Combining Watercolor and Gouache: 3 Techniques + Paint a Boho Living Room Portrait | Hannah Katarski | Skillshare

Playback Speed

  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

Combining Watercolor and Gouache: 3 Techniques + Paint a Boho Living Room Portrait

teacher avatar Hannah Katarski, Illustrator and Painter - MermaidsCoin

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

    • 1.

      Welcome to watercolour and gouache: 3 ways!


    • 2.



    • 3.

      About watercolour and gouache


    • 4.

      Mid-tone method


    • 5.

      Mid-tone method - examples


    • 6.

      Watercolour backgrounds


    • 7.

      Texture and pattern - examples


    • 8.

      Texture and pattern


    • 9.

      The Final Project


    • 10.

      Project: Idea development


    • 11.

      Project: Sketch and colour scheme


    • 12.

      Project: Painting


    • 13.

      Let's keep in touch


  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.





About This Class

Join me and learn how to combine watercolour and gouache to illustrate an opulent bohemian bungalow!

Gouache is a versatile, water-based medium that has enjoyed a recent resurgence in popularity. It has a lovely opaque, velvety quality and is perfect for augmenting your watercolour paintings.

I created this class because I used to find gouache kind of mysterious. I loved the look it produced, but what was it? And how do you use it? Plus, I had heaps of watercolours, so I didn’t want to go out and buy a whole new range of paints…

So I came up with 3 techniques that will give you the confidence to paint with gouache AND seamlessly combine gouache and watercolour in your artwork!

This class is for beginner painters through to experienced watercolourists who are new to gouache and want to expand their portfolio. You will add a range of techniques to your quiver and learn to plan your painting with confidence!

You’ll start to look at your paints in a whole new way!


I’ll teach you a range of techniques before we embark on our final project where we put it all together!

The lessons will cover:

  • The similarities and differences between watercolour and gouache.
  • 3 ways to combine them to create harmonious compositions
  • How to mix brand new opaque colours using watercolours.
  • Layering paints to create pattern and texture
  • Building a colour scheme
  • How to use reference images to paint your own bohemian bungalow!

For the final project I will show you, step by step, how to compile reference images, create your own original boho bungalow, then plan out your colour scheme before painting it using your new watercolour and gouache techniques.

SUPPLIES - For this class, you'll need:

  • watercolour brushes - round brushes in sizes that feel comfortable. I always recommend you have a 0 or 00 for fine details. It makes all the difference.
  • watercolour paper - I like Canson. Anything that is 300gsm.
  • good quality watercolours
  • gouache. You can complete all the exercises with just a tube of white gouache. However if you have more colours, great! The Holbein primary colour mixing set is a good place to start. 
  • 1-2 containers of water, for rinsing brushes
  • pencil and eraser
  • flannel, or art rags
  • this Pinterest Board for reference
  • reference images found in the project section

If you are a beginner to watercolour, check out my 'Watercolour Fundamentals Class - Master Layering'  

Meet Your Teacher

Teacher Profile Image

Hannah Katarski

Illustrator and Painter - MermaidsCoin


Artist and surfer girl...

Hi! I'm Hannah, a self taught maker. I work with watercolour and gouache to create artwork for products. I sell my artwork, work with design clients, wholesalers and students in my one-woman business, Mermaid's Coin Art & Illustration.

I live in sunny Western Australia and love to surf! I'm a trained teacher and started teaching in-person watercolour and printmaking workshops a couple of years ago. I now try to balance my creative business with the business of raising two small humans, working part-time, herding cats, and getting into the waves when the swell is up.

See full profile

Level: All Levels

Class Ratings

Expectations Met?
  • 0%
  • Yes
  • 0%
  • Somewhat
  • 0%
  • Not really
  • 0%

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.


