Level Up Your Gouache Painting | Malcolm Dewey | Skillshare

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Level Up Your Gouache Painting

teacher avatar Malcolm Dewey, Artist and Author

Watch this class and thousands more

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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

11 Lessons (1h 19m)
    • 1. What You Will Learn

    • 2. Introduction Oak Tree Shadows

    • 3. Oak Tree Shadows Painting

    • 4. Elvis Caricature Introduction

    • 5. Elvis : The Drawing Tips

    • 6. Elvis: Completed Drawing

    • 7. Elvis Painting

    • 8. Elvis Completion

    • 9. Village Lane Introduction

    • 10. Village Lane & Cottage

    • 11. Conclusion

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About This Class

Explore exciting new subjects with gouache painting.

This course is for anyone who has completed my course Gouache Painting for Beginners.

If you are familiar with gouache painting you will also enjoy this course.

What you will learn:

  1. You will learn how to paint a light filled landscape,
  2. Plus a fun caricature to explore the illustration side of gouache,

Download the reference photos and try out the projects for yourself. Send in your work for critiques from me.

This course is all about using your skills from the beginners course to grow your skills, confidence and enjoyment of this wonderful medium.


Meet Your Teacher

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Malcolm Dewey

Artist and Author


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

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

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

See full profile

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1. What You Will Learn: Hello, welcome to level up your gouache painting. I'm Malcolm Dewey. I'm a full time Artist. And I'm going to show you how to take your gouache painting to a whole new level. Perhaps you can even start going fully professional with your painting. This course follows on GWAS panning for beginners. So in this course, I'm going to be moving into more complicated subjects, more technical tips and tricks that you can apply in your paintings. I'm also gonna show you a lot more of the painting process. And the demonstrations are going to be much longer as well. So you are getting a ton of instruction from me in this course. There's some great paintings and really beautiful subjects that are try out and some unusual ones as well. So if you want to level up your garage painting, then this is it. And it's time for you to enroll. And we can enjoy some amazing gosh, painting together. 2. Introduction Oak Tree Shadows: Okay, in this demonstration on painting a beautiful scene of oak trees with dabbled lard, shadow, little balding in the distance, and a road leading into the focal point. That's a classic scene folder with light, lots of color and oak trees, of course, that's called an octree shadows on one of my most popular quash paintings. I'm going to give you a long form demonstration and lead you through how I put this painting together. It is not difficult, but it is a tricky subject. So if you're not sure what you are doing, by the end of the demonstration, you'll see exactly how to paint trees to get different ways of handling Green and get lots of sparks of light and color. So let's get into the demonstration and setback and maybe take notes if you want to, and then try out something similar for yourself afterwards. Remember, every lesson should be consolidated with you practicing something. You don't have to paint the same subject, but anything similar, you'll be learning a tremendous amount straightaway. All right, let's get into it. 3. Oak Tree Shadows Painting: At oak tree shutters, One of my favorite little paintings. And this is the reference that I'm going to be working from. And I've started by sketching that in roughly. And I'm going to be working with a mixing tray and keeping my colors in this little container. Not Matt topical container but little traveling one or sometimes use using a standard pallet of just warm and cool versions of the main colors. Lots of lemon yellows, brilliant blue, ultramarine blue, but a yellow ochre. And just the rids of red lights, rows or an Alizarin, something of that nature. Any cool reds. And see I'm also using a couple of warm yellows like Medium yellow and deep pillar, circle alien and burnt sienna as well. And obviously lots of white paint all as titanium white on hand. Get a bit more lemon yellow on here. So I haven't tone the paper. This is just 300 gram cold press paper, but I'm going to go straight into a loose block and it is very similar to a turning I suppose. Except more direct barbed wire. I'm going to put the different colors. Starting off with using a long, or I should say just an ordinary flat brush. And mixing up the colors. More or less warms where there's going to be warm and adding, but a blue to cool things down way. There's going to be shutter. There's more about just making a start to this process than