Transcripts
1. Introduction: You might be wondering just what in the world, T-Shirts and guage having common. Nothing epics fully, but they go very well together and especially for purposes of this class. First of all, about T-shirts. T-shirts are iconic. Teachers are, I mean, when somebody he's wearing one, you almost Look at the front of it or the back of it to see what that person has to say to the world. Or one of the funniest and most clever, I think sources for t-shirts are talking t-shirts, say things, is website called Signals.com and pages and pages and pages. And they have the best writers because you can't, you cannot stop yourself from laughing out loud. Maybe once a page. I'm disappointed when a Liars pants don't actually catch on fire. You know, thanks to this stuff, right? Another whole page and there are many, many whole pages, but this is, I want to buy the shirt for myself because it's so true. Sometimes I talk to myself and then we both laugh and laugh and laugh. That's the truth. And when you're a reclusive artist, you know you talk to yourself a lot, whether you want to admit it or not, it's true. I, I've used t-shirts in my art before. This was a water color that I did many years ago and, and sold it. And, but i have used these T-shirt, you'll recognize them in the class. These are my format teachers. A T-shirts. I don't care what your t-shirt says. Pretty big statement on society and how I felt at that time. I have recently created some acrylic paintings that I did first and guage to practice that also are just t-shirt. So that's all, that's Ana and you hang it on your wall and it says it all for you. You don't even have to wear it. So worry, not waste, not exploitative, redacted as kind of a political statement. But anyway, a great medium for painting T-shirts is squash, because you can get all your opaque so you can write or paint on top of it. You can make it flat color, you can shade it and blend it. And all of that is what this class is going to be about. I have taken my little t-shirt blanks and created some lessons for you on the popular uses of wash, the not so popular uses, but that are really cool. And some things I made up. So most often you seek wash used in a flat way like that. And there's not a lot of pop. But just by adding ink, I'm gonna get the iPad out of here. Just by adding anchor, you can add some. So we're going to add some pop. We're going to do that. And we're going to, everyone's civilly, you can use squash as a watercolor as well, true? You can. So we're gonna do a T-shirt where we practice that kind of idea and using the gloss just like watercolor, although it doesn't act just like water color, but it's pretty close. And then some people use squash in a more formed way with a lot of values. And we have, in all my other classes, we talked about my lifting technique or watercolor and that works with squash too. And all of a sudden is t-shirt. There's not flat. It's got a lot of form to it. And then we carried forward on here to the idea of using wash to overpayment wash, to blend, to add details. It's a greenhouse and there's a fly in here. So what can I say? It can act like acrylics or oil painting. And then our final t-shirt that will do for this class. And this project is something I made up. I think I haven't seen anybody do that. It's sort of a pretty nifty technique, and you will find that out in the last lesson. So let's look at supplies just a little bit. There's not much to it. And then we can get started. We're going to need a watercolor or, or mixed media paper, at least 140 pound because wash is a water-based medium, that means papers gotta be able to take the water, even though it doesn't behave exactly like watercolor, does carry all that moisture and it will wrinkled paper just like watercolor does. So we need, it can be a sketchbook or it can be pieces of cut paper to work on. We need a soft pencil like a 3b and heard pencil like a 4H or 3H to do our drawing. And a couple of the things we knew to soft eraser, let it go white vinyl one. We need a fine liner pan waterproof ink. Actually a thin, you know, maybe a small tip and a medium tip. So we can make our little drawing lines at the side. We can also do things like make a heavier line when we need to. We need Bosch. Of course. This is one brand, 12dB. Whatever you have in guage is fine unless it's a student set with no gumption. And I explain that right in our first talk about guage is set only good artist grade. Guage will behave the way that we're going to make it behave here. Cheaper ones are, they have chalk added, they don't have the depth of colour. Lots of reasons. Now if all you've got is some kids set, then give it a try. But if you're excited about the medium, then get just a few colors and mix the rest. Winsor Newton is a great brand and m gram and Turner, and Holbein and royal talons. These are all NCA, all big names in guage. So any of them would just be perfect. We're going to need a piece of tracing paper. And I really recommend going to an art store and getting a sheet of asymptotic drafting film. It acts like a matte finish one. It acts like tracing paper, but it doesn't destroy it. You can use it over and over again. It doesn't, the pencil doesn't go through a cheap tracing paper is like a big headache. But if that's all you've got, you can use that for this technique that we do. We're going to use some pointed round paint brushes, a large and a small, and some Filburn for blending. Now, I have in my other classes recommended sets of brushes from Amazon that are made by a manufacturer by the name of a magic, all one word. And you get nine brushes, brush sizes for like 1699. And I have been using these for a couple of years and their quality is amazing. The Pharaoh does not loosen up, the hairs do not fall out. There. They blend beautifully. Wash will wear out any brush after time, but at that price, it, you can replace them, right? You know, so they make Filburn and the Hilbert is this soft shouldered Brahmi kind of brush wonderful for picking up, wonderful for blending. They also make the pointed rounds, nine sizes and the set. And they make an angled brush and a flat brush, neither one of which I am using here. But you can get those. We're gonna need water and paper tolls. And that really is about it. And oh, I used at some point a watercolor pencil. And so if you have any of those around, that's a good thing to not necessary. This is an optional thing. And I think that that covers everything. And will ready to go if you've got those things on hand. Oh, palette. A palette. I use glass pellets because I loved them and I make them myself. But any palette will do that, is able to hold water and hold paint. So onward and upward. Let's go.
2. What Is Gouache: What is squash? The funny thing is that every class that you see these days on guage starts out by saying, what is squash? And there's a good reason for that. It has like pretty much blasted on to the art scene on a nowhere, although it's an old and revered medium. But it has taken over the world of illustration, which I will show you in a little while. And so now everyone is hearing the word and they're seeing illustrations and they're confused because it's water-soluble, but it's not water color. And all questions arise. So hopefully this class is going to answer all those questions in at least some kind of reasonable manner. And I will tell you what I know about, gosh, I know a lot about wash because I spent many years as an illustrator, graphic designer, advertising person. I had my own firm in San Francisco. As a matter of fact, Wash was a really valuable tool in that business. And the reason for that was that you could get flat color that would reproduce and photograph really well. And that was the long and the short of it. So guage was used in all kinds of mockups of illustrations and ads and layouts and so on because it could be reproduced. It was also instill, is used in final illustrations for the same reason. So wash is water-soluble. It is a relative of water color, but it's not a close relative. The behaviour is really different, although you can water it down and use squash as a wash. Kind of a fact like watercolor. The difference is in the binders and in the size of the pigment particles. Pigment particles in Galatia very large, especially in expensive guage. Not inexpensive, but especially with expensive guage where they don't want to put chalk in it or white paint in order to make it opaque. So the big names in guage, they use larger pigment particles and lots of them. And so for that reason, you don't ever want to use your red sable brushes. With Wash. You wanna use synthetics because the larger particles of pigment are going to be rough or on your brush. So that's one thing. Wash is best used out of a tube. And the tube should be a good manufacturer. If you have a student kit of guage, even if it's in tubes, you are not going to learn this medium at all. My favorite brand. Why have two, but the one that I own the most colors is Turner designed goulash. Its artists grade. And it's in a plastic tube, which is a really nice thing. And there's another brand that comes that way, two talents, I think it is. But you can shake this up. I'm like a watercolor tube. There's more separation and guage because of the bigger particles of pigment. So it wants to separate. And so with a plastic tube, you can need it. You can shake it, you can do a lot of things to make sure that you're kinda read, read blending before you ever put it out of the tube. Holbein makes a great wash. Monkey makes a great wash. Other manufacturers to him, Graeme, These are all high-end and they're all made without chalk and they're all made with wonderful pigment. So you can take your choice, but do not, like I said, don't choose the student. Brown's. Another big fat truth is that although you can reweight guage if you put it in a palette and you let it dry and you come back the next day, there'll be cracked. But you can put water drops on it and you can reweight it, but that is not ever going to perform like fresh out of the tube. So the real way to use gloss is out of the tube and it's not a great sketch booking medium unless you're working in the studio at home. Because like I said, the best way is to use little bits out of the tube at a time. I have tried everything under the sun to make a travel palette with these and even him, Graham who uses honey and in their binder and they're paint never seems to dry out. Well, the guage does and of course falls out of the pans and it cracks up like a desert when it hasn't rained yet. One company makes Pam's, and you can see by the size here that it's not one of those portable they wanna go out with is about, I don't know, fort or something by five inches. It's It is wonderful paint though, and that's the reason I have it here. Don't open very easily. The reason I even have this here is to tell you there is such a thing as really good Guassian in PAN form already. And because car on dodge already made the pan, it does not crack up and fall out. And with a little brush work with a little bit of water, you're going to get a consistency that's very similar to what you can get from fresh squash out of a tube. But this is the only brand that I know that makes pans outside of like really crummy student, you know, little kid kits.
