Gouache Illustration: Paint a Scene From Your Favorite Movie | Madison Moore | Skillshare

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Gouache Illustration: Paint a Scene From Your Favorite Movie

teacher avatar Madison Moore, Illustrator / Writer / Maker

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

12 Lessons (53m)
    • 1. Introduction

    • 2. The Class Project

    • 3. Materials and Tools

    • 4. Gouache Overview

    • 5. Choosing Your Screencap

    • 6. Rough Sketch

    • 7. Iterative Drawing

    • 8. Final Line Art

    • 9. Painting the Background

    • 10. Painting the Foreground

    • 11. Details and Texture

    • 12. Present the Final Illustration

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About This Class

In this class, students will illustrate a screencap from their favorite movie or TV show in gouache while learning a range of illustration techniques. We'll move together from start to finish, facing the blank page, learning to stylize our sketches, and combining a variety of traditional tools. 

We'll review the supplies you need, learn to master gouache consistency, refine a rough sketch into polished line art, and bring everything together to paint characters, backgrounds, and narrative. Your final illustration will be full of texture, detail, and life!

Skills include:

  • How to use gouache and other traditional media
  • How to draw anything with a rough sketch and iterative drawing
  • How to paint large and complicated scenes
  • How to mix colors and make color choices
  • How to present your final illustration to your audience

Painting movies is a great exercise for all skill levels, and I'd love for you to join me! No matter what kind of illustration you want to be doing, practicing character, backgrounds, atmosphere, lighting, narrative, and emotion in this class will be invaluable experience. You'll be able to draw anything, use gouache, and feel good about your art-making process.

Find me online below: 

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Meet Your Teacher

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Madison Moore

Illustrator / Writer / Maker


Hi! I love making in all kinds of ways. Learn illustration, crafting, and ceramics with me! Find regular posts from me on instagram @thegirlandthelamb, or on youtube, twitter, pinterest, and my website by following the links to the left.


