One Hour Gouache Landscape Painting | Bill Singleton | Skillshare

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One Hour Gouache Landscape Painting

teacher avatar Bill Singleton, Illustration & Fine Art

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

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

Lessons in This Class

5 Lessons (1h 9m)
    • 1. Intro

      2:51
    • 2. Minimal Drawing

      1:29
    • 3. Blocking In Color

      6:36
    • 4. Painting

      53:29
    • 5. Recap

      4:48
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About This Class

9d5cfa42

Real-Time one hour gouache landscape painting. 

A demo/tutorial of the way I paint a nature journal page from start to finish. Painted in Caran D" Ache gouache, but the technique is 90% the same whether you are using Casein, Gouache or Acryla Gouache. 

Items used:

Caran D'ache Gouache Studio 12 Tubes

https://amzn.to/2KJDJSi

Strathmore Mixed Media Pad, 9"x12"

https://amzn.to/2OWYttb

Escoda Perla #12 Brush

https://amzn.to/2MhEs1V

Hand and Wrist Leaning Bridge

https://amzn.to/2K6cLUA

Meet Your Teacher

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Bill Singleton

Illustration & Fine Art

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Transcripts

1. Intro: Okay, I'm Bill Singleton, and today I'm going to do a tutorial in gua Sh uh, this is one that I did a couple of years ago from my garden. Uh, so when was this? This is done with the K scene and rainwater. I think this is right after, as is right during a monsoon towards the end of the monsoon last September 2 years ago in September. So this is with K scene, and today I'm gonna do a sort of a recreation at a total copy. But this will be my reference for a demo in Go wash Now, This one I painted on location. This is actually a corner of my yard. And in this area here, it's kind of hard to tell from this, but this is actually a pond. Have some native fish and frogs in here. These are some aquatic plants coming out. Some grasses here come in and in some ah, different shrubbery back here. All native stuff, pollinated plants. So, like I said, I'm gonna do this today. I'm going to do this in the studio here with wash for the, uh, purpose of a tutorial. So I'm using this Strathmore mixed media paper and I'm going to start with this this fresh here. That's what I call a crazy brush. And it's just one where the hairs were all kind of wild second just blocking some color and then I'm gonna tried to do I think I can to the whole rest of the painting with this brush . So this is in a Skoda Pearle around number 12. So the good thing about round brushes, they're great for water based media because they can soak up a lot of pain up in here. And if you use it from the side, you can get some big, broad strokes. And this tip here, you can get some very fine stroke. So really gives you a nice range of ah, brushstrokes that you can dio. So for the paints, I'm going to use Khurana. Watch. This is good wash. And I think these colors here should do it. I don't think I'll need anything else. So well, that's good. Started 2. Minimal Drawing: All right. So I'm just going to sketch us and really don't need too much sketching in this one. It's pretty simple. So, um, this, um, this set up here, I kind of used for journaling. So I do like my my artwork up in here or somewhere in the page and then sort of vignette off in into the page here for writing, for notes, for journaling. So it's just gonna be really simple here. So here's the pond. Sea grasses coming up here. Grasses here, aquatic plants spilling over background. So I think that's all I need. So for this kind of of artwork that I'm doing here, you really don't need a detailed drawing. I mean, this drawing here is just kind of a road map, just so I could kind of place, uh, my main shapes here if I was doing a highly detailed rendering Ah, and wash. Then I could dio a longer closer study, uh, in pencil, but don't need that 3. Blocking In Color: It's okay. So to get started, I'm gonna work on the the background first. So it looks like, um, start with some warm colors here, Yellow Oakar. Looks like this sienna here. A little watery. Should have squeezed it. One thing, if you're a paint set for a while, looks like this one has a squeezing kind of back and forth. Make sure the cap is closed and it kind of mixes. Ah, up the media. So if things separate some black and some white here. So all those calls to be for the foreground for the background shrubbery of these cooler colors here. Sick, basically Meridian. Forget vert Murad. They call it and little bit of ultra Marine. Okay, some of the paint kicks up around the threads on the lid sometimes. Okay, so I'm gonna get my crazy brush, and it's foreground, so it's a little intense here. Okay, if you put a touch of black and it just three it back just a little. Here we go. Now, I could do this with the, uh, s Skoda brush. I could paint the entire painting with that Skoda, actually, but when I do this kind of expressionistic restaurants here. I don't want to really