3. Examples Oh My Gouache! #1: So that is what it is and how to use it. How it's used is eerily, there's a lot of answers to that question. This is a magazine on love is called breeze and it's from the Netherlands in, it was kind of one of the first of wonderful art magazines to come out of Europe. Basically after all, the American art magazines got eaten by a couple of publishers who had a bent for collage and everything became about that and you didn't have any variety. And so these European magazines came out on there just like wonderful this one is about are, but it's also about all these things were all being mindfulness, creativity, escaping. It is well-written. It is a wonderful magazine. My only disappointment is that the first issues had a lot of variety and illustration style and medium. And we know how that goes. So things get popular and everything goes one way. But breeds these days is a great example of the most popular use of wash in illustration, which is basically flat color wash. One of the things people love it for is that you can lay down a background that's flat color. You can't do that really with watercolor. You can do a wash. But there are lots of tricks in, there are lots of tricks and you have to work fast and you have to mask out what you don't want. And if you sit around and try to paint a background, it's all even in watercolor. We'll see in a few years and see how frustrated you are. Anyway, this is an issue of breathe that has very fine examples of the most common use of guage. And I'm going to find there's a little too much shading there actually because it's not usually done with shading. This is an example. This is about phones. I'm just going, I didn't put it will tape on this or anything. All the illustration in here is done with cosh. And the style, for the most part is not outlined, although this is an option. Outlining the guage with ink in it at least gives it a little dimension. But the flat style. And looking for the best example of it, I mean, you can do obviously shaded, stylized things like that. But when I'm looking for is examples in this magazine of the flat, use a wash. So this was probably sketched in pencil. And then these colors were mixed and they were painted on and look at the beautiful smooth application of paint. And I loved that about it. And look here at this. The lemon water. I love that, the application of pain and the velvety look when I don't love personally and a lot of people must, because it's become so popular, has become ubiquitous. It's become like it's eating the world of illustration, but this just cycle keeps going on, right? And so anyway. In the use of guage in flat style illustration, there is no, there is no shadow, there's no light, dark value. There's no I don't know 3D to it. And it's a look and it's a lovely. Personally, I like 3D a lot and guage can be used to create that. And you're gonna find that out in this class. But just a few more samples of that. You can just really see what I'm talking about here. We have texture here because it's been lined over. But you see this is that color of green, flat in the area, know shadowing, No, no highlights, no outline. And so it is just flat color application. This is like a silk screening style. And a lot of times silk screening artwork is planned and guage because it does look the same. And Sarah graphs and another word for that and Sarah graphs do have this same look of flat shape. So does work that is cut from paper. And Matisse did some amazing stuff when a lost his eyesight later in life and, and his paintings done that way is quantity as could be reproduced in guage because it's just like cutting a piece of paper. You can tell I have so many corners turned down. This is an awesome magazine and you should look into it. There's more flat, this is shaded a little bit and we're gonna get into that. I am going to show you more recent issue. This one is about staying home, which we're all thinking about. There's a lot of ink. And this time I was more excited to see them start to go back to more variety. The outline, even just line work on the guage gives you a whole different feeling. I loved this. This was a real favorite When I turned to him. First of all, I love the partial color. But this is the use of squash and a watered-down fashion, more like a watercolor. And then I'll aligned with the ink. And that just, this is all done in a way that gives something that isn't there. This is a mix of the flat with some ink color. Here's squash just flatly applied, outlined in ink again here. So you start to get some vibrancy in some excitement. You still don't have values and shading, but you have, you have the value of flack. You'd have to have one big difference, you know, between the black and the flat color, and that enlivens everything. So another great thing about wash is coverage. It's opaque. You can put it over something and light isn't gonna show through it. For that reason, it became very popular in animation, and especially in the Disney Studios. That was mostly a male realm. But there was a fabulous illustrator by the name of Mary Blair and this is a picture of her. This is a book of her work. And she did Animation Illustration, and she did it using wash. Now here is a beautiful Alice in Wonderland scene and that is done on wash. And mostly flat color. She's done a little bit of shading here on the tulips with green. Her work is fabulous and you should really look it up. Okay, I'm just gonna go through till I find some things that are really demonstrative of her style. Scenery, backgrounds. Animation is done on cells acetate, and the one on top, we're supposed to block off the, the one below and wash is really good for that. And so a lot of this work was done in Gloss. Acrylic wash. Oftentimes, texture can be added by a rougher application like Congress sponging on with a brush. And shading can be added with an overlay of a little darker color. And this begins to have a more painterly look in less of a paper cut out. Look. She just did, she did fabulous, fabulous work. And this is a book called The Art in flair of Mary Blair and so worth. It is by John Kane makers. And you can get it on Amazon and probably a lot of other places. But it is such a lovely and inspirational thing because she does push guage to a lot of uses besides just the flat sell paint.
4. Examples Oh My Gouache! #2: Here's another disney animator and RS2 is a big favorite of mine. I haven't url says name. And I loved his work so much that I have actually purchased some and whole lives later work after the Disney Studios was just beautiful, beautiful landscapes. This is all wash work. And he also did Sarah graphs and I own one and I'm looking for here so that I can show you. These are paragraphs, but that's not mine. I own this one. And I couldn't be more excited about that. I'd it's in my entry way, it's huge. It's a limited edition Sarah graph. And it's called medieval prominent. And it's these wonderful ladies leading or riding horses. Their gowns are, have gold leaf over the top. It, this was also used in a book of his life work and it was the, the front piece, you know, when you open a book. So the thing is worth a lot, but you couldn't get away from it or get it away from me. You'd have to kill me. I can't do it. But anyway, his work, gorgeous, gorgeous has done with guage. Again, he starts to use some shading and some 3D. An awful lot of 3B here. Because of all the texture. I don't, I don't have the reference on me, but there is an artist who's a big fan and he has come out with appropriate brushes that create I haven't URLS, textures. And so you can, you know, lay these down over a flat color. Obviously procreate can mimic gosh, very well. But with these brushes you lay down the texture, other color that creates these real worlds. And last but not least, and not last either. There are so many people. Wash can be used like oil paint. One of the masters, in my opinion is marriage or Coke. She's an Instagram friend of mine and I hope so much to be able to go to one of her live workshops out in California. She's best known for her flour and burned nature books. But she's just a masterful in combining watercolor and wash. And she comes up with, she's even done some still lives that look like the old masters. But she comes up with a fabulous, fabulous realism by incorporating the two of them. And you can see the opaqueness and these is not like this is a watercolor. It has something more it as body, if you will, because it's more opaque. And so this again as, and we won't be doing a t-shirt. Sum this elaborately, but we'll be doing something with the t-shirt that can lead you in the direction of going to an oil painting, kinda realism using just washed or combining it with watercolor.
