Transcripts
1. Class Introduction : Gouache, a medium you might have heard of, seen other artists use it. Some of you might even have some in your art cupboard, but let's be honest, the medium remains a bit elusive to quite a few of us. Is it water color? Is it not? What paper you use for it? How much water you add to it? So many questions when you're just starting with it. Hello, my name is Garima Srivastava. I'm an art educator and the artist behind Instagram account, mylittlebasil.studio. Gouache is such a versatile medium that you can paint with it in beautiful loose style, but also really fine intricate details with it. In today's culture class, I Want to demystify gouache as a medium for you and get you started. In this class, we will discuss the supplies. I'll teach you the basics of Gouache in detail, followed by a fun and easy project with Gouache. I really hope by the end of this class, you can no longer wait to get started with Gouache.
2. Gouache: Before we begin, let's quickly cover some of the facts about gouache. I will be covering most of them later in the sections. Gouache is also called opaque watercolor and also body color. It's quite similar to watercolors and let's see how. They both have same components. They both include some kind of natural pigment. A binder which is either gum Arabic and lately for gouache, dextrin. Some distilled water and some additives. They both are water-based media and they are very easily reactivated with water. Now, let's see what are the difference between the two. Watercolors are known for their transparency and gouache is known for its opacity. How that is achieved is by changing the pigment to binder ratio which is bigger in case of gouache. What that means is for the same amount of binder, the amount of pigment is higher in case of gouache. The pigment is malt quite fine in case of watercolors while the grain is kept a bit more coarse in case of gouache. They dry much faster than watercolors. You have to work light to dark in case of watercolor but you can work both ways in case of gouache. Sometimes for gouache, some chalk is also added. Now, let's cover some of the basic facts. It dries lighter than when you paint it. You can change the opacity of gouache by adding the amount of water to it. If you add less water, you will have the opacity retained and if you add a bit more water to it, you can get the transparency that's similar to water color. You can lay dark to light, light to dark. You can fix a layer by adding some acrylic medium and also you can use acrylic gouache which have a water resistance surface when they dry. Gouache always drives in a matt finish and the colors are quite vibrant. A tip for you, always wait for the previous layer to dry and now let's start playing with gouache.
3. Paper/ Brush/ Paints: Let's talk a bit about the supplies that we use for gouache. The color itself comes in tubes, little jars, and even desks like what we used as children, but you can very easily reverse with the spritz bottle. Most of watercolor artist already have a white gouache. Some of us also have a black gouache with us. But you can also buy a set of very basic sets which has a primary red, primary blue, a primary green, and a primary yellow in it. You can use these colors to create plenty of shades. But sometimes I also like to have a few special shades and ready to use tubes like a special dark red or a pink, the turquoise, also flesh tend. These colors are handy to use, especially when you're covering a large area and you don't want to mix too much color. You can just use these colors for our consistent and very vibrant shade. But today I'll show you how to use most of these colors and a few extra to create diver shades. For the brushes today I'll be using synthetic sable, but you can also use synthetic round brushes. You'll also need a few detail brushes. For covering a background area, you'll need some flat brush, but you can also use round brush for that purpose. Based on the area you're covering, if you're covering a bigger area, you'll need a bigger flat brush. If you use too small of a brush for covering that area, you'll get repeat marks there. For mixing the colors, today I'll be using ceramic plate to squeeze out my color and mix them. But you can also use a little mixing tray to keep the colors very well separated. But usually both of these catch dust over time. You can also use a closed palette box like this where you squeeze out some of your basic ready-to-use colors in some areas and rest you can make your own mixes. When you're done, simply close them and the next day whenever you need to paint, you can simply re-wet it using a spritz bottle. Now for paper, this is a cold press watercolor paper. But since squashes so similar to watercolor, you can use any paper that's suitable for watercolors. It can be hot press, cold press topside, cold press bottom side, or even the rough kind. Let me show you how they look on these papers. I'm mixing some green in my synthetic brush and now apply some of it on the hot press paper, which is really smooth. You can see how easy it is to apply the color and you can get very well-defined edges with it. It offers me no resistance at all. Now let's apply the same color on cold press stop site. It's still very easy, but I can feel the grain of the paper a little bit. It will give you slightly different look than hot-press paper. If you don't have hot-press paper with you, you can use the bottom side of cold press paper. It's quite similar to hot press. So let's see how the color looks. It's smoother than the top side and you get quite a similar look like the hot press paper. Some people also use gouache on rough paper. That is either for the special texture of the paper, you can get streaks and different textures that are very special to rough papers, but it also is used for really take application of the color where over time you need the paper to hold the color very well, to really take gloopy paint, needed grain in the paper to hold it over time. If you use it on to smooth of a paper over time, it might be off. So some people do use rough paper for that purpose. You can try applying wash and different kinds of paper to see which one you like in terms of how they dries on the paper and also how easy it is to apply it on the paper. Today we'll be using cold press paper because most of the artists already have it with them.
