Gouache Painting for Beginners (Fine Art) | Malcolm Dewey | Skillshare

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Gouache Painting for Beginners (Fine Art)

teacher avatar Malcolm Dewey, Artist and Author

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

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

13 Lessons (1h 34m)
    • 1. What You Can Expect from this Course

    • 2. Introduction to the Tutorials

    • 3. Why Gouache?

    • 4. Perfect Paint Consistency

    • 5. Tips for Dry & Cracked Paint

    • 6. Values are Critical

    • 7. Get to Know Your Colors

    • 8. Play with Color

    • 9. Tips for Typical Subjects

    • 10. Tone the Support

    • 11. Cape Mountain Part 1

    • 12. Cape Mountain Part 2

    • 13. Conclusion

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About This Class

Welcome to Gouache Painting for Beginners. The  course that is packed with gouache Painting Techniques, Demonstrations and Tips for all levels.

This is not merely a series of demonstrations. What you will receive from the course is a complete painting workshop . The idea is to use gouache as a fine art medium as an alternative to oils and acrylics.

You will receive my best lessons on painting fundamentals like;
- Values
- Color
- Techniques to use with gouache
- How to start a basic painting and develop from there
- How to paint many typical subjects easily;
- How to paint a light filled landscape;

and more

Then take on the challenge and create your own painting with the reference provided. Share that with the class for my personal feedback.

Happy Painting!

Meet Your Teacher

Teacher Profile Image

Malcolm Dewey

Artist and Author


Professional artist and author. I work in oils painting in a contemporary impressionist style. Mostly landscapes and figure studies. I have a number of painting courses both online and workshops for beginners through to intermediate artists. 

My publications include books on outdoor painting, how to paint loose and content marketing tips for creative people.

My goal is to help people start painting and encourage them with excellent lessons that they can use for years to come.

