Adventures in Gouache: Painting and Pattern Making Techniques | Kate Cooke | Skillshare

Adventures in Gouache: Painting and Pattern Making Techniques staff pick badge

Kate Cooke, Textile Designer and Illustrator

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9 Lessons (45m)
    • 1. Introduction

      2:43
    • 2. The Project

      2:02
    • 3. Materials

      2:54
    • 4. Paint Techniques

      8:57
    • 5. Pattern Making

      4:36
    • 6. Inspiration

      1:50
    • 7. Color and Composition

      12:14
    • 8. Drawing and Painting

      7:53
    • 9. Final Thoughts

      1:54
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About This Class

In this class, we'll be focusing on how to paint with gouache and get the best out of it. Gouache is such a versatile medium, so often though it gets used like watercolor, but I believe it's at its best when used in a flat, slightly thicker way to give a bold graphic look.

We will start with some paint tech exercises and then move on to pattern making.

Covering:

  •   What materials you will need.
  •   The different qualities of the paint pigment.
  •   How to paint a color guide for reference.
  •   My personal methods for mixing paint to get the right consistency.
  •   The best way to layer your paint.
  •   How using different brushes affects your mark-making.
  •   We will experiment with marks creating a variety of patterns and produce a library of inspiration.

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Then I’ll show you how I gather inspiration for a painting from objects I find in my garden and around the home. We will look at color choices as well as the composition and I will take you through how I mix my colors. Finally, we will draw out and paint a gouache study of our chosen objects.

This class is suitable for beginners. You don’t need lots of painting experience, just some creative enthusiasm, and a few brushes and paints. Throughout the class, there will be mini-tasks, top tips, and little recaps to keep you involved and on track as you create your class project. This class is for you if you've:

  •   Always wanted to try gouache but have been nervous about painting with it.
  •   Used gouache before without much success.
  •   Used gouache for years and love the stuff — there is always something new to learn!

So follow me on a journey of adventures in gouache and by the end of the class, you'll have:

  • A much better understanding of how to paint with gouache
  • Confidence to experiment with marks and patterns
  • An understanding and method for choosing a color scheme
  • A plan for completing your own painting.

See you in class — happy painting!

You can check out my other Skillshare class on painting with gouache here:

There are lots of brilliant painting classes on Skillshare, check out the Fine Art pages here for more inspiration. You can also follow me on:

Transcripts

1. Introduction: This class is about painting in go Ashe and how to understand it's brilliant qualities. Join me as I take you through a series of exercises that will help you master the techniques of painting in flat layers. Paint on top of paint. There'll be lots of experiment with Marx and pattern. And I'll show you how to build a body of reference to use when you're planning a painting. I'm Kate Kirk, textile designer, artist and illustrator. But a whole load of experience in the design world, bursting to get out and inspire someone like You live on the south coast of England with my husband, daughter and two dogs. I'm lucky enough to have a studio at home where I spend a lot of time painting, making patterns, drinking tea, and dreaming up new designs. I loved pattern. In fact, I'm obsessed with it. And Gua, she's the perfect medium to create patterns with. So what can I do for you? Well, I've painted with garage for the best part of 30 years and I'd love to get your painting with it to. Some people use Garage lightboard color, but I think it works best in a thicker flat away. And you can paint color on top of colour. Class is aimed at all levels, although a bit of painting experience is helpful. If you've always wanted to try garage, but a word it won't go well. This class is for you. And if you've used gosh before but not been happy with the results, then this class is for you too. And if you've painted with garage for years and loved the stuff, and this class is still for you because there's always something new to learn. We will start with talking about what materials you need. And we'll go through some paint techniques to really get to grips with what a bank can do. Next, the fun bit and some mark and pattern making using different brushes. This is where you can really release your inner patent fairy and do door to your heart's content. Then we'll find some objects to inspire a painting, composition. And I'll share with you how I make my color choices. Finally, I'll take you step-by-step through how I draw and paint a study of simple objects from my garden. And we'll use our pattern references to decorate them. This isn't about painting of realistic interpretation. It's about painting things in it, a decorative and an imaginative way, creating interesting illustrations, not life-like things. Owner, definitely not lifelike. There are two aims to the class. One is to get you understanding how to paint with go Ashe successfully. And two, to get your painting objects from your surroundings in a more decorative and unusual way. And not just copying what you see. Don't be dictated to by reality. Paint with your instincts and create like a designer. Find your own illustration style. So stick with me and let's have some adventures in Joash. Next, we're gonna talk about the project. So let's get started. 2. The Project: project upset is to do a small gouache painting off eight objects in a placed in a random composition. Something of it, like that sort of thing. Or there's one like that. I know there are eight objects in this is only five, and I don't know how many's in this one. Put eight is a good number. Do wait or however many you want to do. Find some simple objects from your home or the garden or out on a walk in the park or on the beach. I like together leaves and stones and feathers. Anything else? I've come across in my garden, but you could find things in your house like cutlery, buttons, keys, anything that takes your fancy, really even a biscuit or a dog? No, no, no, a dog. Stick to small objects. We're not concerned with painting things in a life like and realistic way, the objects of just interesting shapes to interpret with marks and patterns. Did I mention a lot? Patton. Don't worry. I'm going to lead you through a series of lessons that incorporate seven mini tasks. If you stick with me through the whole class and complete the task, you'll be primed and ready for the project. I'll show you how to most of the gouache. Have fun with Patton. Choose your objects, decide on a color palette and mix up your paint. I really hope you have a gun. My project as it will help you understand a little more the qualities of goulash and give you the confidence to use it more and more. Perhaps you could use your painting is a car design or in our print? Well, maybe you could use the elements to put in a repeat pattern for a fabric design. I'd love to see what you create, so please share your paintings on the class Project gallery. I'm always came to get feedback and help. I can't wait to see what you produce, so let's get started. Next we look at the materials we need. See you in the next lesson. 3. Materials: for this class, you'll need a few things to get you started. Paint. A set of Gersh paints would be perfect. There are lots of brands available to just choose the one that is easily available and affordable. I like Windsor Newton that have a great ranger off colors, and they're very high quality. If you'd rather buy individual troops, a selection, including permanent white, would be read after the winds. A red yellow This is lemon yellow, dark blue. I like the indigo green. This one's sap green brown with This is a CPR on black, just by the ones that appeal to you As ultimately, you want to use the colors you love. I always have to use turquoise, but you might like a pink, such as magenta or rose to re in cartridge paper. Use the best quality heavyweight cartridge paper you can afford. I'm using a Windsor and Newton smooth surface cartridge. Part the paper weight is £100 or 220 grams. I usually buy a three as that accommodates the size of picture I like to do. It's best to get smooth for gorosh as the paint will glide on. Better. Don't be tempted to use a lightweight papers. It will tend to buckle brushes. Choose a brand that you like. I don't have any