Creative Projects in Acrylic & Gouache | Silvia Njoki | Skillshare

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Creative Projects in Acrylic & Gouache

teacher avatar Silvia Njoki, Self trained artist

Watch this class and thousands more

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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 5m)
    • 1. Introduction

    • 2. Your Class project

    • 3. Lively Abstract painting

    • 4. Mystic Abstract Painting | Materials

    • 5. Mystic Abstract Painting | Accents

    • 6. Painting Using Tape | Materials

    • 7. Painting Using Tape | Highlights

    • 8. Landscape Painting | Materials

    • 9. Landscape Painting | Background

    • 10. Landscape Painting | Foreground

    • 11. Final Thoughts

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About This Class


Learn how to paint different paintings in this project. In the class, we'll explore how to paint a four different paintings, starting from the easiest.  Taught by Silvia Njoki, an artist and exploratory existentialist.

We will be using a combination of gouache and acrylic paint for this project because these have higher viscosity and flow easily over paintings. Due to their color, they prevent underlying paint from peaking through. Thus, they are ideal for layering. 

Students can choose to work with either options. 

We'll create four paintings in the class:

  • Abstract Paintings

The class is welcome for everyone who is interested in learning to paint. It adopts easy painting techniques and works well for a new individual. 


  • Abstract Painting 2

This painting adopts a different method of creating abstract act through using mixed mediums (gold colors). It is also suitable for new students to painting and easy to implement.



  • Painting 3

This painting adopts a different method of creating abstract act through using tape. It is also suitable for new students to painting and easy to implement. 


  • Painting 4

Landscape painting. It requires students to learn how to blend colors and create transitions in the painting project. It is ideal to work on as the last project, as it will require some more work. 


I hope you will discover how to create personal art projects and have an opportunity to develop your skills in landscape art. 

You will be in a position to curate masterpieces. 

