The Gouache Files: How to Mix Watercolour and Gouache Painting like a Pro | Kate Cooke | Skillshare

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The Gouache Files: How to Mix Watercolour and Gouache Painting like a Pro

teacher avatar Kate Cooke, Textile Designer and Illustrator

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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.



    • 2.

      The Class Project


    • 3.



    • 4.

      Reference And Colour


    • 5.

      Watercolour Exercises


    • 6.

      The Painting


    • 7.

      Final Thoughts


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About This Class

About this class

In this class, we will be focusing on how to make a painting combining gouache and watercolour painting. Gouache has a very stylised and flat graphic look and is a great medium to combine and contrast with other materials.

This class is the first in a series of classes I’m calling The Gouache Files. There are more to come so watch out for my other classes in the series on combining gouache with other materials such as crayon, pastels, inks and collage.

We will start this class by making some watercolour exercises and then move on to how I mix gouache to use as detail and a background before we create a piece of artwork using a bouquet of flowers as inspiration.

This class will cover:

  • What materials you will need and the paint I choose to use
  • How to tackle painting certain flowers and leaves
  • Where to find and choose the subject matter for a painting
  • How to use an instinctive and unplanned method for painting with watercolours
  • Painting in detail with gouache
  • Painting in a flat matt background with gouache

 I’ll talk you through the materials I use for the class and how to add a few tubes of paint to your art box without having to buy lots of new materials and overspend!

I’ll show you how I look for inspiration on the internet and choose the right flower arrangement and vase for a painting.

When I make the class painting you will see how I use a very instinctive form of watercolour painting and respond to the reference picture as I create my artwork. This then dictates the colours I mix in gouache for the detail and background.

This class is suitable for beginners, you don’t need lots of painting experience, just some creative enthusiasm, a few brushes and paints.

This class is for you if you’ve:

  • Always wanted to try combining several different types of paint in one artwork
  • Have tried one or both gouache and watercolour and want to try some of my methods for using them.
  • If you’ve used both mediums a lot, but never together
  • If you just love experimenting!

So, follow me on my gouache journey as I investigate this wonderful medium and by the end of the class, you’ll have:

  • A much better understanding of gouache
  • A method for tackling the combination of the two types of paint
  • Confidence to try mixed media
  • A good idea of where to find reference material for your subject matter
  • My methods for using watercolour to paint flowers and leaves

Class Materials:

Watercolours used:

  •  Windsor and Newton Artists Box set Windsor and Newton watercolour tubes- Cadmium Red, Permanent Magenta, Alizarin Crimson, Lemon Yellow, Ultramarine Blue, Hookers Green, Windsor Green, Payne’s Grey, Green Gold

Gouache used:

  • Windsor and Newton designers’ gouache- Permanent white, Turquoise Light, Permanent Green Deep, Red Ochre, also suggested – Indigo and Sepia.


  • Raphail Le “803” 3/0
  • Daler Rowney, round brush Size 2

Reference Photo:

See you in class- happy painting!

You can check out my other Skillshare classes here:

You can also follow me on:




A few more examples, in some of these ones I've used pen and ink and pastels too to add some detail:

Meet Your Teacher

Teacher Profile Image

Kate Cooke

Textile Designer and Illustrator

Top Teacher

Hi, I'm Kate, I live on the south coast of England near Southampton.

For many years I lived and worked in London as a textile designer working in the UK fashion industry, but the call of the sea was strong and about 15 years ago I settled in a little village on the banks of The Solent where I live with my husband, daughter and various dogs.

I've designed for lots of different companies including Marks and Spencer, Topshop, Debenhams, Boden and The RNLI.

Along with a friend I set up a company in 2012 designing home ware, stationary and gifts all with a nautical theme and that's where I turned from textile design to illustration.