mess up my Skoda. So it needs this one finds out in the field. I just need one brush. I could take that. Let s code and do all of this with it. It's OK. I think that's enough for that. There Now for this background here. Well, it's the first. I'll do these these rocks here in the middle. - I think that works there. Or shut this brush. So this is the background here. So this is shrubbery back here behind the pond. You know, I said dart greens in here. So background foliage kind of rough it up. That's the other thing about this precious school. You kind of dip into it here really fast. Way to kind of create. Cem said the foliage type indications. All right, so I think I'm done with this brush. Like I said, I could have done it with this a Skoda, but I don't want to damage the hairs on itself. 4. Painting: All right, let's go back to these rocks here. Some putting a little bit. Kind of cooler highlights past the edge here where I and they set up. So let's Here we go. All right. As far as my set up here with the water that the clipboard, everything. I talked about that and, uh, my video on studio set up, so I don't want to go over it. All right, now here. So do some of these branches back in hair. You can see how this is a big fat number 12 brush. You can get pretty fine detail here been and how hard you press. So just doing some of these background branches in here. And so what I did is big gray, and then I mixed it back into this background color, so it's just a little bit dark here. So some of these colors here, So I'm gonna make some of this brown here with the black to kind of warm it up. There we go. It's a nice dark. Were inches here? Yes, on the original painting. I did, Uh, it was in September, right towards the end of monsoon, and, uh, I love my monsoon garden Because after the harsh heat of ah, June and sometimes July, my plants is getting baked, and then the monsoons come and everything just gets rehydrated. And, uh, the garden September, October, November and Tucson It's just beautiful because everything's all the plants have been hydrated, all the insects air out, the birds air out after the insects and just entire ecosystems come to life. So all right. I think that's enough of that. Just indicates, um, darker leaves and branches in hair. Uh, okay, that looks pretty good. Maybe define these rocks here a little bit. Okay, so I think I put a little bit a shadow into this here. - And the good thing about washes. You can kind of reactivate some of the lower levels of paint here if you need to. And who think about washes, Uh, you can homeless paint like oils. If you do kind of a wet into wet thing, which, right here it is a little bit. Can I must get the effect of oils. Some of the, uh, illustrators in the forties and fifties used to do that, get that kind of effect some of these foreground rocks, So I painted with acrylics for like, she's pretty close toe at least 45 years, maybe 50 years by now. And, uh, I didn't really used wash until about five years ago, and, uh, I really like it. I can totally see why the one of the botanists and botanical illustrators and they would go out into the field. They would take wash and a lot of other artists to classical artists through time, uh, have used wash for on location studies. And, uh, I can totally see why. For one thing, it's very portable. And, uh, I'll do some on location demos with wash also of like, I'll break Dir, like in the early 15 hundreds has some beautiful of on location paintings he's done and also some excellent natural history paintings of of bird feather bird wings and bugs and all kinds of cool stuff. But yeah, I'll then with wash, so wash. An artistic use has been around for over 500 years. So this I get this fairly wet here and you notice I don't know if you can tell from the picture here, but the papers warping just a little bit that little dry fine. So it see next think will go in with some of these greens. So just makes yellow car with some of this meridian, or whatever they call it is green. It's the thing every paint manufacturer seems like has to be creative and make a new name for the same old color. That's in every other tube of paint. I guess, to show that there's is different, that this is basically the same color where they call this vert in Murad, which is what Kuranda, AJ conscious yellow Oakar. So just putting some of these leaves in here. The other good thing about these round brushes there, perfect for wash. The other good thing about him is that they you can get this sort of cala graphic quality to them, like Chinese calligraphy, the way you hold the tip, and it's really an effective way to get foliage and stuff pretty quickly. So it's interesting at this early stage here. Doesn't really look like a lot, but it will start coming together over time. It's, uh, but some other the indication of leaves in here. So I re activated this color that I used for the background, so I'm mixing that with my green to kind of get 1/2 way point in between the the two colors . Sounds like my parakeets are waking up. I can hear the