Meet Your Teacher

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Silvia Njoki

Self trained artist


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1. Introduction: Hello everyone. My name is still in Turkey and RVU instructed throughout this course, painting exercises or painting for me is something that gives me a lot of freedom of expression and provides me with an opportunity to test out my artistic capability and also Fink, feeling free enough to actually understand whether I leg sat in mediums or would you prefer to move into different ones? In this class, we'll be going through doing four different PT, which we can do for any person or any person. We suddenly a bit of an experience or even with none, can set off on some of these painting. Because they move on from an element of somebody who's stacking on with painting. A portion of the WACC which needs a little bit of experience, but I'll guide you through each step. I want you to join this class if you feel like you are interested in learning how to paint different forms of variety, including abstract in landscape art pieces. Or if you're just interested in having a little bit of creative freedom, are going to be going through for creative exercises for you to do, which will provide you with a lot of opportunity for you to develop your artistic capabilities. And even if you're not an artist yet, it made provide you with an opportunity to just relax because painting is a very massive process in a very involving process. And I'm starting that you'll be fully engaged. 3. Lively Abstract painting : So for this fast, but we're going to go into a little bit of light painting. This is ideal for anyone who's just starting off on the painting exercises. So we're going to be needing white and I'll also need some red. So for this I'm going to be using some cadmium red because I went to make some pink color. And we'll have a little bit of yellow just in case we need that. And I have a thing. I'll use the golden pots of the metallic set of the paintings. If you don't have this golden color, it could also choose to use a golden pen. Walk the same. So let's just go ahead and start column mixing for that case. 4. Mystic Abstract Painting | Materials : Okay, so now we're going to be going on into ice. Second piece of painting. For this one, we're still going to be using some white and blue. We're going to also need the gold pilot, a little bit of controller. And we're going to also just use the cup for this. You can use whatever you have. Just draw out a cell called in the middle and then we'll be ready to go. Yeah. So just make sure you get your supplies. I'm still using the same rash, the same water, and there's not really much of a difference. The only thing is that the lacking with ultramarine blue and white and a little bit of cold gas so we can get, so for the first part, as I mentioned to you, is that I'm going to be drawing out a circle in the middle. For this, I need just a small circle. And I'm going to be using some some saccular things I have here to just draw the circle in the middle. I'm using a normal pencil. To just draw it out. It should generally be because this is still on a little bit of loose painting. The main focus for you is just to have a point where you'll add a lot of gold color, we'll just see it as it progresses. Yeah. So I'm going to start off with some ultramarine blue on my kind of this paper starting off from the edge. Remember to always mix it up with some water on your brush. Just add some water into your brush and then go ahead and add on the paint into the paper. If you feel some points are a little bit darker than the others, you can always just add in more water into those areas because you're working with acrylic paint, it should be easy for you to blend in and make sure the whole painting is accurately to retail with the color. Submit, just make sure also to, to leave out the Sappho painted in the middle. I'm going to just continue on if this loose movement across the whole painting. Now I've moved on to a better brush. I felt that I could change the pressure that if it remember to always just deep a little bit of the brush into the water. So for this part of the painting, because I'm mainly using acrylic paint, using a bit of a thicker paper, so it's a bit more textured and is ideal for painting situations. We choose the competency, for instance, oil pins or acrylic paint. But you could also just use watercolor paper. If you're working with gouache spins or other pins, I would ideally suggest something about maybe 160 GSM would be worked best. Remember to add in a bit more pins day for me, on this left side, each was a bit lighter than the other side. What you're listening for is too much even in that, but some good flow, some good, some medium 0 concentration. I've repeated the same thing on the right side of the painting. Because I could do that. Just depends on what you feel like doing or if you feel that they're white or the white of the paper is really a peering through. You can always add a little bit more color. So now what we're going to do is just let it sit back and wait until it. 5. Mystic Abstract Painting | Accents : Okay, so now that the painting is dry, we are going to be adding on a little bit of colors. I'm going to be using a combination of a light pencil. I like pets even choose to use this. However, I prefer to use a very small black and some white king. Aside from that, I'm going to be using my metallic palette. I'm just going to be the ones really standing out. So for the center circle, I'm going to be using the gold color for this. So just as I had shown you before, just wet the brush a little bit, some water. And because I wet my paints before it's going to already just me light enough to spread evenly. And the main focus here is to just create a cyclic form. It's okay. Iv fluids into the blue area intrude, as I mentioned before, we're not searching for perfection here. We're just searching for progress and just having fun with the painting, which just comes through enjoying each part of VTE. So for areas which won't come off very clearly. And also Okay, we've just going over that. We are 10, which I have here. This is just my gold pen and I'm going to just color in a little bit more on the, on some of these areas to create better outline for the golden color. In areas which look a bit more white than I wanted them to be a color in with some gold gold accents. So now that we have that gold color, I'm going to act as a moon, but not necessarily a moment. I'm going to now go into creating shapes. So for the first shape, I'll go with, actually I think I'll do some outlines with my pencil. So the integral with sum square shapes, some lines and some circles just across the whole painting for, for, for, just for us to have an end result which looks very