See full profile

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1. What You Can Expect from this Course: have you been interested in painting with quash paint, but you're not too sure what it's all about. You've been painting in other mediums, probably, and you've heard a bit about wash paint as well. Is it really worth the trouble? Should you have a look at it? What's all the fuss about? Okay, I'm going to help you on to some of these questions on Malcolm Dewey. I'm a professional artist and a paint in many mediums, and one of my favorite is gosh paint. I'm going to show you the fundamentals off painting in this beginner's course, and you're going to learn about things like values and color and color Mixing. All of these things are essential to good painting ability, so I want you to have that as well. But then we're also going to dive in to the beauty of wash paint and really get to know the paint itself. The brilliance off its pigment, the possibilities that you can have with quash painting the intention years for you to be able to use squash pain for your own fine art painting. So come with me and let's explore wash a little deeper so that you get to know the paint and you'll be able to start your own painting by the end of the course and feel a lot more confident. But the use of gosh paint enroll now and let's begin. 2. Introduction to the Tutorials: well, welcome to gosh painting for beginners. I'm really pleased that you've taken this leap of faith and you've joined me on this course , and I'm going to do my best to make sure that you learn as much as possible about how to use gosh paint. We're going to start right at the beginning, getting familiar with your materials, getting familiar with the paint, then having a look at the basics off painting Keller value composition, but nothing too onerous. Just a bit of practice and you'll be painting in no time. And then we're going to dive into some basic painting subjects, a few still life subjects to get to know color, get to know form, and we'll finish off with a lovely landscape painting something that you'll be able to do straight away. Once you've gone through this course and you've practiced what you've done, maybe you'll join me on the level up program where we go into more detailed landscape painting, still laughs and many other things. But enough talking. Let's get started 3. Why Gouache?: I estimate, when I started painting many years ago, I was not really aware off quash Paint had heard of it being used. I found the name a bit strange, but I didn't really know much about it. But as it's grown in popularity over the years, I have started using it. And in the past three years I've actually painted quite a lot with wash, paint and grown to really enjoy the medium. It's what exactly is quash course, really is a lot of pigment. Hold together with a binder, usually gum Arabic. And, as I said, it has a water based to it so easy to use in that respect, but very different to acrylic in the final product with the critics. Of course, as you know, it tries to almost well. That's kind of a plastic, and there's nothing you can do that when I try, it's gone. You get on your brush, you can throw the brush away, but with gorse, you can reactivate the paint after it's dried. Just add water and you can use it and manipulated. So that is that is a big difference, of course. Compared to water color, they are some similarities, of course. But gosh has more pigment and somewhat more opaque. It's not meant to be used, as would a counter with washes and that loose, sort off pigment that lets the paper shine through with wash your looking at building up layers pretty much like you would with acrylics and oil painting. The other key feature with wash is is really quick drying. I find even more so than acrylics, and also when it's dry, that dries to a sort of velvet matte quality. It doesn't reflect light like acrylics oils, and that's going to result in your final painting having a sort of non reflective or met finish. And that can be quite appealing. And it certainly carries an illusion very well. So for fine art style of painting, from portrait's to landscapes, three dimension, anything like that Wash has in deceptively riel feel to it. I think the other thing that I really like about Wash is that I can I can build up layers and I can get scientifics that a constant to get with acrylics. The critics is simply a different look. So God has its unique features, and that is what sets it apart. It's a pretty ancient medium. It's been around for many centuries, maybe up to around 600 years already. So you know, it's got quite a pedigree behind it, and you may actually recognize it from your school days. Probably your really great school painting was done with some sort of wash paint. Maybe not as good qualities you're gonna find in these. But that's sort of part of paint that you may have got that was got for some sort of personal paint that was probably Gua sha as well, so it certainly had a nostalgic effect on me. The first time I used it, I could smell that paint and I had immediately. It took me back to my early school days, so that was quite interesting. Another thing about Guar City may have come across is that it's put forward as an ideal illustrators media, something that designers may use or fashion designers, architects caught Tunis Children's book illustrators, all of that, and there's some truth to it. It because of its strong covering ability and flat surfaces, you can get with it without that shine. It's good for scanning it into a digital media or putting it in a journal, Onda. Um, you're going to get that strong detail. You can use very fine brush to get very high definition detail as well on, but also nice split big shapes. A swell. So it certainly has an appeal for that and being quick drying as well as also a bonus. But it also makes a fabulous final medium, and that's what I'm going to focus on with you. We're going to paint fine art paintings using the method off, building up layers, soft edges, hard edges, all the techniques Onda approaches that you may be using with oil's or even a critics you can achieve with squash but still get a different looking painting. So all sounds very interesting, but don't overthink it. Paint in a natural style, paint in a pick style. Having said that, some gosh is quite transparent, you can use transparent. You can use it transparent year in there as well. But of course, the big pluses. You can get that really punchy of pink color to support the transparent areas so extremely versatile. Excellent results and something that I'm sure you're going to get a lot out of in the future, in fact, are cool gorse, the friendly medium, something I can take with me anyway. A lot of list demanding than water color. Ondas, flexible as the critics and oils as well. So that, in short, we're not special is everything you need to know about quash. Let's look at some painting techniques. 