doves outside. Sounds like the morning does so kind of subtle back in here. Some keeping these. It's since this is all background and keeping all this kind of the same value range because I really don't want your eye to go here. I mean, it's important, but it's really sort of a backdrop for the rest of the painting since we start putting in some of these aquatic plants here. And if you're green ever gets to intense can always put a little to read in it. In this case, it's sort of a reddish brown here this, uh, sienna color so you can think of green can get really powerful soak in red paint, but there opposite each other on the, uh, on the color will, and so you can use them to neutralize each other. And, uh, I sort of think of them as like Superman red and green kryptonite. They're so powerful. But, um, if you wanna tone down the power, just mix some of its opposite in So if the red is too strong, mixed Liberty green, The green is too strong. Makes a little bit of red. In this case, it's not pure red. It's Ah, the sienna color, which is which is in the red family of pain. All right, so just to show you again, this is kind of where we're headed. So some of these aquatic plants here coming up and they're really kind of wonderful thing about go wash is that you can work with your values and, uh, go back and forth so you can, um, put darks over lights like we're doing here. That's a effect you can totally do in the water color. But one thing you can't do in water color is put lights over darks, and, uh, goulash is really good at that. We'll do that towards the end. We'll do a little bit more of that type of of wash. So just putting some of these darks in here your water plants and indicate a few little shadows coming in here. Okay, that's enough of that. Now it's going to some green. So shut my brush. So I didn't wash out my brush totally. While I was doing this other because I wanted some of the colors to blend into each other. So have older color and then a newer color. I leave a little bit on the brush That gives it the painting a little more harmony. But now I'm going to sort of switch gears and go to some brighter greens. And for that I'm gonna bring out some of this primary yellow so, so mixed that with Is Veridian here? Let's see what we got. Yeah, there we go. So some of these foreground leaves like I stated before, I keep my water separate. I keep one. It's got a magnetism. Metal clipboard settle, clip down. I keep your water in this one so I can dip my brush into it and just get pure water. And this one is really for washing out Russia's. It's gonna get all kinds of dirty water in it. So there's some of these foreground leaves and you notice already there popping forward. It looks like I got a hair and there unusual. Haven't noticed these shedding and all these brushes there pretty good. Touch your white here, and that really makes it pop more so thing to keep in mind with this landscape is, uh, the shadows or warm, and the highlights for the the light is hitting. It are cool, so these leaves here are much cooler and temperature than this background in here. They're also lighter in value, and that's sort of my rule of thumb with landscapes is the temperature color temperature of the shadow areas is always the opposite of of the temperature in the light. So in this case, and in most cases, when you're doing landscapes, the light hitting the leaves and things is cool, and I shall always think it was warm. Because the sun is yellow, it's ah, it's warm color hitting it. It's like, Well, it's only yellow when it's like sunset or certain kind of special weather conditions. Generally speaking, the light hitting leaves and branches and stuff is cool because it's reflecting off the blue sky. So whenever you put a little bit of cooler temperature, color your eyes going to read it as an area in the light. So so you see how these isn't getting abetting Little white in here, here and there makes it really popped forward. So you already, even though This is an early stage already seeing this, uh, kind of depth in here. So once again, you can do these kind of cala graphic little breast strokes in here and were pretty quick to get make a planet shape. You gotta plant. And then if I want to, I can get this same color. And you some of my background color here. This the other really cool thing about washes. You can reactivate areas on your palate here with old color when you want to kind of mix him back a little bit. So here's some sort of mid range leaves and stuff going back. So you I'm getting enough water in here for it to flow good off the brush, but you don't want it. At least I don't. With what I'm doing here, I don't want to be transparent, so I don't want to thin it down too much. So putting more of these leagues back in here at least some of these aquatic little plants, eh? Forget what these air called. So once again, you see, I added white. It cooled us down. And one thing to remember is that I was always told white is not a color. It's a value white and black, and that's true. But they also have a