Gouache For Beginners - Lets Gouache!

1. Introduction: Have you always wondered what Guash is all about? Is it just a fancy term for a bit of paint? Or you might have bought some guash, but you thought, Oh, I don't know what to do with it. If the answer to any of these questions is yes or you're just curious about guash, then you're in the right place because this class is perfect for you. My name's Imran. I'm a graphic designer and illustrator and welcome to my new class Guash for beginners. Let squash. I've been working with Guache for my illustrations and paintings for quite a while now, and I absolutely love this medium. And this class is an introduction to this wonderful medium of gouache, where we will delve into what gouache is all about, and it will be an easy warm up step by step. Introduction into this fantastic medium. This class is aimed at beginners, and we will go step by step at a nice steady slow pace. However, if you've also used gouache previously and you've not used it for a while now or it's locked up in your cupboard somewhere, then this class is a great reintroduction or a refresher into this wonderful world of we'll start the class off by going through some of the properties of Gach and what it's all about. And then we will quickly move on to what you need for this class in terms of class supplies. And then the fun and exciting stuff begins where we will look at some exercise, exploring, consistency, how Guach differs from different paints like watercolor and acrylic, and we will do these sample exercises for you to follow step by step so you can get familiar with this wonderful medium. We will then look at the subject of blending and come up with a few exercises for you to follow to really give you that in depth exposure of Huwah blends with each other when we're looking at colors and just to give you an idea of how easy it is to use this medium. And then we will finish off by doing some simple detail exercises where we will be adding some lovely little details to some shapes and contours. And once all these exercises are complete, we are going to be ready to do your first little painting, and we're going to be doing a simple little silhouette just like this. And then once you've done your simple silhouette painting, we're going to move to the lovely step by step painting, and you're gonna produce this wonderful little painting over here. And you will be implementing all of the techniques that you've learned, the consistency, blending and details to really incorporate it together, and you will be doing this on a step by step basis where we will be providing you with the under sketch, so there's nothing to worry about about how complicated the step by step sketches. Every step will be covered in a nice, easy to follow fashion, and everything will be available in the resource sheet as templates for you to follow. And then the real adventure begins when you're going to be ready after completing this full step by step sketch and painting. Do your class project we're gonna jump into creating a beautiful painting all by yourself with the wonderful medium of guash. So what you're waiting for, I know you're excited as I am, grab yourself a nice drink, get yourself a nice treat, sit back, relax yourself, and let's get ready to guash. 2. What is Gouache?: Okay, welcome back. Let's now start the class off by going through what some of the information and details are all about Guach. Let's make a start. So what is Guash? Guache is a versatile water based paint, often described as opaque watercolor. It combines vibrant pigment with a water soluble binder, which is usually gum Arabic and it offers a smooth mat coverage once it's completely dry. It is often said that gouache is more than watercolor because it provides a solid, opaque layer and it can be reworked when it's wet. That is one of the main advantages of gouache having this opacity, solid opaque layer, and being able to rework the paint after it's dried with more wetness on top. We will explore this in the coming lessons. So just looking at gouache compared to watercolor and acrylic paint, if we start off with watercolor, watercolor is transparent with finely ground pigments that allow light to pass through. Guache contains larger pigments for an opaque coverage and a matte finish with a heavier pigment load. And finally, acrylic paint uses a plastic polymer binder, which dries completely permanent and it cannot be rewet or reworked like traditional gouache. So generally, gouache is often explained as the in between between watercolor and acrylic paint. There are two types of gouache that are available, and the main one is the traditional gouache, which is the one that we're going to be concentrating on throughout this class, and that one remains water soluble after drying so that it can be rewet and reworked. The second type is actually called acrylic gouache. So this uses a similar polymer binder, just like with acrylic paint, and it dries completely water resistant. And therefore, you can't rewet or reactivate it after it completely dries. And again, we're going to concentrate on the traditional gouache. So in conclusion, gouache is a versatile, beautiful medium. It sometimes has a chalky appearance which can be caused by pastal or earthy tones, not actual chalk in high quality gouache, but some of the cheaper brands may use fillers that result in dull, chalky colors. It's always good to have a high quality gouache when you're experimenting or using gouache just so that you can have the best results, and student grade gouaches are absolutely fine, such as Himi or even other brand student grade gouaches. Avoid using gouache that you buy from the pound store because that's just going to be 99% buffer and probably 0% pigment in it. So just some final thoughts. Gouaches unique opacity, matte finish, and reworkability, make it a favorite amongst artists for expressive, layered works, for detailed works, and illustrations. I personally absolutely love this medium. So let's now move on to the next one and have a look at what class supplies that we're going to need for this class. I know you're excited, so let's jump onto that right now. 3. Class Supplies: Okay, welcome back. Let's now talk about the class supplies that you're going to need to follow along in this class and enjoy this wonderful journey of gouache. Firstly, number one, you're going to be needing some gouache. As we mentioned in the previous lesson, that student grade, good quality gouache is absolutely fine. Hii provide a great set of gouache student grade paints. These are absolutely fine. But again, avoid using the cheaper ones that are from the pound stores, it's best to use a high quality professional grade to get the best experience, and that's the one that I'm going to be using and demonstrating within this class. It will be the Windsor and Newton Designer gouache series. If you have that and then get it ready, and don't forget you're going to be needing some palettes to do your color mixing on. So grab yourself, your palettes, whichever palettes you have, get them cleaned up, make sure they're not dirty, and you're ready to go. Number two, you will be needing some paper. So I would advise that you use watercolor paper when you use guash, because it's best to use a decent surface that can actually take moisture and again, because we're going to be adding water with guash, then watercolor paper is probably the best idea to use. Avoid using cheap quality paper. Just grab yourself a nice store brand, watercolor paper that's up to 300 GSM in paper weight. You don't need to buy the really expensive brands. You can even use a sketchbook, a watercolor sketchbook, ensure that your watercolor paper is up to 300 GSM to get the best results. And number three, we're going to need brushes. So we're going to need brushes to apply the gouache to our paper, and synthetic watercolor brushes, I would say, are absolutely brilliant. Personally, I avoid using natural hair brushes unless they are specifically designed for gouache. But even in that case, I stick to my synthetic watercolor brushes just because gouache is a thick material. It's very thick and creamy and the last thing you want to do is get your natural hair watercolor brushes all clogged up. So I would advise stick to the synthetic ones. And having a few different brushes will give you a nice range of expressive mark making, so round brushes, liner detail brushes, maybe even a fan brush with a few tip sizes from small to medium would be brilliant. But for this actual class, you only need one brush. So get your favorite brush out, whether it be a round one or a Filbert brush or a flat brush, get it ready, cleaned up, and you're ready to go. But again, if you have maybe a nice medium sized round brush and a detailed brush, then that will be absolutely brilliant. Number four, you're going to be needing some water. Of course you are so grab yourself two jars or cups of water, nice clean fresh water to keep the paint and brushes clean throughout the class and the exercises. Number five, you'll need some paper towels just to clear up the excess of the moisture on your brushes or if you have any spilli spills. So it's always a good idea to have some paper towels at hand. Number six, some washy tape. So washy tape is great to produce clean edges and to keep your paper in place and to divide your paper up into different sections. This is what we're going to do in some of the exercises in the class. So any washy tape will do, even painter's tape, whatever type of tape you have that has low tech that won't rip the surface of your paper, grab hold of that tape and it'll be absolutely brilliant. And then finally, you need a pencil just for doing some light sketching work. And if you have any other mediums such as incliners, brush pens, or even paint markers and colored pencils, then just grab hold of them, getting them ready and set. It's always nice to have some mediums at hand when you're doing your artwork, so maybe you want to do a little bit of mixed media for your class project. Just get everything ready and set up, and we're going to be good to go. And that's it for the class supplies. So make sure that you get your class supplies all nice and ready. All of these list of supplies, the recommended supplies for this class can be seen on the resource sheet. So do check it out on there, download the resource sheet, open it up as a PDF, and then you'll have a nice little checklist of all the resources. And on the resource sheet, we will also have all the exercises that we go through in the class. So let's now move on to the next one. 4. Class Project: Okay, I know you're super excited for the class, so let's just quickly go through what your class project is all about so that you can get ready and focused in the world of guash. Number one, your class project is to follow and practice the class exercises within the lessons. This will get you familiar and used to gouache and build that muscle memory to start working quickly and more free flow Number two, follow the step by step sketch. This will be the warm up experience that will get you ready for the next step and the next step number three is for you to create your own gorgeous gouache painting, and you will use the techniques from the exercises to produce your own wonderful gouache painting, and that can be from a reference pig or you can create something from your own imagination. It makes no difference, but the most important thing is to really incorporate those techniques and experiences that you got from the lessons within the class then number four, the most important part is take some lovely pictures of all your exercises and your lessons and your class project and upload these to the class project gallery so that we can all look at your gorgeous gorgeous work and progress. This can be a brilliant motivation for us all and ensure that when you're taking your picture, if you're using your smartphone, then hold your smartphone in a landscape position to take your pictures rather than in portrait position. That way, you'll easily be able to upload them onto the class gallery, and they won't go all wibbly wonky when you're seeing them on the screens. So that's a nice little. Then finally, number five, please leave a nice review on the class once you've completed all the lessons and the step by step sketch and you've also done your class project. This way, leaving a lovely review on the class will allow beautiful students like yourself to be able to find the class and learn from your experience, and that's what it's all about. All of us in this beautiful community of art and enjoying that traditional medium experience when we share the work that we do and we give beautiful feedback on the lessons and on the classes and just learning from each other's experience, it just creates this wonderful, wonderful community. So I highly encourage you to give your class project to go and follow all the steps. So that's it for your class project. I know you can't wait to start the class, so let's not wait any further, grab yourself a nice little drink, get nice and comfy, and let's get started with guash. 5. Consistency Demo 1: Oki doke, welcome back. Let's now start the class off by doing the exciting stuff and delving straight into technique number one, where we're going to be looking at the different consistency levels of our wonderful medium gouash. Let's get our attention back onto the screen now and you can see here, I've got a nice bit of watercolor paper attached to me. Table over here, I'll just get a Zoomy zoom back so you can see this a bit better. So I've just taped it with my washy tape, and it's nice and flat. And the actual paper that I'm using is just my general art store brand paper, the 300 GSM, and this is the watercolor cold press paper, nice and easy to use for these techniques and exercises. Wouldn't use your expensive watercolor paper for these techniques and exercises, maybe even use your watercolor sketchbook. That's absolutely fine. But do remember that the more you practice with these techniques, the more familiar you're going to get with your gouache, and then you'll get more comfortable when it comes to your class project and following the step by step sketch. So what we're gonna do is we've got our palette over here, so nice clean palette to start off with. I've got my water bottles spray here with a bit of water, so just getting that prepared. And then I've got me two jars of clean water over here on the side. And I'm going to select a color. So for this first exercise, we're looking at consistency, and that's what we want to really focus on, and that's kind of really the main subject of gouache, the consistency of the flow of the paint. So I've selected a color from my Windsor and Newton designer gouache set, and the color that I've got here is ultramarine, and this is a fantastic color to do testing with really nicely pigmented and the color is fantastic. So I'm going to get a zoom back on this again now so that you can see the screen a bit better. So what I'm going to do is I'm going to get my paint, put it onto the side over there, some my ultramarine gouache. And then I'm just going to show you quickly here the different brushes that I'm going to use, as we mentioned in the earlier lesson. I've got a nice round brush over here kind like a filbert brush with a nice curve on it. That one I'm going to use to spread out the paint. Then I've got my standard round brush, my number eight, one that I use all the time, my velvet brush. So that one I'm going to also use. Then I've got this fine detail brush over here. This is a size zero brush, and then I'm going to probably use a little bit of my fan brush, this watercolor fan brush just for some special techniques that we do later on in the class. So for this particular one, I'm just going to go ahead and use my round Philbert style brush over here. This is just a nice cheap kind of watercolor brush. So just get your brush ready if you're going to follow along or if you decide that you're going to watch and then follow along after absolutely fine. Just get everything nice and prepared. So what I'm going to do firstly is, let's open up our gouache. So going to open it up from my tube, just like sew, make sure that I don't spill any of it on the paper. So just like this, really nice and moist gouache, beautiful stuff. And then I'm just going to add a little bit into this well in my palette over there, maybe just a little bit more. I think that's about it. Now with wash and especially using tubes, you're going to slowly eventually get used to and kind of have a feel for how much paint you want to release onto your palette when you want to use it. So avoid emptying out your kind of tube of paint. Otherwise, it just ends up wasting it. And the kind of, like, well, the advantage really is that you can actually have it dried out on your palette and rewet it, just like we mentioned earlier on in the class. So that's not a problem if you do end up having too much paint in your palett. But for this kind of exercise, I only want to have enough paint so that I don't have too much wastage because we're going to move on to other colour. Away, enough talking, more doing now. Let's have a nice sippy sip of my ginger tea. Yes, I've got ginger tea today. Nice bit of ginger tea to warm me up and get me all in the mood for guash, so a bit of sip of that. Oh, that was nice. That was nice. Nice little kick, nice little kick of warm ginger, right? Let's get back to it. So what I'm going to do now is I'm just going to wet my brush, and I'll bring this onto the camera here so you can see the consistency of what I'm doing. So I'm just gonna wet my brush over here and I'm going to make sure that it's slightly damp, so I'm just going to get rid of the excess of that water. And what I want to do is I want to basically just use a damp brush to pick up my lovely guash. You can see over here this squash is straight from the tube like we just did, and all I'm going to do is I'm just going to pick that wash up like this. You can see that there's not much liquid in it. It's just the dampness of the brush that's picking up that guash. You can see over here. We got this beautiful guash on the tip of the brush, nice and thick. And with this now, what I'm going to do is I'm going to layer on a bit more onto my brush so I have enough. And then on the dry paper now, all I'm going to do is I'm just going to do a nice kind of little swath like this, so I'm just going to drag it along and then again, drag it along just like this. And you can see that the paint is just going on beautifully. You can see the paint is going on beautifully there. We've got nice kind of thick streaks, and that's just the pure gouache. Again, I'm just going to spread this out, not adding any water to these, just spreading it out onto the paper, and you can see the application is just gorgeous. You've got this gorgeous thick, velvety type of paint that's coming out, pure, gorgeous pigment that. Look at that beautiful stuff. So just like this, I'm just doing a swatch, kind of, like, a strip swatch of my gouache in its purest form, just straight out of the tube with a damp brush, and I'm just spreading it along. And you can see we've got this wonderful, wonderful gouache. On the paper, and it just looks fantastic. Look at that beautiful stuff there, isn't it? So that was the first swatch where we went in with just pure gash and no water. What I'm going to do now is, I'm just going to put my brush aside over here and I'm going to get my water bottle out. So if you have a water bottle, great, grab hold your water bottle, and then I'm just going to spray one spray of my water onto that paint. So you can see now that we've got a bit more of a liquid mixture now. It's kind of spreading out. And then with the same brush with the paint on it, I'm just going to go in and start maneuvering it around so that water combines with the paint, and you can see it's a lot more liquid now, isn't it? So, nice liquid consistency. It looks like it's kind of like very creamy, milky type. I know there's kind of people who've classified cream, milk, tea, coffee, there's these different categorizations done by artists previously, but I'm just going to refer to it as thin and just very thin. I don't want to use those categorizations because they can get a little bit confusing because cream or tea or coffee to one person can be completely different to another. So let's just keep it nice and simple. So that was the thickest, more purest form of guash straight out of the tube. This is with one spray of water. Let's just pick this up now and then just going to go ahead. I'm just going to create this strip, and you can see there's so much more liquid in this one compared to the first one, and I'm just going to spread that out because I don't want it to pool up or lump up on the paper. And you can see with that ultramarine we've got this gorgeous gorgeous flowing paint over here, and you can see that that one has nearly dried up completely. It's very similar, but it's a little bit more free flowing. So next what I'm going to do is I'm going to go ahead and get my lovely water bott up and do a couple more sprays and maybe two more. Maybe one more. I want this to be really watery this solution. So just like this, go to give it a nice mixi mixi, and you can see the actual consistency has gone very free flowing. It's very watery now. It's effectively like a thick ink, isn't it? So just like that. Over here, pick this up and then drag it across and look at that. Gorgeous. It's a bit more like watercolor, this, isn't it? So we've effectively gone from a nice thick acrylic style consistency all the way to a nice beautiful deep watercolor. So thick acrylic buttery consistency. Then we've got more of a kind of less thicker consistency, and then we've got more of a watercolor consistency over there. So I'm just going to do a Zoomy zoom back on this so that we get a bit more of the paper into the screen. And what I'm going to do now over here is, I'm just going to go ahead and I'm going to get my water bottle and do a couple of sprays in this well next to this one. So just into this well here, a couple of sprays over there. And then I'm just going to use whatever paint I have on the brush here, just like that and mix it into that water. So now we're going to have the thinnest watery solution over here, and then get a nice kind of mix on that, and then all I'm going to do is I'm just going to go ahead and do the final swatch here, and you can see we've got the most watercolor like consistency over there. So just like that beautiful watercolor consistency, and it just looks fantastic. Look how pigment it is. I mean, we've added a lot of water to that, but it's so, so pigmented. So let's just get the brush out of the way. I'm going to just give it a clean. And let's just wait until all four of these little samples are dry, and then we can come back to it. Might have another sip of me ginger tea. So let's wait until this dries out. Okay okay. Now we have a nice, lovely dry finish on our guash