Transcripts
1. Introduction: Hey lovely people. I am the limb ROI of watercolor and gouache artist based out of India, Bangalore. And welcome to my second Skillshare class. Take most of the other artists too. I'm also inspired by nature because nature is so colorful rate who isn't inspired by nature. One of my recent obsessions has been painting this fluffy clouds. And I'm just loving to pin this clouds with quash. Name that I explored this medium. I'm just amazed how forgiving this medium is and how easily you can correct any mistakes that you do well, painting is in that the best part to recollect paintings, which is obviously a difficult and very tricky with watercolors. Almost you cannot recollect any mistakes with watercolors, but gosh, gives you that opportunity. So I decided to bring to you this class where I'll be sharing out all my tips and tricks that I have learned through my journey. I have structured this class in such a way that even an absolute beginner who has no idea about this medium can kick start their journey with wash. I have tried to keep this class as simple as I could and I have dried my level best to explain all the different techniques of blending and water control. And what is the right consistency of being that we should be using well working with gouache. So I think after this class you will be pretty much confident to start out with gloss and create your own landscapes and paint much beautifully and confident that you ever wear earlier. Towards the end of this class, I will be teaching you in real-time how to paint simple skies escapes and also a cloudy skies cave because I'm obsessed with clouds as you know. And then from then on you can take on any subject that you want to paint with gouache. I hope this class will be very, very useful for you. So come join me and let's get started.
2. Gouache Overview : I often get asked, what is squash and how is it different from watercolors and acrylics? This class, I will be explaining all of that with the help of some examples. Let's know more about Wash. Wash is just like watercolors and acrylic is a wet medium. And guage is also known by the name as opaque watercolors. Washes opaque because the ratio of the pigment to the binder is very high in wash as compared to watercolors. Wash dries very mad or chalky because white filler or a chalk, a body is added to the garage when it is manufactured. And this is how it is structurally very different from that of the watercolors. And this is also the reason why wash is a surface being other than watercolors, which is absorbed more into the people. Because the particles of the watercolors that much finer as compared to that of hogwash. Now we will see you how, what the color is different from wash. I have diluted the watercolor and toned it down. And you can see that as a Lido watercolors on the people. It is much more translucent or transparent. And when it dries, it will be even more shade lighter. Now let's compare acrylics. Acrylic is also a wet medium, which you can water down and diluted and use it until it dries. Once it dries, it becomes water resistant and it is much more glossier than the other two mediums. So this is the main difference between guage watercolor and acrylic. Next, I will be trying to reactivate the paint and I will show you the difference. So I'm trying to reactivate the acrylic paint by using water. As you can see, it is clearly not getting reactivated. Well, the very same if I do it with wash, it get instantly reactivated because it is more blended. And since it is water wheels, it is very soluble. So that is way gosh, wash and watercolors are easily reactivated once it comes in contact with water, even after drying variables for a clear legs, it is water resistant once it drains because a polymer is added into the acrylics. This is the main difference between the three mediums.
3. Materials Required: Now let's quickly take a look at the materials required for creating our class projects. So we will be requiring people. This is people from Fabriano and this is a cold press paper. A4 is the size of the paper and 300 years and as the thickness of the people. Ideally for guage hot press paper is recommended but this paper has little bit of texture on it. I love using are working on this paper. Also you could use mixed media sheets are a people which has a very smooth surface and no texture at all. But make sure to use a people which has thickness of 270 GSM and ideally 300 GSM is best. Now next, take a look at the colors that we will be using. This is a master glass. Gore said this is a professional GWAS set from the brand naval sky up a literal, and this is a set of 16 colors. Now in this set we have all the primary colors and to white, because white is the most commonly used BIM for the wash. So they have given us two. Now, I have used ceramic plate as my mixing palette. Feel free to use any palette that is available with you. Now this set is water-based squash. Now there is another variant available in the market, which is an acrylic wash said. Next, let's take a look at the brushes. So I have my favorite brushes which are used for watercolors and wash. So Elvis or printing out the brushes that I'll be that we will be using for creating our class projects. And I mostly use with words. So these are the brushes from Princeton Aqua series. These are the limit for watercolor and wash. So I will be going with an angle shader brush, which is half an inch. And size number eight brush. I love using this to Angular Shader brushes from our tissues are brushes. They are very good starting brushes for bigness. And also I'll be using a straw brush from Princeton. Apart from these brushes, we might also be needing some round brushes. This is a synthetic addition, sable imitation hair brush. And the next system, silver black velvet size number 4 brush. So you could use any flat brushes or fewer choice. We would also be needing be portable or towel to dry our brushes. Now after this, we will be using an acrylic bore so you can use any surface to tape down your papers. Acrylic board is the best because it will not absorb the water and your we will be needing masking. Dave, I have both the sizes of masking day, half an inch and one inch.
