Painting Hibiscus Buds with Acrylic Gouache | Bill Singleton | Skillshare

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Painting Hibiscus Buds with Acrylic Gouache

teacher avatar Bill Singleton, Illustration & Fine Art

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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

3 Lessons (53m)
    • 1. Intro

      3:11
    • 2. Demo

      47:50
    • 3. Recap

      2:12
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About This Class

A page from my Nature Journal. This is my typical painting process. The painting time on this one is about 45 minutes. My small journal is filled with “quick”  paint sketches. By quick, I mean usually in half an hour, but always less than one hour. I have found that painting quickly helps me to focus on the essential qualities of what is in front of me. I try to capture the basic form, color and lighting without distractions. 

In this demo I am using Acrylic Gouache, but this technique applies to any type of painting whether your are using Gouache, Acrylic or Oil paints. 

Meet Your Teacher

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Bill Singleton

Illustration & Fine Art

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Transcripts

1. Intro: Hi, Bill. Single From then today, I'm gonna do another page in my journal. This is my It's Stillman, stupid and burn Nova Siri's. It's great paper. This is what I've been using my garden. Most of these air out in nature on locations quickly. Amy's mostly from the backyard that's looking over the back wall. A bridge tell you, Texas Ebony, this is the passion flower vine. Little, tiny little. But they only like this big report gardenia that by the front porch today I'm gonna do some high viscous. I have got attack of high discus that's growing in my pond. Eyes up outside earlier, and I took this photo, I would paint it outside, except that there's just too much noise dogs and planes flying over. So you didn't studio. And for my palate, what I try to do for my palate is get something saying color. So she did this almost the same data. Great. A piece of clear over what I use this transparency film just cut the size. It helps immensely if you have a palate that's the same color as what you're painting. So let's get a couple of alligators. This put it here. So it protects my other pages. And then I have a little water kept. I just put a Magadan holds really good right there. That's a border in here. This water is this to, uh, toe wet My brush now and then, they usually have a larger think of water to wash my brushes out. So for this painting, I think we're just gonna use three colors that's black and white. So I am using the liquid ticks Acrylic wash on these using these about six months ago and pretty amazing. So that's about all I'm using. Now. I'm just going to use these three colors now, plus black and white and just should take probably about half a hour. That's what I'm shooting for. That's he had goes gonna posit a lot of my palate, won't get going 2. Demo: Okay, let's get going. Are you gonna use most of the painting? I do with these two brushes flat winning around when to be able to do most of the painting . With that, I make it a smaller round one towards the end. We'll see. So my favorite brushes so far Skoda really any brush or worked with this technique. So I put black right? And let's see, I'm using emerald green, part number and primary yellow. So these are all the liquid text paints liquid text Russia Quick wash acrylic wash. All right, so I'm gonna end up, put a background in kind of warm, etc. We'll use this gray area, swarm it up a little bit, so but don't lose too much in my drawing. Hopefully, I can see through it here, so I just wonder, Warm up that brand little bit have a little bit of value behind these other little flower buds Here, wake up. Part of my growing well, just sketch it over. So for the green Younis, see how intense it is? That's way more intense than I needed to be. So nobody yellow And then let's agree it down a little bit with the black and the white. It's starting to approximate the actual leave color. That's probably a but a good kind of neutral tune for these. It's there. Yeah, this is coming out here. So right now I'm just blocking stuff in pretty much at this point, Lost my drawing that I did earlier. Yes, I could. It is not done that. Let's see. Okay. Said right now I'm just blocking in a basic color. Here, The color here These what's interesting in this plant is thes Siebel's. The flower is beautiful. I'm not painting it right now. Well, painting this little flower, but but not fully open flower. I'm not painting it in this one, but they're beautiful also. But in this particular plant, the C pols are as interesting is the flower. I think now there's some other little kind of petals and stems and stuff in the background . So I'm gonna make a little bit more neutral color of the same green. I just do some kind of background kind of foliage. - All right. I think that's enough to just kind of indicate, but their stuff back there don't spend too much time on it. We don't really want people's eyes going back there. We want to focus on this right here, mostly, and also be so This will be our This right here will be our main actor. These are the supporting actors here. Speak a little bit more of this touch. Yeah, well, touch of this brown little white right here. So is this leaf color here, and that's just here. Okay, so it looks like that's about the only part of the panting that has this warmer green Teoh it. Most of the rest is gonna have this cooler green Joe make next. It's a little bit of this. What color? Here. Okay, that works. Okay, a little bit. Okay. Now I'm gonna mix this green here, but it's white and brown and probably black, and I don't think any of the yellow here we're putting the brown into kind of neutralize it and toe warm it up. So you get these areas in here in this steeple area, dark color in between the in between the individual Siebel's. - So my main rule in these is get sober rules I have for myself. One is used the biggest breasts she can for as long as she can. So, working with this one now, Okay, Now there's a lighter color of that green, which is where the lights catching on the same Siebel's que It's to be neutralised just a little bit. Some putting over this brown in it to neutralize it some. So I'm still basically laying in color. At