Hi Everybody Im Cinnamon Cooney your Art Sherpa am and I am so excited to be coming
to today with day five five five of my sharp art week that's right I'm
celebrating Shark Week with five days of shark related art today I have a tornado
and sharks in the sky I'm going to show you how easy it is to paint this I'm
going to tell you everything you need to do to create this at home and I'm going
to explain to you plausibly why sharks would ever be in the sky so get your
paint get your brushes come back and meet me feasel right now we're going to
shark it up let's look at the materials we're going to be using in today's
tutorial I've got a 9 by 12 canvas board that I've painted black myself with
black gesso I really like black gesso it's a very matte it's inexpensive and I
like to tooth on it but of course you could use black paint over here I have
the colors Indian yellow Prussian blue titanium white Mars black alizarin
crimson zinc white I also have a general charcoal white pencil and of course
brushes for acrylic painting listen check the description below for material
information I even include some color substitutions
just in case you don't have a color because that's not a reason not to do a
painting you can always do color exchanges to something that's close so
definitely read that information if you need it now I'm going to come here on my
canvas and start sketching in my tornado I'm going to do Big Sky tornado with
flying sharks like you do and the first thing I'm going to do is I'm going to
make a nice big round area to support the tornado that is going to connect in
and I'm going to want my tornado to sort of come out and then bend backwards
because that's what I found very interesting in a lot of my tornado
pictures that I was looking at for reference and you should look at
references especially if you're painting something unusual from nature I'm going
to bring this down to the 30 teeny tiny foot I think it's a very important thing
bring some of these little circles here for the con right because this is the
swirling air
I'm going to definitely paint that around so once I have that in I'm going
to start laying in my sky using some nice dry brushing and it's going to be
about creating this really stormy sky and of course debris that's splattering
up let's start so I've got this brush this is going to be like it's damp but
dry I'm going to come over and start with my impression blue really like this
color for this canvas I'm a skeletal this brush up with no extra water at
this and I'm going to come and start putting in the low part of the sky with
my blue the reason that I like having and I'm doing what's called a dry brush
you can see I'm wiggling my brush around and one up and I'm going to actually
curve my lines here a bit it can be hard for you guys to see the stuff when I'm
playing getting some white here on this canvas because it's dark on dark but
this is actually a really fun thing to do going to come here again just working
the edge of this doing my big space filling in these big honey areas right
and then let's come here and another part of this coming in this way
I like this bluer area of the sky let's get some more Prussian blue shaded here
coming in with more blue and then you can see I'm just letting the black stay
down here and now let's we just sort of dry brush this here there's this dust
and debris I'm going to have giggling my brush around that's right sports
giggling what I'm doing is I'm just trying to keep it moving randomly so
that I'm not making really orderly strokes here because I want is this sort
of wild shape just a little bit of paint put down a little bit color let's add
some over here got a little white on my brush from before and I'm going to just
make sure these herbs are super important to this type
of sky when you're painting any kind of super stormy weather giggling this round
the bristles are helping me make this random string really when you look at it
simple back and forth I'll go up and down
I'm leaving areas of black here and we come down back up and then let's put a
little bit of this here even though we know we're going to come back and just
go back and forth back and forth up here with this now this right here I
really want it to be quite dark so might actually take the blue and the black
together I'm going to come here make sure you know one more black this
part of my cloud so so dark back side it's a giggle grumble gumbel this all
enter the space just back and forth and back and forth when you see me doing
this what this tells you is that the areas are more about getting some values
get some land on the brush more than a white value right here you know number
one get some get some zinc if you have it it is very nice to have zinc white
for landscapes if you can get it if you don't have any don't not paint the
landscape come up here alright don't not paint this landscape because you don't
have something right very important in a dry brushing and sort of some guides for
me so I can make sure that I've got a swirling skies I'm going see I give
myself some guides and that's gonna be something that you're going to need and
you don't need them to be super special or particular you just need to know
these ellipses see how this is an ellipse
and lips so I'm down here in the lower midpoint and curl up and come around to
about the halfway point and lips back in and kind of hard to think about no lips
at first if you haven't done it for a while all right so I need to lighten up
this part quite a lot I'm going to get the bank zinc or mixing white will work
here but again if you don't have it just use your titanium white just sure that
I'm putting in these clowns little circles as I would I like the zinc for
its transparency there's a lot of blue right here
pull that blue out right there right at once you know it's kind of what
happening this guy maybe some other places different different areas I'm
going to wipe off this brush get more black on it I'm going to make sure of
the blue because I don't want just to pure black and I get some zinc white
let's do that gray right there put some of that gray couple places right here in