More recently I've gone back to working freelance, so I can indulge my passion for hand painting and creating new things every day.See full profile

Level: Beginner

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1. Introduction: [MUSIC] For many years I've painted with gouache. As a textile designer, it's always been the medium of choice. That flat bowl graphic style lends itself to painting. It designed for fabric. More recently, I've developed a style using it for illustration, again, embracing its graphic qualities. Now, I feel I want to move on and discover what happens when I use it in conjunction with another medium. I want to explore the mixing of media to find some different looks. I love gouache, but I know there's more to it. I plan to go on a bit of a gouache journey, and I'd like you to come too. I'm Kate Cook, artists, designer and top teacher here on Skillshare, and this is the start of the gouache files. First, I'm working with a combination that I think will appeal to many of you. I'm using it alongside watercolor. In my further classes will be trying it with crayons and pastors, and also collage. In this class, we will just be trying it with watercolor. I love the contrast of the watery effect of this paint and the flat map, opaque look of gouache. I think it's going to look great together. Maybe you've dabbled a bit with gouache and had a go with watercolors. Now's your chance to try both and see what can happen. You don't need to be any expert in either. Just willing to have a go. You'll need a few tubes of gouache and a small box of watercolors, plus a couple of brushes and some paper. But I'll talk you through that in the materials section. By the end of this class, you will have had time to play around with the watercolors and see how easy and fun it is to paint flowers and leaves. I'll give you some exercises to do before we jump into making a picture. We will use gouache to enhance the painting we make by adding highlights and a background with gouache. I'll be giving you my top tips for mixing gouache to the perfect consistency for this. I've setup a great project for you to try this combination out, and I'll be taking you step-by-step through how to achieve this. Let's dive into the gouache files together and get creating. Now, I'm going to explain the class project. See you in the first lesson. 2. The Class Project : [MUSIC] For your class project, I'd like you to complete the paint exercises I show you, and then make a piece of artwork using a similar composition and the techniques that I demonstrate in the class. Don't worry, I'm going to take you step-by-step through my process for doing this. We'll look at how water color works in different ways depending on how much water you use, the type of brush you use, and the type of paper. We will then go through the brush strokes that I find I use all the time to create flowers and leaves in a lovely loose style, no small brushes and tiny detail here. I'll also do some gouache exercises so you can see the exact consistency I want you to work with, the painting detail and the background then you'll find a picture to use as inspiration. Choose a simple layout, and jump straight into making a piece about work. Starting with watercolor paint some flowers in a vase, and then use gouache to add detail, and a lovely flat graphic background to contrast with the watercolor. You'll end up with a lovely floral composition ready to hang on your wall after you've taken a photo or scan of it and uploaded it to the class gallery of course. I think you'll find this a lovely rewarding project to make, and I can't wait to see what you produce. Now, I'm going to show you all the materials you'll need for the class. See you in the next lesson. [MUSIC] 3. Materials : To make your own artwork in this class, you're going to need a few different materials. So I'm going to go through them now telling you the ones I like and why. First, watercolor paints. A box of watercolors would be perfect for this class. I have a set from Winsor & Newton. These are pretty good quality and give me all the colors I need. However, you could also use a small box like this. Then if you feel you want a few extra colors, then just buy them in small tubes. There are lots of different makes and I'm not going to ask you to buy new fancy ones if you just have some basic graduate ones, that's absolutely fine. I always say you get what you pay for with paint. But any is great just to get you started. Next, you'll need some gouache. I have lots of it as I paint with it most days. However, you really don't need to go out there and buy every color under the sun. The brand I like is also Winsor & Newton, but there are plenty of others to choose from. Again, you get what you pay for, so if you find that the paint doesn't behave in the same way as mine, it may be because you're using a graduate quality or a budget brand. That's not the end of the world. You just need to be aware that it won't necessarily look as opaque and flat as a quality paint. Because we only need a few colors for this project, I'd suggest you have, I think about, a background color that you like, the idea of in advance. For my painting, I chose to use turquoise plus a bit of permanent white for the background. I would