Gouache Illustration for Absolute Beginners | Let's Paint a Pear

1. Introduction: Hello and welcome to my watch clock. Today we're learning food illustration with Bosch. Bosch is a wonderful medium length a is very forgiving and it gives you opaque matte finish. That means victory in strategic them, say DLP engine for food illustration. However, which can be very tricky for beginners, especially if you come from within ground just as I do. That's why today we are fainting death. As simple through the illustrates, shown. These simple pair. It has sketchbook about with the sequent fair your learning process. And you learn this keys that you can apply for your future. Food illustrations or sketches of common objects. In fact, in this class, we will learn how to start the illustration we've been on your banking to add multiple layers and blend them to add shadows and highlights. A further increase the realism to add infrared color variation to finish with the background. That gives our money to the whole sketch. And you will also learn how to make a gradient and use a limited palette of color, our plans and look. And when we meet together some basic colors and achieve plenty of different colors and shapes. When we also learned how to choose a brand that fits your needs enough these, but I feel it's your pocket as well because when you start with beginning you I don't know if you like it or not. So I will add few to choose, right, the value for you. I'm very excited about this new class, so it's going to be a very fun class. So easy back details, education on as well. And I can't wait to start sketching. We do. So don't hesitate. Come join me in this class. Now, for me thing. 2. Supplies: Let's talk about supplies. First of all, you will need a wash sector. Frobenius set suggests that you don't spend too much money, but you buy a set with that instead 24 colors, for instance, could a brand with a good value for money is Artesia? Will you find some premixed colors that are very convenient because mixing colors is not so easy when you're a beginner. Then you need a pencil and an eraser for the pencil sketch. Some brushes. For brushes. I will use a larger brush here, but if you don't have it, you don't really need it, then I will use a filbert or a flat brush to paint the shapes and the ground around one and also agitate one. So these are the brushes that you need. Then you need some white wash. What quash is really important. So it's better to buy the in larger tubes. It's better if it is titanium white that you recognize it from the pigment PwC because it is more opaque. And of course you also need paper. You can use this square sketchbook from a teaser. It's a watercolor sketch book. It cellulose. You don't need cotton paper for washes off. So you don't need very expensive paper. Or you can also use a mixed media sketchbook like this one from Fabriano. You say it says temper our washer or colored pencil. This is very good for quash. Also use it a lot. So today we will be using this small square sketchbook. Sketchbook. It's ideal for publishing your drawing on social media. Then will we need the palette? I use? Lead over your words so I can throw it away when it's dirty. So important is that it is white. Could you want to mix it with white? Then we will need water. Just like for watercolor and kitchen paper to dry your brushes. Then you would need, if you have it, palette knife like this one, to take paint without contaminating it with your brush. I always contaminate. And for the background, I use some watercolor or you can use some worship, but you don't need an expensive artists trade sector. You just need some children paint very cheap. I use this one. And that's it for material. Let's start sketching. 3. Gouache Brands and Storage: When you start with for sure one of the most difficult choices is what the brand of Galatia to purchase. I always suggest the TBI sector student grade center. So that's not too expensive. And you can have some convenience premix colors that help you to achieve a good result even if you are a beginner and that's what ID. I have many wash tubes. I started with in great brand, a 24 color set, that, which is my recommendation. For instance, Artesia, which is very affordable. And then when you finish a tuba of the colors, if you prefer, you can replace it with the Nyquist gray, that bright light or dark islands or Winsor and New York don't. I have the moral here are alone. My name is also nice Brandon. So these tubes are all very expensive. But if you buy a tube just when you need it and not altogether, it becomes very affordable. The results are by 30. If you use artist grade gouache should, but they were off shirts, even student grade paints like CAR, T-cell, Royal London ETL, or reads can give a very nice results. So I think that you can start with these glass with your student. Greg said, don't hesitate. And if you like the medium where you can upgrade to enact this