Beginners Playing with Gouache: An easy beginners gouache painting class | Shellie Cleaver | Skillshare

Beginners Playing with Gouache: An easy beginners gouache painting class

Shellie Cleaver, Visual art + academic writing classes

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9 Lessons (21m)
    • 1. Beginners Playing with Gouache Introduction

    • 2. Materials

    • 3. Prepare the Palette

    • 4. Start Playing with Gouache

    • 5. Add Detail

    • 6. Your Project

    • 7. Thanks

    • 8. More Art Classes

    • 9. Brief Teacher Introduction


About This Class

Join Sydney Artist Shellie for this 18 minute class, which take you on an easy beginners project for painting with gouache. This fun class introduces you to the materials you need and takes you step by step through your first painting. Shellie encourages you to understand that the process is meant to be fun and not to be too critical of the painting you create in the end.  If you enjoy the process you are more likely to practice more regularly, which is how you improve.


1. Beginners Playing with Gouache Introduction: Hello and welcome to wash painting for beginners. We're just gonna play around with watch in this class and we're going to just get to know the medium and and develop a sense off how it works. Start developing are in style and it's gonna be really, really fun. So what you need is a photograph. Could be a landscape. Could be an interior. Could be object, just something to work from. You'll need some wash paints. You need a palette, some brushes and some watercolors paper. Let's get started and I can't wait to see what you do. 2. Materials: case of the materials that you're going to use, you will need some gua sh This is Windsor and Newton brand, which is an artist quality gua sh. But whatever you have to hand or whatever you can afford to buy is perfectly fine. So I'm just arranging them here to show you the range of colors I would recommend. I've got a cool and a warm blue, a cool and a warm read a call in a warm yellow, a white and some earth colors like coca, bent sienna, raw amber and black. 3. Prepare the Palette: So this is a nice little plastic pallet you can use for Gosh, it opens up and it has all of these little sections for putting the painting. It also has some mixing space as well. So But you can also just use a plate or any kind of pellet that you have available. I'm just going to show you now how I would choose to lay out the colors. So I've put a warm yellow cool yellow. Then I'm gonna gonna put a cool red. But as the painting this tube is dried up just, um tried to drip some water into it and and reactivate it. And it's just a little bit of wash. I could get on the back of a paintbrush there. So we've got a warm blue, which is ultra Marine, and a call blue, which is cobalt. And now I'm going to put on some earth colors. So I've chosen yellow roca, a bent sienna and a roll number is only a tiny bit. I got out of that tube. Okay, so that's quite a good range of colors. And now put some washing the corner for mixing. We've got a jar of water We're going to need a paper towel so that we can take the excess paint off of our brush any time we need to. And I've got these watercolor brushes now. These are synthetic ones. They're not animal here. I've got to round brushes of different sizes and this lovely filbert brush, which is wider and pencil to sketch in the initial design and a piece of watercolor paper. Now, cause we're just playing with wash, it doesn't matter too much what paper you use, but ah, watercolor paper would be preferable. A cheap one. It's fine because we're just messing around and getting used to the medium. 4. Start Playing with Gouache: So for your project, you're going to start a wash painting. I am going to do Ah, basic landscape. You may work from a photograph. You can work from your imagination. You can really draw anything you choose. What we're doing is simply creating an opportunity to play with the medium and get a sense of help works and how to use it. So I'm sketching in a tree on the left and, um, some greenery in front of me. Then there's the ocean. And then there's the sky, so I'm just starting to mix up a blue. You don't want to go to watery with the gua sh, but it can operate a little bit like a watercolor, but it is usually a more opaque medium. So I'm sending White adding a bit of brown to dull the blue down a bit and just trying it out on the page. Now that's fine. That's me brushing it onto a dry piece of paper. But if I take this brush and I wet the paper beforehand for all the area that I might want to put the sky color on, then I get my brush and I just start to work into the wet areas. The paint goes on differently. It has softer edges. It moves around the page more easily. It's quite a nice effect. So in your painting, um, play around with the two approaches and see what works for you. So I'm just wedding down the area that would have thesis e color, making it darker Grey, a sort of ah blue just painting that only can see how nicely it just flows in the wit areas on the paper. Keep in mind that when the paper is wet, you can't keep reworking the same area over and over. Otherwise, you're going to start wearing away the paper layer, and you might get little balls of, um, paper sort of forming on the surface. And that's not really ideal. But you can see here. I've just taken a