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1. Introduction: I love movies and TV shows. They're exciting and inspiring and they're the perfect way to practice narrative and illustration work. Over the past year, I started making my own paintings from my favorite movies and TV shows. I found this to be a really rewarding, interesting, and exciting way to practice gouache and illustration techniques. Hi, I'm Madison Moore. I'm a writer, a maker, and an illustrator. I also run an online shop under the name The Girl And The Lamb. I've been using gouache as my primary medium for about five years. But I also like to take a really mixed media approach to illustration, which means I use digital techniques, watercolor markers, colored pencils, pastels, anything all throughout my work. I have an eye for narrative in everything I'm doing and I love using bright colors. I studied Fine Arts in college, but I didn't really find my niche until I started working in illustration. I'm also a maker, which means I like to work with textiles and ceramics. I love my sketchbooks and almost all of my ideas start there. I'm also very involved in the children's book world. I have two books being published in the next couple of years, and I am also an editor. In this class, you're going to learn how to make a complete illustration from start to finish. I welcome all skill levels to join me. Whether this is your first time picking up gouache, or you're a seasoned illustrator, we'll move together step-by-step while exploring why movie scenes are the perfect subjects for practice. We'll cover an overview of gouache, how to face the blank page and draw a rough sketch, how to refine your rough sketch, and finally, how to bring everything together into one final illustration. The class project will be creating that final illustration, but I also really valued process. I'm going to encourage you to post photos of your work at different stages, and we'll get into that a little bit more later. One of the best parts about this project is that you can repeat it as many times as you want, but there's many movies as you want and it's always going to be amazing practice. You'll be working on atmosphere, lighting, character, emotions, relationships, backgrounds, things that're all highly transferable no matter what illustration you want to be doing in the future. People will connect with your work if they already have a connection to the movie that you're painting from. I painted a scene from Judas and the Black Messiah, and the film's lead actress saw the painting, messaged me on Instagram and I even got to send her a print. It was such an exciting way to know that people were connecting with my work. I've had similarly excitable responses from other people who enjoyed the films that I've painted. A big part of making art is making choices. You get to decide every single little detail in your illustration. This is part of the magic of making art, but it can also be really overwhelming. In this class I'm going to do my best to move things step-by-step, piece-by-piece, so that you can easily follow along and get all the way to that final full bleep painting without any frustration, and I know that you're going to love that final piece. I'm so glad you're here. Thanks for joining me and let's get started. 2. The Class Project: I'm really excited to introduce our project for this class. You're going to be making an illustration based on a movie screen cap that you select yourself. But I want to mention that process is super important to me. In order to be successful in this class, you should value each step, each lesson as much as you value that final project. To encourage this, our project has a few different steps that you should follow before we get to that final piece. First of all, you can post your final screen cap after we select it together. That's like the actual image from the movie or the TV show, in order to just show people where you're starting and what you're working from. Then your first official project step is going to be to post your rough sketch after lesson number 6. Posting a rough sketch is just a great starting point and it encourages other people to work past their fear of the blank page, which we'll talk about later. It also gives you of just a basis to show how far you get from your rough sketch to your line drawing, to your final illustration. Related to that, your second part of your project is going to be to post your final line drawing, which is going to come after lesson 8. That's going to be after we've worked on our rough sketch until it's exactly how we want to represent the scene, and you're going to post that line drawing to really show your progress and to show your before picture, before we add any color. Finally, you're going to post that final full bleed illustration that you're going to be so proud of and I'm so excited to see. As you follow on each lesson, it's going to be really clear when you need to post your projects steps, and I am so excited to go through this journey with you. Thanks for being here and let's get started. 3. Materials and Tools: Hi, Let's start talking about materials. As you know, this class is going to focus on gouache, but one of the great parts of this project is that I can be done in any material even digitally. I'm going to show you how I like to work, but I encourage you to use whatever tools you prefer when doing this project. First let's talk about paper. You're going to need some sketch paper that you don't feel any pressure to use something that's really low key just for our basic sketches. I'm going to be using my sketchbook, which has 65-pound white paper, but you can even use printer paper for this stage. Then you're going to need some watercolor paper. I like using Arches hot press watercolor paper. I think watercolor paper is better than mixed media paper for gouache, but mixed media paper also definitely works. I like hot press paper because it just has a little bit less texture, which I prefer. Then you're going to need some tracing paper for our sketch process and a light box. Tracing paper is really widely available. If you don't have a light box, you can even use something just like a bright window, but we're going to need things that you can lay on top of each other, and these two tools are what I found to be best. You can also use Procreate if you like to work digitally. I also then use one little washi tape because I like to tape the edges of my painting when I start painting. But that's obviously not a requirement. It's just something I like to do to keep the painting a little bit neater. Then when we get into the actual painting, you're going to need gouache. I like using both acrylic gouache and traditional gouache. Acrylic gouache will not re-wet after it's dried where traditional gouache will. They also just have a slightly different look when they've dried and we'll