particular brand allegiance. I use a mixture of synthetic and sable. To be honest, the best advice is to look after them. Keep them up right in a container. No, in a bag. And definitely don't leave them in your water for this class. I'm going to use a variety of sizes and styles of brush around size seven, which is good for mixing paint and painting larger areas around size for which is my favorite size, really, for smaller areas of paint. A couple of smaller brushes size one and two for detail on angled brush or dagger brush, which is a court for an inch size for making different marks on a couple of flat edge brushes. Size four and three again for making different miles with the paint. That said I wouldn't go out. Buy loads of new brushes just to copy what I'm doing. Use whatever you have available. You're also gonna need on HB pencil, a razor jar, water, some paper tissue on whatever you want to use as a pallet, either already made one or not plate or Tupperware lid. I prefer to use cut down plastic cups is I can mix quite a lot of pain, and then I keep them in a Tupperware box so they don't dry out. You'll also need a flat, well lit work surface and a bit of time. Join me next when I show you the techniques for painting with gosh, see you in the next lesson. 4. Paint Techniques: I'm going to start by showing you the difference between colors can go Ashe, and how they behave differently due to the capacity of each different paint. If you look at the paint tubes closely, I've got two different ones here, got roaster in and some cobalt turquoise light. Now these two are kind of very different in makeup. So if you look at the back, you'll see this little square on a miss one similar. We'll square, although this one obviously is got its half black and half white. Now that tells you the transparency or the opacity of the paint. And basically, for long black means it's very opaque. Half-and-half is probably less opaque or slightly more transparent. And if you found a paint that had just a white or clear white inside to it, then that means it's very transparent. You can also look on the front as well at the permanent that gives you a good indication. That's really the sort of chemical stability of the pain. And in a very opaque paint like this, permanent says WA. In a less opaque paint like this, pink, It's a permanent c. So that gives you a very good indication of how they'll react. And it's important to know that because this will make you understand how to use your paint more easily and how it will react on paper. So if I show you what I mean, this is a bit of the pink rose to ran. All I'm doing is just adding a bit of water. And if I paint that on paper, you can see it's pretty transparent. You can see the paper coming through. And it's quite streaky and not very easy to make it flat. If I show you what I mean compared to the turquoise, that's already you can see it's a much thicker, more permanent, solid consistency. And if I paint that you can see it's got a lot more sort of boy bulkiness in it. And so therefore you get a much flatter, smoother, less textured coverage. Now the way if you really want to use a more transparent pain, but you want it to be more like the turquoise. Then I tend to add a little bit of permanent white. Now it will lighten it up a bit, but that's not the end of the world necessarily. You still achieving quite a bright star pigment color. So you can see already that's got a bit more opaqueness to it. I can add a bit more. Obviously is really lightning it now. But there you go. So the permanent white is very good for stabilizing a pain. But obviously you do lose some of the color strength. What I'd like to suggest you try doing is something like this is a bit a color chart I've made. So basically I've gone through all my paints. I've got quite a few, but nowhere near the whole range. And I've literally gone through them or put them in sort of color categories. And I've painted it. So Rose Tyrion is here. And I've just painted that straight from the tube. And I've written it's the name and the permanent switch you see? And I've drawn a little symbol to show that it's a semi-opaque. And I've gone through all of my paints and done that. So I think that's a great idea really to get you used to how your paints work. Because it will make a difference when you come to mixing them, how transparent or opaque they are. So if you first mini task, I'd like you to make a color chart using new different paints, labeling them so you have a really good reference when you come to mixing colors. And now I'm going to show you how to paint one color on top of another without activating the color underneath. I'm gonna paint this peach color on top of the blue. And the consistency of paint you're looking for religious dogmas like a double cream. But here I've watered paint down a lot on my brush. And it's two or three, as you can see, when I painted on, it's activating the blue underneath and making it really streaky. So if I mix my brush in there again and find paint that's more like a double cream, but less, more tree. And you can see our keep voting my brush. Make sure you've got plenty of paint on the brush. And then you get the effect you want without activating the blue underneath. Just going to show you with smaller brush. Same thing applies. Keep loading the brush that nested dry out. Now i'm going to water it down. And you can see it's starting to move the paint underneath. And I'm going to show you what happens with brushes is too dry. If I get rid of some of the moisture will not not that thickness paint but you get the idea. So if I painted on their laps probably too wet when I started, but you can see as it gets drier, obviously, it's leaving gaps and, uh, textures coming through the background. Again, that's not quite what we want. So you just need to get