Gouache Landscape in Half an Hour | Bill Singleton | Skillshare

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Gouache Landscape in Half an Hour

teacher avatar Bill Singleton, Illustration & Fine Art

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

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

Lessons in This Class

3 Lessons (30m)
    • 1. Intro

      1:31
    • 2. Painting

      25:21
    • 3. Recap

      3:06
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About This Class

Follow me as I paint a small landscape in under half an hour using Traditional Gouache. For this demonstration, I"m using traditional dry gouache pans and a Waterbrush on toned Mixed Media paper. Its an easy technique to learn. 

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Bill Singleton

Illustration & Fine Art

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Transcripts

1. Intro: I want to do a demo. This I did this out in my garden. Looks like last November. Just a quick little sketch with wash and, uh, water brush. And I was gonna do a demo today, but it's gonna be like 100 and six and Tucson today. So I thought I'd just recreate this here in the studio. So let's see how quick we can do it and use these water brushes. Kuranda quash Juan Kuranda hatch. I don't know how you pronounce it, but they're really good. Uh, wash and they're the only ones I know that come in cakes. So it's really easy. Teoh, take out into the field. I wish they had a smaller set, though. This is a little bit bulky. I cut a hole in here so I could, uh, keep my water brush in there. So And this mixed media paper and paper town. So, really, this is all you need out in the field to do sketch, maybe a pencil. So let's get started 2. Painting : All right. So this is just a little scene from my garden here with some trees, grass and, uh, purely little plants here. His light sketch. I probably don't even need to use that pencil there. So I see Usually if I usually start with a larger brush, Generally go large to small. So these water brushes air. Really good. They're handy because if you take him out in the field, you don't need any water cup or anything I need is this So, uh, it's try. So I get this great tone paper. So we've got a nice medium value to start with so we can go into it and out of it. So it looks like this the background is a little bit darker here. Maybe just a touch of green in it. That's a touch too much. Neutralize that a little bit. That's a little too intense. So you can, if you want it, more water. You just squeeze on this, get more water out of here so I'll start out with sort of a water color type effect here. That's a little Let's make this a little more neutral. There we go. So So you can put this more water by squeezing it. If you want more of a water color and want to get some of the pigment up, just wipe it down. I'm going now. We're just pure water here. Go back into foot if you these branches and all right, so that's our base layer that we're gonna paint into. So I don't think I'll need this brush anymore. I'm just going to squeeze it. Teoh, wash out the pigment. I'm done with him. This is a larger size. So switch gears to the smaller tip. Brush some of this same pigment here. So in us with this paper, this is about as wet as you want to get it. If you see there's just a little bit of warping their when you put that much water. But I never put any more than that. So works good. For what idea? So so put in these darker blades of grass and tree trump back in here, then the difference between washing water color is that with the wash, you can come back in with lighter colors over your darks. Which water color you can't. What color You have to work from light to dark. Basically, in any areas that are gonna be lighter color, do you have to leave them either the white of the paper or, uh, that's about it. Actually, I think that there is that your only option? So with wash, it doesn't matter. You can work back and forth and washes basically opaque water color. So it's watercolor, but it's got more opacity to it. So those are sort of background vegetation there on, uh, you bring this down here so you can kind of see what I'm copying. So I'm not gonna make an exact reproduction of that just sort of reference for what I'm doing here. Some darker colors. So composition and art is basically wherever you want somebody's I to go to, you're gonna put the most amount of contrast. So in this painting here, it's like a long here in here. So I'm putting this of these darks in here now, In the real world, this is what you call artistic license. In the real world, there's gonna be darks all around, but this isn't a photograph. This is a piece of art and journaling, basically. So this is art scene through the consciousness of a human being. So it's different. It's not a photo. He's photo for reference, but it's not a photographic piece. It's all right. So put in some darks there. Uh, I think that's enough. I would go a little bit lighter, like one shade lighter. So get this green here, mix it in with my existing color. If the If these cakes air to dry to squeeze a little bit of water onto out of your