Modern Acrylic Gouache | Alma De la Melena Cox | Skillshare

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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 29m)
    • 1. Introduction to Modern Acrylic Gouache

      1:23
    • 2. Overview and Supplies

      6:16
    • 3. Warm-Up With Simple Shapes

      14:39
    • 4. Warm-Up With Abstract Cutouts

      9:12
    • 5. Art With Acrylic Gouache & Acrylic Pen

      15:52
    • 6. Art With Acrylic Gouache & Stabilo Pencil

      12:55
    • 7. Art With Acrylic Gouache & Acrylic Ink

      14:52
    • 8. BONUS! Art With Acrylic Gouache & Fabric

      13:50
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About This Class

In this class, you'll learn how to paint modern art with acrylic gouache paint. We'll cover every step of the process from warming up with basic shapes to creating your own abstract art composition on watercolor paper.

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Acrylic Gouache is very versatile. It has the same beautiful, matte finish of gouache, however, unlike gouache, it's waterproof. This means you can overpaint it with other fun mediums like you'll learn in this class. 

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From left to right: In project 1, you'll learn to combine acrylic gouache with acrylic pens for stunning line work and detail. In project 2, you'll use an affordable Stabilo All pencil to create interesting contrast. In project 3, your acrylic gouache will stand out against a background of acrylic ink. 

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You'll receive lots of practice ideas in the Warm-Up and Abstract Cutouts videos, and I'm sharing all my warm-up drawings with you to use in your artwork (download the pdfs provided for the class).

There are also pdfs for the supplies for the 3 projects and for the bonus project.

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In the Bonus video, you'll learn how to combine acrylic gouache with several mediums, including fabric and dimensional paint, to create a fun, mixed-media artwork on wood.

I check the posts daily and I'm happy to answer your questions. I look forward to seeing your abstract artworks!

Meet Your Teacher

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Alma De la Melena Cox

Mixed-Media & Digital Artist

Teacher

  

Hi! I'm Alma, I've been a mixed-media artist for over 20 years. I'm the author of Collage Fusion and Calling Dolores—a novel about creativity. I love teaching at art retreats worldwide, and sharing all my techniques in my art studio and online. I think Skillshare is super cool ❥.

For more inspiration and tips, visit my YouTube channel.

 My love of mixed-media has spread to digital art. Check out my Procreate classes here and here. I share FREE mixed-media backgrounds and photos for you to use in your artwork. 

I'm passionate about creativity—mixed-media art especially, because it's a great way to express yourself intuitively and to make your artwork and digital illustrations uniquely yours. Have questions... See full profile