this point. That looks pretty good. I think I lay some of the white, and now so this white has got a little touching yellow in it. A touch of brown. I disagree it down just a little. That would be too much. Yeah, Just a touch of green there. No, to green. Alright, Just go or just straight. Great. All right. It's getting pretty close. You touch more of this yellow in here when we have a hint of one back hair in this one. All right, go little brighter on this white now. Okay? I think that's so I need to do with this fresh here. You get into a little bit finer detail, So I have been standing up this whole time. Sit down now on go into a little tighter detail. So it's in this white. So these things, like, really cool when they open. They're several inches across and pure white with, uh, a red throat, some lightning this up a little bit. I think it was a little too dark. Then let's go with this. Almost pure Wait right here. So these acrylic wash paints are I really like him because that I've been using for about a year now. And, uh, like I've used liquid Tex acrylic paints for 30 year, 40 years and their great except had a few complaints about him. One was that they just weren't opaque enough and the other was at the colors sometimes dry at a different value than the wet paint, which is B kind of confusing when you're painting, But I don't know what liquid takes. Did they modified the formula or what? But, um, these paints off that problem. Both of those problems paints here pretty opaque. All right? Yeah. I'm gonna take some of the same white mix it in with that green that we had and kind of catch some of the highlights here. She did this way, these head, that's where the light's hitting him. So since it's, um, it's daylight that's hitting these. So it's cool because the light is coming from the sky, the blue sky. So it's picking up that coolness from the sky. For a long time, when I was doing landscapes and stuff, I'd always make the, uh, the sunlight to warm. It's really only warm if it's it sunset or sunrise or somewhere. Some of the unique conditions. Otherwise, daylight is cool. It's way cool. So the other kind of formula I do is if the highlights air cool, then though, the shadow area should be warm, and that's relatively speaking. So it's relatively warm and cool paints. So just getting the really unique looking folds on these steeples here for the outer edges light really seems to be kind of capturing that right on the edges. These kind of our little bit kind of fuzzy or Harry and those little tiny hairs kind of pick up diffuse the light, especially on the edges. - This leaf also had some highlights here. Okay, let's do some of this. It's Do you love it more yellow in here? These stocks are kind of very yellow quality to them. These have just a little hint of that green bright green on him, but otherwise there, that cooler green. Just catch some of the highlights along the stems here. Okay, so since he's a really acrylic paint, you can't re with the paint on the palate once it's dry. So that's one difference between this and traditional wash. These paints here haven't quite dried up, so I can kind of still lift him up a little bit. So get this little pointy little areas here. And that's the one thing you can do really well with the round brush and get a really fine tip with this brush, and sometimes you need it, especially when you're doing areas like this. I need that small little tip to get into those areas, - So this is, ah, a darker green. Obviously, it's a little a little more neutral. It's got a little bit of the brown in it, so you know should read as a background color. Also, the good thing about these, uh, acrylic washes, you can paint over an area which is harder doing what she can do it, but it's a little harder because you have the tendency. The glass has a tendency to lift up. If you hit it again with a wet brush. Where's with this acrylic? Uh, once it's dry here, you can go right over it and, uh, just painted right over it again. No problem. All right. It's gonna refine these see? Pulls a little bit. Some accepted a new batch of this. So screen black. Quite probably just a little touch of brown. It's too warm it up just a little. Okay, so there's a darker color. It's make a little shade lighter here. Okay, So these air, this pain right here is cooler as you can to This is a cooler green right in here, cooler and grayer. Some changing these up a little bit as they go. Partially because I lost some of my lines when I painted over some of this. Well, I think this needs just a little touch of yellow in it. Here's about him to these steeples here. So since thes air not in the direct sunlight, their little warmer green keeping that or a green going there and then have the cooler green where the light's hitting like right in here, where it's catching more light, more of that, my fingers every once in a while that kind of smudge It's my smudge tool. It's starting to take shape. Start putting these highlights on this. - Whenever you get a lot of undulating lines and stuff, it's easy to get confused. Sometimes when you're doing this, you forget which little strand you're on. But OK, that's starting to take shape now. Yeah, Okay, go. One shade lighter white in here to catch some of these, this one's really catching the light here, this one on the edge. I think you're smudge going a little lighter on these right in here. So doing, basically, is starting to create that, nor volumetric kind of three d feel to things. And it's it's all because of the lighting said. Now let's go with some, like almost pure white. This is really where the light is catching in those little Harry little sides of it. Okay, that catches that pretty good there. Maybe a little bit more in this one. A little bit of almost pure way. Not quite. So do a lot of scum bling. I guess that's my stumbling finger there. One good reason to not use toxic paints, especially if you're gonna be smudging it. I believe all these air nontoxic this liquid text line. Not positive, but I think they are. See, it's getting a little bit more highlights on this. Yeah, I'm gonna get some more kind of pure white here working this, but just a little more. So these paints air very opaque. But if you're going like white, over black or white over a darker color, you may still have to hit it a few times. - All right, that's just about right enough. We have to wait a minute or two, dio But the