temperature to them, and white is always cool. Whenever you add white to anything, you're cooling it down always so something to keep in mind. So as I'm adding like white here, it's cooling these down, so that makes him look like they're being hit by sunlight. More so. One thing about wash to is it can reactivate the color under its I see here when I put in this highlight here, um, it started Pick up the darker color under which I didn't want in this case. And I've been working with Acrylic Wash lately. And that's one thing I really like about it is that I could have put that down here. If I depend this dark, then I could go over it with a light. It won't lift up this dark color. Uh, because it dries, it drives like acrylic so cruelly washes is pretty cool toe work with. I've been using that for about six months, and that's kind of my go to medium now, but that this would be fun to do in gua sh so there's not a whole lot of difference between acrylic wash and wash. Except the drying time is the main thing that's different. Not the drying time. That well, the fact that when it dries, it, uh, is totally inert. You can't reactivate it just in that way. It, like, acts like acrylic. And basically it is a curling. So it appear these little green Tufts of grass here. Okay, go start painting in some of this, uh, these long aquatic plants here, so it looks like they're mostly gonna be these colors of green. There we go. So it's kind of cool. If you get your brush wet enough, you got to get it just to the right consistency where you can do an entire leaf there in one stroke, just kind of fun. So So? So that's sort of mid range green Still limited darker green here. So there's some variety in the leaves, so there's some other a little darker, so it's cool the way they're just spilling right over the edge of that rock. And then one of the things to remember when you're painting is touch the amount of pressure that you're using to hold the brush. I mean, you really see it when I was doing these long strokes, Like from thick to thin. If I hold it very lightly, it's a thin mark. And the harder I pressed down the thicker that gives so once again, the sort of Cali graphic, uh, sort of abilities you can get with this brush here. So that some darks back in here, I find this a little bit. - Okay , that looks pretty good. There. Just a little of the screen here over here. All right, that's looking pretty good. Now, just a few more little leaves here on skin, keeping in mind touch harder. You pressing down on the brush and you can learn a lot of things like, uh, color theory and stuff like that that helps you taint better. Sort of an intellectual thing. But I found that the touch part it's something that you really only learned by doing it. I mean, people can tell you, but it's basically hand eye coordination. And then once you do it enough, it becomes automatic, and you have to think about anymore. Put on autopilot, and then you can use your brain to figure out values and other parts of the composition and that type of stuff, so that's good for that. Si una It's just like, uh, an old tree stump here. Warm it up just a little bit. There we go. Okay, so there's a tree stump case of keeping in mind that these shadows air warmer here. So we're doing the thing Warm shadow, Cool highlight. And it's basically the way it is in nature. But really, for this, it's Ah, it's something that kind of in a way fools your eye because nature is three D. Obviously, in this piece of paper is two dimensional. So you're really trying toe sort of fool the eye into thinking that things were three dimensional are give that illusion. So the warm, cool thing really helps that illusion when you have warm shadows, Cool highlights. So some of this grass here Okay, starting to take shape, see everyone so well, get up and take a step back from it. So I think got all that laid in most of the backgrounds. Pretty good shape. Warship. My brush again. Notice. I didn't really wash it out that entire sequence there if I was doing similar color, similar value, but Now I'm going to switch gears and go to a little bit. Ah, higher value here. One thing I do with white, everything else I put in a blob. But white pain I put is a strip, usually because I keep wanting to come back to the white and I don't want to get in pickup area. See, like this year is contaminated or Wilt's got green in it, and this got brown in it. So I found if I put a stripe of it, I can find an area that is untouched by another color. So this case, I want to get pure white and some green here looks kind of electric. So when a tone that down, I live in a yellow, let's see how that looks That looks pretty close to what I want. So now you can go in and put some of these longer plant leaves in, and you have to be these. So now this is the part where I'm doing light over dark, and that's a really good thing about wash because it's opaque and you can get that that effect easily. But you have to work kind of quick when you do that because of you, If you go too slow on your stroke here, you're gonna