Impressionism with Gouache | Ksenia Annis | Skillshare

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Impressionism with Gouache

teacher avatar Ksenia Annis, Figurative artist

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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

8 Lessons (1h 7m)
    • 1. Class introduction

      1:57
    • 2. The origins of Impressionism

      5:34
    • 3. What is Gouache?

      7:52
    • 4. Replicating Monet's Water Lilies

      15:00
    • 5. Replicating Renoir's Moss Roses

      15:40
    • 6. What can we learn from Impressionism?

      4:47
    • 7. Using Impressionism as inspiration

      14:36
    • 8. Class project and final words

      1:39
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About This Class

Learn from the revolutionary art movement of Impressionism! In this class we will study paintings by Auguste Renoir and Claude Monet to understand their interpretation of form and use of color concentrating on their florals. As you know, the best way to study a painting is to copy it, which we will, but not with oils as the originals but with gouache. We will discuss properties and application techniques of this versatile water medium, which is suitable for a wide variety of styles and subjects. In the second part of the class students will attempt to apply what they learned to their own original painting with the help of the instructor.

Meet Your Teacher

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Ksenia Annis

Figurative artist

Teacher

While in college in Soviet Russia, I was told  that I have no talent for drawing or painting. I  pursued an architectural degree and for about 20 years worked as an architect for various firms in Russia and the US. In 2009, my dream of being a  professional artist overwhelmed the practicality of a stable office job.  Fortunately, Russian architectural training mandates serious study in classical drawing and painting, laying important groundwork for the pursuit of my passion. I dedicated my time to systematic studies at classes, workshops, live model sessions, and regular studio work. In 2014,  I founded my company, Tummy Rubb Studio, and my art became a full time business. I created paintings, illustrations and public art projects. My focus now is on helping oth... See full profile