recommend buying a few other colors such as red ocher, a green light, permanent green deep, maybe an indigo, or a sepia, as they'll all be quite good for mixing the darks that we're going to need for some detail. Brushes. I use three different brushes for the painting. For the watercolor, I love using this round-head brush by Raphael. It's called a Le 803, and the size it says is a three slash zero. It's a great brush for watercolor as it holds lots of water, but has a really fine tip that's easy to manipulate. Any round watercolor brush will do in a size 5 or 6. So just use whatever you have or can afford to buy. I will also use a round size 2 for the gouache detail and a bigger round brush in a Size 6 for painting in the background. Paper. The better quality the paper, the better painting experience you'll have. I'm using heavyweight watercolor smooth paper by Daler-Rowney, which is 140 pounds and is hot pressed. This means its smooth surface, that's great for watercolor, but also the gouache will glide over it quite nicely as well. You'll also need a water jar, tissue, and some palette, whatever you prefer to use is fine, plus a small pot that you can mix your background color in for the gouache. I quite like yogurt pots or cut-down plastic cups. I think that covers everything. You may have noticed that I have left off a pencil and an eraser. You really can do this without them so let's see if we can do it. Now, we're going to look at finding some flower and leaf reference to use for inspiration, and then make a few paint exercises to get us in the painting zone. See you in the next lesson. 4. Reference And Colour : [MUSIC] This is a quick lesson on where I'm going to find a good reference for my painting. Whilst I do often use flowers and leaves from my garden or that I buy from the florist or supermarket, it's not always easy to find a good mix of these all flowers I like to paint. I tend to turn to the Internet for inspiration. You can just Google flower arrangements to find a nice photo. But I prefer to use Pinterest as I think the quality of flower arrangements tends to be slightly better. I created my own floral reference board where I keep this photo, which makes it very easy to access. I have my computer screen very close to where I paint, so it's pretty easy to look at it while I paint. But you could use your phone or iPad or print off your chosen arrangement. What I tend to look for in a bouquet is a slightly wild and colorful look with a good mix of small and large flower heads and some nice trailing leaves. For this painting, I'm choosing this arrangement as it has a lovely big pink peony and some tool lupins, as well as the smaller lilac and white flowers, plus a bit of yellow to contrast. I like the patterned glass bars too, but if you want to find a different bars designed to use, you can always just search for one and exchange it. I feel the color balance of pinks, lilacs, and yellows and the various greens in the footage is just what I'm after. I'd already decided on the turquoise for the background, and I think it will all look great together. The bouquet and vase, I'm going to paint in watercolor. I'm going to use a more instinctive style of painting for these and just mix my watercolors on my palette as I go reacting to the reference picture. No pre-mixing required here. Just have your paints ready. You could always spray your paint pens with a bit of water before you start so they're already wet and ready for dipping into. Once I've made the watercolor painting, I'm going to mix a couple of colors in gouache to use as highlights. I will show you how I do this in the painting section. Next, I want to show you how I tackle painting those flowers and leaves by doing a few watercolor exercises. See you in the next lesson. [MUSIC] 5. Watercolour Exercises : [MUSIC] Now I'm going to pick out a few of the flowers and leaves and show you how I tackle painting them and I'd like you to do the same as a start to your class project. Get your watercolors and around size three or four brush. I love to use my Raphael brush for this, some tissue, a jar of water, some scrap watercolor paper, or your sketchbook and palate if your paints don't come with one. We will get started with that big peony. I'm using some cadmium red and I'm going to practice the side petals of the flower by using a half-moon shape holding the brush lightly at the end and using it tilted slightly. I'm using the whole of the brush in a big sweep. Then I'm washing and drying my brush and taking some of that paint away dabbing it on the tissue. I'm trying to control the color intensity and keep it light and translucent. I'm going to go in again with that brush, just a big sweep of the brush and quite wet lots of paint on my brush and now I'm going to go back with the dryer brush and dab some of that paint off. It's all about pushing and pulling the color trying to control the areas where I have more paint and keeping some translucency to it. Just carrying on, trying lots of different amounts of paint on my brush. Here I'm putting lots and lots of the red pigment paint and then again, I'm going to take some of it away, but leave some areas really quite dark and then try another one. Want to try something called fading, where I just use one edge