Série de esboços: como pintar uma paisagem em guache | JowishkaArt | Skillshare
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Sketchbook Series: Painting a landscape in gouache

teacher avatar JowishkaArt, Architect and Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

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

Lessons in This Class

    • 1.

      Intro

      0:40

    • 2.

      Materials

      3:50

    • 3.

      Tonal values

      4:37

    • 4.

      Mixing colors

      10:09

    • 5.

      Consistency of Gouache

      4:25

    • 6.

      Class project: Drawing

      5:39

    • 7.

      Class project: Analyzing the reference

      1:35

    • 8.

      Class project: Big shapes - Part 1

      12:33

    • 9.

      Class project: Big shapes - Part 2

      7:36

    • 10.

      Class project: Big shapes - Part 3

      6:34

    • 11.

      Class project: Variation and darks - Part 1

      8:07

    • 12.

      Class project: Variation and darks - Part 2

      7:35

    • 13.

      Class project: Details and accents

      8:33

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About This Class

Join me in this comprehensive online class to master gouache painting on toned paper. This class is ideal for both beginners embarking on their artistic journey and experienced artists looking to explore new mediums.

You'll learn the essentials, from selecting appropriate materials such as various paper textures, sketchbooks, paints, and brushes, to understanding detailed descriptions and suggestions. The class project will empower you to create your own masterpieces with confidence and knowledge.

Explore the significance of tonal values and how they can contribute depth and define shapes in your work. Understand the concept of prime planes in a landscape, and how assigning tonal values can enhance your paintings.

This class is filled with practical tips on color mixing to achieve natural, realistic shades, leading to more nuanced and aesthetically pleasing artwork.

Ready to unlock your creative potential and immerse yourself in the world of gouache painting? Join me today and start creating amazing art!

Happy painting! 

Meet Your Teacher

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JowishkaArt

Architect and Artist

Teacher

I'm Jowita Kawecki, an architect and artist nestled in the beautiful Swabian Alb countryside of southern Germany. When I'm not busy designing buildings, you'll find me travelling, hiking or, of course, splashing some paint around!

Art has always been a big part of my life. I've dabbled with a range of materials - pencil, ink, acrylic - but these days, I'm all about watercolor and gouache. You can catch a glimpse of my artistic journey on Instagram @jowishka.art. I've even put together a book on watercolor painting, although it's currently only available in German.

Whether it's a sweeping landscape or a quick sketch in my notebook, creating art brings me so much joy.

I can't wait to help you hone your skills!

Happy painting!