enough paint on the brush, keep it loaded all the time. And then you're not going to get the streaky gaps. The other thing that's quite important is the right brush size for the area that you're trying to paint. So I've got two brushes hair of say, quite a big one, and this is quite a fine one. So if I paint area with a big brush, you can see it goes on smoothly. And the less brushstrokes you're making, obviously the less chance you have of activating the pain. If I use a smaller brush and clearly it makes sense that you're going to use a brush strokes to cover that area from loading your brush. And ultimately you probably going to reactivate paint underneath more easily misses horrible brush mounting. But you're going to reactivate the paint underneath. And I'm going to be more likely to get streaks. And the base kinda coming through. The second mini task is to try experimenting with paint consistency and layering colors on top of each other. Play around a new sketch book or on scrap paper. We're going to have a look at a few different brushes and how you can get different marks using different types of brushes. Got a selection here. And I'm going to start off by using a big flat edge brush, a little bit of paint. And you can see that it makes really nice big blob box. And you'd have to use one stroke which is quite noisy, can work quite quickly to cover quite a big area. Now I am going to use a smaller flat edge brush, similar to smaller marks. Again, quite nice one to use to cover quite a big area. This one is called a angled brush, and it's quite nice because you can do thick and thin. So it makes a lovely kind of shapes. God knows when to use. And you can still just dab it and make splotches as well. But that's quite fun to play around with. And then just some normal round brushes that are good for doing lines. As you can see, just play around with lots of different brushes and see what you can do. And now I'm going to show you my sketch book, which I quite often paint. I am practice exercises in, and then I perhaps write down what I've done, what brush I've used. So it's a good resource really. Back on when you're looking for inspiration and for some art-making. The third mini task is to gather your brushes and see what different biopsy can mate with them. Keep a record in New Sketch Book of the brush you use Nexi experiment, you make and build up a good brush reference. So these are the three tasks to do for paying tech. Have a go at them and post them in the project gallery so I can see how you got to grips with my techniques. Feel free to ask any questions. I'm always happy to help. Next we look at mark making and patent. See you in the next lesson. 5. Pattern Making: Now we're going to look at patent ideas on painting sum squares of colors. I'm just using a paint that I've got mixed left over from another painting. It doesn't really matter what colors, just as long as there is a variety and there's light and dark shades. I'm doing this on a square cartridge paper, so it's easier for you to see what I'm doing. But you could do this in a sketchbook. That way you can keep it as a reference for future painting projects when you need a bit of inspiration, the patent making. So here comes the fun bet and time to experiment and play around with Patton using the techniques I've shown you. Chase some brushes and just say what happens, just using an affine round brush at moment to get some interesting lines. Next, I'm going to use it more of a sort of dotting type way. So that's the dock, right? The I've got on top of a pink. And I'm going to just do some big geometrics now. Not doing this, hopefully paint over them again, data in another color. But I often use us of shape and my patents is quite nice. Now I'm going to use a study bigger round brush. And I'm just going to use it as blobs. And then the pink on top of the blue. Just quite nice to smooth solid painting there. And use it just as assertive. Long stroke. She's coin ice. Now, this is the smallest flat brush I'm using here. Just some quick brushstrokes. Again, I'm going to paint it over the top of these. So it's just a background that I'm working on. Back to that finer round brush to get some nice grossi, strokes going on. And I'm going to use it in clumps of dots now. Often use these sort of Patton's knows to work over the top of this. So use this just as a background, really, back to the red and some crosshatching, which is quite useful pattern to use. And I use that. I'm going to do some swells over the top of the lines that I made before. Some circles to new circles. Now I've got my biggest fledge, brush, green on top of the dark bread. It's quite nice and bright as well. Doesn't work so well on the blue seems to be a bit lost. Similar tone, but it's playing around really fitting in Ethiopia's geometrics. Now I'm going to try using the Dhaka brush. Will the Sloan toothbrush, which is obviously you can get some quote, knows most of that. You can see just teasing it. And now I'm going to try using it. Works best really said, thin and thick marks. So now I'm just using the background colors, dark red paint back in to the marks that I've made. But of course actually it's just a way of getting a bit more pattern and detail into painting. This is a great way to unwind and relax this net pressure to do anything correct, or particularly neatly. Just doodle. You could also try painting on color paper. This is on a piece of black card from a craft shop. It cuts out having to praying to background color. Try different colored papers and see what works. Once you've had enough making marks and patterns, make sure you keep them in a safe place so you have them on hand to refer back to either stick them up on the wall or put them in a file. Or if you've done them in the sketchbook, that's the perfect place for many test number four. Have a go yourself, experiment with pattern making and go mad with color. Let's recap. Have fun with color. Use lots of different brushes, paint back into pattern using the base color and try painting on colored paper. Next, we'll look at finding inspiration. So see you in the next lesson. 