SUNSET PAINTING IN GOUACHE | Umashree Taparia | Skillshare

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SUNSET PAINTING IN GOUACHE

teacher avatar Umashree Taparia, ART EDUCATOR

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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

9 Lessons (45m)
    • 1. INTRODUCTION

      0:41
    • 2. MATERIALS REQUIRED

      3:18
    • 3. TECHNIQUES

      4:53
    • 4. CLASS PROJECT - PAINTING THE SKY

      5:27
    • 5. PAINTING THE CLOUDS AND SEA

      8:51
    • 6. PAINTING MOUNTAINS AND GRASSES

      8:55
    • 7. ADDING DETAILS

      4:47
    • 8. ADDING FLOWERS

      7:57
    • 9. THANK YOU

      0:25
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About This Class

Hello Everyone,

I am Umashree, an artist and an Art educator from India. I work mainly with Gouache and Watercolors. I am here to share my knowledge with you all and have fun creating together here.

This is my First Skillshare Class and hope you guys like it . Also please leave a Feedback so that it helps me improve with my Future Class.

Thank you,

Umashree Taparia.

Meet Your Teacher

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Umashree Taparia

ART EDUCATOR

Teacher

Hey Lovely People,

 

I am Umashree Taparia, a Self Thought Artist, Art Educator and a Creator from India. I am a Chartered Accountant by Profession and an Artist By Heart. I have always been creative since Childhood but it was majorly crafts, card making. With all the Study and busy work Schedule I never had time to practice or think Art. But in 2020, when the Lockdown hit, I started with pencil sketching and gradually began to learn about Watercolors. It was then, that art became my daily Practice. 

In this one year I explored different Mediums and my favorite happens to be Gouache and Watercolor. Through all the trial and error I have learnt so much in detail about all the art supplies that are available. I believe that if I can do it then anyone can lea... See full profile