4. Water Control: Let's understand what the control and having the right consistency of water in your pins. So you're, as you can see, I'm trying to reactivate the paint that was there on my palette and I'm trying to do a swatch out of it. So I reactivated using water. So in this case, you can see the guage is pretty much more transparent or translucent and it is not that bright as the color should be. Now I will be applying wash straight out of my wash dubs. So as you can see, the very first chord that I have laid down as so bright. And it is having that obeyed because I'm just applying it with a damp brush and there is not much water. So you can see the stark difference between both the beans, the one which is watered and the one which is poor directly out of the two. We will now be doing an exercise where we will see that just by varying the amount of water, what different kinds of being consistency can achieve in wash your I have taken the fresh paint from straight out of the tub and applied it on the people with my damp brush. Now the next thing that they do is just lightly dip, dip my brush into the water and lay the paint on the people. And you can see the paint is flowing smoothly on the paper right now. Now I go ahead and dip some more water and apply it. You can see the bean test and down comparatively because we are adding more and more water. As, as you can see, the more water that we are adding to the pain though washes losing its opacity and this turn donning more into a transparent or translucent colored Joe's leg watercolors. So this is what is all about water control in the wash paint. To get it's bright and opaque consistency. We need to use very less water so that gosh can do its own thing. I hope this exercise was helpful in clearing and knowing how to use wash.
5. Basic Techniques: Let's take a look at the most commonly used techniques for gosh, that is the blending technique. And I will be showing you how you can achieve smooth transitions between colors using the thickest consistency of the Gershwin's. So come, let's get started. Here in this exercise, I will be loading the beam straight out of my tub. You could squeeze fresh paint out of your tubes. And my brush is just damp and it is not loaded with too much of water. Now, I will be trying to blend in the colors here I will show you how you can use gouache and more leg watercolor consistency. I'm, you're trying to achieve that smooth gradient just like we do in watercolors, by dipping the brush again in water and coming to a smooth, trying to create a transition of the darker to the lightest value. Now let's take a look at the second method where I am directly applying the paint from my tab and this almost dry brush, which is just damp, I have removed the excess water from the brush and as I am loading the being done, the people you can see that I am getting the dry brush marks. This is because I have applied the paint in SSPR, thickest creamy consistency. Now I will go and just dip the tip of my brush and little water. And I will try to create a smooth blend of that paint that I have applied previously. Now, always remember that I'm able to do this step only because I had applied on my people the purest creamy and the thickest consistency of the paint. Now, if you have already applied on the people, the diluted form of the paint, you would probably have to go over again and get some more paint loaded in your brush and then keep doing this step until you get that. Take opaque consistency. Now I'm going ahead and adding some, picking up some paint on my brush and I'm going to blend in the white into the blue. Now, always ensure that even when you are picking up your white paint, you do not dilute the white paint and make it too runny. It should be just creamy and thick enough to blend well with the blue layer if you feel that you want to dock. And now the blue a little bit more, go ahead and pick up some more of that blue paint and now come from top to bottom approach. Now the similar thing I will be going and doing an advanced technique of blending where we will be using two colors. First, I have picked up my ultramarine blue color and I'm layering it down with my just damn brush. It's not too watery. And I'm just now picking up some more white paint. Always use a clean brush to do this step. Since May, white paint is already on the verge of getting over. So I am just recklessly going ahead and putting the brush loaded with the paint in the white. But always make sure that when you are using weight, you clean your brush before you do the step. So I have wiped down the color and I'm now layering though violet shade on it. Now as you can see, I have guard those streaks of violet, meaning that my brush is too dry and the color is not spreading uniformly on the paper. So I go ahead and add little bit water by just dipping the tip of my brush and you can see how smoothly the color is able to blend. So your water control is the key, though very most important key and blending for guage. If you're a beginner who is just starting out with gosh, I would recommend you to do this exercise as a must because it will give you a clear idea on how you need to control the water and what is the paint consistency that you should have in order to get this smooth blends and create beautiful gradients. Now you can also explore different color options. You could check out though Colombia and do more of such explorations and create stunning, beautiful gradients case. Now let's look at the layering technique. So this is pretty much the same as we do in watercolors. The only thing that you need to keep in mind is the right water consistency. I cannot stress this enough because if you have too runny paint on your brush, it will try to smudge on the paper are on the surface where your background layer and the background layer just can get reactivated. So you do not want that. So for that you need to make sure that your brushes just dry and you are able to smoothly apply the colors on the people. Let's look at the next example. So I'm just going and directly applying this white paint. As you can see, the brush had water in it and it's very runny. And it is kind of reactivating the background behind that is there, as you can see, the purple shade is coming in. So what I do is I go and dab the brush on the tissue and grab some more white paint, the thickest consistency of paint. And I do like this cloud leg structures over here. So here is the trick. Once you feel that you have somehow activated your background layer, wait for it to dry. Because if you keep reactivating the background, the entire painting might just turn messy. And then maybe you'll have to wait for the entire painting to dry out and then again, fix it somehow. So the best way is to reconnect the small mistakes made is to just wait for it to dry quickly and then again restart back with your painting where you have left. So your M adding some contours with the white too, a darker values in the cloud. So I'm just going ahead and doing this. So this is just a very small exercise to help you understand how easy it is to correct any mistakes that you have done in goulash. And also at the same time to know how to get this blending technique right. See you in the next lesson where we will be doing a detailed blending exercises.