5. Drawing T Shirts: T-shirts are wonderful for a lot of reasons, but one of those is that how easy they are to draw. They're not called t-shirts for nothing because they're based on a T shape. So that's how you start to draw. A t-shirt, is to make yourself of vagal t. That isn't even even so it's going to drive me nuts so you have to fix it. I'm just like that happened. My father was an architect. That's what happened. And if things weren't all straight and angles, we're right in the building fell down and you don't want that. So T has the upper a rating in the middle of it. And I'm going to try to make this kind of straight to l. So at this point, we already have the basics and we're gonna do our first t-shirt with the, with the sleeves straight out, but let's put on that collar that T-Shirts Have, which is usually around collar. And a kind of a double wines are made. So see, if you look at it from this way. It's the letter C. And then make a parallel line to that. And now we already have our collar. And about there would be like somebody's shoulder, right. So a little further, you can make a sleeve. This is just eyeballing. Obviously, a big T-Shirt be different than a small t-shirt, but this will do the job pretty well. If we think that's a shoulder seam, that's the end of the sleeve. Then we go like something like this. All different links, they come in and I'll some are long, some are short. And now the only job that we've got is to duplicate this onto this side. And you're going to do the trace and flip thing, but it's easier to take a ruler into measure. I love my little squares rulers. So this is like 1234 big squares and a little square root. I think I'm gonna lose the little square and just make it for. And then that is divided just about in half, nice and symmetrical. So I'm gonna come over here and I'm gonna go out to is going to be my shoulders steam because really they have to be symmetrical. I mean, otherwise, wouldn't you look weird in a t-shirt? And then here will be other sleeve. So now what we have is this. I'm going to come over here and mark how far down I went to LA and how far out I am here. I am three. So I'm gonna go three this way. And there is the world's most simple T-Shirt growing. Obviously, you get rid of these lines. And this line. So there what you have left is a t-shirt. Now, we can make it more narrow if we want to, really easily, if you think that's too fat of a t-shirt or you can just and make us a little longer. So it doesn't look like such a wide t-shirt. At this point. You actually have your T-Shirt done. Now, we can talk about ways to adjust it for one thing. Oh, and there would be a back line here, back of the of the collar. Now for one thing, some t-shirts or V. Ok, so that's an option that you can do. Very few of them have any collars, so that's probably not an option. But the sleeves don't have to be so far out like this. When I draw T-Shirts, I like to either hang them like they are sometimes there on a pole. Plaza kind of poll and we'll store like if they want to really display with the t-shirt says on the front of it. Could be like that. It can be on a hanger. That would be something like this. Then you have those little well, the phone rang during that and the phone is a camera. So those what happens here? I was saying that we would just make our little hanger wire lines here as far as they would show. Oh yeah. T-shirt canal little v neck and an insert in it. It can have a little button do that. But if you do this, you're in the way of what your t-shirt might say. So you probably don't want to put your little, little bugs there unless you are just drawing your wardrobe and you have a lot of t-shirts in it. So I'm gonna get rid of that. And then if this is just to straight across and you don't like it, you can bring the sleeves down like this. And you change the structure a little bit. In this case, we're gonna skinny phi it a little bit. And sleeve is too big, I think. Around here. And you can have a shirt that still has the fraud. I wanted you to believe the front for decorating your shirts. But that has the sleeve going kinda down and you try to duplicate that on the other side because that's kind of a good look as well. And they don't have to look a little skin era when that's happening. There not entirely stretched out. So this is the world's shortest lesson on t-shirt drawing. And to proceed with our class about wash, I'm going to ask you to draw yourself a number of t-shirts that we'll be working with. You can leave them in pencil if you want. You can put them ink line around and I'm, you can do it however you want. But draw your t-shirts and ink them in. And we will use these t-shirts as a wonderful item to paint with our guage in several different ways. And I'm going to show you what my t-shirts looked like that I'm gonna be working with. And if you want to make similar ones, you can. This is obviously the one that we just learned to draw. And based on the tee and straight across sleeves. And I did, I gave it a little more personality by curving the edges of the fabric and curving this. And it's not me, it's my basic. And so I have that 12 years. What I did actually was I inked them and I made some copies. I have a wonderful laser printer that will print on water color paper. Lucky me took a long time to find it, and it's a brother brother color laser printer with multi purpose or multiple purpose tray. You find one like that. It will take 140 watercolor paper. So that's what this is. Now, I made myself a couple of other styles. And here is the hanger version. And that's just a little hanger and matches the slant of the sleeves. Okay. And I got another hanger version, but I made that ribbed kinda collar Prozac can be fun, can make that a contrasting color to the t-shirt. And here's one hanging on clothesline. I'm gonna do a workshop on closed lines and things hanging from one of these days because it's fun. And so this wouldn't really hang like this. It would be all droopy if it was wet, but I gave it Personality alive, you know, the volume is like so. But these are my four t-shirts and I'm going to use them to teach you different ways to use gloss to paint in t-shirts in this case, but anything really.