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Fine Art Creative

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Transcripts

1. INTRODUCTION: Hello everyone. I'm I'm an artist and an art educator. I put up my being things on Instagram under the Insta handle, creating from the heart. This is my first Skillshare class as an opt-in to Cato. I have previously been conducting online workshops and absolutely love teaching. I love painting landscapes and nature-inspired paintings. In this class, we will be learning to paint this beautiful, gorgeous sunset by the General Fund. We've been forced to walk through the vertiginous require and then learn the basic techniques for painting the sunset before moving to our final projects. 2. MATERIALS REQUIRED: Let me walk you through the materials that will be requiring for the spin thing for speed will be requiring either quash opposed to condos. I have removed the basic shapes stamps or yellow light yellow, red dumpling making black, ultramarine blue. But do not worry if you do not have the same sheets alone. Okay? We you can use any similar sheets, although if you do not have course, you can go ahead with using postdoc Andrews as far as the pressures are concerned. Oh, we'll be needing flat brush. I'll be using my cam lean on synthetic flat brush. This is size seven. You can even use a bigger size. Apart from that, I'll be using my round brush for some lending. Okay, this is again a local random from brush. I'll be using some detailing brushes. That's my mean, the age of brushes. Let's rigger brush to add the grasses. So you want to add the process and to add the flowers, I'll be using the size 1 round brush. Apart from these, I'll be using these two speciality brushes. That is a weak brush and a fan brush. Not too hot if you do not have these bashes or instead of a fine brush, you can use, again, a rigger brush to add these effects that I've added with the brown study of adult fan brush. But the effect would be the off-grid. Also, I have used the VQ brush while adding these reflections. If you do not have it, you can use a damp flat brush again to get those reflections right. In the technique section, you'll learn how to use this. Or if you do not have this, then how using a damp brush you can create the same effect. So that's about the brushes. I am going to be using a few 100 GSM, 100 percent cotton paper of Kansan for this exercise. If you do not have this, you can go in for an inch 300 GSM paper, preferably a 100 percent cotton. But since we are working with quash, you can even go ahead and use of paper which is not a 100 percent cotton or just 25 percent content. Also, if you do not have a 300 GSM paper, you can go ahead and use any people that's about 200 GSM. Since we're working with quash. You'll be needing to jars of clean water. You'll be needing masking tape if you need the edges of your beam do. And also a rough clot, I'll be using this white quash that I have separately that since also from naval pilot master class, because we'll be needing a lot of white quash for the blending, creating different variations or tonal values. Again, you will also be needing a mixing palette or any palette that you have. Or even you can use a ceramic plate to mix the colors and you know, to remove the Canvas. I'll be using this acrylic sheet to mix fine sheets, grab all the materials, and see you in the next section. 3. TECHNIQUES: To paint the sky will be marking all the three chondrocytes. So we'll be using this shade of blue, ultramarine blue mixed with white and red mixed with yellow to get the rate or in shear. And at the bottom most part of the sky will be using right Tino. I have intentionally left space between the three sheets because we'll be using white quash to blend the scene. Okay. So picking up some white quash onto your brush. Okay. I'll, what I'll do is I'll just mark the white quash out pure white gaps that have left the now. Again, starting from the bottom. While again pick up some yellow and blend this yellow and the orange with the help of the white quash. Can you see how smooth blend we've got? Okay. So that's how we're going to blend the condos and wash. Moving upwards as clean my brush. And again, pick up a bit of fight and move from the orange to the blue. But that's how we are going to blend the sky and the sea. Now we've learned how to be nice to fluxions. First we'll move ahead to load this with the flat brush. So I'm just marking. If you do not have full, they could crush. Okay, so what we need to do, this, you are flat brush completely. It should not have any water. And why this paint is still wet, you need to drag this down once. So that's how we create the same effect using a flat brush. Now I will show you how do we create the same thing using the brush. Okay, so with the help of a flat brush, I've painted this alien. Now. I'll pick up my brush, pick up some paint on my brush, and I'll just drag it down. So that's how if you're using a flat brush, you will again have to pin the top area to give it the connectome effect. And that's the reflection. So we being ductus using a flat brush. And we painted this using the techniques. Okay, So these both to how we are going to paint out a flexion. Grasses and the flowers are quite easy. You can move ahead and wash them while we paint the final composition to be in the sky effect. Okay, how are we going to do is, I've loaded my brush with orange, pink. Okay. I'll remove the excess water and I'll just drag my brush from the end of the painting to the center part. Okay. Creating but cloud-like structure and the paints blend on. So that's how I'll be creating these cloud-like structure and dwell sky. And on top of it, I'll be using pin to give highlights and different mediation. And then we'll blend that old phone. That's how we'll be painting the clouds. So these are some of the basic, it means that we need to norm before starting our final class project. If you have practiced this, let's move ahead to our final class project and paint this beautiful sunset together. 