Captivating Gouache Seascapes: Luminosity, Blending, and Textures | Kolbie Blume | Skillshare

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Captivating Gouache Seascapes: Luminosity, Blending, and Textures

teacher avatar Kolbie Blume, Artist

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

11 Lessons (1h 47m)
    • 1. Introduction

    • 2. Your Class Project

    • 3. What is Gouache?

    • 4. Class Materials

    • 5. Gouache as Watercolor

    • 6. Project: Lapping Ocean Waves

    • 7. Gouache as Acrylic

    • 8. Project: Sparkling Seas

    • 9. Gouache as Oil Paint

    • 10. Project: Crashing Wave

    • 11. The Wrap-Up

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About This Class

Moving water can be one of the most beautiful and dazzling subjects to look at...

...and therefore the most difficult to paint. 

Raise your hand if you're like me and could never quite piece together the steps to capture that glimmering flow of the sea with your watercolor, no matter how hard you tried! 

As mainly a watercolor artist, I knew it was possible to paint amazing water scenes, but I was stumped for years, even after painting every day -- until I discovered gouache. 


What is gouache? Is it like watercolor, or acrylic? Do you use it wet or dry?

And most important -- how do you even pronounce it? 

Whether you’re an experienced watercolor artist like me or a newbie discovering a love for art, using seascapes to learn gouache will help you learn to love both the medium and the subject.

That's because gouache has unique characteristics that make it perfect for testing the ocean-painting waters if you can't quite master it with watercolor or other mediums.

In this step-by-step introduction to gouache and seascapes, we will explore: 

  • Similarities to and differences¬†of gouache from other paint mediums¬†
  • Basic painting techniques, like the wet-on-wet and dry brush techniques, to harness its¬†versatility
  • Gouache brands I love and a full supplies list for the class
  • Why¬†gouache is¬†my favorite medium for painting the ocean!¬†
  • How to use gouache's unique characteristics simultaneously to capture the magic of the sea

(Oh, and by the way, it’s pronounced guh-wash, but all together in one syllable. So fun!) 

We'll start with lessons comparing gouache to three well-known paint mediums (watercolor, acrylic, and oil paint) to identify its shining qualities and why they're useful for painting moving water. Then we'll put those skills to the test with three step-by-step seascape scenes, each one focusing on one aspect of gouache's versatility. 





As we work through the class, you’ll gain the building blocks you need to confidently call yourself a gouache artist and paint serene seascapes that will bring the enchantment of the ocean straight to your desk.

Grab your gouache, a paint brush, and some watercolor paper, and let’s get started!

Meet Your Teacher

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Kolbie Blume


Top Teacher



If you're pretty sure you're terrible at art...'re in the right place, my friend. 



Hi there! My name is Kolbie, and I'm a full-time artist, writer, and online educator -- but up until a few years ago, I was working a 9-5 desk job and thought my artistic ability maxed out at poorly-drawn stick figures. 

In my early 20s, I stumbled on mesmerizing Instagram videos with luminous watercolor paintings and flourishing calligraphy pieces, and ... See full profile