6. Blending Exercise : Simple Gradient : Let's take a look at the most interesting exercise, the blending exercise. So I am going to be using Fabriano is 25 percent cotton people. For gouache paintings, it does not necessarily lead to use a 100 percent cotton people. So there's 25 percent cotton cold press paper will work perfectly for blending the gouache brush and doing any landscapes but wash. So I'm taping down my people from all four sides now, I'll be making a grid on the paper so that we are able to create those blending exercises. So here is the grid. I'll be using ultramarine blue for the blending exercise. Now you could choose any color of your choice and do this blending exercise. So there is no hard and fast rule that you need to use ultramarine blue or only to create this. Go ahead and feel free to use any color of your choice. Now, I am mixing the colors with little bit of water and creating this creamy and smooth buttery texture paint. Now I'll be laying this paint on the people. So the first technique, I'll be demonstrating how it is to use the paint and then water it down, are diluting it only by Watteau to create the gradient blend. So this is not exactly how the wash should be used, but this technique can be more used for an underpainting. Because as you can see, as I'm watering down, the paint is becoming runny and there is absolutely no paint on that area for me to do the blending more smoothly because I've just thinned out the paper and you can see my brush strokes are clearly visible on that 10 out ADR. Now for the next exercise, you can see that I have prepared my paint, which is a creamy and buttery. So I'm going to call my people with this creamy buttery paint. As you can see, the beam does. High lipid mentors since I have taken the pigment and created this mood buttery texture. I am, you're using this angle shader brush from Princeton, but feel free to use any two. So blenders or any flat brush that is available with you. Now, I'll be creating this gradient by mixing some of that white paint with blue paint to create color in-between the boat. So as you can see, I have not diluted enough. I'm just loading my brush with pigment and the to and fro motion of the brush. I'm trying to blend in the colors creating that smooth transition. Now, towards the bottom, I'll be layering it with white and then I'll be walking my way up towards the top area so that my blend is smooth and seamless. And after that, it will be again, going over the top to the bottom. So that will be done top down bottom approach. As you can see, I'm still not satisfied. So I'm going with the white paint again trying to create much more smoother looking blend. Make sure that you do the step quickly so till the paint is wet. Now next exercise is just merely an example of how you can achieve that blend using the diluted or the watered down version of the squash. So this is not the best way to do a blending. And it can be definitely be used as an under painting where you have to again, go back and cover it with more pigment colors. So this is how it will look. As you can see, the opacity of the paint has reduced considerably and it is more looking like a very translucent or transparent background. And it is clearly showing up the brush movements of the brush mark. Now, let's look at the tactic number three, where you will be using this creamy consistency of the beam as a top-most layer. And your, and be showing you that how you can mix your colors well ahead and prepare lighter version of those colors and use that in the gradient blend. As you can see, I'm going with the to and fro motion of the brush and I'll be now diluting the color, mixing it with little bit of white and blue. So always remember that the venue are trying to get this mood the gradient. Always remember to load your brush with the paint and not merely just with water. Because if you are just loading your brush with water and not the paint, though, previously applied paint will start thinning down and there will be absolutely no paint on the paper for you to blend it out smoothly. And in that case, you will be harming the people more than doing any good. I absolutely find this blending exercises to be very therapeutic. It relaxes my anxious mind. So I always go ahead and do this blending technique with my own sweet time. And this is one of my best therapy you could call. So you're again, I have gone ahead and applied that creamy consistency of looping on the topmost layer so that I can have though gradient blend and am working it all over again so that I achieved though smoothness transitions between the layers and there is no harsh layers distinctly standing out. So I hope this techniques are now clear to you.