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Transcripts

1. Introduction to Modern Acrylic Gouache: Hi, my name is all Nadella Molina Cox. Welcome to my art studio. Today I'm going to show you how to intuitively paint abstract art using acrylic gouache paint. All of us can create simple shapes and turn them into a modern art work. Acrylic goulash is a beautiful, opaque and highly pigmented paint that is on trend. It has a lovely matte finish, unlike anything else, this is a great class for anyone wanting to explore their unique shape language in abstract art. In project 1, we'll bring our shapes together and give them a modern look with goulash and line work. Using acrylic pens. In project 2 will vary our line work to create even more contrast with our beautiful paints. And in project 3, we'll use acrylic ink as a backdrop for goulash to really make a visual impact. In the bonus video, you'll learn how to make a vibrant mixed media artwork on wood with acrylic wash and fabric that will add a touch of fun to any space. I'm so excited to share these projects with you. I knowing that your abstract art works will be amazing. 2. Overview and Supplies: Hi everyone. All the supplies are listed in the PDF in the class description, but I wanted to give you a quick overview visual of what we'll be using. I'm using a sharpie pen for the warm up so that you can see, but you can simply use a pencil. And for the cut-out video, I'm using card stock, but that's only so that you can see the contrast, but you can use computer paper for that as well. So for all of the projects, I use washi tape to keep my paper down. It will actually bend when water applied to the watercolor paper. I actually think that the painter's tape that I just showed you, the blue is actually better. But here I'm pointing to the fact that neither of these tapes will keep paint inside the margin because the paper is so textured paint just seeps through. Here. This is the Fabriano, a 140 pound watercolor paper I use. It's really, really nice. I also recommend Strathmore, but any watercolor paper will do. These paints are really beautiful and I think they do a great job on any paper. I keep my paper taped down to this larger piece of paper because I like to turn it as I'm filming. So just gives me a little bit of a margin. I also use paper towels and I have my water and here I'm going to quickly go over 0 and my ruler, and I have a quarter inch margin, which I really love on my ruler makes my life a lot easier. I have my pencil and an eraser. And then I love this number for Artists Loft professional series brush. And it's around. And then i'm, I'm showing you just some other round brushes, the Princeton brands, and those are really good as well. But I like the artist's loft brush because it's very affordable and it's consistently good. And then this little brush is an angled brush. It's three-eighths of an inch. And I love it because I can get into the tight corners, they're pretty easily. You can also use a quarter-inch or a half inch flat brush. Any brand really, even ones that are very affordable do a pretty good job. So test those out. Now, I'm going to show you, you want to give these acrylic pens. This is a Posca brand, a good shake. And then you always want to use a scrap piece of paper to press the nib down and that releases that first bit of ink before you use it on your artwork. And you can see that it creates a nice fine line. This is 0.7 millimeters and so is the white one. And again they are acrylic pens and this is how I create the detail work the lines, the little teeny white rainbow shapes in the wing and the bird's legs. Now with the goulash, excuse me, squash, I used black and white and this rose. And I really believe in the power of a limited palette. And these are the three colors I used. And I actually achieve that lovely blue gray with the black and the white. And you're going to see me mix these colors on the palette and you'll see how these colors are produced. But play with it, you know, whatever I do, you will not be able to do exactly. So you'll have your own blend of colors. But what I love about using a limited palette is that the whole piece looks cohesive and it's also much more affordable way to paint, and you can really extend your bright colors a lot. So in Project 2, I have a few more colors are a couple more. I have the mustard and the olive, and then I also use the magenta. And you can see that extended that olive and mustard with white to achieve all of those variations. I'm also using the stuff below all pencil and I want to show you how this works. It's a very affordable pencil. It's pretty cool and I'm showing you just the cool contrasting line that it creates. And here I make a little bit of a mess. You just use a little bit of a water and you activate it. And you can see here that it gets really dark. And for whatever reason my hands are really shaky. So I'm showing you the thin line. And here you can see, hopefully it doesn't get blurry there for you. And here it's a little bit thicker and so the line is darker. But I'm showing you how you can pull the color away. Much like watercolor paint. And it's really pretty. Anyway, this is a very fun pencil and this is just another way to achieve contrast in the artwork, which is why I'm introducing it here in Project Two. Last but not least, I'd like to introduce you to acrylic ink, and this is what I used for all of that brown background and this color is antelope. You want to give it a good shake because it, the sediment tends to be on the bottom of the bottle. Here I am showing you the difference between the line work done. It's dependent on how much you're squeezing out with your fingers as you move it around. But what's cool about acrylic ink is that it, it isn't as staining as watercolor paint is. It just has this amazing fluidity and you can control it pretty well. Which is really, really nice. And the other thing about it is once it's dry, if you get water on it, it doesn't ruin your painting. And here you can see I'm lifting it with some paper towel and just creates this really beautiful transparency. And so I just think it's stunning next to the acrylic gouache. So that is why we're using it here. And here you can see I have the different colors. I have my block by white, my small blue, pink, and sap green and all that's listed in the PDF. And you can see that the green was really extended quite a bit. I also used the white posca pen, the 0.7 millimeters for the detail work. The supplies for the bonus video are covered in the bonus supply, a PDF. So let's get started with our warm-up. 3. Warm-Up With Simple Shapes: Hi everyone, Welcome to this warm-up. We're going to be developing some basic shapes. And I'm going to focus on flowers and birds and patterns. And then I'm going to create just some simple art boards. And all of this is going to lead us to being very primed for our acrylic goulash on watercolor paper. And we'll be ready to create some abstract paintings together. Abstract paintings don't have to be based on anything specific. They can also be based on feelings or memories. And I'll touch on that later on in the video. I just needed to hone in on just a couple things like flowers and birds just to keep us, keep me focused on that because there are infinite possibilities. So whatever you decide to do, whether it's trees or a landscape or cityscape, whatever inspires you, I'd like you to use simple shapes as a springboard to practice. And later in the video you'll see I've got some images of trees and some simple animals for more inspiration for you. So here you can see that I'm using little rainbow shapes to create the petals around this rounded rectangle. And you may just want to practice rounding your basic shapes and see what that feels like. See if you're drawn to the rounded shapes like I am, perhaps you like shapes that are more angular. But here you can see that I am also rounding the triangle. And I like rounded shapes because I feel like they really give kind of a modern vibe to things, but that's just my opinion. Okay, so now I'm doing these diamond shapes and notice that I made it a little bit easier for myself by starting with the four that are kind of equidistant apart. So that way, overall it's somewhat symmetrical, It's not perfect, but that's okay. Think about to your stems. They don't have to be lines or even rectangles. They can be these different shapes. And also notice that leaves can be much different than what they are in real life, right? It could be a rainbow shape, it could be a teardrop. Here I'm thinking about a tulip. And this first tulip, I've just started with a rainbow shape and then added three triangles. So it doesn't have to be any more complicated than that. I'm thinking about, you know, the little I don't even know what the shapes are different, the different parts of a flower called but the, the stamen and the pistil. Again, these are just abstract little lines. I'm going to be speeding up the video now because I have a lot of warm up to show you, but I'm making photos of all of my drawings available for you in the Skillshare portal. So feel free to download, copy them, and use them for inspiration for your artwork. Here I'm creating four rounded triangles that are face pointing away from the center and then four that are pointing inward towards the center. Now I've added a wavy line and I'm just sort of practicing some different leaves with that wavy line. And now my leaves on that little rounded flower are more oval and the stem is just kind of elongated, rounded rectangle. And turning the paper sometimes helps me just sort of think differently. I know this seems like a really simple exercise, but it goes a really long way toward having the brain start to think abstractly. And this little