4. Introduction to Gouache : Let's start playing with gouache now. I've got some colors squeezed out on my mixing tray. I've got some primary green, an ivory black, some primary red, white, primary yellow, and primary blue. You can simply use a tube to squeeze some out. Paint with it, create lots of mixes and if it dries, simply use a [inaudible] bottle to revert your color and you're ready to go again. We'll be using these colors to create plenty of shades but I also want to show you how gouache is different from watercolor. I've got some permanent rose, indigo and new gumbo shear. Now let's start creating some of the shades. First I'll pick some white in my synthetic sable brush and now with just a touch of primary red, I'm able to create a nice, pretty pink for myself here. You have to remember that they dry a bit lighter than when you paint them. Now I'll add a bit more red to this mixture and you can see how I get a bit different pink for that. You can change your mix around, add different amount of color and you'll be able to create plenty of shades. I'll add some yellow. It's quite thick paint and it dries very fast. With just a little bit of yellow, I'm able to create a nice peach color. For your violets and purple simply pick your permanent blue, add a little bit of primary red to it and you can get a nice violet shade there. If you don't have green with you, you can start with ivory black and then with just a touch of yellow, you'll be able to get a nice sort of olive green with it. You can use these colors to create plenty of different shades and you won't need extra colors but sometimes I do like to have some special colors like flesh tint, and some other deeper reds or turquoise colors with me because they're not just vibrant but you should know that gouache dries a bit lighter than when you mix. If you want to cover a big area, either you mix a huge mix of that color or you can end up having inconsistent color shades between your different mixes. For that purpose, you can use a ready-to-use tube. I've got some turquoise and some deeper reds for that purpose. I do want to show you how gouache behaves differently from watercolor. For that purpose, let us start with creating. First, let's create a line with the pencil. Let's see if you can see it. I'll darken it up a bit and now let's mix some watercolor first. I've got some permanent rows here and I'll just create a mix with it. Let's first lay it here. You can see how light it is and how the white of the paper is shining through. That says something about the transparency of the paper. Now let's lay this same color on top of this line and you can see how easily the line is visible. Now let's try creating a pink shade with our gouache. I've got some white and now let's add a touch of red to it, and we get a pink from it. Let's first apply it next to this and you can see how flat and solid the color looks. Now let's apply the same color on top of this line and you can see how the line is not visible. That's the opacity of gouache talking. I can simply add a bit more and the line is still not visible at all. This is how it's different from watercolor. Watercolors are transparent and gouache in there, really thick, application are opaque. Now we are told to work light to dark in water color. You first apply your yellow and then you add your darker shades to it. For example, indigo around it and a dark will always show on a lighter background, but it doesn't work the other way around. If you have an indigo wash, you will not be able to see the yellow if you apply it on top of it in its full brightness. Just add some yellow and you can barely see it but you can solve this problem with gouache. Let's first create a little deep indigo mix. I'm adding some primary blue with a touch of black, creating a really deep blue color here and I'll just apply it here and let's wait for it to dry. To see if the color has dried or not, just tilt your paper and if it's shiny, that means it's still wet and if it's sort of map look, then it means it has dried. Now, when it has dried, you can simply apply any kind of lighter colors. I'll just pick some yellow in my brush and for example here, the purple has dried so I'm applying it and you can see how easily it's visible. Now that this one has dried, I'm able to paint yellow on top of it and it's quite easily visible, so you no longer need to only work like too dark. You can also paint dark on light with gouache. I'm simply using a dark, black mix and just applying it on any kind of lighter base. In the next section, let's continue exploring gouache a bit more. We'll talk about how to vary it's opacity and we'll practice lots of brushstrokes that you'll need for the project.