7. Blending Exercise- Advanced Gradient: Let's take a look in this exercise. How can we create smooth gradients using two or more colors? Now you're taking Prussian blue out of my paint. And I'm adding just a little teeny bit of water. And I'll be taking this paint and turning it into a creamy smooth, velvety texture. I'm adding some more paint because I had added water in it. So this is the trick of knowing when to water it down and when to achieve though creamy velvety texture of your paint. So when you add water, the paint will obviously ten down. So in that case, you need to go back and add some more of the paint pigment to the mixture so that you can turn the paint into smooth, but to evil that lacked texture. Now as you can see, I am directly applying the Prussian blue out of my paint tub so that I get that take opaque looking gradient blend. So the IRS that if sometime some bins differ and consistency right inside the tube of the beams are inside the tub. So when you are picking the paint up, you should be able to gauge if how much water is required in that band. So that comes that experience will come on livid practice. So that was a small tip that I can give you. So your I'm trying to create color. And between the blue and white. So there's a lighter shade of blue that I'm using to create that gradient effect. Now, you're, you can see this blends are kind of just led Lego blocks. It's not blended properly. So this is not the right kind of blending technique that you should achieve. This is just an example to show you that if you do not go over and over again with the pain, it will not be a smooth gradient that you can achieve. Now, I have created an orange shade. I've mixed my yellow light and red colors. So these colors are from masterclass goulash set. So there is no bright orange colored in this set. So I have the primary colors, the red and the yellow. So I have created this bright looking orange with the help of those colors. Now, I'm leaving this orange at the bottom of the people. So as I'm going up, you can see my brush getting drier as there is no more paint loaded in it. So now I'll be trying to create that blend and I'll be adding some more white in it. But as you can see, it's clearly like a blog, blog layers that digital seeming do. So this is just an example to show you that this is not the right approach that are the right way of blending two or more layers. Let's practice blending again. And I promise this is going to be the last exercise of blending. So in the previous blending exercise, we have seen the mistakes, the Gelman's mistake that we shouldn't be avoiding then going with the blending of two or more colors. So I'll be showing you how you can create those seamless transitions of different colors and how you can achieve that right here. So for the color gradient, I'm using this Prussian blue now I'm applying the creamy and the velvety Prussian blue color right on the topmost part, which is going to be the darkest tone. So your, we are going to follow the dark to light again, too dark approach. So this is the technique involved when you are approaching blending with two or more colors. So I'm going ahead and darkening the color again. And I have big for that, I have picked up some more of that dark paint. Now for this layering technique, I'm using euro stroke brush by Princeton. Now, you can use any flat brush or any juicy blender brushes that are available with you. Now, I'm almost done with the topmost part. Now I'll be adding the white paint. So for that, I'm squeezing out some white paint or picking up the white paint on my brush. Now, here I have not exactly wiped out the paint from my brush because I want to achieve that light blue texture. So I have not cleaned out my brush. But if you are using, are going ahead with some other color, make sure you are squeezing the color out of your brush by gently washing the brush in water. So I'm trying to blend the white with the blue layer. Now I'm able to do this because my previous layer of blue is still wet. So the white creamy paint is blending with that layer, creating that smooth transition. Now it's time to add a second color for that. And I have chosen the orange as my bottom part. But for the area which is going to mix with the light blue, I have used more of a tone down color of orange by mixing it with white. So at the bottom part, I'm going with the saturated color tone of the orange, and I'm slowly trying to blend those layers together. So this is now it will all be about how I'm blending it again and again with white to grid to get the seamless transitions are blends between all the different lives. Now as you can see, as I'm working my way upwards into the blue, I will be using less of that of orange shade and more of it so that the white blends with the blue and creates a smooth transition. We are going ahead and mixing the y with little bit of blue because we don't want to have some muddy colors such as the greenish color that you could get to by mixing the blue and orange shade. So I'm going again over again on the entire blue area so that it blends smoothly. Don't worry if some of the blue runs down into the light orange part, we can always go back and fix it. Now blending is all about going back and forth and layers. So your laser trick. So the more you try to blend and lead the layers get little dried up but not completely dry in order for you to work your way out. So the more smoother blends you will get, you will be seeing that I will now go over and over again on the same layers again and again with the same colors. And this is how beautiful the transition will look like once I have completed it. Now will be going ahead and fixing the lower part where the bluish didn't just come down. So I'm going ahead and getting that orange shade down again. I'll rub off the bluish shade that is on my brush because I'm going over the blue area. So every time that you go over the blue area, make sure that you clean your brush. Now, I'll be repeating this process again and again until I'm really satisfied with the blend. So this is the key to the smooth blending. Until you are satisfied, you can just go on blending, but make sure you do not add or dilute the paint too much. Otherwise, it will become very, the paper will start to tear off and you will not achieve that smooth finish. Now I'm being peeling off the masking tape. And I hope this lesson and exercise was really very useful to you.