actually trying to make it a significant part of the painting. Everything's gonna be painted over with a pink color. But I want to get the ball rolling. And this is really a nice way to do it. You can slowly get into the painting. Just establish yourself, get your mind working. Thinking about warms and cools, lights and darks. And they are fairly accurate blocking or a detailed turning of the paper, you call it whatever you like. But already I feel like I've made a good start and I'm well on my way. Now I'm starting to mix up some greens and Stall feeling our way into the painting. What I'm also conscious of is not using too much what pint at this early stage, maybe the sky were white, can be brought straight in. But in my main colors, I use as little white as possible to start things off. Same approach with oils and acrylics. And I'm getting into the strong darks first using burnt sienna and ultramarine blue is my main colors. A good practice is to always start off with the dark mass shapes. No way the mass of the painting already hangs on. The strong dark mass acts as a fulcrum or a foundation. It basically starts things off. And the lights and middle values work off the dark mass. So I have a good idea with the dark masses are probably put them down in a little sketch or no tens sketch study. And I know exactly where unaided just kick off and get those darks and very quickly. Not to foster bartered where there are lots, leave them and touched at this stage. Get the docs and, and then the cool dogs or dark middle values also will go into those next as well. And that includes things like the mountain working on some color year to put in the cool vaporous mountain. So what's really in blue touch of Alizarin? Remember, it must be cool that distant mountain has got to be pushed way back. And if it's too warm, it's going to come forward and make the space mode two-dimensional as the mountain goes down. And therefore closer to us, you can even see in the picture how others but more warmth to it. So I picked up a little fraction of lemon yellow, which is a cool, warm color compared to a deep below. And I just warmed up that little foreground. You could have used a bit of yellow ochre too. So if you have two warm summing up, you put in a warm color. If you need a cool something down, you put in a cool color. And if you need to adjust the value, you get the white paint art and you turn to your comics. It's all very logical, very simple. And All very logical and simple to do when you think about it. And just get those changes in. And now moving into the sky. And you can see it's not a cool blue sky. Certainly is blue, but it is getting a lot of reflected warmth up into the scar from the countryside around it. This is actually quite a dry area. Although you're looking at lots of trees here. The countryside around it is farmlands and quite dry. Very yellow kept up colors and that reflects back into the sky. So I'm always bringing a little warmth into the sky nearer the horizon. Ok, let's have a look at the road. This is quite a big part of the painting as well. So burnt sienna, some deep below and somewhat conscious need a bigger brush or think. Yeah, just kept back and launch a flat brush and just get those colors in a lot quicker. So added white, but that makes it very cool. So pop in a little bit of yellow to warm things up. And that keeps the value store very light, but not as cold. Especially with squash 1 is very, very influential. And you can end up with a very cold and chalky painting if you're not careful. So when you put in what, see if you can throw back a little bit of color just to get things back to normal and vibrant. A bit of variety now at some warm pinks. When I'm doing a road like this or went texture. So the road will contain many layers and brush strokes that'll sort of help the direction line as well. Solver will do brushstrokes leading into the painting and then also break them up a little as well. Very nice line of cool shutter. So that's a prominent feature in this painting. Kinda bring some more shadows across the foreground. And you can see in the photo reference there are some shadows down near the bottom, right. But too small for my lacking. I wonder, have a strongest shutter pattern in the foreground to sort of step over and lead me into the painting. So I'm just take stem those shadows. Now. I'm adding this little extra piece. It's not quite visible in the reference. Cuz it's not really there. But I like the idea of a shaft of strong light coming in to the painting. Just where the road sort of meets the bolding. So that shaft of strong warm light from left to right. It's going to put a nasa zing right into the center of the painting. And the focal area, of course, just get some color into the building. Most of it is in shadow, will be a few highlights on the front. But Cerulean, Wyatt and a touch of touch, a warm color like a bit of that burnt sienna on the palate, making a kind of a warmish gray goo, lots as well. And then in the highlights, just a little white and lemon yellow. There's always room