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Transcripts

1. Class introduction: Hello, my name is saying that lioness, I'm what a media artist and welcome to my class. Impressionism with goulash. Impressionism was an art movement at the end of the 19th century that is extremely popular and admired today. They were a group of artists that broke with the canons of academic art that artists adhere to for centuries. Impressionists worked in the open air, observing the changes of light and painting the life around them and adding their unique vision to their works of art. We, as 21st century artists, can learn a lot from the period of impressionism. In this class, we will take a small step in this learning. As you probably know, the best way to study a work of art is not to just look at it, but to try and copy it. We will study paintings by Auguste Renoir and Claude Monet and try to understand their interpretation of form and use of color. Then we will attempt to apply the same approach to our own painting to make my task a little bit easier, I will start with floral paintings and not with portraits and landscapes, which those artists painted Plato as well. Since I don't work with oils like Renoir and money, I will be using goulash. One of the lessons in this class will be dedicated to go wash. I will explain what types of goulash are available to artists these days. We will also take a look at how to mix and apply goulash to our painting surface. And we will briefly talk about other materials that we will need to create replicas in this class, as well as our original painting. After taking this class, I hope you will be familiar enough with this wonderful medium. Do include it in your artistic toolbox. Let's get started. 2. The origins of Impressionism: Welcome to the class. First, let's ask ourselves the question, who were the impressionists and why should we learn from them? In the 19th century, art was strictly regimented due to the academy system in place in Europe at the time, the Art Academy system began in the 16th century with the foundation of the academia accompany company. They are designed new in Florence, Italy. This was followed by the Accademia di San Luca, founded about a decade later in Rome. Accademia di San Luca served as the model for the academia. Oh yeah, I dip into this group founded in France in 1648. This academy who later became the Accademia di bizarre. The French academy was founded in an effort to distinguish artists who were gentlemen practicing a liberal art from craftsmen who are engaged in manual labor. In the middle of 19th century, the academy, the bows are dominated French art. They saw themselves as the preserver of traditional French painting standards of content and style. Subjects who are restricted to historical, mythological, and religious themes. Portraiture was encouraged. The stylistic preference was given to disguising the artist's hand where no brush strokes were visible. So even when closely examined the paintings maintain their realistic look, restraint, color, and use of black characterized their academic style in the early 1960s for young painter. So studying under their academic artists, sharp glare discovered that they shared in interest in painting landscape and contemporary life rather than historical and mythological scenes. They were Claude Monet, Pierre Auguste Renoir, Alfred Sisley, and Frederick by x2. Following a practice that had become increasingly popular by mid-century, they often ventured into the countryside together to paint in the open air. Artists worked in the open air before, but only to do studies. But these artists work differently. They were outdoors with the intent of creating finished works outside the studio by painting in sunlight directly from nature and making bold use of color, they began to develop a lighter and brighter manner of painting. This artists often met in the Parisian cafe to discuss the art. This discussions were often led by Edouard Manet home, the younger artists greatly admired. Ottoman, didn't associate himself with impressionists, but was the first to start painting real people in replicas of classical subjects which extremely scandalized the society. He is considered the inspiration of impressionism. The initial group of impressionists were soon joined by Camille Pissarro, Paul Cezanne, and Armand de amount. And during the 1960s, the Salon jury routinely rejected about half of the works submitted to the big annual exhibition by Edouard Manet, Claude Monet and his friends in favor of works by artists faithful to the approved style. While the Salon jury routinely accepted nudes in historical and allegorical paintings, they condemn Manet for placing a realistic nude in a contemporary setting in his painting through traditional silk layer lunch on the grass where he depicted in nude woman and to close man at the picnic who obviously not mythological creatures but regular Parisian. After Emperor Napoleon the third saw the rejected works of 1863, submitted to the Salon of 1863. He decreed that the public be allowed to judge the work themselves. And this alone, there are a few Zai was organized while many viewers, when they're only to laugh the cylinder refuse it, drew attention to the existence of a new tendency in art and attracted more visitors than the regular salon. In December of 1873, manet Renoir and some other artists organized their own independent our society. And exhibition took place in April and May of 1874 during the exhibition. So the artist not associated with the academy displayed more than 200 works that were seen by about 4000 people. As expected, the vast majority of the art critics were very shortsighted, conservative, and had very little good to say about this new art movement critique and humorous, Louise Bourgeois wrote a scathing review in which making wordplay with the title of Claude Monet's Impression Sunrise and Christiane Soleil avant. He gave the artists the name by which they became known. He titled his article, the exhibition of the impressionists. The term impressionist quickly gain favor with the public. Then the artist also accepted at themselves. Contemporary artists who were not part of the initial group of impressionists were greatly influenced by the art of dog, Cezanne Gauguin. So HA and many other artists of 20th and 21st century continued to observe and depict the world around them in this new way. 3. What is Gouache?: Impressionists painted with oils. This medium requires pretty long drying time and also pretty extensive clean-up after each painting session, my suggestion for this class is to use gosh, it's a water-soluble medium, easier to use, easier to clean up. And the painting approach is very, very similar to oils, like oils, hogwash is usually applied with layers that completely cover the substrate that we're painting on. Unlike oils that the impressionists painted with gouache dries quickly with a matte finish, making the painting process a