the corner parking down you can come down in an arc and then you're on the
edge your brush back and forth motion here just mid joint just keep that going
back here is a lot more gray I'm going to get the titanium white and the black
any natural bristle brush will shed off a reasonable amount of bristles and you
can always pre wash your brushes if you want to pre shed them and spring this
gray value here and my corner is I'm going pick up a little more blue little
titanium white I have not rinse my brush it and the reason being is that all this
pigment just curving see I'm doing a sort of arched curve back and forth
just creating the energetic directionality of the storm
that's all heinous little depression little of the zinc and again you just
have titanium white wherever I say thank you just a teeny moist don't worry about
it but if you have it it's great to have for landscapes if you want to do a lot
of landscape painting I recommend it as an investment I'm
going to rinse this out and just kind of get it back to a starting point and then
the other thing I'm going to want to do is I'm going to start wanting to put my
other values places so I've got this Indian yellow you could use CAD yellow
deep you could use really any deep yellow Australian seen enough these are
all good if you just couldn't get any of those you could use yellow ochre I'm
going to load this up I'm going to come get some of this white that has a little
bit of that black in it so then I want to give a slight yellow cast to some of
this here I'm going to just keep things going back and forth and try brushing
some of this around give this an uneven aspect right you can even come here to
the front of this - I'm just going to
front of this it's more white
just stroking this back showing this highlighted side highlighted side is
what you're looking to have sorry it's a lot more tornado I keep adding this
white I'm going to just stroke back first I'm going to start this kind of
little squiggle that I'm having now you're starting to see with the clouds
happening there's a little this yellow up here this corner so you just sort of
wiggling my brush can you smell little motion how I'm going out like a lot of
times I like to take it to the corner a
lot of times I like to take it to the corner
all right I'll rinse it out we're going to come right here and shade the other
side of our tornado I'm going to take a little of my Prussian blue and honestly
a little my titanium white so I've got a whole quest on why you would use ink
white and titanium white and really it's about this very strong pigmentation for
the titanium white I'm just going back and forth so here just pushing in
yeah quite blue sibylla's in quite there and in what it is is that the zinc
doesn't overpower the colour as much so that's very nice when you're trying to
control things like atmosphere about painting like this but it's not a block
it's a it's a nice privilege that you can enjoy I'm going to get some of my
black on my brush paint that in there
all right get in there get some glue brush that up right here just creating
these values coming back and forth X plus X plus it's dark shading so we have
it light here it's darker here a sweep around here almost done with this what I
mean is like boom get a tornado in right now I'm going to get this Gumbel brush
you could also use a number four break that you would has a nice stiff bristle
for scumbling any brush you want to scumble with but I'm going to start
putting in some like details I'm going to get a little bell on here just push
it out and grab some of the zinc here in my little tornado
I'm going to come and I'm going to make some go back and forth and dry brushing
here these are great on dry brushing you can get a little sticky wet into wet but
they're just like amazing any brush you have is fine just some pure White's
right here you can come right here and pull that back
just going to give this a little definition just a little little thought
here see how we're doing this front leading edge super nice you can get that
any way you want just and reg see me going circling around if you're doing
this with the bright you do this on the square of the brush up off the brush if
you need to keep getting little this weight push a little to split out here
these are a little bits of cloud that if does the energy that's coming in and
getting swirled in we're almost then already put in some sharks you just got
to get some of this energetic space in just around here I want this to be a
little bit darker so maybe grab a little blue into your brush and just make sure
that this is okay I've kind of lift set around you're just trying to say that
there's this space that's happening
I'm just pushing and pressing and stumbling it around right the reason why
sometimes I like to switch to a round edge if I have that option I can do this
with the squares is that it it keeps the round aspect so
it helps me hold some organic space I don't have to press out my corner so
much to get it pulling here there we go just clouding it up right it's crazy how
fun and easy it is all right so take a minute and look at your piece
assessed value are you happy with it are you seeing your tornado the thing you're
going to want to look for and make it feel real it really tornado is it needs
to be dark on this side this side needs to be dark because you're really shading
a column and this hard side needs to be lighter right so if you're having
trouble seeing the shape right that's what you're going to keep like if I'm
just going like this that's what you're going to keep playing with and then also
the directionality of your stroke if you really really you're still having
trouble seeing the shadow here on this edge what's happened is that you don't
have enough black all you've got to do is get your black I'm going to take this
little brush and I like to use this one to define this edge because it keeps
that organic space see how I'm holding that space and now you're starting to
see the tornado jump out from the sky this is just a value study you know
until we put the shark in and it's a whole nother deal and just make sure