samples that we did over here on consistency, and you can see that they've dried completely mat. I'm not sure if you can see this on the camera properly, but from looking at it from my angle, these are just so nice and smooth and matte finish. Just look absolutely fantastic, pure pigment on your paper. So you can see now that we've had a nice thick strip over here where we just went straight from the tube using a damp brush. Then we added a little bit of water to kind of make it a bit more free flowing. Then we added a bit more to get more water consistency in there so that it's kind of effectively flowing like thick watercolor. And then we went in with just water and added a few kind of speckles of the gouache to create the lightest kind of variant on that consistency there. And you can see just with one color, you can get so many different results. And that was the first consistency exercise. So give that a practice, add in a couple more sprays, if you like, maybe do eight different swatches and in between each swatches, add a couple more sprays and see what results you get, test it out with your other colors in your set and see what type of swatches and results you end up getting because that will give you a nice idea before you go ahead and start using guash, to create your gorgeous paintings and sketches, especially for the class project. So try this one exercise, and we can now move on to the next demonstration of consistency. So let's move on to that one. Next. 6. Consistency Demo 2: Okay, welcome back. Let's now move on to the second demo of the consistency technique. Let's grab our attention and get back onto the screen. With my screen now I've got another sheet of paper, the A five watercolor paper, same paper. I've taped it down. I've actually just flipped the paper over from the previous lovely little technique that we did. So we don't waste paper, don't want to do any wasty waste. No, we don't. So if you've using sheets like me, then maybe once it's dry, the technique, then just flip over and then use the second side of your sheet. We're going to do now is I'm going to go ahead and I'm going to give my brush a clean it clean, so clean it clean on my brush, and I'm going to still use the same colors that are in my palette over here. So we had the watery one on the right, and we had the more kind of thicker consistency on the left. So starting off with the watery consistency over here, all I'm going to do is I'm just going to get a load of that on me brush here, so just mixing it onto the bristles on me brush, and then I'm just going to go ahead and I'm going to spread this like this. I'm just going to basically fill the area up with the paint, and then I'm going to go into the more thicker consistency here and just grab hold of a bit more thicker paint, and then at the bottom, round about maybe here, start off with some thicker paint, and then just going to gradually move this upwards as it's coming off the brush, I'm just going to turn my brush to get a bit more off there. So just like that, you can see we're getting these gorgeous effects, aren't we? These beautiful dry brush effects. So what we want to do is just go in again and then just add in a bit more of the paint just like this, effectively just creating this beautiful kind of rectangle of a swatch of color using that lovely ultramarine and we're going in really nice and light on top over here, then again, pick up a bit more paint, maybe just neating off the kind of shape that we're doing. We don't want to make a mess. We want to have it nice and neat, just like that. Then I'm going to pick up a little bit of the watery solution here and then I'm just going to drag that down. So we have effectively a nice kind of rectangle shape, and I just want to even it out a little bit. So effectively, what we've got is nice light and thin consistency on the top, and then it just gradually goes down to this lovely thick consistency that we've got at the bottom. I think that's pretty good. Maybe just take a little bit more of the thicker paint and just add in maybe another layer on top just like and then all we need to do is wait until this completely dries off in order to do the next part. So let's wait until that dries. Ooky, welcome back. Now you can see that we've got a gorgeous dry swatch of paint, guash paint on our paper, going from nice and light to more consistently dark and more saturated at the bottom. So what we're going to do next is we're going to grab hold of another color. Maybe let's go for a red. So I've got my lovely red over here. This is spectrum red. And what I'm going to do is I'm just going to take my red and just add it into this well over here. So just a little bit of red here. That should be about enough, maybe a little bit more. So I've got me red in my well on the right over there. So just put that to the side. And then what I'm going to do is I'm going to get my brush and make sure it's nice and clean. So in order to follow along with these techniques, just make sure that you've got a nice clean brush. So effectively, what I'm doing here is I'm just cleaning it into the dirty water jar over here, where the blue is. Then I'm going to go ahead and I'm going to use my second jar with a clean water. Like we mentioned earlier on in the class, I think two jars is really important to have a clean brush. So now, my bristles are beautifully clean. Keep them slightly damp on the tip, and move that back. And then what I'm going to do is I'm just going to go ahead and I'm going to load my brush up just like I did in the previous technique. Just like that, load it up nicely. So we've got a decent amount of paint on rebrush. So like this, I'll show you this in the middle here so you can see a nice load of paint on rebrush. Then what I'm going to do is I'm just going to create some streak lines going from top to bottom over here on top. Of our swatch of blue. And you've got to remember that because the gouache can get reactivated the moment you hit water onto it or any other kind of solution, you have to bear that in mind when you're layering. So consistency and layering are all hand in hand. And the amount of pressure that you apply, depending on the consistency of the paint will determine whether the kind of color lifts off and how much it lifts off. So let's just test this out. So I've got thick paint now. So let's just add this thick paint in a strip like this, nice and slowly medium pressure all the way down. And you can see that it's not really lifted much because we had a dry surface underneath and because the actual paint itself was nice and thick, it was kind of that thick, buttery consistency. So if you want to layer on top with paint without taking too much off the previous layer, then keep your paint nice and thick. And that's really important when we're thinking about consistency and layering in our painting. So you can see that nice thick paint has started drying up, and as we go down on the kind of strip, less paint is coming off the brush and you can see effectively the underpainting of the blue is showing through, and it looks fantastic. So what I'm going to do now is I'm just going to get me a spray and I'm going to spray a couple of sprays into me red over there. We'll at that a bit. A splash there, isn't it? So just be careful with your spray. You don't want it to splash all over the place. And then I'm just going to go ahead and load my brush up again with that watery solution just like we did in the previous lesson. So nice bit of watery solution there. And then all I'm going to do is I'm just going to go ahead and I'm going to drag this down just like this again, you can see that with the watery solution, some of the blue underneath has started getting reactivated because again, that's one of the properties of guash. You can really use this at your advantage if you want to create these beautiful blends of color and build up these gorgeous layers, it's entirely up to you. But doing a test like this will just give you an idea of how much pressure you need to apply in order to either avoid that layer underneath completely getting re wet or if that's what you want, maybe apply a bit more pressure. So you can see while this dries, we can go ahead and do a watery consistency now. So let's just add a few more of these sprays. I want this to be really nice and watery, just like it was before. So nice and watery. What I might do is it might give me brush it clean to give me brush it clean so we can pick up that watery consistency completely fresh so we don't have too much paint on the brush. Otherwise, it'll look just like the other one. So clean brush over here, and then let's get a nice drench. You can see that beautiful watercolor inky type of consistency there. Pick that up, and now we're just going to go ahead with the same pressure just apply that all the way down, and you can see that with that watery solution, it's fading into the blue. The blue is getting reactivated and you've got a complete different look. Now you've got to remember it also depends on the paper that you're using because if you're using cheap paper, which tends to bubble up and kind of warp really quickly, then you're going to get a lot of pooling of your paint, especially when you're applying your second layer, and if you've got a very wet paint consistency, then you're going to get a lot more pooling. So do bear that in mind. You can stretch your paper if you want. But again, that's another method in itself. And I would avoid using stretched paper because it just takes too much time. Instead, get yourself some decent watercolor paper. It doesn't have to be the super expensive stuff or the 100% cotton. But something that's not really from the pound store, that's not going to work very well, and you won't really enjoy the process of guash. So what I've done here now is I've got my three strips. Let's wait until they dry completely, and then we can analyze and see what results we get. Oki, welcome back. Now you can see that we've got some beautiful stripes of color in our gorgeous squash and it's perfectly dry. And you can see we've got different results. So on the first one, where the paint was at its thickest, we've got this beautiful coverage, this gorgeous opaque paint drying out perfectly on top of the paint underneath. And then on the second one where we added a little bit more water, we've got a little bit more of a glaze, a transparency going across the top, slightly blending in with the color underneath. And then finally, the watery solution with the most water in it, you can see it creates a nice kind of glazed effect with mixing of the blue from underneath that gets reactivated, and you can see that you've got three very different results. So have a play around with this, maybe add a lighter color underneath or a darker color underneath, and a lighter on top. Have a go at testing out your colors to produce these lovely layering effects with different consistencies, and that will get you more familiar with the type of results you can produce. Now, do remember that gouache is an pike paint. It's one of its huge strengths that you can go any color on top of any color, so you don't have to start off light and then go dark. You can start off dark and then go light. But having the right consistency is very important, especially if you're only using gouache in your paintings and you're not using any other mediums. So do bear that in mind. The more you practice with the consistency of adding water with your paints, you will get way more experience and kind of this inside knowledge of your paints and how they react when you use them. So that was the second demonstration of consistency. Let's now look at the third and final demonstration of consistency and see how other paints can be used in conjunction with guash. So let's move on to that one next. 7. Consistency Demo 3: Okay, welcome back. Let's now have a look at the final demonstration of looking at consistency of our gouache and see how it can work with different paints. Let's bring our attention back onto the screen again, and I've got my lovely A five watercolor paper, another sheet over there taped down nicely. What we're going to think about now is how gouache can be used or whether it can or cannot be used with the other two main paints that we have within the paint family, and that is watercolor and acrylic. So what I'm going to do is I'm going to have this lovely little watercolor and acrylic nicely swatched out on my page, and I'm going to let it dry and then I'm going to test to see if quash can actually work on top of it. I'm going to quickly go ahead and do that. Now, Okidoki now I've got my two swatches of watercolor and acrylic paint, nice and dry, nice dark colors over here. And what I'm also going to do is I'm going to go ahead and add in a nice swatch of guash over here. So let's add in a nice swatch of guash. Okidoki now my gouache is nice and dry and I've just put down a little mark next to each of them, so I remember which one is which we don't want to forget, which one is gouache, acrylic or watercolor, otherwise, we'll get confused. Don't want to get confused. Okay. So I've purposely picked up some dark colors that I've got so that we can see what results we get. So you can see everything is nicely dry, beautiful, and matte. So maybe we can grab hold of let's say, a yellow. Let's grab hold of this yellow. So I've got my lovely primary yellow of my gouache. Let's just put a little bit here on the palette. That should be enough. And then what we can do is we can go ahead and maybe use another brush, a nice clean brush. Let's get my round brush over here. Give that a nice clean. And I want to use a decent consistency of this. I'm just going to give that a bit of a mix and get that to that lovely kind of buttery, creamy consistency. I think that's good. Get it nicely loaded onto the brush, and then just nice and easily just add in a swatch over there and then adding a swatch over there and add in a swatch over you can see, as I've added these swatches in, you've got this lovely opaque color that's going on top of all three of those paints and that's what we expected. But what if we have a watery consistency? If we do a little spray on top of this little spray, couple of sprays, get the consistency nice and watery, give it a nice movement on the brush, and then we can just create a straight line that goes all the way across here, just like that. And you can see that with the watercolor because watercolor dries permanent, it won't be reactivated, nor will the acrylic paint. It's not picking up any of the paint. You can see it's just going ahead and it's drying really nicely. But with the guash over here, it slightly reactivated the paint. So we've got a bit of a kind murkiness over here so you can see the more we go over it like this, the more that black is going to start mixing in with that yellow. So what we need to do is just do a nice cleaning cleaning on the brush, and we'll wait until all of these dry up and then maybe actually what we can do is do another color. I'm just going to do a cleaning cleaning on the brush and make sure that I've got no paint on the brush and then maybe pick up some of that red that we've already got on the palette here. So we've got this watery red that we're using before, so maybe just add in a nice kind of watery line going like this, and you can see what happened. We've got nice bit of pigment on that side, and as soon as it went over the acrylic, because it was really watery, you can see none of it really attached itself to the acrylic and because acrylic has a plastic polymer in the binding, it will repel water really, really quickly, so we're not going to get much of the solution on top of there. Then again, with the gouache, we've got a nice bit of solution going across it. So you can see we're getting different results. I might actually do that with another color now, so maybe should we do the blue?'s do a cleaning cleaning on the brush. And let's just use the blue here. We've got a bit of the red mixing in. It's a very watery solution. What we can actually do is, let's just create a green. So let's just add a bit of that blue to the yellow here to create a mixture ice kind of greeny shade. Let's do that. Let's mix it up, mix it up. So we've got this beautiful greeny shade over here. Maybe pick up a bit of the paint from here and then just add it into this solution and then see what we get. So just like that, go to go in and just drag it down just like so. And then what we'll do is let this dry up now and once it's dried, then we can see what results we get. Okay, okay. Now you can see, everything's nice and dry. I promise you it's nice and dry. It's not going to go on me fingers, but there we go, so we can see on the screen that our watercolor, acrylic and gouache, they all have a nice kind of mate ft when we put the gouache on top of them once the underpainting is completely dry, see that the thicker the gouache, the more prominent it will be, that opacity, the opaqueness of that gouache really works fantastic when you put it on any of the paints, whether it be watercolor or acrylic or gouache itself, but the advantage of maybe using watercolor, especially when you're doing a painting with a nice background that you don't want to lift the paint would be that if you do it in watercolor first, you've got that permanent color already fixed onto your painting, and then you can go over it with guash, and you can see that the results are just fantastic. I mean, just look across this over here. We've got nice thick consistency there, slightly thin, and then we've got more thinner consistency, but it all just works really nice because of that opaque nature of guash. No transparency. The thinner the paint, the less you will see on top in the second layer. And the same works for acrylic, but you've got to remember with acrylic, if you're using acrylic for a background, which I don't really recommend using. But if you decide you want to do that maybe in a mixed media painting or for your class project, then you do got to remember that if you want the gouache to kind of adhere onto the acrylic, then you've got to use a thick consistency, just like this first one here and the second one. But if you water it down too much, then it's not really going to attach itself, and you're just going to get lumps of that color appearing wherever the pigment dries off. So do bear that in mind when you're using acrylic and gouache together. And then finally, we know what to expect with gouache on top of gouache. You've lovely, thick consistency on top. Beautiful and opaque, lovely highlighted over there. And then we've got slightly thin, works great. Even the thin ones work really nice. You get this really nice glazed effect, like you usually get with watercolors when you work in layers. But you have to remember that the paint underneath is going to get lifted off and it's going to mingle with your layer on top. So do vary the pressure and don't go in too hard if you don't want to activate that paint too much. And remember, keep the consistency nice and thick if you want to bring highlights, we will explore this when we do the full sketch. They were the three lovely little demonstrations when we were looking at the consistency of our gouache, try them out, try it out in various consistency and colors, give it a go maybe on a bigger piece of paper, try creating some fantastic little designs with paint going across another paints. So give that a go and that's a great little exercise to get us started off and warmed up. The next one. So let's now move on to the next topic and let's look at some nice little color blending. Let's move on to that one next. 8. Blending Colour Demo 1: Oh, that was a good one that. Oh, nice nice caramel notes in that chocolateta, nutty, caramel, fantastic little coffee that. Beautiful stuff. And I do like this new mug that I've got, actually. Yeah, yeah, it's really kind of growing on me this mug, fantastic mug. I think we need to get back to the class now, okay? Let's just put this to the side. And oh, hello and welcome back. So let's now start the next part of the class, and I was just enjoying my coffee there. I me new Morgue. It was a fantastic coffee that. And you know, I love me coffee and metas. But anyway, let's get back to the class. So what we've got here now is on the screen, if we bring our attention to the screen, I've got a lovely sheet of paper, same paper that I've used, and I've divided it into three beautiful columns, similar size. And we're going to go ahead and we're going to start delving into a technique of blending. So let's now focus our attention on blending. What I'm going to do is I'm going to get myself my lovely lovely colors, and I've got a selection over here. I've got some red, blue, I've got yellows, couple of shades of yellows and white. So these are the colors that I'm going to use for the blending technique exercises and demonstrations that we're going to do. I think I'm going to start off with maybe let's go for the red and blue. So put the others to the side, and the particular colors that I've got here are the primary red, which we've used before and the ultramarine blue. Fantastic colors and what I'm going to do is I'm just going to go ahead and I'm going to open up my lovely color. Oh, dear. Look what I've done. I've gone and spilt it all over me sheet. That's not good, is it? So do be aware that when you're opening up your colors, if you've got some dry sediment on the sides of your tubes, then don't go ahead and open them on your paper. Otherwise, you're going to have a mess all over the place and it's going to start staining your paper. So the only way for me to get rid of that is give it a blowy b and look at that, magic, it's done. Now, if I had moved it with me hand, it would have gone and smeared all over that paper and rummed me paper. Luckily, I haven't done that, so I'm going to go ahead and just put my paint in my palette over here. Maybe let's just add some red down here. That should be enough for this exercise. Give that a colosy close. That on the side so we don't get all mixed up and then ultramarine blue, and no I'm not going to open it on my paper. I'll just open it on the side over here. So lovely ultramarine blue. I think I might just put that one. Should we put it over here just put it over here so that you can see the consistency and the texture of the paint that I'm using, especially if you're going to follow along. So next thing to do now is we're going to look at these three columns and we're going to do three slightly different things. What I'm going to do in this first column is, I'm just going to use the wet on dry technique where we're using the wet paint onto the dry surface, and I'm going to blend two colors over here, and then I'm going to on the second column, the middle column here, I'm going to go ahead and blend two other colors using the similar technique so that we have a slight difference in the saturation, and then on this final column, I'm going to do the wet on wet technique so that we can see and compare and contrast