6. Inspiration: Now we're going to have a look at finding some objects to use his inspiration. Now it could be things that you find around your home, in your garden, on a walk. I'm gonna have a look around my garden. So let's go. It's a lovely sunny day in the garden and the beginning of summer. So lots of things growing, even my efforts at growing vegetables seemed to be working. I like the look of these Mr. shims here. Lots of interesting shapes, areas to fill with pattern. Amongst this graph as we can see what interesting stones I can find. And dogs with us. And we went into the garden quite like the shapes of these bugs on this conifer and found feather color its feathers in the garden. Everybody knows to paint actually. Just going down the bottom of the garden. And now I'm going to have a look at these leaves and the berries on this shrub. Quite interesting. And I might use a pea pod as well, use something from the vegetable garden. Quite a few shells in the garden. We are wrought by the sea and my daughter and I often bring them back. They end up in the flowerbeds. Now, I've gathered my objects together. I'm going to take a few photos of believes in case they start to deteriorate. Numeral ready to put a composition together, finds in gardens. So that's what we'll be doing in the next section. See you there. 7. Color and Composition: I'm back in my studio now and I've got a selection is things are found in the garden. I'm just going to have a look through them and decide what I'm going to use. And then I'm going to think about the colors I'm gonna mix. So I've arranged my objects. I've chosen nice looking leaf from a pea pod and a couple of shells and a selection of stones. Tricky like this one, the blue patterning in it. And that's quite interesting, is nothing. And I love the feather and model stashing leaf. The way I place the objects in a composition is purely instinctive really, but I try to mix up the shapes and kinda perpetuate them together. And I try not to have all the same colored objects clumped together. Two. I'm going to talk a bit about how I choose the colors for a painting. I'm sorry to disappoint anyone want to guess scientific and logical breakdown of how I do this. But I don't use color wheels or charts or anything remotely scientific. In fact, I vaguely remember some lessons that are college about this, but I don't really think I ever went to them. Tend to use my instincts and I adapt the colors are C into a palette. I liked the look of. And so I take my inspiration for the color from the actual object and then do my own kind of version. So if you want to scientific approach, there are plenty of great classes or skill share that will give you this. I, however, I'm going to show you what I do. So I've got my objects in front of me, and I've mixed up some colors that I am going to use. And I've painted them out in swatches here. Now you'll see I have chosen two greens. Slightly different, the two green items in my picture. But I've gone for quite a leafy, strong, bright green and more of a dusty, paler tone to go with it. Then I've looked at things like Michelle, it's got some nice orange tones in it. Sort of mixed an orange that I quite like that was with pink orange lake and a bit of permanent White. And I've also gone for a kind of sandy colour which is in the shell as well. And that is probably a mixture of yellow ochre, permanent White, perhaps a little bit of CPR to dirty it down. But it's quite a good tone. It's a pilot tone, and that's all I know those two were worked together as well. Those two next I've looked at the other shell. I've got germ has got some lovely pinky tones in it. So I've done an interpretation of the pink, and I've also looked at the darker tones in my pine cone. So I need a dark tone amongst my palette. And I've gone for dark brown and don't want to use black. That's quite dead color and it doesn't really work in a nice natural palette. And I've also decided to go for a couple of grays. We see this quite a few grazing in feather. And there's going to be a useful color in lot of the items like the Stone is got some beautiful colorings in it. And I know the blue we graze that I view I'm using will work quite well. Again, I've done two tones so I know their work on top of each other and got to talk about how I mix colors. Now, I won't go through all of the colors I'm going to use, but I'll just do a few so you get the idea. I very rarely use palace straight out of the tube. I tend to always mix it port. I prefer to control the color to how I want it, and it ends up being a more interesting color. We're going to start with a couple of greens. I've got my reference here of the two different leaves that I'm using in the picture. But my paint, plastic cups, mixing, brush, water, tissue, and cartridge paper. So let's get started. I'm now when I look at these greens, they're quite vibrant greens, especially the one in this Cistercian leaf. So I'm gonna start off with some sap green. I tend to just to squeeze straight in to my cup. But if you feel more comfortable squeezing it out onto a plate first and then doing it that way, then you're welcome to do that. Now is quite a vibrant green and I feel like it, it's probably left it like that it would just overtake the whole painting. So I am going to add, first of all, I'm going to add a bit of white. Now this is just the way I get paint in into my protocol. You don't have to squeeze it straight from the tube like that. If you do, make sure we clean the brush in between. So that's obviously