Let's Talk Texture - Coarse Molding Paste | Samantha Williams-Chapelsky | Skillshare
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Let's Talk Texture - Coarse Molding Paste

teacher avatar Samantha Williams-Chapelsky, Visual Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      1. Introduction

      2:49

    • 2.

      2. Palette Mixing

      5:07

    • 3.

      3. Drawing

      2:04

    • 4.

      5. Painting

      19:01

    • 5.

      6. Finishing up

      0:27

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About This Class

In this class, we will use GOLDEN Coarse Molding Paste to create a textured abstracted Mountain landscape on a panel support.

Supplies to be purchased: 

Panel Support ( birch cradled panel recommended pre gessoed if possible ) 11" x 14" for more information 

GOLDEN Coarse Molding Paste 8oz 

GOLDEN Fluid Acrylics 1 Fluid oz

Colors: Titanium White, Anthraquinone Blue, Quinacridone Crimson, and Quinacridone Nickel Azo Gold, Naples Yellow Hue, and Green Gold  

Plastic or metal palette knives x 2 

Older brush - flat 

Palette Paper or palette 

Paper towel 

Meet Your Teacher

Teacher Profile Image

Samantha Williams-Chapelsky

Visual Artist

Teacher

Hello, I'm Samantha Williams-Chapelsky and I am a visual artist from Edmonton, Alberta. I work in Oils, Acrylics and Watercolors and create abstracted textured landscapes using all three mediums. I have a degree in Fine Arts from the University of Alberta and I showcase my work in public and private galleries across Canada and the United States. 