different blue, and I'm just lightly working it into other sections off the sea and just trying to build up some variety of color. So make sure you clean your brush in between different colors so that you have a clean brush and your color is not muddied. The moment of mixing up a nice green to put on the foreground, um, to represent grass. So I'm winning the paper beforehand, and then I'm going to just freely brush in. If this green edge met theme see edge and the paints were both wet. You may get some color bleeding into the sea area or into the grass area, so be mindful of this in your work that if you have to wet edges than likely to actually spill into each other, starting to work in some darker grains and building in some details suggestive marks over plant putting in the shadow around the roots of the tree on the left. I don't need to be too precise with this. It's just a suggestive adding of detail, which could be further refined later on. So now I'm moving on to the tree, and I'm mixing up a nice brown. So I have taken a burnt sienna and add a bit of blue to it to knock it back and create a number color. I'm now waiting the area that I'm going to paint, and this is the color of got Feel free to be painterly and quite loose with your marks. You know this doesn't have to be a photo realist realistic painting. It can be as impressionistic and free flowing as you please. I'm also now working some of this brown into the greenery on the right hand side. This hopes to add some cohesiveness to the painting bear, integrating colors across the whole page instead of just having any one section. Now, China makes up in less gray grain to start putting in some foliage around the tree. Now I'm applying the paint with Debs of different sizes. I'm just trying to build up a sense of where the folate might be going. It's not to exact I know I'm gonna work back into this painting later with a pencil to develop some fan of detail, but this is the first layer. I might then mix up a lighter color and start dabbing that on. But it wasn't quite light enough so that it more what just trying to create a little bit of variation in the colors. The idea for this project is not to create the most compelling impressive painting ever, although that is always something we would like to happen. The idea here is not to be intimidated by the project to feel free to play with the materials, play with the brushes to dab the paint and just get a sense of mark making to get comfortable with what washes like as a medium. And it's through these sort of fun, lighthearted low pressure projects that you actually start to develop your own sense off style. You start to develop your skills, and your familiarity with the medium will help you in future work. So at this point, I think the color of the sky and the water they're too similar. So I'm trying to mix up a gray or blue Teoh put on the ocean to try and create a bit of differentiation between two things you can see already. It's created a better sense of distance in the work, watering it down quite a lot, just trying to work over the original layer of blue. So it's a transparent layer, keeping it nice and painterly and loose the name looking at the tree trunk, and I want to work in a lighter brown to create some highlights and possibly some texture. I've used a raw yellow Rocca sorry and a white, and I'm just painting it on quite loosely, dabbing my brush onto the paper tower to remove some of the paint so I can have ah, dry brush effect. So I'm still not really happy with how the sky and the sea of going. I'm trying to work in a darker blue now into the edge of the ocean, just trying to bring it back again. If I started this work again, I would more carefully consider the color and also density of the color that I put in the sky or in the ocean to remedy this, have painted some water over the sky and dabbed it with a paper towel to try and lift some of the color. But it was too dry, and this didn't have much of an effect. If in fact, the paint is recently put on, sometimes that can just help remove something that you feel is too strong or not quite right. So instead of actually mixed some more white with the blue, and I'm actually painting that on more opaquely through the sky, and I'm using painterly brush marks, going in one direction, at least visually. The brush marks of helping to distinguish between the sea and the sky 5. Add Detail: So once you reach a point with your painting where you feel satisfied and you don't want to build up the layers any further, you can take a pencil. I would use a soft pencil here. I'm using a six B. You could use a black pencil. You could also use a felt tip pen or black ink with a, um, a middle name. And what's nice about a pencil is it's quite soft. So I'm just very casually working into different areas off the image. And I'm just trying to create some definition within the leaves. In the fall ege of the tree. I'm starting Teoh shading aspects off the grass area and the, um, the tree trunk giving indication of grasses growing across the edge of that green bank building in detail into these doctor green spots in the foreground. And now I'm gonna work into this grain plant on the right hand side, just giving it some definition and some shape, and this really gives you a lot of freedom in your work because you're not doesn't have to be perfect. First go. You're not doing it all