talk about that a bit more in the next lesson. My preferred brand is Holbein. I use it for both acrylic and traditional gouache. I just think it's really great, but it's also a really expensive brand. There's no need to use that if this is your first time using gouache or if you are just trying to do or practice painting. When I'm painting in my sketchbook, I usually use Arteza gouache, which is a great, price-friendly beginner brand and it really works great and there is a large variety of colors. That's where I would start if you're a beginner and you'll see me using that a little bit too when we get into the next lesson. Then you're going to need paint brushes. I like using just individually-picked paint brushes that I've gathered over the years no special brand, but I use a few different round detail brushes and then some angled and round shaders. I also have one larger watercolor brush that I like using for washes but really any kind of brush or any brush that you're comfortable using is going to work fine. There's nothing specific needed there. Finally, you're going to need just a jar of water. I actually use two jars because I like to keep one of the jars of water a little bit clearer to continue using in the gouache. You're also going to need a paper towel or something to wipe your brush on and a palette. I like using a palette that doesn't have any divisions because I prefer just mixing all the colors together. It allows me to get a more harmonious color palette within one painting. I also prefer using ceramic palettes, but the one I'm going to use today is plastic and that's totally fine. Just something to mix your paint in. Finally, I like to use a bunch of different traditional materials on top of my gouache at the end just for texture and detail. Primarily that's colored pencils. I use mostly Prismacolor, and I also have a couple of very thin prismacolors which have slightly harder lead and are really good for details on faces and stuff like that. I also have a couple Luminance colored pencils they are a bit more expensive so I only have a few colors, but they have a really nice texture and they can be used in a variety of ways. Finally, I have some Caran d'Ache water-soluble wax crayons. These are really great to use on top of literally any material because they just sit on top of everything and they can be used dry or they can be used wet. They just have a really unique texture in both ways. I love using it and I think it's just a great little supplemental thing to add at the end. Obviously none of those last things are required, but you're going to see me using them and I think they add something really special to my work at the end. That's everything you're going to need. Go ahead and gather your supplies and let's start talking about gouache. 4. Gouache Overview: Now that we've gathered our materials, we're going to start talking about gouache. Gouache is my favorite medium to paint in and we're just going to discuss some fundamentals, things I've learned and give it a basic overview. I like to think of gouache as something that's a little bit in between acrylic paint and water color paint. It's water-soluble, meaning you can add water to it to change its consistency. Consistency is something that we're going to review really closely because I think it's the key to figuring out how to use gouache, and using it in a way that you like and that suits you. Basically you can continue adding water to gouache. The more you add, the more transparent and thin it will be, and it'll act a little bit more like a watercolor. Or you can use a straight out of the tube and it'll be thicker and more opaque and maybe resemble a little bit more like an acrylic, but it dries very matte and I appreciate that. Like I mentioned, traditional gouache after it dries, you can add water to it again and continue using it. If you dry traditional gouache on a palette, you add water and you can continue using it no problem, which is great because then you don't have to waste any paint. But it's also something a little bit to be aware of because, if you put it on your painting and then you go back in with a wet brush, and another color or just a wet brush in general, you'll start picking up that color again off the page. Acrylic gouache when you put it down and when it dries, it does not reactivate, so you can't add water to it to make it work again. Whatever dries on your palette, it's gone, you can't use it anymore. But anything that you put down on the page will be permanent which is nice, especially I think when you're working with really dark colors. Those are the two main differences. They also dry a little bit different. They look a little bit different, they behave a little bit different, but the main difference is just how they react to water. Hello, this is VoiceOver Madison at the desk here to actually start using gouache. We have these three varieties that we talked about. The whole Bain acrylic, the whole Bain traditional, and the Arteza traditional, and I'm going to go through and use each one. They're all similar colors so that we can easily compare them, and we're going to talk a lot about consistency and water and everything like that. Straight out of the tube, acrylic gouache is a little bit thinner than the other two which you'll notice, but basically I'm going to start straight out of the tube, lay a swatch down and then I'm going to slowly add more water so that we can see how different the paint can be used with just the addition of water. For the first swatch like I said, that was straight out of the tube. This second swatch, I dipped my brush one time into the water. Just a quick dip which allowed a few drops to mix in with the paint and then I lay down a second swatch. Again, I dip the brush, lay down the third swatch and so on and so forth. I'm only adding a small brush worth of water each time, which is just a few drops, it's not a lot and then for the final swatch, I'm adding in as much water as I can without losing the color, so it's as thin as absolutely possible. I didn't even dip it back into the paint on the palette and then I'm going to clear my brush and do it again with the other two brands. I prefer to use the gouache at about that second consistency. Only after I've dipped the brush one time into the water. This is not an absolute. Depending on what I'm painting, I will use different consistencies. For example, sometimes I like to start with a gouache which means I'll use a really thin layer of one color just so that I'm painting from a color instead of painting from the white paper, or sometimes if I need something to feel completely opaque, I will use the paint straight out of the tube. But my preferred opacity and my preferred texture comes with just that one dip into the water. Obviously, you'll have to mess around with this proportion depending on how much paint you are using. I think that the one dip