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1. Introduction: The coolest thing by far about gouache is its versatility. You can use it to mimic other kinds of paints, even on the same painting, and that versatility makes it perfect for painting something complex like moving water. Hi, there. My name is Kolbie Blume, and I am a self-taught artist, author, and online educator. Typically, it surprises people when I tell them how new I am to art. I didn't go to art school, and honestly, up until about five years ago, I thought I was terrible at it. But that's exactly why I'm so passionate about teaching, because if I can learn how to do this, so can you. One of the biggest reasons I'm focusing on seascapes in this class is because even after years of honing my own skills as a watercolor artist, painting water, painting the complexity of the ocean and waves was just something I was never able to really capture, and it really frustrated me. That is, until I learned about gouache. Gouache and seascapes are a match made in heaven. Because in order to paint something really intricate and detailed as the ocean, you need a medium that has a really wide range, and that is exactly what gouache brings to the table. Gouache can act like watercolor, it can act like acrylic, it even has a really cool quality that's similar to oil paint. Throughout this class, we are going to dive deep into an introduction to gouache by comparing it to three well-known paint mediums: watercolor, acrylic, and oil paint. Then once we have the techniques down, we'll put them to good use in three separate projects: a lapping ocean waves scene, a sunset sparkling seas scene, and a crashing ocean wave scene. Whether you're new to gouache and wanted a fun way to introduce yourself to the medium, or you want to finally be able to capture the magic of moving water, or you're just looking for a fun and relaxing way to have an artsy afternoon, I think you'll really love this class. What are you saying? If this sounds like your jam, then let's get started. 2. Your Class Project: Hello, my friend. I am thrilled to see that you've decided to join me for a captivating gouache seascapes. Before we start painting, let's take a look at the projects we will be working toward throughout this class. All of the projects will focus on a specific technique, a specific comparison between gouache and another paint medium. For project 1, we are going to focus on how gouache is like watercolor. Here is the project. It's this serene, peaceful, lapping ocean wave scene and we're mostly going to use the transparent, translucent, luminous qualities of gouache to paint this really dreamy, misty oceanscape. Next up, we are going to focus on how gouache is like acrylic. In this project, project 2, we're going to be painting bold blends and really awesome textures to try to create a glimmer effect on top of the ocean's surface, as well as this really beautiful bright sunset to contrast against the ocean. In order to use gouache like acrylic, we need to use it in its paste form, and so this project is focusing all on using those specific techniques that we use with acrylic with gouache. Then finally, for the last project, we're really going to be putting all of the techniques that we have learned into one and then combine it with the final lesson, which is learning how to rework gouache while it's already on the paper. Similar how you would rework oil paint, when it's already on a canvas. Project 3 is all about capturing luminosity and texture all in one painting. We're going to do that by putting all of the techniques that we have learned together, and rework the gouache on the page to come up with some stunning results with the sunlight really glistening off of the waves and the foam falling off of the wave. It looks like a really complex piece, but I think it'll be really fun. Now that we have a little preview of the projects, let's move right along to talking about the star of the show, gouache. 3. What is Gouache?: Welcome back my friend. Before we start learning all of the techniques and the lessons we'll need to practice the projects in this class, I want to spend a little bit of time talking about gouache. If you're anything like me, you had no idea what gouache was much less how to pronounce it before watching this class. It's a medium that sometimes gets swept under the rug, I think because other paint mediums are just a little bit more popular. But I love gouache because it's so versatile. You can use it to get really luminous textures or really choppy and bold blends depending on how you use it. We're going to talk about how gouache compares to other paint mediums in order to fully explore how to use gouache to the best of its ability. Let's start with gouache and watercolor. We're going to have a whole lesson on each of these things. This is really just an overview. But I want to talk about gouache and watercolor, especially because gouache is often called opaque watercolor. Gouache and watercolor have almost identical makeups. The only difference is that gouache has bigger pigment particles and gouache, often has a substance like chalk or something else to give it that cool, translucent, opaque texture. Similar to watercolor, you can squeeze gouache onto a palette and reuse it later. The only thing is after you've squeezed onto a palette to dry, if you reactivate it with water, you're mostly going to be using it in its watercolor form. You won't be able to reactivate it in order to get those really thick textured strokes like you would write out of the tube. That's something to be aware of. That leads me to how gouache is like acrylic. Gouache, just like acrylic, can be squeezed right onto a palette and you can use that paint in its paste form, you just need a little bit of water. Depending on how much water you use, you can use it like acrylic to get really bold blends and thick textures. Or, you can put even more water in it to use it like watercolor, like we talked about. Gouache really has this incredible versatility depending on how much water you use. That's what makes it one of my very favorite mediums. Then finally, one of my favorite things that you can do with gouache is use it like oil paint. Now at this point you may be thinking there are virtually no similarities between gouache and oil paint and you know, you're not wrong. Gouache and oil paint have very little in common. But one thing about oil paint that's really cool is it's long drying time. Because oil paint takes a long time to dry, you can actually rework it on the canvas. A lot of oil painters just slaps some paint on their canvas in the general direction of where it's supposed to be. Then they use brushes and oil and more techniques to really shape the paint to where it has a lot of detail and depth. That's a really unique technique because it means you don't have to get every single stroke perfect the first time. You can just make a mess and then shape it and mold it into something that is more along the lines of what you were thinking. Now, oil paint can do that because of its slow drying time. That makes it cumbersome to work with if you don't have that time. That's why I've really loved gouache. Gouache is quick drying, so it definitely doesn't have a long drying time. But after it's dry, you can reactivate it with a little bit of water even days after it's been sitting there. Gouache is really cool and similar to oil paint, in that even after you have maybe put some strokes on the paper and they've dried, you can take a little bit of water and reshape them, reactivate them to make new blends, to make new details, and to maybe capture some of the more difficult details that you are trying to do. It's one of my favorite ways to use gouache and I'm really excited to show you how to do it. That's an overview of how gouache is similar to all three of these paint mediums that are pretty popular and well-known. I hope this gives you a good foundation for the rest of the class. Without further ado, let's head on to the rest of the materials we'll need and then we can get started painting. 4. Class Materials: Welcome my friend. Now that we have discussed a little bit about what gouache is and why it's such a great medium for C-scape and for this class, let's dive into the rest of the materials we will be using. Let's talk about the different brands of gouache that I'm using. I have here ARTEZA, Winsor and Newton Designers Gouache and Holbein Artists squash. Gouache like watercolor and all paint comes in varying qualities. ARTEZA of these three is probably the lowest quality, I would say it's student grade, but it's at the top of the student grade class. I've tried other student grade gouache kinds and I like ARTEZA the most of all of them. I was really impressed with their gouache and that's why I use it in a lot of the projects we're doing in this class. Then I also love Winsor and Newton Designers Gouache and Holbein Artists gouache. Holbein is slightly above Designers Gouache, but both of them are really good quality. With Holbein and Winsor Newton and ARTEZA, that makes up all of the brands that I'm using for these projects. I have a variety of different blues and a few greens. Then I also have a beachy color and some pinks and yellows for when we do a sunset in the second project. You can gather all of the different colors you think you'll want. I have a PDF of my full supplies list and the exact colors that I'm using, so make sure to grab that if you are interested. Next, let's talk about brushes. For gouache, when I'm painting, I like to use three different kinds of brushes. First, I use Filbert probably the most, when it comes to using gouache. It's different because I told you I'm traditionally a watercolor artist and I usually use round paintbrushes but gouache, because of its versatility requires a slightly more versatile brush, and that's why I really like the Filbert shape. I have some Princeton brand here, and then this large one is the Craftamo brand. But I also like to use a flat brush, so this is just a size six flat brush and round brushes as well. All three shapes of these brushes I'm using throughout this class, and as you can see, I like to have one larger one on hand. Then mostly I use these smaller ones for the details. Those are brushes that I'm using and then I'm also using paper. Normally I would recommend using 100 percent cotton watercolor paper with gouache. But because I'm treating this as a practice session, I'm using this ARTEZA watercolor notebook. This paper is student-grade paper, so that's important for you to note because you can make really cool things even with student-grade paper. I'm mostly going to be using student-grade watercolor paper in this class. But gouache also works really well with professional-grade paper. Then finally, I like to have a palette on hand that I can use to mix colors with and also keep my paint dried. Then I have two cups of clean water off to the side. I only have one pictured here, but just to save space, I think that about wraps it up for the rest of the materials, like I mentioned before, feel free to download the free PDF of the materials list I have for you and let's get going. 