for a little bit more involved. But it's the perfect color for these little cool details. Suggest to details. The tin roof. The few little marks for Windows. Very, very loose and minor, don't make these details too strong in value or in edges. Otherwise there will actually be a distraction where they shouldn't be, there should be a sort of secondary focal point of interest around the light. But nothing more than that. So for putting dark black windows and a lot of dark black accents, that would attract too much attention. I'll switch to a small brush. And this is actually a Winsor Newton Sable brush, which is absolutely beautiful little brush for this. Unfortunately, they all really expensive too, so I only have a small one. Okay, warming up the green will build a deep yellow and a touch of red to take out the extreme vibrancy of the green. This sort of greens on not something maybe you'd find in certain parts of Europe, this is African greens, so that they are a bit warmer and it's definitely more yellow and occur involved. So how do I paint these trees? What am I looking for? I'm always conscious of getting shapes. So squint at the reference a little too. Close your eyelids a touch so that the details disappear and you see blocks of color, shapes. Try and make suit colors accordingly and put those shapes in. The last thing you wanna do is look and think about leaves and twigs. There's just way too many of those are, don't even go there, just go for the big shapes. So as the branches come to the light, the whole show more green, more sunlight showing through them. So warm greens. And then I'll finish off with a few highlights on the edges. This is how you also knew big mass shapes from the beginning of the painting into more interesting shapes, but working over there main layers. In effect, you just breaking up the big shapes with smaller shapes. One thing with goulash you'll notice is that it's often necessary to go over an area with many layers. Have lost some of the dogs in this area. I've now got a reestablish them and put them back. Very, very easy when putting in the medium value colors to lose your docs. So you've got to always go back in halfway through the panning, reestablish some of those thoughts. Yeah, I'm just cutting in little. Getting those shapes refined again. Now, getting the dogs re-established again. But more broken up, more in keeping with the progress of the painting. And native fully in a little bit of information to cover up bit of mountain there. So bringing a few branches here and there, but Mainly just to break up a mass shape. There is a fence there and little gate as well. I'm not going to worry too much about tea towels. Just suggest a fence that you putting in fence posts or poles like this. Just to use it as a device to break up flat mass areas. Few little brights. Just suggestive of light coming through the trees. And now with lemon yellow and white, little touch of blue, I'm getting a lighter green. In effect, it's mostly yellow now, somewhat. And that's not pure water is a little bit of yellow in it. Making sort of these little highlights. A favorite part of the painting for me. But I do tend to overdo it. So I'm going to keep a handle on this and not go too far and make it too busy. You'd say How could a b sub o to be 0? And you look at the reference and it's just covered with branches and leaves. But in a painting, much smaller space, you've got to be more circumspect and you've gotta not you can't compete with the real senior photos suggest a multitude of details with a few strokes of the brush. These little dabs of orange and red here and there amongst all the greens. I find that a little touch of red urine there where there's a lot of green. Just calms the greens down and has a great way of bringing some interest and balance into the color scheme. Green's amongst the warms and suggest some of highlights and grass. This is almost an instinctive form of painting at the stage. You have filled a mountain in the background is just needs a little bit of what needs to be broken up just a little bit on using a few suggested bronchioles to do that. Also, a few of those darker. Um, burn CNRS in amongst the trees. Just gambling with sort of thick warm white paint to get that highlight. And a few mocks as well to suggest cross. Catching the light. A scar hole to just put the mountain showing through. This highlights just got to be pushed a little. Just to even out the edges a bit, I think. And I quite like that. But of light coming into the shutter there. So just slightly lighter, blue. Few dark accents long saw the road and the road itself to break things up. And then we're almost home and dry. Member Stand back. If you can take a moment to have a look at the painting. And if it feels like it's come together, there's not too much you can add. Then it's pretty much done. Here. Little stumbles on little broken lat. And I think the road should be I think we'll call it an end on this. I'll sign it off. But of course, there may be one or two little things I'll store. But nothing