pick up the underlying color So you need to be and a fast once again, you want your paint liquid enough to flow off the brush but not so liquid that it starts getting transparent looking. So now that I see how that just by, uh, putting that lighter color green really starts making this plant pop really starts giving it form and dimension. And then I'm gonna hit the the most highlighted areas where the lights really catching it sort of hit. Those is a harder highlight there that makes it pop even more. It really starts looking like it's got a form and that it's in front of these other plants here. So is it more white? So I was gonna do a time lapse of this, but I think you'd lose some of that. Some it lose some of what I'm talking about. If I did it a time lapse of this one. I am going to do some time lapse in the future, have some different paintings. So if you're interested in seeing us subscribe to the channel and that way you'll know when something comes up when I post something. It's a fear, these sort of older yellow leaves sticking down here and notice how when I put that yellow in just a little bit here and there, it really liven this up. Conceits the way it looks in nature, it's a variety. Okay, I think that may be enough. There probably come back in with the shadows in a minute. The other thing I like about gosh is that it's correctable. You can come back in later and change things or adjust things. And I really admire people that work in watercolor that can put a stroke down and it's there. And I tried to do that, too, but most of the time, how do something they're not come back and I'll just a little bit come back and adjust it some more so and especially the one thing I find I just a lot in these paintings is the values, because you think a value looks good on your palate here, and then you put it in the painting. And because the simultaneous contrast and other factors the color doesn't look right or the value doesn't look right And so really, I find for me, painting is a Siris of adjustments. Like a put a stroke down and say, Oh, that's a little too cool. Go warm it up a little bit or that's a little too light, Make a comeback warrant and darken it just a little bit. So. So, like, for these, uh, doing these little strands here and these are more of a yellow one. Let more yellow car in this. So these physical, this kind of stuff, you can only do in one stroke, Really? But I'm burying the strokes a little bit different color each time slightly different go a little bit more white. And some of these now some of the ones sticky more in the foreground are a little bit cooler where the light's hitting them. That also brings him closer to us a little bit more white. There we go. So a lot of times you don't have to put a tremendous amount of tedious kind of details. I mean, the painting, a lot of it. You're suggesting the detail like when you're copying from nature. Nature is the great teachers. Um, you're leaving out a lot of detail if you put all the detail in. Well, for one thing would be impossible. But second, is it Drive you crazy. You cannot do it. And so really hard. A. The job of an artist is elimination like Azzan painting. This I've eliminated a lot of the stuff in this scene because it's extremely ist toe the ideas of trying to convey with this painting. So it becomes sort of a reduction ist kind of approach. And really all art is like that because you're you're simplifying nature. You're simplifying it enough to put it into two dimensions to to convey that, uh, the plant. So you're basically abstracting it when you two dimensional eyes it because these plants are not two dimensional. So it's a Siris of basically abstractions that you're doing in your head abstracting it a little bit a little bit of time. But in certain defined ways, here's my tree stump. Okay, now I'm gonna do some of this foreground plant here more white. I really like these Koran. Watch Go wash So but the's highlights here and let's see, get a few. These harder highlights back in here may be limited. Yellow in it. Make it pop a little bit. There we go. I think, you know, in a white, so see can put some little little rocks here, foreground. So as nature journal, I think basically what I do is I like to have been yet some of the paints out onto the page there. And then I do my writing in here. It's more white. So now I'm gonna go almost pure white here at the end. This is almost the same color is the paper below it. So this kind of this white, since it's almost same as the paper kind of vignette off to the off the page here, put a few hard highlights in here. Helps that one get defined and helps it kind of pop off the page there. Okay, I think just about done when you put a little bit of a little bit of highlights in these rocks here for the sons hitting them. - Hey , I think we just about got it. I think this needs I think I got enough highlights. Now the just a little bit more shadows just here and there. So once again, washing my brush out good and the shadows and gonna get this sienna in black. See what that