Gouache abstract painting | Cécile Yadro | Skillshare
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10 Lessons (1h 3m)
    • 1. Introduction

      1:34
    • 2. Your project

      1:02
    • 3. Supplies and tools

      5:52
    • 4. Watercolor background

      9:11
    • 5. Mixes of colors

      11:36
    • 6. Adding textures

      7:49
    • 7. Glaze and marks

      11:07
    • 8. Pencils and more

      7:42
    • 9. Abstract styles

      1:47
    • 10. All textures

      5:13

About This Class

This class is made to discover all the textures you can achieve with gouache. Instead of making little swatches of every technique we will mix them all together in an abstract painting. 

This class is made for all levels, from beginners to more advanced painters, and is perfect for kids. 
I’d like you to just have fun, let the brush do the job for you and learn some cool techniques you’ll be able to use in your next paintings. 

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I will show you several techniques, from watercolor to very thick paint, glaze, gradients, dry brush, to adding pencils or soft pastels on top of gouache. 

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You can follow along and make your own abstract painting and enjoy the moment!

Transcripts

1. Introduction : Hello model. Welcome to my new class on skin share. Answer. Seal the French artists, both digital and traditional. My favorite model is quashed. I really love hope for societies. This is exactly what I want to show you. In this cast is old, different textures effects you can achieve with squash through this class is meant for beginners, especially as well as kids, because it's really a no pressure class. Just when will make an abstract painting in this class? Actually, I won't make two during class, and you're welcome to follow along and make your own abstract painting. You'll see if this is really so fun. No planning ahead. No thinking ahead. Just like to brush through the work and you t sometimes you're going on expected places. I will show you everything from making the layers on and adding a background was very lose . On what rig waas How to bird layers on top of it at different textures. Maybe you some stuff like colored pencils or New York or whatever you have on hand. Things will be other offend, I promise. So let's go 2. Your project: your project would be to make your naps truck painting with quash. This is supposed to be a funny class without any pressure and no need to know how to draw or how to paint. The purpose of it is to show you all you can do with quash the different textures you can get and how to use it with a lot of water or no water at all along the marks you can make. So this is an example off the two paintings we will be making in class. I'm quite sure you could get something very different because with same technique, you can achieve very, very different things. So grab your choose. Get preferred. Let's go. 3. Supplies and tools: there is what you'll need to make this abstract quash Painting a set of different brushes. I have a very large one just to feel in large spaces. This is ah, specific brush. Cold cat stone. Never mind. Get a flat. Why? If you have one, that's okay. Oh, no. The one on a brush. And this one is a bit specific. Let me show you this. Actually, this is a very old brush. All that I think I have for maybe 25 or 30 years. It's Ah, very cheap one. And I have cuts the hair very roughly. So I get something interesting to make some works. So get an old brush and cut it. Um, also appellate to mix the colors on something that is deep enough to make a large washes because we will use it. Um, two jars off water, One for each color actually found quash. Um, I'm not married to any specific brand. I was lucky enough to have Ah, large 60 color set by our chose, um And so I will get ready made colors. But if you don't have it, it's OK. You can as well makes your colors. I have decided to go pink and green, so I have a emerald green, which is a pro emerald green by art is, um this is something with a bit of sparkle inside. Very lights of Viridian green. This one is by Winsor and Newton. It's Ah, Kobach. Chuck wads lights on two pinks, one is connected, own magenta, and one is appel bubble gum. It's also light pink with a bit of sparkle inside. And, um, large tube white quash. I use a very cheap browned, which I can buy in my local store, and that's very cool for me. So I think this is it. You'll also need us. Pray was clear water inside. This is really useful. Even more than useful. You really need one. And also some kind off piss off clothes off fabric or paper whatever, just to remove the excess water on the brushes and next the paper. So this is a piece of water. Hello, paper. It's a very heavy wrong. It's 400 GSM, and I have pasted some tape on it on a piece of George just to have it somewhere. So just you, as you prefer um, this is ah, watercolor tape you know, the one that is dry and you put water on it. So it's sticky after I'm not sure why Used is because it's a pain to remove. So anyway, I'll cut it, so no trouble at all. Just do with what you have. The only thing when you choose your cars, you want to have to. Two friends Shay's here. It's pinks and greens, and inside your shades you need to have one light stand one a bit darker and white. Of course, this is really necessary. So with only this, we will