4. Perfect Paint Consistency: the way. One of the interesting things about wash painting is its special characteristic off being an opaque water medium, and it's very often refer to as a pick watercolor. Unfortunately, that can also credible of confusion because some are just approach it as if it is water color and that, unfortunately, will not work out for gosh painting. Getting the ideal consistency that you can use to apply layers off paint fairly quickly is what makes squash so great. In fact, if you approach it the way you would oil painting, you're going to get the best out of quash pants. And I want a water based medium. Wash has become my first option, that special sort of consistency that is wet enough to go on evenly, but not to wit, so that you lose the brilliance off the pigment because gosh is about strong pigment. And we've got to keep that. The biggest reason for failed glass paintings is too much water on the 2nd 1 Too much white paint. So maybe those are the two things we're going to look at a bit closer in this video. All right, let's have a look at getting the perfect consistency with your squash paints. I'm going to take some of the G's finest gosh paint get somewhat, but that on my mixing trail just surreal. Ian Blue for a 1,000,000. Uh, okay, now one of the tips. When you put your paint aunt and you're getting set up, is your painters really going to start drawing? So I used my little spritzer and just a little spritz, only not too much. You don't want to seat puddles forming, but just to make sure it's not trying, offer to quickly. Okay, now that consistency Problem. Remember, wash paint is not water color. We not putting down washes off color. We're putting down layers. Think off acrylics. Think of oil painting proper layers off paint. I prefer to use my paint quite thick, so let's have a look at it. This is straight out the tube with that little spritz on it. And let's just test their consistency off that cerulean blue. Lovely, thick and strong. You can see it is stumbling a bit as on drag it, and that could give you a beautiful effect as well. Just put the tip of the brush in the water, mix it in there on. Let's try that again, not making it to thin. If you bring in too much water, you're getting a very similar layer. And then that maybe fine, for I'm toning your paper or something like that. But to paint on it consistently, you're going to have to get to a thicker consistency off paint I couldn't do. The whole painting with this sort of watery consistency of the painted would make it very difficult to manage layer over layer with wet paint like that. But I find the perfect consistency is straight out the tube worth just putting the tip of the brush in the water and adding the water in gently getting a bit more viscosity going. Compare that to the dry over there, and that will also gives me strong color. Little drive pretty quickly, and I can work over that. Let's take some yellow American paint over that I do pick up, went into which you can mix weight into it as well, just like you can with oils or acrylics, using my tissue paper here just to dry off that brush. So that really brings me to point number two while you're painting while single fuel brush . Always dry off your brush on the paper so you don't bring too much water into it and ruin your consistency. The number one problem with paintings made by beginners is they use too much water. So if I get in some of that white, bring it into the red and you can see him getting a nasty pink color. But it's quite thick, and I can put it down in It covers very nicely. If it was, if I had too much water in there, I'd start getting this chalky diffraction if you can see that and it's just going to end up with a very, very poor consistency. That's just a quick little demo. You know where I'm gonna show you how I paint in layers, starting in with that first thin layer as I showed you just now for the block in stage, and this is pretty much how I go through the entire block in process. Now, remember, when you add what the pain does, tend to thicken up a bit. Titanium white. Four. Quash does make the paint a little thicker, so in your blocking in stage, you may just have to put alert all touch more water to get the same consistency. Yeah, I'm bringing a sort of warm gray for my clouds that's gonna form part of this landscape, but I still consider this to be the third blocking stage. Now. The highlights on the clouds amusing. More white touch of water, a little bit off warm yellow and making a highlight. No, it's while OPEC, it's still fairly thumb with the landscape, pretty much the same consistency as well and easy to paint on thin layer. You can see it store stumbles a bit, so it's not a watery wash. I'm not getting into the second layer. This is where I think in the paint up a little more with more white, increasing the pagan nature, and you can see how it evens out and makes a more uniform flat layer, which is what I want in this case, going into the clouds with second layers, bringing in more color and simply building up the variety off shapes in the clouds themselves. So the main thing is adding on layers, and you're more highlights. Oh, but more yellow and white getting these thicker layers around the edges off the clouds, so the stronger I want the colors and bolder I want them means making the layers thicker. And this is basically 1/3 layer already, and I'll proceed that way. I have no hesitation about adding layers. What so the You have a whole variety off paint consistency from your first thinner layer to your working layers, which are pain straight out the tube in a little bit of water. Now let's have a look at the completed painting with its many layers off wash to get the final effect that I'm looking for, and there it is, quite happy with that. We'll help. This video helped give you a better idea off what gosh paint really is and getting the perfect consistency for your painting. There is some leeway. There's a variety off paint thickness is you can work with, particularly in the beginning, where you can be a bit sooner, but ideally through the whole body, off your painting and to finish off, you want good consistency so you get nice layers off painting. You can actually build up those layers and make your glass paintings really pop, so that is what you need to focus on. Now try out some gosh painting straight after this video and let me know how it goes for you 5. Tips for Dry & Cracked Paint: a common problem with gosh paint, of course, is that it draws quickly, so it's either an advantage or a problem, depending on the situation. The commonly you will find your palate looking like this at some stage with the dried up paint and cracked paint in it. But it's easy to reinvigorate your paint and freshen it up again. What I like to keep on hand is some water in a spritzer like this, and all right, get some water in the paint as I'm getting it ready. And if it's not too dry, that will hope to green figure it the paint and you barely use it again. If it is very dry, you'll need to bring in more water and start to manipulate the paint. But more so get more water on your brush and and get it into the paint compartments. Andi. Get the paint mostly soaked. Just enough. Rather put in too little and get the paint rehydrated in a steady fashion so that doesn't get to it. So this paint here is really quite hard, and you'll need to just start working it and let it soak a bit. And with some patients, you'll get it nice and smooth. I'm working again. That may be necessary to use a pellet knife for some other firm object like that just to start breaking it up on and letting the pain to get in there. Don't damage your palette knife. Use stronger object if necessary. On. Just get the pieces broken up like that, and they will start to absorb the water and you can work. It's on this where you have to be patient. Of course. Now the best way to avoid the situation is obviously to prevent it in the first place. And that is where keeping your paints soft during your painting with the spritzer comes in handy. So when you putting on paints on your mixing tray or in your compartments off your palate from time to time, just give them a spritz off water and