burst here with the little circles and the lines. This is a very typical mid-century modern shape that always lens a modern look to artwork. And as you can see, it just is a matter of sitting there and taking the time to do it. Now, when we are painting abstractly or creating abstract art work, it isn't always about doing something that looks like something like a flower. It could be about a feeling. It could be just simply looking at a forest and looking at the negative space between the trees that might inspire us. This is just sort of a start and I will take you through just a couple of simple exercises and just a little bit Where we are thinking about shapes in terms of our memories and our feelings. So here I'm going a little bit bigger. I encourage you to do the same thing. And like I said, I'm speeding along. I want to be mindful of your time. So I'm going to start with some simple bird shapes and notice that we just have some rainbows, circle for the head, a triangle for the beak. And now I am using that as inspiration to develop a contour drawing of a bird. And I just gave that last little bird a little tulip shaped, weighing. And just playing with the different shapes inside the wings and seeing, you know, how, how can I stretch the curve of the bird to, to give it a little bit more personality. Now I'm adding some abstract shapes inside the bird and you can see that that creates a different look entirely. Again, you're welcome to use any of the bird shapes I use. And so here, I've just taken those simple shapes and separate them a little bit so you can start to see too that there's negative space at play. You know, that the lines that separate the shapes are just another design element. And here I'm elongating the legs and just using simple lines to create the outline of a bird. Here I'm going a little bit bigger. The little feet are just simply a rainbow shape with a line down the center. And I apologize that the paper went off the screen a little bit. I think I just got very excited and just started to forget about the video camera. But I think you can pause the video at that point if you're interested in seeing that one bird taking off. In this part of the warm-up, I'm just going to practice my pattern repeats. And this is a great way to keep the eye moving around your artwork. Once we start painting or creating our final pieces. And the only reason I'm creating a line of these shapes is that it really helps me at the top of the paper. It helps me to stay in the flow and not have to pause and think about, okay, what's another shape? I just sort of make a line of different shapes and then I bring them down into my pattern-making as I proceed. So I really like hexagonal shapes. I like sort of that honeycomb effect on here. I'm repeating the flowers, whatever you do if you are practicing your pattern is due at least three, either three clusters or three forms. I've added some wavy lines. I'm going to be repeating the wavy lines in just a moment. And here you can see I'm repeating those little seed shapes. Just fill up a piece of paper with with the patterns that appeal to you. Right now. In a little bit, we're going to be creating some just mini art boards where we will take the abstract shapes that we've been practicing and also bring in more of this pattern work. So I'm just going to keep going. And I will say something when I see something that I think is important for you to keep in mind. I think the most important thing here is to enjoy it. And I actually really had a great time creating, just doodling and thinking about new ways to incorporate some of these patterns. It actually really primes the creativity. You know, I was thinking about paintings that I wanted to do and all kinds of things. So I feel like this is a really important exercise and I apologize that we're moving so fast, but there's so much to cover and I'm really excited to share a lot of things with you. Okay, so here I'm thinking about childhood imagination. I'm thinking about hot summer days wearing bikinis, being barefoot all all over the place though, heat waves and my dad saying, let's go get an ice cream cone and we'd all pile in the pickup truck, you know, in our bare feet. And we would go to thrifty is and get a $0.10 ice cream in our bathing suits, which is really fun. So I'd like you to do that as well. Think about some happy memories that you had. This will especially be useful as we're creating some art boards. And which I'll do this in just a moment here, but I'm still practicing my pattern-making. And even though I've done it now a couple of times, you know, I just feel like it's sort of a good idea to think about layers as well. And so this is what I'm doing here. I'm adding shapes and forms on top of the pattern. So that when it comes time to actually paint, I can do some layered forms that are interesting to me. And it's just a way for my brain to practice seeing in layers as well. Okay, so now I'm going to jump ahead just a little bit and show you what I mean by these little artboards. I'm basically creating little scenes with the shapes that I have been practicing with. So like the bottom left-hand art board looks a little bit like a landscape. It could be Some stones, it could be a sunset. You know, it reads as a landscape. We all understand it to be that even though it's just these very simple abstract shapes. And now I'm doing my layering on top of that ladder shape and doing exactly what I've been doing this whole time, right? Which is, which is expressing all of the different forms that I've shared with you. And here I'm also seeing negative space. So between that bird's legs, there's a, there's an egg shape, and I love that hourglass shape, those two triangles point-to-point. That sort of means to me, you know, talks about, speaks to me, Excuse me, about the passage of time and how precious life is, and how we have to enjoy it as we go along. So that's what that means to me. I'd like you to just do at least six of these little artboards. I think it's really fun. I think you'll find that they're quite addicting. And it just makes me excited to fill in all of these. Just I love, I love contrasts so much so I can't even help myself. I have to like create contrast in the artwork. I can hardly wait to start painting. So I'm excited to introduce acrylic gouache to you if you haven't played with it yet and if you have, then we're going to have even more fun. And like I said, use your memories here. I'm thinking about a weeping willow tree I had as a child. I'm thinking about summer days and birds singing. And I'm also thinking about negative space. And this ice cream cone that has a rainbow ice cream on top of it and filling that shape. And the negative space here between the bird's legs and filling with some flowers and the sun and the moon inside that hourglass shape. Here I'm thinking about Didot bell bottoms, these in a bikini tops, a little abstract bikini top. And you know, I'm, I'm not necessarily thinking about anything more except for shapes. It. So that particular artboard was about a memory and then also adding shapes to it. I think you're gonna find that the brain is going to do, it's going to lead you down the path. So here I'm thinking about, you know, sipping a glass of wine outside as I watch a bird on the bird bath and the flowers and the sun and then the heat waves and the sprinkler and those little drops of water. So how can you express a memory in it's very basic shapes. It's the only way I can express it. Here. I'm just, you know, these are just very simple shapes that I'm just moving around the little artboard. They don't mean anything, but I like them, right? The heart, the moon, that little kidney shape that reminds me of a swimming pool or a palette. These things that means something to me. Here I'm taking the word joy and abstracting it. So there's a j and then an OH, that I just turned into a flower. And then the y is right in the center of the artboard at a diagonal. Feel free to use these abstract tree shapes as well as the simple animal shapes I created for inspiration. In the next video, we are going to explore some abstract shapes using cut-out paper. 4. Warm-Up With Abstract Cutouts: Hi everyone. In this video I'm going to take you through an easy way to create abstract paintings with paper cutouts. How I go about distilling shapes with a still-life and also with a photo of my dining room. And then I will just play with some shapes. So you can sort of see how I go about thinking about composition and negative space. In the last video, we drew inspiration from our imagination. And in this video, I'm going to use some concrete things in the world that I'm looking at in order to distill the shapes that appeal to me the most. And in this case I'm going to start with a still life. And right now I'm looking at the candle and just taking in the shapes that appealed to me the most. And I'm connecting them just with a single line instead of connecting them as we see it. And this is the beauty of abstract and this is why I love it and it's so accessible to everyone because it really is whatever we want it to be. I could draw just three shapes on this paper and call it good, right? I could also just start cutting out shapes as I see them and you'll see me do that a little bit later on the video. But I just want to show you just what I'm looking at. You can kinda tell the shapes that I'm focusing on and what I'm adding here to my drawing. With this final vase, I'm really going to break it down even further into simpler shapes because I just don't, I don't want anybody to feel bogged down in the details. So really keep it as simple as you can and actually painting with acrylic goulash, it makes life a lot easier when the shapes are just a little bit larger and there aren't