make an abstract painting, so let you grab your stuff and get ready for the next video. Besides those supplies, you can add more, um, stuff, depending on what you have. Please don't buy anything specific for this class. This is supposed to be a fun class. No pressure on it. So nice painter. Knife of birth was kind of a banding possibility here. Small, large, whatever it cost. Almost nothing. And if you don't have one, you can still use an old card. Oh, maybe cut its because you can still bend it. Sure this later. Also, what could be useful is corrupt. Pem cells. These are very cheap one, actually the one from my kids or, if you have it, soft pastels. This is little square off pigment that are bound together was binding, and the binding is very close to the one used in the quash tubes. So this is really mixing very well, was Clash. Andi also works foster thes one or new color, and they are water so little, but it's not mandatory. You can just have works by. Still, that's okay. This is very interesting to mix with squash as well. 4. Watercolor background : Once you have chosen your colors just but some picks on your palates. Just a little tip for you. Don't open your tube on top of the pellet because you'll have some pieces of dry paint coming on your palate. So you want to make this outside down. I'm trying to make them very separate. I know she can't see. This is a bit shiny here. This is a pearl quash. It's really not necessary. But I'm trying to use what I have on hand not to buy anything new for a change. Quick ridin is very powerful. You really don't need much. This is a very heavy color on and, uh, two claws. A bunch of whites and whites. You want to place it in the land this way so you can pick up always clean parts of the white. What I want to do is make a background which will looks like watercolor. Actually, we will use quash as watercolor. Just to begin, I get my very huge brush wash it. I'm using it to depend some water and the green on in the pink. So just go ahead. You need really a turn of water. What I did was my paper. I soaked it in the water, and I have taped it once. It's dry, completely dry. Sorry, completely wet. Um, let it dry for nights. So now it's totally flights, but it's already soaked with letter, so I think it will helps me not to use too much pigments. So you get a bit off paint. Maybe. Is his brushes really? Oh, so it's wide. You'll just make room them brushes. Once you want to change your color, you just remove the excess water. Maybe a bit more paint. It's so if you are used to watercolorist, this is exactly the same at this stage. Just make your mixes top. Maybe use your tissue. Just tap here and there to give some texture to your background changed. Likely, the Conover to cross is really powerful. So clean my brush. Just add plain water to merge my two colors, and now I have a green water, so I will keep the other one for the pink colors. Let's Adam ate off powerful color here. I don't have any plan, actually unjust placing color here and there, and there's no pressure here. Its just you discovering the different ways to use glass. Sh So just relax and enjoy the moment. That's a brushed with the work for you. Anyway. Something is really ugly or you decide it's very you can still recover it nature. So I am dip my brush straight in the white. Mixing by was, What's around here? So having very arch brush, it's just to force me not to make too tiny detail. Some. This is not to stage for details. This is a stage for background, as my paper is very heavy, it says. 400 ground. I can add a lot a ton of water and see just going close to another color on your beautiful mixes. Maybe take a bit of water. Is it possible? Yes, have some drips. Okay, If I don't like them, I will put white on top of it once it's dry. At the same time, I am doing the background I showed you. I am making another abstract painting very differently, but where's the same colors? It's exactly the same size of the paper, and that's exactly the same colors. I will just try to very the shapes. I will use something, maybe more geometric, so I'm still not planning anything. Just make my mixes what I want to show you. If if you mix your colors right inside the bullets, he will get nice, muted colors, something very light, which care Interesting. And I think it will use the clean water. Now we'll try to makes the boundaries because I'm very fond of those harsh lines here. So you can just you reactivate your painting, especially when it's very wet like this. It's very easy to do what you want to do, you know, is maybe I'm a water or if you want, you can just leave the white paper here. I have a very strong I think so. I mean to Lutece. No, Maybe I can't more pink here. Um, I have very large spots of being so I think maybe I need a bit more here. So with my very wet brush, I'm dipping. Currently in the paint. I'm just getting a tiny amount of color. This is so powerful. Maybe it should be too harsh. So cleaning my brush and Harding watcher just to have the car shoes into next one. So this is very, very wet. I'm trying to showing you can you see, there is really a ton of water on top of this and that's OK. You just let it sit for a while and it will dry. 5. Mixes of colors: All right. So I still have my greenish on pink water. That's OK. I won't. Can it? Because this is my two million colors. I'm changing my brush. This is a flat brush size six. A synthetic