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Level: All Levels

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Transcripts

1. Intro: Hi there, Welcome to the gouache painting class. Here we'll explore key techniques and considerations when working with this versatile medium. This class is here to walk you through the wonderful word of painting with gouache. On toned paper, it's got everything covered from picking out your materials, the importance of tonal values, color mixing for a natural palette, getting the consistency of your gouache just right, sketching your masterpiece and finally, painting it in stages, hope you enjoy. 2. Materials: First, we are going to review the materials needed for painting. In my personal experience, I have developed a preference for smooth toned paper when working with gouache. This sketch book has a smooth texture that is particularly appealing to me as the gouache paint spreads easier on the smooth texture. The toned paper provides a perfect canvas for the colors to fully express themselves. It's fascinating how the colors once applied to the paper, seem to take on a life of their own. They connect, blend, and interact in a way that brings the depicted scene to life, giving it vibrancy and depth. When I work on white paper, I prefer to use hot pressed watercolor paper, which also has a smooth texture. When painting on watercolor paper, it's important to note that you generally need more water to distribute the paint. This is especially good to know if the watercolor paper has a strong texture, like cold pressed paper. This is my air tight palette for gouache. It has a additional cover which prevents air from getting in and drying out the paint. I have had very good experiences with this palette. The colors do not dry out at all. I lightly spray them with water about once a week. If I am not using the palette for a longer period, I will provide you with the arrangement of the colors as a file in the project section so that you can always track which color I am using. Next, let's talk about brushes. I have a set of synthetic gouache brushes. I like the flat brush as it can cover big areas and you can use its site for details. I also use round brushes, which make different kinds of strokes. Try different brushes to see what you like. It's often about what you prefer. I suggest having at least one bigger brush and some small ones for details or small pictures. If I had to choose two, I would choose these two. A flat brush and a small round brush. If you are a beginner, I suggest purchasing an affordable set with six to eight colors. My preferred brands are Schmincke Horadam, and Windsor and Newton. Their colors are highly pigmented and I appreciate the consistency of the paint. When painting with gouache, you'll often use more white paint than other colors. I recommend getting an extra tube or a larger one right away. I have a selection of paints that I currently use on my palette. It includes primary colors and some convenience colors like olive green. As I mentioned earlier, I will share the list with you in the resources. Other materials you'll need are a pencil, a clip, watercups, and a palette for mixing your colors. I prefer ceramic palettes as they don't stain and are easy to clean with water. I also recommend having a spray bottle on hand to moisten your paints. 3. Tonal values: In this lesson, we will delve deeply into the topic of tonal values. These play a crucial role in painting as they help us depict light shadows and depth in our artwork. They contribute to creating a three dimensional illusion on a two dimensional surface. Tonal values are also necessary for distinguishing shapes. We will cover the basics of using tonal values and learn tips and tricks for identifying and applying tonal values. But what are tonal values? Tonal value refers to a color's brightness. It describes how light or dark a color is. Selecting the appropriate tonal value is crucial, even more than the choice of color. Using tonal values, you can achieve clear lightning conditions and separate the shapes in your painting. Here is the value scale. It's divided into ten values from white to black. Each color corresponds to a value on the scale. We have light tones, mid tones, and dark tones. In nature or on reference images, you often find a broad spectrum of these tonal values, which can be quite overwhelming. I always try to simplify the reference in the shapes of three to four tonal values. For this, I use the concept of prime planes, as described by John F. Carlson in his book on landscape painting. According to this concept, there are four prime planes in a landscape. The first is the flat plane, for example, the ground. The second is the upright plane of the trees. The third one is the sloping plane of mountains and hills. The last is the sky, as our main source of light. Each of these planes is assigned to a tonal value which are interconnected. The sky, being the source of light, has the lightest value. Slanting plans, such as mountains, have a mid level value. In contrast, upright planes like trees, have the darkest value. The flat ground has a total value that is lighter than the slanting plane, but darker than the sky. Let's divide an image conceptually into shapes with different tonal values. The differences are most noticeable when you squint your eyes or convert the reference to black and white. For illustration, I have blurred the image to simulate squinting your eyes. You can clearly see the different planes. The sky is the brightest area in the picture. The horizontal areas, as the meadow is the