lot faster. As I mentioned, it's water soluble paint. So during painting process and also to clean our pressures afterwards, we will be just using water. Go ash is made from natural and synthetic pigments from water in binder. There are three substances that are used as binary in gouache paid gosh, that has artist or designer on the label, has gum arabic has binder, the same as water column modern gosh, it has an acrylic binder and is basically acrylic paint with matte finish. If the label just says goulash, the binder is usually dextrin, which is potato starch. In this class, I will be using Arches goulash made by M. Graham. You can use any brand of gouache you have available, even acrylic gouache. They will all work for the techniques shown in this glass. Artist, designer and dextrin based guage works best fresh out of the tube. You can re-wet it with water, but it will never have the same creamy consistency. Acrylic wash one's dry cannot be reconstituted. So no matter what type of glass you using, squeeze it out on your palette right before you ready to paint in a small amount in closed all the containers type Lim for palate use, either disposable paper palette. You can even just take a piece of watercolor paper, maybe just a scrap and use that a ceramic palette will work as well. Or you can even just use a white plate. It will clean up with soap and water after you're done painting are the materials will need for gum arabic based gouache that has artist or designer on the tube or for delicate gosh like hemi, watercolor paper will make a good substrate for your painting. I usually tone it with watercolor before I start painting. So have a small set, Hey, indium paper doesn't have to be expensive. Cotton paper just started enough to hold a layer of paint, at least 140 pounds or 300 grams. Smoother textures like cold pressed or hot pressed. A preferable if you have a piece of illustration board that will work as well. Gosh, can be brittle and dry soil. You don't want to paint it on something flimsy, acrylic based gouache will work on various surfaces. You can paint with it on a new thick paper on canvas panels or on a hard board surface. I use fairly small synthetic brushes, flat and round for artist course, you can also use natural hair watercolor brushes. For acrylic gouache, I would use a separate set, maybe the same one. You use acrylic painting. Because if even a small amount of paint dries on the brush, you will have to use solvent to remove it and that might damage natural fibers. Depending on your surface, you will need a pencil or a piece of charcoal to sketch out your drawing. If using paper, masking tape, and can come in handy to hold the paper in place. And always have two water containers, one for washing your brush and one for clean water for painting, and some towels for the clean up. All these materials are listed in the PDF document attached to this class. When we paint with goulash or basically with any opaque media, there are two ways that we can approach showing volume on the flat sheet of paper. I would say the first way is very traditional. It was used by the artist who worked with oils throughout the centuries. What they would do is create a tunnel under painting, basically resolve all the tonal relationships, find all the shadows, all the mid towns, they would not necessarily used gray. With oil painting, we usually use raw umber or CPO, something similar to create the underpainting them. Artists would let that layer dry and then paint transparent color layers on top of it to show colors of various objects. This would be the academic approach that we discussed in the previous lesson, that impressionists stepped away from Another way, more impressionist way to paint with gouache walls or acrylics would be to paint with different colors right from the start, mix those colors on the palette or on paper or canvas. I will show you the three ways to mix colors in just a second. The main thing here is that we don't have an under painting. We start directly with colors and we don't use black or gray or anything like that. Even for shadows, the shadows have Calit2 and they're opposite in temperature to the object that we're painting. If my leaf is mostly blues and greens with just a little bit of cool yellow than my shadow is warmed Purple and has some red in it. That's how I create the illusion that there is space between the leaf and, let's say the wall that it casts a shadow on this explanation. This is a little bit simplified. There would be all kinds of exceptions to this rule, but I wanted to just show you the main principle, this two main approaches to this problem. How to show a three-dimensional object on a flat sheet of paper, and how to create the illusion of volume and space in your painting. So one would be through, let's say, grayscale tunnel under painting with transparent colors on top. And the other one will be with colors right from the start and creating light, midtone, and shadow with color. Another aspect I wanted to discuss in this video is mixing colors. When we paint with gouache, this will actually apply to other opaque media like oils and acrylics. With the first way would be the most obvious one is mechanical mixing. We take couple of pigments. Let's say I have this primary blue and red on my palette and mix them together and I get purple depending how much blue and how much red I add to the mixture, I will get different shades of purple in that approach, impressionists actually used is optical mixing. So you start with one color and then you add other colors to it directly on paper. You do not cover the whole surface. You do not premix colors. The colors mix when the viewer looks at them. That's why it's best to look at the impressionist painting from a distance, because then optical mixing starts working and you can see not just separate color brushstrokes, but you see what's being said in the picture. This is approximately what Claude Monet would do in his paintings. He would paint a base color and then add some strokes on top of it to modify the temperature or the hue of that area of his painting. Renoir did a similar thing, but his brushstrokes were a lot smaller and they all have different colors. And when we look at them, they create an area of certain color. That's what gives his paintings that kind of shimmering effect. Some impressionists took this approach even further and painted with little dots of different color. The artists who invented this approach is George Ciroc. He's considered the founder of pointillism. So here are our three mixing techniques, mechanical mixing and two types of optical mixing. 