a lot of details. Okay, so now I'm going to use colored paper so that you easily see the contrast of my shapes that I'm just cutting freehand. And there are obviously a lot bigger than what I drew, which I'm going to run until a little bit of trouble here. Because they're gonna, I'm not gonna have enough space on the piece of paper. But I just wanted to show you that I'm getting stuff cut out and I'm just going to place it kinda randomly because I am going to run out of RAM it, but in particular with the base. But I'll be deconstructing all of this anyway because I don't, I don't like composition overall. And you're going to see he, as I proceed that I cannot get away from depicting abstract garden scenes and birds. I tell you, I'm just sort of, that's just the way my mind works. I also do use imagination quite a bit when I'm making my abstracts. So I tend not to do very many still lifes or rooms necessarily. I always end up doing my, my personal themes which we can each, we each have our own abstract language. So that's what this is about. So here I'm going to quickly take you through how I deconstruct the exact shapes I just used to create something that actually is more appealing to me. And I'm thinking ahead at my painting. I always like to see or at least audition some ideas when I'm doing these abstract cutouts. And here you can see I've added just an abstract flower. I connected those candle pieces together with the pen line. And here I'm just using one of the shapes from my vase and I'm adding those little rainbow shapes around it to depict flower petals. And here is my stem. I encourage you to move your shapes around many times and add the same kinds of shapes that you practiced in the warm-up video to these abstract cut out pages. So for my dining room, I'm focusing on the light fixture shapes. I think that they were interesting. They inspired me. And then that oval represents the dining room table. And I quickly abandon the whole idea of trying to get this to look like as something that I see. I liked the proofs on the flowers. The, reminded me of these larger are these thicker rainbow shapes. So here you see I'm incorporating those with the shapes. But nothing is really feeling right? And that is where we need to pay attention. You know, what, what is the feeling that we're getting and right now, just being really loose. I mean, I, I'm using all the shapes that were inspired by the still-life and the image of the dining room. But I'm configuring them in ways that actually feel good to me. And that is what abstract creation is about. I really feel that It's very different than painting. A painting realistically because there's this internal there, these internal symbols and the way we compose our images, they're very personal. And there's this, I feel like I'm a child, you know, when I'm putting things together. And actually the simpler the composition, the happier It makes me when it comes to abstract. And I'm a person who can put a lot of detail into mixed media paintings. But there's something about the abstract process for me that I'm very drawn to its simplicity. So here's what I do. I take a lot of photos as I'm putting these compositions together. And here you can see I'm using, I am inspired by one of the drawings on the left. Break up your lines. That's how we create interesting negative space too. And when I, when I'm speaking about negative space, I'm speaking about all of the shapes around the actual cutouts. So you know what design is being created when I place these papers, I'm looking at, for example, this is a really good one because there is a lot of interesting negative space, all the shapes around these particular, this particular scene. There are interesting to me. So now I'm cutting out shapes just randomly without any kind of drawing. And I encourage you to do the same thing. Even looking at the shapes that result from your cutouts, use those as well on your paper to create something. Now here, I don't, there isn't anything in particular that I'm thinking about. I liked the way the shapes came together and it's inspiring me to create some line work that I might think about using in my painting. And so you can see here that I haven't done a drawing like this yet. But just the practice of putting the abstract pieces together has inspired something entirely new. And I end up using this particular artwork as Project 2, inspiration for project two. Maybe not with all the details, but this is the one that I end up using. So I took a picture of that last composition and now I am going to be working on this last cutout example for you. And I'm thinking about the last one, how I started to use some patterning. I think I'm gonna do the same thing here. Just to show you how I include here, I'm going to add in some of the hexagon shapes. And like I said before, when we were practicing from our imagination, you want to repeat whatever pattern you do decide to use. And it's also a good idea to think about changing their size. So I'll make, what I'm looking at here are two sets of patterns. And now I'm increasing their size. So that's my third set. So remember I said do at least three and you can vary their size. And here you can see I'm overlapping the legs over that pattern, which gives it more interest. And I would really like this particular composition. So this is going to be the inspiration for project one. So in the next video, we will start painting. And I will take you through the process of using acrylic wash. I'm really excited to see what you guys end up creating. 5. Art With Acrylic Gouache & Acrylic Pen: Hi everyone. In this video I'm going to show you how I do and acrylic gouache wash, as well as painting with solid color. How I set up my watercolor painting is covered in the supplies, but I'll just repeat that. I'm giving myself a quarter inch margin all the way around and I'm bringing my paper down so that it doesn't bend with a little bit of washi tape. Okay, So one thing that I want to be mindful of here as I use my shapes, I'm actually just going to use the exact shapes here to do my outlines. I liked that they are a little bit off, and I also like that, that they're a little bit rough. But the main thing I want to tell you is that the bottom of my rainbow, I want those lines to be parallel with the bottom. And here I am cutting my shape out just so that it's less symmetrical. And I like again to use that negative space. So you can see there that it was just a little bit off my line work. I'm actually going to use a pen for later, but I am going to use my little bird. And here I'm just using a regular pencil. And if you don't like to see pencil lines in your artwork, you can always use a much softer pencil. I actually do like my pencil lines for this particular artwork. You're going to see the end. I'll focus in a little bit more. The lines aren't really dark. And I apologize for that. I did try to get as much contrast as I possibly could so you could see them. So that's why everything is a little bit tone down. Here. You can see I just hand drew hexagon shape and I'm using it to position it. Right. So, so I was using the outline of the beak a little bit to guide that first hexagon square, you can kinda see that there's just a nice space between the bird and the hexagon. And instead of doing as many, I've just decided to two as I was putting this together. And this is what happens as you start to do your drawing. You'll start to see something that you prefer. So instead of doing several hexa, hexagonal shapes, I've decided to do to that sort of look like a flower to me. So I'm thinking about actually my past is in quilting. So this particular pattern is really common. And I'm just going to go with it. And so here you can see that the one hexagonal shape is actually touching the bird and that's perfectly fine. And here I'm overlapping over the bird. And that's just, you know, I haven't decided yet whether I'm going to do something with paint. So feel free to overlap and you can always erase lines that you don't use later. Okay, so I'm just going to keep moving here. I just hand drew the larger hexagon shape and I'm going to just do the repeat of that flower pattern. And if you look closely, nothing is really lining up my hexagonal, my hexagons are not perfect. I have not measured them. So that's something that I really like to have kind of just an organic hand-drawn look to all of my work. But if you prefer more precise measurements. Go for it. Okay, So as I described, I'm using a limited palette and here you'll notice that I'm using much more white than I am pink. And I'm going to use quite a bit of water and I'm going to slow down or I am slowing down the video quite a bit. So you can see just how important it is if you want a very soft even tone on your background like I do for this particular piece. I'm going to take my time to blend in all of the paint so I don't get any splotches of a sharp color. And you can see here too that the water also lightened the blend of white and pink. So using a lot of water, I'd rather it's sort of like watercolor paint, but also different than watercolor paint. But you can build on it. And I feel like acrylic wash blends a little bit better than the watercolor. Watercolor tends to stain paper a little bit easier, you know, depending on the brand, but I really love this product. So you can just see here that I'm using a lot of the color that's already on the paper to extend, extended throughout the paper with more water. And here you can see I'm pulling up the color. And, and I, you can see too, that it does a really good job. The pencil does a good job of serving as a barrier. I mean, it's not a perfect it does happen where the color can bleed into the spaces where you don't have it outlined or even where you do have it