great brand. Also, I use these air-tight palette for quash, squeezing fresh from job. So I had these air-tight palette. I squeezed cargoes from the tube. Is you see how I added some colors that I lie like Naples, yellow or raw sienna with a very nice colors or orange that you might not have in your sector. And before I put this box, the way I spray with a little bottle of water and the paint stays fresh for weeks and weeks and weeks. Just remember to use it. The ones know why it at least once a week, if you don't use your boss, you opening, you sprayed, you put it away. But these are just very convenient. The cell you only use the painted that you need. You don't waste any paint. And the very convenient because you just take out your box and you can pay them then you put it that way. 4. Sketch and Underpainting: For this sketch, I will be using my reference image that I have running an iPad the next to me. And you will find the resources section. So it's a very easy sketch. There is around on top. Then it goes down. And then here you have around basically. And I don't engage it. And you're going to use here, it's a BTE you'd regular, remember the pair is a fruit from the soil. It's not plastic. So this is the shape of our work there. Then we will put a line behind like a table and we arrays the unnecessary lines. And also we can use a kneaded eraser or a normal eraser to lighten, take it away some graphite. In any case, under wash. You don't see so much. The graphite is in water color. We can just make it like. Okay, let's start with the background for the ground that you can choose any color. And just to get rid of the white of the paper. This first wash can be either water color or a very watery wash. It's called an underpainting. And its purpose is to get rid of the white of the paper and also to lay down a base so that wash is easier to spread and blend. I like it very much and I do it all the time. I think it's very useful and make everything easier. With my big, big flat brush. We let these dry and I will see you when the background is dry. I will also put a tape so it stays flat. Okay. I see you later when this is dry. 5. Let's Paint the Pear: Now, let's touch it with the back of our hand to check if these is dry. It's almost dry. We can start, I prefer watercolor to wash, but you can also use very light watered-down wash for the background. Let's start with our Slack to or the filbert brush. And let's start applying. On the left-hand side darker colors, we must decide the direction of light. So I will put an arrow here. That light source is on the right-hand side. So we start from the left-hand side with the darker values. You could maybe do the opposite. If you are left hand side it is start from the right hand side. I start from the left-hand side. So I move towards survive and I don't smudge what I have done. So I start by mixing some burnt sienna I take from my premixed palette. I think some burnt sienna here with my brush. And I add to it, I don't want to contaminate, so I rinse my brush and then take some blue. Here. I take some blue, ultramarine blue, and I mix it so I get them in really dark value exceeds any blue. We also cannot sum. When Jen do have it more on the right side. More burnt sienna. Remember that wash always dry, darker in light values and it dries lighter in that values. So it's not really the colors that you will see, but this is just a first wash. If T is a two-block colors and we can water it down, just delete all. Because if it is water down, it is more difficult to reactivate it in the next steps, in the next layer soil. Stride, but always look at your reference photo. But we don't have to do with identity. Cool. Rebooted a dark stripe here. Then I take more burnt sienna here. I always add some magenta. I can take some magenta. I can take some magenta with my palette knife and put it here. So I have it. So you see it better also. I put my palette knife in the water. So I have a burnt sienna that is more on the red dishes more or like Rust could be an Indian red. And I overlap it to the previous brush stroke. And you see, and I have this reddish brown. Now I can reinsert a blend of the tool. Now I just take some burnt sienna, just burnt sienna and burnt sienna. Very little magenta. Just enough for water to make it run. I need some yellow ocher. I put here. I mix it with the burnt sienna plus magenta. Magenta. And I just Spain to the right hand side. These would be dark maybe here. So I can add some white or just some primary yellow. Some primary yellow here. You see I'm mixing colors while they are wet. It's a wet on wet technique. These one. Okay. Now it's not yet beautiful, but it will become beautiful. I rinse my brush in the big jar of water that they use to rinse the brush. And then I just agreeing to fit in in the water. I drop it right on my paper and they blend it. Very, very lightly, but we're not happy with this. It goes to steal a bit flat. Then we want