of the petal and I really work at taking away lots of the paint on that particular edge and push the brush out over the edge of the petal and really make it blend into the white paper. You can see that it has a nice translucent effect on one side. Now I'm going to try some of these petals are a little bit more fuller around the back of the middle of the flower and again, taking the paint away and softening that edge so it looks a little more petal like. Then I've gone back and got more of that cadmium red and I'm just dotting it in its purest form at the bottom of the petal where it would join the flower and it's a bit more shaded to give it some difference. Try another petal, a bit like that. Again, taking the middle paint away. Go in with a bit more paint and just again, touch it at the bottom while it's still wet, it just bleeds beautifully into the petal and obviously you can't control it but that's half the joy of it that it just does. Again, I'm using that fading technique around the edge of the petal just to blend into the white background not even dab it with a tissue that has never very successful, I don't know why I did that. Next, let's have a go at painting that flower. I'm going to use those shapes I've been practicing and just start laying down some of those petals again, taking away the paint. You can see how subtle those pretty petals are and I just want to get that shape really of the flower going at this stage. This is the first layer of petals that I'm going to paint and I'm going to get the shape of the flower going and then let it all dry and then I will come back and do a second and maybe third layer of petals. You'll see that lovely translucency of the paint works really well when you leave things to dry and then come back and paint over the top of them and you just build up this beautiful flower head really. I'm trying to keep it quite light at the moment around the edges, I can go back in and get darker and heavier with some of the colors when this layer is dry. I'm not copying the flower in it's every single detail, I'm just getting a impression and a stylized version of it. I'm not terribly bothered about accuracy, but I am using that flower to dictate totally what I'm doing but I'm not going to get upset if something goes slightly astray. Just working around the center of the flower, I'm going to leave that free at the moment and later when things are dry, I'll come back and put some yellow in the center. But for the moment, I'm just concentrating on all those pretty pale petals around the outside so you can see the flower is taking shape now. I'm just going to keep it quite light at this stage. Now that's dried and this is my second layer, I've got lots more paint on my brush again and you can see as you paint over the first dried layer, it's not moving that first layer. Just taking the paint away again and it has that lovely translucent look. You can see all those petal shapes come through, fill a few wind around the back. Again, keeping on controlling that level of paint that I'm using, speed things up a little bit here. You'll get the idea what I'm trying to do and building it up quite nicely. Now we're going to go quite dark here. You can leave edges quite dark and then other edges quite light. Just maintaining that difference in translucency really. Now I've got some yellow. What yellow did I use? I think it's a whimsy yellow, quite yellow, yellow I think. I'm going to add some of the red into it just at the bottom to make it blend in a bit better, so it goes quite orange. I'm quite happy with that at the moment. I'm going to wait for that to dry and then go back over the top of it. Now I've got another layer. This is the third layer. This is getting quite dark now and literally, I'm going to squint as I look at that photograph and try and figure out where the darkest areas are on those petals, where the shadows are. Just try and give it some dark lights as opposed to highlight. Try not to get too carried away. What's a nice subtle areas of darkness? It's looking quite good at the moment, might just leave it there. Now that middle has dried. I've mixed orange with yellow, and red and I'm just going back to dotting. Some of those tiny little stamens give that impression of the middle of the flower. Next, I am going to tackle that loop in. These are lovely flowers to paint I really enjoy painting them. It's just something beautiful and I rather grand about them. I've mixed a violet with this. It's just a bit of Alizarin Crimson and ultramarine. Just the pink and the blue really whatever you have and I'm going in quite lightly with my brush. Again, same method, those loop in flowers really lend themselves to being painted in this way and I'm just taking a bit of the color away, keeping it quiet light because you can see off those flowers on the loop in are very pale. Then there are quite dark, so it's still wet, but I've gone back and got a lot stronger pigment with that violet and I'm just dotting it around so it bleeds nicely into those pale pink petals. Now I've got some of the yellow because I can see a bit of yellow amongst those leaves where they join the stem and that's a lovely effect that bleed into the petals. Now using a bit of the sap green and more yellow in there as well