brush there. So you see, this is a little bit a little green to it, not too much. So this is fairly translucent. Plus, I've mixed it with his underlying, uh, color here, so this is still kind of background stuff. So, like I said, getting back to artistic license is you're still painting what's there. But it's filtered through your mind, your teachings, your point of view in this case, uh, an artistic point of view so that I am directing where people look. And the way to record people look is with two things. Basically, it's with values wherever you have. The most contrast is where somebody's eyes gonna go and wherever you have the hardest edges . So like Beck in here where it's really soft. People are gonna look at that, but their eyes are not gonna go to it. So back in here you see that, but it creates a soft ambience, basically, but your eye goes right here. Why? Because of the contrast, Because there's two kinds of contrast. There's contrasts of edges. There's hard edges here, where they're soft edges here, and there's contrast of value these air lighter color against darker colors, especially down and down in here, too. And there's 1/3 kind of contrast, really of warm to cool. So these air cut these right in here. These colors a little warmer, and these leaves are a little, uh, cooler in value. And that's what makes them pop forward. Is that cools? So this these greens that I'm painting here now I'm mixing with this warm color so they're gonna fall back in space here, back into the painting. So all right, that's about off that. Get my paper towel out of here squeezes color out cause I'm gonna switch gears here again. So I'm just squeezing this Teoh, make the water come out more so I can flush this washed out of the the brush shares. So now we're gonna go up a notch. I'm gonna put in these lighter color, so I'm gonna get this green again, and I want to stay away from that pile of color there. One thing about these washes is they don't have a a white that isn't cake for I don't know why that they don't. So here's their white. So gonna lighten this up. Likeness green up. See how this looks here. We'll see how that pops up. Now, some of these greens I want to be sort of a halfway between. So I'm going to get this and mix it back down with this color here. So it's about a halfway. So there we go. So that's, uh, some greens, that air, they're there. But they're not in this for this foreground as much. So tasting your abs. Like I said, I'm gonna do in an exact copy of this old, and it's just a just a reference of make some a little darker in here, so All right. Yeah, at least I'm gonna flush this out a little bit. Come back to this cooler color here. Lighter and cooler. Start putting some of these in, So you already see that it's starting to take shape here. So it looks like there's a long one here, so we'll start putting these leaves in. Like said, the cool thing about washes that, as you see with these lighter colors, we put a little yellow in this time the's lighter colors. I'm going right over the darks. So some good mixed a little bit of a yellow in here. And this is really warm this up a little, even though I want to be cool, and this will make it pop even more little bit more contrast of, uh, value and temperature. So here we go. I think he's got a little too yellow here. So the good thing about brushes its correctable, so but a few leads here and there, here to the composition, maybe a little more white. And remember white, even though it's not a color, I think of it as a cool color because whenever you put white and anything, it cools it down always. So Mixing white here into these really makes them pop forward. So white is cool and this background is warm, so you get that contrast of warm to cool. That's what really makes these leaves power forward. Is that warm? Cool contrasts. I think that's enough of that green there likes. This'd squashed. Even though this dries up on the palate, you can still re wet it and mix it down. So gonna mix it with these, uh, with that darker brown here, just for some in between leaves that you're halfway between warm and cool. All right. See? It's already already started. Take shape. Just paint. Been paying a few minutes here, So I'm gonna come in now with some of this. These little grasses and probably rocks and stuff here. So I'm just squeezing this brush out to get on my paint out of the hairs here cause I don't want any green in this stuff I'm going to do next. There you go. So I just squeeze until it comes out. Clear. All right. So now we'll start with this white again, and I'm using the part of the white that hasn't been touched by the green here. And let's put a little bit of this look like yellow ochre kind of color. Here. There we go. Just be some of the kind of a foreground rocks. Stuff Remember in your painting warm colors are gonna pull towards you. Maybe it's a little too intense. Warm colors have pulled towards you. Cool colors will receive back. So it's good in your four grounds. Teoh delivered a warmer color and their makes them pull forward. So yeah, I think that was a little too much yellow outside. And some of this, uh, burn number here