5. Gouache as Watercolor: Hello again, my friend. We are finally ready to start painting. This is Lesson 1 of my captivating gouache seascapes class. We're going to begin by practicing how to use gouache like watercolor and the main thing we're going to focus on in that comparison is using watercolor techniques with gouache. Let's dive right in. We're going to start with the two most basic watercolor techniques which also apply when we're using gouache like watercolor. Those techniques are the wet on dry technique and the wet on wet technique. First I'm going to activate the gouache that's dried on my palette like this, just by adding some water with my brush and creating a little bit of a puddle of a nice liquid consistency. Then with my wet paint, I'm going to paint on a dry piece of paper. This is the wet on dry technique. The wet on dry technique basically just means you're taking wet paint and painting on a dry surface. The reason we use the wet on dry technique with watercolor and with gouache is to get some really crisp lines, detailed subjects. It's the way that you can control the paint the very most, so if you want to know exactly where the paint is going to go, if you want to be the one in control of the paint, that wet on dry technique is probably the technique that you want to use. We just want to be careful because the wet on dry technique, as I mentioned before, also is characterized by these really crisp lines. You don't really do blending, you don't really do really soft edges with the wet-on-dry technique. Instead, this is when you want to create maybe layers of texture or paint really crisp subjects. The wet on dry technique is in direct comparison to the wet on wet technique, as you might be able to surmise if you have painted with watercolor before or if you use deductive reasoning, the wet on wet technique is when you take wet paint and paint on a wet surface. When we get the paper wet before we start painting, that is called the wet on wet technique. As you can see, the wet on wet technique is characterized by a lot of basically no definition. It depends on the amount of water you use and we're going to talk about that a little bit more in just a second but in contrast to the wet on dry technique where you have these really crisp lines, the wet on wet technique is where you get really cool, magical blends. It's where watercolor, I think, has some of the most character because it really has a mind of its own. It has this kind of innate chaos to it and it makes it really beautiful. We're going to talk more about how to capture the essence of the wet on wet technique throughout this class. For now, it's important to remember that not all aspects of the wet on wet technique are created equal. The wet on wet technique is really all about water control. The more water you use in the wet on wet technique, the less control you have. If I were to get my paper really, really wet and then put my paint on it, the water is basically just going to go everywhere and that's because watercolor and gouache are activated by water, so wherever there is water, it wants to go, it wants to travel where there's water, it wants to be free. But if I were to use just a little bit of water, so if I just put just a tiny thin film of water and maybe I let it dry for a minute so some of the water evaporates and then I paint it with the gouache, it's not going to be quite as all over the place and unruly. I still have this line that's maintaining from where I painted downward as opposed to here, the gouache didn't maintain any of it shape. That is a very good rule to remember about watercolor and gouache. The more water you use, the less control you have and vice versa, the less water you use, the more control you have. Just remember that water can be either water on the paper or water on your paintbrush or water in your paint. All of those three places can contain water and if you want to control the amount of water you're using in your piece, you want to be cognizant of the amount of water you have in all three places on the paper, on your paintbrush, and in the paint. We've covered wet on wet and wet on dry and the next techniques we're going to talk about are those but more focused. Instead of just the wet-on-dry technique, we're going to talk about glazing. Glazing is basically painting wet on dry layers on top of each other. When I paint with my gouache on top of an already dried layer of paint. I guess it's a rectangle. If I paint little lines of color on top of this rectangle, this is called glazing because watercolor and gouache are not super textured, meaning when you paint with them, especially when you paint with gouache as watercolor, you can get these cool flat layers and so you can put lots of paint on top of each other. It helps to create complexity and texture when you can't get that physical complexity and texture that you might get from acrylic or oil. Glazing is a way for you to use gouaches, transparent qualities, and its flats, physical properties to create very interesting and intricate designs which that's going to be helpful, especially as we continue painting our seascapes. Along with that, when you use glazing, you can use the different layers to build complexity and you can use the different colors to create super cool blends right on the paper. If I take this circle and paint another circle on top of it because gouache, when I'm using it like watercolor, has watercolors transparent qualities, these two colors blend right on the paper where they are mixed. I have this turquoise color over here and there's sea green color over here and then in the middle where the two circles met, I have this even darker green color that looks darker green because of these two layers that are transparent on top of each other. Glazing is really cool for a lot of different things and we are going to use it a lot as we learn how to use gouache to paint water. Then the final technique is called luminosity. Luminosity, I don't know if it's really a technique so much as a property or maybe an effect but basically, it's what happens when you use the wet on wet technique on purpose to create really luminous textures. Luminous meaning, it seems like light is coming out from underneath the paper. If I get my paper wet and I put some paint on it because gouache is transparent, just like watercolor when I get more water on top of this wet on wet layer, I'm dispersing the pigment, so the pigment in the gouache, in areas where it's highly concentrated has this distinct color to it. But when I put water on it, the pigment disperses, so instead of that color, we see much more of the white of the paper coming through and you can use that to your advantage to create really cool light-filled textures. We're especially going to use this technique as we're trying to depict moving water. Moving water is tricky to paint because there are so many things going on and especially to do with light. To try to mimic that light, to try to mimic how light is shifting and moving on top of the paper, we're going to use gouaches' transparent properties to create luminous textures just like this. To sum up, we practiced four watercolor techniques that work with gouache just as well. We practiced the wet on dry technique which is painting with wet gouache on dry paper. We practice the wet on wet technique which is painting with wet gouache on wet paper. We practiced glazing which is painting layers of gouache on top of each other, with one layer being dry, and then painting another layer on top of that to create complexity and texture. Then we practice luminosity which is using the wet on wet technique in a more focused way to specifically allow the white of the paper to shine through and create these luminous textures. Now that we have these watercolor techniques down. Let's put them to good use in the next lesson where we're going to paint project number 1. 6. Project: Lapping Ocean Waves: Now that you've practiced how to use gouache like watercolor, let's put those techniques to good use with our very first project. For project one of three, where we're practicing using gouache like watercolor, we're going to paint this lapping ocean waves seen using all of the techniques that we practiced in the previous lesson. Are you ready? Let's get started. I have on my palate a bunch of dried gouache and the colors that I'm using for this ocean waves lapping up on the beach scene. Because we're mostly using gouache as watercolor in this project, actually having it dried on the palette works really well for me. Because when I'm trying to use gouache like watercolor and it is like a paste, it's much harder to get the right consistency. I grabbed the long brush there. I want to have three layers for this project. I want the sky to be like a gradient, foggy horizon that takes up maybe a little bit more than a third of the page. Then I want to have this middle section B, the ocean. So I'm going to have layers of moving water, layers of waves lapping in the ocean, which we're going to create using the wet on wet technique and capturing some luminosity there. Then I'm going to have a next layer of sand with the bottom layer of the ocean lapping up onto the sand. Let's get started putting that together. First, I'm going to take this round brush and because I'm using the wet on wet technique, I'm going to get my paper wet. So I'm taking this round, large. It's a size 10 brush and just putting water all along my paper. I'm not going to go down to the very bottom because I don't want to get the sand quite yet. But what I am going to do is put enough water on here for both the sky and the ocean. So remember that the ocean is going to go to about right here and the sky is going to go up to the top. Now that I have the paper wet, I'm going to take some grayish blue that I have dried on my palette over here and just start painting on the sky. Because the paper is wet I'm not really worried. I'm not too concerned about exactly where the paint is going. I'm letting the water do much of the work for me in this case. I want to create this misty gray sky, as if we're looking at the ocean on like a really foggy morning. In order to help create that fog, I'm letting the white of the paper shine through and help disperse the pigment so that I'm getting these pockets of fog and mist along with the gray cloudiness of the sky. I am using the water on the paper and the water on the brush to help create this luminous misty texture with the gray of the sky. Then where the sky is going to meet the ocean, I want there to be just