I think I am going to paint in that stem. Again, it's all still wet so I'm obviously working with the fact that it's going to bleed into those flowers but I quite like the effect. I want it to bleed together that's what I'm after. Quite happy with that I'll let that dry now and I'm now going back over it to pick out those really dark tones in the violet petals of the flower and I think I'm quite happy with that. I'm going to try some leaves now. Just having a look at this various different leaves in that bouquet. I'm just going to practice a few simple shapes it's pretty much two brush strokes joined together, the leaf shape and I've taken some of that paint away in the middle and then added it back just at the base where it would attach to the stem. I'm going to try a slightly different leaf shape now where you join two of those leaves together to make one leaf, you can see a smaller and a bigger one. Just using the tip of my brush to do stem. It's subtle and gentle and simple brushstrokes. Quite a lot of paint on my brush so I might take some of that away. Just remember leaves tend to be darker where they join the stem or at the tip. I take some of the paint away in the middle and the back of the leaf, and then put it back in just where it joins the stem. Keep that stem quite dark, it's bleeding nicely, it's all very wet still, I could leave this to dry and then go back with another layer of paint over the top just to add some more interesting detail but I'm not really bothering at this stage I'm just using it in one hit really. I'm going to try those loop in leaves or rather, they're flower shaped almost, so they're made up of lots of sections of leaves all pointing together. I should paint them each individually and then with the tip of my brush just join them in the middle so they bleed into one another. Then I'm going to go in with some darker hooker's green and just drop that in the middle so it bleeds out gently into those yellowy green leaves. That seems to have a nice effect quite like that. Play around with the tips of the leaves a little bit, try and lighten them up slightly. Quite pleased with the effects. This is all dry now, so you can see it's all quite watery but I want it to be like this because it's going to contrast really well with a gouache. There you have it. I think we're about ready to start our painting. [MUSIC] See you in the next lesson. [MUSIC] 6. The Painting : [MUSIC] I've got my stuff ready to do my painting. There's my reference picture, there ready on the side, so I've got that near me and I've decided not to use my box of paints because it's so messy. It's just quite difficult to show you what I'm using. I've picked out all the colors I want to use and they're in tubes beside me and I'm going to use my palette. I've put some out already. I'll just go through what I'm going to use. I've got an alizarin crimson. I've got the cadmium red. I've got permanent magenta. I might try some permanent violet. I'm using lemon windsor, also green gold, love that color. That's quite a useful color. I'll probably mix that with the other two greens that I'm using, which are hookers green and windsor green. Also I've put some ultramarine blue out as well. Because I'm thinking [NOISE] there's a few different pinks in here. Some blue and violet, purple colors, a few different greens, some yellow and may make us grayish blue might add into that. I'll probably end up using payne's gray because that's fairly useful color. Let's get started. I've also got a tissue and my water ready and my brush. Now, I know I've said before I really would rather you didn't use a pencil and an eraser for this. You can get very top bogged down with drawing things, and rubbing things out constantly. I don't really like pencil marks showing through. I'm going to show you how I tackle the painting without using a pencil. First of all, I'm going to use some of this cadmium red and I'm going to make it very watery and we're just going to place that peony. I want to put it about here. I'm just going to be very careful that I don't get too stronger paint down at this stage. I just want a very light covering of paint. As you can see, I'm using that half moon shape and then two together around the back with the petals as we did in the exercises. I'm leaving that middle area free. That's yellow and I'm literally just going to do a very light flower. Then I'm going to leave that and move on. I'm going to tackle the looping. I think that's on this side. I want to use a bit of, I never know how to say alizarin crimson. Again, very watery and I think it's going to be about that distance away from the peony and come up here, it's got a bit of a wiggle. Just moving more of what I'm just thinking I might start at the top and literally just trying to draw in that wiggle. Now, the good thing when it's really watery, you can actually dab it off. If you don't want it to show too much. You can even get a very clean brush, put some water on. You can almost dab it away completely. That's quite a handy technique if you just want to put in some areas to guide you and you don't want them to be too strong right now, I'm going to go in with that half moon shape and just gently put in a few of those plans. Now, the top is quite thin and there is a