to see the types of different results we get according to the technique that we so, what we're going to do now is we're going to start off on the left here with the blue and red. But actually, I've changed my mind. I've changed my mind, all of a sudden. I'm not going to use blue and red. I'm going to save that for this one over here. Instead, I'm going to go and use some whitey white. So I'm going to get my white wash and I'm going to go ahead and open that up now and I'm going to just put some pure white into this kind of little well that I've got here on the bottom right hand side. That I close and move it out of the way before all the sediment gets everywhere. So just clean me hands and then make sure that everything is nice and clean. And then what I'm going to do is I'm going to get maybe my round brush. Now, let's go for the fiilbt brush. So I'm going to go for my lovely rounded edged filbet brush over here. I'm just going to make sure it's clean, give it a nice rinse. And now I'm just going to have a lovely little damp brush there. And then what I'm going to do is on this left hand side, I'm actually going to go in with white. So I'm going to get some white on me brush over here. So I'm just going to kind of drench the white paint on this brush, get it nicely loaded up, and I'm going to show you this. So over here, we've got a nice bit of white paint there on the damp brush, just like we did in the previous consistency exercise. And then I'm going to work fairly fast, and I'm just going to start adding in this white in the bottom part of this column. So just like this, I'm going to add that white here. I'm going to add it up to about halfway point down here. Once that's done, I've got a good amount of paint on that paper there. I'm just going to leave that. I'm going to give me brush a quick little wash. We need to make sure that we have a really clean brush for this so that we don't get any contamination of paint. Then what I'm going to do is give it a rinse in the clean water. To make sure that it's perfectly clean. And again, with that damp clean brush, I'm going to go into the ultramarine blue, and I'm going to pick up that ultramarine blue, that fantastic, beautiful, saturated blue there. And I'm going to make sure that I've got a decent amount of consistency on there. I don't want it too watery. I want it to have a good amount of consistency, and that's looking quite nice. You can see over here on the screen, you can see there's a lot of paint on the bristles there. So just like that, I'm going to start on the top now, and I'm just going to bring this on onto the paper just like I did with the white, just like this, bringing it on all the way to where that white is and then I'm going to overlap that white now. Very gently not pressing down hard. I'm just going to overlap that white up to maybe two thirds of that column just up to here, and then I'm going to work my way back up and you can see what's happening is that the colors are blending beautifully. We've got this gorgeous gorgeous color blend going on over here, and that just looks fantastic, doesn't it? So like that, I've created this beautiful blend from the saturated blue all the way to the white, and in the middle, we've got this beautiful mix of white and blue. So what I'm going to do now is I'm just going to clean me brush again. And now what I'm going to do is I've got my clean brush, and now it's slightly damp now. I've just got rid of the excess water. And then with that, I'm going to go ahead and start blending the point where the white becomes the slight kind of light blue shade, just to get a nice, lovely blend, seamless blend going on over there. So you can see, I'm just very gently just tapping this and just moving my way up. What we don't want to do is we don't want to move the paint off the paper. And then, again, all that kind of mixed paint is on me brush. I'm just going to turn it around, and then I'm just going to go this way, just to make sure that we don't lose any of that paint. I'm just going to bring that down over here like this and I'm just going to cover up that white so that we have this beautiful blend from blue all the way to white. Then I'm going to clean me brush again. Nice clean brush, and we've got a damp brush again and then again, I'm just going to move my brush across where the colors meet and just make sure that they're nicely blended together. And again, you can take your time on this. I'm doing this pretty fast. We've got quite a lot of water over there. The more you do this, the more blending you're going to get. And the consistency is going to make a difference. So if you keep adding a damp brush to this, you're going to have a thin consistency. If you want to use more paint, so you can go ahead and use more paint. So what we'll do is maybe just clean the brush. And let's get a nice clean brush. And with the damp brush, what you want to do is you don't want to really use too much of the kind of water speckles that are on your brush once you've cleaned it. So if you just grab some tissue and get rid of all that kind of moisture on there that will ensure that you pick up more of the paint. Again, with the actual blue now, if I go into me blue, you can see it's nice and thick, that creamy, buttery consistency. I want to pick up enough of that paint, and I want to go over the top again. So just like this, I want to make sure that my top blue is nicely saturated, and I'm just going to drag this down so that we ensure that we have enough paint on our bristles, on our paper, just like this. And you can see that just with these easy quick little strokes, we've created a beautiful blending of color from dark blue ultramarine to this gorgeous lighter shade and you've got all these shades in between. Absolutely fantastic. So I'm going to give me brush a cleanly clean. Let's wait until that dries, and then we can move on to the next one. So what we don't want to do is we don't want to have wet paint being picked up and going all over the place. So what we want to do is let that dry, and then we can think about which colors we're going to use for this one. 9. Blending Colour Demo 2: Okay, we've got a lovely dry blend of color here now on our strip column that we've got down here. And you can see we've got this beautiful gorgeous blend. So that was the first example of blending, just using the wet, thick consistency paint onto a dry surface. Let's now maybe use the red and blue to create some beautiful colors, and we'll do something similar over here. So with my brush, what I'm going to do is I'm just going to add a little bit of water from my jar to my red just to make sure it's moving, and you can see that gorgeous gorgeous red over there. Fantastic. And all I'm going to do is I'm just going to pick up that red, make sure I've got a decent amount on me brush, and then I'm going to start off from the bottom just like I did with the white, and I'm just going to go in. I'm just going to lay that down nice and easy really quickly, not pressing too hard, just letting that paint come off. And you can see we've got this beautiful beautiful red colour, this pinkish red shade, fantastic shade. And I'm actually going to go ahead and I'm going to put this as far up to this level. So that we only have a little bit of paper on top and again, picking up more paint to make sure that it remains nice and moist. I'm actually covering a lot more of the area than I did when I did it with the white on here. We went halfway there. We're going a little bit more higher and just leaving that down there, and then a nice little clean on the brush. Nice and damp and now I'm going to go straight into that blue. I'm actually running out of that blue, so I want to make sure I have enough blue, maybe add a little bit more blue onto my palette here, just a teeny weeny bit, just a little bit of that blue there. I want to make sure that our consistency of our paint is really nice and creamy, buttery. Otherwise, what happens is you just end up watering it down too much and it just becomes a watercolor then, doesn't it? We don't want to do that because we're exploring the techniques of guash. Lovely guash. So let's just get that brush loaded. Again, while the paint is wet, let's just quickly add this across like this onto that clean part on the top. And then, again, I want a bit more of my gouache. And then I'm going to start bringing it over onto that red, and you can see, look at that fantastic stuff that isn't it? We're getting this beautiful purple just backward and forward, backward and forward. And then maybe about up to this point over here, we're getting this fantastic, fantastic color fantastic color, that, isn't it? I'm getting too excited there purples one of my favorite colors. But creating purple's just so magical when you watch it being kind of created, mixing the primary colors together. Look at that beautiful stuff. So quickly working to clean my brush now, and I'm going to clean it up again. Nice damp brush, and then go to go into me red, and then you know what I'm going to do. I'm going to start layering that red back upwards from here because gouache does dry really, really quickly. So I'm going to make sure that I've got a nice amount of that wet paint, and then I'm just going to go over where it meets that kind of new purple colour. It's going to go backward and forward and then take it up as much as it'll go to make it look decent, just like that. I think that looking fantastic. So coming down again, just letting it blend. Again, if you're following this lovely lovely exercise, then do take your time on this. Don't worry if your paint dries out too quickly. Just give it a go and you'll be fine. Clean the brush. Now while the paint and the bristles are still wet. I'm just going to go ahead and pick up the remainder of that blue from my palette and then just go in again with the blue on top and just overlap. Onto where that purple is being created. We don't want to effectively move the paint off the paper. We just want to keep it nice and subtle. So just like this. I think that's fine. Let's now let this dry and see what results we get. 10. Blending Colour Demo 3: It okay? We've got a beautiful blend over there from the blue, purply into the red, and it looks absolutely fantastic. Let's now just quickly do the third column for the third column, what I'm going to do is I'm going to use a slight different color. Let's now maybe move on to the yellow. I think I'm going to go for my lovely darker yellow shade here. This one's called permanent. A yellow deep, permanent yellow deep on that one. And for this one, I think I'm just going to add a little bit in my well over here. I don't know if you can see that in the camera, but there it is just in the corner over there, just adding in a little bit over there to make sure we're ready. And then with the red, I've actually already got enough red there. I think that's fine. What I'm going to do now is I'm going to get my water bottle, and I'm going to give this kind of column a little spray. So just a little spray of water and this is effectively going to be the wet on wet technique. Now, we use the wet on wet technique quite a lot in watercolor. So all I'm going to do is I'm just going to spread this out with my round brush to make sure that we've got an even spread of water. And then I'm just going to actually use this same brush again and I'm going to go in with my yellow. So I'm just going to pick that yellow as it is, straight out of the tube nice and thick, and I'm just going to maybe just add this yellow here. We've got this beautiful thick yellow going onto that water base that we had and just adding it on just like that. Adding a little bit of water from the water jar now and just helping it move along and you can see how gorgeous yellow that isn't it? What a fantastic yellow. Need to calm yourself down. I don't want to get too excited, but yes, otherwise we're going to be here all day just admiring these beautiful colors. Like that, give me brush a cleaning clean now I'm going to pick up the red, that beautiful, beautiful primary red that we've got. It's like a pinkish shade, isn't it? And then on that wet surface, you can see it actually adheres to the paper so quickly and it's so smooth, especially when you're doing the wet on wet technique. So we're keeping everything nice and moist and wet. And then just like that, left and right, left and right. Look at that magic. Look at that magic app. Look at that beautiful orange being created. So we've got this fantastic orange being created, left and right, nice and easy, not pressing down hard. And again, I'm just going in. In these left and right strokes like this, and that's pretty much it. Now you can see that blend because it was on wet on wet. That got done so much more quicker than the wet on dry. So that's something to bear in mind when we're using gouache, wet on wet techniques, especially if you're adding a background is absolutely fantastic. Give the background a little spray of water before you start applying that color on, and you can just get this quick, quick, little result that we've got. So what I'm going to do now is I'm going to wait until this dry and then we're going to peel back the tape, that important peel back tape, and then we're going to have a look at the results that we get. I'll see you once that's done. Okay. Welcome back. Look at that fantastic magical results that just with a little bit of color blending using our gouache wet on dry techniques for both of these, and then the wet on wet technique for this. And you can see the results are just absolutely fantastic. So we've got the beautiful ultramarine blending and marbling away into the kind of lighter, whitish shade of blue. Then we've got the dark ultramarine there, and we've got some vivid purples being created with the brush strokes, and then going into that lovely pinkish red shade so vibrant and so electric. And then we've got the wet on wet technique, which I absolutely love to do for my backgrounds where we've got this soft blending from the red all the way to the yellow, creating that third beautiful peachy orange color that I absolutely love, and that's it for the blending color exercises. Give that a go with your gouache colors. Have a go at blending different colors, do it in different sequences, maybe add in light colors on the top, going dark and then maybe even add in a third color. See what results you try it out on the dry paper with the wet paint on top, maybe use a thin consistency of paint onto the dry and compare it with a thicker buttery consistency to see what type of results you get. And then do the wet on wet technique like we did over here. And again, I love this beautiful wet on wet technique because of the really nice soft, subtle blends that you can get. So give that a practice on your paper, maybe change the colors around or maybe just do one big exercise, a big kind of block of color and blending loads of colors together, let it dry, and then just enjoy that process. And that's it for this part of the class, we can now move on to some more interesting techniques. So let's maybe have a break, have a ice coffee, might even have another cake. Yes, I think I'll have another cake. Okay, I think I'm going to go get another coffee and another cake and enjoy these beautiful colors come to life, and I'll see you on the next one. 11. Details: Adding Background: Oh, what's my schedule looking like this week? Mm. Inks, watercolors, oh, a bit of graphite. Ooh colored pencils, pastels, and uh Oh, there we go, guash. Lovely bit of guash. Mmm. Let's have a bit of this ginger tea. Oh, that's a good one. Nice bit of ginger, put that to the side, and let's now get back to the class. Okay. Welcome back. So now I was just admiring my ginger tea as usual and looking through my schedule, figuring out when I'm going to do watercolors, pencils, colored pencils, and gouache, and now it's all setting me head and I'm nice and focused. Always good to stay focused and stay and stick to a Okay, let's get back to the plan for this class. Let's now have a look at the screen and on the screen, you can see, I've got my lovely sheet of paper. I've taped it down again. I've divided it into two parts and I've got two round circles drawn in. Yes, two round circles drawn in, just using a pencil. So if you're following along step by step in these exercises and demonstrations, then just draw two circles similar in size and just split your sheet of paper in half. What we're going to do now is we're going to explore adding details and building up details using layering and a little bit of blending. The reason I've got two versions of this is because I'm going to do something different on this one, and then we can compare and contrast and see what I do, how it makes a difference. Let's now start with our colors. So I've got this lovely blue over here. This one is just primary blue. So I'm going to do is I'm going to open that up. I'm going to put a bit of primary blue in my palette over here like that, maybe a little bit more. Primary blue, gorgeous color. Move that one to the side. Then I've got lovely lemon yellow over here. Actually, it's not lemon yellow. It's primary yellow. I always call this lemon yellow because it looks like lemon yellow from my watercolors. I've got a bit of primary yellow, and for that one, I'm just going to put it down here where I had my white previously. It's a bit of primary yellow. Then let's see what else we've got. We've got our primary red again. I had my primary red up here, but again, that's dried out a little bit. It's maybe good idea to put some more in there, you know what? I went and did the same mistake again. I went and opened this up on my sheet. I've got the sediment everywhere. Let's give it a blowy blow. Okay, not going to do that again, so let's just add me primary red over there. And then finally, I've got my lovely, lovely yellow deep permanent deep yellow over here, which I've got in this well, which is dried out. So we'll just give this a little bit of a kick start and add a little bit more pigment to it over there so that we have a nice flowing paint. Okay. So next what I'm going to do is I'm going to go ahead and I'm going to get my roundy round brush, my Filbert style brush over here. I'm going to give it a drench Nice bit of drench on there on me brush. And then what I'm going to do is I'm going to go straight into this primary yellow over here, and I'm just going to make sure that it's nicely flowing in me palette. I want it to be nice and flowy, flowy. And then with that, what I'm going to do is I'm going to load me brush up, like so. So a lot of paint on there, and then I'm going to get my lovely water bottle and give this right hand side a bit of a spray of water. So it's just give it a bit of a spray of water. Just like that. Effectively that wet on wet technique that we were doing previously. So again, with that, what I'm going to do, I'm just going to go straight in with this yellow, and I'm just going to spread this yellow all over the rectangle shape that I've got here and over that circle pencil outline. As you can see here, I'm just going straight over it like this with that beautiful yellow color, that vibrant, gorgeous yellow, the primary yellow, little bit like lemon yellow, but I'm going to just say nice and vibrant yellow on this one. So just like that, nice bit of coverage, covered it up, give me brush a clean Okay. And now, what I'm going to do is make sure my brush is clean again with the clean water. Now I'm going to pick up some of my lovely red over here, so nice bit of red. And then I'm just going to go in, I'm just going to start throwing in that red on the top part down here. I'm just going to mix it in maybe halfway across that shape of a rectangle that I've got here. So just halfway across the entire section and then halfway on that circle. So just like that. So I've got a nice bit of red there and a nice bit of yellow. Give a cleaning clean on the brush. Now just with a damp brush, I'm just going to go ahead and I'm just going to spread that where it meets, bring it down a little bit. So we've got a nice bit of blending going on, nice, wet on wet blending and take it up, maneuver it a little bit, and you can see we've got this gorgeous orange shade being formed, just like that. Take it all the way down there, and take it up again. Take it up just like this, absolutely gorgeous. And then, again, taking it up a bit more. And I want a nice blend of color, nice soft blend of color, and you can see so easy with the wet on wet technique. Now my brush keeps banging into my palette over here, which I fixed down. So that's the kind of, like, tick tick noise that you're hearing. So that noise. So don't worry about that. It's just me palate. So let's just carry on spreading it out nice and evenly. And you can see we've got this fantastic, beautiful blend going on. Now what I'm going to do is I'm going to go ahead and let that dry and as that dries, I'm going to have a few more sippy sips of me ginger tea. And then we'll get back together once it's nice and dry. 12. Details: Building Colour: Okay, Dokey. Welcome back. So you can see now we've got a beautiful blend on that section over here. Gorgeous bit of red, peachy orange, going into that yellow, fantastic stuff. It looks like a sunset, doesn't it? Beautiful. Okay. So what we're going to do now is we're going to actually work on both of these circles now. So we're going to go ahead and add in some lovely colors onto these circles in layers and build up some detail. And the reason for me to cover the back of this in that beautiful blend was to show you how the paint would react when you have a lovely painted background in gouache compared to just on a dry white surface of your paper, and that effectively will work as an underpainting to give you a slight undertone that can affect your end results. Let's jump into this now, and for this one, I've got my lovely round brush over here, just give a bit of a drench on that and I actually need some white. I've got me white going to add in some white paint right next to me blue over here. So that should be enough. Give that a close and keep it away from his sheet. Don't want to throw all that white sediment on me sheet. No, we don't. I've got all these little white bits all over me hand. Let's give me and a clean it clean. Don't want to be having a dirty hand while you're doing gouache painting. Otherwise, your painting is going to get all ruined. Let's just give that a clean and clean. Fantastic. Good stuff. Okay. So we've got our brush nicely drenched. And what I'm going to do is I'm going to start off by maybe adding in some blue. So let's just add in some of this beautiful blue that we have here. So just give that a bit of a wet. And then with the kind of same brush and same stroke sense, I'm going to add in the blue on the left one here. So basically, I'm just going to fill this in. Don't need to be exact. You don't worry if you've got a circle and you're not going within the lines of the circle. Absolutely, fine. Not to worry. These are just exercises