second lightest in value. The vertical elements in the landscape are the darkest areas. Here's another example. When you squint your eyes, you will probably see that the sky is the lightest part of the picture. The meadows as the horizontal plane are the second lightest the vertical elements. The trees are the darkest parts of this reference. In gouache painting, the lightest tonal value of any color can be obtained by mixing the color with white. As you add more white, the tonal value becomes lighter. I suggest practicing this technique on small thumbnails. Initially, the medium you use doesn't matter. You could use gouache, markers or even a simple pencil. Let's summarize this a bit. In gouache painting, selecting the appropriate tonal value or the brightness of a color is crucial. The image is conceptually divided into shapes with different tonal values, with the sky often being the lightest area, Horizontal areas like meadows being the second lightest, and vertical elements, like trees being the darkest. Squinting your eyes or converting the reference into black and white can help identify these differences. You can get the lightest shade of any color by mixing it with white. 4. Mixing colors: Creating color harmony within gouache studies requires a particular and mindful approach. The first step is to use a limited palette, which forces you to experiment with different color mixes. Thus expanding your understanding of color theory and application. Adding too many colors might make your image look a bit chaotic, especially if the colors don't really relate to each other. By mixing primary colors together, red, yellow, and blue, a vast array of use can be achieved. The second step is, rather than using the colors straight from the tubes, try to blend them together in various proportions. It's a fun experiment you could try. Pick a limited palette of three to five colors and some white. And play around with different color combinations on a piece of paper, or even create your own swatchbook. You'd be surprised at the variety of shades you can create just by mixing the colors in different ratios. It's a great way to see how the colors interact with each other. I've got my own swatchbook here. It's a place where I can freely experiment with color combinations and have them all in one place. Plus, it allows me to quickly test different combinations without having to search for a motive or reference first. Aadding the same color to each of your mixtures can further foster harmony, creating a cohesive and unified color scheme within the artwork. To try this out add the same color, in my case it's Burnt Sienna, to each of your base colors. Because each color contains a portion of Burnt Sienna, it automatically creates color harmony. The third point I want to mention, is to mix colors using the ones already on your mixing palette for harmony. You'll notice that I don't clean my palette while painting. By consistently adding colors to the existing colors on my mixing palette, they naturally blend together, resulting in a harmoneous overall image. If you're striving for natural colors in your gouache studies, it's advisable to avoid using colors directly from the tube. Colors straight from the tube are usually vibrant and unnatural, Making paintings appear artificial and bold. Of course, this can be a style that you might aspire to, but I feel more comfortable with more muted colors. Instead, consider mixing them with complementary colors, or earth hones. This approach can result in more nuanced and realistic hues that mimic those found in nature more accurately. The first method I'd like to demonstrate involves blending the color with its complementary color. Complementary colors are those that sit directly opposite each other on the color wheel. For instance, the complementary color to green is red, and for yellow, it's violet. Suppose you have prepared green color, like Viridian (green), on your palette. To create a more natural mix, simply add its complementary color, red. This could be Scarlet Red, Alizarin Crimson, Burnt Sienna, or any other red available on your palette. The second way to mute color is to mix them with earthy colors such as Burnt Umber, Burn Sienna, Yellow Ochre, or English Red. You can easily get a natural blue by blending your blue with an earthy color, like Burnt Umber or Burnt Sienna. Green is an incredibly versatile color. It symbolizes peace, hope, renewal, and freedom. Given its fundamental role in nature, it deserves special attention in this lesson. Trees, shrubs, and grass are excellent subjects for practicing color mixing. Look for references, or go out and observe nature closely. You'll see blue green spruces, yellow green buds in spring, dark green conifers, and the deep green shadows on summer grass. Then try to recreate the natural green tones you've observed. To weaken green tones. I apply the principle which I have implemented in the section how to mix natural colors. If the color mixes are too bright, you can mute them down with some red or an earth tone. This works with both premade green mixes from the tube and with your own green mixes. A subdued green can be obtained with a warm yellow tone, like titanium gold ochre and ultramarine blue, and burnt sienna to make it even more muted. On the other hand, you can achieve a vibrant spring green by mixing a cool yellow, such as lemon yellow with a blue like ultramarine blue, the mixture will probably come out bright, so you can tone it down with red. To mix dark green colors, there are several possibilities. Either you first mix a green and then darken it with