5. Exploring Gouache: Gouaches known for its opacity, but it's also similar to watercolor. Based on the amount of water you add to your mix, you can manipulate it's opacity. I've got some primary blue here and I'll add a lot of water to create a really watery mix here. I'm going to apply this mix on to the same paper and you can see how light the application is. The white of paper is shining through and you can get almost similar to watercolor transparent washes. Let's apply it on the line here and you see how the line is visible. Based on the amount you add to your mix, you can change the opacity of your gouache mix. You can obviously apply it really thick. Let's apply it on the line and you see the opacity is back you can no longer see the line anymore. You can also create really juicy mixes. You can make some of your blue and some of your purple to create semitransparent washes that are needed for your loose florals. You can see how it's opaque at places and at places it's also a bit transparent, but you can also use it thick and it's full opacity for little floral motifs for your folk art. Based on amount of water you add, you can vary the opacity of gouache very easily. This light washes used by landscape painters as a base layer. They apply different colors of the landscape very roughly in a base layer, and then upon top and much more gloomier color for a more detailed look. Now, gouache, doesn't bleed as easily as watercolor. I'm applying some yellow I'll add a little bit more and while it's still wet, I'll add a touch of red around it. You can see how the colors are not bleeding. To soften up the edges, you can simply touch wet brush around the edges and it will give you the watercolor effect. Not quite watercolor, but still quite close to it. In the next section, let's start practicing how to lay a flat wash and also how to add details up on top of it.
6. Exploring Gouache Contd.: Now let's start practicing how to lay flat washes, for example, you need to cover this little square with the base background layer, for that you can use a flat brush, but for smaller areas you can also use a round brush for example, we need to make a little square, a black background here. I'm picking some fresh black color, I'll just squeeze them out from the tube with my wet flat brush, I'm going to create a nice gloppy mix, and to cover this area, you can either go vertical stripes or horizontal ones. One go, two go and I need to load again. When you seeing streaky edge at the bottom, you know that it's time to load your brush again. Rinse it again and pick a fresh load of color. Based on the amount of water you have in your brush, if you have too much water in your brush, you're going to end up with inconsistent wash and you will have little stripes like this of paper white showing from underneath it, hence you might need to go back again to create a better flat wash on it. One tip that I have is, don't go back on awash with a fresh layer until the base layer has dried because you can very easily lift that color up. Here the washes dried, I'm adding a fresh layer this will give me a much more flat looking wash, the streaks are gone, let me show you how to see if stride. If you tilt the paper, you can see where it's dried, it will look matte and if there's a shine, the paper is still wet, the colors is still wet so you have to wait for it to dry. Now while it dries, let me show you how you can lift the color. Pick one of your brushes, just wet it a little bit, it should be dumped, not completely wet, keep your paper towel with you and a random brush where you want to lift the color, it will pick some color, your brush again, dry it a little bit, and then go back in again. Based on the staining characteristic of the pigment in the quash, your paper might stain a little bit, but with this method, you'll be able to lift most of the quash out of the paper. You can see the paper right coming back. This wash is still wet, just check. You can also create flat shapes with a round brush. I prefer to use round brush for smaller shapes, it can get nice curves with it. I'm creating a small bird here and you can use this for folk art motifs. I can go back in since it has dried and remove the streaks, I