that once, and it has to be immaculate. What it is is a process on. Once you understand that it's a process, the pressure is taken off and you can just keep working away, and each each work will reach a point of resolution. They won't all be your best works, but it's a step closer to your next best work. So it's definitely worth doing. And if you can enjoy the process, you'll you'll certainly come back and paint more and more often. So here I'm working into the the body of water, and I'm just trying to create a sense of little ripples. You know that you would see in an ocean. It's hard to see the detail of what I'm doing on the film, but I'll show you a close up of the end and you'll be able to see more clearly. Then what have Bean sketching into at this stage Now I'm working into the clad shape that I've left in the sky and because of pencil is nice and soft and gray. It's a lovely way to integrate that white into the painting and to create some definition within the cloud itself was clouds aren't just flat. What so here I'm working into the trunk of the tree. I'm going to start creating some definition to give the indication of bark, I guess, and trying to draw in some nooks and crannies and some irregularities that you would find in a tree. Also shading in around where the roots of the tree come out and then moving into the grass areas again. And there's nothing to stop you after you've been drawing into your work to then come back to it with the gua sh. Just be mindful that if you've sketch with pencil, the graphite is likely to smudge of it when you brush it with water. 6. Your Project: you can see the finished pace that I've done in this class. I hope it's been helpful watching me work. I'm not claiming that this is the best quash painting ever, but I hope the class has made you feel comfortable to play with wash and to just start because it's through practice that we get better and improve so you may choose a landscape painting to copy. You may choose a photograph of a landscape. You might make it up out of your head. It doesn't really matter what you're painting, but sometimes having a reference to refer to for color and shape and light and dark can be very useful. So get your piece of water care, get big, wash your pencil, drive water and some brushes and just sit down and have a play. And I hope it's a really fun process, and I really look forward to saying what you've come up with in this close up. I just wanted to show you some of the marks I was making with the pencil in the second part of the project. Well, I was just adding detail and shading and creating some texture and features within the picture. Hopefully, you can see that the marks are quite fluid. That quite screw Billy. They're quite loose, and now this is an easy way to work. It's very comfortable to work this way, and you can keep working until you've resolved it until you feel like it's working. If you're using ink or pen, it's a little more permanent. But there's nothing to stop you being Justus free with your marks. 7. Thanks: Thank you for joining me for this beginner's class on gua. Sh our hope. It's being an accessible and friendly class to begin your journey in using this medium, it should be fun. I hope you do the project. Please share it plays, lack and review the class. See you next time. 8. More Art Classes: I've made lots of classes on painting and drawing and water colors. Color theory, endless classes for you to take, and you'll find that each one you do your skills will develop and grow. So let's have a look at how to follow me on school Share. Here is the full I button. Click on this, and if you hover your mouse over this part here, it'll take you through to my profile as well. Under my profile, you'll see all of the classes I've created, and you'll be able to see the range of classes you could take. So here are highlight a couple of my classes color mixing basics for absolute beginners. Copying the masters with Shelly Learn to paint. Watch me work. Embrace fear in the creative process. Begin is charcoal drawing how to paint gloss and beginners figure drawing gesture. I'm creating new outclasses all the time on I'm really looking forward to the opportunity to support you as you develop your own creative skills and make your way on your own creative journey. So let's start making stuff 9. Brief Teacher Introduction: so from a creativity is central to what I do. It really feeds. May I think creativity is vital to our well being and is worth pursuing and is worth investing time in. My name is Shelly. I'm a Sydney based artist, Andi. I work across many mediums. I studied oil painting at the National at School in Sydney. It was a beautiful sandstone jail with a very traditional Italian based structure, so we learned drawing every stage of education. By taking these classes step by step, you'll build your skills, your knowledge and also you experience and confidence. And that's the thing that's worth pursuing, because in the end, you're an artistic practice could really sustain you and sustain your life. So I really hope that these classes help you on your creative journey. And they make doing these creative activities less scary and give you some confidence to move forward in your in practice. Thanks for stopping by. I really hurt my classes of helpful for you. You might even say my to studio assistants Ali and Millie in some of the classes