1. Welcome to watercolour and gouache: 3 ways!: Hi. I'm Hannah. This is combining watercolor and gouache three ways. Join me in my first SkillShare class as I take you the midterm method, using watercolor backgrounds, building up pattern and texture, and mixing new opaque colors. Gouache has been used for hundreds of years and was extensively used by designers and illustrators in the pre-digital age. It's currently enjoying resurgence in popularity and for good reason, this opaque water-based medium is extremely versatile and can be combined and intermixed seamlessly with your existing watercolors. You can complete this class with just watercolors and white gouache. In our final project, we'll combine all our new skills. I'll take you through one of my processes for creating new works, and we'll become interior designers as we paint our own Bohemian bungalows. This class is for beginning painters and experienced watercolors to like. Join me and at a range of new techniques to skill set, and learn to plan your paintings with confidence. 2. Materials: The materials you'll need for this class, include a glass of water or a big jar of water. I like to use a big one so that I don't have to change it so quickly. Some watercolor brushes, whatever size you like to work in. I normally have a small one around a size one or a zero, a six, and a 10. I tend to work quite small, so this is all I need. We'll be referring to a color wheel. If you've got one in handy, grab it out. Otherwise, you can always look at one online. A cup of tea and some gouache and eraser. Some sort of pallets that you can mix your colors in. I tend to like working with the ceramic pallet. Here's a collection of different ones. This one's from an art supply store. The ceramic likes are really nice for mixing, whereas on plastic, the surface tension of the water tends to make it really hard to mix the colors together and save the volume of paint that you have. You will need watercolor paper for this class. My favorite brand is Canson and I always use 300 JSON. These are my watercolor paints it that I mainly use. I do have tubes as well, but I tend to like working with a paints. So they're are my watercolors and we will also be working with gouache. So if you go and only by a couple of different colors, you do need a watch gouche for the different activities we'll be doing. This is the art spectrum, art brand gouache that I'll be using during the class just to give you some ideas. This one was a super cheap brand that I found that the art supplies store. It was about $14 for the set, Australian and I thought I would just give it a go. I've been really pleasantly surprised with the quality of the colors. They are really nice really, not grainy. They're fully saturated. So yeah, worth doing if you just want to have an experiment and the not sure how much you want to invest in getting a set of gouache colors yet. Another option is that you can buy the Holbein five colors set. So this comes with the primary colors being magenta, yellow, and cyan, plus a black and white. This is really great because you can mix really vibrant secondary and tertiary colors from the cyan and magenta. So I picked this one for, I got it off the eBay, for about $30. So these are really quite nice size tubes and this is a dry quality pigment as well. Another one that's really popular with artists is that Winsor & Newton design a gouache. So that's a lovely product too and there were other brands on the market. You do your own research. There'll be different pigments that are available in different countries also. You need to make sure that you are purchasing a design of gouache or artist's gouache. We weren't fake working with acrylic gouache in this case. Talk about that more in the next lesson. 3. About watercolour and gouache: To begin, I'm going to show a quick demonstration of some of the similarities and differences between the qualities of water coloring gouache. Water color can be used very dilute and then the more pigment that you add to the water, the deeper and more saturated the color becomes. With really thick water color, if it's the right pigment way can go some ways to covering up what's beneath. Some pigments like the cadmium red soil, cadmium yellow is a very opaque, whereas a lot of other colors is still quite translucent even when they've applied really thickly. However, with gouache, undiluted gouache is opaque. We can really use this to our advantage when we are planning out painting, we can use it to cover up layers beneath. However, we can add water to gouache and make it more and more transparent and we can even use dilute gouache, just like it were watercolor. Please excuse the ravens and all of the birds in the backyard. I'm filming this in my foot yacht. Now, both media can be lifted at some pigments and honest dining pigments. They don't tend to behave in that way. But generally speaking, what a coloring gouache assigned. When you're applying a second layer of watercolor over the top of a dry layer, you get a glazing effect where the colors additive, so the layer below would still generally show through and it will taint the color on top. How with gouache, if you're applying thick gouache over the top of the dry layer, it will totally cover up the first layer. People did a new to watercolor, or sometimes quite surprised to learn that way, Lawson, the color of what a color by adding water. Where as gouache operates a lot like acrylics and oils where you would add watch to the color in order to make it lighter and nice retains the opacity of the pigment. You can also dilute it with water but this makes more and more translucent, so it loses that quality that we come to rely on with brush of being able to cover up a layer underneath. This is gouache adding water. Obeying diluted with water. When working traditionally with watercolor, if there are areas that you want to remain gouache then you make sure that they whiteness of the pipe is unpainted and it shows through with gouache. You have the ability to be able to paint an area completely and then once that first layer is dry, you can apply opaque white gouache on the top. It's a different effects and I would probably use both in different scenarios depending upon the context. Gouache can be reactive eyes with water to be blended with the color next to it. I'm reshaping the circle into a flower shop and a five, re-work it enough you won't be able to say the original outline of the circle. We want to colors will allow you to do this but by contend to try with lead watermarks and it's staining a fixed where you can say they echo what was there before. To rake. Watercolor and glass have both water-based that convey reactivated after that drive that can be used thick or diluted. Can be lifted off quite stay dry depending upon whether it's assigning pigment tone, not. The transparency of both media increases with the amount of water that's being used. Some of the differences that watercolor is generally transparent, although you don't get opaque pigments and gouaches opaque. When you're a layering in water