abstract deemed. So that's going to also do some styles that you can use this with a balance of black paint or black pencils, as well as some gold. I'll just even it out in some areas. I'm going to just draw in some geometric shapes or and line work because they don't necessarily any targets appearance that I'm going for. I just want to create some form of progress. Yeah. So once you feel that you have a lot of colored done in, you can go ahead and reach up. We're going to go on and use some black. I'm still going to go back to my tumble, tumble brush pen. So because it's a bit thicker, it will appear better. Remember you can use these or use a paint brush. So I'm going to show you an example of both results. A few. However, for people starting out, this might offer a better management of the hand because you're able to manage your linework with append better than you probably would with a pencil. I'm also going to add on some white accents as we move along. Remember, as I mentioned before, we're not necessarily going info any end target shape. So I'm going show you how to do that with a brush now. So we're going to go a darker color of gold. Yes, that's a plus for this goal because my light cycle is a little bit too great. I'll go over it and just make it darker. Remember, you can always make, this is actually real time OF MY paintings. So remember you can always improve on their parents based on how you feel a painting is going to, you can change things up. There's no necessarily any requirement of how the end result should appear. You could also choose to have a white circle rather than Cool. Then why? If you don't have metallic pins with you? So the good thing about this metallic paints is they're really sick or they tend to appear more clearly on the paper and leave a good lasting impression. I'm going to try to use a balance of mushing, going to try something new and use this darker color, which I haven't ever used before. This painting. So we'll see how the bronze effect just looks like, actually looks really good. So you can try that as well. And I'm going on we some box shapes and number 5 or something that appears like a five or an S. H comma seven letter H from it. Which are threatened necessarily perfect, which is just a combination of result of things. And now we're going on with our white jelly roll the pencil. And I'm going to add some white dots across the painting to just create a little bit of effect, nighttime effect for my abstract piece. And I'm still going to show you how to do this with a brush, because now the good thing about a brush is unlike a pencil, is that it's thick enough. So the Pinterest be thick enough that it won't appear transparent. So I tend to prefer actually using that as compared to using a pencil. So just make sure that the painter tape coin now is big more think. So don't mix it up with a lot of people. A lot of what SRE well, going on flood story, Timmy heard just a bit random pattern in walkway into also follow the same format with the other colors that you've used. You're going to just do something similar for the whole painting. Remember to go on even into the edges of the painting as well. So that the whole piece looks cohesive. And we're going to go now into some style sheets. After we want to try also some, a little bit different approach which is sprinkling some, some pain to that brush. So for such light, for such luck, you need such a rush which is more rough. So I'm going to go in with some white color. Front of your finger just splatter some of the paint on the paper. Thought creates more laughs staff or a smaller white points. I'm going to try that output. So with the old upset, with your brush and try out on the gold, I'm going to go with some lighter gold. And I'm still going to just do the same effect. This is going to appear lighter than the previous effect, which is white because of the closeness of the two colors. And once you're done with that, you can just wash your brush out. I think I want to add accents around when white. Remember to just hold your pen lightly so that you don't attach along the star effect. You're going for a very abstract piece here, Just some random line work. This can generally be done by everyone. So I think we're almost done with a piece. It has a good balance of it has a good balance of that golden accents as well as the white and the blue and the black. So we're going to just strip off the tape. We try to stick on the paper to the edges. And that's the end of the painting, That's the end of the second exercise. So this is how it appears in the end. It's a random piece, but everyone can do it. 8. Landscape Painting | Materials: In this fight of this painting projects, we're going to go into a little bit more complex work. This will require a little bit of color blending ingredients, and I'm going to show you exactly how you need to do that. As I mentioned before, the main thing that we need, first of all, is water in that good brush, which we'll use to blend the colors. Yeah, I have with me, cocky. I'm red. Aside from that, I'm going to be using a lot of white, will also need some black paint for the assets at a little bit of some more detail brushes for you to have a good option to select from. I prefer the ones which are easy to flow, or we will take one paint quite lightly and we'll be ready to start. To start off, you're going to just wet the whole paint paper. Remember as we did in the previous painting, or if you're just watching this class, we do this to increase the ease of blending the whole paint in the flow of the PNG. You can do this using spray bottle or for me in this scenario or anyone else, a sweat, eat enough, and then we're ready to start and the fast color. So for this painting E, We're going to start off with white. It's more of a forest at dawn or at duck. And we're going to start off with such invited see motion. So as you can see, I'm painting from here going downwards and then we're going on to add some cocky, lightly. So the main point is it should go a long while increasing. We just want this color to appear. And because it's more of a painting in the forest, they're going to be areas where I will repeat see the good thing about using acrylic paint is that it's thick enough to cover image as well. You made a mistake. You can always count on just improving how things are when you're adding on their khaki paint or the Caracalla, just make sure you add in some water to just help blend things or things that they're moving more smoothly. As we go along, I'm going to make the khaki color a bit darker. So just take on some more color. We can start off with this layout of light color or light blending and then add on mainly the color itself, which is the khaki color. That's a bit too dark. I started off with the edge and then go in blending into the white color. Still