significant. Yeah, I think that just helps and just touch on the windows and then possibly on the roof as well. So it's a missing suggestion that tape off. And I think a lot of, a lot too is achieved in a small space. And a nice little lot fold painting. So try something similar and then have a gun. It's a lot of fun. 4. Elvis Caricature Introduction: In this course parenting, I'm taking on something a little different for me, but perfect for quash. Quash, of course, can be used for illustration as well. That's a favorite medium for illustrators for many, many years. Hand until the whole digital thing came along. Costs was the medium of choice for all illustrators. I'm going to be painting a famous celebrity plus little filler. But this bubble head of Elvis in his Blue Hawaii out foot Have our thought term. Actually, there's a lot that goes into a painting like this. Pretty much like doing a portrait. You can observe the phase and in a three-dimensional way, but also want to simplify it and not lose that illustration quality. So it's not going to be a very highly resolved, fine or portrait, but more a typical, gosh, illustration, a fun project. And I'm also gonna show you my way of simplifying the drawing to get the proportions correct. Alright, let's get started. 5. Elvis : The Drawing Tips: So here's a photograph of her printed art. Merely to illustrate those drawing method, you can of course, simply sketch the actual subject itself. That would be fine too. So what I've done is to draw a box around the main parts of the subject, the head, and the torso and legs. Now this is the first step is to just draw the box divided as you lock on dividing it between the head, torso, and legs. And then look for a key mark or a key part of the subject, For example, the side of the hair of via. So I've drawn a straight line across that as a diagonal, making sure that the line goes through the edge of the box. And then that's the point r can mark out. And some layer along ear, just a straight line which goes through the box line. And I've drawn a line across here under the sun. And that because they're, so that'll be the exit land from that box. And so on. You pick out major lines or parts of subject, the lion of the on control straight line along their shoulder, straight line and out of the box. Now the beauty of this is that you draw your box on the paper that you're painting on a canvas. What you can do then is get sort of similar sizes if you want, and just plot out those marks. So there I've got the exit of the line alongside the hair. I'm just plucked out there. And there. And joining those two, I get the sod of the hair. But top of the hair is on the top line of the box, and so it'll be at the top line there. Then the next line is this side of the head. And the lon x it's the and they're so similar placement. And just comparing that's below that one. So this will be the straight-line there. Join those two. And in this way I can plot art. The entire figure quite accurately. Follow this throughout. And you'll end up with a good drawing of the outer form of the figure all in proportion. So this is what this process is all about. It's about getting pro, portions for portions not details. So there's full proportions. Get all the proportions in place, and then I can do the little details within that. 6. Elvis: Completed Drawing: Now onto the drawing stage, using the directions obtained from using this box method, I can start plotting out the key points on my painting paper. As you can see, I've got the box with the three sections for the head, torso and legs. And starting with the head, I'm going to spend a bit of time with a drawing. That's the trickiest part. And getting that famous hairstyle mechanic that clot accurate. Within each sort of illustration, especially this type of caricature. Obviously, features are emphasized and in this case, the head and key features like the hearer and, and the mouth are suppose that's all part of the essential characteristics we associate with a Elvis caricature. And then just follow the drawing process naturally when you start a new shape, like you're just comparing the one level of the ear to the other. One being a bit lower. On our right-hand side, make those adjustments. And once you start rounding off the shapes that starts coming together fairly quickly. This is not my typical way of preparing for a painting. Normally I would not do a detailed drawing like this. And I would start off with something far looser and get straining to painting shapes. But in this case, as slap change has to be made because the drawing of these details is very important. Far more important than getting colors perfectly accurate. You could take different approaches with a painting like this. You could change colors, you could make it modern type of color scheme. Think of Andy Warhol, for instance. The changes he made. When he did portraits of celebrities, that sort of seconds. So you can go in any direction you want. Just measuring where the line bottom of the nose for. Relate that to other shapes. The middle of the