like a very thin but blurry, almost line of white. I don't want it to be so gradual, you can't see it. I want there to be just a thin line of white between the blue of the ocean and the gray of the sky. That's going to be the horizon and almost like fog coming up off of the ocean. So now that I have the sky down with that gray there, I'm going to take my water on my paintbrush and reactivate some of this blue gouache that I have on here and just to do the same thing. I'm painting with this blue gouache, putting some paint right on the paper and then using the water to disperse it a little bit. Right where that line of fog is going to be, I am going to paint a line of blue and then just go over it with water so it blends a little more evenly between the gray and the white and the blue of the ocean. Then to really capture how this ocean is moving, I am going to add more layers, more different colors of blue. I have this basic turquoise blue right off the bat. But now I'm going to add just in layers and stripes, different shades of blue. Then once I have them down on the wet paper, I'm going to use a clean brush to just to tap along, blend them into the water so that they can help encourage the effect of these lapping waves that are in the ocean. I have some of that turquoise in there. Now I'm just going to put some of this Prussian blue, which is like a darker blue along here as well. Once I have the paint down, then I'm just going to tap along and encourage them to blend together just like this. Notice that I'm leaving behind spaces of whites. I don't want all the colors to blend together in just like one blue watercolor mess, I still want to be able to see some of the colors in the ocean, all of the different colors and their varying shades. Especially some of the white space here. That's just to help mimic the look of a moving ocean. I probably could have stopped right there, but I'm just going to add a few more shades of these different blues, blend them in a little bit more, just like this. I don't have a very specific rhyme or reason to this other than I'm putting the blues down and little bits of like in lines almost. I don't want it to be so much for this watercolor version. I don't want the lines to be very crisp. I still want them to have that nice watercolor blend. Then at the horizon as we've talked about before, I do want that to be a little bit more of this line of blue blending into the white of the paper, which is possible because of the wet on wet technique. If this paper were dry and I tried to blend it like this, I would just get a crisp line right here. The paint wouldn't blend up into the paper. It would instead create this line of blue, which I might want in some cases. But for this specific piece, I want the blue to gradually blend into the white. It's very necessary for the paper to be wet before I do this. If you're painting along with me and you get that line, it's probably because your paper has dried before you got a chance to fully blend it in. That's okay, that happens. The way to fix it is to re-wet your paper. Actually, you might be able to notice that it's happening on my paper at the bottom here. Let me zoom in so that you can see a little bit better. Right at the bottom of the wet space, this paint is forming a very subtle but clear line. That's because the paper under here is dry. It's not wet anymore. The paint is stopping when watercolor and when using gouache as watercolor because it's activated by water, hits dry paper, it doesn't move anymore. In order to make sure that doesn't happen, we need to get the paper re-wet and allow the paint to gradually blend in. That looks pretty good for the ocean for right now. Now I'm going to paint the sand. For the sand, I'm getting this BT color, and just along the bottom here, I'm going to paint in this nice chalky, watery, sandy color, like an apricot color. I'm pretty sure that's what it's called. I'm using RTs or gouache for this specific and this color is called light apricot, that's what this sand is. I'm just reactivating it with water and my brush on my palette, and then because the wet of the ocean is still wet on my paper, it's blending in a little bit with the sand. I want you to note that as I'm painting the sand beneath the ocean, I'm not painting a straight line. I want it to be choppy, almost like billows or clouds. Like a layer of cloudiness between the ocean and the sand. That's because I'm trying to capture the waves, the lapping waves that are maybe foaming up right as the water meets the beach, just right here. I'm doing that just by using my wet round brush with the paint, and creating this just textured, choppy-like effect. I want to create a little bit of a shadow underneath where the waves are lapping up on the sand. Let me give you a better camera angle to show you what that's going to look like. We have the beach right here, and in order to create a nice shadow underneath the sand, like on top of the sand as the waves are lapping up on top of it, I'm going to mix in a little tiny bit of gray in my apricot color to create a brownish sandy color. I'm going to use that brownish sandy color just right along the edges. It's still looks pretty gray, but that's okay. Just right along the edges here, I am painting with this warm brown, light gray, which I got by mixing a tiny bit of black or a tiny bit of gray with that apricot color. Because my sand is still wet, it's creating this blurry line right along that edge there. Now I'm washing off my paint, I'm just going to blend that brown color right into the sand below. Then as a final touch, I am going to bridge the gap between the sand and the lapping waves and add some actual white gouache right on top of it. It's okay if I get some crisp predefined lines, and it's also okay if this time you're using more like gouache dot straight out of the tube. Here's some titanium white with our T-cells. Sometimes when you're using white gouache, it's easier to use it straight out of the tube. I'm just going to pick up some of this paste gouache that I have put on my palette, and between the sand and the waves, just dot that line and create some nice textured foam between the sand and the waves. Because the sand is still pretty fairly wet, that foam is going to blend right in, so I'm just tapping along. I'm using a round paintbrush that I don't really care about maintaining the point anymore, and that's why I am able to tap like this because I don't really need it for its point. Right along the edge here, but I still want to create these clouds of white between the ocean and the sand. Then as just like a final touch, I'm going to take a tiny bit more of that white and just in a few places tap it along here in a couple lines. The trick to doing the foamy waves right along in the ocean to make it look like the waves are lapping, is to do it in lines. You're not just doing it in vertical blobs, you're doing in these horizontal lines to show that there are waves in layers coming up from behind. I'm just going to do a few of these, and then some tiny, tiny ones in the back. Just like that. There we go. Here is our final project for the first technique with gouache, which is using gouache's watercolor. Notice how some of the ocean has bled into the sky, because of the wet on wet technique that paint had the freedom to move up there into the sky. Honestly, I think that this effect almost just contributes to this misty ocean bleeding into the sky, you're not sure which is which effect. It looks pretty cool. One thing that you might notice is the paper over here is darker. That's due to the quality of the paper. It's not due to anything we did specifically. It's just that this watercolor journal is a student-grade paper, which I mentioned in the beginning. It likely won't happen again, as we do our other gouache projects because this is the most wet of all the projects I'm going to do in this class. But just in case you notice that that's what that is. But I still think it looks pretty cool. I am really happy with this technique and I hope that you had fun watching it. 7. Gouache as Acrylic: Okay, my friend, you have done the first project. We've practiced how gouache is like watercolor and how you can use it to create luminous and translucent textures. Now let's switch gears and compare gouache to acrylic. In this lesson, we are going to practice using gouache in its paste-like form, similar to acrylic, to create bold blends and really awesome textures. Are you ready? Let's get to it. What I mean by using gouache like acrylic, basically just means, when you use gouache straight out of the tube, so if I'm going to squeeze some of this Holbein gouache onto my palette right here, I get this pretty thick paste. I can use the paint just like this. Unlike with watercolor, where it really doesn't work quite as well to use watercolor just out of the tube, you can use gouache out of the tube like this, and that is pretty similar to acrylic. This Holbein gouache is pretty thick, and so if I were to dip right into it, I get a pretty thick opaque stroke right off the bat and then it drifts off into this more like dry brush effect. That is one of the first ways that I really like to use gouache, similar to acrylic. When I want to create a more textured look using maybe less water, then I dip my paintbrush straight into the paint and create this dry brush texture that happens because the paint globs together on the first stroke and then skips across the page. The dry brush technique is especially helpful when I'm trying to create very small white details, like maybe in the distance. For example, in the next project, we're going to paint water that is sparkling on top because of the sun. Using the dry brush technique to create those white textured sparkles in the back in a distance, is a really useful way to capture that effect without having to paint in each individual dot at one time. You achieve this dry brush technique once again by having very little water on your paintbrush. You don't want your paintbrush to be completely dry. You can, but it might be a little more difficult to navigate with the paint. But if you have your paintbrush with only a little bit of water on it, so I would say put your brush in your cup and then blot it on your paper towel before going into the thick paste of the gouache, then you can achieve this cool textured dry brush technique. I would recommend experimenting with different amounts of paint, different amounts of water to see if you can get a lot of the dry brush texture versus starting off pretty opaque and then maybe veering into more of a dry brush texture. It all depends on how much water is in your paint, on your brush, and in your cup, similar to when we use watercolor. That's the dry brush technique with gouache, using it like acrylic. Another way I like to use gouache straight out of the tube is to make more