indigo, ivory black, or burnt umber. You can also mix ivory black with yellow and directly get a quiet dark green tone. I use two types of white paint. On the one hand, I use permanent white or titanum white, which is highly opaque, so the mix can quickly look chalky and pastel-like. I use it only for the lightest lights at the end of the painting or when I want to lighten up a color dramatically. The second white I use is zinc white. It is a transparent white and doesn't make colors look chalky, but it also has less coverage. It is an excellent white for mixing. To darken colors consider using hues with a naturally dark tonal value, such as burnt umber, indigo and ivory black. Ivory black, a warm black, is ideal for mixing dark greens or darkening premixed green tones. As I mentioned in the previous section, indigo, a dark blue is useful when you aim to darken blue hues or cool down a dark color. Utilize burnt umber to mix darker gray or brown tones, or to generally warm up the (dark) color. To lighten a color, you can add either a color that is lighter in tonal value or white. First, attempt to lighten the color with a lighter color from your palette, like lemon yellow for lightning greens. If this doesn't achieve the desired effect, you can add white. However, using white should be the last resort. Always try using a lighter color first. Adding white can make the colors look pastel-like. If you add white, you may need to warm up the mixture again by adding a warm tone. Questions, I constantly ask myself why mixing: Does the color mix need to be cooler or warmer? Does the color mix need to be lighter or darker? Let's summarize the key points. To create color harmony in gouache studies use a limited palette and experiment with different color mixes. Mixing primary colors and adding the same color to each mixture can create color harmony. For natural colors avoid using colors directly from the tube. Instead, mix them with complementary colors or earth tones. Natural greens can be obtained by adding red or burnt sienna to a yellow-blue mix. Darken colors with dark tonal value colors and lighten with lighter colors, or white, using white as a last resort. Always review the colors that you're mixing by asking yourself questions about color temperature, and tonal value. 5. Consistency of Gouache: Gouache is a unique medium that bridges the gap between watercolor and acrylic paint. It features color pigments, chalk, and a binder called gum arabic. Gouache is water soluble, much like watercolor. This property eliminates concern about the paint drying in the mixing palette or staining clothing, making particularly user friendly. You can also reactivate and reuse dried gouache paints by adding water. Gouache is often compared to watercolor, but it differs from it in its opacity. Upon drying, gouache creates a matt chalk like finish. Compared to acrylic, acrylic dries much glossier than gouache. Maintaining the right consistency of gouache is very important. If you are used to watercolors, you mind tend to mix too much water in the gouache paint. As a result, it loses what makes it special, namely its opacity. Therefore, it's important to keep in mind that gouache should not be fluid in nature, but it should maintain a creamy consistency. Let me show you what I mean. I have a paint here with a fairly thick consistency. I need to add more water, but only a small amount. I scoop some paint onto the palette and barely dip the brush into the water, moistening just the tip, The paint spreads much easier now. The color is much more uniform and not interrupted like the first one. Let me show you another example. This color has a fairly creamy consistency right away from the tube. I don't need any water to make it spreadable. Invest some time and effort into understanding your palette. Test each color straight from the tube to determine the exact amount of water each one requires to achieve a creamy consistency. Keep in mind that not all colors are created equal in terms of transparency. Some colors are more transparent than others. Also, try out your paints on different papers. I have my toned sketchbook here and I will compare it to cold pressed watercolor paper. To do this, I apply paint with the same amount of water on both surfaces. The mix spreads easily on smooth paper, but the brushstrokes break on the cold pressed paper. When you're working with cold pressed watercolor paper, it's essential to add a bit more water to the paint. This makes the paint more manageable and easier to work with on this type of surface. Apply paint in uniform and even layers. Avoid applying the initial layers too thickly and refrain from making the final layers overly watery. To watery paint will not have coverage and will dissolve the underlying layers. Consistency is the key. You can tell when the paint starts to dry by its appearance. It will start to take on a mat look as it dries. To avoid that, moist them with water from time to time. 6. Class project: Drawing: Let's begin with the drawing. My pencil is a mechanical pencil with an HB lead. I will overlay the reference picture here on the right so you can draw along with me. I start by drawing the frame for the image, which gives me an orientation of how large the image will be, as well as for the layout division of the page. The aspect ratio of width to height is also determined this way. Since the cut out in the reference is good, I simply adopt it. I start with the horizon line. The markings of the half sides help me avoid positioning the horizon line directly in the middle. I intentionally do not make the horizon line to