6. Applying Flat Color Gouache: You change a consistency by adding water, but just with a brush, not by putting drop sand or pouring water in because you aren't a lot of control. So I'm writing the brush and I'm coming back, dabbing at the blob of paint with a brush string around until I've got something like heavy cream. I don't want it to drip from the end of the brush. Okay, that's one way to tell consistency. So I think I have enough here of the same consistency to cover the area of my shirt. And so you can do this with a round brush or sometimes it's easier with an angled brush just to get an even coating on, but we have around brush in her hand and really use. And so you see how it's covering is just nothing like watercolor. It stays where you put it. And that is why you end up with your pigment evenly dispersed on the paper. Because when watercolor, when you're doing this, it back petals and back flows and flows into itself and, and you can dip your brush and water to keep the consistency going. But don't add too much water or you'll, or you'll lose some of the opacity and you don't want that. So let me now I'm changing direction as I go because I like to stay in the lines. And so when I move the piece around, I keep the light on the line. I'm trying to stay with that. And I didn't make quite enough pain. I guess. So just I'm just watching for the consistency here. I can go back and make more, but each spot I keep it, you'll know if it's too thick, it's going to be sticky when you're trying to apply it. If it's too thin, it's not going to be opaque when you apply it. So this is going to be a trial and error thing until you find exactly what you like. Now, goulash changes color as it dries, it dries lighter. And so when you're doing your painting here, even if you have a nice smooth application, as it partially dries and the rest is still wet. You might get thinking, I've got like blob Venus Here. You see the dark and the light and the dark and the light. And that's because this is where the nuts not so you don't make judgment calls on your coverage until after it's all dry. And if you don't have the coverage that you want, you can always paint a second coat. On top of the first coat. So right now, my T-shirt looks a little blocks, but I'm going to let it dry. And then we're going to see if we still think it's splotchy. We are officially dry and it dried pretty smoothly. Nice matte finish. Now you do see texture on mine. Just very slight as because I'm working on a, on a textured watercolor paper. And suppose VHA pros, but it actually has some truth to it. The best paper if you want to use Garage inhabitants, absolutely smooth, is hot press, watercolor paper and you should always use at least a 14C weight because It, This Is Water media and if you use a thin paper, it'll curl. So I think I would like to make the color yellow. And this is gonna give me an opportunity to show you this problem. Even on a tube that you can shake up. When you open it, you may have seen liquidy stuff. And so you want to kick that off, let it soak into a paper towel. And terroir is gonna commodity there. It's gotta be creamy and not wandering. This is turner, so it comes out very creamy to begin with. I think my blue was a little too creamy. Mostly. The Turner comes out of the tube looking like this. And of course I didn't need that much because all I'm gonna do is put a yellow color on this, just because yellow and purple are compliments and it'll just give a nice bright spot. Now I'm doing the same thing again. I am pulling with a wet brush until I have a heavy cream, but still one that's going to flow and take the excess off. Now, you see what just happened is that I am going over my incline and I did that on the shirt as well. I prefer inclines, but the first thing I'm showing you here say absolutely flat goulash. Without any other definition. I'm using yellow if it was a little darker color and be totally opaque and hide the line. This is going to show through just a little bit. But going over the black incline, you do see the opacity of quasi could never do this with watercolor. Even whitewater corner. And I'm going to double up right here where I not only went over they incline and I went to enter the purple. So I'm kind of going to add a tiny bit thicker. Well swatch along there. And now of course I made it to fatten on sides. I'm gonna fatness side a little bit to see even things out. So there's my t-shirt and the only other thing that I'm going to do is I've got a pole going through there. And I think I'll just make it like it's word or something. Like a burnt sienna. Okay. Here's a little burnt sienna. Don't know how it's going to come out of the tube if you don't use your garage every day. Now I haven't got much of a problem there. If you don't use it every day, you have to check for that separation business. So I'm not going to need very much of this at all. And I'm gonna go ahead and use the water I was using or with the yellow because it won't hurt anything. And make the consistency I'm wanting here. And I'm gonna say this is a warden wouldn't DO stained or whatever. That's holding this t-shirt up. Now you notice I am not shading anything because in this style of using blush, you don't, you just have areas as if you cut the amount of colored paper and put them in place. I'm not gonna lie. This is not my favorite look because I like form and shadow on light, dark, but this is a favorite of a lot of people. And so you may as well know how to do it. Plus, it is the most basic way that washes used. You don't have to have anything else. You just several pencil drawing that disappears in the process. And you're all set up. And it's going through this neck line too, which is why you can't see the back of the color. Now you may or may not like this result. But that's not really the point because you can come back and change it when you find out. The other thing is we can do. But this is going to serve a purpose for us. Now, there you have it. Basically just areas filled with plain color. No incline, no shadow, no highlight, no texture. No none. Canada, just flat. But some people like it and that's how you do it. Now we're going to try and figure out how we would like to put some kind of a message. This is talking t-shirts, right? So we're going to figure out, how do we now work over this paint to put some, maybe some saying that's clever on it.
7. Lettering Over Gouache: Nobody wants to jump in and put lettering on something with a permanent touch without preplanning the spacing because we're so likely to mess up. And you can do all kinds of things like put it on a, you know, write it on a tissue and you can trace it on, you can do stuff. It's none of it is easy. But had you made with a pencil, had you made your plan of your lettering under here and be gone now, right? Because you've put down opaque paint. So the, but the nice thing about guage is that it's going to allow you to do so. Little pencil drawing on top of it. Now, there are a couple of clues. And one of them is to use a really soft pencil. This is a 3B. It is softer than a to B, which is a usual household pencil. If you got a softer one than this, go for it, the software, the pencil, the more it smears. So there's a trade-off there because we are going to take a wide eraser and be able to move something if we need to. So I am just not going to be that polymer here. I'm just gonna put a little simple thing, says I see stars and then I might just put some stars around on the shirt. Anyway. I am barely touching this garage and you don't have to because of the large pigment particles allow a tooth as you feel this, it's not that smooth. There's a tooth, even if you're on how pros paper, the guage itself is made a tooth enough to catch council. So of course you're going to space everything as best you can to start with. But this, you know, given mistakes can be made this ray. And I always put all my verticals in first. And then any cross pieces. It just works for me. And there is my i c. And it's not too bad. Like where does now Turkey part's going to be, let's say 12345. And so lucky stars as five letters. So all I have to do if I have this counter where I want it is to push my five letters below here, $100.1 under this space. And no pressure at all. This is takes practice to just barely touch the paper. Okay? Now I have my guidelines for my, my pencil guidelines for lettering. And I think there's eyes a little too long. So gently again with the softest, softest eraser. I'm gonna go in here and remove all my eye. Now if my spacing is all messed up, like that's a mass at the bottom of the heirs to I can get rid of it enough. I don't get rid of that totally only the parts that don't want. But it's enough. For me to see where the letter should go, leave a ghost behind. But you can remove the whole thing provided you have been extremely light with the pencil. So I have my guideline on place. And there are a number of white writing instruments. You could use a pastel pencil. Now would work, would be chalky Don, you'd have to set it later. A lot of people, their favorite white pen is a signal by universal. But I really like a rather new products been around for only a couple of years I think. And it's called a posco pin. And it's like a paint pen, but some are like pigment than it is like acrylic. Paint pins are acrylic or oil. This is more like pigment because for the first couple of minutes, after you put this on, you can use a wide brush to blend it. And that's not really true. Or most acrylic type things, it is a close relative of acrylic, and they make a fine tip there, make it two ways. This one is metal clad and then there is a fiber tip as well. And I really liked the metal clad. And these are not expensive and they're available all over the place now because they've gotten really popular. They come in a lot of points sizes too. So if you are doing t-shirts that are larger than those for one reason or another, then you're gonna get a fatter tip derived growth. So I can see my pencil letters and I the thing your eyes have to do is make sure your ink is flowing. And if it stops is because these metal clad tips can pick up pigment bits or bits of anything, eraser or anything. And then they don't want to fly. But I keep a paper towel, I hear and I sort of clean my tip whenever I see that I'm interval. And another tip for the tip is to use it as vertically as possible. They worked better that way because it's a rolling ball in there. To going at an angle of honest give you what you want, clean your tip. If your ink stops flowing. This was a paint pen so you can press down and it gets a new release of ink. And these are pretty good paint. Ken's often make a big mess when that, when you do that, don't seem to. So there's my first line now I gotta make that eye a little longer again, cuz it doesn't balance out k and stars. And I did your flow. T, another S. So it's all going to fit here. Go back and cross my T, R. Now remember if you completely screw this up, you're working with gosh, she didn't go right back in there. And you can get away often, read like say you ran a little blob that you didn't like. You can get away with just a spot correction using your original shirt squash and just inner kinda dotted on there and get rid of whatever it is, that is a bad thing. You don't want to keep. So I don't need pencil for the US, but I'm just going to add some star. And that has all kinds of meaning. Maybe you're making wishes on stars. Maybe you just stood up too fast and yet stars formed around your eyes or you just hit your head. Anyway, it makes pretty good demo of how you can put lettering on the shirt after it is painted. Now of course, if you're really good with a small to browse your calligraphy brush or whatever. You can use whitewash to do this as well. And I'm not that good at making small lines with it. So that's why I prefer the paint pen, but way caution, a real then pointed brush will get you to the same place. So that's our first t-shirt. That is our most simplistic and, and flat use of wash. And this looks just like the illustrations in a whole lot of magazines up there because it is trending. So we're going to come back with our next shirt and we're going to add ink lines to make it pop.