4. Replicating Monet's Water Lilies: The first example I wanted to show in this class are water lilies by Claude Monet. This is one of approximately 250 paintings of water lilies that he created. The composition is fairly simple, so I thought it will be a good start to our impressionism study. Let's figure out how we're going to replicate this painting. We will want to start from large forms. And the largest form here is water, which also happens to be a dark area with a big media, we usually work from dark to light. After that, we will move to middle tones. I would say that would be leaves. They have some lighter areas, but we will add them last. We will then work on the flowers, which are the lightest form in the painting. And our last step will be adding small details, small shadows on the leaves and the flowers, and also aid in the highlights. Now that we have an approximate plan of action, let's start working on the painting. I have a sheet of very inexpensive watercolor paper taped to my drawing board. It's cold press, 140 pound paper. It's fairly sturdy substrate suitable for gouache. I am sketching the lease with the pencil just approximately room. It doesn't matter if I don't have the right number of leaves or the alleles are slightly different size. The goal for us is to study the brushwork in the column mixing process. The colors that I'm going to use, I'm going to squeeze them fresh on my disposable paper palette, the warm colors are cadmium yellow and Alizarin crimson. And the cool colors are going to be ultramarine blue and cobalt. And I'm thinking, let's add burnt sienna to warm colors as well. It will help me get those dark greens that I see in the water. I'm going to squeeze warm colors on the left side of my palette and cool colors on the right side. And I will of course, need some white. So I will make two blobs of white. I like to have a separate wide for mixing with warm colors and for mixing with cool colors that helps to prevent contamination and unnecessary mud in my painting. Before I start painting with gouache, I'm going to give my sheet of paper a quick wash with yellow Watercolor. The color here really doesn't matter because the only purpose of this is to get rid of the white of the paper so I can see the tonal relationships in my painting a little bit better. I'm going to start painting from dark passages. It will be just easier for me to start. If I don't see the bright white of the paper, I will start with the darkest areas of my painting. This will be the water, and we'll mix cadmium yellow with ultramarine blue to neutralize that color to make it a little bit more of a olive green, I'm going to add a little bit of burnt sienna to it using a half inch flat brush. I am going to amass in all the dark areas in my painting. I'm not worried about the ages. I can always correct them and I will be correcting them as the painting progresses. So this first step will be just covering the whole area of the paper. I don't want any white showing and trying to distribute all my colors. I'm using the minimum amount of water. We're trying to keep my paint opaque, viscous. I dampen the brush slightly to spread the paint, but I am not painting with a wash and painting impasto with the color. Let's do the upper portion as well. It can drop in a little more ultramarine blue into the mixture if need be. It looks a lot darker than the reference, but we will do some things to it later. I'm just, this first step is just building the base for future development. Gratia is very different from watercolor in the respect that the more layers you apply, the better it looks at creates complexity of the painting surface. That shimmering effect that impressionist paintings have. I think part of it is that there are so many layers of beautiful colors creates visual interests. So we will tried to replicate that in our paintings with gouache and working around that. It depends. I could paint them on top of the water, but there is no reason to waste paint that going to be much lighter. My next step will be painting them because they are slightly lighter. That will be my middle tone. So there will be kind of in-between the darkest and the lightest areas. Water is of course not uniformly green. It has some color variation as well. So I'm dropping in a little bit of cobalt blue into that area where API into the water, starting to build that visual interest in my painted surface. So start adding darker areas under the law paths. Give myself a bit of a head start on them and we'll be mixing other colors in there as well. But the dark blue will be the base of the shadows that really pads cast on the water. Let's move on to the second step, the mid-tones. I mix some white into my cobalt blue and I'm going to create the base, quote, lily pads. If you look closely at the reference photo, they have a lot of light blue in them. I want to recreate that. So I will be mixing LED blue with some light green, maybe a little bit darker, ultramarine blue. I'm hoping that all these colors well, visually mix. That. When people look at the painting, instead of seeing separate colors, they will see that alluded pads, all these colors will optical mix and look like a realistic Leila pads, but not flatten delta ones, but interesting and painterly like the ones that Claude Monet created in his paintings. Hilbert, you know, the flood brush. And let's drop in some cadmium yellow on top of the blue. Again, a little bit of cadmium yellow will be good as well to create a lighter shade of green. You can see me adding color to my palette. I don't like to make big puddles in case I don't use up the color. It's not a problem during gouache painting to stop and add a little bit of color. I prefer that than having too much and wasting paint. Continue working on the Luder parallel, have a few left. The two areas that are left unpainted will be my flowers. Like I said, I'm working from dark to light. So the flowers will be the last thing that I will paint. There are a little Alizarin crimson squiggles on the sides of the little pads. I'm going to paint that with my Alizarin crimson as well because they cast a little shadows on the water. One of the things we will talk about a little bit later, that depression is, did they painted shadows with colors? So I am recreating that. The shadow is painted with column with Alizarin crimson. If you brush strokes with blue and just verify the shapes of the pad and add some more color variation. And let's move on to our new step. I'm switching to a round brush because I need a little more precision. I am going to move on to my lighter areas, which are the two Lily's, the flowers. I'm starting with cadmium yellow. They have yellow centers in the painting and paint the shadows. Next, I mixed in some white into the green that I already have on the palette around brush gives me a little more control, more kin with broad kind of rounded strokes trying to replicate what I see in the painting only takes me a few minutes to pin this and not very large, the forum is very simplified, not a lot of details. And now I need them in smaller brush to add the details to my painting. You see how gave those water lilies some details with Alizarin crimson? I will do the same with a small brush work on the perimeter of the petals, also on the centers. The