Hi I’m Cinnamon Cooney The Art Sherpa, and today I’m so excited to show you how you can absolutely paint this beautiful dragon fly at night over a pond. So get your paint, get your brushes, come back and meet me right now I’m going to show you how to paint this. Hi I want to show you what tools you’re going to be using day so you can make this at home. I have a 9 by 12 canvas board here. This is pre gessoed and ready to paint. You don’t need to do another thing to it. Over here. I have my acrylic paint. I have quinacridone magenta, phthalo blue, phthalo green, dioxazine purple, burnt sienna yellow, ochre titanium, white and Mars black. I’m going to start out using this number a round bye. This is a Bristlon but you could use a six or four. I just want a nice round with a synthetic filament. It’s going to really really have authority with my paint. I’m going to dip this in the water and drag this off. So I don’t have a lot of extra extra water in there. I’m grabbing a little of my halo a little of my green So that’s why they love bloom I feel green. It’s actually here it’s going another little deeper water mix. They also turquoise. I’m going to just come on my canvas with my round brush making this little pressed stroke. It’s going to feel like water is a little bit rippling. Take a little more of my green and blue is ok. Sometimes the mixture will be a little more green and sometimes dipping in my water coming back over to my blue and sometimes a little more blue because water is very reflective. It’s very fluid because it’s water so you can just see how that’s just making that nice little stroke. You’re kind of interlacing and working together. To build a little more green this time. Just wearing those little strokes in any round will do this really. I’m holding my canvas still because I’m on this big big easel my easels made for really big paintings and it’s nice to do smaller paintings because we can accomplish a lot. In one sitting you have the paint kind of streaky but it makes it feel like the water we’re emulating. I just dipped in the water swirling around on a roll off this is called offloading gravel a little Mike Green. What I’m doing is I’m making sure that my paint is just really ready you know to leave my brush. Just be right on this canvas. Just that nice little set of strokes a little water you dip a lot of fun just dipping down. Just making these breastworks. I just want to make sure that my canvas is very well covered. We’ll take a little of my green we’re Chimay blue just enjoying going on the canvas like this so any round that you’ve got. You’re just making that little brush stroke it’s like a little wave. I’m just making little brush strokes to make sure the edges are good and then I’m coming here. We’re here we go. More and more and more just enjoying the little watery fun bit. All the way down to the edge here. And one of the things that happens to me is if I don’t pick my brush up it makes a loop and I don’t want really a loop. I want a stroke. That’s something just to think about don’t want to lose want strokes. You can also just go like this right here. Just making these little waves strokes. Covering your canvas with green. You can come here having a little more Bluetooth it can even come back over. Just darkening the outer edges dipped in the water a little bit of balloon. Over the top darkening the outer edges warm still leaving sort of waves stroke that ripple stroke. What’s happening here. So I don’t want that to go away. Taking advantage of what the brush is doing for me the shape of the brush. Just enjoying this adding this little darker range you can get a little more green. Just really enjoy making sure that your outer edges are a little bit darker. Then when offload a little bit this extra pig makes I don’t want my brush to be like so. But I don’t want all this pigment to be gone and come over to my white you even get a little bit of water if you need to. Walking around and then they come right up here and they operate now just on the tip of my brush to make little back and forth strokes are not going to be an angle diagonal. They’re just going to be back and forth. You can even just dash them like this. They come down my canvas. They’ll get bigger and bigger. And since the plate underneath is still a little bit wet it’s going to pick up creating some interesting ripples gets more weight. If you need it a little more water you’re doing just a little bit of moonlight. That’s coming down the water. Just enjoying that so easy. Pressing a little harder. Young kids they’re getting bigger here. So there’s like a cord or isn’t there. Happening coming down the water when you’re in so sad a little bit. We’re going to get some just wait right on the tip of my brush. Couple places Ong’s cord or just adding a few little dashes. This is very expressive this is a very loose painting. If you have trouble loosening up this is a good painting to practice breathing. Just being like it’s about the sum of the parts not about everything. Perfect perfect perfect. So that wasn’t an issue that is going to be about the sum of the parts. A little bit on the tip there. There we go. So now we have a little story of some light coming now. Rinsing this out. Going to wipe it and put it to the side. For the next part I’m going to want my paint to be dry so I’m going to go ahead and dry that with the hairdryer ones that destroy I can start my cat kills which is a lot of fun. I love cocktails. Where I grew up there were all around the ponds we had cocktails and it was really fun and I think there are really beautiful plant though they’re very invasive and they will take over a pond very quickly. All right. So I’m going to take this number four around and I’m going to get this. You could stay with your number eight. You could have a number six. It really isn’t that critical though it can give you control to change brush sizes. I’m taking my halo green here and my burnt sienna and and mixing them together to make my deepest green tills have some very deep coloration and they dry out. And when you’re trying to paint them it’s good to represent some of those colors here. I’m going to be doing some nice art. Brush strokes and I’m also going to be laying in you know what I’m going to want for where my cocktails are going to be. OK what is it