8. Gouache With Line: Okay. I am back with a duplicate T-Shirt I made. I made it S21 is sort of working on the same one because I wanted just to see them side-by-side. I think I'm going to add the pop the ink line to this one just because I can clean up a few things that I see. So this one is going to stay as of yet. And I am going to use a fine liner, maybe a medium, fine, fine liner. I usually sketch with a small pit pin find ladder. But the medium might have more. For this. And all I'm gonna do is add an Ink outline to this. And it can happen. The same thing that the Guassian will somehow get your Incan not happening. So you keep your paper towel there for clean off. And I'm making that outline kind of fat. And you can make it even fatter than this. I just want to jump all the way under the gate at once. But by adding this heavy black line, we are creating a different look than we had with no line. This is going to have a little bit of pop because it has a little bit of a dark value, a little bit of shadow. Now I'm not doing any cross hatching or any intentional shadowing at all. I'm just outlining. And I see that I might have picked up some yellow there when didn't go on as deeply as I would like. I'm turning the paper all the time so that I can get my best possible line. We're gonna null line cleans up certain areas. And it's basically, it is defining as what it's doing. It's defining where there's just a flat edge. And making it more like gum, Likud cartoon kind of drawing. Wine has a lot of power. Pain has a lot of power to, but usually to get the same amount of power, you have to make a line with paint, which means that you have to use dark and light. If you're taken my other classes, we do a lot of lifting with watercolor. And in that process we create a light area with a darker area at the edge, and we create an outline so that we don't need ink. In this case, we're keeping it more simple. We're skipping all the mid tones. And we're making him to make this a little thicker at the bottom. And they're now that has more pop. Also use of quash or both of these we saw in the magazine samples from Europe that I showed you. Both of these styles used in the illustration. This one softer, flatter, there's one more eye-catching just by the addition of lying around the wash. After it's dry.
9. Gouache As Watercolor: In most books and videos and such that talk about guage, some remark is often made that the, it can be used as like watercolor. And that's true to an extent because it is water soluble. It is never gonna look just exactly or act just exactly like watercolor because the pigment particles are so much larger. However, I've done this t-shirt run through, and it's a T-shirt that's gonna look like the sky. And so I'm going to use squash as the wash. Wash, wash Sounds like a river or something, not paint. But anyway, this is a good way to use paint that has dried up in a palette. I was talking about cracking desert floor. Let me see if I can get this up. Where ECD yellow see those cracks and you see the cracks and the and the siano are purple, are orange and not too bad. Before I went to blue, we had cracking going on in there. So that's what it does. And so something like this and a travel palette for Sketch booking that would not work. Because if you travel with, these pieces are going to come apart and fall out. So anyway, that is a picture of what I was telling you about before. But dried wash in a pan is re wettable and best used to make a wash history wettable. But if you tried to do this kind of painting with if you wet it to get to that consistency. There's too much evaporation going on. You can't get evenness of color like you can when you take it from the tube. So that's why on all of that. So what I did was I put drops of water in a pellet. Well, I wet this and trust me, it doesn't take very much. And I mixed this wash. And I painted the shirt and the sky is not as dramatic as I want in the shirt. And so for the one that we're going to paint right now, I went back a few times into the wet Guassian, mixed more into here. And now I have I have a polar or a little more like that. They still dry, lighter, remember? But this will give me a little more contrast with my clouds. So the clouds are done. I'm telling you all this F first because when I move, I have to move quickly to my drying time is just too messy. So I'm going to tell you process and then I'm going to do it so that you can see. So the process was that I laid down, I cleaned my brush after mixing. So there's no dark paint hiding in here. I laid this washed down over the whole t-shirt. I then came back with a clean acts like we have done with watercolor. And I've picked some clouds. You don't pick up as easily all the way back to a white with wash again because of the bigger pigment. And so after doing that, I came back to some white squash and I enhanced my clouds with. So I'm going to run through this. Another blank t-shirt parenths, and hopefully nothing screws up on the way. What would screw things up? Is mine not moving quickly enough and not getting a smooth wash? Ama Sure. Let's give it a shot and see how it goes. I'm gonna keep the camera out so you can see both things at once. And you can see this as I turn it because I'm going to need to turn it to do in order to move as quickly as I have to. I'm also stirring wash. And as you store it, you'll see a couple of call it a color differences, so it's worth doing. Okay, so I am doing this shirt or lay down the smoothest application, this wash. Then I can manage. And I can go back in as many times as I want because I know that's all one color in that wash. Well, they're going to come up here now in most places where you live is not going to be doing this drying thing to you like the US. And that's good thing, gives you another couple of minutes, you know, to get things on as Dan aligns. But trust me as an artist, Santa phase paradise to live in. And so you just put up with this kind of stuff. And we don't have fleas and mosquitoes because of all those dryness to some, there's lot to be said, especially if you have dogs and cats and like I do, mosquitoes are not a good thing and fleas are not a good thing. All right. Now I'm on here and I'm just I've lost a lot of the wetness up here already and I don't want to bleed back. So this could mess me up. What happened when I just did could mess me up here. I'm going to try to pad it out a law because it's just too dry to flow in. And even Alan, you see already. So I'm going to grab this clean X and dab a cloud pattern tissue or I should say, all tissues are not clean. It see that's not going to be ugly there, but I'll see what I can do with it when I worked with the White, this is too dry to pick up at all. All right, I've got some cloud going on and I'm going to make trouble for myself. And I'm going to try to wet a little area of clade with plain water. And I see that can work. I don't know if it's going to work on this little fo pi up here, but I'm gonna try. Not terrible, terrible. As a teacher, I eyes believe in blowing it on camera because this stuff is going to happen to you and you're gonna go, how did she do it and it didn't named her well does amateur. But a lot of people hide that fact. You see? So they can look like it always turns are a, well, it does it. That's not bad though I must say, and I do like it. Even when it dries a little lighter, I like the more density here. Now as it dries, it's going to flow the blues, going to flow back into the clouds. And so this is where I'm gonna go with a clean brush and get some white wash. Now this ice just squeezed out of the tube a little bit ago. This is not dried overnight because when you are why you why you don't want any halfway measure. I like this down here, so I'm not going to do too much to it. I'm just going to add white to the very middle. I'm here. I'm not sure that that edge is pleasing me. So I'm sticking some right in here. This is a little too hairy around the edges. Hard-edged. But overall this isn't turning out too horribly. Now you do the thing where you watch paint drying it ever go away. You can just do things to you the lot. I've got a little bit of harshness right here. I'm going to try and see if I can make it go away little bit, not too much. So we might be headed back in there with my wide op amp. As you watch it dry, look for any trouble areas that you might be able to get back in and stop from making trouble. I'm gonna sit here and watch this dry and I will be back when it is dry and we'll figure out what we want to do with it.