lighter areas that I painted, I still fresh so I can mix in those brighter details into the paint. Or I can mix alizarin crimson with white and soften some areas with additional lighter brush strokes. And get pregnant out of my blues because there is a blue are pretty large and they're part of most of the colors that I'm using for the painting. I'm going to add a little more ultramarine blue mixed set of with Alizarin crimson and paint the shadows under each Lilypad. Still using a small brush because I need more control for those finer details, even though I am painting from dark to light. When I work on the details, I have to kind of go back and forth between lighter and darker areas because I am balancing everything and making small corrections and adjustments. Let's add some details to the water. Maybe work on the lily pads with a smaller brush. As you see, I now have two small brushes. I'm using one for dark paint in one full lighter paint that allows me not to wash the brush constantly after I pick up each color. And that way I don't bring quite so much water into my paint. I want opaque paint application. I'm trying to replicate oil paint with my gosh. So I need as little water in my paint as possible. Let's do those squiggly brushstrokes on the lily pads that we see in the original painting. This is a very small, round brush and let's restate the shadows under each lily pad, they started to disappear a little bit, but I can bring them back. Just looking at the reference photo and trying to find areas of different colors and kind of evaluate them and restate them. My painting looks very dark. So the last thing I need to do is add the highlights. I'm extending a lot more white into my green. And again, I'm using a small brush to add those kind of light blue, slightly purplish highlights that I see on each Lilypad. Maybe a few more on the flowers that a little too dark as well and need to restate some shadows on the flowers. I'm going to kind of imitate Claude Monet's signature. It's part of the painting, so it's obviously not going to look exact, but a few scribbles here in the lower left. The lower right was occupied by a Lilypad, so he signed on the left. And here is my version of Claude Monet's Water Lilies. In this painting, my goal was to study the following. Claude Monet's color palette gets column mixing techniques, his brushwork, his brushstrokes, and also his general approach to the subject, simplifying the form and working with color and expressively to preserve the freshness and spontaneity of the moment. 5. Replicating Renoir's Moss Roses: In this lesson, that's due in in-depth study of Pierre Auguste Renoir is moss roses. I will approach this replica in approximately the same order that I did water lilies. I will start by distributing large forms. I will work on the darkest areas first, then I will add some lights. And the last thing I'll dot will be balanced all the details with smaller brushes and also add the highlights Reynolds brushwork, his application technique is very distinct and very different from Claude Monet's. So I think it's important for us to study him as well to have more choices when we work on our own interpretation of a subject in impressionist style. Let's start by giving our sheet of watercolor paper a wash of cobalt blue with watercolor, exact color doesn't matter, just easier not to start on white paper. Here's my disposable palette. Let's prepare our gouache, the colors that I will use for this painting, our cadmium yellow, Alizarin crimson and only two blues, ultramarine blue and cobalt blue. I have some flat and round brushes, fairly small because my painting is not very large. It's 11 by 15. And of course, I will need some titanium white. I sketched that face with roses very generally on a sheet of watercolor paper that I gave a light wash of cobalt blue just to get rid of the white of the paper. And I am going to start painting. I'm starting with the background. That's one of the darkest areas that I see in this painting. I kind of jumped into it and it created it by mixing all the colors that I have on my palette. Renoir probably started with roses themselves, but it was just easier for me to figure out what the darkest dark is going to be in. Then use that as reference for subsequent development of my. Okay, Once this is done, let's pin the roses and mixed in some white into my Alizarin crimson. I think that pink is pretty close to what I see in the painting in I'm just going to distribute the large forms very vaguely and generally paint all the flowers slightly varying the shade of pink, maybe using a little more white, a little more Alizarin crimson and some areas. I also need to take that dark tone and mixed Alizarin crimson with alternative blue. I need to take it into that bookcase, especially if you squint when looking at Renoir painting, you will see those very dark areas between all the flowers. And I know I had trouble in the past with painting with gouache. I will be kind of stuck in that light and mid-tone range. And while I wouldn't ignore the darks and if you don't have the full range between darkest darks and highlights in your painting, it's going to look pretty flat. You will not achieve that depth of space and that realize that you see in the reference and in Renoir painting. Also work on the leaves. Important thing here is to use mixed green. I'm pretty sure that's what Renoir argues. That he mixed the blue and yellow in different proportions to paint those leaves because they have a lot of variety of different shades of green in them. And the easiest thing to do that would be by mixing a little more yellow in the blue or using LUMO blue, maybe adding a little bit of white to get lighter blue. And that way we get the same variety that we see in the reference. If you brush strokes for the base, we will work on that a little later. It's pretty light. I just marked a few dark reflections that I see in it. My next step will be to work on the mid-tones. I switch to a smaller round brush and I'm adding some details to the flowers, some lighter areas. The very, very textured run argues those small brush strokes to create his paintings a lot smaller than we see in Claude Monet's or so. I'm using white, pink and alizarin crimson, pure alizarin crimson in different proportions, in different size brush strokes to create the texture of those moss roses. I'm doing minimal mixing on the palette. Picking up paint and I am applying it very impasto fairly thickly on paper. And I'm allowing those brushstrokes to sit side-by-side. And that creates an illusion that there are variations of Ptolemy, that there are lighter and darker areas in those roses. I picked up a smaller brush. I'm going to work with two brushes now because I need to bring those dark areas between the flowers closer to each flower. So I'm starting to verify the details and it's much easier to work with two brushes instead of washing one brush constantly, which we can