year for instance. Now the line of the eyes. And by relating one shape to another or one essential measuring point, you'll be able to confidently plot out the main features. But you still got to draw the details within. So keep a close I on trying to get the features fairly accurate. I certainly will have to make a few adjustments around the mouth area and just get the SHA-1 down a little further here. Skip the shading. Correct. And makin adjusted a bit more with the painting stage so that the torso and the clothing and those other details are all just speed through this a little faster because it's pretty self-explanatory. Once again, relate one shaped the other, extend the line to the box and just mark of intersections need to be and you pretty much get the layout. That's really not that complicated. And if it doesn't work out correctly first-time, don't worry about it. You can change it. Rabat, draw. And again, it's not critical that you have to worry about things like that. In this case, it's just about getting an accurate likeness down in pencil and then painting it up. That is really the point of a Guassian illustration. But the lessons learnt and this will come in handy with any tricky subject where details are important. So it's just a fun way to try out a few more skills and add them to your repertoire. Now think I've done way more drawing then, probably one to do. So, looking forward to getting some paint on our brush and get some color into this painting. 7. Elvis Painting: Now it's time to start with the actual painting. I'm going to work in some background color. I was using a bit of Cerulean Blue, putting a bit of water in there to get a loose and transparent consistency and rough in some backround cover using my long flat brush. This is basic synthetic brush and very easy to use. And the script up quite useful for this sort of cutting in that I'm doing here. So just getting a background color in. I'm not I'm not really going to worry too much about it because I will go over it again. But it's just a case of getting the figure to stand apart from the background. Museum, but a yellow ochre for this foreground area. But I might revise that with subsequent layers. It's important to just dive in and make a start with your painting. Don't worry too much about every keller You put in. Less is more important. Yeah, I'm starting with the face, getting some foolish tend to colors and burnt sienna is my basic color. Sometimes I'll add a little bit of red light to that for the warmer phase colors especially run the cheeks and nose area. And then the Frisch since generally get a bit cooler around the mouth and chin areas. So a bit of blue, even hints of green can come into it. Of course, this is a caricature, so I'm not too concerned about the flesh tons being realistic for a human would perhaps take a bit more care with that. If I was doing a portrait of somebody. So get color down where you've got a similar color and you can repeat it elsewhere to put that in as well. Now into the hair, and this is mostly ultramarine blue and burnt sienna. A few little highlights will come into some civilian blue. I guess you could call a subtype of burnt umber. The main thing is that it's very dark and practically are black, but a more natural black then if I was using tube black, I don't encouraged to black. It's quite flat and it just seems to lack that natural. So sparkle or depth of rich color you get when you mix your own black. So it's just speed through that. It's most important as to get the shape and then some of the reflections in later. Same color for the pronounced brow shapes. And look where else you can bring in those darks since you've got that color already mixed, bring it in wherever you can. Issues as well. We can do that. A lot of this block end stage is pretty much a final layer. A few little highlights here and there. And now the shirt colors, red light orange and lemon yellow. Shadows or bring in some clues like Syrian or ultramarine and cool reads like a Alizarin also useful to get shadows on the red shirt. So the womb threads for the hint of orange in the sunlit portions of the shirt. I'm just plugging this in around the shapes of the flowers and the garland around the figures neck will fold those in later. So let's get the main red colors in. And the major temperature colors, the cool reds in shadow and the warm raids in light. You'll see a few of those flower shapes on just going around them. So this is very much the process of an illustration. Drawing in your subject, falling in the color, adding some form with shadows and lights and darks. This very much differs from a portrait where I'd be more interested in the character of the sutta. Trying to get an accurate likeness, but also a sense of the personality and character of your subject. For this sort of fun illustration. Any sort of toy, for instance, that you may want to draw, illustrate. Were more interested in the shapes and the accuracy of the illustration. Basic burnt sienna for the ukulele. And we're going to get all the peripheral shapes