How to Make a Gouache Resist Painting | Alison Kolesar | Skillshare

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How to Make a Gouache Resist Painting

teacher avatar Alison Kolesar, Artist and Illustrator

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

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

7 Lessons (16m)
    • 1. Introduction

    • 2. Materials

    • 3. Drawing Your Design

    • 4. Painting

    • 5. Adding the Ink

    • 6. Washing Off

    • 7. Final Steps

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About This Class


This class will teach a fun and easy painting technique that creates bold artwork looking rather like a woodcut but without any carving. I'll explain just what you need to get started, demonstrate each step of the process and show some of my own paintings done this way.







Meet Your Teacher

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Alison Kolesar

Artist and Illustrator


I've worked as an artist and illustrator for many years although my academic training was in history and art history. I've illustrated over a 100 books, mostly how-tos on crafts and gardening. I also love to paint in watercolor and create collages as well as making papier mache birds, painting rocks, and creating paper jewelry. You can see some of my work at my Etsy store, Alisonsart as well as my website

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1. Introduction: Hi, I'm Alison Cole, S r. And I'm an artist on Illustrator. In this class, I'm going to teach you a particular method of painting using gua sh paints and Indian ink. It's sometimes called the Quash resist technique. This way of painting really appeals to me for a few reasons. My work content to be a little too fussy and detailed. And I found that this method forces me to be bolder. It also seemed to create an overall unity to the picture, and it produces really interesting textures. At first glance, it could look like a woodcut. I'll tell you at the start, though, this technique is hard to control completely, but that's what makes it exciting. You never quite know how it's gonna turn out. So click and roll and join me on a painting adventure. 2. Materials: you'll need three things to do. This kind of painting the first is good quality watercolor paper. The paper is gonna have to take getting very wet, and you don't want it falling apart. I use arches, £140 watercolor paper, either hot or cold press there. The hot press that's the smoother version may be a bit easier in terms of making sure that the paint covers it completely. This paper can stand getting totally soaked. Other brands of watercolor paper will probably find, too. But just don't try to use sketchbook, paper or printer paper. Secondly, squash paint sometimes called designers squash, this is a water based paint that has more filler in it than watercolors. You could use it quite thinly so that it behaves more like water color or mix it to the consistency of thick cream. It's close to the poster paints you probably used as a child. You can buy it very inexpensively, but even the artist quality pains aren't too pricey. I'm using a mixture of Windsor and Newton and reads, and finally, India ink. It's important that you use Indian ink and not any other kind of ink because with the way it dries and because it's waterproof. I don't use any particular kind of brushes because I'm working fairly small. They're fairly small brushes, but they're not expensive one, and I'll be mixing my colors on an ordinary plate. 3. Drawing Your Design: the first step is to draw your design. Don't worry about making quite thick lines. This is not the sort of painting where you need to minimize your pencil lines. In fact, bold outlines will be helpful once you start adding the paint, I'm working on a eight inch square piece of paper. It's a six inch square image. I haven't tried doing this kind of painting on a really big piece of paper. And when Remember when deciding on the size you want, remember that you'll need to work with something that you could fit into your sink when you're ready to wash the ink off. Once I finished drawing, I taped the paper down onto aboard. You don't necessarily have to do it this way, but I like having my image outlined with tape so that when I come to think it, I have a clear her edge created cleanly by the tapes 4. Painting: think about the colors you want to use in my design. I'm planning to use lots of different greens in the background so that the red fox will really stand out. This is going to feel a lot like coloring in a coloring book. You're gonna fill in all the shapes you've made, but very importantly, you'll leave the outlines white. This could take a bit of getting used to, but if you've made your pencil outlines fairly bold, you just have to remember to stay off them. The outlines will eventually be black, but for now we need to leave HMAS Bear paper. This is one of the ways in which I'm forced out of my tendency to be too precise and careful. The outlines I'm leaving there are never going to be equally thick. In fact, at the end of the day they'll have a lot of variation which will give them character in life. Aim to have your paint be at least the thickness of heavy cream. If it's too watery, the ink will get through to the paper in those areas that you want to be colored. On the other hand, if it's too thick, it will be hard to work with. White wash paint seems to form the best resist, so you might keep that in mind and think about mixing it into your other colors. And the other thing to keep in mind is that your final painting will be quite a lot lighter in color than what you see. At this stage. The body of the pain is going to wash off, leaving a stain of color. So don't be afraid to use quite bold colors and to go a bit darker than you want it to be. In the end. This part can take some time, so I'm going to speed up the video. 5. Adding the Ink: the paintings finished. I've held it up to the light to make sure that there aren't spots that I missed, and I've waited to make sure it's really dry. You don't want the ink to mix with still damp paint, so even after it looks dry on the surface, wait a bit longer, maybe even overnight. This next part is the most counterintuitive. I'm going to brush interning gently over the whole surface, a blistering everything that I've done. I keep a particular brush for doing this. Now I wait again to make sure that the ink is completely dry. Before heading to the kitchen sink, I'm gonna wait on our or maybe to be safe. 6. Washing Off: So here we are at the kitchen sink. I'm wearing an apron, and I've taken off my watch because this could get pretty wet. Cold water from the tap will probably work, but I like using the spray attachment in my sink and again with cold water. This process usually takes a bit longer than I think it will, so don't get impatient. Try not to use your fingers more than you have to, as the colors tend to grey a bit. Where you do that, some colors will lift up more easily than others. And I haven't figured out exactly why that is. It may have to do with how much biller they have in them, which is also why White seems to lift off the most easily. Or it may have to do with how thickly the paint was applied, huh? So there we have most of the ink washed off their a few little stubborn patches. I may just wait until the thing is completely dry and be able to remove those with a razor blade. Otherwise, a certain amount of that black speckle ing is what gives this its character. I'm now going to mop it between paper towels. And then I'm going to stretch it on a board with gummed paper tape so that if I decided to go back in and add to any areas with watercolor, I won't have to worry about the paper buckling. Also, it'll enable the finished thing to dry completely flat that you could also flatten it between paper towels and then put books on top. 7. Final Steps: So here's the finished painting still take to its board. I've done a few things to it. I, as a mentioned, have scraped some of the stubborn pieces of ink off by using a razor blade just completely flat against the surface like this. I then try to knock the ink dust off rather than wiping it with my fingers, because otherwise it can get ingrained into the paper. I did a little bit of touch up with water color. I added a bit of color to the fox themselves. I dark and a little bit some of the background green that was a bit two yellow and two dominant. I've added some tiny little white lines with white jail pen. And of course, if I were doing this for reproduction, I could clean it up. Maurin photo shows if I wanted to. But again, the stray bits of blacking or what give this method its character and interest so you don't want to do too much cleaning up. So now you know how to use the Collection Inc resist technique. I've also seen it used with entirely white Wash where you add kind of later. But whereas that might be a bit easier to control. I don't think it compare with the magic of seeing your color design emerge from its black thing. Covering. Please do share your work. I'd love to see what you do.