10. Lettering the Sky Shirt: So while waiting for my paint to dry on my second T-Shirt, I thought I would test out a color color on the first run and I tested green. I didn't really care for it and I'm gonna try yellow. I think it might look more sunny. But when Also I was testing. And so that I can show it to you and it's a small area. But if you have been taking my class as you have been doing a lifting technique with watercolor with me. And it sometimes can be a little more difficult, but it also works in the wash format. We're coming in closer here so that you can tell here is the color I used, permanent Green, and here is the result. And you can see that by, by applying the green dark at its actual color and then going back with a damp brush and picking it up. I've created depth in the goulash and we're going to take that further to a bigger t-shirt thing. But it is possible to create depth in your squash by doing the lifting technique. So being up close and personal here, I'm going to demonstrate that with this golden yellow, it won't be as dramatic looking because it's not as dark of a color. But I take the tube yellow here and it's been sitting for a minute. So I'm doing a rewetting. Okay. And I'm applying that color full strength to just one section at a time of the shirt. You could probably go all the way across but I can't. It will dry too much by then. I cleaned off my brush. I blotted it on the paper toll and I'm coming back in to pick up the middle of the pain I just applied. So that's the procedure you're not seeing. The result is as dramatically as with the green. Because this yellow is a lighter value. But if you were here with it, you see it happening. And it just doesn't have the dead flat look of just the full color guage application. Like in our purple T-shirt. I kinda like that with some white and some yellow. I might just leave it that way. So I'm going to pick it up and move it. And you can see that we do have a highlight in the middle of those sections. Alright, so two versions of the sky t-shirt. I haven't thought up the clever thing I wanna say about AVE yet. But what I did do with the heavy ink pen, I went into the hangar, this one in May that look more like a hanger by making it heavier. So I'm gonna do that to this 12 and you might want to, because again, it gives some jump and some possess to the little spot illustration. I also used my blue wash that I used for the shirt and I put two layers on. Back here to make the inside of the shirt look a little. There probably be a label there, but I'm not doing that but may have it be a little darker than the front side were all the light is hitting. So that's T-Shirt number two. And that is squash used as a wash. And a little bit of our pickup method to give it some body in some shape and some formation. So here's another lettering tip for making talking t-shirts, as I call them, ones that are expressing our feelings. And I told you I had to think it's something for my blue skies shirt and I did. This is a piece of tracing paper. And I put this over the t-shirt and I was able to juggle light pencil, a 3H or 4H. And I was able to work out my lettering with literally racing and spacing and a little help. But I was able to work out where my lettering, what size it is to fit where it goes and so on. Nothing but blue skies from now on. Let us hope right any ways. So as a next step to the US to turn this over, and now it's backwards and put it onto white papers so that you can see it by just using the back of my T-shirt here. And now I'm going to use a softer pencil. And i'm going to carefully trace over. And it's weird because you're going backwards. So your brain is going. But just do as much as you can trace over exactly where the marks of the letters will be. And this is a soft pencil. So we're gonna make our, remaking our own. A carbon paper thing happened here. I didn't make you watch all that. But once it's done, I have this soft pencil on the back of his tracing paper. And if we place it exactly where we want it, and you know, it's not a terrible idea to add a little painter's tape wire or a tape is not too sticky, but just something to hold this in place so that you can concentrate on what else you are doing. Here we go. Little bit of this is artists, painters tape. It's not quite as bad as the hardware store stuff, but it will come off without hurting your paper. Now I'm going to go back to either my sharp point. You know, the hard lead pencil or you can do this with a ONE, a ballpoint pen, even one that doesn't work for Inc anymore. But I'm going to test if I can just get this to happen enough with my pencil and I can, I hope you can see that. Well, I'm going to be able to see it enough to trace it over with my pencil. Make sure it's right and then trace it with a marker. So this is how you get your lettering on top of your shirt. Now you could have done the other way. But I had a lot of letters this time and the spacing was not as simplistic. And so I thought I wouldn't take any chances and I would do it this way. So when you're done doing that, you can see that you have enough of a placement to go over that with your pencil and get yourself a good guideline for a marker. If you just brave, you can jump in there with the marker. I'm not brave. And so I am going to trace over this with a pencil first. I finished flushing it out if you're real or cleaning that up. Again, this is pencil so I could softly race and change things if I wanted to. So little harder because you pushed kind of hard on the tracing paper. And all that remains is I'm going to take a permanent marker and dark blue and go over my pencil letters. And then this shirt is done. And says, fervent wish of mine. Now you can save this if you're gonna do more t-shirts, if you're going to put this on anything else because you would just go over the back a little more. You might not even have to. You just go over the back a little more with a soft pencil and it's just good to go again. Provide a Java punched holes in your tracing paper. Use some, some good tracing paper. You know, It's something that I'll do that is wonderful to uses drafting film instead of tracing paper. And because it doesn't distract, you can see through it just as well. But in a takes media, but it doesn't distract Matt. You want a matte surface drafting paper. And it'll last forever. If you ever wanted to be doing this kind of thing on greeting cards and doing it by hand instead of printing it or whatever. It's sort of like a rubber stamp, especially under routing film, it will not distract. And last year for a long, long time.
11. Heavy Lifting With Gouache: On this t-shirt, we're going to try our lifting technique with a very dark and dramatic color so that it will really show up what it will do. It's called Cyprus green. It's a turn or goulash. It is this one right here. And it's this beautiful kind of a teal, deep, deep, deep teal. And so I gotta get my cream consistency. And then as quickly as possible, I am going to apply the US and you notice it just goes on evenly. And the toughest part is going to be right up here around the collar. And again, if I move off camera, I'm sorry, but I can't constantly look at the monitor when I'm trying to get the tricky parts done. Because it is tricky. And I have to get back in there, make sure that I have flow and consistency in my paint. And we're all saw me across the top and then we can zoom now because we don't have any close pens in our way. Or a color to worry about. And put this deep and flat color on the rest of the shirt. Machine on most everything. So I'm still here. I'm still sufficiently moist. Then I think my lifting technique is going to work. And you have to talk and think at the same time. And Stan aligns pretty tricky. Pleasure, really, really talented. Okay. Now, I would never even have this deep with coverage with watercolor wash. So it's a different thing. I am wedding M blotting off my brush, but not a lot. I am going to put some serious water in here, reflow these big pigment particles. You start to already to see some light come in through this. And that's our goal, is to have the ability to pick up some values here. Let the light from the paper come through and give us form of t-shirt so that it's not a total flat color. I now have this wet. I am taking a large Philbrick brush. We've talked about these in my other classes as wonderful blending brushes and also wonderful mops for doing lifting. And I'm starting on the body of the shirt because it's the largest area. And I'm trying to do a little blending because these Philbrick brushes are good for that too. Now it looks like my shirt has a little bit of like Anna Now to it like as is if it's a shirt in it has folds. And I'm going to come up at the top side of the sleeve because the line would be the most there. And do the same thing here. Picking that pigment back out. Remember this is heavy, heavy pigment particles. So it is not a piece of cake that it is with water color. But the good thing is, it's a little more blend double. Then watercolor, watercolor. If you mess up at this stage, you're gonna get wash backs and terrible hard lines. The guage is still attempting to blend because it is, you know, staying more where you put it. I don't know what term it's more stable where it's applied. And so it's hanging in with us. Okay. I still want some fabric look here, so I'm not going to pick everything up. But you see with this method, what has happened to the goulash and enter the shirt is shirt has become something with some form to it. It looks more like a real thing and not a cut out piece of paper. I am going to show you the difference with our original flat colored shirt. Just see what we just did. This is a different world here. This is a flat world and this is a three-dimensional world.
