How to paint Steampunk copper patina Acrylic Paint on canvas Step by step

How to paint Steampunk copper patina Acrylic Paint on canvas Step by step

Hi, I’m Cinnamon Cooney, I’m your Art Sherpa and today I’m gonna show you, how at home with a few simple materials, you can create an amazing, rich, aged, copper patina on your canvas, something that looks like really old metal, with just paint so get your paint, get your brushes, and some sea sponges and come back and meet me at the easel right now and I’m gonna show you how easy this method actually is. Come on, let’s go So, let’s look at our materials really quick. I have an 11 x 14 canvas board, you of course you could do this technique on any size canvas that you like This is pre-gessoed, ready to paint you don’t need to do another thing to it Let’s look at the paint colors we’re gonna be using today to get this effect… I have several paint colors that I would typically use in this type of patina, for Steampunk, or aging, or creating a weathered metal effect I also have, Acrylic Glazing Liquid Gloss and I have natural sea sponges These are gonna be really important to what I’m doing. The colors I put out are Burnt Umber- this is a very transparent color, I like it a lot Pthalo Blue, Yellow Ochre, Burnt Sienna, Pthalo Green, Cad Yellow medium, and this very special color is, Irridescent Bright Gold fine, so this is a gold metallic paint, and this particular one doesn’t age out over time even though it has real metal particles in it. So let’s start painting this in, I’m gonna show you the brush I’m gonna use I’m pretty excited about this This is a Silver Brush Cutter This is a 1414S This is 2 inches wide, it has a very nice natural bristle. I’m really fond of it I’m going to kind of prime my brush by just taking the edge of the bristles into the water not wanting to get it really, really wet because it will really pull up a lot of moisture I’m gonna pull out my brown and my Pthalo Blue together, and this is going to create the deep green base that’s gonna make up my background You can see how that’s just gonna go on really nice and I’m just gonna let this brush around, See how this is just brushing, I’m using the edge of the bristles and I’m just kind of covering the canvas I’m gonna get a little of the brown this time a little of the blue keep working Just brushing that through, and you can see it’s very streaky and has a lot of different tones to it if you need to, you can get a little of your Glazing medium in there to help this carry it is okay, and actually ideal that some areas be darker and some areas be lighter because the canvas is sort of showing through But, you want all the paint to cover it It’s like the transparency of the paint lets the canvas show through but it’s not that spots of canvas, like this… where these little white dots are showing through Just keep brushing that in So, I’m just using this nice big brush it’s doing the work for me If I need to, I’ll get a little of my glazing medium if you didn’t have glazing medium, you could use water though for these types of techniques it really is a good idea to get the tools because it makes it a lot easier for you to arrive at the effect Now, as I’m finishing this up, and making sure that the canvas is really covered with this deep, deep… this is a very deep green almost with a brown feeling to it You’re going to want to really wash your big brushes out right away, it’s like sponges and brushes … wash them out sooner rather than later and put them aside to rest and dry So, once your brush is clean, and is laying flat and resting go ahead an check your canvas and make sure that it’s dry you want it to be dry so that the layer underneath isn’t lifting up into the paint that you’re sponging A little trick that I like is to get my sea sponge just slightly, slightly damp I don’t want it soaking wet, at all i just want a small amount of moisture on it when I begin to work and I’m going to dab my sponge into my paint and then I like to press off, over here you can see how I’m doing that, I test over on my pallette just to make sure that I’m getting a nice irregular shape. I’m gonna come over to my canvas Now I’m gonna begin the work of just very lightly tapping down the sponge. These sea sponges are really an amazing painting tool, for fine art, for crafting, for whatever you’re doing these are just fantastic. But they’re especially wonderful for this type of patina. As I am pulling out this brown paint, I can even sometimes get some blue, to create this next layer like maybe go much more blue but see how I’m making sure that I’m just dispersing and tapping? What I really, really wouldn’t want, what I wouldn’t enjoy, is getting too strong of a pigment perspective, as I’m creating the layers for this patina. Right? So maybe I’ll take a little of this blue, and I’ll get a little of the brown, and I’m mixing that deep green again so there you go. You can see I’m just working this, and this background works by finding these layers and building them up. Turning my canvas around, turning it around and what I’ve really got to do What really gets people, is… see there’s that bright blue there? That’s what would mess me up I’ve gotta sponge that out I don’t want that to be there in that way Right? Now, you can also add glaze, this is a really effective thing to help disperse the pigment around and will also help you create these levels and layers These Steampunk patinas, are a lot of fun to do I’m gonna come get a little green a little blue, see right there on the sponge I actually mix on my sponge a little bit, like I would mix on my brush and see I’ve got a little of the Yellow Ochre here If I need a little glaze, I’ll get it and let’s work some of this lighter color, see into what we put there and I’m sponging around I might allow the center of my canvas to feel a little bit lighter, and yes, this does absolutely do in… a manicure. and I’m looking to … a success tip here… Not make patterns Not allow… even still here, dotting to form So I’m gonna move my canvas often and see how that wants to make that dot there? I’ve got to get rid of that dot. I can’t allow that to happen. Let’s get some more of this Ochre into the sponge a little glaze there there, I’m just taking that dot away That is what gets everybody in this … is when a hard bit of pigment comes in and as you’re tapping it around, it will start stamping a regular pattern. That is gonna completely undermine your goal here and frustrate you… to no end so anywhere that you see it, happening… that you can work it out and if you really enjoy makeup, this is really one of those fun techniques to do, it’s almost like its own abstract art form now, when I’ve got all that going, I’m gonna get some of this… just burnt right? This Burnt Sienna and I’m very lightly tapping this around, and look at this… just creating levels and layers and that’s what you’re doing here. You’re aging this canvas you’re crafting story into it you’re gonna turn it whenever you need to get a different angle or perspective that’s another success thing that will help you create the irregular patterns that you’re really gonna need to have to make this a very successful background as you’re