straight, this makes it more dynamic. Then I sketch the path because of the perspective distortion, it appears wider at the front and narrows towards the back, similar to the grass tufts on the side. The drawing will be a simple contour sketch free from hatching or details. Focus on the task, work at a steady pace and try to capture the unique aspects of the subjects. I sketch the main shapes of the house, focusing on the roof and walls without detailing. Then I draw the tree in foreground. the power lines taper towards the background. Then I sketch the trees in the background, ensuring to vary their heights. There's some meadow in front of the house on the left. Here and there I reinforce some lines. The house on the left is drawn in front view. I incorporate the power poles which get smaller towards the back. That concludes the drawing. I will upload it as a picture in the reference for your reference. 7. Class project: Analyzing the reference: We've completed the sketch. Now I would like to review the colors and tonal values of the reference image with you. Before I start painting, I always analyze the picture in terms of the biggest shapes and its tonal values. I group the surfaces in big shapes, compare their tonal values, and divide the picture into different tonal value areas. I try then to find appropriate mid tone for each area first, without considering the highlights and dark accents. Let's have a look. The sky is clearly one of the biggest and the lightest part of the image. We want to try to capture that. The color is a very light blue, with lots of white. Relative to the sky, the horizontal surface, the meadow, and the path are the second lightest areas. The color is a middle value green with slight shift in color temperature. The vertical trees in the background are the darkest part of the image. The color is a very dark, cool green. This will be our roadmap for the painting. Our main goal will be to fill in the shapes with color, ensuring the value relationships are correct. We will identify an average color for the biggest shapes. Also, we want to simplify the scene. While the reference may show individual trees like this in the background, we will try to create one unified shape. 8. Class project: Big shapes - Part 1: I like to start with the sky. This way I establish the lightest tono value at the beginning and can use it as a reference when painting the other shapes in the image. First, wet the brush and dry it on the paper. Make sure it's not too wet while painting. Dry it on the paper whenever it's needed. For very light colors such as the sky, it's recommended to start with white paint and gradually add color. Trying to lighten a color by adding white later can be more challenging. Mix a large amount of white with a small bit of ultramarine blue, add a tiny hint of burnt umber to neutralize it. It might take some minutes to find the right value and color. Be patient and feel free to pause the video as needed. Also don't skimp on the paint. It's better to have a bit more on the palette than to constantly remix the hue. Add some water If you notice that the color is getting too dry, but remember, gouache should not be fluid. It should have a creamy consistency. Begin to fill in the sky shape with bold brush strokes. As soon as you notice that the paint is not sliding easily over the paper, add a bit of water, but not too much, so that the paint does not lose its opacity. The sky is slightly bluer at the top, while it becomes lighter towards the horizon. To avoid a uniform sky, I use short brush strokes to apply color. This technique adds variation to the otherwise uniform area. When adding colors, I ensure the differences in total value are subtle. Usually I keep the top part slightly darker and bluer as I move towards the bottom, I lighten it by introducing white. Near the horizon. Add more white and a small amount of helio turquoise to give it a slight (green-) bluish tint. I am not aiming to create a perfect color gradient. Instead, the short brush strokes make the sky appear slightly irregular, making it more interesting. As long as the paint is not completely dry, I soften edges. Rinse the brush for the next step, and dry it on the paper. The brush shouldn't be too wet. To create the base green color, I combine titanium gold ocre with ultramarine blue. You could also use any other yellow or blue in your palette. The key is to use english red or burnt sienna to make it appear more natural. You can also use red if you don't have english red or burnt siena in your palette. I always mix several shades of green directly next to each other. A clearer one, a slightly muted one, and a cooler one. For the distant meadows, the tone is cooler and lighter. The closer we come to the front, the tone becomes clearer and warmer. I apply the color directly onto the paper and compare it with the sky. I remember that the color will darken as it dries. The color can be even a bit lighter. It's too dark compared to the sky. Therefore I mix in more white and yellow and correct it. White makes the tones pastel-like and cooler. Mix in some yellow, if the tone becomes too cool. It can even be a bit lighter. I add a bit of water, whenever I notice the color drying on the palette. I'm preparing more paint to continue with the right side of the field. The color is a light cool green made from titanium gold and ultramarine blue. To quickly lighten the color, I'm adding titanium white and then giving it a slightly warm tone by adding yellow again. On the right side of the painting, I hint at the field furrows. Due to the perspective, the furrows become