12. Overpainting Gouache: I'd like to introduce you to a pencil that I love for certain things. And it's called a stub below all am scrolled all because it's supposed to write on everything and glass and and and it doesn't stay there, it's water-soluble. But it will write on, on glass, plastic, metal, and paper, and on the top of quash my darker teal shirt here that it has so much form to it already I went, they had IN, used a yellow ochre and painted the clothes line here. And I used a raw Sienna to do the clothes pins on a line. I haven't quite decided what color the color's going to be, because I wanna put a big some flour on this shirt. As far as our guage lessons go. This is one of the big selling points of Bosch, is that it's opaque and you can paint over Dwight dried guage with a lighter color. And it does have to be dry. If it's not dry, the color will lift into the over color and you don't want that. But I want some idea of what I'm going to put on here. And so I'm gonna use a white pencil because a dark pencil will not show up. And what I think I want to put on here is a nice sunflower. And maybe not be too realistic. But realistic enough. I always draw my flowers by pretending it's o'clock, you know, there's all round Center and then I pretend it's a clock. And I put known and 693 there. And then I put a pedal between each one of those. And in the case of a sun floor, there are still more paddles and this you could stop and have a very cool flower right here. That in a sunflower there are another set of pedals and they're behind these. And so they don't show all the way and you're just basically you're drawing the tip there. This pencil is very soft. And by the way, the pencil could be used for this trick. The difference would be that on the back, you will be going over your letters with this. It's a little harder to see, but not really because the white block, so seeing this through here. And so you can tell by disappearing, they cut it covered little trickier, not bad. No hill for climber. This is the royal talons brand or wash. And it's another very good one. And the color a church, you'll see the same color in different brands is amazingly different. I'm going to show that to you. Right here are three brands of raw sienna. Now I'm using the talent's right here. The m gram is much darker and browner. And the Winsor Newton is kind of a relative of this but more doll. And so this is a really good reason to go around in a test for your favorite brands in your favorite colors. If you see a color chart and you say, I don't really like the way they did that one check another company because it's liable to be a real different animal. Here is a whole buying YOLO, Naples, YOLO. Here is a talons, Naples yellow. That is really different. This one is more like the yellow ochre in the talons. So it's worth experimenting if you're going to really use squash and get into it. It's worth collecting your favorite colors no matter what brand they will all work together anyway. So I'm going to put them raw Seattle as the background of the middle of my flower here. And you want your paint to flow, but you want that thickness that we used. Almost the thickness for out of the tube. Actually, when you're trying to go over a dark background was something you want it as opaque as you can get it. And there we go. See it's not quite as creamy as we did when we wanted everything to flow over the background. It's thicker, but it's going to cover this dark teal much better. And that thickness thing is the trick to over painting with what? Wash and dry guage because you're not putting quite as much moisture down either, taking a chance on melting the guage that's underneath. So I'm not a little texture there because center of a sunflower does have texture. Really brilliant yellow here, which is also a rural talons color. I said earlier that the, the Turner was my absolute favorite. And that's not entirely true, depends on when I'm trying to do Turner is has less viscosity. So when I'm doing watercolor ie things, watercolor relative things, I like that one. But doing something like this where you really want that opacity. You want a thicker paint. And so I'm gonna hold that, this is gonna do it. I'm willing to go around and put the base yellow on that's a little thick and doesn't want to spread. And little more flow than that. You can see. And I'm glad you're being able to see that. That's how you know, you don't have enough water in it. If that brush is gonna drag of the paint's gonna drag and not flow. You gotta have a little more and moisture. And it's okay to apply this. Typically, this is more like painting with maybe craft acrylic. You might think of it that way. Professional acrylic, there's all kinds of things that happen when you paint with it. But when you get a craft acrylic, you pretty much know you're going to put down flat color and it's going to be opaque. Now you see I don't have enough thickness here. So this is the game that you play between opacity and flow. And it's all a back and forth. You start with the paint from the tube and a wet brush. And you Mix and Stir until you're getting the best of both worlds, you're getting paint that flows onto your painting. And painting it blocks the dark color behind it. So I won't be back when I finish these because it looks like I finally have the opacity that I need. Now my next go around, I'm mixed some of my yellow into what I had here on the raw Sienna that I did the mental Wes and I did that to do those petals that are in the background because they're gonna be more in shadow. And this is going to give depth to our Sun far in the long run. Although no one said it had to be the most realistic of some flowers. I want it to look nice. And this is also a demonstration for you of how you approach or will be how you approach. Using wash like you would use oil paint or acrylic paint to do something. Because in a minute we will be blending some shading into this. And we will also be adding a Dart. We will be adding another layer over the top of the middle maybe to putting little light and dark spots into the center of the flower.
13. Texturing and Blending Gouache: So let's do a little catch-up of our progress so far. We used a raw sienna paint, the sky to put the center N. We then mixed a little bit of our yellow with that. And we painted the back panels and wondered are the ones that are going to be darker because they're behind. We used our brilliant y'all to paint the petals that will be on top. Now we're going into our like fo oil painting stage. And it might confuse you a little bit at first, but you'll get the hang of it. So when an oil painting or an acrylic technique is all about blending. And what I have in this palette right here is a gold ochre that's made by Winsor Newton. If you don't have anything like fat, you can use a burnt sienna. Maybe lighten it up a little bit was a little bit of yellow. And I have my brilliant yellow ready again. And I have two brushes. I have the pointed round number two and I don't know I were the number of this brownish a wants something from the Filburn set that is the right size to be blending on one of those petals. Ok, so I think it's a four. Might be the two, but I think it might be the four to one of those. So we want a rather watery version of the gold ochre. And the reason is we want to put very tiny lines onto our pedal. I've already done one here. And so I'm going to show you exactly how I did that. I went in with just the tip of the brush and a kind of watery version. I went around the outside of the paddle and put a couple lines at the center. Okay. Washed my brush, put it away and got my Filburn brush wet. It, balloted it a lot. And then I'm going in to blend this because I don't want this Stirk lines. I want texture. And you see what's happening when I might even use a smaller, a smaller Filburn, you see what's happening is that your yellow is getting obscured when you do that. So to fix that, you come back with a pointed round, go back to your yellow and get right in there and add yellow. And sort of blend it with the, with the Brush you're applying it. And you have your yellow back and you have some flavor from the Gould Volker. So it's a multi-step process. You don't want to Lai Ni, You want it more blended. She wants some yellow in there and you want some of the shading color. Okay, I'm gonna do it again, and this time I'm going to try and find a smaller Filburn was smaller. Here's a little while and see how this works. Alright, so on the next peddle, some watery OK or not too much. Good, all good it off on the paper toll because you don't want to drown in anything. And you're just like if you handle pan or something, you wanted around the edge of the flower and where the space where the flower meets the center. And then I'm going to try this smaller Filburn for my blending. Yeah, it's going to be much more subtle. Like so. And then I want some yellow. I couldn't go pick up yellow with this as well and blend it in. Or you can go back to your pain and round. But you're going to see on your own t-shirt, the subtlety over, bring it up as close as I can see the subtlety of the blended lines. So I'm going to finish that round and we'll come back and look at what we're gonna do with the back petals, which is very similar thing but using a darker brown.