a. Skit. OK. They do that. I don’t know if your brush is ever just fly out of your hands for no reason. They fly out of mine on occasion. I guess the Bursch just said no and that’s probably because it knows that I want to do a step first. If you’re at all feeling timid about putting in your cocktails you can take a sharpened piece of kids chalk and give yourself some guidelines because you’re going to basically want character. Coming up here. That’s a big little fat guy. He should have a little friend just over a little bit and that friend should be a little bit shorter. And then of course we have the low friend coming up you know this direction. And then you know nice little. Blades of grass and sometimes a little guiding chalk line can help you a lot. Let’s try to load that brush again. It’s a real thing that happens to me. You an artist do you lose things. They just fly out of my hands and then I don’t know what I’m doing. All right said my Bresch loaded I’m ready to do an upward little stroke. I’m just going to worry about the blades of grass. Well they’re really loose the tactile leaves. And this is the first layer of that I want to make sure that I’m pressing my hardest I’m getting this wet and then rolling this out make sure this is lower on the tip of my brush than impressing the hardest at the beginning of the stroke and then you know lightening it up as I come up. So I don’t want to take away all the beautiful water work I just did here go a little more green funds. It’s OK that the pain is a little bit dry or it’s not about this thick gooey line covering everything. It’s about this very expressive pain truly feeling. So I just want to make sure I have this dirt color as a contrast for the other colors as I build them up. And while I’m here. For my first real quick take advantage of my black paint which is right here will load it on the tip of my brush there’s my blood one going to just very carefully. Do the lines for my cocktail. I’m not pressing very hard and I’m working as the tip of my brush. Let’s get some more when your little friend here. Again just very lightly. This is this is the part that can be hard because people can naturally press down too hard. Compress down to heart. See if I can show you kind of a weird way how you might notice if you’re pressing too hard. So right here. This is the amount of pressure. See the bend in my brush that I want. This would be too much. My lines would get too white. That’s just something to think about as breasts go flying. That’s my next look tactile. And they have this interesting little shape I’m going to make sure that this comes to a nice tapered point so it’s like a hotdog. So come down about an inch and make a little frown about a half inch wide come down another three four inches and make a little smile. Join those up. That’s your basic tactile shape. And I’m going to paint this all in with my black because I’m going to come back with my brown paint in my Okur paint to shade out my correcto slow back up again on the tip make sure that our point is coming out very nicely into the pond. Let’s make a little sad frown. The happy smile enjoying those two lines up just join those two lines up. That’s next correct help at all in a cat tail painting and then its first color is just black. Interesting. Painting that an who ate last little guy. So making sure that this is nice and pointed and will be fine for here. So now I’m going to come back and I’m going to make it come down about an inch. We’ll make one little frown. Now my little man. Right here we go how fun and easy is this sister I’m pretty well rinses. Wow. Now I’ve still got some brown and green over here. And if I add some yellow to it I get still very hot and dark color you may need to dip your brush in a little bit of water especially if you’re doing heavy heavy body pain if you’re doing a student paint. You may not. All right. We’re going to add another layer that’s a little bit lighter. Coming gets more of this yellow ochre at night. The colors are a little different. A little white but we don’t want to break green here. Arquette tells I also like to add some just brown because you know like I mentioned that they’re drying out. So I take some of this just burnt sienna at that and I think that pops it a little bit well stepped in and helped improve my flow. One thing you can do. All right. Francis out for a second put it to the side we’re going to be going there again. And let’s get this is a number for bright black pearl rates. This is a nice synthetic filament. It come over here and I’m going to get singed just brown paint from the outside edge here. Load it on the brush like this. It’s going to be really easy. You’re going to come on the outside as you can tell and just pull it down pull it down. Like you got to do. Pull it down. That’s fun. Let’s get some more. Make sure that’s loaded on the brush very nicely. Long as you can tell just pull it down. So we’re seeing that there’s some moonlight that’s coming from up above and we’re seeing the shading of these soldiers are going to do this again right here. Boiling it down this nice brown. I need some more Brown Pam. Go get it. Pulling this down. Creating this cylindrical shape in a rinse out my my brush here and I’m going to get some yellow ochre. See that right there. On this bresh super easy. When we come along here dashing looking a very light line just this is such light pressure I imagine this is like a butterfly wing dancing on the top of the canvas there’s not a lot of water in my paint. Not a lot of water my brush and I’m just letting that paint catch the texture. On my canvas here we go all right. One last one. Right here. Right. Killing all perfect friends this out put this to the side to put in the Dragon-Fly it’s really best to let everything dry completely so we can kind of sketch them in and then Panem really fast you’re going to love how easy this actually is. OK. So my take my chalk and kind of plot in my Dragon-Fly. So I want to think about a couple of things about him so I really enjoy them and I want you to be able to make him at home the same way. So I’ve got Mike sharpen kids chalk here and I’m a draw. Couple of things. He’s got pretty big wings that come across from like least here to here. And he’s going to have this little arched body because he’s in the middle