blocked away. The clothing, the props or whatever. And then in the final stage, focus on the face. There's a bit more detail involved there. Now I'm using a number two Winsor Newton Sable brush. And it's really a very nice little brush for this sort of thing. It keeps its shape and never let me down. This is about as detailed as I'll ever get with a painting. Some yellow lemon and a bit of white. And a few of the outlines and shadow details in the body. And we're nearly done, at least with the body, et cetera. And as I said, we'll finish off with the face. 8. Elvis Completion : Now for the completion of this painting, before I get started into the face area, I'm going to try and finish the other level, details and arts in the shirt. A few defining elements like the flowers on the shirt and the flower garland. All these little touches. Just keep having a look at your reference. When you print out that reference, just look for the lights and darks and mix that value. Change in your paint color and put it down. And I'm going to just define and cut him a little bit on the arm shape as well. I have to do the background colors near the completion of the painting as well. So we'll get into that. And now moving into the face area. And this can be a real problem with a small painting like this. If you get bogged down in details, you're going to get into trouble. Unless of course you really enjoy photo real approach, then you could really take your time with us, but I want the fairly loose and carry extra type of painting. So I've got to be very mindful of lighten, dark and in between values, middle values, just that our political if you get a pain consistency era like I just did there, don't worry about it. You can just rub that off if it's very wet tissue and just Deb added, get that off and redo it. So like you said, it's all about the light and dark values and middle values. So you've got to get to know your values very well. The second element with color, of course, is colored temperature. Some colors are warmer, summer cooler. So you have added a little bit of warmth with a touch of red light into the burnt sienna and white. Now going for lighter value. And as often happens, if you add in white, you get a much cooler color. So be very aware of that. Adjusting the value lighter like there, that color temperatures wrong or had a warm that up with a bit of red light to get a more realistic flesh tone. So why it is very tricky in portraits, we dealing with light. Skin color, you've got to keep warming it up with burnt sienna or wired or even Alizarin crimson if it's in a shadow area. So still blocking in few of the empty spaces. Just getting that in. And because I'm using wash, of course, the paint will draw fairly quickly. I can come back in with another layer. And what I like to do is an act of putting a shape if it's the first soap on putting in it or put it in a bit bigger, and then cut in with a subsequent layer. So for example, if the loops here are a bit bigger, I can cut in with some of the color orange here. The hair just cut him a with flesh tone. And by reducing a lot shape, I get at more accurate. And it tends to be more interesting to. So don't worry about putting your shapes alert or bigger. Now quite a strong shadow on the side of the face. So I've got a bit of spirulina and blue into that flesh turn, turns it into sort of a coolish violet, almost to gray to bring soil around the eyebrows as well and get the shape of those islands that are quite prominent Of course. And now, cutting back to change those shadow areas, Mike them little more accurate. So we're getting there. And a few strong darks for the eyebrows and islands. And that immediately ads but more. Correct. O, correct reading of the painting. So few little touch ups, feudal little details might call the difference of course, especially with the character. And just doing these values in the loops. So the shape of the loop could have a bit more adjustment. But it's not a major issue for the important thing as long as you get the essence, the figure and, and we can quite clearly see already that just has a caricature of Elvis. And I needed to take a bit of a break from. Plenty in the face. I'll get back to the final details there. Play around with the highlights in the hair. Putting in a few just loose shapes are we'll cut back in with some dark and define those shapes and bit bitter. So mostly ultramarine and burnt sienna for the darks and then, um, but, of dark violet and a few highlights with some blue. And what are the little areas need to be defined. Store have to block in this Ormia. So let's quickly done an hour think rule, work in some of that background color and just clean that background up. So, but most are really an M somewhat my kid mass opaque and simplified. It's just a little fussy at the moment and there's enough attention with the main figure. So just just calms background on Katrina little gently does it with a flat short flat brush like this. It's not too difficult. Just take your time. And this just helps to simplify the scene. As I said, it's also sort of bring the figure forward. If you were doing an illustration for a book, it would be fairly similar to this. You could of course photograph it and returns it digitally if you wanted to. That is mostly the illustrators process. And this will just give you an idea. But sometimes have fun character. Could be, could be of a celebrity or just your friends and family. Can be a lot of fun to do. And wash is the ideal medium. So I think nearly they spend quite a bit of time on this. And now I'm going to get it done as well. I hope you enjoyed this and try it for yourself. 