8. Class Project 1: Sunset Gradient Sky: Let's get started with the class project. For a class project, I'm going to be using this Fabriano 25 percent cotton, 300 GSM people. And these are the brushes that we are going to be using. I'll be using mainly angle shader brush and brush from Princeton, Aqua series and a round brush. So you could use any synthetic brushes that you have, a flat brush or a chisel blender brushes will also do. Now coming to the colors, I'll be using this masterclass squash set colors. This Gore set comes in a set of 16. I'm mixing some gold ocher with data of the orangeish mix that I have on my palette. And the next color that I'm going is for reddish orange color. And the next is a little bit of violet color. Now this color, violet color is an optional color. And the next color is though, Prussian blue, and we will need some white for blending. Now, starting with our painting, I have pulling out, are picking some paint out of my data and misting it with the help of a spray bottle. So this technique will help you do have a control on the water in your paint. I'm starting out with a light pencil sketch. So this first class project, I'm keeping it very simple and easy. It's more of a gradient blended sky. So I'll be using those colors that have just watched out your, I am drawing a foreground and a background distant mountain now. I'm trying to create a creamy texture of my paint by mixing water and being together. I am creating this paint mixture altogether so that and not mix the paint. Every time I have started laying the paint on my paper and now slowly and gently try to smoothen out the colors applying to and fro motion of my brush. I'll keep doing this. I'm really satisfied with the topmost or blue part because I really wanted to be opaque. Now I'm picking up some white paint to have a transition gradient effect. If you have so noticed, I have not clean my brush with water. And even if you have to clean your brush with water, make sure you always make your brush dry before you start applying the pain. That is why it is very essential that before you start out with the painting, you talk out the colors and dilute European, makes sure and clear that creamy consistency of the paint beforehand so that it is easier for you. Walk your way and blend the list together when the paint is still wet on the people. So this is the trick on achieving that smooth blend. Now I have washed my brush with water and I'm going with the white paint now my brush is just damp or moist. It is not having too much of water. So I'm going ahead and creating this white layer. And now I'll be going and taking this reddish orange mixture and I'll be layering it at the topmost bottom part, where the three-fourths will be this guy and then I'll be layering the mountains. So I'll be covering the mountains. Don't worry. This mountains will not be visible because this is gosh, and it is kind of opaque, unlike watercolors. So I'll be going ahead and using some more bit of red because I want the bottom part to be really vibrant and opaque and bright. So I'll work my way and I'll make it more lighter as a goal up towards, and then it'll be blending it again. But I do have that smooth gradient. This is one of my favorite gradient combinations when sky. Now you could always off for the other color combinations like turquoise and pink color or violet and pink or violet or light blue. Pictures of the gradient colors are and less. Use color wheel to know which colors are complimentary to each other so that you could use those colors and create this beautiful gradient skies. So color wheel is a very important aspect and you should know the color theory well in order to mix and match colors and know which colors when. Created are blended together will not give you any muddy mixture. So I'm going ahead over and over again with the layers until I'm really satisfied and the transition is not very hard and it is mood. So until they achieve a smooth gradient blend, I'll keep on blending the colors again and again. So this is very much like the exercise that the last exercise that we have done. So I hope you weren't able to follow and you are able to work along with me. Now, once a background has dried completely, use tickers consistency of the Prussian blue paint and paint along the outline of the mountains that we had created. The outline would have been already masked out by the guage. But you could either go with a pencil first and then go and painted with the paint. I am you're directly going with the pain TO and I'm outlining the mountain with my darkest blue color. Since blue and orange will give you a kind of blackish color. So it will look more dark and opaque at the area where the two colors are mixing. Always remember to use the darkest consistency or the thickest consistency of the beam because the darker colors will generally dry lighter and guage and the lighter colors generally tend to dry darker. So keeping this in mind, if your darker colors are more diluted or water down, it will clearly your brush strokes or the brush marks will be visible even after they dry. So now I'm going ahead and painting this foreground mountain with the black. Hello. So I am, you're using the creamy consistency of the black color and we are almost done. I'll be your, with an upward stroke of the brush, with the tip of the brush. And it'll be just making small, small grass like buttons to indicate the growth on the mountains. And that's it. We are done. And after this we will be painting some birds on the sky. Now I'm here adding some birds in the sky. You could feel free and use any kind of or add any kind of elements onto your sky. You could paint a moon or a half-moon editing of your choice, you could paint. It is all up to you how you want to add elements to your painting. You could also add small windmills on the mountains. So it is totally up to you. I like do your ad boards and I would like to keep the first project simple and not too complicated. So that's it. I'll be adding the last board and that's it. We're done with the painting. Ones that your background has dried completely and your colors have dried out. Well. It's time to be loud. The masking tape I'm you're generally pulling the masking tape but an angle, make sure no masking deep is always full Latin angle to ensure that your papers are not tripped out. And another important thing is that if you use goulash in a very, very thick consistency, there is a chance there after drying and when you are pulling out the masking deep, the Joash can just crack up on the people and it may off from the surface of the people. So you need to be very careful. That's why the water consistency, the water control and the paint consistency of the paint is very, very important. I have been stressing over this fact over and over again in all the lessons that I have seen so far. So just keep in mind. And that's it. We are done with the painting.