of a turn. So we’re going to take a little curve line and I’m going to drag this over this way and that’s going to be his little body turning. I want to make sure though that I have room for his wings. Right. Interesting that I can just raise my finger you can also raise with a little bit of cleaning wiping his head. It’s going to be two little circles. His body is going to be like a tapered bead shape his is tails could come down or it’s going to have a little bit of a rounded edge. The weighings are going to come up in a nice big arc and they’re going to come over here. In a nice big arc and they’re going to do this really cool thing. They’re going around. Back in then pull in and they’re definitely crossing over the body. So around then call and see that that’s the Dragon-Fly when she gets to another set. Took her. So we have a little wing going off the canvas that’s a little exciting here. So if your wing goes off the canvas that’s OK because that tells the viewer that there is more happening outside the painting that they can’t yet see. So it makes it more interesting to look at what’s been in his base painting. I’m going to get this number for round again rinse rinse rinse it out. I don’t want any black pain in it and it comes first. Over here dip in lemon just make sure that my purple is just ready to be painting him. OK. And the first thing that I’m going to do is very carefully a pain in his body and eyeballs with this little round brush. Interestingly enough probably not going to use this brush for the wings. So I need to do some cool. Thanks for that. I just want to make sure I’ve got a nice body shape for him and he feels very Dragon-Fly like you’re right. Yeah. A little bit of a texture there. And of his body the counterbalance. All right. Francis out put this to the side and get your number for break. Now this time I’m going to just load my brush and I can put a lot of water on here. I’m going to come on the top of the wing with a driver ushe just very lightly all this in letting a lot a lot of the color from behind. Show back through him coming getting stronger. Also going to very softly pull this out. What I want to do is have some area that was back in his body. The purple is so soft and feathered that you can really see what’s behind his wing. That’s kind of helped create that transparent Dragon-Fly wing effect. It’s true the same thing up here as tril soft make sure there are a lot of the background is showing through area and chest. A lot of the background write your church. I’m not even completing knowing or noticing that because I’m going to come back wearing just out which I’m going to get just a little bit of weight come along the edge of the wing I’m using actually the corner of my brush. In the pink just a smidge a little bit purple there. Wipe that off and get a little more weight. OK I’ve had a little purple in it but I want to have a weight feel to try brush just here at the edge with all that weight. Same here. But again a lot of what’s happening around the wing is still showing isn’t it. Here I’m just on the corner my brush. Soft soft soft. See how it’s the softness that lets this happen. This is an important thing. A lot of ways to get this effect. This is just one of them making sure that all these wings pull right into his body. I like that quite a lot. Now I’m going to get back to my ramble real quick come do anything. I’m going to take a little of my purple over to my cousin acard on them and make a much brighter color here. I’m weaving in and get a little white. And just make sure that there is still highlights. Let’s come here with a little bit of a highly Lacross Dragonfly’s body. It’s a little bit of a pink highlight. I like to call it the tail and it’s OK to stash a little bit. And then the wings are super fun. The wing will open at just this is great. And I get a little my pink going to just do dashes these little dashes. Or these little wing like ashes to grepped to. They’re very light. We’re still seeing a lot of what’s behind the Dragon-Fly same thing over here weighing all the way into the body here. OK. If you get a little of that there. Let’s take time for a little bit of these dashes ashes are important. Well Larry dashes stabbing back the Dragon Fly wing isn’t about what you’re painting it’s what you don’t paint. That’s really fascinating. If you still have a simiar Okkar that’s clean you can use it if you don’t put out a little fresh near your neck or don’t. If all of your Kronecker down over here Okkar it’s going to make of a bright orange little bit of that right here and there. I even liked a little white before I go into the wing and just do some of these. Pink oranges little colors just make him a little reflective and interesting abody little bit of tape. Let’s put some up here in the swing as well. This is pretty awesome. OK. We’re doing great scantiness. You got this one and one sent my Bresch. We’re going to get a little bit of my white paint the tip of this round. I’m going to make him shiny by adding a little reflection to him in that nice. Let’s take a little that and maybe come to the tail. Wall down the body. Oh he started to show up nuking come back along this wing of lungs edge with this white paint. Now even make some of those dashes into the wing there super easy Dragon-Fly this little wing. Bash is just sketching these outside edges can make a big difference. Region too long here. Catch this little outside edge. A little texture. Consent a little outside edge maybe a little texture. See now. When I saw that off I’m going to get a little of my yellow ochre maybe a little white thing. I feel like I might show up. I’m going to come right here right along here and I’m going to sign it. When you’re signing your painting if you choose to do that it’s perfectly OK if you don’t if you’re signing it. Think about where the signature is and try to make it part of the artwork so that it’s part of the painting not just this big thing that you’re slapping on top of it. So unless you like to slap your signature on top of it which that is ok too because this is art and you got to do this your way right. There you go. OK. So that was a lot of fun and surprisingly easy wasn’t it. I hope you love what you painted. Be good to yourselves. Be good to each other. And I want to see you really soon.