opaque blends. When we paint with gouache like watercolor, the way to blend colors together is via the wet on wet technique. But when you're trying to create blends using gouache straight out of the tube, you don't have to use the wet on wet technique in order to get those blends. Instead, what you do is you work pretty quickly to blend the colors together on dry paper while the paint is wet. I'm working pretty quickly on here to grab this paint, and then while the paint on the paper is still wet, I am picking up colors that are in a gradient. There's white, and then light blue, and then more of a turquoise blue. Painting right on top of the wet paint, gradually going up or down in order to get a blend of these colors all together. This is a fun little warm-up to do with a flat brush that I like to do with gouache. When you have your flat brush, I got a little bit more water than I was anticipating with that. But when you have your flat brush, and you use gouache more like a paste right out of the tube, then just paint these stripes right on top of each other with different colors that are overlapping and see what happens. I picked up some white, and I'm going to see how stripes of this white are blending into the blue. Then maybe I'm going to squeeze a little bit more of this turquoise onto my palette. This is more like a blue-green. While that paint is still wet, just smear it along and blend it right in with my brush. While this paint is still wet, I just picked up some white on my paintbrush, I'm going to paint that white right on top of the blue-green there. Notice how it blends in with the blue-green, but then also has these unique stripes of white still. Because the paint is still in paste form, it doesn't spread out super evenly. Stripes is the word that I'm using. Depending on where the paint is on your brush, it's going to come off a little bit differently onto the paper. That is a random, unique results that we're going to use to our advantage, especially in the next project. Once again, the way that I achieved this blending effect is by picking up the gouache straight off of the palate when it was just squeezed out of the tube, and then while that paint is still wet from being in the tube, I can usually tell if it's still wet because it's shiny. So notice how that little stripe is shiny right there versus up here, the gouache has gone opaque matte, so it's not so shiny anymore, that means that it's dry. As long as the gouache is still wet, you can blend colors together just like this layered on top of each other in order to get a nice, smooth gradient. Let's practice this one more time, actually making a gradient on purpose. Just off to the side here, I'm going to start my gradient with the lighter color, which is this white up here. I'm going to start with some white, and then I'm going to dip straight into the ice blue. I'm going to paint that ice blue just underneath and overlapping the white a little bit. Then as I'm doing that, notice because the paint is wet, the colors are blending together. Then I'm going to finish off this gradient with this blue-green, sea green painted right below the ice blue. Then if I want to create more of a middle color between this ice blue and the blue-green, I'm going to wash off my paintbrush and use the lighter color, so the ice blue, as an intermediary, so that I can create a nice middle space between the two. Because the two colors are still wet, they are blending together pretty well. I'm just right smack in the middle of where they meet. I am painting with a little bit of the ice blue, and I'm going to wash off my paintbrush and do it again just to further cement that gradient there. Then the last thing that I want to talk about, the last similarity between gouache and acrylic is, contrary to watercolor, where you normally paint from light to dark, with watercolor, you use the white of the paper and paint all the light things first and then the dark things as you're layering on top of each other, which is because of watercolor's transparency, gouache has the capability of being opaque like acrylic, so you can paint from dark to light, which is really useful when we're trying to paint water, because instead of trying to capture all of the unique shifting light that's happening all at once at the beginning, you can build up your layers with dark and light and then add highlights at the end. Like say for example, we're going to say this part of the gradient is the sky, this part of the gradient maybe is the ocean. Instead of trying to capture the sparkles of sunlight right on the ocean from the beginning, we can just tap on some white right on top. This is something that you can't really do with watercolor, but because gouache is opaque, you can do it with gouache, using lighter colors to add highlights and details right on top of the darker colors. This is a little messy, we're going to make it look better in our project coming up, but you get the idea. To sum up, gouache is similar to acrylic, in that you can use the paint straight out of the tube without having to activate it with water first. But you can put a little bit of water in the paint if you find it's a little bit too thick. I would just be careful not to add too much water. Let me show you what happens. You probably already know what happens. But it turns into more of a chalky water color instead of that nice opaque acrylic, which is the look we're trying to achieve for this lesson. You can use gouache straight out of the tube, and you can use gouache to mimic a dry brush effect, just like that, and you can use gouache to blend like you would with acrylics using layering and the wet paste paint to make these nice textured blends. Then you can also use gouache because of its opaque nature to add highlights and details in lighter colors on top of darker colors. That wraps up this lesson on using gouache like acrylic. Let's move on to the project. 8. Project: Sparkling Seas: Great work, my friend. You have practiced how to use gouache like acrylic. Now let's see if you can put those skills to the test with project number 2. In this project, we are going to use gouache like acrylic to paint a sparkling sea where the light from the sun is dazzling on the ocean surface. I'm so excited to get painting with you. Let's dive in. Let's dive right in. Because we're using gouache more like acrylic in this painting, I want my gouache to be paste, so I'm going to squeeze out the colors that I need right onto my palette. I am going to get my brush a little bit wet first. That's what I'm doing. I'm bringing my water cup so that you can see. I'm just lightly dipping my paint brush into the water cup and getting some of the excess water off. I don't want my paint brush to be very watery, which is normally how it would be with watercolor, just slightly so I can activate the paint. Then I'm going to dip into the blush light pink color and use these long strokes to start painting. I am going to use water to help the paint go a little bit further, but I'm not using too much because I don't want that same watercolor effect that we used in the last project. I still want that nice opaque look and I want the paint to be pretty wet itself in its paste form so that I can get this opacity with the gouache and get the blending effect that I'm hoping for. I'm starting with the blush pink and just going in back and forth strokes like this. Then pretty quickly without washing off my brush, so I still have some of the blush on there, I'm picking up some of this light apricot and just painting right on top between where the paper is and where that blush pink layer is. I can do it starting from either side, even going up into the pink area a little bit. This is to help create a sunset effect and creating a gradient. But that's more of an opaque gradient. That's the benefit of using gouache in this way, is you can create these cool blocks of color using gouache and only a tiny bit of water, but that's still remain opaque because of gouache's makeup. As we're going down, I'm going to use a little bit more water to loosen up the paint just a little bit and help it go a little further on the paper. I just want to get the edges here, it doesn't have to be perfect. Then I want a little bit of that pink in this orange layer. In order to do that, I just tapped my brush into a tiny bit of the pink and started painting right on the orange layer. The way that I blended it in is by going back and forth and back and forth on the orange layer. Now I'm going to use a little bit of water once again to just bring this layer down because I'm going to start getting lighter so that I can add the blue. I'm not going to add the blue right away because orange and blue are complimentary colors. If I try to blend in blue with this orange immediately, it might not turn out super well. Instead, in order to blend these two together, I'm going to use some white gouache. Now if we wanted to do this with watercolor or by using gouache as watercolor, I would use lots of water and allow the white of the paper to be the blending place before the two paint colors met. But because we're trying to use gouache more like acrylic, I'm using white as that intermediary between the orange and the blue that I'm going to introduce in just a second. The water is to helping me spread the paint, which is the benefit of gouache as a water activated paint. I can use water to help me along a little bit, especially if I start to get some dry brush strokes that maybe I wasn't intending. But if I want the opacity, if I still want it to look really opaque, then I shouldn't use too much water. While this white layer is still wet, just on top of it, I'm going to pick up some of this ice blue and start painting right on top of that white layer with the ice blue. That will effectively help to blend the orange of the sky to what is now going to be the beginning of this ocean. This ice blue is the first step of the gradient as I'm grading down from pink to orange into this ice blue, it looks almost periwinkle. Then I'm going to pick up some of this turquoise color. Now the Holbein turquoise that I'm using is a lot more paste like than the Arteza. I'm going to use more water to activate it and just make it a little easier to use while still maintaining that paste consistency to get this opaque blend that I'm hoping for. This ocean color can go all the way down to the bottom. But as I'm painting it, make sure to pay attention to where the paint has dried. If it's dried, just add a little bit more wet paint and try to get the whole ocean to have that shine, so you can see that it's a little bit wet but not wet like the wet on wet technique, just wet with the paste of the paint because while this paint is still wet, gleaming because the texture, that the paste part is still wet, I'm going to add different colors right on top of that wet paint. Especially