overall painting. I think that's sometimes really lovely to see some thick brush strokes of paint. Just to really see some texture coming up. You can do that so well with critics. Something that you can do really well with oils as well. This color is really nice with the white highlight, especially ON delete. Neutralize his peach color. We made a bit more. What do you see how intentional and how, how much attention I am applying to this area? It will take you a while. This area will be worth it completely. And the title passed by. You won't believe it hadn't been not much done. See if you can allow some thickness to your brushstrokes. That texture really does make a world of difference. I can, I'm being so international, sorry, dedicate my paint brushes. Applying the advice and the detail. More detail around here. The thing is with detail, you can be as detailed as you want. You could spend hours and hours just on a detail. There's no limit to how much detail you can apply. 18. Lesson 18 | Let's Finish the Robin & Summarise Our Learning: So I just wanted to summarize this learning objective we've covered in the last few lessons, apply your understanding or for credit painting techniques to paint a robin, we explored add in motor, blending, dry brushing, and detailing. Well done for getting this far into the course, guys, you have done fantastically well and I'm looking forward to seeing some photos of your progress. You can share with me your practice pictures of the techniques, the robin painting or both. Whatever you have produced during this course. I'd love to see it in this video. I'm just finishing up the detailing of the bird will from time to time use blending and adding water technique too. You will find that you'll use all these techniques together and in different orders. Just remember with the detail in to make sure you use white paint to add those unimportant details and a black paint flows shadow areas, it really makes a difference. I was slow and intentional with all my brushstrokes when adding the detail and formerly enjoyed it. How is your organ painting going? Did you enjoy applying that some of the techniques we learned in the costs, perhaps you struggled with the painting. If you did, that's completely No. We are here to learn. With more practice. We can improve, suggest reviewing the techniques and practice these skills a little more, then come back with a little more confidence and have a go paint in and robbing the game. So let's summarize the six techniques before we move on to the quiz. Dry rushing. There were free key pointers were dry brushing. D remember what those were. If not, don't worry, I'm going to tell you now you have an opportunity to re-lend them if you need to. Use no water and little paint. Dab your brush dry on the tissue before use. And the third one for dry brushing. Mesial brush in circular, crisscross or tab Emotions to create interesting effects. Blending. There were two key pointers for blending, and they will use a dry brush to blend in tones of wetter paint or the upsets. You use a wet brush to blend different types of dry paint. The technique. So adding water, there are two key pointers. Use the water to dilute and spread the color and create a gradient using water. Flickering, tapping gently produces a pattern of mostly small round dots of random size. And tapping harder produces larger spotlight marks. Stippling. For dark areas, you apply a great number of dots and keep them close to give them. The second one, your brush needs to be dry and you apply a W motion to the paper for detailing. There are two. Your brushstrokes should be slow and intentional. And the last one, what your brush, dab it dry a little. And remember you only need to apply a small about a paint. They are the six techniques with the key point is each one of those do recommend you review them again, try and get them embedded in your mind. Practice the skill lows are times. Definitely try and perhaps it more if you struggled with this painting, like I said earlier, that's absolutely fine. But all here to learn, I would recommend practicing those skills and then returning back and try again or try a different bird using the skills you've learned. If you do, we're trying to paint in a robin. Again, send it to me. I really would love to see your improvements. I would absolutely love to see your first robin painting and you'll set them up in painting. I would love to see the difference between the t. That'll be awesome if you could do that, if you are going to do a second one. So I'm gonna let you enjoy the rest of this speed painting. As you can see. I'm just adding fine details. Those fine details make all the difference. They really do. Look, I'm using this orange paint, adding some orange highlights, and I'm also making use of water to blend. And then I'm using that wet brush and the dryer brush to blend them all together. I'm using all the skills I've taught you to produce his stunning robin painting. And you can do it too. And I hope you have. And if you feel like you're not quite there, by all means, do it again please. For the ledge, just a tip for the top. They allege I'd make it wet on the side of alleged, make it darker. Then you just have to use your blending skills to blend the light into the dock. And that's all you really need to do for the ledge. You don't even have to include a ledger if you don't want to. Yeah. As you can see, I'm being so intentional, so slow is half careful with where I'm placing my paintbrush. And it's added in those fine tiny details. And that's what you need to do to enjoy it. Listen to a podcast, listen to some music. Really relaxing to the entire process. Okay guys all let you enjoy the rest of this video. And good luck in your quiz. 19. Lesson 19 | Quiz: Hey guys and welcome to the quiz section. Before we get started, I just want to review or four learning objectives in today's course. Number one, understand what the advantages of acrylic paints are. Number to learn two or more key pointers for the six different acrylic painting techniques. Number three, practice these six techniques on paper a couple of times. And then before the challenge, apply your understanding or for acrylic painting techniques to paint a robin. So at this point you've practiced the sixth techniques are a couple of times you're feeling more comfortable with them. You understand the two or more key point is applied for each one. You've painted the robin. You may have even painting a second Robin or thinking about doing it, and you're feeling confident and able to answer these questions. There will be five quiz questions. I will ask you the question and then pause the video, write your answer down and then I will reveal the answer t. Good luck guys. Let's go. Question number one. If I have two different tones or dry paint on my canvas, and I want to blend the two together. Does my brush needs to be wet or dry it to blend the two. Pause the video, write down your answer and then I will reveal the answer is wet. Your brush needs to be wet to dry a two different tones of paint that are dry. However, if the paint on the canvas was wet, you'd use a dry brush. If you put wet. Fantastic. We're done. Let's move on to question number two. Question two, what should my brushstrokes be like when adding detail to my painting? Pause the video, write your answer down. Your brush strokes should be slow and intentional. Question free. What three types of motion should I use if I want to do some dry brush in three different motions are circular, crisscross or Christian for if I want to create a darker area using stippling, how should the thoughts be placed? For dark areas, you apply a greater number of dots and keep them close together. For the final question, question five, how do I spread color across my canvas? You need to add water and dilute it. How did you do? Did you get five out of five? I hope you enjoyed the quiz and the course are really hope you've learned something invaluable and I hope improves the quality and the detail of your artwork. And by all means, keep practicing these skills over and over again because we've are it really is just practice. I wish you all the best guys. And I hope to see some beautiful pictures in the feedback.