make sure they don't because that will easily dry form over it, especially if you're working outdoors or in the windy conditions. Just on a hot day when you're paint is ready to be put away for the day When you finished your painting, you can also give them all spritz and cover it with the lid. Ah sealable lead can go on. This will keep them moist for quite some time, at least a week or so. Just check on them as you go. I use boiled water so bacteria in ordinary water needs to be killed off, and this will help to make sure that you're the pain. Doesn't go mouldy omits in humid conditions. It's of course, it's possible. In some cases, it may be better to let the paint actually dry. If they're not gonna be used for a long time, just let them dry naturally in a room, and then you won't get more depend. Also, a few drops off hydrogen peroxide in a small container like this will help to disinfect the water as well. It's hydrogen peroxide, non toxic, and it'll help to kill off any bacteria. But of course, you don't know what is in your pain toe. It's settled in your paint, and it's still possible that you may get mold. So you're simply a case off trial and error. But you take precautions and do the best you can. You can see this paints already softening up and getting into an US painful consistency that soften up some more for a bit, and you'll get a a smooth, perfect consistency for course painting, right? I left the mixing trade overnight, and this has met the water. Get to work and softened up the colors and just using you can use a brush or a pallet north . And as you can see, this blue from yesterday has got soft on. I've just been able to work it into a glass paste on. This is the consistency that you want. You go wash to be not too runny, just a small loose post that can take a little bit of extra water for your painting. Now, if you put water into one of the compartments and you put in a bit too much on for example , it's, ah, it. Just overdo it a bit immediately going with some tissue and just mop that up. Leave some in there to do the softening up work, but immediately and quickly just mop up the excess before it turns. Call your painting to a runny mess. If you haven't done that, and your paint has got all to Renny, lack of Daniel just deliberately to illustrate this. This is just a bit too runny. You can obviously add a bit more paint into that and just get it to the pasty consistency. Alternatively, if you're not painting that day, you can leave that just dry out a little on. You'll get to the consistency you want with time. If you've got time on your hands where there's stubborn paint once again, you just need some patients. Break the Dr Butts down into smaller pieces and leave them and they will suffer. And this is how you get Ah, palette off dry and seemingly unusable. Plant back into a state where you haven't lost any of that paint and you can use it now comfortably. Andi. Let's just look at this blue, for instance. What I normally do is just add the blue to my mixing trail at the paint on, then get it consistency. I want if I wanted to, but wait at the stage, I can just give it a little spritz. Loosen up some more. I can paint that direct or mix it with the killer, once getting a pay cut light blue, and that's all there is to it. 6. Values are Critical: So in this lesson, I want to discuss the subject off values. Values in painting is extremely important, and I will use the term many times throughout the course and in my demonstrations. Every time I'm talking about value, I'm talking about the lightness or darkness off a color. Of course, it's all relative to other colors, and being able to understand that each color has a certain lightness or darkness is critical to painting anything. You have to know that if you're painting a sunny sky, your scar is gonna be the lightest part of the painting. If you make it too dark, you may think it's a painting of a sunny day, but it turns out everyone else is looking at and thinking there's a storm cloud or something, or it's like some surreal top of seen getting the values right. It's so fundamentally important it can be quiet. A deep theory on Do you can get lost in the hole thing about values, but I don't want you, Teoh worry about getting into that deeply. All you got to remember is that all the colors you see have a value, a degree of lightness or darkness compared to the other colors and imagine the senior looking at as a black and white photograph. It would still be a lovely scene to look it, but all it's relying on is the light or dark black and white shapes. You don't need anything more than that, fundamentally, then black and white shapes to get a beautiful scene. So if you can see that certain things are light, certain things are dark on by things. I'm talking about shapes, of course, because we paint with shapes. Every market put down is a shape with your brush, so that shape is like that shapes a bit darker that shapes even Latin. You arrange these Latin dark shapes. If I say something like, I'm adjusting the value lighter or I need to adjust that value darker. It's as it sounds. I'm putting a shape down that is darker than it Waas, and I put some dark color into it or of making a darker than sleep next to it. If you arrange those right, you can create three dimensional forms. You can make things look sonny or dark and brooding. All that can be done simply with values. Now we measure values with what is called the Manzo Value Scale. The dark is being black. The light is being vital in between two and nine. Lighter and lighter. I mostly work between the values off two and nine you'll see in the upcoming demonstrations how I use these values to assist the shapes that have to go down in a scene. So take a moment to think about values and think about light and dark, and I just look out the window. Look at a scene. Start noticing the shadow is dark and the light shape next to it. With the sunny sitting directly, start trying to visualize those as shapes shapes that you can paint and create beautiful images just by thinking in lights and darks. And that's really all you need to know. Values are just so critically important. In fact, in most cases, if there's a problem with a painting and you can't quite figure out what it is, it almost certainly has something to do with the values being out off kilter. And some areas needed to be lighter or darker, too. Make the effect come toe laugh or the painting to give it its spark. It's usually a problem with the values we sometimes override what we should be seeing. We make the scar too dark or we use a blue that is so deep blue it actually creates a dark sky. We wonder why that is so critically. Ask yourself. Is that shape as dark is I'm showing it. Is that shadow really that dark? Or actually, how much can I see into that shadow? I should make the shadow a lot lighter. All of that sort of thing makes a big, big, big difference. So you Seymour off how I work with values in the upcoming lessons. But for now, if you've never heard of it before, values very important. 