4. CLASS PROJECT - PAINTING THE SKY: We will begin with taping up people are nuanced cardboard or on your desk, has you prefer? I prefer taping it onto a canvas board, which I had been using for keeping all my artworks. So let's move ahead and tape or lung. Or if you do not prefer clean edges, you can go ahead without deepening the paper. But I prefer clean edges, so I usually taped down my people before starting my Outlook. Also remember, after taping down to move your hands around the taping so that there are no free space left by for the beans to flow. Will not have any pencil sketch for a painting. So we'll just begin with marking the horizon line with the help of a masking tape so that we can get that clean horizon line. So 40 percent of the paper, almost 40 percent of the people in via Skype bot and the rest, 60% would be the word dog and the reflections when the flowers and the process. To begin with, my color palette, I have lemon yellow color. I have read. I took ultramarine blue and some white. I have got this odd shaped by mixing the shapes read and lemon yellow, also, ultramarine blue would be a darker shade for our sky. So I'll be mixing along some white to get the light blue shade for us Skype. So we'll first begin with painting of a sky. Well, good. So this near to the horizon line as chi would be a lowish, then moving ahead it would turn orangeish and then into a blue sheet. And then we'll be marking some clouds and highlights with the orange and yellow on to the blue. So far as to begin with the color, Let's start with yellow colored or near to the horizon line. So remember not to take too much of one person's would have been wash. And you know, if you take too much of 45, we're at like water follows. And it will not be that opaque as it should be. So just little bit of yellow. Now going ahead with the orange, okay, Remember to keep a little bit of gap between the two colors because we'll be using white to blend these and get the smooth transition also between the orange and the blue. Or we'll keep a little bit of a gap and then we'll use it to blend them smoothly. So you are, you can see my crash blue shade that regard by mixing ultramarine blue with some white. And now marking this onto the sky, I'll make the top part of the dock to give it different radiations to us sky and the bottom would be light. So now can you see I've left some gap between all the colors. Now, I'll be using white to blend these colors smoothly. And girl, you're not a smooth transition. I'll clean my brush of water and we'll pick up some white on black brush and will first run it for you. I have just mobbed the little bit wider. And now I long to mock the white between this gap. Now what I'm going to do is I'll begin with the light shared and pick up some yellow again. Okay. Begin from your blending. Your eye will move upwards. When I lead orange, I'll pick up some orange onto my brush. So now I'm picking up some orange on my brush. And then can you see this one would blend that we are getting into our sky. Now. Now when we move upwards towards the blue color, I'll be picking up again a little bit of blue on my brush. And blend this. Just to move your brush left to right completely and you'll get this clean. Blend. Some dog flow again. Can you see my brush has some yellow sheets which is coming on to the blue and creating those variations into the clouds. I run from the top to bottom again to give those blue shades on top. So this guy is looking very pretty. Okay. We'll wait for it to dry. And then we'll add those highlights onto the sky. And then we move ahead to painting. The bottom part. 5. PAINTING THE CLOUDS AND SEA: I'm just picking up some light orange shade onto my brush and just going to mark some diagonal lines for our Cloud so that we have some different variations to our clouds having some diagonals slopes. So we'll just mock some ADR orange diagnosis. And then as we learned in the technique section, we will pull those strokes from the end of the edge to the center part of the sky to create those cloud-like structure. Now, as we learned in the technique section, just pulling my brush from the edge to the little part of the center. Just pulling my brush, lifting it as I reached the center part. Similarly, we'll do the same thing on the left side also. But before that, let's add some white highlights so that we can have different radiations to the Cloud leg structure. Having the same strokes onto the left side of the sky. And then we'll add a darker value to give depth to the sky. So we'll mix a little bit more of red to orange shade to get a dark orange shade. And then we'll again add some highlights even onto the orange part of the cloud, sorry, orange part of the sky. Also moving downwards, we'll add some cloud-like structure, tilda, yellow horizon line then. And these condos will just use a wet brush. It shouldn't have too much water, just a wet brush and blend it smoothly into the background so that we do not have those sharp edges of the clouds popping out. There. You see? I'm just moving my wet brush, not timing too much water, just moving it around the clouds and dragging it down to have those clean edges on to the clouds and not have those sharp edges. See how beautifully we've just blend those clouds strokes into the sky. Now, we'll just mark the sun ADL vans our sky dry ice will move ahead to painting the bottom five. Okay, so the water is going to be a reflection of the sky. So again, we'll begin near the horizon line will begin with the yellow. Moving ahead to orange and then to light the shade of blue to the bottom. Okay, so in the bottom part two, we do not have to add, you know, any clouds, shadow or anything. So it's going to be quick and easy. So they begin with a very light shade of yellow. This is still not. Okay, but we'll make it lighter as we move ahead. Picking up some orange. Okay? Now, same way, picking up some orange, leaving some white gaps in between to mark down my kids. So later on and blend them. Okay, So this much will be our orange, but now when we're painting this, see the blue color that we'll be using is going to be very light tone of blue, even lighter than what our sky was. So mixing a lot of fight onto a blue and just applying it. We have to follow markings on doing what apart again, on the yellow that I apply, it turns out to be too dark in the water part 2, we'll be using white from the top to get that dome. Lighter shade of yellow there. Okay. So backing up some white. Okay. Now we begin from your Don't worry, if limit of our logos and do a sky, then we have a mountain ranges there. So you know, it will be covered up. So don't worry too much about that. Now, because we need all of C to be a very light tone. I'll be moving ahead with white on Buddha and thio particles to see where we've marked O'Connor's so that they automatically done right. Sorry, don't light blending with the base colors that we have marked. And also getting that clean blend from yellow to orange and then to blue. Okay, so go ahead and take your time and blend smoothly also being washed, you can blend them even if they're dry. So you can just do look back off a little bit of color again on detail brushes, or with the help of a little bit of what, you can blend it easily even if the disjoint. So if you can see my shade know has dried completely, but to blend, I'm again going to reactivate it with the same blue paint and just move