to see the brush strokes is going where an oil painting disease starts to show. So we want something even darker here. So I take a patch of black. Black is very staining. So a literal touch is enough. And they mix it with my round. And they put it here on the bottom. And then I go again. Not every is my gratia because black will contaminate all my paint. Some more burnt sienna. I mix it with my red. I think some of these round to darken it. And we slightly overlap pits, so is the gradient basically. Now I think my wife, because there will be needing some wise sooner. I just squeeze some on my Padlet because here I need a lightened volume. You see this mixture of burnt sienna, yellow, yellow ocher. I pick some white and that will lighten it. And we'll apply it. And we'll apply this mixture with white. Well, I see that I have lighter. And then here we blend it again. I raise my brush very lightly. Blend columns. And then I take some pure yellow ocher mix with burnt sienna and a touch of magenta, but lighter than this, and that will apply again here. I can also some pure white here. To lighten it. I like that. I see the brush strokes. It's like oil painting. And now I blend the edges again. We did cleaning almost dry brush. You can blend it. You take some more color here. And it's easier to blend it with more color. Onto DACA. Add some blue, or be careful when you have a drop here on the brush. Always. Right here. It's out of, you see there is a little mistake here, but it's not important because it's very forgiving. We have some water, it's very forgiving washer. And I can go over it. And then when I put the background, I can go over here, be slightly careful on some more magenta. With all these layers, you make it more interesting. Yellow curve, magenta, magenta. Here. And now I've saved. We can blend everything is safe, the result. And then we will apply highlights when it is dry. Very gently. You blend everything. Okay. You see the brush strokes so they are interesting. You can also put the little brush strokes of pure magenta just to give it some interest, say with primary yellow. And you blend it. So it's not too flat. Color variation that makes it interesting. Always pat dry your brush and blend what you've done, so on until you are satisfied. I think I am satisfied. Maybe lighter on this side. So some white, some yellow, a yellow, some yellow ocher. The more layers support the, the easier it is to blend. Okay, Now, last blending. And we let this dry and we can continue with the background. 6. Let's Paint the Background: Go to the background now. To be harmonious debit ground master, use the colors that we have used for the pair plus white all mix together. So what I can do, I take some water and mix together. For instance, these all occur the cell, some blue and some y. We can increase the war to have a cooler and cooler the ground so that more white so that it makes a contrast with the pair. I think I want some more blue and some more white. So we have a gray. And we need to water it down. And we start applying our background first wash of background. Maybe we need a second wash later. So I use it for the table. Can choose a different color for the wall. And around. Good, we know that the light comes from here. We can add some yellow and some y towards the light. You see it's more greenish. Water it down towards the light. Then if you don't apply heat that you can put the second war convective, Nathan. These can be quite watery. This big round yellow peeping, true, but at least you don't have the white background. You can hear my dog. And then we need to put shadow here, but we go to the wall. For the wall, we can put even more blue to heavy, even cooler and watch more white. So to have a different sensation feeling between table here holds so 43 and then we will add some interest with some different brushes stroke. You can vary your donate of course. Just followings care. Your pair. Watering. Keep adding water because wash dries very, very quickly on your palette. Going in all directions. Like we did crisscross motion. You just carefully around the pair. You can go with a smaller brush if you don't. Trust state. And in the mean why the pair is getting dry. And we can add highlight later. Here there is some color variation using one blue and, and more white. Some strokes. And the more layers you are, the more texture you have, the easier it is to blend. And to reach. Painterly. Look. Here I have Eclipse, I take it off. And slightly maybe darker here away from live. Always a crisscross motion. I can now add some of these gray fur color variation. I use the brown that makes gray blue. Use all your colors with different composition. Here there is a mistake, but wash is very forgiving so I can fix that. Okay. Now, again, the table. For the table we need to now to add even more. In some light and some yellow. I use some primary wet yellow, green side. I use all my white crisscross movement. So