to practice and experiment on. You don't need to have anything perfect in art because art is all about expression. If you worry too much about having things perfect, then you're just going to stress, aren't you? We don't want to stress. No, we don't. So just filling in half of that circle with the blue here, and then I'm going to do exactly the same. I'm going to fill in half of this circle with the blue, too, and you can see, as I add that blue onto the one with a colored background with that underpainting, you can see that it's slightly lifting off the painting underneath, and we're getting a slightly green warmer type of tone emerging with the blue. So I'm going to make sure that my blue is nice and thick and creamy in terms of consistency. So just like this, I want it to be nice and creamy. I don't want it to be too wet, and then I just want to add it on hoops. See, you've just gone out of the circle, but not to worry. Again, we're not going to stress, we're just going to go as it goes. Go with the flow as they like to say, just go with that flow wash. Nice bit of blue there. Now, let's get the paint off the brush. Quick clean on the brush. And what I want to do now is I want to pick in some of my red. Let's get that red, a nice thick consistency of that red, beautiful stuff. Again, I'm going to do exactly the same. I'm just going to go in and I'm just going to add that red onto this side. Beautiful, beautiful red shade, pinkish red shade there, fantastic, vibrant stuff. Now, it's a bit difficult for me to actually apply this while I'm holding my brush at this angle, naturally, I like to use my brush like this. So whatever way you're comfortable with, just get yourself nice and comfy and in your kind of favorite position and style to do this, and you'll be fine. So again, what I'm going to do now is I'm going to go ahead and add that red into this area here. I'm not going to touch it onto the blue as of yet. I'm just going to basically color this in just so nice and thick and that looking great. With that red now I'm going to add in some more red onto my brush, and now I'm going to start dabbing in that red in between the line. So now we're effectively getting that beautiful blend of wet on wet effectively with wet paint on wet, of that beautiful gorgeous purple ik and you see that beautiful deep dark purple with this blue, just like that. I'm just dabbing it on. I'm not pressing hard, just dabbing it on. Then again, I'm going to give me brush it clean. And now I'm going to pick up that red again to make sure that my red consistency is really nice. We don't want too much water in there. And then again on this one, we're going to go in and I'm going to start doing exactly what I did on this and just keep adding on that red using that same amount of paint that I had before. You can see it creating this beautiful gorgeous, lovely color, purple vibrant, purple, fantastic stuff. So try keeping it nice and symmetrical as possible. I think that's looking great. Give the brush a cleaning clean. Oki. So I'm going to do now is I've got me brush nice and clean. I'm going to use a bit of tissue now and I'm just going to dab the brush and get the excess of that paint off there and give it another rinse in my water jar. And what I want is, I just want the brush to have slight bit of moisture on it, and I don't want too much moisture on it. And what I'm going to do now is I'm just going to start lightly blending these colors in like this, just like that, using the dry brush. You can see it's just moving that color across that line looking absolutely gorgeous. And then I'm just going to bring it down into the blue. So that we've got a nice beautiful blend going on over here. So right into that blue. And you can see Guash, the first layer, the blue layer has already dried, so you've got to work fairly quickly with Guache, especially if you want to blend. So again, I'm just going to do this. Nice bit of purple purple there, and then just on the edge, just go to mix it up. I'm not kind of moving the paint around with too much force. I'm just dabbing it and tapping it with me brush, the tip of that brush. And then, again, just go to add a few tips like this over here, speckle some of the paint that's on the brush already into that red area. You can see it's just building detail, isn't it? We've just built this lovely detail with our colors. And look at that. Fantastic. We've got like these little speckles of detail going on. This could be a ball or it could be a sweet, a lollipop, anything, whatever you want it to be, just a few details, building them up, and you can see it just creates a gorgeous effect. So what I'm going to do is I'm going to do the same for this one before it all dries out. So quick cleaning on the brush, and then dab a bit on the tissue so we don't have too much moisture might need a little bit of moisture for this one. So again, all I'm going to do is dab it on and bring, pull that purple color into the blue with these lovely little divi dab motions like this with the tip of the brush, pressing it very, very gently. And this is how we build detail using gouache, one color on top of another, and then while it all using the wet on wet technique, just adding details, maneuvering your brush to create these beautiful little shapes and speckles. And that's pretty much it. So I've got a nice bit of that purple on there. I'm just going to add it on. Effectively doing this stippling effect right all the way onto that red, and it's a nice little bit of detail, nice lovely little exercise to give you an idea how you can explore different textures with gouache and what the results will look like. Let's leave that as it is, what I'm going to do is I'm going to let that dry. But before I let that dry, why don't we add a little bit of maybe a speckle of white in there, just to add a bit of a highlight. So let's do a clean clean on the brush, and then with my white paint over here, I'm just going to drag a little bit of paint on the side there, and you can see it's nice and wet. And just with a very, very light touch, I'm just going to go in and maybe just add a couple of these white dots over here and let them kind of free flow into this kind of mixture of color. And just like that, I think that's fine. Then over here as well, I'm just going to go ahead, add the white on just like I did with the other one. That way, we have a little bit more of a flow bit of visual interest just to see how the paint reacts. And you can see on this right hand side, the paint is a lot more wet, so we're getting a lot more of kind of dispersion. Of the white paint compared to this one. So your timing is very important with gouache. As soon as you want blending to go in and start dispersing, then you've got to ensure that the surface is still wet. If you let it dry, then your details are going to be a little bit more controlled, so you can see over here, we've got way more controlled details here, these little dots because it's semi wet. It's not dispersing, it's not cauliflowering all over the place. Whereas with this, we've got this lovely little marbled effect, and I do tend to like this marbled effect. But it just gives an idea of what results you can get using the same colors and with the consistency and the moisture and the wetness of the paint. So give that a try. Let's let it dry up and then we'll see what results we get once it's beautifully dry. So let's wait until it's dried. Oki Dokey, welcome back. Now you can see everything is beautiful and dry and I've removed the tape, so we've got a beautiful, clean finish on the edge of this one here, and you can see that the results are very similar, slightly different because we have an underpainting. We kind of get this kind of warm tone coming through the paint over here compared to the one where we don't have any underpainting. And that's an important thing to consider. Personally love to do an underpainting of a background. I like to fill the whole sheet in and then build in my details. It just creates this beautiful harmony and a glow that you get that you don't tend to get when you just have a white background and maybe paint the background after you've painted all the elements. That's entirely up to you. This exercise was just to highlight how to build in some very loose details on a background that's already been painted on compared to one that has no background. Give this exercise a try and see what results you get. It with different colors and different consistencies of paint, and that will give you that beautiful experience with your guash. We can now move on to the next one. 13. Simple Painting: Oh, what a fantastic combination that. Dark chocolate. And hazelnuts. Proline. Wow. I don't think there's any better combination in the entire world. Oh, I better save it for later. Do you know what? Let's save this for later. Otherwise, I'm gonna regret it. Let's just put that to the side and have a couple of sips. Oh, have that ginger tea. Have that hazel nut prolene later on. Get a little clean on the hands. Let's get started with a class. Okey doke, welcome back. So I was just having a bit of an indulgent, little experience with my hazelnut prolene chocolate that I got from the coffee shop. Fantastic stuff, but I promised myself, I'm not going to eat it all now because then that's not too good, is it? We don't want to get a sugar rush and then do an abstract painting, what we can if we want, but let's leave the abstract paintings for later on for maybe our class project. Let's get back onto the screen now. You can see. I've got a nice piece of paper now taped down. This time, I'm going the portrait position this way. We're not doing landscape just portrait, and I've got my paint all set up now. I've got red, blue, white, and my two yellows that I used before. And we're going to do something really exciting. Now, we're going to start doing a practice little painting. I'm going to keep it really simple. It's just going to be a basic silhouette style painting, and this will just give you that final warm up to get yourself ready for your class project and so that we can move on to a little bit more advanced techniques where we add a little bit more detail. So let's now grab our brush so I'm going to get hold of my round filberty brush and make sure it's nice and clean, excellent stuff. And then what I'm going to do is I'm going to grab hold of my water. Bottle, give me paper, a nice spray of water because what I'm going to do is that wet on wet technique, and then just with me brush, I'm just going to spread that water across. I want a nice spready spreadi of water because we're going to create a beautiful background for this painting, a gorgeous wet on wet blended background. Now I can put that back. Over here. And then what we're going to do is we're going to go ahead and pick up some. Let's grab hold of the yellow then. I'm going to actually before I do this, I'm just going to go ahead and with my water bottle, do a little spray on each one of them paints because I've had them in me palette for a bit of time now and I just want to make sure they have a bit of moisture on them. So as a good little tip to just reactivate your paints, give them a little spray and let it sit for maybe 30 seconds before you start and you'll see that you get this beautiful reactivation of your gorgeous squash. Okay. Let's get a nice loady load on the brush here. So I'm getting a nice bit of yellow on the brush and then I'm maybe just going to drop my yellow say here. So I want the yellow to go here and just going to drop that yellow in as it is. Beautiful, gorgeous yellow, primary, yellow, that. Then I'm going to give a cleaning cleaning on the brush. Okay, now I'm going to grab hold of my other yellow here, this beautiful deep hue yellow, gorgeous, yellow, that. And I think that should be enough on the brush just like this. Then what I'm going to do is I'm going to go in and add that on the top here. I want this to be a nice blend of those yellows, really creating this gorgeous, vibrant, vibrant look. So just like that, I'm just going to get it up to about this point and then we're going to clean the brush again. Now I'm going to pick up some of my lovely red, beautiful red over there, nice, wet solution on the brush and I'm going to add it straight onto the top over here. Beautiful, pure primary red. Then I'm going to slowly bring it in. Over that deep yellow to create this gorgeous, vibrant orange shade. And then I'm just going to work this all the way down to where I have that lighter yellow, the primary yellow over there, and then I'm just going to build this in and take it all the way down to the page over here. You can see we're getting this gorgeous gorgeous blend of color, different different streaks of color coming in there. They look fantastic, doesn't it? Gorgeous stuff. Then I'm going to work it all the way upwards like this, just like that, all the way onto the top. And then work it a little bit down using really, really light pressure here. Let the paint do all the work, let that wet on wet, create these beautiful streaks of mixture of gorgeous saturated paint to create this brilliant blend. And I think that's probably about enough. Let's now let this dry or we could actually maybe just add in a little bit of white to just make this a bit more interesting. So I'm just going to clean my brush. I'm going to pick up some nice white. You can see, I've got a little bit of sediment on me brush, but that's absolutely fine. G to pick up this white. This white was pretty dry on me palette, so I'm just going to let it attach itself and adhere onto me brush. With that white, what I'm going to do is I'm going to start off here and just add a nice strip of white, maybe going all the way to the bottom because this is effectively going to be a silhouette. Most of this is going to get covered where we've got the bottom part of the actual color. And then I'm just going to build this up and let it lighten up the shade to about this point over here. And then I'm going to give a cleaning cleaning on me brush. Now what I'm going to do is I'm going to grab hold of more of my deep yellow color here and then nicely saturated on me brush, and then I'm going to go over where I had the white. What this will do is it'll create a nice burst of color, this more paler, lighter shade as we go down. And that's kind of one of the key things that I like to do when I'm creating a silhouette is to have a nice kind of variation of color. We've got some saturation on the top, and then we've got a burst of nice, kind of raw color in the middle, and then it kind of fades away to white at the bottom. So cleaning on the brush and then maybe have a few sips of your lovely tea or coffee or whatever beverage you've got on the side and you can enjoy and watch this paint dry. I'll see you once this is dried. Okidoki Welcome back. So now I've got a beautiful dry blend on my sheet and you can see these gorgeous streaks of color, fabulous vibrant color on me page. Absolutely fantastic, isn't it? So do that first, get it nice and dry. Have a play around with the colors that you've got on your palette. If you haven't got these colors that I've got, use whichever colors you have. Try keeping them really vibrant and saturated so that the silhouette that we do next is going to really pop and it will look absolutely great. 14. Silhouette: So now what we need to do is we need a really nice dark color. So classically, a lot of the times, artists use black for a silhouette drawing. I personally like to create a dark shade of a color that I have with black so that it looks a little bit more rich and kind of more harmonious to the color palette that I've got. But it makes absolutely no difference. You don't have to do this. Just grab hold of your black gouache, get it nicely wet and creamy in terms of consistency, and you can go ahead and do that. But what I'm going to do is I'm going to open me black, and then I'm going to actually just put it into this well over here. So a nice bit of black there so that I've got pure black on one side. And then what I'm going to do is with me brush, I'm going to actually get me round brush. I've got me round brush here, give it a bit of a wet in clean water. I'm going to pick up that black that I've got, get a nice amount of that black over here on me brush, as you can see. Then I'm going to actually go ahead. I'm just going to add it to me red. You might be thinking, Oh, look at all that red. It's all become like a darkish black type shade, and that's exactly what I want. So I want a really nice deep black and again, being a graphic designer, coming up with color theory, especially from a digital perspective, we always look at how the composition of black works on a digital screen and how it's made up, and it can be made up of many different colors. And that's practically the same using lovely real materials instead of digital. So I love to use a nice rich black when I do painting for silhouettes and maybe for a lot of other things as well. I just like how the color turns out and when it dries, it just looks fantastic. So you can see here, I might be adding a bit more, so a bit more me red. You can see this beautiful, shiny, gorgeous velvety mixture that I've got. Looks absolutely fantastic. What I'm going to do to that mixture is all I'm going to do is add just maybe a little spray of water. So I'm just going to get me bottle, a very teeny weenie spray just like that to just encourage a bit of a liquid formation. I want it to be creamy, but I don't want it to be too thick. So I want it to flow. I think that's pretty good for consistency to just one spray of water and me brush is nicely loaded up. Let's now go in with our loaded up brush, and all I'm going to do is I'm just going to maybe just throw in some shapes at the bottom here. So just like this, throw in some shapes, create these kind of little bumps. Everything's looking great and maybe take the bump up over here. Don't have to be super neat in this, have a nice clean edge, and we're good to go. So just like that, the side of the brush, and then I'm just going to fill in where I've the rest of it that goes to the edge of that tape. Effectively, we've just got this lovely shape at the bottom part of this lovely piece of paper. That should be enough. That should cover it on the tape, you can see that consistency went on really nice. It didn't re wet the paint underneath, so we've got no murkiness of color, and that's one thing to really consider when you're doing silhouettes. Keep your consistency nice and thick, but it should be able to flow. Otherwise, it's just going to create a dry brush effect. What I want to do next is, again, I'm going to reload my brush and I can feel that my consistency is getting really, really thick there. What I'm going to do is add in maybe a little bit more black paint like this so just a little bit more black paint on my brush like that, mix it in into that color, and then I'm just going to go ahead and do another one spray of meat, water, just like that. To sprays maybe, and now we've got a more runny consistency, but it's still quite thick. It's not like that super runny watercolor type consistency. It's still very thick and creamy. And all you've got to do is just make sure that you keep adding your paint into it when you add water so that it doesn't become too watery or runny. And that's how you can manage the consistency of your paint. So let's get a nice load on the brush there so you can see that brush is fully loaded. The paint isn't dripping off, it's sticking to the bristles. That's how we know we're right to go. So what I'm going to do now is with my brush, I'm just going to go ahead. I'm just going to draw in some lines. I might do it from the top to bottom, actually. It might be easier for me to do that on the screen. But actually, I'm going to move me hand out of the way because palettes coming in my way and I can't move me a piece of paper. So when you do do this, do it in the most comfortable position that you want to and just give it to go. Even if you mess up, it doesn't matter. Carry on going with it. It's just all about that kind learning experience when you're using guash. I'm going to start from this side. Actually, I'm just going to go upwards like this. Drop in a couple of thick lines like this. Up, have them nice and wonky or straight, whatever you like. Make sure your paint is nicely loaded up. So just like this. Nice little wiggly wonky line. Look at that fantastic stuff, isn't it? So I've done that really nice and quickly. You can take your time on it. Again, once you do this, if it goes all over the place, don't worry about it. I don't want you to stress at all. This is just practice. So what we're going to do is we're going to load up the brush now, and then all I'm going to do is I'm just going to create some lines that are going like this. All the way across these lovely thick lines that we've created, and it just creates this beautiful pattern design, doesn't it? I mean, in my real paintings that I do, my full kind of complete pieces of artwork, I use a really thin brush with this and I kind of tilt the paper over. But because I'm demonstrating this on screen and I've taped me kind of paper down, I'm just going to go with a flow and just create whichever pattern it does. So just like that, it looks really cool and funky. I'm just going to go ahead and do that for these other three. So let's just do that quickly now. Okay, doke. Now I'm done. You can see I've just created these four little effectively silhouettes of whatever they are. There might be trees in the background. They might just be these lovely candy sticks or candy flosses, whatever you want them to be, you can think of that. But it looks absolutely fantastic, doesn't it? Look at that contrast. You've got this gorgeous contrast between those deep, saturated colors in the background, blending away as you go down. Then you've got this beautiful super deep shade of black that we mixed up with the red to create this wonderful, wonderful patterned silhouette effect. So give that a try. I'm going to let this completely dry, and I'm going to remove the tape, and then I'm going to really have a look at the results, and then I'm going to show you some other types of silhouettes that I've done to give you some inspiration for when you do this particular exercise. So let's wait until it dries up. Kidoki, welcome back. You can see now we've got a gorgeous silhouette, lovely little painting there. Look how nice that looks. Beautiful, reddish shades, orange and yellows going into a nice lighter shade of yellow. Then it's got these fantastic little things coming up in the silhouette, whatever you want them to be, imagine it to be whatever you want to sew. Fantastic little exercise that to get you warmed up with your gouache. Look how nice and matt the finish is. I'll show you on the screen. I'll just tilt this around to show you. There's no reflection on it at all. That's one of the great advantages of using gouache. You get a beautiful smooth matte finish on your paintings. They look absolutely