wider towards the front. I keep mixing the remaining colors on the palette into the mixture to vary the color temperature. Use the warmest and most saturated greens right at the front to enhance the effect of aerial perspective. Paint loosely as corrections are easy with gouache. When I need more control, I use the side of my flat brush. In the foreground, my mix is warmer with more yellow and it becomes cooler with more blue as it moves towards the background. Paint in even layers, not too thick nor too thin. Remember, the paint has to be creamy and manageable. In the reference image, a slight shadow is noticeable. The reference was captured on a cloudy day, so the shadow isn't very distinct. Nevertheless, I still want to represent it. Then I paint the meadow on the left of the path using the same principle. Wider and warmer in tone towards the foreground. Narrower and cooler towards the background. I don't solely depend on the reference. If the values look right in relation to each other, the painting will look correct. The meadow behind the bush appears yellowish due to blooming flowers. However, since no individual flowers are noticeable, and this is not essential for the picture statement, the area is painted in a warm, yellowish green. For this, I mix a little more titanium gold into the existing green mixtures. I add some burnt sienna to make the mix a bit redder. I constantly try to bring in some color temperature shifts to make the area look more interesting. By repeating the same color at different parts of the image, I enhanced the overall harmonious impression. When changing colors, I thoroughly rinse the brush and dry it on the paper. 9. Class project: Big shapes - Part 2: For the base color of the path, I mix titanium gold ochre with the existing blue mix from the sky and a lot of white. The tonal value of the path is comparable to the sky, just a bit darker. Once again, I use titanium white since I aim to quickly lighten the color mix. That looks pretty right. Towards the background, I mix in a bit more blue and white To cool down the color temperature. I indicate the texture in the foreground with the same color. For the shape of trees, a very dark green tone is mixed. It should be darker than the sky and the horizontal meadow surface. For this, I use ivory black and titanium gold ochre. These colors together create a very beautiful, deep green. Vary the temperature by adding ultramarine blue, titanium gold, and burnt siena. Premix different color temperatures on the palette and vary the brush load each time you need to take up fresh color. I start by painting the trees as a mass, not as individual trees, but as a group. Details are not necessary here, even if light and shadow can be seen between the three crowns in the reference. Each time I pick a color, I slightly vary the mix without making significant changes to the tonal value. As I do this, I refer to the original image to notice the subtle change in color temperature. Use the colors on the mixing palette over and over again and change them slightly if you need to. Keep adding small amounts of water to make the paint manageable. if needed. I use all sides of my brush to vary the application of color. I create a connection to the right side by applying the same color there. Use all sides of your brush to make the brush strokes varied. The trees directly by the buildings are warmer and more saturated than the tree masses in the background. I also depict this in the picture without changing the tonal value. You see, I'm constantly trying to bring variation into the colors. While mixing I always ask myself, does the color mix need to be cooler or warmer? Does the color mix need to be lighter or darker? 10. Class project: Big shapes - Part 3: Now it's time to paint the tree in the foreground. Compared to the trees in the background, it will be painted in a slightly more detailed and saturated color. But first, it gets its base tone. To make the green more saturated, I mix lemon yellow and ultramarine blue in and I start to hint the bush in the foreground with the narrow side of the brush. I attempt to allow some sky to shine through. The light comes from the top left. Towards the bottom right, the color mix becomes darker to indicate the shadow. At the top, I make sure to leave gaps for the sky. And towards the bottom, the application of color becomes denser. Individual leaves are indicated at the edge of the tree. I continue with the small bush in the same way. The top with a warmer tone, the bottom a bit darker. Add some lemon yellow to increase the saturation. To indicate individual leaves, I now change the brush. I suggest a few branches. For the darkest places, I mix ivory black, titanium gold ochre, and burnt siena. While mixing, I always ask myself, does the color mix need to be cooler or warmer? Does the color mix need to be lighter or darker? 