color, it has a glazing effect with a color is additive and you can still say the life beneath, where it's gouache can provide full coverage and a new color on the top of the previous layer. Traditionally with watercolor, you will work from lot to dock, and with gouache. If you could be working any water, you add water to lighten watercolor and the gouache you generally add white gouache in order to maintain the opacity. When trying to have highlights of what areas with watercolor, traditionally you lay the white of the paper showing through and with gouache, you might choose to white gouache highlights on top of the finished layers and how you plan your painting can be totally different. I was initially put off backwash, even though I love the look of it because I didn't want to invest in another set of paints. I've got a lot of watercolors, and it just seemed crazy to be spending more money on paint that I don't use. But then I realized that not only can you use them together because they bought advice to, but you can actually intermix them, which gives you endless combinations of new colors that you can create, plus, by adding watch to your watercolors, you can create opaque watercolor like paints and you can use as well. This is what sold me in the end. You can say here that I've painted a row of watercolors along the top and on simply mixing these pigments with opaque white gouache and I'm creating a range of new colors, and then I'm even it's mixing them to create secondary colors. Now that we're clear on the characteristics of these two media, let's get our brushes wet with our first exercise. 4. Mid-tone method: We're going to jump in with the mid-tone method. This is exciting because you can mix your watercolor with whitewash to create a whole range of new opaque flashlight colors. I came across the mid-tone method in another skill share class by Bonnie Lecat using acrylics. This is really a lean way of thinking for me because I've mostly only worked in watercolors. Watercolors, you work light to dark. But when you work with the midtown method, you start with the mid-tone and then you add darker tones and then you add highlights. We are going to paint a shell to learn this technique. First, we're going to choose out a water color and we're going to mix somewhat with it to make a tint. We're going to mix black with our blue to make a shade and then we're going to finish off using white for highlights. Let's get started. I think, I think I'm going to go with intense blue. See what we get. I'm going to make a wash over here. Now, instead of using paper towel or tissues, I actually use an old flannel to mop up my colors. I do that because I soak it in the wash and then I can reuse it rather than wasting paper, which is, I feel better about that. To start off with here's our mid-tone. We are going to just going to wash my brush off camera. I've got the Australian out of spectrum, but just use whatever white wash you have. I'm going to mix a bit of that here and a bit more here. I guess with this technique really you can use as many tints and shades as you like. But we're going to stick to four. I'm going to mix this in here so there we are. When you add water to a color, you create a tint. If you can remember all the way back to that art theory in primary school. There we go, there's our tint. Oh, I like this color. I think this is going to be good. Make another little thick wash over here. Now, of course I got all organized but it didn't grab any black, there it is Holbein black wash. We only need a tiny bit of this because black is such a strong pigment. In watercolor, we generally don't add black to things. We add at mix a complimentary color or we just use less water with our pigment to make a thicker, darker color. That's one of the differences about how you can work with gouache as opposed to watercolor. This is going to be probably too dark. Let's test it out and say, it's okay. I don't want to add a bit more pigments to give it a bit more blue, I fill out my brush out my brush with pigment. There we go. I've got oups. Just picked up extra black, I wasn't watching what I was doing. Like, that's like a really dark indigo. I'm happy with that. If we pick a little bit of this up, mix it with a bit more white can make another color. We've used one watercolor pigment and we've made a whole range of different tints and tones there. This class isn't just about gouache, classes about combining gouache with your watercolor. In order to do it that way, are going to start with a background gouache. Not only are we mixing new colors by combining a watercolor with gouache. We're going to start with watercolor background and then we're going to build up layers with our gouache. Now we have a variety of different experiences watching this class. If you've got any questions as I go along, just leave them in the discussion. But, there are a lot of great classes on here for beginner watercolor skills. If you are super new, then perhaps go and watch one of those. I'll put some links down in the discussion or the project section around some really great classes that I recommend for watercolor techniques. Because I'm not going to go into the nitty gritty of the basics. I've just mixed our gouache with my watercolor. I'm using a big brush because it's a big area, use a brush that's a comfortable size for you and how you like to work. I worked big here so you can see what I'm doing. I'm going to start from one spot and I'm going to push my gouache across to the other side so I don't have any hot spots where the paint starts to dry. If the beginners that are listening, with watercolor, you don't, do need to work quite quickly. Otherwise, the paint starts to dry before you have finished and you end up with uneven sections where the pigment has been pushed along by the water drying at different rights. It's a science of it all hopefully that makes sense. In primary school we learn, outline, the shape and then you colored in. But this isn't a good practice when you're doing like large watercolor areas because yeah, you get this dried outline and then you go over it and you end up with two layers of pigment around the age. It's really visible. We don't necessarily want outlines around everything. You can say I'm working from one side to the other. The other tip is that you make sure you mix enough gouache for the area that you're going to be filling in because otherwise you run out and you can't make the same concentration of color that you mix the first time. I should've actually followed my own advice there in mixed a little bit more. But we'll just make, do. We're going to be adding other layers over the top of this as well. It will hide a multitude of scenes. These are layer 1. We are going to be painting in layers so we need to let one layer dry before we come in and add the next layer. We'll leave that and I'll make it back here once my first layer is dry. This is where we start to add in some detail. You can look at your reference. I'm going to be pretty loose with my reference because I just want to abstract it. They got a lot