great. Now I'll show you some other ones that I've done just to give you some inspiration. Let's just move me palette out of the way before the paint flows everywhere. On this one over here, you can see, I've done six different versions, very similar. I've just used different colors in the background. Maybe give this a go, tape up your piece of paper, and just add in some different colors on the background and use that beautiful mixture of black that you've got to create this lovely silhouette design. And then let's have a look at this. Over here again, what I've got is, I've got a beautiful kind of square, then a rectangle. What I did was taped it across, and then I just went with one quick swoosh, creating these little funny little designs. But you can see that the effect is so vivid, it's so highly contrasted, and it's just so much fun, isn't it? So maybe give something similar like this a go. Then again, over here, what I've got is I've got something a little bit different where I've three other types of paintings, which are very similar. All I've done is added kind of like these round golden circles and a few dots here and there, just to give it a bit of visual interest, just to experiment and again, just have a bit of fun. So try this out if you want to, add in some shapes, but maybe start off with just the basic one that we've got here, bit of gouache on the with some nice silhouettes in black. Maybe then on your second attempt, you can just add in some shapes in the background before we go ahead and add the silhouette. Remember, the most important thing is you let the background dry completely before you add on the silhouette paint with the darker color. Otherwise, it's going to blend into each other. And then you're going to really have an abstract painting. So let's now move on to the next one that we've got here. So again, on this one, you can see this looks really nice. We've got three lovely little designs, exactly the same principle. Do the back. First, add the little bit of white, and on this one, what I've done is I've added in some details with some of the white gouah. Again, I'll be adding in some details in the next painting that we do. But this was just kind of a little test to add in the white onto the silhouette just to have some different results and vary it a little bit to keep it. Interesting. So maybe give this one a go and then again, I think, that's it. That's all I've got. That's all the paintings I've got to show you on the silhouette. Oh, fantastic stuff. Let's bring back what we had originally. So this was our original painting that we did. So give that a go and see how it goes. I'm sure it will go brilliantly and you're just going to want to create loads of these. So let's now calm the excitement down, maybe have a break, relax for a bit, go for a walk, have a drink, have a tea, or a cake, or a coffee, whatever you like. And then we can move on to the next one, and we start doing a painting with a little bit more detail. I'll see you on that one. 15. Detailed Painting: Okay. Welcome back. Let's now start the exciting stuff and do our step by step main painting where we're going to be adding a little bit of detail using the techniques that we've gone through in the previous lessons, so we can create a gorgeous, lovely little painting using guash. So this, if you're going to follow this step by step, then let's quickly go through what you're going to need. On the screen, you can see, I've got my lovely little sketch that I've done in pencil. This sketch will be available in the resource sheet, have a look at the resource sheet PDF and you'll be able to see what the outline is like. And if you want to just quickly get that outline down on your piece of paper, absolutely great. And I don't know if you've noticed, but I've got this on quite a small sheet of paper. So this is only an A six size piece of paper, and the reason I've done that is so that I can cover all the areas on the camera. But you can do this on any size paper that you like. A five, for me, I would say is brilliant to work on because it's not too big and not too small, and it gives you a nice bit of freedom to maneuver your gouache all over the surface. So A five, I would suggest go for an A five size or maybe just slightly smaller than A four, but that's entirely up to you. Landscape orientation would work best for this design. So let's make a start. Okay. Now, the brushes that I'm going to use are these three that I've got on the screen that you've seen previously. So I've got my round brush here. I've got my detailed zero brush over here, and then I've got my filberti style brush over here for the broader strokes. So just get your brushes ready. And if you don't have these brushes, absolutely fine, just use whichever brushes you've got or the ones that you prefer. I'm going to put these to the side. I've got my two jars lovely clean water ready to keep everything nice and clean and stop it from getting contaminated or muddy. And then, most importantly, the gouache, guashiGuas. Okay, so on me palette over here. I've got red, I've got green. I've got the dark yellow, that deep yellow that we've been using previously in the lessons. I've got the lighter yellow as well. I've got white over here, and then I've got my two blues, the lighter shade blue, and the ultramarine blue. And then over here on the left, I've just got black, pure black. Then in this well, I'm going to keep this well for mixing my colors, maybe getting them a little bit darker. So get your colors laid out, I'm going to be using these colors. If you've got these colors, get them ready, and maybe put a little spray of water on them just to get them activated if they've been out for a while. So that's what I'm going to do here, get them slightly activated, and I think that should be enough. Bottle out of the way. What I'm going to do is with the color palette, I'll mix on the screen, then we'll go straight onto the paper. Otherwise, then it'll be a bit difficult for you to follow, and I want you to follow every that it can really enhance that experience so you can get ready for your class project. So let's put the palette on the side and what we're going to do first. I think you might have guessed it. What we're going to do is we're going to do a base layer now, so I'm going to grab hold of my Filbert brush, and what I'm going to actually do is go ahead and do a little spray spray of my water on me sheet here. So just a little spray, not too much. And with my brush, to make sure it's clean. I'm just going to spread out that water onto my lovely little illustration here to dampen up that surface. So give that a go. Just make sure that you've taped your paper down like I have. Otherwise, it might start warping all over the place, and you're going to get these lovely little bumpy kind of mountains and valleys being formed on your paper that you might actually like. But for this exercise, let's try keeping it as flat as possible. So just like that, I've just spread out my water on the page. It's nice and damp. I'm going to do next is I'm going to get me palette now. So on me pallet, I want to have a nice, a kind of warm shade like I did previously in the lesson. So I'm going to pick up a little bit of my favorite yellow here, that beautiful deep yellow. I'm just going to add it into the well down here, just picking it up with the brush, adding it into the well. I think that should be about enough. And then just a little bit of red from here, just go to pick up a little bit of red to create this gorge, lovely orange shade, absolutely fantastic shade that. And then just with the brush like this, nice and kind of thick consistency, I'm just going to go over it, and I'm just going to spread it out. So just like this, just going to go over that. Spread it out on the entire page. I want the entire page covered. I want this beautiful glow to come through the painting. And if you remember, in the techniques, the paint gets activated, especially if you're using thin paint on top and then the kind of underpainting starts shining through, and you start getting some really lovely tones coming in your elements in your painting. And I just think that looks fantastic. So just like that, that's about it for the colour, put the palette to the side. I think what I might do is just add a little bit of water to this. So just a little dip in the jar. And then just to get that paint spreading a little bit, I don't want it to be too thick. I just want this underpainting part to be really nice and thin, just to give it that kind of nice deep glaze of gorgeous warm orange color. And I think that will be absolutely fine. So I think that's okay, spreading it out, making sure it's on all the edges. Again, the orange that you might produce will be different. And most likely will be different depending on the colors that you have don't worry about it, add in a nice base color, and I think we're good to go. So the next step now is to let it dry. So I guess you can get yourself a nice drink because I'm going to get myself a ice coffee, so we'll wait until this dries and then we'll get back together for the next step. 16. Filling Foreground Elements: Doke. Now we've got a nice, lovely dry piece of paper with our undertone toned painting on top. So what are we going to do next? Let's grab hold of our palette and let's come up with some nice color combinations. So I've got my palette over here, give me brush a cleaning clean, make sure my brush is clean. I don't want to have contamination. Otherwise, we're going to get that muddiness in our colors. So let's have a clean brush, and let's think about what colors we want. So I think I'm going to go for a nice dark greenish shade, so I'm going to grab hold of this green here. Grab hold of a nice bit of green just like this on me brush, and I'm going to actually bring it into this orange mixture that we had before. So you're going to drop it into that orange mixture. It will overpower the orange, so just like that. And to darken green, you can either darken it with black, which is the typical way of doing it, or you can use a bit of color theory and use the color that's opposite on the color wheel, a complimentary color to go ahead and darken it. And we all know, I'll bring it up on the screen, you can see the color wheel. The opposite of the green on color wheel is lovely ready red. So if we just add a little bit of red to this you can see it started darkening that green, so a bit more, add as much as you want. Try not going in too much with the red. Otherwise, it'll darken really quickly, and you can see we're getting this gorgeous gorgeous, dark green color. Look at that. Fantastic, and we've not even touched our black color yet, so nice bit of dark green there. I might add a little bit more of that red. Just to give it a bit more richness and just darkening it up a little bit more. And what I might do is this little ultramarine that I've got here, I might just give it a little tap on that, dropping a bit of ultramarine just to make it a bit more interesting. So you can see we've got this beautiful dark green color over here. And what I'm going to do is, I'm just going to pick up a nice bit of consistency. So you can see we've got this creamy consistency, that buttery, creamy consistency that's nice and movable on the palate. So just like this, if we just move that out of the way, nice bit of green, dark green that we've just made on there. So what I'm going to do now is I'm going to go ahead and I'm going to start dropping the green into these shapes here. So these round, bumpy shapes that we've got these four shapes, I'm going to drop it in over here. So just like this, dropping it in, nice and thick. So just follow this shape the best you can. Again, if your shapes are a bit wonky or if your brush is going over the line of the shape, don't worry about it. We just want to fill in some interesting shapes so that we have something nice and funky to work with. So just like this, you can see, I've just added in those nice little bumpy bumps again, they're not perfect and I'm not really bothered whether they're perfect. I just want to have that nice coverage at that foreground, so just like this and making sure that I've got it all covered on the edge of my tape. And then what I'm going to do now is I'm going to go ahead and wait until that dries. But as we wait until it dries, I'm going to start adding to the next color, and I'm going to think about what color I want on these next three bumps that are behind it. So if we vary the color and change the tone of it, it just makes the painting look a lot more interesting and it just gives you more options. So what I'm going to do now is I'm going to actually go ahead and start adding a bit of yellow to the screen. So I've got this yellow over here. I'm just going to pick up a little bit of yellow with a side of me brush just like this, little bit of yellow. Add it in to that green, and then I'm going to keep adding it in until the tone changes. And you can see over here my yellow is all lumpy bumpy because I've not wetted it. That was the previous yellow that I had. Just go to move that to the side. I'm going to pick up the fresh yellow over here. So nice bit of yellow, slowly adding it in into my green to create this really nice kind of shade of green that's lighter, a bit more yellowish toned compared to the one that we had before. And this just adds lovely bit of interest. Then again, maybe pick up a bit more, can get some nice decent amount on the brush, add it according to the thickness and the saturation of your paint. It's going to be different for you compared to what I've got here, but that's absolutely fine as long as you have a slight different color. So just like this, you can see the one on the paper was quite dark. This one's going to have a slightly yellowish tinge on it, so maybe add a bit more yellow to it and you can see me yellow wells go completely murky, hasn't it? But don't worry about that? Absolutely nothing to worry about. You start worrying that I'm going to get a bit of paint here there, or my paints are going to get a bit muddled up. That's not what painting and relaxing with art is all about. That's the whole point of having just a little bit of paint in each well so that you can just be stress free and just get on with it and enjoy that process. So let's enjoy the process and maybe pick up a bit more yellow here. So, again, a bit more yellow. You can see that's becoming quite a nice yellowy green colour within the well, as well. So you could actually use that if you want, but I'm going to bring it in over here. So just like that, gonna give it a nice mixy mix. Look at that beautiful beautiful greenish shade over there. So with my brush now, nicely loaded up like this, I'm going to put that to the side. And this has already started drying, you can see. So what I'm going to do is, I'm just going to go ahead, I'm going to start adding in that green into these shapes now. So you can see, we've got this beautiful variance now. And again, my brush is quite wide. It's probably not the best brush to do this. I should really use my round brush, but I'm going to just keep continuing absolutely fine, just like this, going into the shape. Of my lovely little illustration. Don't want the paint to be too thick. I just want it to spread nicely, flow on top of the shape, just like that. Fantastic. I actually might change me brush now, go to me round brush because these are quite small in size, I can actually just pick off the paint. From me brush like this, that's another tip. Instead of wasting your paint, you can just pick it off if you're swapping brushes, just like that. Look at that. Just picking up my paint, and we can easily just add this in. Like so on our lovely, lovely painting. So just like this, just go to add it on. Beautiful stuff that isn't it. Gorgeous, gorgeous stuff. So keep adding it on, building that shape. I'm going to pick up a little bit more from the palette now. So picking it up from the palette, so we've got a nice amount on our brush here. You can see that nice amount on our brush. And then, again, just go to build it into that shape that we've got. And again, if you've got some little elements that are popping out here, we've got a bit of orange, don't worry about it. Don't worry about filling everything in. It's just about the process and enjoying that kind of flow and experience of putting that gouache down on the paper, and it's just fantastic that isn't it. So there we go. We've got this nice kind of separation of the two colors, beautiful, beautiful shades that we've created of this green gorgeous green that. And there we go, fantastic stuff. So nearly done. Make sure that you've got it all the way to the edge. And I think that's looking great. Okay. So now what I'm going to do is I'm going to go ahead and let this dry completely now, so take a little break and then we can think about what we're going to use to fill in these bigger elements that we've got at the back. So let's wait until it all dries up. 17. Midground Elements: Okay, okay, welcome back. You can now see we've got a nice dry on hour painting, and look how beautiful those colors look. We've got this gorgeous foresty dark green that we created. Then we've got a lighter shade. Now we're going to look at these elements here, and I think you might have already guessed it. We're going to create an even lighter shade of that green. So let's bring our palette back onto the screen here. So we've got me green mixture that we had before. And to this, what I'm going to do now is, I'm just going to go ahead and add in some of this pure white just to get a lighter tone. So I'm just adding in that pure white. Give it a nice little mixy mixi, and you can see it's just changed the color into this gorgeous, beautiful shade of green. It's like an olive type color. That gorgeous, that, isn't it? And I think that's all we need, maybe just add a little tiny bit of ultramarine blue to it, just to give it a bit of a kick, maybe a bit more. And I think how about a little bit more. Yeah, I think that's looking really nice, isn't it? What a fantastic color that I'm just going to keep doing a bit of a mixing mixing on this and then maybe actually I might add in a little bit of red, just a little teeny weeny bit of red to this. I just want it to be a little bit different from the colors that we previously had. And I think that's quite nice. Got to make sure that red is completely mixed up into it, and I think that's looking really good. Okay. Now, what we need to do is maybe add a little bit of water to this. So all I'm going to do is I'm just going to get me water bottle do one spray of water in there. And I think that's enough to give it a kind of flow, and I think that flows quite nice. So just like this, we've got a beautiful flow of gorgeous, gorgeous green shade. Okay. Lovely shades of green. Lovely shades of green. Okay. So I'm going to load me brush up, put that to the side. And let's now just start adding this color into our background elements that we've got here. So I'm just loosely just adding it on. Not too particular about where the brush tip ends, making sure that all of these areas are nicely covered up in these kind of block colors that we're doing, and that's all it is. This kind of stage one of the painting is really to just blocking these colors and have this beautiful coverage so that we know what we're working with. And it's just a case of building on top of this. So just like we did in the exercises where we blocked in some color, then we started blending color on top and then adding in some details. That's all we're going to be doing for the entirety of this painting, and it's just so much fun just like that. I go in and you can see that I've got so much paint on me brush, I might even be able to do the whole thing just with kind of one saturated brush tip. We'll see if we can, if we can. But if we can't, then we just added more paint. Don't we so. Nothing to worry about. Don't need to stress, don't need to worry. If you're finding that you don't have enough paint when you've mixed it up initially, don't worry about it. Just add in a little bit more paint if the color looks different. Again, not to stress, just go with the flow, go with the flow of guash, guashiguah and enjoy this wonderful wonderful medium and enjoy the process just to relax. Remember, we are not doing perfect artwork. We're not creating gallery artwork. That's going to be put up in a museum or in an art gallery for the whole world to judge. This is just an exercise for you to chill out and enjoy the moment. So you can see over here, I've got this nice, lovely coverage of my back elements, so I might have to put a bit more paint on me brushy brush. So just adding a bit more paint on me brushy brush, and then I'm just going to continue with this over here. Just like this. I've got my lovely housey house. I don't want to cover up me housy house. But the advantage again, of gouah is if you do accidentally get your brush and you end up putting paint on your house, you can easily just go over it because it has that opaque nature. It's going to dry completely opaque. So there's nothing to worry about. So again, if you were working in watercolor or maybe in any other type of medium, then it might be a bit more difficult for you to correct the kind of errors that you do. But again, those errors are just learning experiences, aren't they? I don't even call them errors. I just call them learning experiences. And they just make the whole journey so much more fascinating and enjoyable. So again, this element, I've got this element quite high up, haven't I so might just have to adjust this a little bit for it to fit into the frame of the drawing. So just like this, I'm just making sure that I've got enough paint to cover the edge of that tape. So when we do the peel back, it reveals a gorgeous, clean line. And I think that should be about it. Look at that. How nice does that look. So again, what we're going to do is we're going to wait until this completely dries off, and once it's dry, then we are good to start doing the housiHuse and maybe a little bit of the sky. So let's wait until it dries. 