adding lighter colors like white and the ice blue right on top of this turquoise is going to be really important to help this water look like it's moving. That's because, as we discussed before, moving water, you can tell that it's moving because of the light shining on top of it. To get that effect, that moving effect, we're going to paint light and we're going to paint shadows right on top of this paste-like consistency. The base layer for the ocean is this hall turquoise. I got it pretty wet. Then while it's still wet, I'm picking up some ice blue and also some white and just in these broad strokes moving back and forth and back and forth to paint lines of this light color. Then I'm going to do the same thing with Prussian blue. With this Prussian blue color, I don't want it to be really stark. I want it to blend in. The way that I'm doing that is by going back and forth and back and forth over, maybe adding a tiny bit of water if the paste of the gouache is drying a little bit. But in order to just blend these colors together in this opaque form, I'm going back and forth with my brush to encourage the paint colors to blend together just like this. If as you're painting, you find you're just getting a lot of dry brush, pick up some more water and reactivate the paint just a little bit. We're going to talk more about reactivating gouache in the next set of lessons. But just know that in order to maintain this really smooth consistency while it's still opaque, we need the gouache to stay wet. Sometimes just adding water right on top of it will help to reactivate it the way that we need. This is mostly dry. First, we're going to paint the mountain range that is floating between the ocean and the sky. This mountain range is going to be in three layers. We're moving from light to dark. There will be, the furthest mountain will be the lightest, and then the middle mountain will be middle and then the closest mountain will be the darkest. In order to mix those mountains, I'm going to take some white and just mix it with this greenish color that I have. I'm looking for a light green that looks gray or white. I want it to be pretty chalky and misty in the background. Then I'm just going to paint starting from the top right here. This really light triangle mound just up here. Then I want it to be a tad bit darker. I'm just going to add a little bit of blue. That's a little darker than I was anticipating. I want to do just a little bit of some smart mixing to get the color that I'm hoping for. I don't want the mountains to be too much of a different color, and so maybe it would help to use scratch paper to test the difference. That looks like a pretty good, just a step, one step darker. Now I'm going to start that mountain so that it crosses over. These two mountain sides are crossing into each other and then I'm just filling it in with the gouache using a little bit of water as necessary to fill it out. Finally, I'm going to take this Prussian blue and blend it into the color I was using to make this layer the darkest layer that we have, maybe even adding a tiny bit of black to it. This mixture, this mountain mixture that I'm making is a mix of this Cyprus green and Prussian blue and some white and a little bit of black. The for this final layer, I'm going to have it be in the middle over here. Just like this small mound coming up between the two mountains. There's the line. I'm going to fill it in with paint. We have the mountains and now we are going to put together this final piece by first adding a little sun. In order to do that, I need to get some more white onto my palette. I'm going to put some white up on here. I'm actually going to make my sun a tiny bit diet almost just a tiny bit this apricot color by adding just a little dot of apricot into it. This is a size two brush and then I'm going to have my sun, just be a tiny little circle over here. I want some of some sparkles to have a ripple in the water. In order to do that, I'm first going to get my filbert brush. I'm going to use the dry brush technique. I'm taking some of this white paint and getting a lot of it off on my palette. I'm just on my palette, brushing off that paint, and then I'm going to zoom up so you can see what I'm doing really well. With my filbert brush just in the back, I'm going to spread my paint that barely has any paint on it and attempt this dry brush technique to create these sparkles in the water. I'm using the dry brush technique for the back because I want these sparkles to look like they're in the distance. I'm just very gently creating these lines of paint that look like they could be the sun reflecting on top of the water. Now that I have some of these back ones, notice how I'm only doing them in the middle of this painting, I don't want to go all the way across. I want to create more like a zigzag of sparkles across the paper. Now I'm going to move from my filbert brush to my size two brush, round brush, and actually paint in some larger sparkles right along here. Then I'm going to go along and paint these larger sparkles, gradually getting bigger as I zoom across the painting. Notice how as I did these sparkles I painted them in lines and in jagged zigzags. It created this line all the way from the back here down to the corner. Then to finish off this painting, I want the sparkles to actually look like they're glimmering in the sunlight. The way to do that is to use the dry brush technique once again. I just put a little bit more paint on my palette here, I picked up my filbert brush. I don't want too much. I still want to get that dry brush texture. But just starting where I started to make my own sparkles, I'm going to paint a little bit up and down. There's a little too much water on here, so I just bloated my paintbrush right on a towel. On a few of these sparkles, I want to give the effect that they're shining in the sun by painting these up and down strokes with a dry brush. Now, with these glimmers of sunlight, I don't want them to look super uniform. I want some of them to look like they're shining really bright and then some of them to just be barely a glimmer and that's to give the effect of that it's realistic, because light sometimes looks really bright and sometimes not, and so I don't want them to be super uniform or symmetrical. That takes the pressure off of me to make them all look perfect because they shouldn't be anyway. If they looked all completely perfect, it wouldn't be realistic. I'm just with my filbert brush painting these glimmers. There you go. We have successfully completed this painting using gouache like acrylic in its paste form to make this opaque illustration of a scene of moving ocean with sparkles gleaming right on top, leading to a mountain range in the sun beneath. That could also be the moon feasibly, I guess, but I think it works as the sun. Anyway, this was such a fun project to make. I really love this technique and I hope that you love it too. Next, let's move on to the final demonstration, the final way that you can use gouache. It's really fun. It's more about learning to reactivate the paint and make gouache the most versatile it can be. I think you're going to love it, so see you there. 9. Gouache as Oil Paint: Welcome back. You have two whole projects under your belt and we have learned some really awesome techniques to use with gouache and now I think we're coming on my favorite. In this final lesson of the class, we're going to use gouache, similar to oil paint by reworking the paints to shape how we want it to look after it's already on the paper. Let's get started. The first way that I like to use gouache, maybe to reactivate it while it's already on the paper, is if I want to add little details to a piece that maybe I forgot or that I couldn't add before. Let's say this is a nice looking blended ocean, but maybe I want to add a little bit more waves or layers or whatever, different coloring to the piece, but it's already dry. What I can do is use my paintbrush to put the colors down that I think are missing or that I think would help to make the piece a little more detailed, like maybe similar to the first project of this class. I'm just going to add a few little lines with my white paint here. But I don't want them to stick out and look just like lines because I'm using wet on dry, meaning this gouache area is already dry and I'm using the gouache to paint on top of it, I can see those crisp lines from where I laid the paint down. But what if I want that paint to be blended in? Well, I can do that because gouache can reactivate. I've put the lines of white down there and now I've washed off my paintbrush and dabbed it just a little bit on my paper towel or my towel. Then with my wet brush, I'm going to go over the lines just a little bit and blend them just barely into the water, so just by using that water to once again reactivate the gouache and gentle strokes. I am eliminating the harsh lines while still maintaining the lines themselves because I still want those lines of white, or those lines of lighter colors to stay. But I want them to look more like waves, so I want them to be blended into the ocean. I need to get rid of the harsh lines in order to do that really effectively. This is one of the ways that I can use just my paintbrush with some clean water and light strokes to blend these colors into each other after my base layer has already dried. I can also use gouache's ability to reactivate, to help make the process of creating detailed subjects a little less intimidating. If I want to make a more defined wave, for example, let's say, I really like how these waves look, but they're kind of not defined, they still look just like shifting colors and maybe I want to create a wave that has a little more shape to it, so it really looks like a detailed wave, but it's really intimidating to paint perfectly the first time. Well, gouache makes it, so you don't have to. The basic structure of a wave is the light shining on top of it, the shadow right underneath it, and then a nice gradient from the shadow on into the ocean where the wave blends into the rest of the water. If I were to try to paint all of those details and blends at once, like with watercolor, it wouldn't quite work out because I'd either get too many dried paint lines or the wet on wet technique would get to unruly. But with gouache, I can create the definition that I want and then loosen the definition by using my paintbrush with a little bit of water even after it's dry. This gouache is dried for maybe just a few minutes and now I'm using my water, my paintbrush similar to how I did up here, to just loosen the structure of the gouache, loosen the structure of the wave so that the shadow of this wave is blending down into the blue of the water. This makes it so I can once again, put down the color where I know it's suppose to go and not have to worry