works well with just a small dollop of paint, but if you're painting a larger area and you need lots of one color, you'll obviously have to use a little bit more water to get to that same consistency. You can already tell that the acrylic gouache has a bit more of a matte look even than the traditional gouache which is why I like it, but all three have a similar matte tone and they all react the same way to water while they're wet. You'll see here that I can add the same amount of water to all three brands and I'm getting the same texture and the same opacity. As you can see here, the paints are still wet and you can see just how beautiful the variety is that you can get from gouache. Then when it's dry, you can see how matte it is and you can start to see some of the difference between traditional and acrylic wash, especially that traditional wash is a lot thicker out of the tube. Finally at the end of this lesson, now that we have the dried swatches at different consistencies, I just want to show you some of the experimenting that you can do with layering and with different materials. Because gouache is opaque when it comes out of the tube, you can put it on top of anything and it will still show up. You can put it on top of wet gouache, you can put it on top of dry gouache, you can mix together on the page, and there's just so much you can do. For example, here, I put much thicker gouache over some of the thinner gouache at the bottom and now I'm going to add colored pencil. Colored pencil goes over top of any consistency of gouache. If it is a thicker consistency, sometimes the lead might dig into the paint, so that's something to be wary of, but it works super, super well together. I think if you're planning to use colored pencils or any other of the extra supplies that I talked about, it would really be worth it for you too make a swatch chart like this and do a little bit of experimenting with the materials together before you got to that final illustration. Just because knowing how your medium works to the best of your ability is going to just pay off when it's time to put everything together. Again, I think these wax pastels do well with gouache because you can get them wet and get them mixing with the gouache, because the traditional gouache will reawaken when I start adding water to the wax pastels, it's also going to add water to the gouache and maybe some of that blue and that pink will mix together. Then on the other hand, over on the acrylic side, that's just going to stay exactly how I put it down, which might be what you're looking for it depending on what you are painting. Now we can get a little bit of a closer look at this and just see how beautifully these materials can all blend together. I hope this was a helpful overview and it's time to pick our screen cap. 5. Choosing Your Screencap: Now, it's time to select a movie or TV show to illustrate from. This is one of the most exciting parts because there are so many options that you can choose. But you might want to consider a few things like your passion. You want to choose something that you liked watching so that you enjoy painting from it. Maybe you just have loved this movie forever, maybe it's your favorite, or maybe you just really loved the character design or the set design, something like that, those are all great reasons to choose a film. You also want to consider the genre and the tone of the film. If you're choosing something scary or dramatic, you're probably going to be using darker or moodier colors as opposed to something that's a romance or a comedy. Make sure you have in mind what tone you want your painting to have and you choose a movie accordingly. It's also very possible to do animation or live action. It's a little bit of a different experience, but both are great and I've done both. That's something that you can also keep in mind a little bit. I've decided that I'm going to paint from Wes Anderson's Moonrise Kingdom. It's a movie I've loved since high-school. It's really fun. I've already done one screen cap from the film and I've been excited to do another. I want to talk a little bit about intention and also skill levels. Now that you have a movie, you need to think a little bit more about what scene, what actual individual screen cap you want to be painting. If it's a movie you know really well, maybe you are already picturing the scene. But really, what I like to do and how I like to choose is based on what I want to do that day. If I'm doing this painting to practice, then I'm going to be choosing something different than if I'm doing this painting to fill out my portfolio. Whatever your reason is for making this painting, make that a consideration as we start to select the screen cap. You'll also want to think about your skill level. If this is your first time using gouache, you might not want to pick the most complicated scene that has 10 characters, it's in a complicated background, etc. You might just want to choose something that has one main focal point and that's a little bit simpler. Related, if you really want to work on emotion, then maybe you're going to pick something that's a close up of one or two character's faces. But if you want to work on environment, maybe you'll pick a wide shot that has a lot of background. Really, you can just tailor this to whatever your intention is and you just need to take a moment now to set that. Thinking about my intentions here, I want to paint something that's going to be visually eye-catching and exciting in order to draw people into this class. I also want to pick something that it's depicts relationships. I want it to show more than one character is interacting together so that I can practice that visual language on someone's face. I also want to pick something that's going to have a lot of detail because attention to detail is something that I have been working on a lot in my practice. Those are my intentions right now and we're going to move over to the computer, and I'm going to show you how you can find a screen cap as well as selecting my own. I do also want to mention that if your goal for this exercise is to push your boundaries, then I totally encourage you to pick a more complicated screen cap. I just want you to take a moment and make sure that you know what your goals and intentions are so that you are happy and satisfied with your end project. Finding a screen cap might take some time, but it's fairly straightforward. On one hand, if you have access to the film that you chose, you can re-watch it and look for possible candidates, which means pausing and taking screenshots for your reference. All or most films have all of their frames posted online. I'm just going to search for it. Then using a photo hosting site, I'm going to wade through frames to find what I want to use. Some of these sites just have highlights, some of the movies best frames, and some of them have every frame from the entire movie. It helps and it's most efficient if you have a fairly good sense of how the movie progresses so that you can skip ahead to the part that you're thinking of. But if you forget the movie or you want to consider all of your options, you can go through the scenes frame-by-frame, just whatever you have time for it and whatever you prefer to do. This is the screen cap I picked. I had this scene in mind because it comes after the climax of the film. I think it has a majestic and triumphant air to it that I'd like to try to capture in my painting. I think it's also just going to be a lot of fun to work on. Feel free to post the screen cap that you chose onto the projects board if you'd like, just to kick that off. Now we're going to start talking about our rough sketch. 