does? Yeah. So that that pool some shadows back into here, it just helps define it just a little bit. So is the harder shadows. Now, look, that's where I I got pain in my hands from getting in here. So this thats where you can use this guy, This clear thing here. So it just keeps your hand off of the the paper so you don't smudge your paint. He's acrylics. Try pretty quick, but not so fast. It you don't smudge it from time to time. So now I'm just putting in a few shadows here and there. It's cool to have a dark coming in front every once in a while. Okay. I think we're just about done. E think we just about got it. So Okay. Said I'm a tweaker. So not in the drug sense of the word, but in the artistic sense of little. Right. So it's okay to tweak as long as you know when to stop tweaking. Because you can totally ruin the painting by, uh, over doing it. And that's the problem. I see with a lot of artists. They overworked their paintings when you start doing that, you start losing the spontaneity of what you're doing. Okay, good. Just about there. I got put a few more little light greens in on a little bit more white. Get Tau, get some more right out. So now just hitting a few highlights here that are just pure white, maybe a few little rocks here. And then I think I'll do just a couple of little spots of green green mixed with this yellow. So the radiant and this primary yellow color and white Christie Soon. Too much. So you get some little plants poking through that plant there. And then right here. Also, some plants come in front of this. Thanks. Like we're coming up on about an hour here over an hour. So I think I'm going to stop this. But I think we're there. I think we're done. They're just a few hard highlights right there. And you're right at the top of the branch. Words catching the sunlight. Maybe on this rock here a little bit. Where the sun lights. Kidding? Kind of pulls that forward. Okay, I think that's it. So here we go. Landscape in about an hour. 5. Recap: So this is the final painting going to see some of the detail there. So this technique this style works with this one is good wash, but it also works with This is the original, and this is the one I was copying, which is also mine. This one actually painted on location in my backyard. This was with K scene. The technique is basically the same. A squash or acrylic wash. It's another one painted out in the desert, basically the same technique. The thing I like about these paints is how opaque they are. They were looking at these really kind of spontaneous looking flowers that air very light colored, that air painted over dark areas. And that's why you need the capacity to do that. So you get the full range. Here. You can get sort of translucent kind of water calorie effects back in the distance there and then up close. You can get these crisp lines, these chris branches and leaves and flowers, so this is basically the same technique. It's on location. These paints are great for on location painting. Gorse has been used for artists by artists for hundreds of years for on location stuff because it's very portable and, uh, the color's air really true. So this was painted out in the desert up on the side of to Mark Hill. This is actually acrylic wash painted this one in my backyard. So Mexican Bird of Paradise. So subpoena Mexicana, this is in my backyard. Also, this is ah Okoto. So he also had journals that I, uh, nature journals that have been doing It's the same technique. So this techniques very versatile, and I like it for nature painting because you can really capture the colors. The values in the capacity that paint once again lets you paint like light over dark light over dark, which I found regular acrylics. You can't do that there to translucent. You can also do it with oils but oils. I found her just for me. They're just too messy to take out in the field. I know a lot of people do it, and that's that's great. I like these there. They're simple. They're clean, easy to use. So there's another page, same technique. So this one is done with acrylic. Gosh. So I use acrylic gouache acrylic wash, which you're basically both acrylic paints that look like wash made by different manufacturers. But the painting technique is basically the same. A squash. The only difference is gore sheikhoun Blinn. But as you can see in most of these paintings, there's not a lot of blending going on so that some of the stuff you can dio I will. Do you want to try this on your own? This is the painting I originally painted from as my reference for this video here. Wait, no. And, um, I'll post this so you can if you want. You can try to copy it, try the same technique or, uh, go out. Take your own photos bringing back in and paint. Or, best of all, go out in the field. Outdoor painting is always the best. Even the best photos distort the values and colors of things. So whenever I can, I try to paint on location from nature. Nature is the great teacher, so I hope you learn some good techniques that you can use and go forth and paint catch you next time. Thanks