7. Get to Know Your Colors: Okay, this video began to start getting to know your paint. So it's all about becoming familiar with gua. Sh the look of the paint, the consistency in the application mixing the paint. So I'm presuming that this is the first time you've tried cross paints. So we really going to get two groups with this paint and the feel of it and find a way that you comfortable with applying the paint to your paintings. And it does start from the very basics we're going to test out the look off the tube colors , and I'm working with a limited palate, basically the same palette I use for all my painting with its acrylics or oils. A couple of woman cool yellows, reds, blues What Burnt Sienna Yellow Co. For some convenient, earthy colors. And that's it, Really. Everything else comes out of those few colors, but we're going to start with the tube colors, see what they look like. Mix a bit of white into them, see what that does. Yes, I know it's called an opaque water color, but the truth is a lot of wash pain straight out. The two of his quite transparent that the same with oils and acrylics, too. Some more than others, of course. But it's good to know that, because using the transparent quality off some of the gua sh colors is actually a big plus . There's just a lot more pigment in it, and it's not as loose as water color. But you can use that transparent, rich pigment of build up layers and get really rich colors, especially when I'm doing things like shadows or sort of luminous and warm colors. I don't use a lot of white painting in those mixes, and you'll see as we bring in the white paint how that instantly turns it into extremely opaque color, and it makes it lighter and cooler and the problems that that brings up which you will then learn how to compensate for those. You don't have to bring white painting right at the beginning of your painting, in fact, are very seldom do most off. The start of my paintings is done with transparent color and our build it up from there. But let's dive in now and have a look at some of these colors just on some paper, and I want you to play around with it. Exercise in your own time, just getting to know your colors and the feel of them. I'm using a color chart, and you can draw one up some. Let to this starting off with the fully saturated colors out of the tube lemon yellow being the 1st 1 I'm going to try out and just get a flat layer off each color on a chart like this. Then the next in line is yellow pale mid yella, and you just follow this process with any off the colors. You typically use a fully saturated colors, and the remaining colors are typically having my pellet, a yellow polka, primary rid or any sort of red light or cadmium. Red light, something like that. Then Eliza Rin or magenta or Rose, Whatever cool red you prefer to use and then onto the blues. I've got ultra Marine blue, which is my warm blue and cerulean blue, which is my cool blue and I'm just got some space Yet for some burnt sienna, this is by basic pellet. Now I'm going to de saturate each of the colors with white. How much white You adding in just working, a sort of 50 50 basis. It's not every variety but off value shift. You want your You just want to change the color with white and have a look and see the difference it makes to your color. So you get to know what happens when you add white. The's yellows, for instance, would look much better used in a aerial perspective situation where the atmosphere is cooling down the colors and see that transparent Eliza in changing and big change to the ultra marine blue, which on its own is quite transparent but with white changes dramatically into a soft blue civilian makes in my sky color and burnt sienna. While that really cools it down a lot and they make a note on your charts so you can keep the chart for further reference, you don't have to stop you. You can also, once you've done this chart, tried out on your complementary colors as well 8. Play with Color: I'm going to use this reference off the lemon and start playing around with the colors that we used in our charts that have just been working on. So getting to know the colors light coming from right to left don't don't worry too much about the drawing. Just get the basic shapes and shadows. And now into that beautiful lemon yellow note How transparent that Calais is are the paper just glows through it. Kind of a lot more punchy pigment to than with watercolor. I think I'm just going to get the source, sir, Out of the way, Using but a yellow can white with that. But I'm getting a stick with a transparent paint and pigment with the lemon for quite a lot , but longer. Yeah, just note how cool that yellow work it gets with a bit of blue. Throwing him rights gets get back to that limned with some of the pale yellow Yeah, where the light is in direct, the yellow is slightly cooler. And once again, I'm just using the transparent color building up the layers. The lemon yellow below has dried a bit and we'll show through now at the touch off ultra marine cools down those yellows just another few degrees, and we get a more gradation and more shape. Toothy lemon. Just a touch off blue in there, too. Push it towards the green and very nice shifting color temperature. Not much change in the values. Maybe one, maybe two stops from the bright direct light. But visually, a big change, this lovely green giving a very real sense. Now what I've been doing is simply glazing, haven't I? Now, this is with wash, and you'd normally associate placing with oil paint. But you can use gosh for that. It has sufficient pigment strength, a touch more white into the lemon yellow now, and I'm getting the direct light. And so this is but thicker Maura pick. And as we get to the highlight on little Mitt but more white, but not just white, there's yellow in it as well, so it's not gonna be a cold highlight. The light is, of course, warm as well, so you want toe a warm highlight, soften the edges, upset degradations or more gradual, and you're getting a three dimensional shape pretty quickly. You can do exercises like this, with the different still life subjects, but keep them simple. Just one object focusing on shapes and the potential off your colors. The transparency recovers the Pake nous of your colors, and the warm and cool shapes are playing around with subjects like this. You prepare yourself for the more involved subjects coming up more involved. Landscapes, Portrait's whatever you want to to do. This is how you get to know your medium and just finishing it off. This is very much a loose sketch, but that's what I want. Don't worry about completing the perfect painting. Too many studies like this and just hold your confidence and knowledge off your colors. 9. Tips for Typical Subjects : Okay, welcome back in this. Listen, I'm going to be looking at a few topical subjects. Since this is a beginner's course, it's very easy for me to go too far and do involve demonstrations of all types off subjects . But for now, I'm going to be looking at simple ways for you to capture an impression off many typical subjects that you may come across and show you sort of a shorthand version off capturing these shapes because that's what really everything is that we paint is is a shape. And you can use these techniques to get a very nice looking overall painting. No things like figures or adding animals. Or maybe this cause or something like that. You can include some of these subjects in your next painting as well, and hopefully it makes it a bit easier for your less stressful. You don't worry so much about the drawing as such, but let's dive in on duh. Have look at some of these examples you can try out. So let's dimension. We are doing a little village scene, and I'm just getting some buildings drawn in. I always compare one shape to the other in relation to one show to the other to get sizes correct. Proportioned for me is the most important thing. We're simply going to look at ways to draw common subjects and, more importantly, how to paint them. Getting the latte suggested is the most important thing for me, so we gotta