9. Village Lane Introduction: Hello, this demonstration is of a beautiful little village Lane. Now you'll have a look at the reference and you can see a ton of information. There's mountains, there's trees, there's cottages, there's the row, there's shadows. There's lots of color amongst the trees and bushes as well. And then of course there's the light. So what do you paint with us, especially in a small format? I'm using my little sketch book and I'm going to try and condense all this information into a simple statement of a sun-filled seem. So this painting is about choosing your subject and simplifying. Look for the color, look for the shutter pattern. Look for the shapes of the main subjects aren't choosing the cottage as the focal point. And I think it's pretty obvious focal area. So how are you going to make the most of that to get the attention on that? You will see that I use warm color and a very sharp edged bolding compared to all the organic and loose shapes around at of the trees and bushes. Now not all of that foliage needs to have sharp edges, some of it has to have soft edges. So keep that in mind. Hard edges where there's a clear distinction between one object and the other, will attract attention. Also color. You'll want mass strong colour near the focal area, and also value contrast between the light and the shadow. So use that to take the IR to your focal point. The other parts of the painting, the mountains, the background, and on the right-hand side of the image, there's nice details as well, but we've got a subordinate. Those make the edge are softer, make the colors less vibrant. And all of that, of course, is gone in comparison to your focal point is also my highlights in the shutter and road area will help to direct the iron to that focal point as well. Everything is in harmony and working to an object of to take that to the focal area, but also to Dillard the eye of the viewer. So if there's too much, there's too many bright colors, it can be distracting. You gotta have some areas calm, some areas more vibrant. So compare the reference to the final result and then have a go yourself and see how you can push the viewer's eye along gently to the focal area and have a few secondary, quieter areas. Whether I can have a look and rest a bit and then come back to the folklore area as well. You can add little touches tools as well. You could include a figure or to near the focal point, things like that. And that is up to you and your own expression of the subject. This is a short demo. And by now you should be quite familiar with how these work. Have a look how it's done, and then try it out for yourself. 10. Village Lane & Cottage: This is a scene from little West Cape village. Let me know if you know where this one is. And it's all about light, the trees and the mountains in the background. And just to sort of atmospheric kind of scene. A place that I visit quadratically and enjoyed being in the moment and came back to the studio and painted some of my holiday memories. Ok, let's have a look at the painting. This is the reference that's inspiring the painting. Now starting off in my little journal, says 300 gram cold press watercolor paper. So sketching out the scene, focusing on the bolding as the focal point. Getting into the shadow pattern, which is so important. And then just getting straight into it. Lots of greens, lots of blue in the background. And I'm going to offset a few strong oranges and some lights against those cool colors. So it's just mixing a selection. Yeah, that's, I'm sort of working out for the mountain in the background where the sun is hitting that mountain. That's sort of a Kurdish greens. So a lot of atmospheric involvement with those greens, really desaturating the greens with a little bit of orange and red. And getting that sort of dirty occurs. Well, this is just the first layer or will work over the mountain again. But it's important just to get going. So putting some colors down pretty quickly. And now looking at some of those atmospheric, gloomy greens, I don't know what you'd call them. And most of the colors, it's hard to actually come up with a name for them because they're all desaturated to some extent. Adding some wire tend to those greens giving a kind of almost a turquoise color. And now really cooling it down with some Syrian bit of ultramarine as well. Now you may be wondering where I get these oranges. And year may not see them in the reference, but they are some orange