See full profile

Level: Intermediate

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Transcripts

1. 1. Introduction : Welcome to my studio. My name is Samantha Williams Chapel Ski, and I'm a full time practicing artist in Edmonton, Canada. Today, we're going to be doing Segment two of my Let's Talk texture. Siri's. This Siri's will focus on a variety of different textures in golden pastes and gels. You can add to your acrylic panes in order to create some unique finishes. Today's topic is going to be course molding paste now course molding paste. It's a really unique product. I have used it for years and the painting behind me as well as the one in the front. It is full of tiny little calcium carbonate solids, which give it almost a thick textured application. Also, there's a key word in this product called paste. The minute we see the word paste on any gel or paste on the shelves, we know that a paste will dry, semi opaque or opaque and has a white tone to it. So for today's workshop, I would recommend having the falling products I have in front of me, a couple panels that have been pre colored more pre Jess Oh, with black Jess. Oh, to the Golden Product. Absolutely phenomenal producto work on top of I'm going to be using on 11 by 14 panel that has been Jessica with black. This is a completely matte finish, very easy to work on in a very unique look, especially when we're dealing with course molding paste. You will, of course, need some paper towels for cleanup. It's small container. This is an eight fluid ounce container. Of course, molding paste will be more than enough for this project. We're going to be adding it into every single bit of pain that we're putting on our support for our colors. I would recommend having titanium white when, after known nickel as a gold corn chaperone, Crimson Naples yellow Antioqueno go Answer can on blue and green gold. And these colors are all fluid Acrylic Cesaire, all smaller size with very little acrylic. In order to 10. Quite a bit of this course molding paste. You will not need a lot of the product. You'll need a few drops of each color, but also recommend having some cleaned palette knives. These air plastic. You can also use the metal ones, if you like, in varying shapes, so I've got a couple different shapes of palette knives here. A swell? A Some brushes I recommend. If you are using brushes to use, some really meet up rough looking brushes. The's products Do you tend to get in the barrel of the brush? So we want to make sure that we're not using our fancy brand new brushes for this. Maybe some older brushes that you were meaning to throw out or haven't used in a while. So we're gonna get started. I'm excited to be working with you today. 2. 2. Palette Mixing : So we're going to start by mixing our color palette. Now. I do have a piece of pellet paper frenemy this paper, you can use a traditional palette if you'd like. I'm using. This is it's a little bit more disposable on, and I have my course molding paste. Now, when I open this up, you're going to see this is a very nice white product. Does have almost a sand like consistency to it. And I didn't take one of my palette knives. I'm gonna take out about a tablespoon of product. Now I have a selection of colors. Today I have six different colors, so I'm going to give myself six little swatches of color. Now you'll find with pace in general, you will go through a lot of this product in order to make your painting. That being said, if you end up mixing too much of your product, you can always use the remainder on a secondary painting. Or you can also scrape it onto a board support and have that as a bonus textured panel for later. So the first color I'm going to squeeze out we're gonna look at our anther Quinn own blue So this is a fluid acrylic. Gonna need very little color in order to tent a lot of this paste. So I'm just going to use a few drops of each of these fluid acrylics. My next is going to be quinacrine on crimson. Next will be in Naples. Yellow hue, a beautiful, more traditional color again, only a few drops of each color. Next will be my queen Macron Nickel as old gold on this color, I've always really loved using and landscapes. It's got a really beautiful finish to it. Um and it works really well when mixed with white. I've got my titanium white, and I've also got some green gold and add to the last pile here. Now each of these colors has very little acrylic added to it. We don't need a lot of color. We are gonna mix these up premixed these in order so that everything is ready to go and ready for us to paint on. I'm gonna add in a couple drops of this color and then we will get going. Addy and a couple drops of our green gold. They want to start mixing and a star with the lightest color first. That will be my titanium white in a mixed this all together. Now, even though this paste does dry to be white, Um, I do find you need to add a little bit of the titanium white to get a nice, clean, bright white rather than an off way, because it is a little bit on me transparent side. And it's not quite a solid weight. It's a little bit on the the greyish tone. So I wipe off my tool on some paper towel in between, um, using paper towel rather than washing these off, because I don't really want to add a lot of water to these textures, and you can see green gold phenomenal color. Um, I can choose if I find this is a little bit light. I can choose to take a little bit more of that fluid acrylic and added in and give myself a bit of a greedy in tow work from So whether that's super Super dark green or a lighter green, which is in the front and again and scrape off any extra product way. Popham, a palette knife on paper towel, keeping everything nice and clean. Next will be in my anthro. Quinn own blue. This is Ah, really beautiful dark color. If you've never tried Answer Quinn on Blue. I highly recommend it. It is absolutely phenomenal. And again, same thing here. If I wanted to make this a little bit darker, All I need to do is add a few more drops of the anti pinon blue, and then I can have a little bit of a darker half of this texture and that will give me some ability to create some darks in my painting. Clean off my palette knife yet again. Let's mix up Our queen acted alone crimson again. One of my favorite colors to use this color is really beautiful, Especially when mixing with colors like the antiquing on blue right next door Got me quinacrine own nickel as a gold again. This one. If you wanted to make it a little bit darker, you could I'm using This is more of a yellow tone in this painting, so I'm gonna keep it on the lighter side. Um and it is a really beautiful color. Even if you're doing things like skin tone. Puente from gold has a really lovely color base to it. And lastly, we wanna make up a mix up at Naples. Yellow. Really nice color palette there. All right, now that we are all mixed and ready to go, let's get painting. 