figure out how to show that in our painting. So let's say I'm using some white, a little bit of yellow polka to warm it up a little drop off yellow pale and I've got to get the front's off these buildings a lot on warm from the sun off course. Okay, so big shapes worry about suggesting details later, but say we got some terror Qatar rubes on day. So we're gonna try and get a bit of an orangey color with some red and yellow on board. I must look, sonny, but more yellow in there and some wire to light in the value. Andi, Even that's not quite iterating enough. Now, to make the sunlight look stronger, I need to get in the shadows. So with some cerulean blue into those colors on, like I shudder. Just get that simple shape, and you can start off your painting like this just with the big simple shapes. Okay, there's house taking form. Ondas got three shapes to it. You can come back in later. And if you really want a boost, the latte just just it's a little more with what? And yellow car. Let's get a bit of a smaller brush. Andi, almost through the shadow side, off the roof. That's just with Ben, CNN and red. Okay, maybe the chimney as well. Dark window. A smart Marine clear A little bit off. Liz Room just dropped that in just some poor shapes on the all right shadows. Assuming this green cross on, we got for those of your maybe there's but a lot touching the top of the chimney. So been sienna, but of what? On your coming. Get the top there. That a lot hitting that sunlit across a pig. Let's get a bit of that ultra Marine, but, uh, Hilo somewhat in there. Uh, so we got some sunny gross onda. As you can see, it's mostly yellow, some lemon yellow, and then we can really get That's a full ground. Okay, I'm just sitting the stage now because we went to have a car. And what shape is the court and really just another sort of box trick, isn't it? So that's the car ship has a lot flicked of one screen, but ah, a lot. Maybe it is. I gotta stop lot going lots over the rear of the vehicle, windows on the side. You can see how easily you can suggest ships. Obviously, if you're working from an actual subject, observe those shapes that make up the vehicle and you'll kill it. Or accurately. It's as good a chrome bumper. But that's in shudder. So it's gonna be more like a violet color there and just maybe a few dark lines for definition here or there. And, of course, we're gonna attach it to the surface. So that's going to be shut. Uh, now what? Let's imagine there's a person. If they far away, we're just going to describe them as I small foot Tani had Andi just a suggestion. Okay, you got your person far away. Remember to make the head quite small. We tend to put the head like the head, too. Big persons close up to us. That's starting next to this car. I head still quite small But you can make now the torso bigger, big around the waist, then tapering in legs ending off. That's just blues suggest that walking one leg longer than the other suggests movement. Never trust four on there on coming down your maybe they're carrying something. Bag, grocery bag. Something like that. Let's say Latin professed. Of course, you can suggest other things like could be wearing a red top red jacket. Just go over the dark shape you've done on the shutter. Sob on maybe a car lot just on the folder. Sons hitting, perhaps a bit on the leg of Yeah, that's all you need. Don't forget, of course. Shudder. I see the shutter of the leg splits touching to that leg and that that leg that's the start . Prospective a little and bring a figure a lot closer. The basic outline or basic shape that's so head collected to the body for those Andi legs. And it's okay to make a leg exaggerated on this one. Ums carrying a bag of groceries that, uh, joining up alright, suggestion off features, maybe just the neck that, but if this person was facing May or straps lights on the face up. That's imagine that person is okay. Maybe that short sleeves, then the arms. Well, for that, perhaps, but not much, because most of it is in shadow. Now, As for the tree, will you'll see many examples art into trees in the lessons? But as long as you have the shadow on a sort of wood color, here's a big brush. That's hopes. Direct light. Yeah, don't make the treat treat perfect. Okay, Very often we see clouds at angles, so a lot off the cloud is in fact in shadow. So that's why Let's just make that a little more colorful. Graph some civilian on magenta or lizard? No, and then pretty much like it did the tree. You have the highlight. That's possible. It may even come around depending on the angle of the sun on, just I have a room lot effect can that would give you fairly realistic looking cloud. In most cases. What about some animals? Let's say we have some cars in the distant field. Well, far away cows really just a rectangle very often with. I had head bowed down to the grass suggestion off head legs pretty much straight down. You got a car in the distance. That's closer. Let's just get Oh, I'm not saying this is proportionally correct, but and that's pretty much that same. So the rectangle Nick coming down head sort of triangle legs straight down, and you can get away with it. In most cases, you can get away with something like that, just like that cloud. A lot of the car shoppers and shudder, but some highlights you on there. Look for the basic shape almost as a solo. It very often That's not a cow in the field if you have a sheep, so I'm gonna put a sheep over. Yeah, the shape is more of a bowl type. Full of little, Uh, that sounds heads down this way, and that's eating there, that Ah, your legs cross kidney. Okay, if you shape is not quite right, you can always correct things by cutting in around it. Let's imagine, we goto field of, uh, I just cut in around it, Okay, does what? There's very simply described sheep menacing that car. Just observe it's animal. It's thinking paint has a certain characteristic shape. Just try and focus on that. The effect of light. I've already shown you. Yeah, a few things. So where the direct latte is, you will have your lightest, warmest color. And in the shutters, you will have your cools. Okay, so? So we got our road. So I have mixed some yellow and white into that gray road color dragged it over there, and that gives a better impression off light. And you can keep pushing those fairly relationships further and further until you satisfied getting the effect of light you want trusting a value and color temperature on any subject , you paint it simply a shape. 