going See me changing it here Ya know, I want this sort of rusted space this rusted metal Each one is a little different each one has a different character Moving my canvas often looking for repeats, and stamping those little suckers out if you have paint allergies, or concerns or concerns about your hands or manicures you can always switch with rubber gloves When doing the stamping with cadmiums, I would highly, highly recommend using hue All right, just keeping that going there, that’s a nice color I’m trying to get a turquoise going but, I’m having that blue pigment… you can see that happening there in the sponge That’s what’s happening to me. So I have to look for those if I see it Stamp them out if they come up Stamp that out Don’t let that be there Take that away ya know, get a little of this blue Pthalo Blue… and Burnt Sienna and I’m looking for those little areas that are… just running that there I also don’t want too bright a Yellow in there. and that’s something I’ve got to work at and make sure I don’t have. If I have bright yellow, it’s going to cause me a lot of grief. I’m gonna go back into my Yellow Ochre Trying to make sure I’ve mixed out my anything that I wouldn’t want Layer, layer, layer Messy fun, layer layer Ya know, maybe come here and here’s another thing I’m doing, tapping down, just making sure it’s dispersed in the sponge Coming here, and just knocking that back, if it gets a little bright it gets a little eager, is what I would say it is my color mix gets a little eager on the canvas and pulls forward too much Ya know, can get a little Pthalo into that glaze can also help knock it back interestingly enough so I’m getting a little glaze There we go Now once that is all set, and I’m happy with that I’m seeing a pattern that’s formed I need to make sure that that gets tapped out Look for those little bits of repeating pigment you definitely, definitely don’t want that I’m gonna create a highlight color to work into here to brighten this space by adding a little bit of white So I’ve put out my white, and now I’m gonna mix a little bit of a brighter aqua turquoise, that you might see on a copper as it ages over time. This is the patina on the canvas So, definitely I’m gonna want some of my Pthalo Blue and a little of my Pthalo Green, and a titch of my white Now, this patina will always have slightly different to the green or to the blue but it’s gonna be a combo of those in this aqua and now I’m gonna come here very carefully stamp in some of this aqua patina … might be happening on the canvas use a very light pressure be very light and easy about it Right, see I’m going around being very light and easy Very light and easy about it Just coming around, aging that out Looking for spots that need to be knocked back if they need to Definitely turn your canvas here and there this area down here feels like it has gone a little too green and I know how to fix that If I didn’t have a nice mix on my canvas, there would be like… too many… what you wouldn’t want… and I’ll show you… see if I can get it going, then I’ll show you how to fix it What you wouldn’t want is these kind of white dots in it that wouldn’t be working for what I’m trying to do and that can happen to you if you’re new to this so what I would do, is I’d mix that, into my sponge and smooth it out and come back over and just very lightly pounce it until it was gone so I wouldn’t want lots of little white spots in this particular piece Where I was trying to get that old coppered look Right? Now, if I have any area that got away from me that just doesn’t feel like it’s metal enough… I can come back with a little maybe Burnt Sienna and Burnt Umber very lightly just take this back into this bronzey copper range always working it right? and I think it’s like, it’s one of those things, that it’s easy but it’s just tough sometimes to know what to do… when to … when to walk away and when to rest it and when to push forward and say, nope, we’re gonna need another layer so, I would highly recommend turning your canvas often and you’re looking for just, incredible depth which is why all these layers are so important I’m seeing kind of a thing there I don’t like so I’m gonna stamp it out … that pattern had happened and you can see I’m just taking this edge here and getting rid of it in faux painting, or in creating these sort of patinas it’s about making sure, that you haven’t inadvertently in the stamping technique and the tapping technique created pattern Once this feels like what I’m looking for in an old piece of metallic copper, then I can create my final and favorite bit which is the gold highlight now, I’m gonna move to a clean sponge I’ll use this little small one here I’m going to as I like to get them wet, clean water, clean sponge very wet but then take the extra out on this one I might even squeeze it into a towel just to make sure that there’s not too much moisture on there the slight moisture softens the sea sponges and I’m going to stamp up and down into my gold the sponge… so that I’m already making sure I don’t have clumps of pigment that I don’t want and I’m going to make very soft this is gonna be like a kiss I just barely touch this canvas I want just the highest parts of the canvas to catch the highest parts of the sponge where the metal is going to come up this is such a subtle effect You can literally do so much when you master this it can take a couple of times so be patient with yourself it’s not that it’s hard and it’s not that you have to be like a total painting expert to do it, it just takes a little bit for your brain and hand to start working together to make these incredible, intense effects Look at this come together So, I’m doing the same thing just soft, soft, soft I don’t want to press in hard I’m gonna press in softly That’s the trick here guys turn that canvas because we don’t want to make patterns that we don’t mean to have and I don’t want to take away everything I just want some areas, where this high metal is showing right? Think about old metal look at pictures if you need Okay, I’m doing a swirl here, swirling around and tapping down, moving and angling my sponge back and forth back and forth and I’m going to just maybe this corner has a bit coming up here and it is a lot of fun to create this this works on lots of different things if you needed to make something that wasn’t aged metal look like aged metal Right? Almost done You’re just going to take this to where you like it where it makes you happy and I’m gonna go right there got a little of a pattern going There we go How is that? Do we feel like we’re looking at some gorgeous piece of copper that has sat outside and weathered … it’s so fun to turn these be sure and wash your sponges out right, right away so you can use them again and again and wash your hands right right away if you didn’t wear rubber gloves I hope you enjoyed this and I hope you’ll apply this to many of the projects that I have on the channel and to your own projects at home and I hope you found this kind of background painting sort of interesting Take care of yourselves, be good to each other, and I want to see you at the easel really soon All right, bye-bye (Closing Music)