I've got nice you may just work in those values
just back and forth and try rushing now his beautiful energetic sky this is a
good big this is looks good small let's dry this and talk about adding in some
flying sharks so I use my chalk pencil again to sketch in my shark this is of
course another area where it's totally okay to use the traceable tracing is
definitely not cheating it's just an art skill as it's drawing you pick them up
as you feel like totally up to you I must catch this guy in so once you're
having sketched in or traced on how you like him it's time to paint them in I
think is going to be a lot of fun to paint and with everything that we've
already had it's just about value studies let's get going all right
so I'm going to block him in with this number six bright this is a ruby satin
bright and this is a synthetic filament brush I'm going to drag off any extra
water and my whole big thing that I'm gonna be looking for with him is values
right so the top of him is darker in pigmentation but maybe he'll it so
that's something to think about and I'm going to mix the blue in the
black together before I even add the white into it because there is a slight
blue cast to the upper part of a great white pigmentation and I don't want to
not respect that so I'm going to come along where I've had this line in now
I've got some alizarin crimson so I'm going to put a slightly pink cast I feel
choose some of his coloring all right coming along here we're going to just do
that yeah get that in make sure we get the belly I might flip it down the fin
here and then of course leaving that value for the pink belly
it's kind of funny to think that they have sort of these really adorable
creamy little bellies probably not to any of the seals is that funny
and also something I've learned from watching like a lot of shirt programming
is the only reason the shark should be in the sky like this is seals have
suddenly learned how to fly and I mean I don't mean to spoil like years and years
of shark documentaries but whenever they're like why is the shark here it's
always filled it's always seals are there that is the only reason sharks are
ever there I find it very funny because they're in a whole program and really
blows dirt their seals I'm just screaming at the TV seals read an
article about why sharks have shown up somewhere seal so what I'm saying is
that if you were to have sharks in the sky for any reason the base cause of
that would absolutely absolutely be some seals flying aeronautical field this guy
has just come up you know check out and hungry Scott you know lotta energy to
exert I grab some more black on this because I want the fin to be a little
bit darker so I'm pulling this up just run some of this into his little body
here so it was black a little bit here I don't want to take it too far
and we'll wipe it off on my brush because I want to add early show up but
you see I'm just school wiggling the brush around a little bit back and forth
this is a move I do a lot you paint with me often the squiggle move it's a move
we do a lot now I'm doing these like little neat brush strokes for the tail
some wanting this to be a little bit smooth and shiny and when I have that
basic shape in and I feel like he's looking pretty shark tastic for you know
shirt now flying in the sky which is got to be never good news for anybody and
again especially the seals I'm going to get a lot of white
on my brush but I still want some black into it
and now believe it or not dick little of your Liz ring in there just a hint it
should just be a hint of it I don't want it purple adding a little water but I
just want to hint of that I'm going to even play with that a little bit of pain
to turn inside here dude you can even come down the fin will do a really cool
lighting effect to separate these two objects in just a second we've got to
get this first base color and I'm working edge of my brush where I need to
have a neat tidy coverage and then you know give him a little kiss right in the
nose right now to come up there giving it and I like to get a little dry
brushing sort of make sure that these two lines aren't too defined cuz you
know natural animals right and these guys all have really unique markings
apparently so that's what they say or they're just messing with me Ketel it
could be a little highlight to the front of the fan here
alright so when I have that to town I'm going to rinse out my brush a little bit
just a little little bit and I'm going to switch to a smaller brush now I don't
like to get cramped in my brush strokes so that's why I switch do so I'm going
to get this number two bright also resets over and maybe I'll change to
some cleaner water I don't think I'd need to as much on this piece but it's
just a good idea I'm going to get some black and I come in here just a little
bit back here right here in the center is mouth I'm gonna add some black
now my comeback with some other stuff layering over this but I just want to
make sure that before I start putting in the noticeably pink gums and projected
G's that one might be singing at this moment flying in the sky there little
shark things and I have this nice basis of a of a dark color the next thing that
I'm going to want to do is I'm going to get a little of my I can do my thing or
I can do my titanium white either one is fine and a little of my crimson here the
zinc will make it more transparent I'm just going to want to committee his
little area twinkling all knows with a little bit right here at the forward
leading edge guys right here highlight right here push that back right there
a little this painter maybe a little more right here it's just a little bit
ray noticeable let down the spin it's not my brush a pitch because I can get
my weight again and I just want to make sure it's pretty pretty rounded alright
pulling it up giving him some shape dry brush right here
very dry brush at the nose now I feel like he'd have some like glowing
ethereal highlights but needs to try just a little bit more swimmin do is I'm
going to get my crimson yeah I can get a little my blue I could get my black or