10. Tone the Support: Welcome back, everybody. I'm going to be looking at a few important tips that you can use right away in your next quash painting. So one of the important things with squash is being able to use layers off paint very much like any opaque medium. Glossary benefits from Eddie layers off color, building up richness, building up interest. Whereas in some parts of the painting you may want to leave the paint thing again. So that interesting variety between layers and thinner layers, thicker etcetera, really gets you a lot more out of your quash painting, especially with the fine art approach that I'm working with. Another tip that we're gonna look at with Wash in this video is turning your paper how you can turn it, whether you should turn it at all and different options with turning, and we'll see in the demonstration whether it does have an effect or not. So we're to be working with this reference. Nice, warm sort of sense. It colors over the student. I've set up my 300 grand watercolor paper into two paintings, and we'll compare that to as we go along, just roughing in that composition using a large, uh, short, flat synthetic brush. I'm going to mix up warm tone, but a burnt sienna, little medium yellow, a fair amount of water. So as you can see, it's fairly transparent. But it's not poring over the paper, either. So Justin, in between lot wash, I think in the sky I'm going to just bring in a little bit of that Blue just are a little touch off so really and blue and it will help the sky but not dominated. Why option? Too much darker, warmer tone. This is a semi opaque. There's no white paint in it, but it's very strong. It's a media Mueller and some crimson and a touch of that burnt sienna as well, going into getting this lovely hot tour of Qatar color. In fact, it's a really juicy color this. I really like it very much, but it does influence things. I think so. We'll see it. They ended which option really works. So let's start off with, and I saw strong green warm green, so there's some yellow and red. Basically an orange with a bit of ultra marine blue makes this lovely, warm green color. You can't just get out of a tube, you gotta mix it. So keeping on the color mixing as I go along. It's very intuitive. Nothing Food li about it. Nothing that's should catch you out. Basically, my approach is when I want a dark color, are mixed dark colors. And then when I want a cold Keramik school colors and warm, warm colors, that's something you can find out a little bit of experimenting, sort of the same. Look in the bottom version and you notice immediately, are the values off the color on putting Donya. It doesn't stand out as dramatically as in the top version, and you kind of have to believe you're getting the right value. So when you look at your subject, you gotta know that the value mixing is right. Let's have a look at some shadows and compare just using with that cur bolt on Simula Oka. I'm not bringing what into it, and that's I shudder there. Now you put it down on the bottom, one with a strong turning, and you see how that comes through. What a difference it makes. It warms it up. There's some transparency, so it is showing let's go into the focal area and have a look and see what a difference this makes. What a nice lights but warm color when one of strong, warm color, obviously for the sort of sunset put it down here. And you have to kind of feel already that the warm turn is is really accepting that hot color on a situating into a deeper, colder shadow into the full ground. Andi, with white in the It's very opaque, really does cover up the motors on the darker turn surface. There is still some transparency showing through, so it's not as opaque as he may have thought on. Look at how it comes through. I've left a few gaps here and there for that orange to show, and I have to say with the bits showing through It's a nice effect, and that's one of the good things about using a strong Turness You can allow it to show through year and there now this shadow with a bit more warmth and then into the sky. Now one would expect the lighter Scott, the top two air to the sort of luminescence off the sky. The light really shows up against the dark background. But maybe it's not going to make the skies luminescent is at the top, so a lot surface can aid a light color going over it. Now the sort of greenish turns into the sky over the terra cotta, turning much sort of darker, doesn't it? It certainly looks that way, Andi. You'd have to probably go over it again. Now if you wanted a very sunset looking scar. Your keep the sky are not more transparent. Make the tone do its work. Now this is kind of the blocking in. Mostly done, I'm gonna put in a strongest cerulean blue that blue and orange really does pop, doesn't it? Quite a classic comma looking blue in the top one There it's getting a few of the rocks and distant beach to complete the blocking, and then we'll go into putting some layers. The paint once again. Consistency not not very wet, not water color. What now? Into layers? Want more white paint, making it strong and a pick trying to accentuate the value difference but trying not to lose the warmth either. And that's a real challenge when you add watch to cool things down dramatically. So go to keep adding some yellow back in and try not to lose that warmth, and it definitely is a challenge. So third layer with some more color is definitely gonna come in tow. Dark accents. I love the effect of adding a few doc ex senses. World is to suggest some of those twigs and stones and things, and they sort of make the lights stand up to the clouds. Bring the brights into those clouds. All I really want is a sky with a bit off. Ah, but of activity, bit of movement. Not really going for perfect clouds or anything, but sort of fleeting. So let's get the tape off, and you can decide and just have a look at these closing stages, so I'm bringing a bit more warm can go into it, but off Media Mueller touch of your loca on just to get some mass, that sunset warmth. But I do feel there is a difference. If I want strong turn to show through up. Tiffany will make a thick and bright or strong turn underneath, but want more luminous Keller. I'll keep the turn lighter. I had a figure for bit of reference and scale, and then we'll take a loss. Look at it 11. Cape Mountain Part 1: thing is the reference. I'm going to be working from beautiful scene in the Western Cape and filling in my colors a pretty typical pellet one there longer to use throughout the series of lessons, just refilling the compartments and then be ready to start on some watercolor paper drawing in the horizon line first and then very loosely getting in the basic composition. Relating all the big shapes to the horizon line. Getting a suggestion off way, the shadings going to be a swell, keeping things very simple, all right. The usual practice and a good one is to just set up a few of your initial colors and start with the darkest dark shapes. These dark values form the foundation off your painting, and you build a relate everything toothy dark shapes, so middle value and light values will be lighter than these dogs. I'm good Teoh. Just sit out some oka, some burnt sienna, and to help me start mixing, arrange off colors very quickly from a sort of warm to cool, basically a range of earthy colors, bringing in some yellow and getting into the foreground with loose strokes. As you can see, nothing too fussy just blocking those big shapes. Working, waiting to wit. And here I deliberately want to the yellows to mix into the focus and adjust the ages automatically. It's sort of softens things up. So working, waiting to it is possible with Gua sha as well, adding a little bit of green and orange and blue to make the door green basically a range of shapes for this tree line. I don't want to define every tree. I'm just suggesting a little forest of trees now, a range off blues and OCA for the mountain but yellow and orange there as well. On the blues, ultra marine blue, cerulean blue. Those are my main blue colors. Thes, surreal. Ian works very nicely for a sky color. Beautiful light blue sky throwing in some suggestion off clouds, just white paint waiting to it, mixing it on the paper slightly darker at the top of the painting. But the skies a fairly small part of this painting, so nothing to really worry about. Just a bit off thick white, painted for highlights off the clouds and carrying that idea across to balance it out a bit . I like to paint scars quite quickly, end with a sort of free brushstroke movement that's automatically gives some character to the sky. So it's not so flat, that sort of cool Oka very