flowers. And what I do is I really look for the color notes and then exaggerate them somewhat. Yeah. Bring it a little bit of glue into the cream color for the cool shadow side of the building. So as I said, I just look for those color nodes and see if I can add in a bigger splash of color. And of course, orange against all the cool blues. That's a natural complimentarily relationship going on there. And that's important. The compliments between colors add a lot of vibrancy and excitement to what is really a very calm and relaxed sort of scene. But it still can get that punch of color. In the road that may look a little washed out in the photo. The sun is coming through, but you can see that you need to add some color in there as well. That bit of code that are warmed up, titanium white for the highlights. And yeah, beautiful, saturated green created with lemon, yellow and blue. It's all about getting color down quickly. Putting it down, picking up a killer notes from the reference, then mixing that's on the palace. Put it down, you can always adjust. So start off boldly, big shapes, lots of paint. Now, the all-important dark mass shapes. All those shrubs and hedges that you see. Those darks make the lights standard. Now the edge of the road or the edge of the sidewalk, don't make them too regular. Even if they look pretty straight. You want to chop them up a bit, make things irregular. Remember when you painting in a sort of painterly style, loose star. What's important is keeping asymmetry. Instead of symmetry. Everything's a little off kilter. A little messed up urine, there is a straight line. You may just have to chop into it a bit. And here we're talking obviously organic shapes. You don't wanna perfectly straight tree. You don't want anything like that, anything to uniform. Chop into it, messes around the but that adds variety and interest. There's shadows across the road, so we're going to bring some of those in. Yeah, I'm catching a few of those halo highlights around the foliage. Just blending those edges a little bit. So there is a transition. Otherwise it becomes a little too graphic and little to star last. All those shapes in the hills and mountains. Well, you can't really plan them. You just look for them and put them down where you think they need to go. And then assess and learn a little bit of ultra and Cerulean to make a strong shadow in the foreground. And that's so important to lead the eye into the painting. And once again, and ask warm, cool contrast. Few street lamps I can see there as well. Adding interesting little verticals to break the patterns up. More highlights, more halos, just pushing them in. Using a smaller brush for this, this is Sable brush. Very nice for these sort of things that holds a lot of moisture as well. Reestablishing some of those darks. Adding a few cooler blues into those dogs as well. And back into the mountain. Mass cool blues there as well. And this is just assessing, adding a few little marks, breaking up mass shapes, adding some interest. And finishing off with some good strong punch of color enters oranges and reds. Just picking it up and, and balancing it out here and there. But most of all around the focal area of the building. Let's refining the bolding, bringing a little bit of light and color into the roof. And that should be more or less done with the bolding. A few dark accents. And switch these lights on. I think stab of warmed up. What? Why to little bit of a yellow one or two little strokes here and there and then I can sign it off. And that such really quite a fundamental painting. Quite quick to do. Just about woman lot color and light and dark shapes. Woman cool color should say. And get the tape off and let's have a closer look. Well, I hope you enjoyed watching this video. I certainly enjoyed painting this one. And gosh, it's such a fantastic medium for nice little journal paintings like this. Something you can just sit back, start painting mode pressure and just have fun doing it. 11. Conclusion: Thank you for doing this course with me. How to improve and level up your garage painting is a never ending process and there's almost an infinite number of subjects and techniques you can try out with guage paint. It's only limited by our own imaginations. This course has given you a few entirely different subjects and given you some ideas on how you can go down or pursue a particular direction. What's lift is for you to try out these exercises and practice. Just put what you've learned in the first course, squash panning for beginners. And in this one, and try out new things and improve your confidence with your painting. There's no other way to build your confidence and then to actually put what you've learned into practice. So I'm sure you eager to get started with your next wash painting. And let me hold you up anymore. Get started straight away and keep painting. And please feel free to share the results with me. I'd like to know about your progress or help you with any questions you might have in the future till we meet again. Charles, for now.