can touch it and it's already dried, I can go back in and just add a little bit of touch ups to my base layer. I have to be very cautious, apply the second layer of quash very lightly because you do not want to lift the bottom layer since they do get very easily activated with moisture. Just simply likely laid around and you will get a flat wash. This is how you lay the background layer, for the foreground details and foreground layers, I want you to practice lots of brushstrokes, just like we do with watercolor, I am picking my synthetic brush here. What I usually do is pick a fresh color and if it's wet, I simply pick it directly with my brush and if I need to create a mix, I use a robust brush to first create a mix because it robust activity and I don't want to ruin my fine brush. When the mixes ready, I simply use the fine brush to add the color. Now with your fine brush practice fine lines, curves, try practicing little leaves. We do this practice for our watercolors, try practicing long leaves, small leaves, you can also practice little curves and all of this will come handy when you start adding little details to your quash. You can also practice this botanical shapes and little flowy brush strokes with your round brushes. Little leaves, some more curves and more leaves, as much you practice, you'll feel more confident playing around with them and it will give a better look to your foreground layer, just practice lots of lines. This one has now dried so we can start adding some details to it. I'll just pick a little bit of white in my brush and simply on top of it. You see how easily it's visible. This was flat wash and details up on top of it. You can obviously go another round once this layer has dried, you can add little details up on top of it, you have to wait for it to dry though, because if you add too soon, the color will mix in the light so if I'll add the blue a bit too soon, it will sort of mix and the places where the white has dried will show up very easily. It's dried here, it's showing up and it's wet here, so it will get mixed in there. There is a small trick that I want to show you. If you do not have all the colors of wash with you, what can you do? You can simply use your water colors mixed with white quash to create an effect of quash squeezing out some fresh white and then simply pick some of that. If you don't have a quash pink with you, but you do have a watercolor pink, just add a touch of water color to your white quash and you can get a very close to quash a pink mix out of this a basely shade, I'll add a little bit of more white and this time a bit of yellow to it, and I get a paste, a yellow from it. You can now add a bit of indigo and I get an opaque washed from it. You see, we did not have these shades in quash, but just with the use of whitewash, we were able to get an effect of quash out. I really hope that this has helped, you know quash a bit better and you can practice your flap brushstrokes and also a little bit of detail brushstrokes before we start with a fun illustration project in the next section.
7. Project: Supplies: For the project of this class today, I'll be using three hundred gsm cold pressed watercolor paper. You won't need to tape it since we won't be using too much water in this project. You will be needing some mixing tray or a ceramic plate to mix your shades, a jar of clear water, for brushes today I'll be using synthetic-non synthetic sable round brushes, number four and a few detail brushes which can be either synthetic or synthetic sable. You can also use a flat synthetic or sable brush for the base coats if you prefer the look of that compared to a round brush. You will be needing a pencil for drawing, an eraser, some kitchen paper roll, a spritz bottle to revert your color. For colors, I'm sharing a list of ready-to-use colors that will be used in this project, and also a mixing chart for the shades we'll be creating in this project. You can just go through the project and decide which colors you like and based on that, either buy a ready-to-use tube for it, or mix your own shade-based on this chart. To download these files, just go to your project section of this class and you will find them under resources.