my blue but I'm going to get my blue I'm gonna come in and get my first layer for
the toothy gums and I'm going to be dealing with right here this is a super
important part of the painting a little bit right there we just want to know
that wooden teeth are up but there's going to be a hint of red other ways
what are we doing how we really sharked so we sharks at all let that dry for a
second we're actually believe it or not nearly done I just want to take this
ends you could do maybe a little zinc and a little of the inning else see how
notice it it just stays really yellow it doesn't whiten out stuff and I think
that it can just use the titanium if we have just a channel which you wanted I
wanted to just be a little highlight I here the yellow a little bit on the
front of thing
if he starts to disappear into the background right to do some one channel
and come back with your black and push back because what you want is you want
him to have contrast from his background even if you are working on his
lightening lighting and so what had happened there was he just disappeared
so I say now sometimes that happens sometimes would be like currently so
like I need this that isn't what I need right there put that back for just a
second let that rest and what I actually think I'm going to do maybe a little I'm
gonna have to get into this ink white and I do need a little the blue in it
see if we get it this time just a little bit right here oh there you go just a
little highlight see now it's showing up against the background this is a soft
soft see how soft that is and you're going to want to soften that edge
my advice for that is take the extra paint off your brush just very lightly
just here little bit right here edge of the tail and then coming at the back and
then you can add a little of this highlight to the top of the fence but
not a lot and if it gets too late well you got to go back with the black and
the blue dark enough to improve that value see there you go that's what we're
doing we're just making sure that we have the highlight but we don't lose his
his values and he's going to have dark shadow right there because you know I've
seen a lot of sharks in 2005 strong feelings about how it's going to be I
think another place I definitely don't want a shadow is right here under the
belly just so that the fin feels separated from the belly
there we go yeah I like that alright so here we go I got highlighted got
everything let's come across the front with a little description you can add
some light to it to really have it show just at the front of these gums over
here but we want to leave the shadow under his lip and if we lose his shadow
and just coming along full edge here small brush really helping me if you
lose a shadow put that back with your blue and your
red under a shark this is Stefan chatter right we've got that really shelling let
that dry for a second now we're going to get into a teeny tiny brush and put our
teeth in and then we're totally done with this tornado shark experience that
we've created so I have here a ten over zero ultra shader what I'm talking about
here is just the tiniest brush you can have my paint is started to skin a
little bit because being out so you wouldn't have to put out fresh paint but
it's a probably good idea I do or I put out fluid paint either one of those
would be a solution form and we get my brush a little bit wet in the water and
I'm going to just load it with a little bit of this very fresh paint all right
this is probably skin which I'm going to be fighting this and that's why I did
that and they come put in a whole ton of
teeth that's what's putting into you so the teeth are going to be very white and
there are a lot of fun to put in I like to say that there's rows of them so it's
always good to put some tiny teeth in the background a lot of online pictures
to find on teeth you know and just try to remember you know these guys this is
there this is their hands kind of scary hands that they have but that's their
hands right the puppy explore the ocean it's how they eat that's how they tell
each other to back off so you know whenever you're doing a shark remember
you got to really really do its teeth right
give it some bottom teeth cuz I mean he should be enrolled you should be proud
we're just ain't and a bunch of cheats and that's super fun choose here
did you know baby cheese I've got to be moving forward otherwise how I'm going
to eat shark how to eat shirt gotta eat
alright once you have cheese flying through your sky you're super happy with
the last thing and I think this is important and something that's easy to
forget is that you've got to put as little nostril in his little eye so I'm
gonna put a little nostril in there actually no it's a nostril but some
probably some sort of some things and I give you know it's got to be nostril
because they smell I mean but so that it doesn't look like you know you got to
put in an eye
what you should definitely make bigger and I might knock the nostril back a
little bit so it's more of a shadow I'm not going to worry about gills I'm going
to knock a little noticing back a bit with some blue I just want that there I
just want to look there there you go and now you know because you would totally
have a little IRA flexion right so beautiful and wonderful I'm doing this
little way out I'm to help his little eye really pop I'm so exciting this
piece because I'm proud than an image and I hope you're proud that you did it
to a sign real quick our our goofiness here oh yeah we sure and weak tornadoes
don't infringe on anybody friends talk about it alright what is this shark in
the sky we all know now knowing it's because the seals are there that was
super silly and fun I hope we were loving this week of shark I hope this
was like such a surprised project in projects that you know you didn't know
you were even going to be doing be good to yourselves be good to each other I
hope I get to see you on Twitter where I'm going to be live tweeting during the
show see you at the easel really soon keep chomping on in
you
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