of dark coloring but not really a lot of light and dark as far as shadows go. I did take a photo which I will add to the project area. Next, we've got our mid-tone layer down. We are going to add our shades first. Then we'll be adding tints over the top and a highlights to finish. If you like to be really documentative and really realistic go for it. If you want to keep it loose you do that. If we were working with watercolor, we would have left some of these areas unpainted so that we could have the highlights show through right at the end. But because we're working with glass, which is opaque we don't have to do that. It's fun to try it in this way. Instead, I'm going to add a bit of water to mine as well. Where's my shells to look at? Keep it low. This is just a warm-up exercise, so it doesn't have to be your master paste. Just pull the trigger, get your brush wet and start painting. You can even do a bit of a wet in wet type. Bizarre here, it's fine as well. I'm sorry about my crazy Australian vernacular. I know it's a bit weird. Sometimes people in other countries don't really know what we are going on about, but hopefully the accent isn't too distracting. You can change to a smaller brush, just a reminder for those newbies. Because I'm such a watercolor person, I'm going to thin this out and add some areas that are in between. That's going to do for our next layer on the edge. Then we'll be done and I let that dry. Very important. You let it dry with water color if you want nice sharp, crisp edges. If you want things to blend in and have more of a soft edges, then by all means work wet in wet. Let that dry. I went and had a piece of toast. Now, it is time to add our tints on top. Off-camera, I added in a few more details, having looked at my references. I love with gouache but you can re-wet and just pick up a color that you've pre-mixed that you love, which is a bonus when comparing them to acrylics, they're just like watercolors. Even some brands don't do this so well. I know this might be it comes down to the pigment adding in my tint snare with a slightly smaller brush as well. It's a bit of just practice, just like with watercolor, getting a sense of how thick your gouache needs to be to get the level of opacity that you are aiming for. You just have to do it and get familiar with it just like watercolors. You get used to how much water you need for the depth of color that you're after. Now I want a little bit more coverage than this, so I'm just adding a little bit more wet. I'll fade them out a little bit more. Here we go, I'm obviously not covering everything out, but I'm going over some of my darker areas. I'm going to make this a lighter band through here. You could be more heavy-handed as well. If you were painting roses, then it would be a lot more of H color potentially because you've got petals that are in shade and petals that are in full sun. It's slightly different to the approach that I'm doing here, but just go with what works for you and just experiment. I use this brush crowd a lot. This is a zero, a synthetic pursues I generally use. It's starting to build up and layers them. I leave it like that. Let it dry again and then we'll come back in just with some pure white. We are back for our final layer. I'm quite happy with how this is looking actually. I really feel like I'm getting a sense of depth from the layers we've added. While I was waiting for my tints to dry, I was actually going back in with a darker color and breaking up some of these highlights by adding in some little curved lines to help. I'm quite happy with how this is looking actually, rather than making flat lines I'm making tiny upside down Us, which I think is working quite well. We are almost done. If you like me, have pretty much always worked with watercolor, I feel like this technique is a real game changer because it gives you a lot of freedom with the way that you work and your plan of attack for how you execute a painting. Garcia's is sending me an email. How you plan out what you paint and the layers to get the color and to get the result that you want to achieve. Working with gouache really helps you change it up. You suddenly don't have to work from light to dark. You can work dark to light, you can go back and forth, which I think is really exciting to be able to work like that. Last layer, adding some highlights. I'm going to add white but you could always add a really light tint of the color that you're working with as well. I don't know what I'm going to do here, we'll see. I'm going to add some highlights for texture and just imagine that these are some areas that the light is bouncing off. Once again, you can get a sense of how thick the gouache needs to be. The more water you add, the closer to being transparent it will become. You can work with it straight out of the tube if you want to, if that's your preference. But I tend to add a bit of water to mine. We've done four and a bit layers and we have painted a lovely scallop shell. That is our mid tone method. As I said, it doesn't have to be monochromatic. Paint a shell or paint something completely different, just keep it simple because we want it to be a short exercise. I will upload a sketch to the project area if you want to try a scallop shell. Otherwise, paint anything else you like. When you finish, go ahead and upload your first exercise to your project. You can add the other exercises as we go through it, but get it out there. I'd love to say what you are doing. Like I said, if you've got any questions, then just post them in the discussion and I'll get back to you. 5. Mid-tone method - examples: Mid-tone method, we've talked about that. I wanted to show you some examples that it doesn't actually have to be monochromatic. It can be adventurous with the colors. Here's some roses using the mid-tone method that I spoke about in [inaudible]. Instead of just adding white or black, when I was working with gouache on this one, I've actually added different types of grains and even turquoise over the top to add visual interest. I really like the proper contrasts between the lemony yellow grain, the more leafy green, and then the turquoise. You can see here, this is white being added to a red. Some other ideas there. If you like this style, Katie Daisy, who's a really well known artists, her work is beautiful. Since discovering this technique, I've realized that this is something she employs a lot in her acrylics. Check out her work. It's beautiful. Here's another little one that I did painting some roses and some flowers. I've put a watercolor background down, and then I have combined watercolors for the background areas of the roses. I've built up gouache layers using the mid-tone method here. Once again, you can see that my leaves are a combination of warm, cool grains, and turquoises. Then, the flowers have had white added to them to make the colors lighter. 