18. House and Sky: Okay, doke, welcome back. Now. We've got a nice bit of dry paint on our lovely drawing there. So what we're going to work on next is we're going to work on the HuseiHuse. So let's grab hold of our palette again. And with our palette, I want a really nice, pale, yellowish tone for the kind of main part of the house. So what I'm going to do is I'm just going to grab hold of this white over here, you can see, and I'm going to bring this white into this well on the top. So a nice bit of white there. And then with the same brush I'm just going to add a little dab of that dark, deep yellow. Into this and just kind of mix it up and it's creating this beautiful kind of light pastly shade of yellow. Very nice that. I think that's about enough. I don't want it to be too saturated. I just want it to be nice and light. So I think that's pretty good. So let's move that to the side and see what it looks like. Then we just need to really just apply it to the housy house. So that looks really good. I like that. I like how that turned out. It was right on the first attempt. If you notice with your colors that when you mix them, they don't turn out right the way you want them the first time, don't worry about it. Lay it out, let it dry, and then give it another go. Again, over here, I'm just going over the window. I don't need to bother about the shape. I'm just blocking in this color. Again, I'm working on this rather fast. Usually, I spend a bit more time on it, but because I don't want to sit here all day just trying to make perfect lines, I'm just want to work on this pretty fast so that you can follow along or just be inspired by this process of just filling in these gaps it is very relaxing. I mean, I just like to sometimes just do some paintings in gouache, just to relax and not think about anything. And I just find it very therapeutic. So give it a go if that's what you want to do. If you want to just get away, just get away and relax with some guashiguah and have a nice therapeutic exercise with art and this fantastic paint. So just like this, all I'm doing is, I'm just going to go ahead and fill this kind of area and again, if it goes over those green bumps by mistake or, you know, intentionally, then don't worry about it. Just keep going. That's all you need to do. You need to just keep going. Don't give up and don't just leave it and say, Oh, I don't want to do it anymore. Just keep going. Finish the job, and then you'll see once it's done, it'll motivate you to do more, and then you can carry on and get more experience using Guash create loads and loads of these fantastic little teeny weenie paintings. So just like that, I've added that chimney bit over there. Again, we're going to let this dry. I'm just going to dab a little bit more paint over here because my paint wasn't as thick as I wanted it to be, but that's absolutely fine. You can see the undertone of that orange coming through and I love how that looks. It just adds that beautiful glow. Let's wait until this dries and then we'll carry on with the roof and then the sky part. So let's give it a chance. Ok Dokey, it's nice and dry now, so let's now have a look at the color we're going to do for the roofie roof. For the roof, I'm going to go ahead and do it in this red shade. I'm just going to grab hold a bit of this red over here, and I'm just going to basically just use a little bit of space that I've got over here on re palette. My palettes running out. I might need to give it a cleaning clean, but just a little bit of red there you can see on the screen because we're not going to need much paint, little bit of red. And then I might just add in a little bit of my deep yellow into that red just to create that really nice kind of vibrant, orangish red shade, just like that. And I think that's pretty good. Maybe just give it a bit more of a mixi mix. Yeah, I think that's quite nice. So get a nice load on the brush over there, just getting a nice load there on me brush and then move that out of the way. And we can just go straight in to the roof. Look at that beautiful vibrant red that isn't it gorgeous gorgeous color. And then, again, with that undertone painting that we had, that beautiful kind of orange shade, that burst of orange that we got underneath, it just shows through the paint, doesn't it? It just looks so nice that compared to if we just had the white of the paper, it just gives this added depth and interest. Just really gives it another dimension, doesn't it? So just like this, I'm just going to fill that in. And I think that's looking good. Consistency of the paint is okay. It's not too thick and it's not too runny. So just short that the consistency is good, so that the paint flows. And just like that, nice little bit of paint on me roofi roof. And I think I'm going to leave it like that, or I can actually just add in maybe just a nice little strip on the top the roof, where the chimney is, and maybe just on the edge here very, very gently. Just going to go ahead and just add this kind of red line to represent the edge of the roof. And I think that's looking great. So let's just give this a bit of time for it to dry, and then we can move on to the sky. Okay, it's okay. Everything is nice and dry now, so let's now create a mixture for the sky. So let's get our palette back. And I think what I'm going to do is I'm going to use this blue. I do like this blue that I've got over here, this kind of primary blue color, very nice color that. And I'm just going to bring in a little bit of white from my kind of bump of gouache over there, that little white bump that I've got. And it's just creating this kind of really nice sky type color, give it a bit of a mix to get that color going and then bring in some more of that white. I think that looks quite nice. That maybe just a touch of red. So just a touch of red from there, maybe just a little touch of red, just to give it a bit more depth, maybe a bit more. And I think that looks really good, doesn't it? So nice bit of white and blue with a touch of red, create a gorgeous, nice light shade of color. And I think that's quite enough on the brush. So let's give it a go. Let's just add this in. I actually want it to be a bit more lighter than that, so I don't like that. I want it to be a bit more lighter. So I'm going to grab hold of more of the white over here. I'm just going to bring it along. I don't want the sky to be too dark. We don't want everything to darken up. We want it to be nice and bright, don't we? So let's just add maybe a bit more of that white in there, nice bit of white. And I think that should be good. I think we could add maybe a drop of water from the jar, just to get it moving a bit. You can see there's loads and loads and loads of paint on my brush there, isn't there? So what I'm going to do is, let's just test this out now. That's better that, isn't it? Gorgeous, gorgeous color that one. You can even have some marbling effect coming on in the sky if you want. So if you have a little bit of kind of white on the edge of the brush and some blue, then, just have a go at marbling it on the actual surface and see what results you get. It can be quite a lot of fun just having loads of different colors instead of just having a flat color. So maybe that's something that you want to do in your class project. So do have a go at that. So just like this very carefully, I'm just going to go in and I'm just going to add in this blue so I'll quickly do this now. I'll just fill in all this area and then we'll have a look and see what results we get. Oki doke. Now we've got a nice, complete painting with filled in elements all over the page. So what we're going to move on to next is the fun stuff. I know it's all fun, but this gets even more fun. So we're going to look at the details, and we're going to start building in some funky little details onto our elements. So before we do that, maybe have a nice little break, maybe go for a walk. I know you're going to get tired because of all this painting and waiting for it to dry. So let's take a break and enjoy a bit of fresh air and have a nice drink and a nice treat. So I'll see you after our break. 19. Midtone Details: Okay, welcome back. Let's now start doing some details and building up, fleshing out our lovely designs on our painting. So what we're going to do is we're going to grab hold of our brush. So I've got me clean brush now, and let's create a mid tone color. So on we palette over here, we had the green that we'll be using on most of these elements that we have in the background. Let's start lightening up that green. What I'm going to do is I'm going to get my yellow here, pick up my yellow and I'm going to start bringing it in to this green mixture. You can see we want to get this nice mid tone to start creating those variances in values to build up that detail element. You can see we've got this gorgeous gorgeous color here again, I'm going to pick up a little bit more want it to be nice. And yellowish in shade, but to maintain a bit of that green consistency. Just like that, I think that should be okay, but just to make sure that we don't blend it into the background too much, let's get a nice bit of contrast in there. Again, more on the yellow and then maybe just a touch of white in there. This will make that color really nice and lighten it up enough so that we have something decent to work with. So I think that's good. Let's just add maybe a drop of water from the jar. So just adding a drop of water from the jar to make it more liquid and maneuverable. And I think that consistency is gorgeous. That gorgeous cream consistency there. Oops, I got to make sure I don't do splashy splashes anywhere. Otherwism paintings all going to go messed up. So let's just get a nice amount on the brush. I'm going to start working on these elements over here, and then I'm going to do exactly the same for these and the remainder one. Let's focus on this one over here now. We've got nice bit of light coming in into this area, and all I'm doing is, I'm just going to add in these random marks on the edge where I want this to be. Just like that is effectively just creating this marbled look. Bit of a marbled look going onto a couple of dots here and there. Keep it very random, just add in wherever you want to add the different shades on to your element just like this, up and down, filling the gaps. But I'm also leaving some space in between just to give it a bit more of a visual interest. Again, you're not going to have the same kind of paint marks that I'm putting on here. So just add in a couple of paint marks, bring some strokes down, curve them up a little bit, a few little dots. I think that's enough. I'm going to leave the left side of each of these elements as they are. So let's move on to this one. Again, just going to drop in a couple of marks like this, wiggle wiggles, round, swerve them in, and then a couple of lines just like this over here, a few dots to fill in the kind of spaces. And then maybe just a few more dots over here, fill it up so that we've got pretty much half of that shape in this new kind of color that we've just created. We've got this variance from a nice flat color to a more textured lighter shade over here. Again, I'm going to pick up a bit more paint from my palette. Nice bit of paint on the palette there. Again, I'm just going to add in these kind of wiggly lines over here, some straight, some towards the left. Then just going to finish the edges with some dots, mix them in a little bit. Keep it nice and random, but have a nice bit of form on them at the same time and then have it all the way to the edge here so that we can distinguish that these are different shapes from the ones next to them. Again, over here and I'm going to have maybe just some stipple dots down here, little few marks down here, and maybe just a few more on this edge. I think that's looking great. Then on this side, I'm actually going to have the lighter shade coming on these ends. On these ends, we're going to have this lighter paint just to vary it a bit so that it looks decent. Again, just like this, adding in these random marks up and down onto these elements here, just like that. Nice little dot over there. Fantastic stuff, just like this, just behind the housy house. Make sure it's nicely covered up. And I think that's enough for that one. Then this big one that we've got on the right here. I'm going to drag the brush down to create these wonky lines. Then again, just following the shape of this element that we've got a couple of dipple dots here and there, some thicker bumps and dots. I think that's looking quite nice. I might actually do this all the way across because we've only showing half of that shape, so this half can have all this lovely texture on it. And that's it. How easy was that? So we've just gone ahead and added in these beautiful designs. Now, let's quickly create another color that's slightly darker now to contrast with these three bumps that we have over here. So I've got this beautiful color that I've just created. Let's get a cleaning clean under brush. Okay, now what we want to do is add some white into this. Let's just add some white and experiment. Experiment with the colors that you have and see what results you get. Just like this, that's got really nice and pale. I really like that color. What I might do is add in maybe a little bit more of this actual pure green that I've got down here. So a bit more pure green in there, just to change the tone of it slightly, give it a good mix. So what I want is I want this to effectively be different from the one above that we did. So that color was very different to this and that's what I want to achieve. I don't want all the colors to be the same. I just want to change them around, but still using the same colors that I've got on my palette. So we have more of a harmonious, lovely balanced look on our color scheme. So I really like that color. Let's see what it looks like on the actual design, so I'll put the palette away. For these bumpy bumps, what I'm going to do is I'm going to start with the one on the right here, and I'm just going to go ahead and I'm just going to start adding in some of these lines like this. Just with the tip of my brush, I'm just going to follow the kind of curvature. Of the shape, just like that. You can see it creates this beautiful beautiful pattern, doesn't it? Just follow that curvature with the tip of your brush and look at that, fantastic, beautiful. Then the further out I'm going towards this side, I'm going to make those strokes a little bit thicker, just to vary them a little bit like this, following the curve of that shape and just filling in those gaps, just creating this visual interest, this pattern look and then maybe just add a couple of stipples at the bottom. Just to complete the shape that we have to make it look a bit more prominent and interesting. Look at that. How easy was that? Really nice and quick W me brush, just adding a few more stipples on top, layering them on top to just bring out some of this interesting detail work. Look at that. That looks fantastic, doesn't it? I'm just going to do the same now for these ones. Maybe just put my hand up here. Otherwise, I'm going to get all muddied up everywhere. So just like this, just change it around a little bit. Because my brush is really loaded with paint. What I might do is I might actually switch to my thin brush. I've got my lovely detailed 00 brush over here and I'm just going to pick up the paint now from here onto my brush like I did before. I'm just picking up that paint. I's going to make sure I don't do a splashy splash on actual painting. I'll move that one to the side. Then with this one, it's just going to be so much easier to make these nice thin shapes that following the shape of my lovely designs. I'm just going to bring it in downwards like this Nice, lovely lines like this. Again, if you're struggling to do lines like this, don't worry about it. Just create little patterns, little shapes with your brush tip, just to create this contrast and this lovely texture and then just vary it, maybe do little dots like this towards the end, that will just give it a nice visual variance and a difference and create a bit of texture on your lovely pad. Again, I'm going to pick up a bit more paint from my palette with my small brush, and then over here, I'm just going to go ahead and just create nice little lines, funky little lines like this that just follow the shape or this round bumpy bump that we've got here. So just like that. I want to make sure that it doesn't mix with the paint on top because that's still a bit wet, do bear that in mind. If you want to wait until one part dries, then you can go ahead and do that. But I'm just going to go ahead and just create these lines just like this. Let them flow and create this beautiful, lovely texture. Look at that. Fantastic there, isn't it? All using the same colors and just doing a bit of a mixi mix to come up with some detailed variances and textures, bits of stipple here, a bit of stiffle there, change it around, have a bit of fun, and that looking great. Look at that. Beautiful. 20. Lighter Details: Oh, we're going to work on these ones here. Let's now maybe create another color. What I'm going to do now is I'm going to create more of a yellow tone. I want a nice orangish yellow tone, so I'm going to pick up maybe just create the tone within this well over here. Yeah, I do like that. That's actually quite nice. With this, I think that's quite a nice tone, but we might have to add in a bit of this green and bring it into this well. Just like this, I want to rk it up a little bit. I want it to match the tone and tone levels of that green. I don't want it just to be completely yellow and orange, but I do want it to have a little bit of variance. Should we try this? I think we should try this. Let's move this to the side. Now, for this one, what I'm going to do is I'm going to do stipples. I'm going to start on this side, and let's just start dropping in some nice thick stipples. Look at that. What a fantastic color that. Look at that contrast with the dark green on the back, and then we've got these beautiful heavy stipples on the top. And I'm just going to follow the shape of these bumpy bumps. I'm going to add those stipples in. Nice and easy. Take your time on it. Don't rush. Just relax and do this. Again, if it bumps into another stipple and you've got a big heavy stipple, don't worry about it. Just relax, let it dry. You can work in more details later on. It's no problem at all. Look at that. Beautiful, isn't it? I'm keeping the stipples nice and thin on the left side here, nice and small petite, and then bigger on the top. So again, over here, what I might do is nice big heavy stipples. I do like this color. This color is fantastic, isn't it? I don't even know what this color is called. It's just a mixture of that beautiful deep yellow with a bit of that olive green. And that's how you can have so much fun with just mixing colors. You don't need a set of colors with 20 different colours in just to create some gorgeous, gorgeous tones and saturations. You can just do it standard primary colors that you have or even just one green and maybe just a blue and a red. You can just create some fantastic, fantastic colors. Just like that, I want to maybe increase the thickness of my stipples on this side so it doesn't all look the same. But I think that's looking really nice. Again, I'm just going to continue doing this over here and I've got enough paint on me brush. It's got that gorgeous thick consistency and that beautiful gouache advantage that we have of opaque color, light on to dark. You can do it in any order you want, dark on light, light on dark. That's the brilliant nature of gouache, what you can't do with watercolors. So just like this, a carry on maybe add some nice thin ones over here. I mean, the colors that you might have are going to be slightly different. Absolutely fine. You might have orange shade, red shades, just go with the flow and see what results you get. So just like completing that bumpy bump. And look at that. We've created some gorgeous textures over there. So let's let this completely dry out, and then we can start building in more details with these type of textures. So let's have a break and see what it looks like when it's completely dry. Okey doke, welcome back. Now we've got a beautiful, lovely dry painting, and I've got a couple of little dots there that's spilt, but I'm not going to worry about it because we can sort that out later on. So we've got this beautiful texture here, this gorgeous kind of lime green colour, yellowish shade on top of the dots. We've got some of these lines following up with the lighter green then on the background, these background elements. We've got these lovely bumpy bumps and that just really creates this wonderful textured pattern look on our painting, and I think it just looks great. What we're going to do next is we're going to keep building onto these details. So let's maybe have a break, have a sit down and just admire these wonderful colors and then we'll start creating some more lighter and darker tones to start really fleshing out the details of this painting. I'll see you on that one. 21. Darker Details: Okay, welcome back. Let's now build in some more details to really bring out and flesh out these beautiful elements in our painting. So if we look at these elements that we've got in the foreground, these kind of four bumps with the nice light yellowish shade stipples on them, let's now start adding in a little bit of dark or maybe add in another color to really, really enhance this. So let's grab hold of our color palette and come up with another color. So with me, round brush, what I'm going to do is, I'm going to go ahead and maybe add in some black into this mixture that I've got over here. So adding in some black into this, go to go in quite heavy with the black because I want this to be really nice and dark I want this to effectively be a contrasting color, and you can see there once you pick up that black gouache, it's just fantastic, isn't it? And then with the blue ultramarine, maybe just bring in a little bit of this blue ultramarine. Effectively, we're just creating a nice mix, shade of a grayish tone, really nice and vibrant and dark. You can use black and just maybe just add some white to it, but I like to create my gray tones with a nice mixture of colors that I've already used on my painting just for that harmony in color. And you can see we've got this gorgeous gray. Now, with this gorgeous gray now, I'm just going to add and kind of really, really intensify it with the black because what that will do is it will just add to the richness of that color, and then this will form the basis of our dark color that we start adding in. So again, a bit more of that ultramarine blue into that gray tone, fantastic that isn't it. Then what we want is we want the green. So let's grab hold of a nice lumpy lump of that green and just hit it into that middle area, and now we've got the green combined with the black, and we're going to need a little bit of water, so I'm just going to grab some water from my water jar and just going to add that green on. And you can see that that green has overpowered the color now. But essentially, we've got a nice gray tone to work with. And then, again, I'm going to just keep adding the black until I'm happy with the kind of depth and darkness of the color that I'm looking for. And just have a play around with your colors. Maybe sometimes while you're mixing your colors, you end up getting too many different tones that you don't really like to use, and that's absolutely fine. This is all about practicing, color mixing and, you know, really getting familiar with your colors. So just like this, I got this really nice dark kind of shade of green. I'm going to put the rest of that ultramarine in there, I'm just going to give it a nice mix, mixing mix on that color