  1. Traceables:
    Draw it :
    Background :
    The girl:

  2. 🎨💕Absolutely loving the Steampunk path your on! More please Cinnamon!?!? Can't get enough of this stuff, it's one of my most favourite types of art! Thank you, thank you, thank you❣

  3. I love the technique, it would make B&W or grayscale paintings (for those who don't like colors for some reason) very interesting. I also love your sunflower headdress! How did you make it Cinnamon?

  4. The steampunk reminds me of the automaton graphics in the game Syberia. I always admire the graphics in that game. This background could be used to develop a wooded scene for hobbits, gnomes, etc. Love it, love it!

  5. cinnamon, I have my girl all drawn and ready to go. but I don't have the metallic paints. can I do the background without them?😥

  6. This was the moment most fascinating instructional EVER…..I was completely captivated and can't wait to try this technique. You're truly amazing and once again, congratulations!

  7. this is sooooo fabulous .. i love this technique .. i have been sooo wondering what painting i could make my daughter, who is a high school art teacher that she would like and be impressed with , and she totally loves steampunk so i am soooo excited to do this and make her a painting .. i am sure she doesn't know about this technique so i can wait to surprise her with this painting .. thanks sherpa and John for all you do ..

  8. I did my background on Steampunk Eureka and wasn't really happy with it. Now I am going to try this on top of it and see if I like it better before I paint the bulbs on. Great video.

  9. That is so brilliant , I can't wait to try it . We all did the umbrella lady at the Art club, everyone really enjoyed themselves & most of us have been painting for years. It made a few in the club work outside there comfort zone as they had got stuck in a rut. Thank you, Bye the way you look wonderful , love the spring hairband & you've had your hair coloured, perfect.

  10. Looking forward to trying this. I have a problem with my acrylic paints drying or skinning over before I finish. Can I add the glazing medium to my paints to keep them from drying out to fast?

  11. did anyone NOT have gold paint and do this?? I don't have it and was wondering what you may have used as an alternative??

  12. Love this painting !! I wanted to ask you do you have a painting that I could use a Victorian lady sill. in it ? I love the ladies and girls painting you do. I love anything Victorian !! Thank You MJ

  13. Hi Cinnamon. Thanks so much for sharing your Knowledge!! Your Videos are really GREAT, I love them!! Yours Monique from Switzerland:-)

  14. Wondering about painting on an easel or flat on table like Ginger(your Mom) or Angela feeling easier etc per person discussion etc. Thanks love all you do <3

  15. you have help me so much with my anxiety attacks n stress levels painting is saving my life n health thank you cinnamon

  16. This tutorial has given me so many ideas for future art thingies!!! Thanks for posting it. I gotta write my ideas now.

  17. That is beautiful!! How could you use this in a painting? Im racking my brain & I cant figure what it would go with.. but its awesome… I have to say… I like the look you have today… with the small head piece for your hair brings out your face & eyes & its so pretty on you…It makes you look so feminine.. I just love it !!!

  18. Hi. Did anyone tried to paint this coper patina? I tried. In the very first step when you mix Burned Umber with Phthalo Blue my background came very very dark blue, not deep green. Where did I go wrong? note. I used Winsor Newton acrylic.

  19. Dearest Sherpa! Do you think that I could create this patina on an old sanded frame? I think it would look awesome! <3 <3 <3

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