How to Paint a Gouache Landscape alla Prima for a Painterly, Spontaneous Effect.

1. About this Class: Hello and welcome to my new class that you take an action or watercolor wash. Today we are exploring a new technique. We painted these small wash landscape, painting it. I left these smaller SketchUp, small landscape, but we will be painting different layers without waiting for the first layer to dry technique use with Boyd. Using a washer, the result will be very painterly and similar to it's a very spontaneous expression is the way of painting. And I'm sure you would be amazed beggars out. This is the way I like to paint. Wash without waiting for the first layer to perfectly dry before applying a new layer. It's an easy fun technique. That's the way I like to use floss should. It's easy. If you sketch with me, I will follow you step-by-step. You can get lost with my explanation. Also. You need some basic supplies so you can see soup lines. I will explain in detail what you need. A matrix that's waiting for joining me in this field, partial venture and can sketch with me. In my next lesson. 2. Art Supplies: Let's talk about supplies now. The most important thing you need to start painting with gouache is paper. You'll need paper that is, for a wet medium, like watercolor. You don't need fancy paper. As per watercolor, you don't need cotton paper. You need just a good, sturdy watercolor paper, cellulose cotton. And this, for instance, is 200 GSM, is not even 300 GSM, but it is hot pressed. What does it mean? Hot press, cold press, miss. It means it has a texture. But as hot pressed, it's small. But I personally prefer smooth paper for Gua Sha because it's easier for details. It's easy to spread to lay down the pain. I also like sketchbooks, not too rough. I can this small sketchbook where I like to paint. I have a different version of this same painting. Here is a sketch book, cellulose. You really don't need a fancy paper. Any paper will do if it is for watercolor, even 200 GSM is enough. But it's better if it is a hot, then you need, of course, the wash and you can use a student grade or artist grade coercion, even student grade will allow you to make this painting. I have used a mixture of artists and student grade in these sketcher. I keep my To already squeezed. Stay wet palette. Tight, airtight palette like this. You see this is completely airtight so the paint stays fresh. But you can squeeze directly from tube. You will need a whole lot of white wash. I suggest that you buy it in big tubes like this. You see, this is going to run out very, very fast. It's better if it is a white that is opaque and opaque. Gouache is Cheney white, not zinc white. This is titanium white and it's very opaque. It does say opaque. Or maybe it can say special titanium white. You see this is to genuine. Why? The pigment of titanium white is p w six. Can you see it? Yeah. Whereas P W4 is zinc white splatter, if it is p W6 to genuine. Why? What colors I have I used in this sketch? I have a USDA yellow, cool, and a warm yellow, lot of white. I used the blue. I've used a cooler blue cyan of tallow, but you can use Colbert if you have it. And ultramarine, which is the warmer, then I use some sap green or any green we'll do. I have used yellow ocher, burnt sienna, brown, black, and a touch of Alizarin crimson in the sky, but it's really optional. But any basic set of quash we have this color. You will find that in the project section of a this class. Then you will need the brushes. I have a passion for filbert brushes that are flat brushes with the round. But you can also use a regular flat brush and also have used a thinner brush, round brush for details. It's a smaller brush. Palette knife. If you use this is gonna be very useful to dig color out of this palette without polluting it. Then mixing palette. This is porcelain, which is better for wash because I want stain, whereas plastic stain, It's better porcelain for gouache. You can use a dish. Then you will need a class like this, or kitchen paper and a lot of water. I use two jars of water, one a big one for dirty water, and then one jar that I keep clean. Or you will also need some artist tape, paper tape like this. Or maybe some washi tape. See no one like this. I don't use it very much because it doesn't stick very much because I don't know. I always find it that it disappears in the middle of my painting. That's all. That's all absolutely all for now. And see you in my next lesson. 3. Pencil Sketch: The first thing you have to do, put some oxy state along the border so you have increased. This is a very thick taper, so I will not apply the whole length, but just half of it. Now to a drawing. The drawing will be very simple. Remember that? Interesting if you put the horizon right in the middle. So just above the middle would be more interesting here. Then you have a hill like this. And then the road that is broader towards us because of perspective. And then here you have some trees. Just place them and draw them. In here you will have the bushes. That's it for our drawing. 