palette. So there we go. We've got this really fantastic, lovely, blackish, greenish shade of green over here. And then again, now to darken it again, remember, we use the complimentary color red. So if you put the red into it, this is going to really, really give it that beautiful, rich darkness. Look at that. Fantastic. So again, I'm going to add a bit more water from my jar onto this. Give it that mix. Oh, that's the color that I'm looking for. Look at that. Fantastic color that, isn't it? Again, you don't need to mix all your colors to get this, get black and just add a bit of green to it and a bit of red. Again, whatever colors you have, just work with them. We're just looking for kind of a darker shade to start adding in some lovely, lovely details, and I think that should be enough. Let's just take it off the brush so that we have enough on the brush tip, just like that. Got some on the brush tip there, move that to the side. What I'm going to do is now I'm just going to go ahead and I'm going to start adding in some dots with this onto the left hand side, if it covers up those yellow dots, that's absolutely fine. All we're doing here is we're just enhancing the contrast of our shape. We're not going to put this in the entire shape, we're just going to add some speckles of this across just like this to just darken up that area. Beautiful. Look at that beautiful layering and stippling of that dark color. Now again, I'm going to leave it at that, then I'm going to start at this point because this is effectively the shape here. We're just effectively just carving out the shape of these elements up to that midpoint, and I'm just going to add a bit more paint onto my brush onto the tip of my brush there just to make sure that I've got enough. Might not be easy to see this on the camera, but this is effectively just adding this second layer of detail just to create a bit more form in these shapes over here so you can see if you compare them to these ones, there's a bit more form now with the dark. So just add it on in between the dots as you get further on over here, but not all the way because we don't want to lose the contrast. I think that's fine. Again, over here, I'm just going to add it onto the edge part of the shape and then just dabble, we brush over those dots and then in between the dots here, you can see it's adding that gorgeous gorgeous contrast. So just like that, very nice and subtle, we're not creating huge amounts of contrast to create some abstract kind variation. All we're doing is just adding these subtle hints to just bring out a bit more detail. Again, on the bottom, what I'm going to do is, I'm just going to dab the brush on the bottom part so it really squares off the edge of the shapes like this where the tape is just on this part over there. I think that's looking quite nice. So just like that. I want to maybe cover up that dot. And I think that looks great. Look at that. Just a little subtle addition of darker paint, and we've already started creating a bit more depth. So what I'm going to do next is I'm going to use my so I'm going to grab hold of my thin brush now, my little brush, get it nice and wet on there, and then let's maybe start adding a little bit more details into these areas. But we can use the same color, maybe just use a little bit more of this green shade over here. So we've got a little bit of a green shade there on me brush, and then just dabbing it into the paint like this. So it's got a little bit of that green paint, and it's kind of effectively marbling with that darker paint. So we've got this kind of marble effect on the brush over here. So just like that nice bit of marble effect, move it out of the way. I'll just show you so we've got this nice marbling on that actual tip of the brush. So with this now, what I'm going to do is I'm going to go ahead and I'm just going to add in some really, really nice little darker lines in between those kind of light lines that we had to create more contrast, just like this, on the base over here. Just going to drag it up like that. Be careful not to cover up those white marks because I do like those white marks, but just on the base part of these shapes, add a bit more interest and stop them from looking too flat. Just like this for these ones, I'm going to go in from the right hand side all the way to the top over here. Adding in these lines and speckles of this dark, you can see, looks fantastic. I'm just going to pick up a bit more of that dark paint. Then I'm going to do the same over here. I'm just going to go ahead. Add in a few dots here just to create this separation of those shapes. A couple of stipples over there, a few little stipples over here, and then just like that. Adding some lines in between those shapes that we've got, those lighter areas. Don't worry about this if you just end up adding a big blob of dark paint. It's not something that you need to worry about. It's not an exact practice. Just give it to go, experiment, see what results you get. Again, for your class project, you can try this technique out in your class project if you don't want to try it out over here. It's this overlapping technique of details. Into certain areas, you might be thinking, Oh, I don't want to add too much color on. I like it the way it is. Just do it, however you like, but do give it a go because it's always nice to try out different techniques that you've not done before. And that way, it'll just open up a new kind of option to you, won't it? When you come to doing your paintings or your class projects. Fantastic. So a bit of dark there, a bit of dark there. Then we've got a bit of light, just fleshing it out. And again, on this one over here, just a couple of stipples on this side over here. That's all I'm going to do on this one, just a few stipples. And that should be enough. For that one, maybe just add a couple more over here. Nice stiply stipples. Into these areas just to add this visual interest and build these beautiful textures and details. Maybe just add a few more in here. But again, you can go as long as you want with this, you don't have to do it up to the level that I'm doing it on. You can carry on, maybe adding a lighter color. But that's what we're going to do next, actually, we're going to add some more lighter colors to add in some highlights. So just like this, I just want that separation, and now you can see, we've got this beautiful, beautiful light and dark mixture. On our lovely screen, and it's just brought out that lovely depth into our paintings. So that's it for this now. I think we're going to let this dry now because we're going to work on some more darker details on the ones on the top, but we don't want to do no smudgy smudgy. So let's let this dry and have a break, and I'll see you once that's done. 22. Final Textures: Oki doke, welcome back. Everything is nice and dry now. Let's create our darker mixture for our elements at the back. Got me palette over here. Let's get me round brush. And in our lovely dark mixture that we've already got, I think I might lighten it a little bit. So let's bring in some of this olive yellow color that we had before. Just a little bit of a lighter kind of tone going in there because we don't want the back elements to be too dark. Otherwise, then everything looks the same. So just like this, I'm just creating this kind of lighter shade over here, and I think that'll look quite nice. A bit of white in there. And I think this is going to be quite good. But we want this to flow quite well. We don't want this to be too thick. At the moment, the consistency is quite thick. So let's just add in maybe a spray of water one to two sprays of water. Now I'm going to get my thin brush and I'm just going to maneuver my thin brush over that mixture there. So we've got a nice bit of mixture over there on the brush. Okay, fantastic. Let's move that to the side. Now what I'm going to do is I'm going to go ahead and let's maybe start on this side. Let's now start adding in some lovely little lines like this. So just like this, I'm just going to add in some nice lines going up like this on the side. And you can see these are going to look fantastic as well. I'm just going to create these kind of wonky lines that are going up. This is going to add that darkness to the texture. Fantastic. Look at that beautiful stuff there, isn't it? So just like this, just a couple of lines going up like this. Nice and subtle. Twist the brush around a little bit as you do this. I just want to create this beautiful, beautiful, lovely texture onto these elements, zig zag textures, overlapping. We've got the dark on the light. And we've got the light coming through. Look at that. Beautiful, isn't it? Again, picking up a little bit of that paint on rebush. Going to do the same again, just like this nice and thick on this edge and then just going to bring in these lines, nice and thick. So it has a nice bit of contrast with the edge of that. So just like this now, I'm going to bring in these kind of wiggly lines that go all the way to the top, from the bottom. This will separate these lovely patterns and create this wonderful contrast in your painting and in these elements, make it look a little bit nicer, won't it? Again, maybe just add a couple of stipples on the top. Vary these lines, vary these additional detail lines that we have just to create that visual interest and maybe darken up the areas where they meet so that it makes it pop a little bit, isn't it? I just like this. Darkening up that area. Look at that. Look how gorgeous that looks. Gorgeous stuff. Let's get a bit more paint on the brush. Now again, let's darken this up. Drop in that dark color that we just had around the shape there and then just use the tip of that brush just to create these wonky lines, going to top and just write nice in between those lighter details, just like that. Leaving this edge, not putting the dark all the way across to the edge, otherwise, then it all looks the same, doesn't it? We want to show that one area is lighter, the other is darker to maintain this gorgeous gorgeous contrast. You can see you get some of that orange coming through as well from the back from the underpainting. That looks fantastic, so just maybe a little bit more down here to separate this element from that one. Again, a little bit down here, and I think that's going to be fantastic just like that. Wiggle your brush around these areas just to create this beautiful texture, and this is going to look great. Again, let's work on that little element that we've got down here, maybe that's a bit too much paint on your brush. You do have to be careful with your brush, make sure that you don't oversaturate your brush with paint. Otherwise, what happens is then you just get these big blobs of paint going all over the place. And then you're not going to be happy, are you. So just keep nice bit of control with your brush, practice, maybe practice on a separate sheet of paper when you're using a fine detail brush like this, just to see how heavy your kind of hand is when you're kind of adding in these details, and that'll give you a bit of a indication of how much pressure you need to use. And just like that, you can see, I've added that detail. That looks gorgeous. I might just clear this area up a little bit. I don't want it to be too prominent in one area. I just want it to merge really nicely, and I want it to look fantastic. Okay, now we've just got to do these ones over here, so let's just quickly do them, make sure there's not too much paint on the brush. Again, with these ones, the dark is actually on this side. So let's just add in the dark on this side, maybe add in a little bit over here just to get that separation. And add in these beautiful wiggly lines, wonky lines and just create this separation between this element and this one, then again, maybe just create a sharper line on the edge of the house there. Just add in that lovely contrast, a bit more paint on the brush now, and then add in some nice bumpy bump lines over here. Beautiful stuff that isn't it. Look how easy it is. So relaxing. Again, there's no kind of pattern that you need to follow. Just follow the flow of those previous marks that you made. They're going to be different for all of us. Not to worry. If it's not turning out like mine, see what beautiful results you get. So just like this, the edge, darkening that edge. And I think that looks great. So again, a little bit of paint on the brush and just finishing this off now. So just a couple of dots say, we don't want to put too much dark on this one, because, again, this is effectively just half of that shape showing. So maybe just doing a couple of stipples here. Just to indicate that we do have some dark going on on this shape and maybe just a few little lines just outlining those bumpy bump lines. We don't want those bumps to look too random. I want to show that they do have some sort of a plan, just like this, light over here, maybe darken it up a bit more over here. And I think that's about it. Look at that. Fantastic, that, isn't it? Just a bit of light and dark to create these wonderful shapes and textures, and it looks lovely. So what we're going to do now is let's wait until this dries, and then we can add in some final highlights to really make the whole thing pop and then we can add some details onto the house house and put some smoky smoke into the sky. So let's wait until it dries. Maybe I'll go for a break, have a little drink, have a little sweet or a cake or have some lunch. It's actually lunchtime now for me, so I think I'm going to grab some lunch and then we'll get back together and see what we can do next. 23. Highlights: Okay, welcome back. Let's now start looking at adding in some lovely highlights. So if we have a look on the screen, you can see we've got a beautiful dry bit of artwork there. And let's have a look at the palette, and you can see me palette is all dried out. There you go. That quick drying property of gouache dries out me whole palette. So now I'm gonna have to add in some more paint. Can reactivate the paints by doing a quick little spray onto those dried up areas. But what I'm going to do is because for the highlights, I'm going to be using quite a lot of white, I'm just going to get my white now and maybe just add it in into a corner here, a little bit of white there, some fresh white gouache over there, and then maybe into this well where we've got that lighter yellow shade that we did for the house, and that should be enough for what we need. So we'll add some more if we need to. So I'm just going to put that to the side now. Okey doke. So now what I'm going to do is I'm going to get my zero brush here, the fine detail brush. I'm going to give it a little dip in some water to make sure it's nice and clean and moist. And then let's think about where we're going to start off with the highlights. I think we'll start off on the back elements first. Let's add in some pop of nice bright highlights on these elements at the back over here, and then we can work our way down. So what we want to do here is we don't want the white to be too bright. We probably want it to be the brightest in this kind of foreground area. The background elements are in the distance. Well, that's the illusion that they're in the distance. Let's mute the white a little bit. So what we've got here is in that well on the left hand side, that color that I already had, I'm just going to start picking up a bit of that color like this with me brush, and you can see it's going onto the brush quite nicely there. And then, again, just picking it up, maybe adding some water from my water jar here just to give it a bit of a kind of maneuverability. And then just adding in some of that fresh white into that mixture. And that's all I'm really doing here. I might end up adding maybe a little bit of yellow. So I've got some dry yellow here on re palette. I might just pick that dry yellow up like this. You can see a bit of that yellow has gone on the brush. Just go to bring it in over here and then maybe pick up a bit more. Got some more dry yellow over here. So just like that, just picking up that dry paint and just adding it in, and it creates this lovely kind of ivory type color. Beautiful color that, isn't it? So just like that. I want this to have a nice consistency. I don't want it to be too thin because once it's too thin and kind of wet, it will dry out and it won't be 100% opaque. The thicker the paint, the more the kind of heaviness of that opacity will be. So I think that's pretty good. Let's test this out, move the palette out of the way. Okay, so all I'm going to do is, I'm just going to with the tip of that brush, I'm just going to add in some dots over here on the edges of this element. Just like that. Yes, and I like that. I think that's just nice and subtle enough. It's muted white. It's not going to kind of shine through too much. And then on these kind of shapes at the bottom, just maybe add in a couple of lines, just going to keep it really nice. And subtle, not too much. And there you go, a nice little kind of line on the edge of that shape, and then maybe just outline some of these areas over here with some kind of shapes over here like this. You're trying to follow the shapes that I've already got. And I think that should be enough. And then I'm just going to speckle a few dots on that edge so that it doesn't look too separated from the overall design. So just like this, a couple of light light spots just like this me brush, maybe one or two down here. And I think that should be enough for this one. That looks really good, doesn't it? Just a few speckles of that lovely muted color. And look at that. Oh. Let's continue doing this for all of these. And once that's done, then we can move on to adding the other colors over here. So let's quickly do that now. Oki doke. You can see I've just followed that same pattern on all of my shapes. Wherever the lighter green part was, I've just added some little speckles of this muted white color, and look at that. It's just enhanced it, hasn't it? It looks absolutely beautiful. Okay. Let's now move on to these elements over here and let's maybe slightly change the color of the highlights. So again, I've got that lovely muted tone that I had there. I think I might bring in some of this Olivi green. So let's maybe drag some of this paint over that olive green, and you can see because with gouache, you can reactivate it with wet liquid. It's already started picking that up for me, and I'm just going to bring that into this well here now. So I'm going to bring that into this well, mix in a bit of white. Again, I don't want to use pure white right now. I'm going to save pure white for the kind of elements right at the front. So I think a bit more of that green here. Let's just take some of this green again, just take as much as you want. You don't have to have green added into this kind of highlight color. It's entirely up to you, but I just like to vary it. I like the highlights to kind of blend in to the tone and kind of structure of the elements that I've got. And I think this is a good one here. So look at this nice and good. We might need to add a little bit of water to this, just a little drop there, just a tap of kind of drop of water from my water jar. That just gets it moving. But again, we want to be careful. We don't want to get it too wet. Otherwise, we're not going to have a perfect opaque finish. I don't want it to kind of get a little bit transparent or, you know, a little bit diluted. I want it to be nice and thick, and I think this is good, but I might add in a bit more of that white just to thicken it up, just like this, adding in that white to create that beautiful, creamy consistency. Gorgeous stuff that, isn't it? So that's quite a lot of me brush. What I might do is I might just take a little bit off because if we have too much on our brush, especially on our detail brush, then it's just going to be a big blob of paint. So let's move that to the side. Okay. Now I'm going to concentrate on these midsection elements, and again, it's going to be the same thing. All I'm going to do is I'm just going to add in some kind of lines like this on the edge, a couple of dots stippled and lines just following the pattern of what I've already got. And you can see this beautiful muted green color just looks fantastic. It's very, very subtle, that green in there, that muted green that we've put in into the white, but it just adds this effective highlight, doesn't it? So again, I don't want to cover up those green marks because then it's just going to cover up all my beautiful textures that I created. So it's just a case of peppering these dots and lines into the areas where you have gaps and just keep it nice and subtle don't overdo it. That I think is enough. Then again, on this one, I'm just going to move onto the edge. I want the highlight to be nice prominent on the edge, and I'm just going around these shapes that I've got. This also gives the shape a bit more form just in case you have some of the details losing within the shape itself. It just brings back some of the form when you're adding these lovely highlights. Look at that gorgeous, isn't it? Again, just like that maybe a little bit up to the top. And then on this one, I'm going to add the highlight here really to chisel out that shape. And to make sure that we have a little bit of separation from the elements behind and from some of the elements at the front here. So just like that. Look at that. Beautiful. So easy to do. Just go with the flow. You don't have to create no new patterns, follow the patterns of the strokes that you had previously and just go around them, pepper it around the shapes and the colors that you already got these contours and you'll see that it's just so easy. And again, if it doesn't work out for you, if you're thinking, Oh, I've put too much highlight down, don't worry about it. You know, we're here just to relax, practice, and again, just enjoy the process. This is how you'll learn. And the more you do it, the better you'll get at it, and then you'll know exactly where to put your highlights as you create more beautiful artwork and especially for your class project. So I think we might add a couple more over here. I just want this to be nice and prominent, this one over here. So a couple of dots in between, and I think we'll leave it at that. Look at that. Beautiful stuff. I 24. Brightest Highlights: Okay. Now we can now concentrate on these four elements at the front. And for these four elements, again, I'm going to probably use pure white for the actual highlights. So with me brush, I'm going to give me brush a cleaning clean. And for this, I just want to pick up my pure white. So I've got this beautiful pure whites here that I put on onto the palette. I'm just going to use the edge of this palette here just to make sure that my whites moving around nicely, not too thick, and I think that's good. Okay. Right. So for this one, let's now maybe just use that beautiful, pure white now just to go around these yellow lime colored