ahead, blending it and getting that clean finish to my being dead. I'm distributing my brush in water a bit. Okay. Can you see the smooth blend that we are having? Water dries, we mock on sun, width on light shade of yellow and mix, mix, mix it with white. Okay, so it's going to be a very light shade of yellow while most flake off yellow and more of right? So I've picked up the lightest shade and now mocking the SMS or maybe I've just moved the Suddenly you feeling good reflection of the sun. On doodle mortar ones are seed trays with adding a little bit of yellow to the center part of the sun and began to cry. 6. PAINTING MOUNTAINS AND GRASSES: Until a voltage rise will pin the mountains and the horizon line. I'm mixing a bit of bonds he along with black to get the dog don't shade on Lucy equal to like a raw umber, burnt umber. And now, since this is red, be careful not to rest your hand on doing. Okay. And here we'll be painting with a mountain range. Okay? So it, she's going to be teeny Minnie Mouse in different shapes again. So it's going to be moving around the entire horizon line, some good ups and downs. And we just mock onto our horizon line. Example. They have a wound, Jane shredded. Now we'll be painting the grass onto the sea and the foreground of our painting that as your baby having a green area with some white flowers popping out. Okay, So first what are we going to do is first what we'll do is we'll pin the green grasses over your. So for that, I'm taking my deep green color and I'm going to use it directly or you know, without mixing any other corner to adult lightening and darkening it. Okay, so I have some dark green onto my palette. I'll be mocking a batch all truth to the noun. Similarly, to decide, I'll be marking a bigger batch. I'm going to use my brush or if you have a comb brush, you can use the Congress. This is from it's there in the gingiva speciality brush. So it comes in a set of seven oh, you know, which has different 7 specialty brushes. I've picked up some phone. I'm going to mark that afflictions for these and these into the sea. So I have picked up some brown shade and form your I'm just dragging my brush. Okay. If you can see, I'm just dragging my brush. And by the time I move to the spot, the reflections will bond one pair. So your, it's going to be a little longer reflections. We are going to be painting leaves and branches or above. So we have been doing that afflictions for the same. So we just drag that brush, okay, 100. So sort of reflection that's created after this dries, we'll pick up a little bit of green and add the green reflections on saw. Similarly on this side. Okay? The deflection will be authorship that is above that, so called. This deflection will be, this one need to be more green. Maybe adding some greens to some reflection. Now, I've picked up the phone. Okay. Now what? We pick up some bright green color, That's the bright green from the master glass core center I'm using. Okay. And we'll just add in some highlights of the screen onto this screen, strength seems to be a little bit dark, so I'm adding in a bit of yellow to it to make it a light green shade. Now, Welcome, This is a bowl Fitch. 7. ADDING DETAILS: Switching to my size 1 round brush from my miniature brush set, picking up some will be now building the grass and the branches. Now we've been doing some green leaves. Similarly onto the site you may be forced using brown to add some of the many branches on the top of it. I need some leaves on to this side. I'll turn to the background of a mountain. As we've seen in the reference, will be adding a little bit off phone crosslinks top child. Okay, so I've mixed in a little bit of plaque, but my dream, with the shade of yellow, we'll be adding the deflection of the sun, hiding the reflections to the sun onto the CBA. So just DE10 many lines with my brush. Just dab off. What DO also remember by building the reflections, you need to pick up the consistency with 20 less and just draw some eeny meeny line down to the sun. So we've tried to effective flexion. 8. ADDING FLOWERS: Let's please beamed some white flowers onto a phone rang. I guess I'm just picked up white quash and use a brush that has appointed person. I'm using my round brush that has a good tip. Remember, not all flowers need to be asked to seem sheep, okay? So some can be just half crown was, some could be facing those facing know Maudsley this. So give different mediations, different sizes that will add depth to your pin D. And now we have under a banner, me being similar, flower was in dread. Hey, I'm using. This is from beginning up the dark brown shade that we had. Okay. And I mean, just from the water move to flush out the fungi. Okay. Mixing yellow to get them. To add some depth to the foreground of our painting, I'm using my fan brush again from the company and unchangeable CD's. Okay, I'm just wetting my brush and picking up some green and a little bit of wrong or don't lose too much water while we're doing this technique will pick up more of paid. Okay? So I'm just picking up more of beam. And before being the kid, don't that I don't know. She tried on and off that. Is it giving you those glass-like structures? Means it's giving me the structure. That's i 1 deck. So now I'm just reload my brush with paint again and I'd cook bottom part, you will just be dragging our brush and giving more depth this class like structure. So if you can see, if you do not have a fine mesh, you can do this all in all with your own detailer brush, but then it takes a lot of time to prefer using the fine mesh on it gives you an oil and gas rate structure and a good bet on Pluto being big. Uci, how good the focus is turning out to be just one come on board and watt charging it, giving you. Similarly. With this same rush. And PGI do compete on these grinding depth of class to ever been. Did you see how beautiful little dawning of the week model-building be adding a little bit of depth to get what we want to do is I've picked up on black color and I'll be painting another small range of mountains. And the width adopt chain. So that I can do is to defend dome, range of mankind. And that deaf the plan. We're done with our painting. I'm it's time to remove the MOSFET and save removing the masking tape. Remember that? Read data off your stages. Beautiful, gorgeous sunset near the water fund is. 9. THANK YOU: Thank you to everyone for joining my class. I would love to see your creations. Please upload them into the project section. And also if you're an instinct jam, and if you posted on Instagram, tag me, my Instagram handle is creating from the heart. I would love to see your creations and share it there. Thank you so much for joining me. Hope to see you in the next class.