9. Class Project 2 Fluffy Clouds: In this class project, we are going to learn how to pin this fluffy clouds. So I have already taped down my people on the board and we will be using these three colors, mainly ultramarine blue, Prussian blue, and violet, and a burnt umber to get you did gray by mixing with blue. So I have this remaining colors leftover from my previous project. So we will be using that now with the help of a pencil, we will be outlining the shape of the fluffy clouds. It is not necessary to dare buy any dare to the reference photo you could do initiate or fluffy clouds because clouds are in general very random. They do not have a definite shape. So just outline it with a pencil so that it's easier when we start coloring. So for this guy, I will be using the Prussian blue and I will be making a tick consistency of the paint and then applying it over on the people. Now I start quoting the paint on the people with the help of my angular brush from Princeton, you could use any flat brush or round brush of your choice. Now, I'm your using this angle shader brush because the angled shape brush helps me in reaching some nooks and corners of the painting, and especially this one because it has those curvy cloud sitting in between. So if you don't want to be very cautious and careful while painting this clouds and other trick is to mask this entire cloud shapes with masking fluid. And you can easily blend and paint over those clouds. I have not used the masking fluid because many of you might not have a masking fluid. So that is the reason I'm going by this technique. Now if you're Prussian blue is not so dark enough, you could go and add in some tiny bit of black gouache toward in order to get this dark blue. So I'm trying to carve out the corner edges with the beam so that it's easier for me to paint the sky and not to paint over the clouds. Even if you paint over that allows it would be okay. And you could again prefix it back using the white quash. Later on we are doing event via doing that louds. Now for this guy, we will be doing duotone color combination or a color gradient. At the lower bottom of those other Clouds I have outlined there, we would be using a lighter tone of blue. So for that, we would be using a color similar to that of cobalt blue, citrulline blue. Since I do not have that cobalt or Sarah Lynn blue, I have mixed ultramarine blue with that of white quash and have obtained this take paint consistency. I have made it in quite large so that I don't have to make this color again and again. And in that way, I will also have a consistent color throughout this area. Now the trick is to just go and blending the colors. And like we have done in our earlier exercises and our new project, we will be trying to obtain a smooth gradient blend. I'm trying to slowly carve-out dose cloud structures around so that I can paint the underlying area, the sky area. So you could do this way and you could also for the state, use round detailing brush to carve out those two outlay structures and then go with the flow over it with a flat brush. Now don't get overwhelmed with this painting because this painting is definitely going to take some times and we will be doing some fluffy clouds. So there will be lot of gradation of layers and detailing urine and doing going over and doing the contours and redoing the blending again and again so that the clouds come to life. So don't worry, and don't be afraid of trying this project out. Because this is absolutely fun and you will get to apply all the tips and tricks that we have learned in the exercise classes. I have included this in the projects because I know that it is very often difficult to pin this kind of clouds. So you, after this project, you will be able to. Try out different subjects are references that you see and painted on your own without any guidance or help. Because I think this class should be enough to guide you through the steps that would be required in painting such fluffy clouds. Now as you can see, I have blended the boat the colors, and I'm going over it again so they're blended seamless and there is no harsh edges. So for that I'm just dipping my brush and little water and I'll be going over from top to bottom again so that the blend is uniform. Keep lending until you are satisfied and you don't see anymore the harsh edges or the harsh blocks of two colors. So the more you blend, the more uniform and consistent the gradient would look and more beautiful. Edward appeared. I'm taking some bond on board and I'll be creating a muted great on by mixing this burnt umber with my blue. So here we have created this burnt umber and this mutant. Be going ahead and mixing a little bit of white to create more of that lighter gray. And now I'll be just blocking out some of the areas in the Cloud. So these are the shadowed are the heavier parts of the cloud which is laden with moisture. So just to depict that I am blocking the colors out and then it's all about blending it with whitewash until it appears really fluffy with some contours in it. So that's the process. So we will be painting similarly, all the clouds urine there. And we will be painting some other Clouds also nearby this bigger chunk of clouds. So just keep watching and following me through. That would help you a lot easier because now it's more of blending and getting into more detailing and contours. Now to give some more depth into the clouds I'm using yielded yellowish great on at the bottom of the cloud. So once we start blending with the white quash, there will be some kind of light effect passing through that lower, so it would give much more volume and depth to the clouds. Now, we will be adding similarly for the smaller clouds, this grayish tone to add volume and depth into the clouds. So that is the trick. So keep on adding this grayish tones to give that depth and volume to the Cloud. And if you're feeling tired and a whirlwind, these take a break here and you can come back and rejoin anytime. Because