bring a lot of water in the wash and make it too transparent. Sped up the video just a little bit so it won't last for hours and hours. You can see very distinctly here how my brush kind of dances on the surface of the canvas because the brushstrokes are very small, I do not paint large areas with the same color or tone during approximately the same thing on the darker areas. I don't want them to be flat. I'm trying to have some color variation. I'm using more blue in some areas, a little more, purple in others, or maybe darker green in some areas. If you look closely at their renderers painting, he does not have a single large flat area. It's all Schlemmer's and there is lots and lots of color variation everywhere. Applying paint like that takes a little bit of time, but we can just enjoy the process and not rush through it. But tried to study this painting in depths and get a really good idea about what Renoir was trying to achieve here. One of the many reasons I love impressionist painting is also that they all look very effortless. And that will be one of the things I will try to learn and also to convey in my own paintings. It looks like they just sat down and throw some paint on canvas. Of course, it's not true. They worked really hard and the paintings, I'm sure were planned and they thought a lot about what they did to the end result to look like. But I think that spontaneity and that immediacy of impressionism is really what attracts us. And that's what I love in, tried to have in my paintings as well. I'm still working on the darks, if you remember. I tried to add some at the early stages of the painting, but because I didn't have a precise drawing, then I couldn't exactly do it. So now we will just work on the details, both lighter areas and darker areas, and try to verify all the outlines, find all those darker shapes in the book. At the same time not allowing those darks to kind of eat all our flowers. So we need to keep them and they keep them in the right places. And they're extremely important for the realism and the depth of space of our painting. I'm also verifying the outline of the book. I'm not particularly concerned about it because I will correct it when I pee in the tablecloth. This is called negative painting for opaque media with the darker areas first and then we use light to find precision in the ages of those dark areas. So I just need to paint something. And if it's too much, when I paint the tablecloth, I will make corrections them and make it more exact, more precise. Lots and lots of brushstrokes. The painting is very textured, so I need to recreate all those little brush strokes that Renoir applied in his painting, not forgetting the vase. The vase will also have dark areas which I painted already midtone areas that I'm applying now and then I will add a few highlights. Last thing we need to kind of watch for the geometry of the trace, because when painting we can get carried away a little bit and these will start falling to one side or disappear. So at the same time, I am verifying the geometry of the base. Its them to work on the tablecloth there is a seam, I'm going to mark it somewhere, a fold in the tablecloth. And now let's paint it when the stand that it is a white tablecloth, but I don't think there is a single white area in that. It's all comprised of different color brushstrokes. My pallidus too crowded for working on lighter areas, so I'm going to get some fresh white and some fresh blue and start painting the tablecloth. The left side is go into Beam, very warm. I am mixing some yellow into my white. And here is how we do negative painting in Guassian. Since we're working from dark to light, we can use the lighter color, our white or whatever color we need to verify the ages of the objects that are already painted. So I am bringing in those lighter brush strokes into my bouquet to give it some definition and to define its edges. I'm applying white, very, very impasto, I'm trying to make the brush strokes very textured and theft because that visually brings them towards us. And painting your darks a little bit smoother and painting your lights more textured, gives your painting more volume and more depths of space. So just a little trick that you can keep in mind when you're painting with a paid media. Let's do the right side as well. See that the brushstrokes are all pale yellow, light blue. There are some pink or the bouquet reflects in the white, casts that pink shadow on the tablecloth. So it all needs to be reproduced in our replica as well. You need to go back into the bouquet. It's missing some of the leaves. I'm going to pin that real quick with light green verify the age as well. Before I work on the tablecloth on that side, Find the painting, those replicas very enjoyable, a lot of fun, because all the interpretation of reality is done for me by those great masters of the past. All I need to do is study their work and tried to replicate the brushstrokes. And I get a beautiful piece of art and you get to kind of glimpse into their process, in, into their way of thinking. I think it's very valuable and a lot of fun for me. I lost some darks in the base of the vase. I'm going to bring them back. Verify few details in the book K, the greens look pretty cool, so I feel I need to add a little bit of a warmer yellow green to them. It's basically almost yellow that I'm mixing into the booking limit patron or a signature since that's part of the painting. And the last thing I need to do is add the highlights and looking for very light areas on the flowers, also on the base. Maybe there will be a few on the tablecloth to give even more volume to my flowers, to the subject matter using the small round brush. Charles, two distinct, Let's mask it a little bit, hide it in the brushstrokes. Some flowers kind of disappeared between the leaves in those dark areas, but it's very easy to bring them out with little bit of white gouache paint. My painting is done, going to carefully take off the tape, not pulling up but pulling to the side, gosh, sometimes makes the tape stick very firmly to paper. Throwing my palette and this is my replica of PR ago strain wires, moss, roses. I tried really hard to imitate his brushstrokes and his color palette. 