6. Watercolour backgrounds: Now the simplest way to combine watercolor with gouache is to have a watercolor gouache lie down first, and then simply paint with your gouache over the top. It's opaque so you don't even have to leave any areas blank. You can simply paint your whole area with watercolor and then start painting in over the top with gouache. So I've painted a gouache here and I'm going to let that dry, and here are some examples. You can have quite a dark watercolor gouache and then go over and paint with gouache. So if you aren't really into planning your design, your painting, then that can be a really good strategy for you using gouache. However, when you do have a darker color in the background, it can affect the vibrancy of the colors that go over the top. Sometimes, you can start to reactivate the color that's already on the page. So you need to be a bit careful about doing it with darker colors. But it can be done, especially if you're careful with your brush strokes. Here is a little magnolia that I painted all with water colors. So you can see it's got that lovely, translucent quality to it. This one here, I did map out where I wanted the leaves and the flower to go. The background is watercolor and these flower, the stylists here is watercolor, but the leaves are actually gouache with gouache over the top as well. I found that this worked really well because it gave it a really good contrast between the background and between the flower and the red and the light green that I chose to paint over the top really pop as well. The nice thing is, well with gouache being opaque you can, making up your lines, so if you've sketched in your design and then when you get to the painting, you realize that it's not quite how you wanted it to. It's really forgiving. There are a few examples, now let's have a go. We are going to just do a really simple exercise where we've got a nice watercolor background and then paint a couple of leaves over the top using our gouache just to get a feel for how it works. They're little bit of color theory, using complementary colors. Looking at the color wheel here, the complimentary colors are what sit opposite on the color wheel. Something that it's really great to remember is it's not just the red, but it's all the tints, tones and shades of that red, and how they interact here. Pink and green are a really great color combination. Think about using complimentaries. Maybe you want to go crazy and do blue leaves on an orange background, I don't know. Do whatever tickles your fancy. I've gone for a coral pink color. It actually sits under this red orange here, you can set in case you want to do the same. I'm going to paint some leaves in more of a turquoise color. But if you want to do a leaf green or a dapper green on a pink, go for it, and choose something that works for you and get you excited. My background is dry and I'm ready to start painting my leaves on top. When I got this gouache set, I did this little informal color mixing exercise to say what breadth of colors I can get from mixing my magenta, with my cyan, and my yellow, and adding white. I really love leaves with bright colors, and I use that as a reference in the future so that I can figure out what colors I want to work with and what I need to mix. I've mixed turquoise, it's a bit darker than this over here, and I'm going to put that on top of my coral color. Now, I have just lightly painted in some shapes. The great thing with gouache being opaque as well, is that you can cover up the pencil lines, which is nice. Let me turn my page around to paint this first leaf in this turquoise. Then I think I'll mix some white in and add a lighter version of this lovely turquoise color. I am really plastering on the gouache with this one. This is a good opportunity to experiment with how thick you can get the gouache, and what feels nice to you. I found that I like working with them when they are a bit more watercolor like, but if you come from an acrylic background then maybe it works for you to have thicker gouache. I'm going to get a smaller brush that one doesn't have a fine enough tip anymore. Also, observe how your colors dry. Are they drying lighter than how they look when they are wet or are they drying darker? This is just a stretched out heart shape for a tapioca elephant's ear fin, and then here, we do a banana leaf. As you can see, coverage over the gouache is fantastic. I really quite like the contrast as well between the really translucent background layer and the matte opaque coverage that you get with the gouache. I think that's a really nice effect. You can see this gouache rewets really easily. I'm going to wet a few areas and then do a little bit of [inaudible] wet gouache over here to make a palm frond. Peggy Dang is on Scosha and she has a really lovely class in painting and drawing tropical foliage. So if you're a bit overwhelmed by this, then have a look at her class. She usually keeps them pretty short and sweet, and she's great teacher. I'm going to work quite quickly and drag in a whole pile of colors to see if I can get them to flow together nicely. Press down a bit more as we go. Trying to keep it really wet so that I can add all the colors. Actually, I found a really good tip is to get a squirty bottle like this and to actually spritz everything before you start to soften it up. That does really help if you're rewetting a palette that you've been working with previously. The wonderful thing with gouache is, of course, you can reactivate the colors beneath if you feed with them enough. Well, let that dry. We'll put some vines on the other leaves, and we will be done with this exercise. I quite like that color combination together. I have mixed here with gouache some of the opengl magenta with some yellow and a little bit of white to make this really nice coral color, and I'm going to use this to add some highlights and some shadows around the leaves. Then I'm going to add some lighter turquoise as well using the color that I already made and adding some more white to it. That's different when you're used to working with watercolors and you are used to diluting them more and more to have a lighter color, whereas when we're working with gouache, we tend to white on what you're painting as well. I can even lay this on top of the green, and provided I've got quite a light touch, it's going to work relatively well. I just love this layering quality. It's so new to me, having been able to color for so long. Get all that paint off my brush. Even with a really good wash, you can see that there's still pigment left on the brush. I found that there's less contrast when it dries than what there is when you're painting. Mix a color that is much lighter than your original for this exercise so that it does actually stick out. Go down the middle, you take your time. I've made a bit of a mess there, and what I could actually do is let it dry and then go over with another layer of my original color, and I'd be able to fix that up. I can let that dry. Put some more pink in. What will we do with this one? I think we will go even lighter. So I've got some more white over here. Mix that in, add a bit of water to set from that, loosen it up. It's a good color match, there's pink, given one I mixed with watercolor and one I mixed with gouache. But like we did in the mid-tone exercise, you could always create this watercolor gouache with water colors and then mix a gouache version by adding white to those sign pigments. That way you'll get a really good match, and it will be a harmonious composition. We're doing mid-tone on top of the other exercise so having a bit of a lighter pink. If I just decided I really didn't like this dark color, I could paint over it with a lighter one, and it would cover it up, which is awesome. So there is our gouache on top of a watercolor gouache. Really easy, simple way to combine these two fun medium. 