3. 3. Drawing : all right, so our first step is going to be drawing in our composition. Now I have attached a photo to this course for what you can use to create an easy simplify composition that will be easy to work with for this style of painting. Now how my panel here, this has been primed with Golden Black Jessel. I'm going to quickly do a paint sketch rather than doing a sketch with pencil. I'm going to actually use some of my fluid ACR elected map out my composition. So I have a little bit of the white here, got a smaller size brush and be using that quickly map of the composition. One thing to think about. As always, with landscape painting, there are a lot of important steps in creating and composition, even when it's simplified. We really want to focus on putting that horizon line in a good spot for painting toe work all over. So for starters, we always want to avoid that central line. Whether you're doing a square or rectangular panel, that center horizon line, we want to avoid it from dividing the painting up into two. So I really want to focus on the painting having 1/3 of the way where we've got heavy on the sky, light on the ground or vice versa. Light on the sky, heavy on the ground. So, whichever you choose to do, just make sure you avoid that center line of the painting. Now for my panel. Now, quickly do my paint sketch. Gonna draw in my horizon line. You can keep it a straight or as quickly as you, Blake. Totally up to you. I'm gonna draw in some mountain shapes. And these are the shapes that are in our image fairly simple. We're keeping this very simple because again we are dealing with texture. We're just gonna divide that skyline up a little bit and we're gonna divide the bottom up. That's how I would start this painting, keeping an extremely simple basic paint sketch that way and know where all of these areas will work on where all my color needs to go 4. 5. Painting : So we are ready to paint now. I have my palette knives in front of me. Got a couple of different sizes again. I've got some with a sharper point, some with a little bit softer. Um, and some of them are a little bit longer. Each one of these will make a little bit of a different mark on my painting. I have my palate all ready to go as well. A. Some paper towels to wipe off any tools that get any product on them and then some brushes . If I'd like to add in some brush marks a little bit later on. So we're going to start with scooping out our texture. And I like to start from top down that way the color Stay a little bit cleaner. I'm a little bit easier to maneuver. I'm actually just going to scoop this texture. Grew up it on the support. Now you're gonna hear a little bit of that. Sandy nous happening to that texture because we have all those calcium carbonate solids in there does have almost a sandpaper feel to it, So it's got a little bit of a texture now. I started with an frequent own, blew up top a little bit of white and blue in the middle here, along with some of the purples. Now, for my mountain range here, I really want to take my mountains from lightest to medium to darkest. So how I'm going to do that is I'm gonna take some of my blue when a mix in some of that white I'm gonna make a very light version of the blue. And if you have to add more titanium white here, you certainly can. I'm gonna add a small amount of my green as well, just to give it a little bit more of that push back color. What we're looking for is almost a soft mint tone. So once they've got that, I'm gonna plot that on here. And I can I should just spread this out just so I have that basic color in there Now, my next mountain, I'm going to do a little bit darker, so I'm actually gonna take a little bit more of that blew into that original same mixture a little bit more blue, a little bit more green, and that is gonna be my next color. So I'm making this a little bit darker then that 1st 1 is because again, as things work in perspective, they go from light to dark. So we're going to see that super light tone mountain in the background and we'll have this medium tone coming forward as I But those colors right up against each other, you can really see that color difference there. Now, our next one is going to be the darkest and that is where we're going to be using the darker blue. And I'm gonna still scoop up a bit of green a bit of that original color. But mostly I'm adding that dark blue Communist scoop this up again. Same thing here. We're going to be adding this right onto the surface of the painting. Now, if you feel like you don't have enough product, you can always make more. You can always grab some more of your product out of the tub and add a little bit more into your palate here. So I got my color is all ready to go. I'm gonna leave the foreground for now. You know, work just solely on the top part. I'm gonna basically start off with maneuvering these colors, so they fill the space. Now we're going to need a lot of product in order to do this. It is quite a textured product, but it doesn't cover quite that well, because we still have a little bit of that rough, gritty surface that we want to showcase new Over these air round, you can see all of those marks of in making our was just my palette knife. Nothing else right now and with acrylic. Remember that you can add as much textures you'd like here will take time to dry so these acrylic paintings will lie to you. They will look dry on the surface, but still need to have all of that water evaporate out underneath so that sometimes they can take actually up to