6. What can we learn from Impressionism?: Now that we studied in depth two paintings from the founders of the Impressionist movement. Let's try and understand what subject matters. Impressionists were mostly interested in their approach to those subjects. It also, lets talk about some painting techniques that we can glimpse from their paintings with a goal of applying those techniques to our own paintings. Impressionist art is not easy to classify. Each artist has their own unique style, and very often that style didn't stay the same over the years, it changed and evolved. In this lesson, let's look at Renoir and money. Since we're studying their paintings in, I think we can all agree that we'll have impressionists, not for their revolutionary ideas, but for sunny romantic world that they created. One important subject matter for both painters will be people, especially people in urban environments. Renoir painted a lot of portraits and also a lot of figurative compositions. Claude Monet eventually removed all people and concentrated on nature. But we can say that we'd be hard pressed to find any social commentarial, a depiction of contemporary historical events in impressionist art, landscape will be another very important subject for both painters. Already mentioned in the historical note that impressionist painted in the open-air on plain air to create immediacy in their paintings and to capture the fleeting moments of constantly changing nature. They were especially interested in capturing how the colors changed with the change of seasons and also all those quick changes in the sky, in the shadows. And another point of interest for them, We're reflections, reflections of nature in water. Of course, even though they strive to finish their artwork outside, they worked on the studio is well finishing and refining their paintings. And they were able to do that because they developed their powers of observation and artistic memory. And speaking of fleeting moments, of course I have to mention flowers, probably the favorite subject of both Monet and Renoir. That's why I made flowers the subject of this class. As I said, impressionist who are very much interested in depicting light. That was another subject of this studies. For example, Manet did numerous studies of wrong cathedral in Normandy in France, painting it at different times of day. He exhibited the best ones, as he said in 1895 in there were Twain to them. So you can imagine how much time he spent studying the same subject in different flight and indifferent atmospheric conditions. He has other famous series are Haystacks that PR, also painted over and over again at different times of day and in different seasons. And of course it is what alleles that we already took a peek at. And you already know that he created over to a 150 paintings of his lily pond from small ones, too huge murals exhibited at Learn jury Museum in Paris. Now let's talk about painting techniques that impressionists used. Impressionists in general didn't use black pigments. Renoir, for example, mixed blue and red to get darker tones. He said, one morning, one of us ran out of black. It was the birth of impressionism. Impressionists painted shadows with colors instead of shades of gray to create the depths of space in their paintings. They painted warm foreground and cool background or the other way around. So they used color, temperature rather than tone. That is, lighter objects in front on darker background, as did academic painters, they didn't colors. Instead, they laid down strokes of complimentary colors to create a certain shade and that creates a shimmering effect in the paintings, the light that they were so interested in was not used to describe the form distinctly. It kind of eats into the contours of each subject, leaving a lot to the imagination. A very important characteristic of impressionism is simplified form. They tended to show as little detail as possible, just enough to describe the subject that helped them to show the light, the natural environment, and also helped to spark the viewer's imagination. Let's do a quick summary of things we need to keep in mind when we try to apply impressionist principles to our own painting. No black pigments. We use color for shadows, don't make them gray. Paint the foreground with warm colors and backgrounds with cool colors or the other way round. Try not mixing colors on the palette, but they use different color brush strokes to create the illusion of volume, make most of the edges soft. Tried to create the blurred effect when painting and do not put into many details, simplify the forums and paint and the impression of this object. 7. Using Impressionism as inspiration: In this demonstration, I will be painting this iris following the principles of impressionism as that iris will be suitable flower, Claude Monet's, we had a lot of them in his garden. We can see them on a lot of his paintings. I selected just one flower to make my task a little bit easier since we're only learning and practicing. I will start by killing the white. I'm just giving my page a light wash of viridian green. Let's squeeze out our colors for cool colors I'm using phthalo blue. Also have ultra marine bomb, want some deep blues to create. Greens and purples, have some Hansa yellow, which n-gram tells me is M, primary yellow. I have cadmium yellow. I have pyrrole red, which is also primary color, and I have Alizarin crimson. I'm also going to make two piles of white. So I have two yellows, one warmer, one color to red, one warm or one color, and two blues. Let's start painting with the darkest areas as installable. Basically just distributing my colors and painting the darkest areas I see in the reference photo. Almost immediately run out a little because this is not a huge piece of paper. This is 11 by 15 analysis, so taped off pretty large margins, but still you need quite a bit of paint to cover that area. I'm working around lighter areas, which is strictly speaking, not absolutely necessary, but I don't want to lose my drawing. So I'm going to paint more or less negatively around the lighter areas when I apply my darks. Let's mix some cadmium yellow with yellow, blue to create deep green color. I'm still working on the background. There are a lot more color variations there, but I won't get to them gradually building tunnel relationships in my painting. This first stages important, but I'm working fairly quickly because for now I just need to basically cover the paper and distribute the colors. But step shouldn't take very long and the chin be too laborious because this is preliminary work. I'm not too concerned about getting exact colors or anything like that. This is just the beginning. So using half an inch flat brush, bold brushstrokes, I'm turning the brush around a little bit to vary the direction that I'm working in. The so the strokes look more interesting. I'm not smoothen them out. I want a little bit of that texture because I mixed my green also get that interesting variation of blue and yellow in places. So that adds to visual interest as well. I can add some more blue in some spots. I can vary the shade of green in some areas. So that all contributes to creating first of all, depths of space and then visual interest in my painting. Hoping to achieve that shimmering dark, that impressionists were so good at creation without using anion black. Okay, my darks, I'm more or less distributed. I will of course be working a little bit more on the background as the painting progresses. But for now, we can move on to our next stage and start working with a little bit lighter colors. So we will find some middle towns and some maybe a few