8. Project: Drawing : As a project for this class, I want to cover the sheet with lots of coffee and tea cups, so I'll practice first on a printer paper. You can look on Internet for reference, but also your own kitchen cupboard for different shapes of coffee and tea mugs. To draw symmetrical shape, you can use a tracing paper, but here I'm just hand drawing them. With the use of middle line, you can try to approximate the symmetric shape. You can add different kinds of handles to them. This hand drawing has its own look to it, and I personally really like it. Try to create an approximate symmetric shape, but do not worry too much about the symmetry, we want to keep this a loose look. Now let's start drawing on our watercolor paper. This is a 2B pencil and I'm very gently drawing first the oval shape up on top, a middle line in between, and then the bottom two edges going downwards. Oval shape to decide the size, a middle line, two edges, and then the bottom. I'll draw a few more. Now let's start adding some of the handles, so do vary their shape around as well. For a bit more tea cup look, do add a bit more ornate handle, but do change the type of handle around throughout these different cups. Now we're done drawing, so I'm just pushing my needing gum onto my drawing to lift off any extra graphite so that I'm left with a very faint guiding lines for my shapes. In the next section, let's start first by laying flat background layers for these cups.
9. Project: Base Layer: Before we start doing the base coat, I freshly squeezed out some colors on my mixing tray. I've got some olive green, some indigo, some ivory black, some primary red, primary blue, primary yellow, some flesh tint, little bit of primary green, alizarin crimson, lots of white dots, and we'll use these colors to create most of the background and foreground colors. For this one, I want black as the background, so in my synthetic sable round brush, I'm going to pick a nice mixture of black, I'm hoping to do this base coat in one go, so I'm keeping my mixture quite thick. Just with small brush strokes and covering the whole area. The paper is gold press, so it does offer me a bit of resistance. Especially around the edges, I will go slow and maybe twice to smoothen out the edges. Once it dries, you'll be able to see whether you need another coat or not. But don't go in before this first coat dries. Just smoothen out the edges, refine the shape a little bit more. Now, for the next one, I want a violet color, so I'll just pick a little bit of primary red and a touch of primary blue into it, and this gives me a nice violet. But I want it in a bit of paste still shade, so I'll just use a little bit of white to create that shade. Let's start covering it up. I'm still going horizontal coverage, but my brush strokes have vertical this time. I'm just roughly painting them and not worrying about too smoother for wash because most of this will be covered with details. This one has dried in the meantime. Now for this one, I want a bit of pink, so I'm just adding white and touch of red. I've got a nice pink. At this point am leaving the inner edge and the handles around for now and we'll be painting them a bit later. For the next one, I want a beach color, so I'm just picking my flesh tint and adding to this pink mix so it's now a little bit pink dented. I'm just adding just a touch of yellow and now I like the shade a little bit better. We can use this to paint this one. You can always go back in once a dries to create a much smoother wash. But do remember for illustration like this, most of it will get covered with details. For this next one, I want alizarin crimson as my base, but I want a bit of orange in the left-hand, have a gradation into my base coat, so I'm just using alizarin crimson and a touch of primary yellow to create that orange. I'll start with orange first, on to the left and now with the same brush and picking some alizarin crimson and I'll just start coating around it, just covering a little bit area touching this orange. Now I'm picking orange again and sort of blending that too, and now simple alizarin crimson for rest of the area. I've got a roughly blended base coat for this one, and I'm not worrying too much about blending it more smoothly since most of it will get covered. Just going in to check the places which don't have the proper coverage. I'll also try to create the back rim for this one and maybe the back rim for this one as well, and also this one. Now, this one I want to keep completely wide so I'm simply picking up white in my brush, you won't be able to see since it's white on white, but it's simple, plain white am picking up. If you want to keep something completely white, you have to be careful to pick a fresh white from your plate. Sometimes you get a little bit of tinted white because of some other color that was on your brush. I'll also color this one, some in white but you can see there's a touch of pink in my makes, so this white is not completely pure white, but nothing to worry about it. I've got a little blemish here on the paper, so I am just simply increasing the height of my mug and sort of covering that blemish, and because of the opacity of the white, I will be able to cover most of the blemish out, adding a rim to it as well. Now, for this one, I want a dark blue, so I'm picking some indigo and adding a touch of black to it, and also add a little bit of primary blue to it. Now let's spin this one. I can already see this one will need a second coat, but I will not touch that area for now. Now, this one has dried and I can see it needs another code, so I'm just adding it very gently another layer of black to it. For this one, I want Tiffany's blue, so I'm picking some primary blue in my brush and a touch of primary green to it. Now I will add a little bit of white to it and this will give me the blue I want. You can always turn the paper around so that it's most comfortable for you to make your brush strokes. I'll also pick some pink to create the rim for this one, and now I can see this one needs a little bit of touch-up, so I'm just picking some of that same dark blue-mix and just adding a little bit around there, I can see that it needs another coat. It's completely okay if you have to do little bit of touch-ups to make the shape better. Since I'm missing yellow in this whole piece, I'm deciding to repaint this one with primary yellow on it, so just roughly adding it another coat. Quite take loopy mixture because I want this white be well covered. I should be using a flat brush to have a much more smoother look but I prefer a round brush especially around the curves. Now we will wait for all of these base coats to dry, and in next section, we will start adding the details.