final whites in this cause right now it's still wet and slipping up just a little bit. I don't want meantime, I'll put in some of these. Says a little bit of yellow in here leaves right in here. Have a little bit of Yellen this to them. Just a little color up in here. Okay? That's starting to work pretty good. I think that's looking good. Now, I think I will Russia and go a little more into the background kind of sections. So I'm using gonna keep the background warm in this amusing this burn number. And there's sort of background plant color, which is this This is quite a bit darker and warmer right here where the bottom is, uh, there. That really helps it Start making look a little more three d. So same thing with this, but the darkness in between those see pols. Like I said, I think this is the most interesting thing about this. Flowers thes interesting liking. Siebel's Okay , No dark and back here. So this stem kind of pops out a little more. Maybe you have some dark stuff back in here. Bit into this leaf here, the other side of the leaf. - He's the same dark here for this to the shadowy area. These little Sequels that's starting to take shape. Now, what's it need? Okay. You could need to dark in this background just a little bit. That will help these pop more so in a dark in it and warm it up. So get some of this brown here. So this is the artistic license part. This background might not have been exactly this color a shade of warmth, but I'm using it in the painting to for dramatic effect. So I said these air my, uh, supporting actors right here, so I need to have a spotlight on him. The way you make something in the spotlight is by making it darker behind it. Thanks. It pop out. So you see how much that made it pop just by doing that? So it was two things that made it the background a little darker and a little warmer. Color temperature really affects the way you read something. All right, You read something visually. So see, that really made that pop right in there. And if we want this to kind of go back a little bit, I can put just a a little bit of that wash over that makes it kind of pushes it back into the background, work that we could do the same thing over here to for this one, I think I will. A little browner. And since this is the main actor here, we want to draw the most attention to that so we could put the the biggest contrast of color and value. If you really want something to pop, you put a contrast in color behind it. Uh, you can do opposite on the color wheel is one thing. So the opposite of green on the color wheel is red, and I'm not using red in this painting. But I'm using the closest thing to it, which is brown, which is it's in the red family. So you see how I might not have had the edges right on some of those little limbs before. But you can kind of go into the background and sort of re carve it out. Let me put some on the back side of this. Continue this same brown that was down below the leaf there. All right, so I think this is pretty much the focal point. Maybe put a little bit more down below here. It's a little green with it. So should really be doing this with the bigger brush. But I've got this one in my hands. Let's do that. Just indicates some leaves and stems and step back here, okay? It helps if you have a few highlights in the background. That air kind of make it pop a little bit back there. A couple of leaves that's still too bright. You're doing random stuff. You can always make him kind of like lines going into your into your main actor. It's indication of a leaf here, Another one coming up through here. All right. That's like comparing good at sea. Just a few more little highlights here and there. Syndicate this a little better here, Okay? And then maybe go over a little bit of these edges. It kind of got lost when I was putting that background on getting close to being done in here. Think a little bit more on this flower, so it's got a little bit of yellow in it. Not much. Alright, what else does it need? Just a couple of little highlights. We're not there Just to make sure that is in front there and across indicate a couple of other little blossoms back in here. I think that's about it. I've been in this leaf here. I think that would do it so along that problem time. But that's basically one of my half our little sketches. And that's speed I usually work out. So in this case, I'm just working in the studio instead of outside processes using the same. The only other differences. I usually don't take the Krulik wash outside because the containers are too big. So I take the whole bind. Acrylic wash, which comes in smaller tubes that usually make outside working method. So there you have it. Curly wash. Half are painting. I discuss flowers, I discuss, but thanks for watching catch you next time. 3. Recap: Okay, So here's the final piece. Um, I did my writing here. I usually use a I'm doing nature journal. This is a Kuranda watch, Uh, colored pencil, but Prisma colors work. Fine. Uh, I don't use regular pencil, usually because it'll smear off onto the opposite page when the book is closed. It's better to use thes. So it's a final take this away so you can see the Yeah, The page was protected here. This took a little longer than I thought. I had thought 30 minutes, but the Cibeles and stuff took a little bit more time and attention than I had originally thought. So is actually more like about 40 45 minutes. Uh, I think this was in half on hour. Uh, this was 20 minutes. Half hour. Each one of these was 15 minutes, I think. Half a Nower. So this was 15 minutes. So it's hard to tell. Sometimes you get in the zone to get into that timeless art zone where time has no meaning . So that's a recap for this one. You notice a style, even though I was in this case painting from a photo. This doesn't look photographic. Uh, You know, I've still kept sort of lively brushstrokes and, you know, it makes it, uh makes it a piece of artwork. So not just a rendering. I can do tight rendering. And, uh, I could do this piece if I had a couple hours. I could make it look exactly like that photo if I wanted to do that. But I don't want to do that because I have a phobia. So this is not a phone. Oh, this is a piece of art. And as are all of these pieces in here, So that's, uh, another page of my nerd nature journal. Hope you enjoyed it. Hope you learn some stuff, and I'll be doing some more. So thanks. And have a good one by