6. Rough Sketch: We are officially going to be starting our illustration now with a rough sketch. Sometimes this can be the scariest part. You are facing a blank page. You are not sure how the drawing is going to turn out. You might be nervous. I use a sketching process that allows me to get rid of all of that fear and all of that anxiety. I think sometimes we put pressure on ourselves to make things perfect the first time and that's totally unnecessary. With the sketching process we're going to use today, you're going to be able to make multiple versions or iterations of your sketch until it's exactly like you want it to be by making small improvements each time instead of expecting yourself to get it right and be perfect right away. The way to start this is just with a rough sketch. I sometimes call this an ugly sketch. Basically, all you have to do is put in some shapes. Just put some marks on the page that indicate what your screen cap looks like. It doesn't have to have any faces, it doesn't have to have any details, it can be just the roughest geometric shapes if you'd like. If you're feeling really nervous, I just recommend going as loose as possible. Because I've done a few screencaps before, I think I'm going to flush out a little bit more in my rough sketch, but it's still just going to be so basic. It's just going to be getting marks down on the page. We're going to move over to the table and start that. I am drawing my sketch in my sketchbook like we talked about in the material section. You can see here the screencap that I picked. I'm going to be looking at it the whole time. I want to do a few things that are going to encourage me just to keep it rough. For one, I'm drawing with a really tiny pencil. This is a strange little quirky thing that I do sometimes, but if I have a small pencil, I just don't have as much control over how each line looks, and it encourages me just to be quick and fast and loose, which is what I want for this sketch. You can see, I like to start with a little bit of the background. That's how I always work. I paint from the back forward, I draw from the back forward and so that's where I started. That's where you'll see me start later when we're painting. Then I'm going to try to just include the basic shapes of every figure. This is a complicated scene. We have a background, we have people in the middle ground and then we have the two people in the foreground. Something that's going to be important here is scale and making sure that there is a clear definition between each person. Really I just want to start with those bodies because that's what's going to be the most complicated part. I'm not making any evaluations about whether I'm doing a good job or a bad job or if I'm getting it right or getting it wrong, I'm just putting every single shape into the frame that I see. I feel really good about this loose sketch. It has a lot of character, it is a perfect starting point, and I only took about 10 minutes to do it and I didn't have to stress out at all. That's what I want you to do too. Then we will go ahead and move forward with refining this rough sketch. This rough sketch is the first official part of our class project. I'd love for you to scan it or take a photo and share it to the project gallery. I know this might be a little bit nerve-wracking, sharing something that's so unfinished and so incomplete, but I think it's going to encourage others and help other people get past that same fear of the blank page, and I'd love to see it. It also helps us see progress from where we started to where we end up. Go ahead and post your rough sketch over into the project gallery, and we'll start iterating towards our final line drawing. 7. Iterative Drawing: Now we're going to be refining our rough sketch with iterative drawing like I mentioned. It's a pretty slow process that allows you to make small changes, one thing at a time in order to get from a rough sketch to a final sketch. I love using this, it's taking so much pressure off of me, and whenever I'm making the final illustration, I start using iterative drawing. This is where your parchment paper and your light-box are going to come in handy. You're going to take your rough sketch from the last lesson and you're going to put your piece of tracing paper right over top of it. I like to take mine down or clip it to the page just to make sure it's not going to move. Then I'm going to use a pencil. You can use the exact same pencil that you drew with or a little trick is to use a pencil that has slightly different colors that you can tell which layer you're working on a little bit more easily. Then you're just going to start drawing on top and you're going to be making changes for things that didn't quite look right in the first rough sketch, which, if you're doing a rough sketch like I suggested, it's going to be basically everything. You're going to have to refine all your shapes, you're going to have to add details, you're going to have to rework composition. There's going to be a lot to change, but the great thing about this is that you already have a basis underneath, you're not working from nothing and you can change as little or as many things as you want each time. This is my second iteration from the rough sketch. You can see that I'm fleshing out heads a little bit more. I am slightly shifting some of the arrangement of the bodies. In relation to the background, I'm starting to add some details that I left out of the rough sketch and I'm just trying to see a little bit more concretely how things are working together. I'm probably not going to get all of the proportions right on this second round but I am going to make sure everyone has a face and I'm going to put a little bit more work into those expressions. I'm going to add details for the clothing, which for my scene in particular is a really big part of the image. I'm also going to start working on the tricky points, like where they are holding hands, where different people's faces are tangential to each other. I'm going to start working on those things that felt really scary when I