this is going to take some time. Because we have just started with the Giving definition to the clouds. The more contours you add, the more different shapes of color you add, the more life you will be adding to the clouds. And I am your blending with the wash. So I'm using tape consistency of white gouache brush and I'm trying to blend it with the grayish tone so that it is not that beyond white. It has some grayish tone and nerd and I'm trying to go and blended newer the edges of the cloud, but I'm not painting the edges of the cloud. I'm keeping it wide as it is. Later on. I will be highlighting those edges of the cloud with PR, white thick beam so that it is more prominently standing out. And it is looking that as if the cloud is coming to life. And to give it a more realistic look. Now with the help of my smaller angles shooter brush, I'm trying to go and read, blend, and retouch those areas where I had poured out darker shades of color and in-between, I'm just going and adding some more drivers patterns just beneath the cloud to create those straight lowess floating. In the sky. So I'm trying to add a little bit more definition on, onto the edges of the clouds by just going and filling those ideas with whitewash. Now make sure that you just drop the colors and random shape because that would give the Cloud is much more definition because Cloud has no definite shape. It is very irregular and it's very random. So keep on doing this until the edges are very highly defined and looking much more prominent. And keep blending two colors that are in, say, now I'll be going ahead and creating a little bit of contour, a little bit of shape, leg structures. In the similar way I am now trying to create depth and volume effect in that small local out stool. So am going dead and redoing and retouching though and diarrhea and covering it with white gouache, blending the grays with white gouache brush and creating that effect of depth. So this is the layering technique. Just like watercolors, we are also doing the layering technique you are with squash. So the more and more you create layers, the more and more realistic this clouds will look. So keep on adding layers of the layers. And the best thing about gouache is that it is easily reactivated and resold liberal. It blends with the earlier layers easily just by adding just the order dash of water. So this is a great thing about gosh, unlike other mediums. So this makes it much more easier and it is absolutely joy to work with this medium. Now, with the help of my smaller anglers, shader brush, I'm going ahead and creating this other Clouds and I'm using my brush in very than the motion and I'm basically applying the course and with a dry brush. And this is the dry brush technique. So dry brush technique is a common technique which can be used for any medium, for the crater lake watercolors or for guage. So this medium gives more texture and more kind of effect to any painting. So I'm your drank to create and lose floating clouds in the sky. For that, I am using this dry brush technique. Now I'm going ahead and again trying to read, blend the white gouache with the gravestones into smaller clouds so that it is looking much more. It gives the effect of that volume and there are some lighter and darker shades within the clouds. Now I'm trying to add some definition on those loose floating clouds around the bigger chunk of clouds by just simply dabbing my brush with white gouache brush over there. I'm not doing it for the entire Cloud region, but only a selected portion of the Cloud. Now, the paint has dried. Now it's time to build off my masking deep. So finally we are done with this cloud, fluffy clouds painting and isn't its origin looking beautiful? I hope you try this out and post DR. Creation in the project galleries. I am looking forward to seeing your recreations. See you in my last and final class project.
10. Class Project 3: Wild Floral Meadow: Welcome to the third class project and let's get started. I will be starting out with a rough pencil sketch. So here we will be doing fluffy cloud scape with floral meadow on the bottom. So I'm, you're using and artist grade Fabriano 25 percent cotton paper, which is of A5 size. Now I am, I have started applying this blue color. Now this color I have makes Bay ultramarine and ultramarine blue and white quash. And I've started to apply thick consistency of the paint and lead for Lee onto the paper until the entire sky part is covered with this pink. I want the area of the sky near to the horizon line to be lighter. So I'm going ahead and adding a little bit of white quash and mixing it with my existing civilian blue color. And I have tone down the color of Burt, and it'll be blending the colors now together. And I'm using this angle shader brush and I'm going in a very slanted direction. But the brush, so that the brushstrokes are retained even after the sky has dried completely to give that naturalistic look of the sky. Now you could use any flat brush or any filbert brush for doing this to this guy. I'm trying to be interior, very loose and I'm trying to experimented. I'm not abiding by any reference. This is something which I'm painting totally out of my imagination. So I'm trying to create and loose strokes to denote that loudness of a whitewash with both my angle shader brush. So I want to create fluffy kind of looked to the sky with clouds just floating around the sky. So I'm doing this random brushstrokes. So let's see an experiment. If I'm not happy with the way this is turning out, we can redo this entire sky again because we are working with Gore's. So I have this advantage over that. I can fix the sky and make it brand new again. Now, we'll be moving on to the meadow barred in order to do them meadow LV creating first or DACA background which I'll be using a mixture of burnt umber and individual black. And if you want, you could use a black totally to give that darker background. And on top of it, then we can start adding some greens