7. Texture and pattern - examples: For a third exercise, we're going to be building up texture and pattern with multiple layers of watercolor and gouache. The important takeaways from this lesson are that you need to let each layer dry before adding next. We'll be building up multiple layers to build up coverage and to build up the texture. Play around with getting the right consistency for the gouache to get adequate coverage. You need to be careful not to lift the layers below. As you see from this example, it is okay to add lighter colors onto the top of a darker color. Here's another example where I started with a watercolor background, like we did in the second exercise. I've built up a protea, wattle and some other red flowers, all using gouache. You can say, I've used a mid-tone method here where I've put down a mid-pink, I've added darker pink, lighter pink and then some white areas as highlights. You notice as well that the leaves are done in a similar fashion with a darker green going down and then a lime green going over the top and places. For this third example here, this is all painted in gouache, and my background is really opaque and I've painted over the top with a complimentary color. This light one still provides enough coverage. Sometimes you need to add two layers of a color in order to cover up the background. 8. Texture and pattern: For this exercise, we will be painting this cactus in a teacup, we'll be starting with a watercolor background and then building up layer as a texture and pattern using gouache. In this lesson, I want you to get confident with mixing the correct consistency of gouache for good coverage, and to start thinking strategically about mapping out and planning the layers for your painting. so I have just finished putting the first layer of watercolor down. My memory card in my camera actually died, so I filmed all this for you, but it was all corrupted. So what I've done is I have used Dr. Ph Martin's liquid watercolor to do the yellow and I'm going to have got mixing that with gouache as well later on and I've done a simple wet and wet wash with some turquoise, some sap green, and some fallout green to do the cactus and next we're going to start adding in the other layers on top of the watercolor. I am going to erase some of these lines as I go so that I don't get glazed in under my painting baselines. I just don't need it anymore. Pencil lines. You can sometimes erase them seems to depend a bit on the paint that's going over the top of them. If you have any insight into this, I would love to hear about it in the discussion section. I've left some areas where I know I'm going to be using a different color just so that I'm not losing any of the vibrancy by having this as an under painting. I'm not sure yet where I will paint watercolor and where I will paint gouache. So that's a choice that you can make here. For these diamonds, you might choose to do them in watercolor, or you might choose to do them in gouache and then add further layers in gouache on top. So let's get cracking. I'm mixing my gouache in with my yellow and then I'm going to add some magenta into that as well. So this is watercolor with white gouache and then we adding magenta to that as well. So that's a nice color. Actually, I'm going to start around here. I want to put a lip on my saucer, sorry, I can't talk and paint at the same time and some dots, beep. I have young kids, so everything has to have sound effect. I'll make some more choices about that as I progress, such as really liked that. Yellow. Now I am going to pick up some of this and mix it in here. Look at that, might do this, see what happens. Let me go adds more, more orange. All right, and I'll obviously let that dry before I go in and paint anything else on top of it. So when I'm painting, I move around in sections. Paint something, let it dry and while it's drying, I'll paint something else over here that's not touching any wet areas and that way you can bounce around the painting and you can keep working even though you still have things that are wet. This exercise, there are a lot of areas that you could've just paint all in watercolor but the purpose of this class is to help you feel confident with ways and techniques of combining watercolor and gouache. So that you start to use them seamlessly in the same composition without having to think too much about where, how to apply each of them. This pink was just the straight magenta, the Holbein magenta, and this orange that we mix towards that side magenta mixed with some watercolor. I'm going to try and mix. I read that this sits somewhere between the two of them. I'm going to try and achieve that by adding more magenta to this orange and I'm going to use that to fill in the triangle shapes. This is where the goache really comes into play. We're going to apply thick and with a really light touch and if I'm careful then I'm not reactivating the color underneath. So you've been economical with your brush strokes. Now the layer on here to cover up the green. Now we've got most of our textural layers added to the cup. I want to add a little bit of white to my pink to cover up these areas where you can see the green showing through. That is a risk that you run and especially if you're working with thinner layers of gouache. I could put thicker and thicker paint on there and it'll probably cover it up. I'm going to add some white, what's left is we need to mix a nice brown to go in for the soil, and we need to put some texture lines down for the cactus. So I'll add a little bit of blue to my pre-existing turquoise. We want this to be quite thick so that it really stands out contrasts here. So I'm going to do some lines that are not fully connecting all the way down. These will be the spikes coming out from each of these segments and of course they stick up from the sides of the cactus as well. I like that contrast, I think that's nice. All right, I'm happy with that. I'm going to mix a brown using the colors that are already on my palette. So that way, it's a brown that looks like it belongs rather than it being just another brown that I've found from colors that I have. So I'll mix my green with my pink and then add a bit of yellow into it until I'm happy with the color. So pick this up, put it over here. Here we are and we've made brown mixing the colors we already have in our composition. There we go and I'll probably do two layers of this in order to first get a general coverage and then to secondly add a little bit of texture to the pot. So there's layer one I'll let that dry and then I'll go in and add another layer of the same color, but slightly thicker to give it some texture like pieces of soil. So I say that this red is quite dark on top of the blue, and so I might add another layer of red and we are done with our cactus. I think this would make a really cute greeting card. In the next video, we're going to launch into our final project. 