absolutely neutralize it just a little bit. So some, like foreground dirt, rocks, whatever. A little blade of grass back in here, Coming out. That's that color here. And then Now that this is a little warmer, I see that this is a little too cool. So I'm gonna warm that up a little bit. But these two Brown's here. So you see, that makes us poppies and further here and every once in what's kind of cool to have a little later grass or something kind of coming forward past some of these other leaves. Here he was a little more dimensionality. Then we'll do some of these little rock shadows here. You can also with wash, come back and sort of refined some of your edges. So that looks pretty good. Now, let's do some highlights into those same areas. So once again, squeezing this washing all the pigment out of it, it's really with this style of painting here. You really just need three things you need your paper. You need this palette, which this palette of colors the cakes, which has a built in palette here. So you need your paper, This brush, um, this brush you brush and this thing here, So you just need three things. No extra water to clean up. Oh, and a paper towel paper now is really important. Make sure you get that. So yeah, I'm squeezing it to all that comes out. All right. Now I'm gonna go back to my white again, and we do a little bit of that yellow in it. Maybe just neutralizing white just a little bit. I don't want to totally pop off here and just hit some of these. So this is where the the light is hitting some of these old rocks on the ground here. Um, it may be liberty. Yellow can help. Some blades of grass coming up. You all right? Pretty good. You know, Let's put these red blossoms and, uh see what color? Okay, I got a phone call right in the middle of that. Sorry. All right, So we're going to go toe these flower blossoms now, so she looks like I think this bright rid? Yep. Maybe just a touch of white in it. I don't want to make it pink. Really? Yeah. They get needs more rid, all right. And then we're just gonna do little swaths of this color here. So I think this is just decia the plant. That's what the red flowers are. So they're red is nice, but it needs to be lightened up just a little bit, at least in the highlight area. So let's put a little bit of white and maybe a little bit of this more orangey color. If we get it. Teoh pop forward. Just a little. Yeah, There we go. That helps. So where the light's hitting it? Be a little cooler just here and there. A little white on that I see in these other reds air in the shadow. So they're the warmer, cooler one, So that looks pretty good. All right, let's get rid of this Red. And I think we're about done and just put a few little highlights with the almost pure white. Here, get my brush to water. Here. The other thing about paper. Talk to if your tip gets a look, you squeeze a little too much water on it gets to water. You can just dry it off here so that want to go totally pure white. It's a little too white white mixed with this brown Just a little bit here. Yeah, that's about right. All right. I think we're just about done here. It's just a little bit of still a little bit of green there is to pop it here. Here, another leaf down here on a few leaves out back through here. So that's some of plant growing here. Forget what this is if we put another one over here, all right? And that's it. So didn't take very long it out. You get it, squeeze up any extra cane on here. And where does 3. Recap: Okay, so this is the final painting. See the detail there. This is the one I was copying so pretty close. Of course, I wasn't trying to make an exact copy, just basically for the purpose of demonstration. So this is what the Koran, Dutch pans. And there's another little painting done with that. Also, same paint right about the same amount of time. You know that one. So these air probably half our sketches. See, here's one that took a little longer. The squash. You can get some pretty cool effects mean could make it look pretty realistic. That's probably about an hour on that one. This is when I painted upon to mock. This is actually this is actually poster paint, which is almost like wash almost the same thing. It's about an hour painting. Another word went up on to mark also, So get an idea of what you can do here. On with this. We're using the dry pans or cakes, whatever you want to call him. The same company also makes tubes, which are a little more portable. So sometimes I think these out in the field, and, uh, it is more portable. You can put these up on a smaller container. The tube seemed to be a little more concentrated, uh, than the pans or the cakes, the drylands, because these air wet and so they seem to be, get a little more saturation with him. But basically they're the same. So either way, I'm going to do a demo with this one next. Also, So you'll see that one coming up. So I hope you enjoy this and, uh, like to see what you contain. Try some of these little one hour sketches half our sketches. It's trying with wash. It's a very forgiving medium. Uh, let's see what you can come up with posted down below and I'll catch you next time. Thanks.