outlined. But for the most part, I I really like that. There, you know, that it actually does respond well to the pencil line to block it in, but you still do have to be careful. Okay? So here I'm actually just adding a TNC, TNC bit of the black. And you can see that it's giving me this really toned down grayish purple. And I want to keep all of my background really soft because my intention is for the bird to really stand out with some saturated color. And I think, you know, as of right now and thinking, I'd like to go with just straight black for the bird with some colorful details. So here you can see, I decided, okay, I'm not, I am going to avoid the beak. I am not going to add a different color for that part of the bird's head. But I'm using a combination for the hexagons of that lighter wash down, purply color and also a little bit darker pink and it's just the same pink that I had. It just has a touch like the tiniest amount of black. Now, just be really careful when I say a touch, I mean, just take the tiniest tip of your brush and add just a speck of black because it is intense and it will alter your colors significantly. So here you'll see that I'm trying to make sure that my hexagons have kind of a different tone as we go around. And that's so that the eye moves around. You know, if I endeavored to have every single one be the same, it wouldn't be as dynamic. So even though it's a very soft pastel background, there still is quite a bit of movement because my hexokinase or different colors. Okay, so now you see that I am using, I am going for these straight out of the tube, pink and it's really bold and brilliant. And so I say this in every single video that I've made, I think that the human eye is drawn to contrast before. It's drawn to color. So it really, this is why I really believe in the power of a limited palette because it sort, it forces you to use a range of tonal values. And so what that means is I can extend my pink considerably with white or black. In the same way, I can extend the blends with a white or black. And so I'm going to get a huge range of contrast. So here I'm adding just a tiny bit of, well, actually I've just decided I'm going for the straight black. I was going to have it be more purply and then I just decided, no, I don't really want this bird to be purple. I want it to have even more contrast with the black. And you can see me moving between the two brush types and brush sizes. I really like that angled brush that I used initially. This one's great for getting really precise lines. I want my black to about right there next to the pink, really sharply. So that's why I'm using this. I believe it's the number 2 round. That's correct. I hope that coincides with what I said in the supplies. I believe it is. So let's see what else can I say here? I'm not using as much water, so when I dip my brush in the water, I'm just dipping in the very tip just to keep the brush moist and just to keep the paint moving easily. So don't just be really mindful of that. And the other thing I want to say is, obviously I've been doing, I've had a lot of practice. I've done several of the paintings with acrylic wash. But if this is your first time, use this first artwork as your practice and go easy on yourself. And remember it's only paint and we can always paint over. So on that subject, I do want to say that acrylic wash does not layer as well as just straight acrylic paint. But if you are going to paint over, it's better to start with your lightest colors first. I mean, this is, I don't even like giving you roles, especially if you're a beginning painter because you're going to learn as you go. But for example, if I decided to change my bird to pink from this point, like, you know, he's black but I want him to be pink. It probably wouldn't do very well to put a lighter color on top. Now here you can see that I am, I just decided to make the gray of this rainbow lighter. And it works because my darker gray is still wet below so I can blend that really easily. It's also not a much lighter color that I'm putting on top. But in general, we want to build from lightest to darkest and not the other way around with acrylic wash. So what I love to is, well, you're going to see this. Hopefully it, you'll see it easily here on video, but the mat, it dries so lovely. There's this really nice matte finish to the artwork. And that is wonderful. That's just that really saturated color. And here I've decided that I'd like the centers of those patterns to pop a little bit more so we get the sense that there really is kinda of like this flower design. And I don't know if you can tell there, but there's one that looks like it's missing. It's like a white hexagon between those two flowers on the top. And I'm going to fill that in with pen work. So that's just another way to bring in another element and you'll see me working on the details next. Okay, so I'm making sure that my acrylic wash is completely dry and I'm using that piece of paper, the green piece of paper just to guide where I'm going to do my pen work. And you saw me cover just how to use the posca pens in the supply video. And so in this section, I just want to talk through my decisions as far as these details. So my whole intention is to keep the eye moving and I'd like to repeat things that I do. So for example, when I put in that little ground for the Little Bird's Foot is standing. There is some dots and I have three on one side and two on the other. And all of that is intentional. I like having an odd number of dots. And here I'm adding just a couple more floating hexagons and I'm incorporating that. Repeat again with the dots in the lines on the hexagon. And that's where the interests comes in with the little details. And here I'm just giving the bird just a little bit of an eyeball. And once that dries, I will also I think I put in a little bit of a white dot just to give him a little bit of eye shine. So here I'm doing the little designs that we practiced during the drawing with imagination, all the abstract shapes, and that's where all that practice comes into play. So here he is, and you can see that. And he's pretty much done, which is why I signed the papers. So I actually take a little break and when I come back and everything else is dry, I bring in a little more detail work with the, with the white posca pen. So I recommend taking lots of breaks because sometimes o here, this is a really good example of where I accidentally blogged. So I quickly use a wet paper towel to just lift that blob of Posca pen paint. So as we covered in the supplies, you always want to have a scrap piece of paper to do that initial, you know, discharge of the ink. And here you can see that I also painted over with a little more of the acrylic wash and gray just to clean up that little Blache. And now I'm continuing using the white detail work. And this is so subtle you really, it's so fine these little lines that I'm drawing in around the sun. But when you have little details like this, it invites the viewer to come in closer. Plus it's just really fun to give the artwork a little more personality. So the washi tape is now distracting me and I want to kinda take it all in and see, okay, what else can I do here? I'm cleaning up some of the paint that bled over the pencil line. As I described before, tape never really keeps the paint in. Okay, so now I've walked in after a nice little rest and I decided, you know, I think I'd like to give this bird kneecaps. I mean, it's so random you guys what, how my mind works, but I want to just do another repeat of the rounded rainbow shape to give this guy a joint. And I'm thinking about, you know, those cute birds by the beach that I see scurrying about. And I just love how their little legs just have a really prominent joint. So that's why I'm adding the nice. So I think that with that, this little bird is done. And I hope you've enjoyed this video and I'm excited to show you more in the next one. Be sure to share your projects. 6. Art With Acrylic Gouache & Stabilo Pencil: Hi everyone, Welcome to Project 2. In this video, we're going to be focusing on linework and negative space to create maximum contrast with our acrylic wash. I chose this particular composition because there's a lot of opportunity for negative space with thin and thick lines between the shapes. So pay attention to your compositions and see if you can't find one that has, has that happening in it. So in just a moment I'm going to change the tone a little bit of the video and not so that you can see my pencil marks a little bit better. I hope that that is helpful. And I'm only going to transfer the main shapes. I'm not going to think about the details yet, just getting the ones that are more prominent. So these larger shapes. And something to keep in mind here is that it doesn't have to be exactly as you designed it originally. If you see something a new position for your shapes, just try it out. You know, trust yourself. So for this piece, I think the magic is using this stuff below all pencil that I introduced in the supply and overview video. This is an affordable pencil that has a lot of impact and I think it goes along way for offering some very interesting linework and contrast once we activate it with water. And you'll see me do that momentarily. So here I'm applying and medium pressure. And I'm just simply going over all of my pencil lines. I'll pause here to show you how I activate the line with water. I'm just so excited to show you. And here you can see that it gets significantly darker. And I will zoom up here so you can see to just how lovely there is this little bit of watercolor effect around the dark line. And you can thicken this up as I'm doing here. You can make it thinner. So something to keep in mind is that this is