4. Let's Paint the Sky: Now I have prepared some paint. I have prepared some wine, some blue, I will add more, some burnt sienna that I have mixed with the blue. Then I have some yellow. I have mixing yellow with black to have a muted green. Yellow. I have two types, lemon yellow and a warmer yellow. Use what you have. A lot of white, of course, some burnt sienna, magenta or alizarin crimson for the sky. Because the sky have you sired by you can use sky blue, cobalt blue what you have has some burnt sienna. Then also have some yellow ocher ready for this country route. And this guy then start painting the sky. I take a broad brush, maybe even too broad for our small sketch book, but I like it wide brush strokes. When applying just some water. Because the sky meets multiple layer. I wet my paper, have a moodier losers sky. Then I take some of these cyan mixed with white. And then we'll apply on top, go in each direction. So you have a moody sky with the texture. So it was an oil painting. You can put some color variety, some more blue in some cognitive. Then I apply some very small amount of burnt sienna to get a gray. And then it makes it again with one more blue, more white. You can even make some paper more white. Definitely. No one. Just remember to add texture. And then I will add more blue. Just blended, keep blending. In each direction. We will add the clouds at the end, but you can start adding some white to make it more. Wintery. Can have touch of magenta. Here. I have magenta, some corners. Going to add some drama. And also now I can add some yellow on the Dr. I clean my brush. I take some yellow ocher and mix it with some white. And on the bottom part will add this battery, white with a touch of yellow here, on the bottom, here and there every direction. Very moody sky. I'm going to add some strokes, or yellow directly. Some white, more yellow. Okay, I think we're done. And now we will apply clouds later. It's already quite moody. Now, we go to the bottom part. Throughout. 5. Let's Paint the Road: Wrote, I keep my large brush and then we'd make so wide and okay. Remember that? Nice colors always dry, darker and darker colors always try. Lighter. So you have to play with colors and values. Quite, quite wide strokes. Enough, water too. Let your brush glide. Just fill the shape. To worry about perfection of this stage. We'll worry later. Now, you take some pure white and you just apply it in the middle so you will have a lighter center. And also you take some burnt ocher. And you can have some darker sides. Just you mix this burnt sienna, yellow and white. It's dark. But then we would blend it some strokes. Now I clean my brush and blend it with some just planting. Take some yellow ocher mixed with white. Some texture. Clean brush. I clean my brush and then make this horizontal strokes. Some yellow ocher. Just to give some texture. I'm more white in the middle. You just play with your colors until you're happy. You see now we have a larger center and darker side. Just keep applying the cell you have this small c battery texture. Just keep applying. Now we'll go to the green tomatoes. 6. Let's Paint the Grass: Always clean. Your brush, duct to water jar and then the clean water jar. And then in paper. Now you start applying some poor yellow towards the horizon. Down. Don't worry here that would be the bushes to stop here because it will be lighter way. Then we aren't really tall, black, so that it becomes a muted green. Just applied horizontally like this. It's quite watering at this stage. Now. It's thicker towards us, more black and go in horizontal movements, but also nearest infrequent movements. Because here we have feasible graphs. Cross invading the toll road. We keep blending. We take the warmer yellow, check the warmer yellow and be applied here and there to add variety. Same here. Same here. We take, we have, here, we take some lemon with black and we applied it with a lot of texture. And then we apply more black towards us. We can also take some sap green if you have it towards us and you add it just to give some color variety. We had some on our rush. It's good thing. We can add some variety. Here. It's Hailey. It's full of grass. Texture, texture, texture. Here you keep adding, just mix some yellow with your black, gets a different green. Here you have Krauss, upward strokes in all directions. Here. Some horizontal strokes. Because it's invading little rod. Here, you have a much lighter green here. And here. And in the middle. You can take a smaller brush. This stage if you want. I take also some sap green. We'll apply some cross hearing them into small bushy grass. You remember that you want to see the white of the paper. We had some here and here. So some yellow on top of this paper. Don't be afraid to add texture. Flickering moments for grass. Darker yellow. Keep adding, keep blending. Some darker yellow here. To add some variety. I have green on my brush, black on my brush, so we add even more variety. Remember that strikes or horizontal when they fell away. And hello here. And more vertical when they close to us. These are horizontal. Grass invading the road and then you have grass upwards. My larger brush. Why does chunks keep the blend darker? Be affected their job. And then you slightly darker. Now to you, pushes on the horizon towards your horizon. 