11. Class project: Variation and darks - Part 1: Moving on to the second phase of the painting, I want to break down those larger shapes into smaller, more complex ones. Also, I want to set dark accents. This phase is where I make sure the values or colors are just right. I start by setting dark accents in the shadows. This gives the painting more contrast. Be careful not to incorporate too many dark spots. The bush should retain its lightness. To depict tufts of grass, I vary the brush hold and pressure, resulting in different brushstrokes. I am trying to avoid repeating elements. I also keep an eye out for variations in color temperature. For this, I still use the colors on the palette and slightly modify them. This brings harmony to the picture. Even when changing the color temperature, maintain the similar value to keep the shape consistent. I notice that the grass is a bit darker in the back. When I squint, I can see a horizontal strip. I replicate this in my painting. Always compare your paintings with the reference and make changes when necessary. Next, I move onto the roofs. I would categorize both as red. The back roof is definitely more muted and lighter. The front one is more saturated and less pale. I thoroughly clean the brush and dry on the paper for the rear roof. I mix alizarin crimson and warm it up with titanium gold ochre. I also mute it with some green and lighten it with white. The white makes it even more muted. I think this will be the right tone. I vary the application, sometimes more white, sometimes more red. I even incorporate some reddish green for interest. I always try to incorporate already mixed colors somewhere else in the picture. The repetition helps with the harmony. Like here in the foreground. The paper does not necessarily have to be completely covered. Due to its medium tint, it integrates naturally into the picture. With a bit more burnt umber, I paint the earth in the furrows of the field. Make sure that the details in the foreground are strengthened, but less towards the background. I use various colors, ensuring that the tonal value remains consistent to avoid high contrast. In the foreground, I add more details. Instead of painting each individual blade of grass, I create the illusion of grass through irregular brushstrokes. As usual I vary the color temperature. The grass to the left of the path has a shadow of its own, which I depict with a dark green mixture and a flat brush. I change the brush again and hint tufts of grass. Be patient during the painting process. Ask yourself, where does the painting need something more? Take your time and place your brush thoughtfully. 12. Class project: Variation and darks - Part 2: The path seems a bit flat to me. I want to vary the color temperature a bit. For that, I mix burnt umber, ultramarine blue and white to get a gray tone. I try it out. Nah, it's a bit too dark. I add white to the palette and mix in the previously mixed color. That looks better. I try to depict the gravel texture of the path without being too precise. Again, I'm adding more details in the foreground and less in the background. The beige is a unique mix of burnt umber, titanium gold ochre and white. It also suits the facade color. The sky on the day the reference photo was taken was slightly overcast. But the shadow from the bush is still slightly noticeable. Due to the lightening conditions, the contrast with the brighter areas of the path is not very pronounced. Therefore, I take the base color from the path and slightly darken and cool it with ultramarine blue. I use the same mixture for the shadow side of the barn. The bush casts its shadow on the adjacent meadow, so I darken the color in this area. Now I'm painting the second roof. This roof is a bit more saturated and warmer than the one in the back. So I mix alizarin crimson, titanium gold ochre and red scarlet. A bit more of red scarlet. It can even be a little warmer. I hint at the barns wooden cladding with burnt umber and ultramarine blue. The mix should be pretty dark. I used the same mix to paint the roof overhang on the gable side. The wooden cladding on the gable side is a bit lighter to the end. I add some of my beige color to the mix. Now the windows. The facade of the house in the back is painted with a light warm gray tone. 13. Class project: Details and accents: Now we enter that final detail phase. I emphasize the darkest and lightest areas again and increase the contrast in the front of the image. For this, I mix a very dark brown color. It will suggest the shadows on the ground in the foreground. I work with a transparent mixture to highlight the texture of the wooden cladding. With a lot of white and a bit of beige, I set highlights on the path. I also set highlights in the area of the earth to increase the contrast a bit. I redraw the masts since the pencil sketch is lost under the gouache paint. I then paint them using a dark color mixture of burnt umber, ultramarine blue and ivory black. To simplify drawing straight lines, I turn the sketchbook sideways. I load the brush with plenty of paint to prevent running out mid-stroke. Fine lines are best achieved in a single stroke. In the background, I also suggest a fence. Let's continue with the masts. The utility poles are slightly lighter on the left side because the light comes from the left. I suggest this to make them look more three-dimensional. Here and there I add a few highlights and the power lines. I've added the little birds on the lines. They are not there in the reference, but the suggestion of something alive makes the picture friendlier. This is the phase where you decide how much more you want to bring into the image. I totally enjoy this phase. It completes the picture. So, that's it! I want to summarize the key points. Once again, remember the art of painting is all about maintaining a balance between your values and colors. Take your time, there's no need to rush. Corrections are easy made with gouache, so paint loosely. It's important to not be overly dependent on your reference. Start with mid value colors add the darkest and lightest colors at the end. Maintain the same value when changing color temperature within a shape. Wait for the painting to dry before adding details. Enjoy the process and let the creativity flow. Happy painting, and thanks for watching, bye.