activated by water. So as you're painting, just be careful not to get extra water on this line or accidentally drip water on that line. Just be a little more mindful. If you want to wait until you're done painting to activate your pencils to be low pencil line, then that might be a better option for you. Also practicing on another piece of paper is another option just until you feel comfortable. Of course, anybody can do this. So I'm not saying it to be intimidated, intimidating in any way because it just takes a little getting used to how much water to use. Soon effective way to emphasize negative space is shape within the shapes. And this gives us some room. And you can see here what I'm pointing to that warm-up drawing. How I'm just Bringing in some organic shapes into these petals. And they can be any shape. You can do circles, ovals, stars, whatever, whatever you'd like. But what I'm focusing on is leaving myself enough space between these shapes so that, you know, if, well, I'm going to actually leave a little bit of whitespace intentionally. And again, that just emphasizes the line work in the overall painting. Jumping ahead, I've outlined with the stubby little pencil and now I'm just activating it with the water. And soon we will be using our wonderful paints. Okay, so now I'm going to do my very best here to extend that green and that yellow as much as possible with the black and the white. And remember again that just the tiniest little bit of black. I may not even use it here, but I have there the black and white just in case I want to create as much contrast as possible with these two colors. And I'm going to speed up the video because I'm a very slow painter. But you can see here that I'm using my little angled brush. I'm taking my time. And I recommend you rotate your paper so that you're not twisting your hand around. And I like to paint towards myself as much as possible. I think it makes it a lot easier. I love these colors so much that I'm almost tempted to not even use the pink at all. Because honestly, for whatever reason that these are the ones that really are drawing me right now. And in fact, if you'd look at my kitchen, I've got little tapestries on the floor that, or this particular yellow. I just absolutely love it. Anyway. So you can see here now that the negative space is really making more of an impact. And I am going to be using the pink between, but I'm gonna do my very best to maintain a little bit of a white line even when I bring in that pink. But you may love your painting at this stage with all that negative space. And you can always create details with either the Posca acrylic paint pen or, you know, using the stuff below pencil very carefully. And because remember it, It's very staining. It's very much like watercolors that way. Or you can just leave, you know, just a lot of nice white negative space, which is really pretty too. So for this shape, I'm going to leave even more whitespace around, since I won't be using any pink in the space because I love the white negative space inside of my flower petal shapes. I'm just taking my cues from there. So you just saw me mixing a little bit of the yellow that was on the palette with this magenta and it brightened it just a touch. And it's a good idea to do this if you want to strengthen your painting so that it looks even more cohesive. We've introduced a brand new color. And so just adding just that touching yellow is one way to do that. And I'll slow down just a little bit. And actually I'm going to zoom in just a bit so you can see that there is just the tiniest bit of whitespace I'm doing my best. It's really hard in these little narrow channels. But it's one way to emphasize the negative space. And you're gonna see that my pink is going to touch the green and it's not a big deal. And if you only want to create whitespace between your stability pencil and the paint on that edge. It's perfectly okay. Really what this does is when the whole painting is done, all of the little imperfections add up to keep the eye moving around. And like right there, the pink is touching the green. And it's not a big deal at all, because overall it's going to be fine. You're just sort of creating the illusion that there is just this very fine line, which is not as thick as the one that's right next to the pencil line. So there's just variation and it's just contrast. Okay, I'm speed painting through the rest of this and so that we can get to the detail work to create more contrast. But I do want to just mentioned that, you know, you don't need a lot of paint colors to make an impact. So black and white really does go a really long way towards changing just a few colors. So don't feel like you have to make this huge investment to create something really stunning. Okay, So when I'm done finishing with this painting portion, I've decided to use my posca acrylic pen to create a little more contrast. So the acrylic wash is going to drive fairly mat. That's why I love it, That's its beauty. So I'm going to use the acrylic pen tool is to create a little more contrast since it, it doesn't have a matte finish, it has just a teeny bit of a gloss finish. So here I'm inspired by the tape actually that's holding the paper down. I love that black and white look with the colors that we have here. So I'm going ahead and using that as inspiration, but I'm varying the size is just to create a little more interest. So my details are different than the ones I had in the cutout. I love the arc of this particular shapes, so I'm mimicking that with lines. And it's just another way to emphasize something in the first layer that I really love. And it's okay to change your mind. Once you start painting a piece, listen to what it's calling for. I was actually surprised. This is not usually a design that I would create in my other artwork, but I think it really goes well with this piece. So I'm using my doodles as inspiration. I love just that hourglass shape. And I'm looking around to see, okay, how can I vary it? How can I make it different? Does it have to be connected? It does not, but it has a similar form, right? And again, using that shape within a shape to just add a little more detail in another opportunity for color and bringing that magenta that I used above down to the bottom of the piece is another way to make it cohesive and a repeat of that color somewhere else, the composition. So here you can see I have three variations of the hour glass. I have this one that's connected and then one that, you know, there's basically two parts to it. And then one that's just sort of half of the shape at the very bottom. Okay. So I'm taking off the tape just to get a real sense of what we have and to see if there are any more details that I'm inclined to make. And here you'll see me just using the pen to bring in some more of the lines. And I encourage you to just repeat whatever you do. Just repeat it. Maybe three times. This line work that I just did at the center of the flower mimics the line work of the kinda, the abstract rainbow lines that I have going peas. And here I'm mimicking the petal shapes from the flower and I'm bringing something that looks a little kind of echoes it but isn't the same, right? It, it has sort of this abstract look of a flower as well. And you don't have to paint inside all of your shapes. They can just simply be another opportunity to bring in pen work, just something different. I've really enjoyed sharing this process with you. I hope you've enjoyed it as well. In the next video, we're going to be combining acrylic ink and acrylic wash for just a little bit of a different look. And remember too, that even just simple little dots can add even more contrast to your painting. Please do post your images of your artwork. I'd love to see them. I'm sure they are going to be super cool. And I'm excited to share the next project with you. Thanks everyone. 7. Art With Acrylic Gouache & Acrylic Ink: Hi everyone, Welcome to Project 3. In this video, I'm going to be using this little art board. The first one is inspiration for this piece, where we're combining acrylic inks, which are very transparent with the acrylic brush, which is very opaque. And I'm going to be transferring most of the designs, Not the little shapes inside the ice cream cone, but pretty much all of the big shapes. And even though my warm-up is a rounded square, I'm going to do my best to transfer it onto this longer piece of paper. And the video is toned down just a bit so that you can see the pencil lines. And I'm using this little guy for inspiration. I like some of his details. So the main thing as I'm creating the design on this piece of paper is I want to give myself quite a bit of space between my lines because acrylic ink, as you will see, is going to produce a much thicker line. Now, I could use a very thin brush to place the ink on this piece of paper. But I really like the method that I'm going to show you, which gives me a really thick line. It'll be very varied. So just trust me when I say I need to create some space and you're going to see pretty soon. Why? Okay, So I'm just cleaning it up and I want to give myself lots of space for the flowers between the birds long legs. So I'm just widening those a little bit more. So as I explained in the supplies an overview, once I've given the acrylic ink a good shake, then I'm going to use a scrap piece of paper to get that initial bit of ink out of the dropper or so that I don't accidentally create a little puddle on my artwork. So I'm just going to very gently press the dropper so that I get a little bit of a flow going. And I really do recommend as I did before, to practice using this. Now, the goal here is not to create perfect line. And you can go over your line and you can see here I'm having to read dip