brush. Never mind. Really? Just use what you have. Please don't buy anything specific. What I want to do now is get my paint a bit seeker. So you have to at a bit of, um, more watcher than the color direct from the tube on its have your sick your than the watercolor? Um, we're placing bets. Nuts off color. Basically, this is a layer thing, so just play some color. What? I want to show you as an interesting technique where you place two patches off color close to each other, Maybe have not cleaned my brush enough What I can do. It's, uh, brush for the pink on another one for the green. It will be easier for me. So it's a green and pink. Different sizes, Never. Right. I want you to be sure that this technique is just film. How really don't think about anything too complicated or too technical. So here are mixing some whites. Was my critic resume a gentle and it gives more body to my color. What I mean is this color in particular is very transparent. But once you mix, it was whites. You have child inside, and so it gives more body to your color. It also chance of it. The Connor off course. You lose your brightness on, you get something a bit dough. But why not? I'm placing my colors next to each other. They are touching each other all right, but not covering each other. And I'm I'm designed ing that this part I like it. So I don't want to cover it. And I'm leaving untouched. So I have a pink and green. Let me get a clean one. I want to remove the excess water. Well, I will go on the boundary between the two colors. They were rubbed gently so I can kind of blend the two colors so it's creating 1/3 color, which is a mix of the two. You can push it, Aziz, as far as you want. I can even cover all my pink was his new del purple. When you have to do this while your paint is quite fresh, this is creating nice cars as my paper is very sick. I can rub. It's without any problem. It will handle all the things I'm going to do. So I have something here that is very heavy. So I have to make something heavy on this side as well. So back to the water flow to kick, um, diluting my color. I want to keep this night color here, but I want to keep the edge here. Don't ask me why. It's time for a new color. So you see, I'm keeping the right side of my wife told the being count the left side for the greens. This is not so different from the one. It is already here and I'm making marks with my flat brush. And here is not a technique. I don't have much paint left on my brush. It's almost dry, so I can't make very dry brush drugs and you can see the tooth of the paper, the texture of the paper. It has a kind of parallel lines. Basically, I'm just cleaning my brush, putting all the pigments inside on the paper. It gives up really nice effects. You see, without any plans, I'm quite sure something is emerging, so you can't see whatever you want. You could see clouds here, a bit off clean sky, and here it could be some grass. Bush's maybe flowers here. OK, clubs are pink. So why not? Why not? Really? Yeah. I'm just getting fresh paint directly from the tube without adding water and just rubbing gently. My paper. I think I need pink around here. So this is how I work. Just beginning. Know where, exactly? Just bending layers on top of each other. This is ah, reticent pair of paint. I have a here here. Good. This is iridescent paint. It's a bit transparent of it moral than traditional loss. But I don't know, I thought it would fit nicely. And his painting may get some pure quinacrine. Who this is powerful was that I felt maybe it would be flow er so I can't make some marks kind of flowers time or this is just fresh paint on a dry brush. And I'm making some kind of circles with my brush just to give a texture. Make some mixes. Was the existing pains that is not totally dry. So this is why you don't need extensive brushes. I like this part. Not much, this one. So I get, um, Pearle Color. And what makes Because this is too dark. We're here. Okay. Lets this dry, and I will put some white on top. And this is really popping out. I let it for wide. Let me do the other one here. I am adding quite. Think layer off fresh pains. Well, not so. Think about quite enough. And I will get the other side of my brush. And I will make some marks so I can have the color under to appear. Um, can you see that there is a water drop here? I will leave it. It will make quite around Mark. It will be found. I think so. Let me do this. A strong color. So you need to have very few water in your paint so you don't reactivate the car video so quite direct from the tube. Let's make some works. I don't forget to clean. You catch. I'm British. I'm trying to have the same car or traveling all across the page. So just bits just to clean my brush because they don't want to waste paint as you may know I don't like that. So I'm always trying to use my left over. Maybe I need some white here kind of white because I'm not really careful was cleaning my brush. The only thing is, I am trying to remove the droplets of the metallic part of the British. If you want to cover part with White, you first have to wait until the background is really dry. This is not what I'm doing because this is a bit webs. And that's OK because I can make him nice mix like this effect. 