10. Project: Decorating-I: Now let's start decorating. I'll be painting this one, this one, and this one. For this black one, I want to decorate it with white. Before that, let me show you the brushstrokes I'll be using. I'm just picking up a color, you can see some black and my synthetic round brush and just making little five petals flowers, varying the petal sizes. Just one big and a few smaller one. One, two, three, four and five. I'll also make fine lines so you can practice these brushstrokes. A touch to create little leaves as well. Just a dab for leaves and petal brushstrokes. For the pink one, practice long leaves. Just like you paint palm leaves, one long ten stroke and then push for a long leaf. For the dark blue one, we'll be painting similar kind of botanical motifs with berries and leaves on it. Just make little twigs like this and little berries and also the leaves. Practice this before you start. Now I'm going to start with the black one first. I've got some white mix in my synthetic round brush, a quite thick white mix. I'll just start close to the edge and just check if the bottom layer of the other cup is dried. I'm just adding these flowers we practiced. I'm not trying to make it a very uniform pattern, just going around and roughly adding them where I think it needs a flower. Vary some of the petal shapes and also their size. Now I'm changing my brush into a thin fine detail brush, synthetic one, and I'm picking the same white mix. I'll just create those fine lines, little twigs attached to these white flowers and little leaves along with them. I'm going in on some of the petals that need a bit more coverage, so just a pick mix on top of where it has dried and needs more coverage. Now for our next one, I want dark blue palm leaves. For that I'll pick some Indigo in my brush and a touch of black with it. I'll just start from the bottom up, one fine line. I'll make a few from top down, so one here, and one hanging here and now let's start making these fine leaves that we practiced. Some of them going over the edge, so just be careful. You can always practice these brushstrokes beforehand to have a bit more confidence. Now for this one, I've got some watercolor gold in my plate but I'm also squeezing out some quash gold so that I've got two different shades of gold, quash gold and some water color gold. I'm just picking it up in my synthetic detail brush and I'll just start making the similar models we practiced, some leaves and little berries around and this will give me a vintage gold look. Just very rough designs, I'm not trying to make them very delicate, but obviously it's your choice, you can decide to do that. If you want to create more symmetrical designs or a bit more delicate ones you can easily do that. To bring in the light back into this one, I'm adding a bit of white in my brush and creating these little motives of a berry and two leaves. I'll just add these little white dots at few of the places. In the next section, we're going to continue painting rest of them.