to give it a more realistic look for your, I'm trying to experiment and I'm going with a darker shade of burnt umber mixed with black. So let's see how it turns out. I'm really not happy with how this guy he has turned out. So I'm just going to really fix it by applying thicker paint of Prussian blue and mix with a little bit of white. And I've got this beautiful blue color. Now, just make sure that you, when you are doing this blending, you apply thick paint over the surface and your brush should not be too laden with water. So I'm now continuing with my Meadow area. I'll be using 10 round brush with a pointed tip to do the blades of grass. So instead of this round brush, you could go and use a fan brush. Fan, brush with the fan brewers does glass-like effect becomes much more easier. And you could do this or you could also use a horseshoe kind of brush where you can do this longer blades of the grass more easily. So this will be a little tedious process because we will be covering the entire meadow with this grassland structures. Now for creating this grass, I'm using a mixture of main green deep mixed with a little bit of lemon yellow. Now we will be using different tonal values of this green to create more highlights in the grass so that it stands out and looks much more realistic. Now I'm going with a lighter shade of lemon yellow mixed with a little bit of green and white to give a contrast to the grass against the dark background. Now go with any varying directions of the grass because these things have no particular direction and you could vary the sizes as you go. So just keep doing this Grass Lake structures in various random shapes and sizes and in random directions. Now as you go towards the horizon line, do smaller strokes with the brush because it is at the distance. So all those kind of grass like structures will be much smaller. So just to use small strokes of your brush to do those structures in this way, we will be covering the entire middle. We will be using different tonal values of green, yellow, lemon yellow and green and white. And fill this meadow up. Now I'll be taking a break from creating those meadow and that will be going and creating lose clouds onto the sky. So as you can see, I'm just gently dabbing the brush. And this is the dry brush technique that I'm using to create this fluffy clouds. So similarly, I'll be filling the entire area with this dry brush technique and we'll be creating this loose fluffy clouds. Now to get the most out of the wash as a medium, hues always use a thick consistency of the paint. Yes, I'm repeating this again and again because this is a key to attain desired results with Doug wash. So I'm almost done with creating this clouds, but I feel like creating some more near to the O horizon lanes. So maybe I'll keep creating these cloud-like structures with the dry brush strokes. So I'm, you're using an angle shader brush, but you could use any flat brush of which has a pointed tip. So with that tip you could go and just keep dabbing the colors so that you create this kind of look. Now we will looping this floral may do and totally lose style. So this entire landscape, as I told, is a loose approach. So as we do the landscapes, foreign landscapes and watercolor and a loose style, your, I'm just going and dabbing this. The lobes of yellow squash mix with little bit of white and just adding this dart leg structures in though distant horizon. And then as we come closer to the foreground, we will be adding varying colors and varying shapes and sizes so that it looks that it is more of a wildflower meadow that does growing out here. As Florida DOT, feel free to use any kinds of bright colors that you have. I have used your little bit of warm tones of colors like the orange, yellows and white. So feel free to use bow pose or shades of violet and lavender to create more like a lavender field orders, you could totally go with pink or red or create poppy fields out of it. It is totally up to you. So I'm keeping more of a loose approach here. Because in the earlier projects we have quite done some detailed painting. So I just want you to enjoy, relax with this painting. And that's it. We are almost done with the painting, so I'll be just doing a tree-like structure over you. So am just with the help of my silver black velvet size number 4, brush with the help of the tip. I'm just drawing out the branches of the tree. The tree is I'm drawing the tree with the burnt umber little bit mixed with black. So I'll be creating some more tree-like structures just in an around the right side of the painting. And your I'm using a liner brush to create those branches of the tree. I have started adding some birds under the sky because for me, the sky is pretty much incomplete without adding birds that this is my absolute favorite element to add to this case. So after this, we are almost done with the painting. So we wouldn't be allowed the masking tape after our painting has dried completely and we are done. And it's time to be loved the masking tape and do this at an angle. I always keep repeating that below the masking debit an angle and hold the paper down gently so that you do not report the people along with the paint. And particularly in guage humans do it at an angle. And so here is a final painting. Isn't it already looking beautiful? I'm loving this painting.
11. Conclusion: Thank you for joining me in this class, and I'm hoping that you would dry out worse landscapes and create your own landscapes by using any other reference photographs with the techniques that was demonstrated in this class. I can't wait to see your beautiful projects. Please do upload them in the projects gallery section. Or if you are on social media like Instagram and Facebook, please do tag me. My Instagram handle is at the meals are C underscore cough. I am eagerly waiting to see your projects. And hopefully I'll be coming soon with the next class again. Until then, stay safe and happy painting.
Nilam Roy, Art Instructor