was first looking at the screen cap, but that feels a little bit easier now that I have some marks down on the page and I am not working from just nothing. I'm giving myself just a second go. This is an intuitive process. I think especially in this second round, you shouldn't feel like, I need to change exactly this thing. It should be more of an intuitive refinement based on what you know isn't working or is too rough to be able to tell from the first sketch. Then now that I have that second iteration done, I'm going to just compare the two and I can tell what I've improved. You can see that just my lines are a little bit clearer, which makes it easier to tell what's right and what's wrong. I've made sure to include everyone's more realistic head and body shape, but I can also tell that Susie, the female character on the left, her head is way too big, so when I start my third iteration, that's something I'm going to work on. I'm going to do the same process. I'm going to just take another piece of tracing paper right on top of my second drawing and then I'm going to grab a different color lead again and just start drawing on top again, this time with some more specific things in mind, like decreasing Susie's head size and redrawing their faces, so I like how they look, etc. I skipped ahead here since it's the same process, but you can see that I've started to just make everything more proportional and that was what I found was the biggest problem for my second iteration. Then just add in detail, which is honestly the most fun part. You can see how I move from the second iteration to the third iteration, and how before that I had started at the rough sketch. You can just see piece-by-piece, I got closer to the final image. It only took me three iterations this time. Sometimes it might take six. You should take as many as you need till you are happy with your sketch. Next lesson we're going to transfer to our watercolor paper. 8. Final Line Art: This lesson is really simple. You're going to grab your light box, one piece of your watercolor paper, and your final drawing from the iterative drawing session. You're going to just line them up. You might want to tape it so it doesn't move. Then you're going to turn the light box on and draw your sketch, just onto your nice paper. I like using a color that's going to align well with the colors of the final painting. I just like to move slowly so that I make sure each line looks nice and is neat and it's easy to follow when I start painting. Then you can also just take a look at the progress you've made. This is a really exciting moment where you can say, hey, here is my rough sketch that I started with and I did it in five minutes. Here's my second iteration where I made things a little bit better. Here's my third iteration where I felt really confident and good enough to go ahead and move my drawing over to my watercolor paper. Then here is my final sketch on my final paper, ready to be painted. You can see that I also added a washing tape border, like I mentioned in the beginning, so that I'm going to have clean edges around my painting when it is finished. This is also the time to post part 2 of your project. Please post your final line drawing on your watercolor paper to the project gallery so we can see how your drawing looks before you get started with color. Let's go ahead and start painting. 9. Painting the Background: Now we are ready to finally start painting and we're going to start with the background. I always paint from back forward so that as I'm layering more paint on top, it's mimicking the actual order of things in the scene. I'm going to start with the woods in the background and the church in the background and then I'll move towards the front two figures, Susie and Sam. You can see here I did a really, really light transparent wash for the whole background. I don't always do this, but it's a good way to make sure that all the color is going to get filled if I want the background to feel a little bit blurred out or a little bit less specific. That helps to let the foreground stand out. Just like we talked about in our gouache lesson, I just added a lot of water to the gouache so it's at full saturation with the water. Then I very loosely put it over all of the spots that have that background green or brown color. You don't have to be very exact when you do this. It can just fill up that space because it's going to be covered over later with thicker, more opaque gouache. Then like I mentioned, because this is the background, I don't want it to feel like it's as important as the foreground, so I'm going to not be as detailed or as exact with the background as I am with the foreground. As I'm painting these bushes, I'm not going to paint individual leaves, I'm just going to give a sense of lighting, a sense of perspective with different colors, different shades of green. But when I get to the actual figures, I want to make sure that those bushes are never competing with the figures. This can be a tricky balance to reach. It's something that's a little bit undefined. But I found that doing the wash helps because it allows me to leave some of it as that indistinct, more transparent look, which then will draw the eye forward to the foreground when I get there. As you can see, I'm also always leaving the paint mixing on screens, so you can just see how I'm always building colors together. This is going to be something that's important throughout this entire painting. I tried to always use the colors that are on the pallet so that everything feels very harmonious. For example, I'm using a lot of the dark sepia brown as like my darkest tone as opposed to a black. If I need to darken a color, I might use that sepia as opposed to black and then everything is toned by the same darkest shade. In similar way with the light, I've been lightening things with a light beige. Instead of using white for everything, if I use that light beige, then things will feel like they're in the same color family. Again, there's not an exact science to that, but having the pallet without any divisions really encourages this cohesion of colors because I can just bring everything together as I go through and need more shades. I also, as you see here, when I made my sketches, I did not paint any branches. But when I started painting here, I thought that branches would be a really nice addition, so I decided to add them. That's something you can keep in mind. You can always deviate from your original sketch if you see an opportunity to make your painting better. I think this made the woods look a lot more realistic and I'm really glad I did it, even though it's not something that I originally planned for. The other thing is I tried to make sure that my color isn't completely flat. You can see that I'm using a couple shades of this brown to paint the ground as opposed to just using one flat tone of brown