lights in the background. I'm started working on the flower as well. The stem has some darker green areas, spin that and also let's start hinting at those sites so that surrounded and mixed in some white into my green to paint them. And I'll also want to use some of that Hansa yellow because mixing green with the white, mix a cool green in if I need a warmer green, I have to use yellow to warm up my green. I can paint lighter areas on my flower, on the central flower, and also on the surrounding flowers with hansa yellow. Another thing I wanted to do is warm up the shadows. I'm using alizarin crimson, which I'm applying with a smaller brush over some of those dark blue areas that creates a deeper color. That way, I can vary the darks even more if you remember, when we were painting water leaders and also when we were painting the background on moss roses, we used cooler and warmer shades. We wanted the darks not to be monochromatic, but we want them to be colorful. So that's why I'm dropping in yet another color in some of the areas of the background. And one that shimmering effect in my darker areas. My background is done. I can move on to working on the flower. This is the fun part. We're moving on to painting midtone and dark areas on the flower. But when I mix alizarin crimson with y to and also even if I add a little bit of ultramarine blue to Alizarin crimson, I'm not getting that bright pink. I see in the flower, but I think I'm getting and more, I think it kind of, I want to say a little bit more subdued pinks and purples that I think will look better in this painting. Because during the time of impressionists, they didn't have all those synthetic compounds that were developed fairly recently. So I think using the colors that I'm using, alizarin crimson plus a primary red and also purple mixtures with ultramarine blue will make my painting look a little more and say vintage, kind of more historically accurate in stylistically accurate. For now, I am painting those colorful areas on the flowers, which are going to be at midtones and darks back when I'm done with that, uh, we'll be adding some highlights a little bit later, but for now, I need to build the base for those highlights. Paint on darker areas. I'm using a small round brush and I'm trying to work with feathered brush strokes, and I'm trying to use optical color mixing, so I am not smoothly blending the colors, the areas of the color. I'm leaving those feathered brush strokes on the edges of each area. I'm hoping that they will visually mix and create a natural looking transition between different shades in between different tonal areas. So I'm remembering the way I painted those water lilies. So the way I painted most roses in trying to use, I won't say the same but similar brushstrokes and similar approach. With gosh, it's sometimes a little tricky to get the tone right at the first attempt. So some areas need to be adjusted and corrected as we go along, made lighter or darker depending of what we see in the reference funnel. I am using two brushes, one for dark colors and one for light, have to go back and forth. The balance on my brush strokes, using two brushes allows me not to watch them after each brushstroke and avoid bringing too much water into my paint. I don't get them mixed up sometimes, but for the most part I tried to remember to switch them. My next step, it will be verifying all the details. The painting is about halfway done, probably more than halfway. So now I want to add those lighter areas in the background, in the stem and the leaves of the flower. I'm using hansa yellow, my cool yellow. And I am mixing it in with the small round brush into the background that I have. The background is dry, but because galoshes regrettable, this is artist squash. And also because I'm using optical mixing of the colors by using those fifth or doubt brushstrokes, I am able to apply those lighter areas without actually mixing any colors. I'm just using a straight Hansa yellow, and I add those lighter brush strokes into my existing painting. Some of the bots have more purple on the tips. Let's add this. And lost to some of the darkest shadows on the stem when I was applying lights. Let's restore them. You have to kind of go back and forth between lighter and darker details. Sometimes. My last step when working on this painting, we will be adding the highlights. I have clean water. I have clean white paint that I just squeezed out. My brushes clean. I'm using the smallest round brush that I have. And I'm squinting when looking at the reference photo, trying to find those lightest areas on the flour on my iris. Again, I am not smoothen the edges. I'm not sending out the paint. I'm just applying small, very light brush strokes in the visually blend with the rest of the painting. In this painting I think I was going more for Reynolds approach then for Monday's, it's of course my painting. It's the way I paint. But I think if the painting was larger, so the brushstrokes will look smaller compared to the overall size of the painting. It would look a little bit more like Renoir, Claude Monet, but I learned from both of them. And copying paintings from both of those artists was really valuable for me in developing kind of my own approach to floral subjects. Let's find some highlights on the buds. I'm trying to give them all different, that kind of blurry in the background, in the photo. But we can use our imagination and just make them very abstract, not super developed. Think my painting is done, I'm going to sign it and here's what it looks like. My interpretation of an iris using Impressionists as my inspiration. 8. Class project and final words: For the class projects youth Galatia, the copy of one or several impressionist paintings, pay special attention to color choices and two brushstrokes. Try to replicate them as closely as you can. Reference that to paintings that I discussed and copied in this class. Or you can use as reference any painting from that parent that you admire. When you feel more confident working in this style, tried to create an original piece of art using the same artistic principles, are provided some photo reference suggestions in the class materials. Or you can paint from any photo that you like. Boasted painting in the project section, I would love to see it. If you would like to see how I painted this replicas of Renoir paintings with gouache and acrylics. Or if you would like to find some additional examples of painting in impressionist style, you can see all these demonstrations on Tanner of stooges channel on YouTube and rumble. Under UNDRIP.com, you can find my paintings and sketches, information about classes that I teach in several e-books that I also feel free. I'll be happy to connect with you through social media. Follow down the ramp studio on Facebook, instagram, Twitter or Pinterest. And don't forget to tag me if you post your artwork. Thank you so much for taking this class. They creative.