9. The Final Project: Welcome back. We've finished our warm up exercises, so let's recap what we've covered. We've learned the midterm method, we've applied gouache over watercolor background, we've mixed new opaque colors with watercolors. We have built up pattern and texture with the right consistency of gouache, and we have learned have watercolor and gouache are similar and how they differ. For the final project, we're going to compose and paint a Bohemian style Bungalow or lounge room. You get to be an interior designer, filling your room with luxurious textures and decoring the walls with exotic and eclectic artifacts. I'll take you step-by-step through the process of compiling resource images, developing a sketch and color scheme, and planning and painting the final outlook. 10. Project: Idea development: [inaudible]. Inspiration board for our projects. I've got two scallop shells there for our first exercise. You can search [inaudible] for these but the two I found if you just jump straight in. Now, for a fun project, we are going to be creating a Bohemian bungalow, something like this one, I have a heap of inspiration images here. I've pinned them for lots of different reasons. This one here, I thought was really cool. So I'll just leave it for that reason. This one here, it has got some really great wall elements as inspiration. Now, you wouldn't be picking any of these one images and just painting what you see, unless it's a free stock image or you have got permission from the copyright holder, the person that took the photograph. Because that's not cool. So I really love this one here. I think I'm going to work on a design up with some of these elements and I'll show you how I work from a number of different resources, different images, to create an image that is mine and not copying something else. So here is one really simple little Bohemian bungalow inspired image that I created using collagraph draft or collagraph technique and water color. Let me zoom that for you. So you can see here I've drawn a nice mandala rug, ukulele. Some nice things kept that I show from the wall and a fiddle leaf fig because they're pretty on trend at the moment. Now here you'd find a pin that I found when I was looking for some inspiration and it's got fiddle leaf fig. You'd notice I've just taken one component and used that as a reference for this guy. Right? Here's another kind of Bohemian style watercolor that I created a while back. It's an old picture on screen. There we go. This is the kind of thing that we're going to be doing. I've got lots of images here for you to choose from. Here I've got a teepee, some nice cushions, a cool rug, and that's in a beautiful beach site location, so I had a lot of fun painting this one and I'll show you some of my inspiration images that I used. This one here, I really liked the little lanterns that you can see and I love that you can, this is a teepee, and you can see inside and it looks like a really homely, inviting, place to spend the night. I looked at that one and that helped me with the kind of the inspiration for the teepee and the lantern. I really liked the lighting idea, so I kept looking and I found this one as well, which I really loved. You can see there's some similarities between my work and this, although they're totally different. I love the night lights, I love the rug, and the cushion at the front. I used this as well to work up this design. It's inspired by those works, but it's definitely not a copy of either of those images. You can take what you want. You can patchwork things together from images that you see, maybe the color scheme of one image or some layout aspects of a couple of others. That is how we're going to work our final project. 11. Project: Sketch and colour scheme: After compiling all of my inspiration images on my Pinterest board, I have done some little thumbnail sketches of some of the ones that really stood out for me, so there is simplifying the photo pretty much as it is. This one is sketching out what I saw in the photo and the same here, and here were some elements that caught my eye that I thought I might like to combine into another artwork. You basically get to be your own imaginary interior designer for this project. Here I did some research and found this butterfly polyester and incorporated them into my artwork. I painted this chair based on this reference image that I'd found and continue to furnish the drawing. After finding all of these elements, what I did is I've combined them into new art works. These artworks I suppose you could say they are a mishmash of a whole pile of inspiration further. Here is a little moon hanging and the [inaudible] hanging. I love these pick-up chair. I've incorporated one of those and some patterned flow. Then the one I think that I will do for this project, here, you can say that this catch and the sun wall hanging will have jumped out from the Pinterest board, and from my sketch on the previous page. I really liked the idea of these two cacti at the side of the couch, and then I saw this blue couch and I thought, "Yes, I just have to include that in my color scheme." I finished up the composition with some other elements, and I will pick my own patterns and colors, and then it really starts to take on a life of its own. I'm going to go [inaudible] this up now and transfer it onto my watercolor paper, and then we're going to talk about developing your color scheme. To begin with, I really want to talk about the idea of rhythm and repetition. The more that you repeat a color in an artwork, the more it begins to feel like it belongs, and then it makes your eye bounce around the composition as well. You say here I've used similar grains and I've used purple flowers, purple cushions, and even purple in the background to give you a sense of that rhythm in the art work. Here, you say that they curtain and the ukulele, are different shades of the same pigment, and there's even some maroon on the bookshelf. Now this is the finished painting from the sketch we were discussing earlier. Again, I've used a limited color scheme with the colors repeated throughout. So rather than picking a brand new color, when I need to decide what color the pups are going to be or what color the butterflies are going to be, I repeat an existing color. Now thinking about the different media, I chose gouache for the background and did watercolor for the rugs, these little guys were gouache. I've added in some different elements and a lot of the details have been completed in gouache. You can say here, I've been playing around with the color