to give a nice texture and the painterly Luca, almost 0 it is though it was only. But we need to put a shadow here then. And for a shadow, I will add some blue here. And like this, I can fix it later. For now. For the moment being, it's just a darker area. I need to fix the pair here with some darker. So I rinse my brush in the dirty water, and then a finance lease will clean water. And I take my mixture weeks, blue, burnt sienna, brown, and black. And I just cheat. And you see, it's like magic. It's gone. Okay. Just let me blend the Toledo to apply some white very lightly. And it's very, very likely. Now you take the round brush for the shadow and you can add some violet. We're assuming occur. If you have violet purple, It's perfective or you can make it, or you cannot delete or your symbol like adjust. That can very much this edge with the pair. I mix it with my previous color so I have some continuity. Okay. And then I take some blue for instance. And I just did you feel that Russia. So you can blend it. Now you can add some lighter strokes here and there. Some poor yellow. Yellow here. Maybe to give some blue. It's just some color variation here and there, so that you have a really painterly feeling. Okay. Yellow is very nice. Primary loss of I as more. Okay. I see there is some paper color flowing through is not why Because we have the yellow underpainting, but I don't mind it. I quite like it because it can be an island, but if you don't like it, you can just get rid of it. We turn detail brush. I don't like these ones, so I could read on this one with some paint. And we need to put some white highlight. Highlight. Now we need to put some white highlights. So I take a perfectly clean Russia. So clean it. Very well, received, very well. I think some Y again and squeeze some fresh white on your Padlet. Just find a little spot for your y. You can see everything is I can put. Then we go to the highlight. 7. Final Touches: Let's go to the highlight. Here we have our, we have our Kenya. I watch my reference image. I see that I can put the highlight here. And then I highlight here. Okay? You can leave it like this, but you can also smooth the edges. You can leave sharp edge on top but as magic below so that you only have one here TO rinse your brush. Moist brush and just slightly here and here. And if you're not happy, you can repeat the process. You can also had bid with your little finger. I need some wider here. Okay. Yeah. Okay. Then once dry we can improve it if we don't like it. One thing that I always suggest is that you take a picture and watch it. Also. You can see all that mistakes. I want to smudge it. We take some primary yellow and they use it too much. Once again, some primary yellow light. They use it around the y so that I get a nice transition. And also use some yellow ocher so that you have a nice transition. And then you blend it. Ok. Need some more white matter area. And then when these is dry, you can put down later white circle for the highlight. Let's try now, although it's not dry, Let's see, I use some pure white or with my detail brush and just put some strong white. Now, we need the detail brush for the stem. For the stem, I'll take some burnt sienna, pure white, pure sienna here. And I make a C curve like this with the larger. Now I needed that today with some darker sides. So I take some of these blue, mix it with the burnt sienna and with my detail brush. I tried to make. Here. You can always, you can also use this very dark color for you to get rid of the white. The shadow. Just don't want to hurt the edge here. So I take my feed best again. Let's be very clean. And also you take some yellow and gt. Okay. Here you see you will have darker. It's wrong here. So I have left darker, round line here. If you don't have it, you cannot delete here now with some darker brown by the sun, you can go like this to give this around feeling. And you blend it with some maybe some sienna. Okay. I don't want to touch it any longer. Maybe you can give a yellow highlight here just to give some very, very light like this. To give so covariation. Okay? And everything. But you can leave some brush strokes. Okay? Here we are. We finished. Relation. 8. Wrap-Up: Congratulations, you have the sketch DO pair along with me. It's a great result. It may be your first two sketching wash up. You'd see it wasn't too difficult. And I hope you have login to plenty of tips and tricks and new skills. If you have finished your project, please central not hated data to upload it in the project gallery. I can give you my feedback. And other students can see what type of results so you can achieve for in these plots. Some. Also, if you post your bear on social media, don't forget to tag me. And I would be very happy to share your photos to my stories. You can find me on Instagram. We might exhibit. Excellent. Thank you very much for having follow the class with me, and I'll see you in my next class, java.