a week of their thick enough. So as we're working with ease and as you're watching them dry, just make sure that you're really allowing them that drying time because we don't want to wreck a painting that's been only partially dry on and then have the skin be broken on the surface. You can see that mixture of colors in this middle banner here is just beautiful. Got this sort of soft blue happening with a little bit of purple tone. And don't be afraid. Once you've gotten all this sort of area covered that you can actually take this color and mix those two sky areas together. This is just to give you an idea where to put the color. You do not need to keep them completely separate. Just go right to the edge of that mountain range. Make sure I'm getting all of this. Have a little bit more of that connected on crimson in here and again If you had a clinical magenta at home that works, Justus. Well, all right, Now let's start blending now. I like using my pal, and I have to create different marks. So I'm actually gonna drag my palette knife through all of these different colors you're gonna see. I'm gonna go from one angle to the other. I'm gonna have some really interesting marks being made by doing this dragging across. It's a really beautiful effects happening, so I like to showcase different marks that you can make with just a palette knife. Again. Don't be afraid to let these two colors completely mix into each other. You're finding your losing a lot of this lightness and always add in a little bit more white again. I'm going back and forth with my palette knife right on its edge. You don't want to get to the point where I'm scraping through and I'm starting to see that black underneath. But if I happen to leave a few areas that are black, that is absolutely fine. Let's add a little bit more of that crimson up here. Okay, maybe a little bit up. Here's well, you can see some colors are definitely stronger than others is antiquing on blue is a very strong color, so working with that, you are having to add a lot of other colors in order to lighten it up. But that's fine. You can have as much texture on the surfaces. You, Blake. All right, now got that sky sort of sorted out here. Always add to it, take away as we're going, Let's get to those mountains. So I'm gonna wipe off my tool here just on a little piece of paper towel. Again. No need for a brush. Smooth out this last mountains texture just so I can bring it up to the edge of the sky. I was like, using the tips of the palette knife to do this. No, that way you've got everything all together. Grab a little bit more of the dark here. Yeah. One thing you want to think about his once we've gotten his area covered, we want to switch our marks, different marks for the land versus the sky. So you don't have the same mark in the whole painting. I really want to have some unique marks happening, so I'm actually gonna take my palette knife. I'm gonna use the edge of it, create more of an angular mark, which works really well for mountains anyway, because they are quite angular. So wanna work it, creating all these angular marks in this mountain range? I'm gonna take a teeny bit of this light color and pop it in the next mountain range just to give it almost some highlights. And that's just what was on my brush. That's the color from over here. I don't need a lot. I just want to give it a little bit of tonal difference. And then with these ones, what I can do to create a tonal differences again make a lighter version of this and run this long a couple of those sharp edges that I've just created, giving myself a little bit of texture as well as tone and shape. You can see by adding just that teeny with a white gives him a lot of interest. You can always try to readjust the shapes. Also, something to think about is adding just a teeny bit of white. Get the shape back, then go almost like a little bit of a reflection here. Also, something that I really like to do, especially with palette knives with more of a sharper tip is I can go in here and I can actually scraped back down to the black, and I can find those black lines and add them into my painting. Um, and that way it's got some really interesting visual interests as well, because I'm able to scrape back in ad in that texture, that little bit of dark contrast in color. So we're in ster working on this part here. We're gonna be using our green for this part as well as our Naples yellow. So as I'm working here, I really want to mix these two colors and create almost a plane of green that I'm going to be putting in here. So nothing too fancy. But I'm gonna bring this right up to the edge of those mountains. I got that Naples yellow on the bottom, which is super, super bright, really beautiful in this color palette. What brings more of that green in? I can choose here if we play to combine the S to make them look a little bit less separate . You can actually take some of my green gold, make sort of a medium green a little bit darker. I can actually run this along the edges of those mountains and bring it up into those mountains of it. Just gives them a little bit of continuity there together. They're not separate. You've got this continuation of the land two mountains. Of course, we'd have different rolling hills and different effects happening there. But again, we're just continuing that color pattern. Okay? Camping around that and again. Same thing here. I can have a little bit of that green right into my lighter color. Don't be afraid to mix the colors a little bit. Adding in that little bit of difference there can either. Got my Naples yellow. I'm gonna finish off this little area with a nice break. Naples yellow in a transition into my quinacrine own gold. Of course, this is a little bit more transparent. Naples yellow does have some white in it. So what you're gonna find with that nickel azo gold quinacrine, nickel as a gold? Um, got a little bit of a lighter tone happening, so I'm gonna add a little bit of my, um, Naples yellow into it. Just so it's got a little bit of weight behind it. And again, don't feel like you have to cover up all the black. You can certainly leave bits and pieces of it showing through. And that way, you've got a really interesting color