14. Painting a Sunflower: So what I have here is a burnt umber and I've gotta kind of watery because I'm using it on the tip of the brush to add all the little dark spots to the center of the flower. And particularly around the edges of this center. And I'm going to come back in with some light spots just to make it interesting. You're maybe some reddish spots. But we want to define that. We don't want just a blob of mud there. And then the next thing with this thin burnt umber is to do the same thing, really on the sunflowers that are behind the paddle, the petals that are behind. In the shadow. Though this time, I am going to put the lines and come back and do the blending. Because to show you that you can do it that way too. And you want to get to show depths here. And so behind where the, where the pedal is really behind the other flowers is, is going to be the darkest, not the other flowers. He other pedals. I know, you know what I mean? Okay, like that. And all of a sudden this is all becoming three-dimensional and alive and make sure that you're burnt. Umber stays kinda watery or it's, you don't want to making blobs on there. It won't blend as well. There'll be too much of it when we go back to make things more subtle. So just the tiniest lines as Outline. Another beauty of goulash is how many times you can go back. So if you mess up, Do not fear, because you can even go back in to your original yellow because this is opaque grammar, we can overpaying it. So have no fear when doing this. If it turns out terribly, then you can go in and you can just start the, you know, the bad pedal from the JO again. So these paddles on the back, and it's going to be considerably different than the lumps on the front. You see how the yellow ones stand out now. So I've got all those lines on. And I'm going to go get that blending brush again, little fill vert and wet it and blocked it, and go back and with the feathery light touch, that's really key because everything is going to be overdone. If you go in heavy, you can also do lifting, starts alert to dark, do some lifting and we are going to come back and live in that too with a little bit of yellow. Goes when you do all that kind of blended painting, you're back a few times and add what, what's needed, whether it's lights or whether it's dark. Now you'd never go this much trouble on a t-shirt probably unless you were nuts. But while you're, would actually the folk painters that pain on t-shirts, they, they do all the shading and make it look really beautiful. I don't know what I was doing their area. So I run it a little darker. And I don't want to, you want to get rid of any stark lines that's key and clean your brush very often because obviously you're picking up a little bit of paint. And you don't want to be painting everything Brown. You want to be this blending. Let Sarah, oh, almost somewhere around here. And so we started out with light Tom's, we've got everything in here now. Now, the last thing we're gonna do is put some lights back in. So for that, we're going to use your pointed round brush. And a, your viscosity is going to is going to change depending on what you're going to do here. If you need a bunch of opacity, like to put a little yellow on the background. Brown. Wanted a little bit thicker. If not, it can be a little bit thinner. But I am going to start by bringing some of the bright yellow back. Making some little highlight dots in this, in this center. Because you don't want dead. Goodness. You want light and dark because it makes it fun. And remember this dries lighter. Now, I don't want total Brown in the back either. So now I've gone back and I'm whitening us up. Because there's yellow back there too, just in shadow. And if it needs to be a little more opaque. And you do that, see the sky's the limit. You can read, blend and report little lines till the cows come home. You could never, ever do this with watercolor. So that's one of the reasons that people turn to wash for some things. Because if you kept going back into watercolor doing all these things, you would end up with nothing but a muddy mess. And that's not what you're after. Okay. And we're gonna go around again to little more yellow on my front petals just to give them light. And with a, with a scenario you can kinda, it won't be as opaque. You can go right over here all blends. You can line up the background. For some reason I want some of that reddish in my background paddles and so that's loud too. That was the gold ochre by Winsor Newton and it's radish. I'm going to add a couple of of that color dot into the metal. And, and for some more obvious pieces of that color into the back petals. This one needs a little bit of the two. Okay. So as far as you having to watch me do this, I'm going to stop right now. I probably will just fiddle with this a bunch more because it's what I do. But the point of this lesson is to just have you try it. And then if it's something that you feel is exciting, is you can take it to other subjects and flowers are a good start. This is also proud of good training if you ever wanna consider working with oils or acrylics. Because a lot of it works the same as what we've been doing with these paddles. Okay. The sunflowers shirt is pretty much coming out of the gate as a finish.
15. Subtractive Gouache: So for our last shirt that we're doing in guage, we're going to do something pretty different as a kind of a subtractive rather than an additive procedure. I have Clearwater, I have a small pointed round brush, I have tissue. I am going to draw on this. This is painted in a deep green wash. And then overall flat coverage. I have let it thoroughly dry. And now I am going to draw on it with a wet brush and pick up with a tissue. Now, the first time around this isn't going to work so well because I've got a very thick paint on here. However, you don't just do it and give up. You do it a few times over and clean your brushes and retweet because we're picking a paint, we don't want to redistribute our paint. Shape your leave. Add the water, pick up with the tissue. And you see we're known here and don't show. Alright, so I'm going to make a little stem. Excel. And you can kind of see when you paint with the clear water on the goulash. Let it sit for a second. And I didn't want to do it at the bottom. It did. So I am going to like press in a little bit with my water. Got to get this started here. And then do my pick up. Now that picked up a lot, but you don't see it yet? When I painted this shirt, it was a very, very heavy coverage and I knew it was going to give me grief at this point. And it is. But you don't say never, you just keep it up because you can work your way. No matter how thick the gloss, you can work your way back to not to white of course. But you can work your way back to this. Not go look, which is pretty darn sweet. And over you'll know how you did it. It does look like a bit like batik. So maybe in real life this t-shirt was made with a batik process. But that's not how we're doing it here. So it goes light as you want to, but you absolutely want it to show up. And then I'm going to add a few more leaves on either side of my stem. You want a lot of water in the brush, but you don't want too much because you want to be able to define your shape. With it being a big, blobby thing. That is looking pretty isn't. And I think I will release you for a couple minutes. We'll I finish this part. And then I will show you a little additive trick to our subtractive process here. And here we have it. Is that not gorgeous? I get very excited about is technique. To me, it looks like batik. And I think it's a really, really beautiful effect, which obviously you can use on all kinds of other things, not just t-shirts. But I wanted to show you one more thing. It I'm probably going to overdo it and be really sorry. But I have tried this before. And that is combining a watercolor pencil with this technique, adding a little bit of yellow into what's been picked up. And we'll see if it works, if it takes away I, there's something about the cool blue color here that I really love, but we gotta be adventure a stone. So I can always paint another one for myself. So this is a watercolor pencil, and this is a current dash and the color is the plain yellow number ten. And this is now dry, I believe. And so I'm going to come into the shirt and add a little yellow along the top edge of the leaf. And I'm gonna do it over here. Now you'll notice that a watercolor pencil goes down. Very lovely way on goulash. As a matter of fact, it's a technique that I love and it's another way to add design, to wash. But that is a subject for a different day because we have overwhelmed ourselves with the beauty already. Okay, and that is very pretty. But I'm also, I'm just going to take a dam, not going to use a water brush because there would be overkill. But I'm going to enliven that water colored pencil with just a little damp brush, then you don't have, you have the color here, the subtlety. You don't have the hard line. And it just looks painterly and wonderful. I missed one. Here. We go with the brush and just liquefy that color. Now I know that your creative brain drawn nuts right now and we should, because the possibilities are truly endless in all of your illustrating, I'm painting, you can go back in with several colors of watercolor, pencil and do who knows what?
16. Wrap Up: All good things must come to an end, including wonderful t-shirt. But hopefully I have done two things here. I have taught you how to express yourself with t-shirts. For one thing, this is a great sketchbook device. You know, anytime you don't know what to put on a page and you're feeling something or have an idea or something, this is just awesome and easy way to state your feelings in fun and color. The other thing is that I hope that I've given you a a background or a beginning or an understanding of the medium of quash. It's come a long way, it's been around a long time. And I think that the more popular it gets, the more techniques are going to be devised, and the more performance it's going to, to have, and the more people are going to love it. And so go and research some of their magazines in the animation artists that I've told you about. And take a, take a look now from a place where you understand what this medium is like to work with. And then you're going to see what they were doing. And I haven't URL, a lot of his texture comes from over painting, you know, sometimes just little spots on, on a tree trunk or something but similar to what's going on here. And some people use the guage, like I said, to create things that look like they were done with acrylic or oil. And guage does not have to be flat, like you often see it. It can have farm because just how you apply it makes that difference. And of course it's always a great, a great medium to write over, draw over. Which makes it wonderful for t-shirts because you can say what you want to say. So I would love to see your t-shirts and see you push this envelope as far as you feel like it and upload to the project section. And I will put the printout of these T-shirt designs in the project section for you, you can download them and trace them or if you have the ability to paint our, I mean, to print onto watercolor paper, then you can use them for these practices. But I'd like to see what you take these ideas and where you go with them.
Jessica Wesolek, Artist/Teacher