bluesy Oka warming up a little to the full ground with a touch of yellow when I should say middle ground, breaking the shapes up with the future Color changes color temperature shifts now looking for those shapes in the mountain, the dogs and the lines trying to suggest those shapes with the correct value color. It's quite a big area on the right year that it's mostly shadows. So there's a lot of blue Ultra Marine put in a little bit off balance, unity, just talking it up in the foreground, maybe a touch on the dark side of my modifier that, but for the most part, the blue is pushing it back, and now the mountain in the extreme distance sort of more of a flat, light blue. And then in the next video, we'll go into the developing the shapes a bit further. So far, so good 12. Cape Mountain Part 2 : Okay, let's pick this up with completing the shapes in the mountain are putting in the cool shadow shapes but always testing the color. A year I used straight off marine blue, but it was just didn't have that sort of smoky, misty looks. Ah, a little bit of green back into it. Touch the white, and that's really the way I do it. The first thing is just looking for the shape, deciding what the shape looks like and where is going to go and then getting a fix on the color kind of like working out the color in a swatch. Were you just looking for that shape and you trying to figure that color rot? Remember, with this distant mountain, I'm constantly thinking about aerial perspective. I want the mountain to recede further, so that's object of number one. Now what I'm doing years putting in the dark threes on the left, and this is also a nice way off, suggesting aerial perspective as well. It's an overlapping shape. It's got a strong value contrast, so it's going to be closer and make everything with a soft value seem to recede further into the distance. So keep that in mind overlapping shapes, strong, dark values come forward and things behind it will fall back. Okay, a few nice shadows at the base of the trees and your I'm using blue, following the principle off cool shadows in warm light on course, shadows are usually fold with some sort of blue color. Darker blue year in the foreground were just put in a little bit off Lisbon, with the ultra marine and surreal Ian Blue getting some shadows with a little bit off lizard and white into the clouds and a nice a strong cloud behind that mountain over there . Some highlights with little yellow and white on that's just too, too warm to light in value. That's a little better. I'm also keeping in mind. Wash does dry a little darker them when it's wet, so it may just drive back and lose some of that. That sort of brightness, as a pointed out they all middle values. If you squint down, they're all pretty much full away into one shape, but the changes that you see with your eyes when you look at it, there's little variations. Those are variations in color temperature. So where I'm painting now different greens. That's color temperature changes, not value changes. I like this kind off vitality. Blue. Yeah, again, a lot of little slight temperature ships and textures in the shadows. Re establishing a few dogs shapes in the mountain and coming forward to the middle and four grand, where I'm gonna have to finish the painting off. Now this little forest of trees. It's quite a quite a challenge. These docks just taking the air deeper into that shut off the mountain in trying to make the shadow look interesting. That's quite important that it's done when it be solid, flat shape. Ah, contrary. Resisted this, and I'm putting in some quite strong greens and sort of scum bling over the dry paint below , some cooler killer for shadow. A few little highlights here and there, just defining shapes. That's a lovely warm Oakar that's a bit of your work, a little bit of white and yellow, almost on orange, but notice I can easily drag the brush over the dry paint. We'll see me dry paint as well, and it makes it lovely sort of broken color. These little spots coming through into the shadows. Scum bling So what's the thought process of the stage for this foreground? It's bad. Layering the paint with quash. I feel layers help you build up a fine art painting. It's not a one layer type illustration. It's building up many layers off interesting shapes, texture and variety and color temperatures as well. All of it adds up to painting that gets attention that wants to be looked at these little layers. The little touches of green are over the yellows and Okkas make for it Visually interesting painting. And this is what I do want to emphasize when you are painting to persist with the painting . Don't give it up just on the first layer. Even if you're drawing seems accurate. You're not doing a drawing. You doing a painting, so you gotta build it up. And if you feel lost with the painting in the sort of middle stages, just carry on doing what I'm showing you here looking for shapes, adding variety and interest in texture, and the painting will fall into place. He sort of breakthrough that middle section, and you're getting too a painting that suddenly starts to take shape. All of these trees, all of these shapes. I'm not trying to isolate a tree. In the reference, I'm simply squinting down and looking for dark shapes, light shapes and in between middle value shapes. Now I'm using a dark blue to define some shapes, putting a few tree trunks pulled up, um, Ron furs, tree trunks, some points of interest, no real details and now touches off light hitting a tree trunk here and there and highlights what sort of light Oka, white and yellow polka. Very simple spots of interest is. Well, I feel a little. These are eucalyptus trees are a touch of orange and them works nicely. And then I repeat that in the grass on the right, at sort of adds bit off balance suggestions of tree trunks. I had some readability. Does the painting read correctly? Do the shapes read like trees? What that means is, Do they look believable as trees? All the shapes reading correctly on. And there's the final painting of rule, quite happy with it as a simple impression Off this scene, Theo 13. Conclusion : I have come to the end off the course, and I really hope you've learned a lot and got some useful tips from the squash painting for beginners. Course remember, the most important things are Do practice, practice what you've seen on this course, and whatever you learn along the way, put it to practice and you will grow your painting very quickly That way, once they keep lookout for my level up your glass painting course, there were going to Maura advanced subjects, more detailed demonstrations, things that will help you explore new avenues with your washes. Well, so if you're interested in continuing with your gosh painting, then that'll be a great course. PTO try out. Now I really do appreciate gosh painting because it has helped me with my old painting as well. Whenever but still with oil painting guar spanning seems to come up with new ideas. The two mediums seem to complement each other very well. And glasses really helped me. I'm sure you're going to get a lot out of it. Well, last night I just want to say thank you for joining me on this course on da awa Best with your glass painting. Remember to join the glass painting Academy, the community that I've created for this course as well. Share your work, Ask questions, give some tips, whatever it may be. Comment, tint on and hope other artists as well on the community would be really great if you got involved there. Right until we see each other again soon. Happy painting.