6. Adding textures: Maybe this could be a bit, um, more fun. See if I'm using my care of brush. You know, the one I kid very roughly. Look at the edge. It's really nothing. So it's totally and completely dry. I will. Just did this in the fresh white paint. Okay, on Reynolds, the excess. And now I will make some little Marx hair in there. So the more you do this, the more paint you will load in your brush. At some point. You you won't have those. They don't. Marx, you'll have a big heavy blob of paint on your paper. So this case, you just clean it on Go. I think that's enough. You don't need to make too much with this color. So now you have to think so. Your clinic and you will. I really tried to dry it as much as you can. And don't be careful with it because it's already had damage brush anyway. Yeah, we cover it after, I don't know. Still don't like this one ready? The pink is too bright. Doesn't fit in the rest of it. So my water are really very dirty now, so I will clean them. We'll be back. I have a reloaded, some pains because some of them were empty. And I want to show you very heavy technique, which you can do either with knife, a painter life or with some old credit card that you have. So if you don't have a knife, just choose a card cadet. However, it's the same as I have my knife. I will use it because it's a bit easier. Um, something interesting is it's a bit banding not too much, but of it. So you kill make interesting marks with it. What I'm going to do is get some pain directly. Was this part just by dipping into the paint? You see, I have quite a heavy blub here, so that's renew some. We make some marks, so you just place it's on DSI. I am maybe churning of It's my life. I'm going this way on the other. On this is feeling the tooth of the paper, and as I have already placed some layers off quash, it's placing the color just on top of the existing wash. Let me show you this by placing this close. You see he's out, so I'm not cleaning these and I'm going in the white. I can't do I'm logs this way. Also, this is beginning to makes it like you. See, this is giving me a really nice takes. Sure. And the more you rub, the more you scratch its You will wake up the layer below. You will reactivate the pigments and you can get really nice colors. This is with fresh paint. No added water. But if you want, you can still either dip your knife just in the water and go here. So this is betting just some places of water. Okay. I'm scratching a bit in the years Bill reactivating the colors. So this is making nice mixes like this affect money. I could try to do something this way, maybe, and I will clean it. So dip it in water and just use your tissue or paper. This is clear now. I think I will begin. Waas a mix of the two pinks. You see, you have my two pinks on top of each other on my knife. So this is creating something with the two colors. And maybe this will be kind of flowers. Kind of like this. Truly. Yeah, it's better you've been using your non dominant towns, Kim, help you getting user if this is what you're looking for, of course, we're great. It's time to stop. Um, my being they here. I will do the same thing on this one. To you, this is try. So I don't want to cover these and that maybe I can cover this. It's a bit too round for my Children trickle pattern. So I think I can cover. It was trade lines like this of this is pink. Will green on top of it, it's better. I'm trying to explain you how I think when I'm working, not pretending. This is the only way to do things off course, just showing you my way. 7. Glaze and marks : particularly. That is very interesting when you want to slightly change the color off something. Let's say this green green here is really bright, strong. I want to lower it a bit. And for this I could do this in different ways. First would be to get a sick paint and paint all over it and change completely the color. Okay, that's easy to do. And I'm sure you know how to do this. What? I want to show you help is how to lay your like a glaze on top of it. And this is where I will get back my little colors here. He just dried quite a bit. But here I have a leftover of pains, so let me made more mixes. This is better wides and a bit of pearl and water. You want this to be quite transparent? Um, quite wet. And as it is, what? When you are going on top of this, you will reactivate the Kalaba low. So you really need to just make one brush strokes. And don't go back on top of its Let me show you this on. You need to have this really liquids Not completely, but liquid s so it makes a scene. Layer this. Go here. Just one stroke. I'm not calling on top of it again, because it will reactivate my grain. And that's his. But it dry really will make something a bit different than just covering completely the car . So my drop here, it's still wet. And what I can do I was maybe read gently. So I get, uh, paper under. Yeah, I like this. Actually, I like it so much. I will make another one found. Yeah. So when you just place your water, you have to wait some seconds until it really dissolved pigments. What may be one minute or two. So mingle I I will show you another technique. Just made a kind of powerful by mixing greens, create sacred, own a gentle. And now I will use my paint to make some marks here in there. I'm using a flat brush. As I said before, maybe it's time to get some kind of a round brush like this one, for example. Make different marks with it. So now it's time for you to practice your different mark making maybe practice some straight lines heavy on light once as