for all of the ground. This will just help give your painting a little bit of dimension and interests because in real life. 10. Painting the Foreground: It is time to start painting the foreground, and I take the same approach here. Just like I mentioned before, I want to paint things that are the most under layered thing. In this case it'd be the skin for a character, and then paint on top, so everything sits on top of the skin, the hair, the clothes, etc, so I'm going to paint the skin first. You can also see that I'm not working on just one character at a time. I'm moving through all the characters at once based on the colors that I'm using. For example, they all have very similar skin tones and so I'm just going to continue working with that skin tone on my palette. I don't want it to dry out. I don't want to have to remix it, so I'm going to do everything that needs that color first. This is also a really relevant here because all the Boy Scouts in the background are wearing the same color outfit. You'll see I paint all of them, all of the outputs at the same time as opposed to painting one whole Boy Scout. This also gives me a chance to let things on the page dry and the paint on the palette to stay wet. You can also see, like I mentioned before, that when I go over the faces with gouache, it's not a completely opaque layer and you can still see my pencil marks, which will be good when I want to finalize those spaces. I also paint shadows as I go, and this is because, again, the color palette. I find that the easiest way to paint shadows is to take your basic color, the color that I used for the skin here, for example, add a little bit of your darkest tone to it, so I added a little bit of my sepia brown and then go directly in and start adding the shadows right after painting the more flat layer. If I wait, I'll have to re-mix the skin tone color and then try to make the shadow out of it, which just makes things a lot harder. If I do it as I go, I have access to that color already and I can make a very cohesive shadow color to match, and same with the blush, I like to add a little bit of blush to hands and cheeks and ears and things like that, and the easiest way to do that is to use my existing skin color, add a little bit of pink, etc. It will make everything feel just very harmonious the more you can continue working from the same colors. You also want to make sure that you're choosing colors that are distinct enough that every object in the scene is going to stand out. This is a little bit tricky in this scene because all of the Boy Scouts are wearing the same color, brown uniform, and it's also a color that's not that different from their skin color. I had to make sure I mix the exact right color that felt in the color family, but that wasn't going to blend in with their skin or the background or each other, and that's something that can be a little bit tricky, but studying your scene really closely can be a good way to just make sure that you are on the right track there. I also did focus on the Boy Scouts in the background first because like I said, I'm moving towards my front two characters at the end of the painting. I'm looking at my reference photo this whole time. I'm not doing this blind and one of the nice things about this project is that your color scheme is set for you in a way. Of course, you still have to mix the colors and there are color choices to make, but overall the palette that you're using is dictated by your scene. You should totally keep it near you, you should use it as a reference point, you should be referring to it, and it can help you make sure that you're making a cohesive look for everything going on in the painting. This painting was also a lot of fun because it just had so many details. I really like painting characters. At first I was very intimidated by the way that all of the different characters overlap. But the more I worked on it, the more I was able to just see how color, what's going to help each character stand out, and how I was going to be able to get to add fun little details like all of the badges on their jackets to just make sure that each person had a lot of personality outside just the expressions on their faces. You can also see that I'm fully covering up the transparent wash layer that I did at first. It's totally okay if you get it into a spot where it's not originally intended to be like how it is on the bottom of Sam's legs here. You just cover it up with your opaque gouache and it's absolutely no problem. You can also see that I'm carrying it through that same shadow attitude. I'm mixing colors as they're on the palette and then adding those dark lines as I go instead of trying to add them all at the end. I also want to mention that doing a big full illustration like this can be a really slow process. You shouldn't be rushing yourself and if you need to take breaks, I totally encourage you to do so when you reach a good stopping point. Obviously you don't want to stop when there's a ton of paint left wet on your palette, but with so many details, so many different parts to do, this can take hours. I think that the actual just the painting process for this painting took me about four hours. Obviously, it's sped up in this video. If you don't have four hours to dedicate to the painting in one sitting, that's totally okay, and you should take a break, come back to it, and you continue using that same palette and looking at those same colors and you shouldn't have too much of a problem just getting back into that same groove. You can also choose to make slight color variations from your scene if you'd like. You could also choose to make big color variations if you'd like, but obviously that will make your scene a little bit less recognizable. But for example, I changed the color of the suitcase that this scout on the right is holding. I just thought that in the scene it's a little bit darker, but I thought that it would stand out and make a little bit more sense in my painting if it was a lighter yellow, so that's what I decided to make it, and you can totally make those choices as you see fit. What works in your painting is not always going to be exactly what worked in the movie scene. I also decided to use more of a dark navy than a black for some of the details like the backpack straps. I just thought that that would continue to push these characters into the foreground since I did use some black on the church, and I didn't want them to fade into that same dark space stuff that the churches in. I just mixed a little bit of Prussian blue with a little bit of black, and that's what I ended up using for my darkest tone. You can see that when you are doing the painting that doesn't have very many dark colors, something like dark blue or dark brown are going to read just as much black as actual black does, and that can be a nice trick to make sure that your painting