11. Project: Decorating-II: So now we will decorate the white one, violet one, and also the beach one in sort of a similar color theme of pink and green fluorides. So I've got some pink mixed in my plate and I'm using a flat round brush. Just in a very loose floral style, I'll make a big flower here. So one petal, two-three-four-fifth and sixth pedal close to the edge, so very carefully. I'll make one more here. Sort of semi visible, such as three petals and one more here. Now I'll add a little bit more red to the pink mix and create a bit darker pink for it. Now we'll paint flowers, similar ones for this one, a bit thicker petals this time. It has gone a bit over the edge, but I'm not going to touch it for now. I'll just add one more. Maybe up here. Now I will pick some white in my brush to create some more filler flowers. So I'm varying the size of the petals. I'm leaving this sort of area just as it does because I've lost the base coat, else I would have extended the edge to cover that area where the color went out. So now for this one, we will create similar pink and white flowers, but much smaller in size. So just little cluster dots of white, and also some pink ones. Keeping some of them just one or two petals. Now since this has dried I'll start adding some greens too. It's got some olive green in my brush. Just picking up techniques. Synthetic round brush and I'll just start adding long leaves and some fine twigs attached with it around the edges. I'm just being a bit careful so that I don't go over. Just going on around to give a good coverage of twigs and leaves. Also add a little bit of primary red to the centers of these flowers, and a touch of yellow as well. So just little dabs around. I'll add some more red. Now for this one, I'll start with a little bit of primary red and my detail brush and I'm just adding little details to these petals. So just long streaks. You can make this as detailed as you like or leave them quite loose as well. Now I'll add a little bit of white in my brush, and add the similar kind of streaks. We can start adding some black centers. So just little dots with the fine detail brush. We'll also add to some of these white ones that we painted. Now we can start adding the green leaves. So got some olive green in my brush, and simple leaves and little tweaks connecting the flowers. This time round the edges you have to be a bit careful. For the rest you can keep as loose as you like. Now I'll pick some white in my brush to add a little bit more detail to the centers. Just little dashes and dabs here in there. Also to the white ones because the base coat now looks like a bit pink. So adding a bit more white to the center. Now with that same olive green mixture, I'm adding touch of black to it to darken it up a bit. I've got my fine detail brush, and I'll start making fine lines connecting and find leaves bit more dainty in this one since the flower size is smaller. So I think this one is almost done. I'll pick a little bit of black in my brush and I'm just adding little centers to this one. Little dots and dashes. Now also pick this black to add centers to their flowers here. In the next section, we're going to continue painting the rest of them.
12. Project: Decorating-III: For this first one, I want to do a crimson take on front girls cherry blossom. For this blue one, I want a dark blue details, and for the yellow one, purple detail. I'm just making some purple with some primary blue and primary red in my brush. Really take gloopy mix. I'll just make four or five really lose petaled flowers, quite big ones. One more here. One more down here, and one lacks per to add a bit of variety to it, so just little dabs around a fine line, smaller up on top. Now we can start connecting a few of them with some green, olive green twigs and leaves. Just vertical lines connecting them, and little leaves around. I'll give them white centers, so little dots. I'll just add one more twig here. Now for this blue one, I want a darker blue mix, so I'm again mixing indigo and some black in it, so just a touch of black, and with this technique, I'm going to create little round shapes around the edges. Just careful around the edge, and this make them round big globs. Now we will wait for this one to dry before we add more details. Now let's start adding some cherry blossoms. I've got some black in my brush, and I'm just checking if this one has dried, or else I will wipe it out. I'm just trying to figure out the best brushstroke to create it. Fine in the inner side and towards the outer side, a bit thicker branch, little dashes leaving some gaps in between. You can follow my cherry blossom class with watercolor to have a better idea of how to paint the cherry blossoms. I'm picking some yellow and a touch of Alizarin crimson to create a darker orange mix, and I'm just adding little dabs around, especially in between these gaps. Just to dab to give an impression of the blossoms. Now I will pick some pure yellow, primary yellow in my brush, and I'll start creating more dabs some of them overlapping with the previous layer. Just go around, add these dots so that you get a bit of variation in the yellow. Now I will pick a little bit of white in my brush, and I'll just add just a few of them around as well. I will also add a little bit of olive green for the little leaves, so just a few here and there, it's already quite full, so I'm just adding just a few. Now I will also add little bit more black to make some of the twigs a bit more visible. Now this layer has dried, so I'm going to pick some white in my fine detail brush. Then simple fine lines with little leaves and floral motifs. Some of them I will try to add more than one, but really find small motifs. I also want to cover the outer area, so I'm picking some of that darker blue, and I'm just connecting some of these bigger globes with again those fine dainty lines. I'm not entirely happy with this violet one, in the next section I want to repaint this whole base, and create more flowers on top.