always. I'm trying to have my color floating everywhere in my paper that this is an abstract pinching. What is good is to change your point of view, because looking at this side, it's a completely different pains. I'm not sure this is adding something to my pains. So this is now where you just teach your time. Think before you play something somewhere, just consider the dark and light parts, um, to size the shape of your marks the where your color is floating all around. So I want just have her own finish its I won't sure everything because it would be really too long. So let me just do this and I show you the finished stage, not products off the two paintings. Once you have something, you're quite happy with it. You can get a brush, your favorite one. Or maybe you want You want to try and test and make some tries with your, um, lines. Maybe you can try to make some thin lines. So this is a size four, so it makes quite heavy lines. I can't get a size two, and this is where you learn how to does The Watcher in your paint because depending on the winds of your line, your sickness has to be different. If you want to make large brush drugs like this, your pain need to be quite thick. But if you want to make very thin lines, your paint needs to be quite watery. This is trench. I have to cover it after just playing, having fun and practicing your mixes off colors. Practicing your brush marks your thickness of pains layering so on. This is just instead of making sums, patches off samples, I thought it would be much more fun to have a finished product if only fits something abstract, maybe something you'll never show anyone doesn't really much. I like those tiny marks, and I will good a lighter cover of its just to at some variations. And this is where you learn that Why does really a different effect, depending on the car or your using first, Some cutters are really more beautiful, always white, and some are really nuts. So you're learning how to cover miss take because it is reactivating my green below. Maybe I can decide I made this on purpose. Glynn Brush clean water that would make a great agents. This is quite useful. Also, I can decide is some green that is overlapping here, a bit disturbing. So with a clean brush, I can just rub gently the paper on removed the green pigment on her riches. You have something difference. Also, get clean water and rub in plain color. Excuse my paper. Tell Oh, get the paper again. Toe. You're practicing how to make clean dots. And if it's not clean, really, who cares? This is just practice. But one day, well, you'll be making your masterpiece. You'll know how to make clean. That's how you get to know your brushes. This is very important to practice with your brushes because no one is a like I don't like this. So just rubbing it. See it's gone. So as I suspected, this one turned out, has a landscape. At least I see a landscape. I see flowers here and maybe kind of a path. The sky. I am different colors of this kind May be some rain here, strong going here. I don't know you. You just see what you want. Oh, I did not mean to make a landscape, but, you know, sometimes the painting is just doing what it wants 8. Pencils and more : So I have cut out my painting from the tape because as I suspected, this tape is impossible to remove. So maybe it's better if you use another tape than what I want on. I have some nice textures in this painting on I don't know which way you look at it just as you want. Don't get to turn it out when you're working on it. And now I want to add some stuff on top of it. Like depending on what you have, you can use correct pencils. I have a burn shop, different colors. Also, this could be your color. This is the water somebody one. I'm not sure I will use it with watch her. Also, I have those kind of strange called pencils. Just let no would outside of it. It's a kohinoor. I bought this when I wasn't prag. I m don't fund not very predictable, but very fun. Also, what you can use is soft pastels. If you have them on a pretty sure you have a bit of stuff. Stay here and there Just begin. I broke. Use this color Her very, very small box. It's a $10 So I have to make my own mixes. Quite sure this one is interesting. So you have different ways to do this. Either you makes trick lights and feel some parts house. You will feel the tooth off paper but that completely in one brush strokes or a stroke. Because this is a very textured paper, so you can still see the truth of it. And if I want to like to resist pink, I will get my white and rebel top of it. And this is blending nicely with my pain to below. And now I'm completely feeling the texture of my paper because I'm adding a lot off pigments on top of it. And if you want to be sure to totally feel everything you need to make some kind of cereals . No, I don't know. She can see that, but here I have a completely flat texture. It's kind of walks your putting inside the paper, so this is one way to do it. I want to show you with this pencil as a mix off purple and pink inside. So depending young, high turn my pencil, I will have different colors. So this is blue. I'm turning slightly still blue. Okay, now I'm getting something totally impractical. But the mix of the two color makes a dull car. So no problem. Get my white here. I'm going top of it and rub with lights. This is an accent off a different color from the rest of the painting. It's kind of