dots like this, just to effectively add a nice edge to the shape and we can just drop in pepper in these lovely white speckles. And you can see, because we're using pure white, we've got this distinction between the pure white highlight here. Then we've got the muted green. Then we've got that muted yellowish shade on the back, and it just creates this beautiful separation, doesn't it? Look at that gorgeous stuff. So again, maybe just pepper a few here just to ensure that we have a nice bit of contour on this kind of shape so it doesn't all get lost in these beautiful stipples. Don't want it to look like an abstract painting, do we? But then, again, you might want it to look like an abstract painting, and there's no problem in that. So do whatever makes you feel good. So let's continue. I think that one is done. Let's now start adding this edge over here, maybe just drag the brush to create a kind of broken line so that we know where we're working. And again, over here, a bit of a broken line. Then we can start filling in these gaps. Where them beautiful yellowish dots are, and I think that's looking quite nice as well. Just like this, couple of yellow dots, a couple of white dots all marbling together. And that looks great. So just like this, few lines around here, a couple of dots here, just be random with it. Try not making the same marks everywhere, just to make it more interesting, change the marks around and just keep a nice light touch with your brush. I think that's going to look fantastic. So maybe a few teeny weni dots here so it doesn't look too separated from the shape itself, and I think that's looking very nice. Let's now add that line on this one over here. I think this one is going to be quite nice. So just like this, not too much on this one. I'm going to kind of, like, hold my kind of brush a little bit back and keep these dots really, really small. Don't want it to be too overpowering. Otherwise, everything looks like a highlight. So again, on this one here, very, very nice and light, not too heavy, just a broken line, all the way up to that point. And then very, very light, small stipples here, not going to go in too much on this right hand side. And I think that's looking quite nice. Okey doke. So, we've actually done the highlights now. Now, if you want to add in maybe some different kind of elements or kind of change up your highlights, you can go ahead and do that. Actually, should we do that? Let's quickly do that? Let's just quickly, maybe get some red. I'm going to grab hold of some red. I really like adding in kind of different colors into me highlight areas, so I'm just going to grab hold of some red, and let's just create a quick, light little mixture. With our red paint, so maybe just adding our red over there, just a little bit. We only need a little. It's not coming off there. That guash doesn't want to come out. It's saying, No, leave me alone, and then I've gone and dirtied up my guash tube. Not good that at all, so well, you should really cleaned it now, shouldn't you, Mr. Imrano? Yes. So let's just put that to the side. I'll clean that later. I'll just got to make sure I close the cap. Otherwise, it's going to start drying out. But let's just continue. So over here, I've just added that red, and I'm just going to pick up some of that red, and I'm going to kind of create this kind of pinkishade. I love adding these lovely kind of spots and bursts of color and peppering them throughout my kind of design, a bit of water on here just to get it moving. You can see we've got this beautiful pink color over here. So just like that, and when I clean me brush on the edge, and I've got a nice bit of pink. With that, what we can do is we can just go ahead and maybe just drop in some pink dots over here, like so nice and subtle. Just pepper them across just to create some variation in color so that everything doesn't look the same. Can actually add a bit more red to that. So we've got bit more on the red side over here so you can see. It's just like ice cream, this, isn't it? It's like thick ice cream, and we're just mixing it round this beautiful strawberry flavor, but don't go eating gguach. No, no, no. This is gouache, remember. If you feel like ice cream, maybe get it after your class project to treat yourself. I think I might do that. Okay. So with that lovely pink, I'm just going to drop in some of these pink dots over here and look at that. That looks nice, doesn't it? Beautiful bit of pink, a bit of differential with the colors, and just throw in a couple of dots, not too many. And look at that. We've got this beautiful kind of highlight and pink color, like these little sweets in these kind of round shapes that we've got, these beautiful strawberry flavor sweets that are scattered around, and they just look gorgeous, don't they? So there you go. Just a few here and a few there. Just moving it around on top of the yellow and white highlights that effectively just adds to the beautiful look of this illustration. Again, it just adds a bit more interest to it. Look at that beautiful stuff, isn't it? Look at them gorgeous, lovely bumpy bumps with those beautiful colors. You can go ahead and actually add another color to the kind of three that you've got at the back, but I think I'm going to leave it or I might do it. I don't know. I might do it at the end. I'm going to leave it for now. Otherwise, we're going to be here all day just adding beautiful little speckles of color on our illustration. But I'll let you do that in your class project. You can have so much more fun. Okay, now, I'm going to let this completely dry, and that's pretty much it for the details. So next what we're gonna do is we're going to work on just a couple of details just to add to the housy house. Then we might add a little bit of a smoky smoke effect from the chimney, and then we're going to be done. So let's take a break and let it all dry up. 25. House Details: Okay, welcome back. Let's now work on some details of our lovely, housy house. So with the house, what we're going to do is we're just going to add in some little details just to give it a complete look. So I've got me palette over here again, so you can see, remember what we did with the red, we mix it up with the white to create some highlight. This time, we're going to go ahead and create a darker red shade. So I've just added a bit of red over here onto that kind of dried up green. Let's just get a little bit of water. I'm going to use me round brush for this because I don't want to press too hard on my detail brush. Me round brush, a bit of water on there, and I'm just going to kind of drag this red into the green over here and what that'll do is that'll create a nice, lovely dark, reddish tone over there, like we had before when we were using it for the actual colors within the illustration itself. Just like that, a little bit over there. Don't want it to be too thick or too thin. We want that buttery consistency where it can run really nicely with our detailed brush. So just like that, I think that should be okay. Maybe just add a little teeny bit of white from here into this, and I think that's quite nice. So just like that bit of water from the water jar. Let's maneuver it a little bit. And we've got this kind of really nice, reddish, purplish kind of shade over there, and I think that'll be fine for what we want use it for. Just like that, I'm going to move my round brush out of the way now so we can get the lovely detail brush ready. Let's start picking up some of this paint with the detail brush, making sure that it's nicely covered, and that's looking quite nice. Now let's move that out of the way. With this one now, what I'm going to do is I'm just going to go ahead and I'm going to just add in some lovely thin lines as thin as I can with this angle on the table, just like this really nice going all the way across here. Just like that. I'm going to repeat that now going all the way down the roof, so it just adds a bit of texture. Let's quickly do that now. Oki Dokey, added in some lovely lines, broken up lines, just add them however you like. Just make sure that the color that you're using is kind of a darker tone and shade of the red of your roof. So with that now, what I'm going to do is I'm just going to go ahead and maybe add in some crisscross patterns over here just to represent some tile. So let's quickly do that now. Okey dokey, we've quickly just added in some lines, and I think that looks really good. Maybe add a little line going across this chimney path just underneath the red, add a little bit more of a detail to it, and I think that looks quite good. And maybe just add in a kind of shoot up here. So that we have somewhere where we can focus to actually get the smoky smoke out of. So that's looking nice. And then what we can do is we can just add in some window shapes here and maybe just add in some brick lines. But I'll leave that up to you, however you want to design it. I think I'm just going to quickly go ahead and maybe just draw in a nice little window shape over here. So just going to draw in a nice little window over here like this really small and gently. Going to press too hard on me brush, but again, you don't need to do this if you don't want to. Just a little window, just to add in a little bit more detail, just like this with me line a brush with this nice little brush that I've got, just like that, I think that's okay. Then maybe we can add a bit of a shadow shade over here. Let's do that. Let's quickly do a little glaze. What I'm going to do is I'm going to clean me brush, And with that same color that I've got down here, I'm just going to bring it up into this kind of lighter shade that we actually did for the house. And what we'll do is we'll make this really nice and moist. So I'm just going to take it to that corner there. And just like this, I'm going to make it nice and moist, add in more water from the water jar. And you can see we've got this kind of, like, whitish tinge over there. So that nice white color there. So let's just put the palette down. And then with this, what I'm going to do is, I'm just going to go ahead and maybe just add in a nice line coming like this over here, and then just speckling it out over here, spreading it on this kind of right side where we have some shadow, just to give it an indication that this area is in a bit of shadow there. And then on the chimney here as well, just onto this side, just going to add in maybe a couple of lines there. And then what I'm going to do is I'm just going to kind of fill in those gaps, but I want to have a little bit of texture, so I'm going to leave it. You can paint the whole thing if you want this entire section. I just like to leave a little bit of texture. So I've got these kind of wonky lines maybe going up a little bit, maybe criss crossing a little bit. And I just like how that looks. It just adds a bit more depth to the actual drawing itself. Then again, over here, what I might do is, I might just bring in that color and just bring it alongside the edge of that roof there. I think that looks quite nice. What I'm going to do next is I'm going to let this completely dry now, and what we'll do is we'll actually add in some details maybe with a fine liner for the actual brick layers or whatever texture you want. Can leave it at this point, entirely up to you. But I think I'm going to go in with a fine liner right at the end, rather than going in with paint. That takes a lot longer, but I'll leave that decision up to you. So what we're going to do next is we're going to work onto the smoky smoke, and then this one is going to be done. So let's have a break, and let's let this all dry up. 26. Smoke Details: Ki dooki welcome back. Let's now add in some smoke over here just to finish off the painting from the gouache side of things. So with this, I've got my lovely white paint over here, that fresh white paint that I put down. All I'm going to do is I'm just going to grab hold of nice thick gua. So basically, this is the thickest form, that butter consistency straight out of the tube, and I'm just going to load up my small brush with it. So I've got this nice amount on me brush over here. You can see. And then all it is is a case of I'm just going to add in some kind of bumps over here, just like this when I actually cover up them dots that we had I accidentally spilt over miguah painting. So just like this, we're just going to add this kind of little bumpy bump over here. And then what we're going to do is we're just going to go ahead and spread this out and this will effectively be nice bit of smoke coming out of that chimney. And then over here right where this chute is, what we put down, we just a couple of lines going up like this, and you can see we've got this beautiful effect with those dots. What we're going to do next is let's just clean the brush. My brush is nice and clean. It doesn't have much water on it, so I'm just going to go ahead and I'm going to start spreading out some of this paint like this. So just like this from the edges, I'm just going to pick it out. I'm just going to use these kind of circular motions. So it's effectively using a dry brush to kind of spread out that beautiful paint. And look at that. You've got this gorgeous, gorgeous effect of kind of smoky smoke floating around in the sky, just like this. I'm just going to go around it with that brush, not pressing hard, just using circular motions, and I'm just going to go over it to kind of soften those lovely, lovely dots of white just like that. So give that a go. And if you're finding that the whites not moving, then just add a little teeny weeny bit of water to your brush. Make sure it's damp. And then just like that, just keep maneuvering it. And again, with the property of gouache, you can rewet it once it's dry and it can move around so nicely. I mean, just look at that. Beautiful. Just with a few dots of white. Look at this gorgeous effect that we've created just using this technique and again, just dabbing it into this area, so it looks a bit more realistic in a sense, although this isn't a realistic painting. This is just something from imagination. But again, do it however you like, so just like this. I'm just pushing my brush bristles all the way there, maybe add a bit more water to me. Brush, little bit of water to the brush just to start encouraging this kind of round, lovely, smoky, puffy type of effect over here. Look at that. Beautiful, that, isn't it? Look how gorgeous that looks. Beautiful, airy candy floss, white floating around in the sky. That just looks fantastic. So just like that, I think that's looking good. And remember, with the gouache, you reactivate it so that blue underneath is slightly reactivating and mixing with the white, and that's just so easy then to add this effect, isn't it? With that blue slightly merging in with the white. Just keep dipping your brush into water, using the dampness of the bristles, maneuver that white wherever you like. Look how easy that was. Look how easy it was to create this beautiful effect. So just like this, I'm just going to keep going and I just want to maybe just add a few of these speckles over here that are just floating away into this lovely sky area. I think that just looks great, doesn't it? Wonderful stuff, maybe just make it a bit more airy over here, just a bit more airy. And I think that's looking great. Okay, let's leave it at that. Otherwise, I'm going to be here all day just enjoying creating these lovely puffs of cloud. So let's just move the brush out of the way, and let's let this completely dry before we do any smudgy smudgy. And then on the house, what I might do is with a fine liner or maybe a brush pen, I might just go ahead and just quickly add in some final details, and then we're going to be done. So let's just wait until it dries and then add in those details next. 27. Final Details: Oki doke, welcome back. Right. What I'm going to do now is I'm just going to use my lovely little fine liner pen that I've got here. This is just a cheap fine liner pen. It's a kind of sepia brown color. So I'm going to use this, and I'm going to go ahead and I'm going to actually just go ahead and add in some details over here onto my lovely, housey house. So let's maybe start off with the chimney area here. So I'm just going to add in some light lines going across just like that. And then with the kind of main part of the house just like that. Adding in these brick lines over here just adds a bit more detail, doesn't it? Just like that, then maybe just adding some vertical lines going like this just to show that we have some bricky bricks. You can see that the fine line of ink just smoothly adheres to that gouache and it looks great. Just like this, just like that. Couple here, couple there. Don't need to fill the whole thing in. It's just to add some extra detail, and then maybe I might put a line over here just to neaten it up. And then maybe with the actual window, we could just put like a border over here, another light little border just like that to show that we have a little bit of a shadow, and then maybe just add in a couple of stip stipples, just to add in some texture. And I think that's looking great. So maybe just add a line up here as well. And then on this area, I'm just going to let the ink of the fine liner go in between to create this kind of lovely marble, stony effect over here. Just to enhance the overall look of that drawing. I think we're going to leave it at that. Otherwise, I'm just going to keep adding more and more details and it's going to become a beautiful, detailed drawing. Let's leave it at that. And that's it. Look at that. How easy was that? That was beautiful, easy, relaxing. I hope you've gone ahead and followed the steps and you've got something similar like this and this would have been your ideal warm up exercise and that kind of first gouache sketch painting that you've done and you're all motivated for your class project. But now, let's do the most important thing and probably the most relaxing thing and remove the tapi tape. So let's remove the tapi tape and see how this painting has turned out. So I can't remember which way we did it, but this is the way I think. So let's do that now. Let's remove it. Oh, it feels so good that, but can't get too excited. Otherwise, if I pull the tape back too hard, then that paper is going to tear to just like this. Such a fun little end exercise where you get to pull that tape back and enjoy the reveal of those beautiful clean lines. Fantastic. So look at this. Beautiful. Look at that. Gorgeous gorgeous clean line. And it really adds that finished touch to your painting. Beautiful stuff. Look at this. Gorgeous gorgeous gorgeous stuff right. I better calm down. Otherwise, I'm just going to end up pulling it a bit too hard and it's all gonna tear. So just like that. Nice and easy. When you do tear your tape, make sure you tear it at an angle, rather than just yank it off, tear it at an angle like this, and then slowly just pull back and let that beautiful edge reveal itself at that gorgeous. Okay. And then let's do this one over here. I'll hold it from the corner here so it doesn't go all over the place. Fantastic. Look at that beautiful, beautiful stuff. Look at this gorgeous little painting that we've just done. There we go. Fantastic. Okay, so there's our lovely step by step sketch painting. I'll just show you. I'll just pick it up against the camera so you can see there's no reflection on there at all. Apart from where we've got the sky, you can see, if I move the light on the sky, that's just the color of the sky being reflected. But if you look at the actual colors that we've added on in the layers that we've created, just look at that. Look how gorgeous that looks. Beautiful matte finish. Looks absolutely fan. Fantastic. Okay. So that's it. That's your final step by step sketch. Now, hopefully, you would have done all of the exercises and you've got yourself a nice collection of little kind of doodles and kind of paint blendings and loads of colors on little pieces of paper. And I think now you deserve a break, get yourself a nice tea or a cake or a chocolate, whatever you like to treat yourself and get yourself warmed up and ready for your class project. So let's now finish up the class and go through some final thoughts. 28. Final Thoughts: Welcome back. Let's now wrap up the class and go through some inspiration and final thoughts so that you can get ready for your class project. So I hope you really enjoyed doing the step by step exercises and sketches within this class in the lessons. You know, I really enjoyed doing it. And then hopefully, it would have given you a nice kind of resource sheet of various different techniques with the consistency, the blending and the details. And then that lovely silhouette painting that you did, put it together, maybe do a couple more in a few different variations. Then I hope you really gave the step by step detailed painting a go. Again, if you don't produce something similar to what I did, that's absolutely fine. I keep reiterating that this class and art in general is not about stressing about the details. It's just about relaxing and enjoying that process and just giving you that lovely escape into the wonderful world. Of art, and in this case, into the wonderful world of Wash. So hopefully, you would have completed all those lessons and the paintings, and it would have given you that motivation and confidence to start your own beautiful painting for your class project. Do remember to upload all your work and to leave a review on the class once you've done. And again, have a look at the other classes that I've done on traditional medium. There's so many different classes I've done. I've lost counts. So whatever you're interested in, whether it's colored pencils, whether it's inking, watercolor on journaling, sketchbook journaling. It's all there on the profile page. So do check that out. And again, leave some beautiful feedback of what you thought the class was about so that other students can get encouraged to do the class, and we can share this wonderful work within this beautiful community. And also check out my social media channels where I posted daily paintings and sketches for inspiration. So do follow me on my social media channels, follow me on my Skillshare channel. And that way, we can stay in touch and stay together within this beautiful community. Don't forget if there's any questions that you have on Gach or any of the other classes that I've done, then just drop me a question on the class discussions, or if you want to ask me a question personally, then just drop me an email. All the details are available on my profile page and also on the screen over here. So let's stay in touch. Let's stay excited and let's enjoy the wonderful world of art. Thank you so much for your time. Thank you so much for your support. Please continue to relax and enjoy yourself in life in general and bring art into your daily routine. And hopefully I'll see you on the next one. Take care of yourself. Don't stress and peace.