scheme for the art work. I've been testing out my gouache colors and some watercolors that I thought would go well. So these gouache colors and these watercolors that I felt corresponded quite well, you could always water down gouache for the background, but I've challenge use combining the two of them. So it's about coming up with a cohesive color scheme using the two different media. This is my initial sketch, and then I roughed in the colors just to give myself a bit of an idea of what I would put where. As you can see, I started off with the yellow chair and I do really like that in this composition, but in the end, I went with a blue chair, which I'm happy with the outcome, but yellow chair might have been quite nice. Back to our design for the final project, and I've come up with a color scheme that I want to use and I've had a go at roughing out the colors before I start painting. Sometimes a color scheme comes really quickly and easily to me, and other times, it is a bit of a struggle like this time. So what I actually did is I roughed it out digitally and I was able to try a couple of different color wise until I've had one that I was happy with. So I come up with three variations. I do like this one with the cool mint colored wall, but having just painted something with a similar color in the background thought I'd try and do something different. I like this with the blue as well, but in the end, I decided on the warmer tones, that makes it [inaudible] of the textiles, and those really warm colors that I wanted to not think that this was true to the colors scheme. Finally, we are going to combine everything that we have learned. There aren't any rules, you can use watercolor background and reserve whites. You can add watercolor and gouache elements and gouache details, or you can do it in whatever way feels comfortable to you, utilizing your new found skills. 12. Project: Painting: I've got my design transferred to my watercolor paper, and I'm just erasing some of the lines. I can still see them, but I'm lightening them off so that they don't get glazed in under my work. I have chosen a watercolor to apply to the background here as a flat wash. Then I'm going to let that dry. Also applying a watercolor wash for the floor. I chose gouache for the cacti because I liked that opaque quality and I wanted the cacti to have that. It's dry now. I'm using gouache to paint that sun motif wall hanging. I'm actually utilizing the mid tone method that we learned in the first exercise here. I'm putting down a fairly mid tone color gouache as the first layer and I'm going to let that dry. I've mixed a lighter tint of that same gouache by adding some some white and I'm adding small accents over the top of the initial layer, so that's dry, I've also added some almost white highlights which gives it that metal type look with a reflective quality. I've also mixed a darker shade of my initial color by adding little bit of black to it. You don't see it here, but I add a darker color as well. Second layer on top of the cacti and the third, just using some darker and lighter colors. Gouache for the leaves. Starting to fill in the pattern here using watercolor and gouache combination. I let a layer dry before I paint the area adjacent to it so that I don't get any bleeding. I've mixed these gouache colors using the whole bank gouache that we talked about at the very beginning of the lesson. Erasing areas to get rid of pencil lines before I start painting over the top of them. I've chosen to apply a watercolor wash here over the whole surfboard. You'll notice that I'm moving around in section, so while the surfboards dry. I can move over and I can paint that blue couch that I was so excited about before. Then while the couch is drying, I can move back to the surfboard. I mixed a really thick, very light green gouache to do the veins on this plant so that they would really stand out. Adding spots to the cacti with more gouache. You'll notice here I tend to leave areas of white to fill in later on with pattern rather than trying to do multiple layers to cover up what's underneath. Here with the circles on the surfboard, I did find it a bit difficult to cover up the yellow and I did notice that it affected the color of the blue. Once again, moving around in sections, letting the cushion dry while I paint this spot. I let the red dry before I go in and paint the rest is that other pot. Now I come back to the cushion. I'd left this blanket until quite late in the pace because I was still trying to decide what color I wanted it to be. I felt like it was a bit bold, all in pink, so I go in and add another layer on later, added a second layer on here to try and cover up the yellow a bit better. You'll notice what I talked about with repetition, having colors bounce around the page to lay the eye. I wanted to create a rattan style chair and so once again, I'm using that mid tone method. Here we are, I've got a mid time and a darker tone with a lighter of tone going over the top. Then I've mixed to a few different colors here to try and get the balance right, some darker, some a bit more yellow. In the end I feel like that I got the balance right. Instead of mixing black here, I've tried to darken one of the existing colors in the artwork, so that they hollow of the guitar doesn't stick out too much. I found that the pink gouache that I have is not particularly opaque, so I definitely didn't want to try and cover up the dark blue with the pink. Just taking the brightness out of the white here with a buff color. Then adding gradual layers for the tips and tail for the cat to help darken and graduate those areas to make it look like a Siamese. Once again, I could have picked up a totally new color, but you notice that the cat is done in the same color as the couch. Adding in some details here, making sure the consistency of my gouache is thick enough to provide good coverage, but also nice flow so that I can make these scroll shapes. You notice just off camera there, my sun wall hanging, you can say the dark areas where I've finished it off with a dark half tone to complete that mid tone technique. We're on the homestretch now and I'm just adding little details to the top layers, to add a bit of interest. More finishing details. After looking at it, I decided I just wanted to put some patenting over the floor area. Just went with some really organic spiral shapes just to breakup the background, which is two very solid blocks of color. If only we could paint this fast. Here we are. That is finished. The culmination of our skills, learning how to combine watercolor and gouache in the one outlook. 13. Let's keep in touch: Well done, you finish the class. Now, it's time to practice what you've learned. I'd love to see your project and don't forget to post any questions in the discussion area. You can find me on Instagram and feel free to tag your class work with MermaidSkillshare so we can celebrate it. This is my first class, so please share it if you loved it and follow me so you don't miss the next one. Thanks for watching and happy painting.