using the C motion. You don't have to take this off to the end of the painting because that's where we want to add on some red color. And then we're going to just continue this slightly by adding in some water as well as some weight to just help blend everything smoothly. If you feel that the Cauchy has gone on too much, you can add in white. When you add in white colleges through or to wash off your brush before you take on the weights column to your brush. We're doing this so that the main reason we have more of a gradient here, or we're doing a lot of blending is because we want our transition of light coming in from the sun or just light coming into the painting. I deli cheese from the signing of forest. And we want that to just come in very smoothly or lightly into the painting. And you can do that through the balance of adding some water in and adding on some of the white paint. So once we have enough green, we're going on to adding a darker red color. So for this, I'm using carmine red, cadmium red, just a bit of red, just a little bit a touch of red. So we're going to go in with some cadmium red and just blend that into the green color. Just add a little bit more as you go along. Remember to add in some water. So I'm going to do that and lend it out in the areas which I feel it's too much like, for instance here. So just taking on some water to just help blend things or make things smoother. And then once we're done, we've blending things. I'm going to go back into the tree. And she it updated transition. It's okay if that red elements go into the green or vice versa. Remember what you're going for is a good transition has this is also a good time to switch brushes into one which is dry by two of the same texture as the brush you're using that to help blend things smoothly. So once we have that done, I'm going to go on and add a little bit of black and when to use the previous block that I use because I just need a little bit that'll from the edge. So for them lab, we just need a little bit of heat and still continue with the same motion. So you can see there's a good gradient going on here. So I'm going to go back to the brush I used previously for blending purposes. And so far with that, we're done with the first five. The next part is we're going to be drawing some of the times or the trees in the background. And then once we do that, once the painting is fully dry. 9. Landscape Painting | Background: So now we're going on to the next portion of the painting. And that's to just paint the trees. So for this part, I'm going to just search for the smaller brushes that I have on hand. Select this one is a smaller brush. Hopefully this will block 2. You need something that's a bit more stable or which one to move around a lot and very small. So I have a few options. I'm going to walk around until I establish which I'm going to mainly use. You're still going to use the green color, which have quite a bit here, then I have some adrenal of water here. So I'm just going to mix that in and lightly draw a stem or a stem for the plant. While I'm drawing these have noticed I prefer to have a little bit of a bigger brush rather than the very tiny ones. So still on the smaller brushes, but one which we have better, better flu. So I'm going to switch on to that. So it's okay to just return based on what you're working with. And also just switch back. Also. Just work with what you feel is Visa. And so for here we are going on for a stem, for a tree. I'm doing it very lightly because in this portion of the painting, It's the, it's the trees which are at the back of the, of the painting. So now I'm going onto draw some loose stems that you haven't no leaves on this paintings because what I'm going for is just an impression of a tree rather than a big tree or a very detailed piece of BMD. Remember, I also want this to be a project that anyone can take forward. So because of that, I wouldn't go into a lot of detail luck. However, the brush that you have should provide some good detail of the stem so that brush branches. And if you want to go on end, paint the leaves as well, you can use, you're free to use Alpha. However, islands at the picture here for you to see. The example of why it's better to use one myth is that beat had a Bristol locked because they provide better management or flow for the painting. So I'm gonna introduce these repetitive motion. I want a couple of them in the background or just slightly appearing. Some of them are going to be very light appearance and as they go on, that going to just fade off, then you can also just go over areas where you feel need a beach mole. Ok. Also because these are at the back of the painting, you don't need to outline the back, the stem, or the back of the tree much by adding some gradients into E. So that's, I'm doing a week or longer free or a longer branch, branch right here. As we continue, you can see that it's fading off easily into the background. I'm just going to make the stem speaker because it appears a bit too thin for my liking. And when you creating branches and you want for them to appear as if they're going into the buck. Just continue on with flu, like with the flow of the painting and paint in the end of the brush branch on the other side, like behind the tree. So I'm going to do this time for a few more trees. Remember to just have the blue smoke man clues. Clues, brush, walk. So that it's easy for you to, to make the painting flow. Also, there is no requirement of how the trees should look. It should just be appealing for you. You can take on the branches up to the edge of the painting, which is at the top. Missed or you own liking or your own preference. And also just extend them to the bottom parts. If you feel that that is what you want to do. If you feel like the painting is not really doing much, just dip your brush in some little bit of water because it's a detailed brush. I don't believe you'll need to dry it too much, but if you feel you need to, go ahead and really do that, there is no right or wrong approach for this is just based on how you feel the the brushwork is going for you. So while I'm going to still do another tree at the front, That's going to be a bit darker. Limit this with green in that light color or just the light haze because you want them to appear as if that though the trees up their BAC of the, of the forest, while the ones at the front, we're going to do them with a little bit of black as we go along. Because you want them to appear as if they're on the foreground. So just one last tree at the edge of this piece, right there. And we will be done with the fast Porsche, which is of the trees. And then we can go on into our dean, the front tree, which will be just a little bit bigger. So that's what we have so far. Don't worry about the end. Going to add some new bit of grass.