7. The Background Trees: Now clean your brushes. Can even change your water by you rotate it. You rotate them against the glass like this so you get rid of all the paint. You should do that. On the other job, this is the clean water. And now we must go with some different green here. And we take some, we add some blue, actually add some ultramarine blue to our black. So we get cooler. We take our black, plus. We draw some trees of different size. Fairly loose. You can also use some black. You can also draw the shadow line fast. Then on top of these huge IQ, cooler, green with some ultramarine blue, just take any blue is so important. Small the values. And you just paint this distant trees with dancing movement. You can even grab your Rush more towards yen, so it's more free. Scholastics, more painterly. This. Okay. Now we'll take the same green, some ultramarine blue, some yellow and black. And we paint some trees. They are like wide. Just show the sky through the branches. Here we have another one. Here we have another one. This should be two. Now we take some more black and we apply some shadow. We know that the light is from the left. So we apply it. Well one side, some shadow on the bottom. Like this. Now we take some yellow with sparingly apply here in the top of the tree. Same with a yellow. We apply some on this side of this, pushes out, this is too watery. And we can take some black and apply on the right-hand side. So we have some movement and then we can take our green and just try and plants and texture until you are happy. Keep adding. Now we check the thin brush with some brown, some brown with some of these black and some white. On black. You can draw trunks. More plaque, this becomes track. So these will stop in the middle of the bushes like this. Very thin branches here and there. Yeah, same here we put two trunks. Now, want to add some flowers here in front. And also I'm not completely happy with this. I will take some. My green. Maybe we packed with my black, white. And how I add some texture here. This memo, yeah. No, so taking this lemon yellow mixed with white, so it's more opaque. We'll add some flowers here. And I take some green and add some leaves here. Just endless chain of color. I want to put some yellow here. Just blend it now. Yellow stains humid because of the file flowers. And we'll put some white here for clouds. 8. Add Clouds & Details: Now clouds, we could have applied them before the trees, but we didn't, so we do it now. And I would put that on top here. Because remember the Sun is on top. The white will be facing the top of this guy. Puts one here and maybe one hand behind the trees. And now, clean my brush with some water. Clean water to paint, some white wine done brush. Now we'll just plan to the bottom of the cloud. Why? Usually the bottom is say flatter. Top is fluffy x 03 non-life paper. Gouache can always be fixed. More white. Just touching in. Okay. Some final touches. I take a smaller brush. I would put some stones on the country road. I take my burnt sienna and some of these brown, dark brown from the trunks. These one. And I will add some dots, some shadow and on some grass. Extra white here and there. Just so high that you can also put some dots or white among your flowers. Maybe you want to blend slightly here. Completely happy. Horizontal movements. Because that's how in reality would do is route just develops horizontally towards the center. Okay? He's going to be doing reality. Trying to invade. Remember the column varieties. One of the secrets. Panic. I could go on for hours, but maybe I will stop here. Now we take the tape off. 9. Add a Fence!: Now heated with heating tool, my tape, and because I'm very scared that it tastes of the paper, which happens quite often. And just very, very, very slowly away from you. Heat it before we them blow dryer. One is losing up the glue. Now that I have taken the tape off, I realized that I'd like to add some details. You can always do any pointer. So this is also a class about fixing mistakes. I take a smaller brush and I will draw the poem. So, yeah, take some of these brown. I need to be yellow. And don't mix it. I've taken this brown or the trunks and mix it with white and yellow ocher. So I have this muted, I have this matrix, dark color. And then we'll draw a poll here, disappearing in the middle of the grass. Here. Now I would take some white and just applying towards the live here. So we take some black exhibit, the crown as high no one would apply. It doesn't have to be perfect, just believable. Now I have that clean brush and I will supply some yellow, yellow ochre. They're slightly blended. Clean brush, white. This side. This too much water on the brush. Just go on and T2, happy. I think I will just draw some wires. One to the other face. Here. Why S becomes slightly thicker and disappears because there will be a pole. We don't see okay, flowers going outside. They think these rallies. Sienna with blended. Hello. Okay. Now I'm happy. Absolutely happy. Okay. So you can add some grass in front of our pulse. Like this. So slightly blend. Loser. Okay, I'm ready finished now, I promise. 10. Wrap Up & Congratulations: So you have finished your small landscape. I bet that it's amazing. I will be so happy if you can upload it in the project gallery so that other students can see what you can achieve in this class. You can also post your masterpiece on social media where you can tag me, you find me and my name. And he said, Hey, congratulations for finishing this class. It would be great. If you could review it. That would be great to me so that I can have a feedback from you. And we'd be happy to give you my feedback on your project. Thank you very much and as human next class, Bye bye.