never looks too dark. You also want to bring cohesion between your characters as much as possible. I let Sam stand out by having his uniform be a little bit more green and then even decided in the actual scene, but then I bring all of them together by making all of their patches similar colors, so that we still understand that they are all part of the same troop, and there are small choices with color and things like that that you can make. That will just make sure that your scene feels cohesive and the narrative of your story continues on. You can also see that I decided to paint Susie last. I did this because Susie has a completely different color scheme than the rest of the characters, and so just it didn't quite make sense for me to start mixing her colors when I wasn't going to be using them anywhere else. What I did for her, it's just work on her in one go as opposed to the rest of the characters. But she was fun to paint because she had such a different color and I was looking forward to taking that on throughout the whole process. Her jacket in this green cap is very, very textured. One thing I did here is after I put down the flat layer, I made a slightly darker, more red color and then I use a bristle brush that I have. It has just slightly longer rougher bristles and I use a thicker version of the gouache than is my regular consistency and I just used that bristle brush to put down this texture here and this help to mimic what the fabric look like a little bit instead of having her just have a very flat pink outfit. Then I use some even darker pink to give it some definition. But adding texture with gouache, or even later when we use more mixed media materials, is always a really good way to make sure that nothing in your painting looks too flat. Finally, there are also just some colors that are a little bit tricky in gouache, and magenta is one of them. Susie's wearing a very pink magenta hat, and I had to do a few different layers of that color just because it's a hard color to make opaque. If there's something that is not looking exactly how you want it to, one of the best things about gouache is that you can layer it over and over and over again. I think I even ended up doing three layers of the hat, and you can totally do that with whatever you need whenever anything is just looking a little bit off to you. Here is how the final painting looks before I start adding my colored pencil and other mixed media details, which is what we're going to get into in the next lesson. 11. Details and Texture: Now, it is time to start adding some other details in different mixed media materials. That's mainly going to be colored pencil. I found that my dark brown Prismacolor very thin pencil ended up being the perfect tool for this painting. Just as a reminder, that's a colored pencil that has a slightly harder lead and so I'm able to get a really thin and just not obtrusive line. That's perfect because that's what I'm thinking about for these additions. I don't want to have anything that is going to be disruptive or overpowering. I'm just of adding lines and details and textures that are going to supplement what I've already done with the paint. I don't want it to draw focus from what I've already done. Sorry that my head is dipping in and out of this frame a little bit. Obviously I needed to lean a little bit closer to get to some of these facial features. You can see also that I might notice places where I need to go back in with paint. For example, I couldn't really get dark enough on Susie's eyes I didn't feel, so I added some paint there to make sure it was the right tone. I also forgot to paint the raccoon on Sam's pockets, so I went back in and painted that. But overall, this is just a clean up phase. What do I want the viewer to be focused on? What details was I missing with the paint? Where does something look too flat and need to have texture? This is everything I'm thinking about in this stage and it really is just getting everything cleaned up, making everything polished. You can see I used some wax pastel to add even more texture to Susie's cloths like we talked about with the paint. Then I also wanted to add some texture to the trees because they just felt a little bit flat and monolithic in the background. This is also just a little bit on instinct. Where does it feel like things are lacking and that's when you have a chance to add in. Like I said, I don't want to do anything that takes away from the paint. You can definitely overdo this. Try to limit yourself a little bit. Just do what needs to be done and then get out of there because I bet your Gouache looks really great on its own. In the next lesson we're going to just talk about how to present your final piece and everything we've been over in this class and we are almost done. 12. Present the Final Illustration: That's it. Congratulations, you have completed this class and completed a full lead illustration from a movie scene. Now it's time to present your work. I'd recommend before putting away all your supplies, setting out a flat lay. If you organize all of your supplies around your painting and then just take a quick snapshot, this is great for social media. People love to see how you made what you made, and this gives a little peek into that process. But I'd also recommend that you take a scan. I like taking a scan if you have access to a scanner just because it gets every detail captured, and if something happens to your physical painting, you'll still have that record. I'm so happy with my painting. This is also Part 3 of our project, the final part of our project is for you to post an image of your painting and just finally wrap everything up, show us all the progress you made. Please post your final illustration onto the product board. I cannot wait to see it. In this class, we covered a few mental approaches to illustration, including facing a fear of the blank page, taking pressure off of ourselves to be perfect on the first try, and setting an intention before we start painting. We also covered a few illustration techniques from finding the right consistency approach, to how to refine a rough sketch, and finally, how to put everything together and create an illustration as full texture in detail in life and just put everything that we've learned into one place. I have made over 20 illustrations from movies. I have so much fun doing it every time. They're all here in this little notebook, and I have made process videos for almost all of these. I'll link the process videos into my project in case you want to see more painting in action. I'll also link the still photos for these in case you want to see them with a little bit more detail. I post regularly on Instagram and I post at least once a month on YouTube. If you're looking for me, that's where you'll find me. I really hope you enjoyed this class. Thanks for being here. I'll see you next time.