interesting. Something's very fun. Is soft, pastel. Well, you get your hands dirty. So if you don't like this, you might guess 10. Don't you've it so you can get there, make a large amount off payments, or you can use edge off the Pasto here or here on main lines. So here you are. And you have this dust here. This dust is really not very good to breathe. So what I would suggest you is just to tap your paper and the justice here on I would clean it with my paper because I don't want to room the back, but she's already very dirty anyway. And now you have two different ways to use self pastoral. Some people will rub it with your finger or with something. I prefer not to touch it because I like the effect gives just for the sake of it, I will show you when you rub so your finger door to whom you have now soft effect, but you can really bound every well with color is next to you. And now colored pencils is are very cheap. One you can make Nice grade. Ian's. This is very septal only makes nice variations. You can get very heavy pencils. At some points you have totally saturated the tooth of the paper on air you have, ah, coming a shiny effect. This is the walks of the colored pencil that is totally saturating the people own. At some point, you won't be able to add more layers off Carlos Pence's. 9. Abstract styles: I want to show you the different abstracts ties you can achieve. Where's this technique? As I said before, sometimes you just have to let the brush decide what to do exactly. So this is the one we made in class, and I have added a tiny amount off New York or on top of it, this is the other one that turned out as a landscape, and there is no art it pencil or anything on top. This is just playing wash something kind of similar to the other one, but with a lot off pastels off pastel on top of it. Another style was also a lot of soft pastel that I have rubbed with my finger here, something with a different colors. Difference. Time was a lot off, Pencil added, here there, and you really get very nice textures. And Craig Jin's This is really maybe one of my favorites on something very geometrical Kisses up fairies trip to paper. Actually, this is the same paper, but with the river side of it. So you see that depending on the texture of your paper, you have very different effects 10. All textures : So this is a page with samples. Allow the techniques I showed you in this class and there is no really order, but I have made numbers on it. So one is mixing colors together when you place a patch close to another one and you run the boundary between the two killers on using clean water. Another one is to place a glaze of a color on top of another, and this is a very liquid one you put on top of the other one. Another. One is to make graders from one color to another or in a watercolors, time from one color and adding more and more water until you dissolve to delete the color. The other one is made with cut off brush. You know, the one that is very roughly cut. You will just tap was, uh, a paint a very thick pain straight out of the tube, and you killed very the size of your marks. Another thing we made is using the knife on. You can mix colors together. Also the dry technique. This is a very dry brush with the color on top of another wine. You can also dissolve the pigments with drops of water just letting dry or place plain water on a dark, strong color and rather to make the paper showing through. Also, you can place fresh pains, heavy paint on top of another one and make marks inside with the other wretch of your brush . Maybe also, this is a different type off pencils you can use on top of your squash. This is pastel. This is regular colored pencils. This is new color, and you can really have a very nice kind off slightly shiny affect. I don't know if you can see it, and here it's a regular felt Pam. Um, goulash is a kind of absorbing in coming out of a brush. Ben, for example. So I would not recommend you to use a brush pen or impound on Gosh, because it has really kind of chalky effect on all the ink will be kind off. I don't know how to explain this, but your tip will be covered with the shock on you won't be able to dro unless this is, uh, kind of very liquid and dark signed pan like this one. And here you can make marks with your to all right. I won't give you some examples off the applied textures in actual paintings. I mean not abstract paintings. So here you have two colors close to each other, and I have blended a bit the boundary between the two colors and here. Not so it gives a smooth effect here on here. It's a sharp effect, very interesting. Here. It's the same in the background, so you place patches of different colors. New merge the boundaries to have something a bit more on soft, especially because it's a background that and it's a bit blurry. So that's cool. You have the dry teak on the wall. This is old burst strokes was very dry, taint on tough off on existing paint, and this is the same for the background here. This is would. So if you change the colors, you can get very nice effects and as well. Here it's, uh, top with care off brush. Remember the dirty one. And here it's a glaze off a very liquid light color on top of a dark one. Just some examples, so you know how to use it in your paintings now. So thank you again for following the class, and I hope to see a lot of your work in the project cameras. Real section. You sued