13. Project: Troubleshooting : I'm going to start recoloring this mug and this time I've got a much more deeper purple mix, and it's got more blue in it and less red. I'll simply apply it. Sometimes you can pick a bit of color from underneath layer. You can see a little streak of white here and there, but do not worry since we'll be adding more details up on top of it and most of it will get covered. We can wait for this to dry. Let's start the details with Bengal Rose this time. I've got a gloopy mix and I'll just add little five petals flowers. First, quite big ones and now with some pure white, I will add little white flowers as well. Just five petals. Keep some of them smaller and now with some olive green, let's add some leaves and some twigs. For the centers, I'll pick some bright primary yellow and I'll just add it to the center of the pink flowers first. Just little dots clustered together and for the white flowers we'll add black centers to them. While we're at it, let's quickly add some white flowers to this yellow mug. Let's add a little bit more detail to the pink flowers so little white, thin lines. In the next section, we're going to start adding the final details and finishing touches to all of these mugs.
14. Project: Finishing Touches: I want to fill this one up with some yellow, I've got some primary yellow in my brush and I'm just adding in that white gap. Quite take loopy paint. I'll go in one more time and I'll use that same mix to add to this white one as well. Now I will make some primary red and primary green to create sort of a brown mix to give an impression of coffee and I'll just add to this one and also to this one. I'll pick that yellow mix again and just add to this one and also to this one. I'm deciding based on the base coat of these cups, if it's star consist, add lighter color. For this one I'm just adding touch of green to the yellow mix to give an impression of green tea. Also for this one, one more coat for this. For this one, some of that brown. Now all the cups are filled, we can start touching the edges a bit. I've got some of that base coat of pink to correct the edges in this one. A bit more yellow for this one. A little bit more of that fleshed in to base coat for this one to correct the outer rims. Now we can start adding some of the handles. For this one, I'm adding gold handle. I'm deciding based on the inner decorations that we have added to these pieces. Black one for this, sort of giving a bit of contrast because if I extend the base coat into these handles, in most cases I would need to extend the design. I'm keeping a contrast between the base coat on the handle. Dark blue for this one. Being just a bit careful with the handles. Green one for this. Purple one for this. I'll use that same purple to add to this one as well because the pink, if I use it would stand out way too much so for this one I'm using the purple as in the base coat. Gold one for this one as well, because I don't want to use a white handled for it. I think gold does look good with the black, and green for this one as well. Dark blue for this last one, it's that same indigo and black mix. I think we are done with this now and here is the finished piece. I really hope you enjoyed this fun little project. I can't wait to see what you create.
15. Your Project and Conclusion : As the project for this class, I would love for you to create a few of these cups and mugs, either video on design or something similar to mine. You can also add some quotes with hand lettering or digitally. I would love to see what to create. Please make sure to upload your project in the project section of this class. If you're sharing it on Instagram, please do tag me and use the #myIittlebasil_skillshare. I love sharing the projects of my students on my Instagram stories. If you have any questions, please feel free to contact me. I really hope you enjoyed this introduction to Gouache. If you like this class, please consider leaving a review so that the class can become visible to more students. You can follow me on Skillshare to get updates about my new classes that get released every month. You can also check out my other classes. Thank you so much for watching and have a nice day.
Garima Srivastava, Artist and Illustrator