about whether it looks right off the back, because I know that I can use a little bit of water to reactivate the gouache and smooth out that gradient. Now, I want to smooth out the transition from this light, the light part of the wave to the dark part. This is where it takes a little more finesse just because if you're going from light to dark, you need to stay from light to dark, otherwise, like if I were to start in the dark and move up into the light area, the dark blue would probably overtake the white. I want to be careful of that and just use my brush. It doesn't have too much water on it. It just has a little bit of water on it and blend from the white down into the dark. Then once I have that blend from light to dark, then I can continue to blend the wave into the water from there and smooth it out because remember, even if this blending right now doesn't look very pretty, it looks pretty haphazard and you might be thinking, oh, but it looks worse. I've gotten that comment before, ''You're making it look worse.'' Sometimes with gouache and using the reactivating powers, it needs to look worse before it looks better. Right now, I'm really just trying to blend the white down so it's not quite such a harsh line between the light and the dark. Now, that I've done most of the work of getting rid of that line, I'm going to take my brush, a clean brush. Once again, I'm going back and forth and back and forth, cleaning off my paintbrush in between and just smoothing out these blends just like that. Then if I want one last final smooth between the top of this white area and the rest of the wave, then I can go on top too. Because I am only slightly reactivating it, the gouache is still mostly keeping its shape, which is, I think its benefit over using watercolor for these specific pieces, especially for waves, is I can have a little bit more control over the paint and keep the shape of the wave and control how much blending I want to have happen, and that about wraps it up. Just to recap, we talked about reactivating gouache, just to add a few minor details on top of an already dry area by using a clean brush and a little bit of water to paint on top of the gouache. Then we talked about reactivating gouache by putting down the colors in the general direction, the general area where they're suppose to go. Then using your clean brush to blend them together from light to dark to help create those details while keeping the shape of your intended subject like a wave. Now, let's practice both of these methods along with other techniques that we've used with gouache to paint our final project. 10. Project: Crashing Wave: Here we go. It's the final project of my captivating gouache seascapes class and I am so excited to paint this one with you because let me let you in on a little secret. This one's my favorite. I am really excited, especially because this project looks really hard. But with the techniques that you have practiced, I really think that you can nail it. Let's take a look at what we're going to paint. In this project, we are going to paint the sunlight reflecting off of this spiraling ocean wave. As you can see, it's a little more complex than some of the projects that we've already done for this class. But I hope that you can also see how to incorporate the techniques that we've already learned and don't worry if you don't see it just yet, keep on watching because we're going to paint this bad boy right now. First, I'm just going to sketch out the basic shape of what I'm trying to draw. Basically, we're going to start with the wave and I'm starting just down on my page down here, where the water's going to smooth out, and then maybe you're going to have it be a little bit up higher just like that. Then I'm just going to draw a circle round, the round part of the wave. It's okay if I have multiple pencil marks because the gouache is going to cover it up once we start painting. Then I'm just going to have the wave start to crash right here. This is like a spiral shape for a wave and then the wave is going to bleed into the other side of the page. I'm going to finish off this wave shape just like this and then behind the wave, I'm going to draw just a little mountain like that and then about right here, off-center, I don't think I want it right in the middle of the wave. I want a little bit off-center just to have that slightly more realistic look. This is where I'm going to have the sun, but I'm not going to draw anything just now. I just want to remember that as I continue this project. Now that we have this sketch, the first step is to paint the sky and the sun, and the mountain. This is the background and we want the wave because the wave is in the foreground. We want the wave to obviously be in front of the sky and the mountain and to help put that depth into it. The wave is probably going to have some flecks of foam or water intruding into this space as well, so it's important to get this down first. In order to capture the sky, I'm actually going to use my gouache like watercolor as we practiced all the way back in lesson 1 and I'm going to use the wet on wet technique. I'm just getting the sky and maybe a tiny bit of the wave it's okay if the sky bleeds a little bit into the wave because once again, once we use gouache the paste consistency gouache to cover it up. Then we won't be able to see if there are any dried paint lines over there, so I'm just getting the sky wet and starting with a nice sky blue. This is turquoise blue mixed with a little bit of white. Arteza also has a really light blue called ice blue that would work and I'm just going to in a circle, paint the sky like this. I'm going to have the sun be about right here. I don't want the blue to go everywhere just yet just a little bit around the edges. It's also okay if this blue goes into the mountain because we're going to paint the mountain a slightly darker color and it will cover up this light blue just fine. While the sky is still wet, then I want to take some yellow color and I have this pale yellow gouache by Arteza that I'm going to use for the rays of the sun and for the color of the sun reflecting off of the ocean, which we're going to paint on that wave throughout this lesson. I'm just going to pick up some of this pale yellow gouache and I wanted my sun to be about right here. Wherever the sun is placed, I want you to paint a circle of yellow around it. Let me zoom in so you can get a better look at that. The thing about light is wherever it's light is actually going to be the widest and for that reason, the yellow is that we're using isn't going to be the yellow of the sun, it is, but it's really going to be the sun's rays. We want to leave a white circle where the sun actually is and then just paint this yellow around. I'm doing these circular motions here to get the yellow of the sun's rays to bleed into the blue of the sky. We have this yellow and we can see that the sun is shining into the sky just like that. Now starting from the middle of the sun here, I'm going to take some gouache, I've added a tiny bit of water to my brush so that the gouache isn't going to be super dry but I don't want it to be too wet either. Because I want to create just some sun rays coming out from the sun with this white gouache. I'm going to start in the middle and do a sunray down here and up top. So we did a line just like that, going from the middle and then peeking out into the sky and I'm going to do the same over here like making a cross from the sun, I guess and I do want that sunray to fade into the sky, and into the wave. It's okay if it goes into the wave, bleeds into a different color. I'm using the white and both the white and the yellow to help the sun, the sun's rays peek out from this white spot that we have. This is also going to help us when we start painting our wave because where the lines where the sun's rays are is where we're going to focus on. Eventually, it's going to be like the final step where we're going to focus on the little bits of yellow reflecting off of the wave. Now I'm going to take a little bit more of that white and create the center of my sun and don't worry, this looks super clunky, but we're going to smooth it out like we count with gouache. So I washed off my paintbrush, I just have water and now I'm just going to blend in this paint and blend in the sun rays with a little bit of water. The main shape of the rays is going to stay intact. But by using my brush with a little bit of water and just smoothing over the color, it's just smoothing out the colors so that it doesn't look quite so much like lines and instead looks more like this subtle glow that's bursting into the sky. We have this first layer, the sky with the sun and now let's just paint this mountain right underneath it. At least maintain some of these sun rays we might have to repaint them afterward and that's okay. I'm just getting the mountain wet a little bit in the hopes of retaining some of those sun rays that we already have and then I'm going to take like a grayish-blue. I want this mountain to almost be like a silhouette in the distance. I want some gray to it definitely, but I don't want it to be super black. All right. It looks like this has dried enough for me to keep going with the sun rays. Right where I might even start in the middle and then unsmooth this out after because you can do that with gouache. If I start in the middle of where the sun is and then just continue doing exactly what I did before, just painting the sun rays with the pale yellow and the white and to help bring these rays just on top of the mountain. I'm just going to start right off with the paste. But it doesn't have to be quite as pasty as the second project that we did, I am using a bit of water, but I am making sure to not use too much water because I don't want it to really be watercolor, I still want this opaque texture and the reason for that is when you use gouache when it's very thin, so it's really dispersed with water. It is a bit harder to reactivate sometimes. But if you leave it dry too thick, it's also harder to reactivate. Because we're trying to practices this reactivating technique, I am using the paste, but I'm also diluting it a little bit with water and putting down this turquoise color just in this wave shape. But I'm not worried too much about smoothing it out immediately because I know that we're going to be doing that later on. Now I'm going to pick up some like blue-green and as I'm painting, I don't have to just paint with the turquoise, in fact, with this base layer, I'm going to go back and forth between painting with turquoise, painting with this sea green color, maybe even some Prussian blue and then just blending the colors together as I'm painting all the while trying to maintain this basic wave shape. I'm also going to pick up some of this ice blue over here. The wave that