tone happening underneath. Got lots of interest happening there, and I'm gonna walk back into this area here. I'd like to bring some of that black back in so much just gonna scrape out some of this green, build up some of this surface a bit, having him a little bit more that light blue again. This is often messing of a painting. So this is sort of working with the painting to work what level it's at and that sort of playing around with it and adding in your own effects. So I am going to make a little bit of a darker color Gonna take some of my green gold. I'm gonna add some of that super dark and frequent on blue, and I just use a lot more paint to paste here. I do find with the paste you kind of get everything at a mid tone. So mid tones air Great. But we want to sort of have that ability to get some darks as well. A. Some light so adding in a little bit more paint to paste ratio, you're gonna get a lot of dark tones happening, which is absolutely phenomenal on what we needed in this area here just to give a little bit of darkness happening again, I'm gonna scrape through, picking out some of that color, giving a little bit of variation in here. I'd like to see a variation between these two mountain ranges as well. Someone again take some of that darker color. I'm gonna work this dark color into this mountain. You can see you from really blend really well with these products, um, they give you a lot of maneuver time again with acrylics. You do want to do these all at once rather than coming back to this over Siris of time. Because, of course, once these dry they are completely drives, you won't be able to work back into them After that point again, you can see just that little addition of dark really giving this mountain sort of structure and shape just what we're looking for. If you'd like to add some sort of visual interest to this mountain, you can always add some little bit of snow lines in here. So I'm just gonna take a t but a white run Some of the snow, um across down. And this is a course is giving some of those mountains a little bit more realism to them. Course a lot of our mountain ranges up here, have a lot of snow on them. So adding team, but a white will give it that feeling of snow a little bit of this along down again. You can blend away. If you've added too much, you could always take out and giving some vertical and horizontal lines. Same with me. Dr. Stamina move onto the second mountain range. Came in at a little bit of dark to this one. Of course not at a store, because it is a different perspective level. But I'm gonna add a little bit more dark to it again. This just gives it a little bit of contrast happening. Then let's work on this mid ground here where we've got all the super break green, um, to medium green, you know, work my tool up and downs, who got a little bit of a different mark happening than what's in our mountains. Just giving it a bit of variation again. Again, I'm cleaning off my tool every time I'm switching into a different color zone, mostly because the colors don't necessarily all mixed together. They all look fine. But if we end up mixing, all of them will end up with sort of a muddy tone, which isn't really what we're going for again. Adding in some of these marks here that are more like on up and down mark rather than our cross hatching. And again, this is sort of ah, way to Delaney the Prairies. That, or maybe coming in front of this. I'm also gonna bring in some white here, even though our Naples yellow is quite late. One ad in an area of bright white wrote here, sort of surrounds that little bit of black that we pulled out earlier and again do the same thing right in the foreground. Adding a little bit of white. But Naples yellow and that white been a little bit of visual interest here. Again, don't be afraid to add in those marks. And they're going to give some some different marks versus all of our our typical tool marks. So I am mostly using palette knives. No, If you like, you can always add in a brush. A brush will give you a very different effect. This will not be good for the brush. So obviously, use one of your brushes that you aren't, um, worried about damaging. So I'm gonna use it in my skyline and you're gonna see I'm gonna go back and forth almost in an X pattern. Um and I'm gonna dab some of these colors around now. The reason why I would use a different tool in the sky versus in the mountains is I really want to showcase the delineation between the two so that this is a mountain. This is sky. I really want to keep those two separate. This also allows me to add in some extra color, reshape those mountains a little bit. Make sure I'm happy with that. Overall feel good, like this mountain to be a little bit sharper again. I can add a little bit more white here. Really blend in some of these break colors on when you're working with a brush. The biggest thing is, once you're done with this, don't leave this. Make sure you're washing it out completely with just water. Just to get all that excess acrylic off, You can also pre wipe it off on some paper towel in order to get rid of some of that extra acrylic. You can see the difference between the clouds, and I kind of got a swooping Martha. I'm adding in here just to give it a little bit of a lightness to it, mean adding a little bit of a later pink tone in here, too. And then a little bit of a cheeky way of working is always adding in a little bit of that sky tone right into the foreground of the painting doesn't have to be a lot, but especially the Reds, because we've just used that read up at the top, like to add a little bit of it right in the foreground, because it just makes that area really pop forward. And that's where I would leave that painting. So that is our course molding paste mixed with fluid acrylics in order to create a very textured, um, mountain painting. 5. 6. Finishing up : thank you for tuning in to my second Let's talk texture. Siri's thes episodes will be continuing on with different golden products, pastes and gels that you can add into your pillow paints in order to create some unique textures. For more information on my online workshops or my own work, you can visit www dot Samantha Williams Topolsky dot com. Thanks for tuning in.