paled it down and combed it down quite a bit. I feel like it's it's quite a vibrant color. Maybe I want a little bit a sepia in there. This is a color. I use a lot of really good Brown and I like to use it just for dirty things up a bit. So hopefully you can see the sort of consistency that paint needs to be. It's like double cream or heavy cream. I quite like that green. So I'm going to paint it out and have a look at it, but it's dry. So it's very different. When I'm go Ashe dries, it tends to dry bit paler. And so it's always best to check your pain when it's dried. But the paler green, I'm going to just use, this IS olive green. So I'm going to put a bit of that in my plastic cup and then add some white and see what that looks like. Might need to add a bit of CPU to this. See how I feel about the colors. Though. Think they worked together. I think that's probably a bit too dark moment and might put a bit more white in there. I want them to contrast a bit more so that they really fit better. Lighter, those dry, and go back to a darker green. So. Try it out now if you're really impatient, might mean you can use a hair dryer or often, do that come Ebola to wake the paint dry. So that green Do I like that? Although it's a little more yellow in the original. But I think I like the vibrancy of that so you can keep that green. Now. Can do is cut out. See how it looks on top, where you think that will work together. I think it needs to be a bit lighter. So I'm going to add more white. So I've done another green, a paler green. And he slightly say it, but I think that works a lot better on top of the darker green. So I'm quite happy with those too. So they can go to on size. As you can see, I've mixed a fair amount. I'm only obviously done enough for this painting. Sometimes I mix a lot more than that because I get quite into color palette and just want to keep on using it. So you could think about how much you mix. If you want to mix more, that's fine, too bright. Next color, what should we go for now? I quite like the idea of the pink in the shell. It's a beautiful pink E coli color. So I'm going to start off with some permanent White and I've got some magenta or think might quite well squeeze a bit and this is going a bit. And is one of those colors. It's translucent as you can see. It's got a, remember I was talking about the squares on the back of the tubes. So this is quite translucent. This one not so opaque, so tends to get quite thick as well. And water that down. See how it looks at a bit of white straight away because we're definitely going to need white. And the other thing that I often end up doing is when I go up the color palette. And I mean, it's a dirty down, a paying changes lied a little bit of one of the other colors that I've mixed and add it to the color mixing. So when I managed to get this pink to work, a little bit, the green and then why'd I do it? It's just, it seems to make the palette and little more coherent. And that pink is OK, but it's quite pinky pink. I think I want a bit more of an orangey pink. I could use the Windsor read or could flame red. Might try. The winds are red. I'm not going to take loads event, we're just gonna do it like that. That's turning it a bit more. Coral think it needs to be a bit stronger, actually, too much white in the red. So it can a bit pounds me. I'm going to add more red. Yeah. So that's my pink done. A bit of white in here already to use some lemon yellow. And then I'm going to add in the My Favorites, which is sepia, which goes into a lot of colors because it's very good for just dirty things down or come at a more interesting. So I was going to use it is kind of a sandy color that's in this shell. Might be a bit more ground. Actually. Orange actually tried to do that. Flame or it might be a bit too strong. And to be able to paint that and talk about the colors. So it shows up, I'm going to add some Pam nonwhite that and I get a lot paler. Think unlike go in for a good pin the grain. Saying, just to keep it more coherent with the other colors. That's looking better. Like that. That's better. Yeah. And I think that will work on top of the pink and the pink on top of the sand. So that, that's quite good combination. And I think it will work on top with the darker green as well. To recap, simplify the colors from your objects and uses inspiration, make sure you use a good mix of time so you can color. Try not to use colors straight from the paint. You mix your own shades. So that gives you an idea of how I mix my colors. I hope it's a bit clearer. And you are ready to have a Gert mixing the color palette for your own project. Next, draw and paint out my picture. See you in the next lesson. 8. Drawing and Painting: I've got my objects laid out ready, and I've mixed up my paint. And I've got a selection of brushes that I'm going to use. And marshal sharpen my pencil. And I got my razor to hand. Say now on going to likely draw out the objects, but not in any great detail. I'm concentrating on getting the overall shape right of the different objects. I'm not worried about detail as I'm not really interested in a life-like representation, but I will push in a few things that will guide my patent and mark making. Once I'm happy with my drawing. As you can see, it's quite a basic drawing. To start painting. And I use my favorite all-purpose brush, which is around number four. And then you start with the lighter tone. So I'm going to use the sand color first and paint it in all the different places of the objects that I want a bit of sands. So into the cone, the Tiankai in, and so the Steins. And now I'm doing the shell, as you can see, it's this kind of got this Richie certain lines around it. So I'm going to use them as a guide. Same with the, with the other shell. It's got some of the lines in it, so I want to use