is closest to the sun, remember, should be lighter. Similar to the mountain that we painted. So with this ice blue and maybe even some white, I can get some white and just kind of blend it in here. This part of the wave that's closer to the sun, I'm going to make just a little bit lighter or at least for this base layer, put down that light paint so it's easier to blend once I start blending more and more. So we have this base layer of the ocean done, of this wave done, but we're not quite done blending things yet. So if your gouache is really matte, which means like it doesn't have the shin anymore, so it looks like it's dried, you can get a tiny bit of water and rewet some of the places because we do want to start blending in some more give a little bit more shape and definition to the wave. I'm going to do that by while this gouache is still kind of wet, take some of the paste and just make these squiggles with white and then dark right behind the white in order to give a little bit of shadow and definition to the water. This is going to help the water look like it's moving. So like some of the water is coming off of the wave and don't worry, we're not going to leave it like this, we're going to blend this in and actually, much of the work that we're going to do on the wave is going to be a back and forth between adding more definition and more paint and then blending it in and so on and so forth until we get the depth and texture that look just really cool. So one thing to note as we're doing this though is, once again, I'm not really in the business of creating something to look exactly perfect. I think that it takes so much talent to be a realistic painter and I also think that it's okay if you would rather just go for this loose interpretation, which is what I'm doing here. So just keep that in mind. I am also going to just take some colors and in addition to these lines, I'm also going to keep blending the way that we learned with acrylic just by taking these really wet paint and just painting back and forth with the different colors to help them blend together and to create some cool stripes and textures and blends without having to do much work. So it's going to be a back and forth of that, still maintaining this wave shape. So you can do some of that and then once these have gotten to dry a little bit, I'm going to switch brushes and wash off this filbert brush first. I'm going to switch brushes and get a smaller filbert brush and then just blend in this white into the ocean first. So I'm going to go through all of the white ones and just blend them into where they are pretty carefully. Some of the white it might start to look light blue and that's okay. Also another thing to note here is, as I'm putting these details on the waves, I don't really want them to be like perfect half circles. I want them to have some ridges, I want them to have some imperfections, because those imperfections are what will help make this trick the eye into looking at least a little bit realistic. We don't want perfect circles because perfect circles don't really happen in nature. I want them to have maybe some scalloped edges, some roughness to them and so even if we get some dried paint lines here, that's okay. Then I'm going to wash off my brush and just blend in the white and the blue together with some clean water. So I still want to maintain the basic shape of the lines that I painted, but in order to blend them into the water just a little bit more, I'm using this filbert brush right on top of it and just doing a brush of water to encourage the paint to blend a little bit inward. So this technique allows us to put these paint colors into shape and give us the shape that we're really looking for, the highlights and the shadows without creating really harsh dried paint lines. Basically I'm just going to continue that process. So to finish this layer, I am going to keep adding highlights and then a darker color behind the highlight. The trick to that order is wherever the sun is facing, because the sun is shining through the wave this way, the highlights are going to be on this side where the white is going to be and then immediately behind the highlights should be a darker color. So it looks like the light is reflecting off of the water and then creating a shadow behind it and that is what is going to give us the definition that we're looking for. This looks pretty good for the basic shape of the wave. We might add on a few more of these highlight and shadow combinations to blend in a little bit later. But now I'm going to focus on the light of the sun and the color of the sun. So it's like a sunrise or a sunset right on the water. I'm taking some pale yellow and using the general raise as a guide. I'm going to just paint some layers of these horizontal-ished curves in the general shape of the wave with this pale yellow. I'm just going in a curve around the wave, dropping some of this color. So I put this pale yellow just all through the wave, in these wave random strokes. I wanted the light to look like it's reflecting back and forth on top of the wave and in the spiral. Now, just to make these yellow strokes look not quite so choppy, I'm going to use that same blending technique that we practiced before. So I'm going to take just a tiny bit of water and just blend right on top just to make them look not quite so choppy. Doing this might make the yellow look not quite as bright and if that's the case, then we can always go back and add more yellow and do this again. So I think at some point you can go back and go back and forth and back and forth and do that all day and even add more definition to the waves. If you want, add some more dark spots for shadows but I think this looks pretty good for the general wave. Now, we're going to finish off the wave by adding a little bit of definition to the spiral over here. So we're trying to make it look like the wave is falling and there's going to be some foam in lots of different bursts just on top, and so in order to finish that off, I'm going to put a little bit more white paint onto my palette. I use a lot of white paint, pretty much always so that's why I like to buy white in this big tube of it. So I'm going to take a little bit of white paint and first use it to sketch basically where I want this curve to be. Over here is where the water is starting to fall on top of the wave, just right here. I'm going to finish off that sketch and then just use my filbert brush on the side. So instead of using the top of the filbert brush, I'm using the flat side of it to add just like little bits of foam all along the side here. So just underneath the outline of the foam, right where it's on the wave, I'm going to put this little outline of blue just around these little pieces of foam and this is like a darker Prussian blue. I'm not using it in the paste form. I'm using it like watercolor, just so it's a little easier to maneuver and then once I have it down, I'm going to completely wash off my brush and I might even pick up my filbert brush again. I was using the round, but I'm going to pick up my filbert brush and just gently blend that blue down. So a lot of the shadow has disappeared, but that's okay. We just want the space on just underneath the wave to look a little bit shadowed, just to give it that extra depth and there you go. Here is the final project, the last project in this class where we used, honestly all of the techniques that we practiced really, but we most wanted to practice reactivating wash to help encourage it to blend and keep its shape while keeping these really fun and smooth and complex textures with this light dancing on top of the ocean with a crashing wave and the sun peeking behind it. This is just such a fun piece with some really complex techniques and you should be so proud of yourself for finishing it with me. So let's move right along to the final video of this class where we are going to wrap up and say thanks. 11. The Wrap-Up: Well, you did it. You completed this class. Deep breath in and out, I am so proud of you. The techniques that we practiced in this class were not easy. In fact, if you had to maybe do some of your projects a few times before you got to a result that you really liked, you are not alone. I had to do that too. All of the projects that I filmed for you and designed for this class specifically, I had multiple drafts and multiple takes. That's because art isn't about getting something right the first time and then putting it on a shelf and never thinking about it again. Arts and creativity are about leaning into the process, and growing as a person, and feeling the experience of what it's like to really create something new and watch as your mind and your imagination grow along the way. I hope that you really are delving into the experience and you don't get too discouraged if your results didn't turn out quite like mine. The only thing to do is to practice, and to try again, and to really figure out what it is about you and your art that will make your practicing even more special. Thank you so much for joining me for this class. It really was a pleasure to have you. If you want to support this class and me as a teacher, please leave me a review that is the best way for other people to find my class on Skillshare, and it's also one of the best ways for me to know how well I did, to see if there are any ways I can improve, and tips and techniques that really worked for you so that I can make my next class even better. Another way for you to maybe get direct feedback from me and other students in the class is to post any of your projects or all of them to the project gallery. I highly encourage you to join that community so that you can see what everybody else is doing, and I tend to drop a line whenever you post a project and tell you what I think about it. If you had any lingering questions, you can also use that Discussions tab on the Skillshare platform; drop a question there. I usually check Skillshare pretty often, and so I'm happy to answer any lingering questions that you have about this class or about gouache or just anything that crosses your mind that you think I might know the answer to. Finally, if you decide you really want to share your work with the world, feel free to post on Instagram, man, and just make sure to tag me. My handle is thiswritingdesk. I would love to see what you've done. If you post your work, and you tag me, and you tell everybody about this class, there's a very good chance that I will share your work in my Instagram stories. I love my Skillshare students, and honestly, I really just want to see how you did. I want to see what you've done and all of the amazing work that you've practiced and worked so hard to achieve. For the last time, thank you so much for joining me. I am going to be busy working on my next class, and I will see you next time.