in order to connect those two lines. But it's okay if there are gaps between your applications. And it's okay to vary the line significantly because you're going to see that we're going to be using a lot of the excess ink to create the background as you saw a photo of the artwork that I'm going to do. So it's going to be dark in some places and excuse me, lighter in other places, more transparent. So the, you know, the charm of this is kind of the, the childlike quality of it and the lines are very imperfect. So please have fun with it. And I just recommend that you not do super tiny details with it. I mean, I think this is about as small l, That's not true. I actually, my sun and moon end up being quite small, but, you know, it's just a matter of applying little pressure using the dropper. So I'm moving quickly here just to get all of my pencil lines inked up. And I apologize that my paper came off the end there of the table. Sometimes when I'm working I just get so absorbed. So this is where I want to slow down. And here you can see that I'm just using a little water to drag some of the paint away from the lines. And I'm not using all of that incline. I'm just using just little parts of it. And here you can see me doing that with the tip of the brush and then gently spreading that color throughout. And the goal here is not to have it all be even I like the dark parts of it and the light. I think what I'd like to do though, is incorporate it so the transitions are smooth. So that's what I'm doing here. But you can see that I'm not doing anything to remove the darker puddles. I really think that that look is really cool, especially once the acrylic wash, you know, is on and is contrasting. So I'll keep the video moving slow for just a little bit longer. And then I will speed it up just so that we're mindful of your time. And I want to go ahead and I'm excited to show you the next part because then we'll really see the contrast between the ink and wash. Actually do want to show you a little bit slower here that here with the rainbow, there is quite a bit of ink and it's a big puddle, so the color is super dark, so I just want to give it a little bit of a dab just to lift some of that excess up with paper. And that's, you know, it's purely just I mean, I just told you that I like the dark and the light, so I don't want to get rid of all of it. I just don't want it to be so dark in such a puddle right there. I don't want the eye to focus there by the rainbow, right? I want the bird to be more of the focal points. So that is why I'm actually making sure that he has or she has a lot of contrast around, around it. And that's mainly, I want there to be dark and light because it keeps the eye moving and it creates depth for the bird even though it's a flat piece with the leaves on the weeping willow or what I'm describing as my Weeping willow. I want to be really careful because I do like some of that white space, so I'm not going to be painting it all n I want to leave whitespace for contrast. And so you'll see me here. I'm moving just a little bit slower and I'm dragging. I'm making just a couple more lines. I really like having that dark and that light. And you've heard me say it over and over again. For contrast, the human eye sees contrast before it sees color. And so I want to capitalize on that by not over painting it. Wait until this layer is absolutely completely dry before you move onto your next layer, which is the goulash. Okay, So once it was dry, I erase some of the extra pencil lines. And just like in our other videos, I just use a tiny bit of water. To get the guage moving. And I just absolutely love the contrast between these two mediums, the ANC and the wash. And I don't want to, I do want to create that white line between the line of the ANC and this opaque paint. So i'm I'm gonna get close, but I'm going to give myself a little bit of space. So I just want to have the video slowed down here so you can see that. And then I will speed it up as we move through the painting. And I will slow down in key spots that I want to share something with you. So for the painting of this piece, because this pink is so intense and I know that my bird is going to be blue. I want to be careful not to use the pink to overly use the pink because I don't want to detract from the bird. So here I'm going to do detail work with the Guassian. I'm using the very tip of my brush to create tiny little green circles. And instead of painting in a line of green, I'm giving myself the opportunity to showcase the green of the tree, but I also am contrasting it against that white space. So that is one way to create more depth in the piece. More contrast and use of negative space. I really love this whole process. But this kind of detail work just makes my heart sing. I love how, you know, creativity is just guiding me to towards the next step. And I hope that you are listening as well and trusting yourself to take that next step. If, if your creativity is saying, I want more of this or more of that, just do it. Now here I'm varying the flowers and here I'm also adding in a diamond shape into my cone. And again, using the whitespace right, to just do contrast. And also just note that I'm burying the colors of the diamonds so that we have value differences between them as well. So I run into a little bit of a problem with the flowers and I want to just talk you through it so you can see my fix for it. I wanted each of the flowers just to be a little bit different from one another. And so I begin by painting this largest flower. I, you know, I'm painting the inside of it. This obviously this pink color and then I change my mind because I immediately don't like it. So I think, oh, it's the color but it isn't, it's actually the shape of the inside of that flower. So instead of continuing on, I'm trying to lift the paint, but it's really. You know, turning into a bit of a mess. So instead what I'm gonna do is I'm going to let it dry completely. I'm going to move on to the next flower in when that largest flower is dry and we're just going to paint the whole thing green and it's going to be different than the other two. But I learned what I didn't like about painting that big flower and that was creating this blob of pink in the middle. So instead with the subsequent smaller flowers, I'm doing, I'm doing a lot of negative space, you know, contrast. Instead of painting a blob, I just painted some pink marks that are like little rainbow shapes around. And probably if it was a different type of painting, if it was just something more painterly, blob would have been fine and I would have feathered it in with another color. But because this is sort of a clean, modern look, I, I don't, I don't want, I want crisp differences between the different shapes and the different lines. So I'm just finishing up now that the green flowers dry, I'm able to add the center. And now I'm going to go ahead and add in some details and I'm going to use a combination of the hogwash And also my posca acrylic pen. Just very subtle. I want to brighten up the lines in the cone. And instead of painting, I'm going to use the acrylic pen. And just adding those simple lines to the trunk of the tree, just to emphasize that triangle shape. And one thing that I don't like, o and adding sprinkles to the ice cream cone, of course, one thing I don't like is the space on the right-hand side. It's just kind of this empty space. So I want to do something not to detract from the bird or the rest of the piece, but I do want to echo the diamonds of the ice cream cones. So I'm just going to create a little bit of a guide for myself using a light pencil mark to make a line so that I can create some diamond shapes. So in order to keep with the whole feel of the artwork, I'm going to use the acrylic ink again, so I'm just taping everything down and that's because my paper is bending and I don't want any ink to run towards one side. And the reason I decided not to, not to paint the diamonds end is because I think that that would have made them stand out. So I know it seems counter-intuitive to use the acrylic ink. But in fact, I think actually it makes it feel like it's blending. The diamonds are blending into the line work like the rest of the artwork. So I'm letting the acrylic ink dry right now. And you can see that the paper is popping up a little bit because it's really bending. So I'm just taking the opportunity to add in some more details. And I like the lightness of the hour glass. I'm calling it a son, that little circle in the top portion of that hourglass. And so that contrast is making me feel like the bird needs more contrast. So that's why I put the dots in on its underbelly, on its underside with the Posca pen and it reads light blue because that white is a little transparent. So here I'm going over it again just to make the contrast a little bit stronger. And I'm just giving some details here to the diamonds. And I'm just about done with this artwork. I'm just adding just these teeny tiny little lines and details just to make it even a little more special. And then I started to add a ground here, but I can't really see the white so well. So I've decided that I'm going to instead make it darker. So I'm going to let that dry as well. And I just felt like the tree needed to be grounded. So in the next video, I'm going to bring together my love of mixed media with a few more things including fabric and dimensional paint. And I'll still be using acrylic wash because right now I'm having a love affair with it. And I hope that I've inspired you to try it out and enjoy it as well. Thanks for posting pictures of your work in the Skillshare platform and I'm happy to answer any questions that you have. Thanks a lot you guys. 8. BONUS! Art With Acrylic Gouache & Fabric: Hi everyone, welcome to the bonus project where we are creating a mixed media artwork using fabric, acrylic, gouache, acrylic ink, and also dimensional paint. Here you can see that all the supplies are discussed in the PDF. So this is just a quick like extra thoughts about what I'm using. Here are my fabrics. And notice that they are a light value on the left with the yellows and greens, a medium value in the center and the darkest value on the right. They all have patterns and they're just a little bit different from one another. But you can actually vary your patterns considerably. I have my very affordable foam brush there on the right. A quick word about the fabric again, please make sure that you have a lot of contrasts with your fabric. Okay, let's just go over the job match. The heavy gel matte that I will be using is this Golden brand. But you could also use mod podge in mat as well. And I recommend Matt because the acrylic gouache dries matte opaque. So you want to have the consistency of the look if that's what you're going for, which is what we are going for here with this acrylic gouache class. Here I'm showing you the consistency of the mod podge, which is very fluid compared to the mat Excuse me, at the gel medium that I'm going to be using, which is thicker. And I'm using this thicker gel medium because it is for fine art. It is archival, it will not yellow over time, and I may potentially sell this artwork. So that's why I want to use the golden, but the mod podge is perfectly fine to use and it will last years and years and will look beautiful and so don't worry about it. Okay, So this yellow fabric is going to be my focal fabric. And you can see that I, I like doing straight sharp cuts, meaning I use my scissors to cut or a tear it and I have my frayed threads, which I also love to incorporate into my mixed media artworks. So here I'm just positioning my fabric pieces. I'm not going to be using a lot of fabric because I'm introducing this idea to you. And I just want to show you how I use the products and just see if this is something that you enjoy. Notice that I'm using quite a bit on the wood under the fabric, and then I'm also using it on top of the fabric. And I'm smashing it and getting all of the air bubbles out and trying to get it to lay as flat as possible. I'm using a little bit of water which is totally okay to do. You can actually dilute your Joe medium with water a little bit and it will still work beautifully. So it lasts longer that way. But here you can see I'm taking my time smoothing everything out, making sure it lays nice and flat. And that is the look that I prefer. Some people don't mind having the air bubbles and having it having it be more bumpy, but I like it flat. So here I'm doing, I'm going to, I'm slowing down the video so that you can really see how I place this in position. And I will also incorporate my loose threads which I really love in artwork, especially artwork that is meant to be more childlike and playful like this one is. So I do recommend that you start simple. This is a flower based on one of my doodles that we did in the warm-up. It's just very simple that the rounded center, and you'll see that I'll be, my petals will be pretty wonky when, and I'll just paint those in. So the beauty of these gel mediums, what I love about them is both this Golden brand and also the mod podge, is that they encapsulate the fabric. So when it's totally dry, it's like the fabrics encased in plastic essentially, so you can paint over it again once it's totally dry and the paint will not absorb into the fabric. So that is one thing that I love about it is that I can do layers and layers and layers of fabric and paint and paper, which I absolutely loved to do. And you know, it all works, works out really well. The paint does not absorb into the layers beneath because of this gel medium. So here I'm just speeding up and I'm applying the other fabric pieces and I'm not going to be using very many. So I want to talk about the background. Now. I've decided to keep this wood background plane and not paint in the whole thing, but you absolutely can do that with either the guage or excuse me, the acrylic gouache or acrylic paint. It has to have acrylic in it. Because if you used just plain guage, it's water-based. So if I were to apply a gel medium to drag wash it, it will smear. The color will smear because it doesn't have that polymer in it that it needs in order for it to not bleed. The colors won't bleed into each other with the acrylic products. So if you're going to use paint, please use acrylic paint or the acrylic gouache and make sure that they are a 100 percent dry before you add your fabrics. This project I'm working on is very intuitive, you know, childlike. And I'm flying by the seat of my pants a little bit. But if you are interested in more mixed media, please check out my doodle class. It's much more stepped out. And I take you through a progression where we plan a piece and it's drying and if that's what you prefer, please take a look. So here all of the gel medium is completely dry and I'm going to slow it down just a little bit so that you can see. And how beautiful acrylic gouache paints are against the fabric. I got my little bit of water as I've shown you in the other videos. And here you can see that my paint is going right over the edge of my fabric. And I absolutely love that look. And I'm going to now work on just adding some more shapes that echo the ones that I already have. And I'm just being careful to not get paint on other parts of the world because like I mentioned, I want this to be just plain wood and I feel like it has that contemporary vibe. And you can see that I went right over that extra thread that was below. And I just think that's super cool. Okay, so here you can see that I'm just blending now some colors and just adding some more shapes around. And I'm just going to keep quiet for a little bit as the painting progresses and I'll jump in if I see something that I need to share. And here you can see that I'm loving the combination of mixing the paints a little bit. And here I'm varying all the colors of the petals using a little bit of paint from different parts of my palette just to get that variation and getting the eye to move around that flower. So here I'm layering the gouache or acrylic wash on top of dried acrylic wash. And that way it doesn't smear. And then I just want to show you how a little more up close, you can paint on top of the fabric so that Joe medium is really great. It, the paint will not bleed into the fabric. Okay, So please check out the supplies. Again, an overview. Here I'm showing you the dimensional paint and the acrylic ink. And be sure to give your acrylic ink a good shake and use a scrap piece of paper to use it before you actually apply it to your painting. And here, just as in the other project on, I'm just using the eyedropper to spread a little bit of that ink around. And now I'm using water and a brush to blend. A little bit more, thicken up the line. And you're going to also see me use paper towels to lift some of the color. So it's, it's a little bit different the way I'm using it then in my other project. But I just want to show you how I very carefully, I make sure that I don't move my paper towel around. I'm just putting it directly on top, pressing it. And then I'll do it again to get that excess with a clean paper towel. And so now you can see that we can actually see through inlet in parts. You know, it's subtle. But I really love the look. And same thing with the dimensional paint. You want to use a scrap piece of paper to get out that first little bit because sometimes the tips can clog and I'll be using a pin here to decline. And there we go, we get some flow. And you may want to practice using this on your scrap piece of paper, but I like to use it just like this fun lines. I'll, I'll bring in some more colors here is in iridescent copper, that's really pretty. And I just love also varying the line. It doesn't have to be connected. And in the same way in the other projects, you know, you're using the dimensional paint to create line work, essentially. Instead of like the acrylic pen. Now, of course, you're absolutely able to use the acrylic pens on the wood as well. The only thing about that is I do recommend that you do paint. Use paint underneath your acrylic pen because the acrylic pen will bleed a little bit directly on the wood just so you know. So here I'm just creating some more shapes for interests. Repeating those rounded squares and adding more dots. As I add in the final details to this piece, I want to say thank you so much for watching this class and for sharing all of the photos of your projects. I would really love to see them as you know, in a mixed media artist. So if you'd like to see more projects like these and explore mixed media art a little bit more with me, please let me know. I love coming up with different classes. I've taught so many different classes, so I would love to do that for you. And as I mentioned before, the doodle class definitely has a little bit different approach to this mixed media art. I also do wood-burning in that class, which is really fun. And also check out the Procreate classes, which I also love to combine mixed media with those. And so it's a little bit different approach to digital art if that's something that interests you. And here you can see I'm also using the white acrylic ink, which I really love. It's very bright. And it really serves as contrast against that darker acrylic ink. And my darker acrylic ink layer is quite dry. So that's why I'm boldly going forward with this acrylic ink in white. Here's the final piece. I thank you again you guys for your attention and time. I look forward to seeing your projects.