those. So now I'm using the pale green, just going to paint in the people to think I'm paint the whole thing in that pale green and the Cistercian leaf. I'm going to do the same actually, I'm gonna paint that all in. So I'll put patent over the top of Gods. And as either stem. And I'm going to use the pale grey now. So I'm going to Stein and work into the second shell again. So now I'm using the pale grey to paint the feather out. I'm just going to paint it a hole in the power grind. I'm going to use a slightly larger flat edged brush. And I'm going to use it to make them arcs in the shower. Nyc. Painting over the top of the sand. Look actually now a smaller flat edge brush just to do the top of the shell. And paint in bits that stone as well. If you move marks. And then I'm going to use the pale pink. You might notice that I've changed the pink slightly, made it bit paid. I decided that the stronger paint was to option on the same level as the orange own t's. Just using the Pynchon's shell because quite love thinking that shell and putting a few dots in a quiet night, that sort of detail in the shell of c. If you refer back to the original shell, doesn't really have dots like that, but I don't really care. I'm also going to use it as a sort of line work in the other shell, like painting of the type of things you can say. I mean, there's lots of ridges and lines. And so I'm just doing my own interpretation of it. Now I'm going to put some detail into further. We see the 7A, lots and lots of nines in feather, but I'm just doing a few to give you the idea and feudal lines into the discussion leaf as well. A few dots into one of the Stones. And I liked that kind of spirally pattern that's in that Stein. So I'm going to incorporate that on to the green, dark green now, it's done the leaves and I'm going to just do a nice line down the B part I'm going to use were slow Dhaka brush now to get some, see what interesting marks I can make with that or more, pay back it up and then knees, Cistercian leaf. It makes quite a nice shape if you just use it to splurge paint on and then the smaller flattish brush station. Now I've got the orange and I'm just going to work into the pine cone and interview the SharePoint law using that flat edge brush again. And because it makes quite nice rich rocks on the shell. And stay a few PIO green dots in the green leaves and ongoing ever the P put to give it a bit more interest. So you are quite often go back to the original base color and paint not over the top of any of the darker colors I've used. So this is the dark grey now that I'm using for the stem and I'm using it as a surf out lying around the shell, although that might even have a show my I have to come back to that anyway. And you see a flat brush again in the shell to get some interesting Knox. To show up the city of riches and spiral of the shape of the shell. And going in with this dark brown to get that dark parts of the pine kind of precessed parts of it. That color is quite good. So that's my dark is color that I'm using there. Just to get some depth and some of the objects and I'm going to use it over the top again at that shell. If you cross hatches adults in the stains and on the feather. And here in their cute little details going in just to make things a bit more interesting really. So I'm kind of going back to some of the paler colors now, getting pretty light that outline around the Shellsort GYN over equidistant pink dot to break it up. Same in the Poincare plane. And now I'm going to use the pale pink as a sort of outline. It's quite nice to use a pale outline sometimes when I'm in the dark outline. For him only for details. We just about finished. Let's recap. Draw out your picture, but don't waste time on detail. Stopped with the lightest colors. Use a variety of brushes, layer mops to get interesting patterns, and use the darkest colors last to get debt and definition. Joined me in the final lesson, where we take a look at what we've covered and talk about what to do with our new painting skills. See you in the next lesson. 9. Final Thoughts: I hope you've enjoyed following me through my adventures and go Ashe and fill in spots have ago yourself, if you've done all the many tasks that I've sat, and you should have lots of reference material to look back at and use when you're planning your next painting. I've shown you how to make color sheet if you paint. So you can see at a glance the library of colors you have at hand and the different qualities they have. And we've looked at how to mix paint so you can use it in layers, and how to use the right brush for the right job. We played around with Marx and patterns and have the start of a great library to use for future reference. And we've looked at how I make color choices and use nature to inspire rather than dictate my palate. So I hope you'll do my project and paint a picture of a selection of objects and goulash. If you have any questions about using Go ash trees, go ahead and ask me in the discussion section below, I'd love it if you share it with me, you many tasks and projects. Just post them in the project gallery. And all. Always try and give feedback and advice as soon as I see them. Over the years, my gosh paintings have been turned into all sorts of things. From greeting card details, cake tins to address fabric. U2 could turn your little works of art and two, something like this. The possibilities are endless. There were lots of clauses on skill share that can help you get your paintings onto products. Lots of print on demand websites that can produce your work on everything from wallpaper to phone covers. Thank you for watching. And if you'd like to follow me on Instagram or contrast than my details are in the class information glide, slope, get creating, Have fun. Don't be scared of Joash. Happy painting.