bit of green and keeping it light down the bottom. See we're coming back to this so we don't have to paint it totally at the moment is just a suggestion of where it is. Now, the next one I'm going to put in is this looping over here that has that nice balance in the arrangement. Now, that looping I feel is a little bit more violet in color. I'm going to use some of that magenta to do that because the palest of the petals are quite pink. But then more of a violet pink. Again, what I think I might do is start at the top and just get. Let's go to quite a nice curve. It comes down to the penny. What I might do is just put away some of that color. Very subtle. Now. Let's go in with some of those little flowers. The top is a bit fatter at the top than the other one coming down placing those. They're lovely flowers to paint these lupins. I think they're quite nice for a beginner to try painting with. Yeah, I think I like that. Now, this green is my hookers green. Actually too green. I think I'm going to use some of that green gold because that's a little bit more yellow and I can see just where the stem is. It's quite nice that [inaudible] while it's still wet, just put some of that color in, let it bleed in. I like it the way it disperses into that violet a bit. Try it through here as well actually, because that's got the same color stem. I think this is a bit of purple down the side of this looping is another flower poking around the side of it that is quite a bluey colored flower. I'm going to go with some of the ultra marine blue and just add little a bit of magenta to it. Now I'm aware there are those little white flowers in this bouquet and they are not as quite as straightforward to paint because obviously you want to leave blank area where they are. Purple flowers up here. There's a little sprig up here that I quite right and keep it quite watery, so I'm going to dab off that paint. Then there's some over here as well. Just going to do those flower heads. I'm not being 100 percent accurate and this is really not what I'm after, quite happy for it to be slightly wrong over these. Anyway, right next. The other thing I want to show you next is that I'm going to try and suggest the area in the middle of the bouquet, where the white flowers are with a big yellow flower behind them. Now my plan is, I think what I will do is more color these white flowers with a very pale green. Just to have an idea. I'm going to use some of that green gold, really watery and tip of the brush. Just so I know where not to paint. Now I'm not really being particularly accurate with this. I'm just making sure I've got about the right amount of those sitting in the middle of the bouquet. Yeah, that's about right and now, just going to go in with that yellow. I've got the windsor yellow and I'm going to use that. It's a little bit more orange than that actually, but I'm going to start with just pure yellow and work between those flowers just in the yellow area. The flower that's hidden behind them. It's a roundish shape. Now, I'm also going to use a bit of the cadmium red dot that in. Well, I kept looking a little bit orange in places. Yes, now I'm going to add some of these leaves in this various of a fairly dry or trying to avoid smudging that. I'm going to go back with my hookers green and I'm just going to use that brush we were using in the exercises for leaves. Just suggest the leaves down here, again, keeping it pretty light, like some of those loop-in leaves as well here. Obviously, the foliage is quite busy and confusing here. So I'm not going to paint every leaf. I'm just going to give a suggestion and try and get that shape of the bars in and I want decide how I'm going to paint it. I've born a sort of gray just looking in my box of paints here [NOISE], and I fancy using the Payne's gray. I'm going to squeeze a little bit out. I Just chubby those. I always say it's got that nice engraving on it so might just suggest that this stage. The other thing I will do is just put a hint of where those stalks are coming in. Obviously when you paint the garage in the background, I can play around with the shape here, so I'm not really going to worry too much about it at the moment I'm just going to leave it as is. I'm going to go back to that pale in now. Now we're going to put some, remember you can take away as you go around just to keep on top of the color control and suggest a few more petals around the top there. Just depends how dark do you go. I might leave that at the moment. I think this loop in here is dry. I'm going back to my lizian crimson such as those darker flowers amongst the pale petals. Just squinting a bit to see these one a bit tight [inaudible] up here, to have a bit more of the green. I'm going to use some green gold that you see quite a bit of green down here as well in between. I'll make sure I've got that in there, with a sticky note here just using the green again, and that seems to balance up with the other side of the bouquet, sticking out slightly, might have to use it. Add another green in here, not sure. I'm going to just put in these stalks here. You'll see I've got slightly wrong here because that's much closer to that looping. But I don't really mind. I haven't got that fern in. I'm going to put the yellow in the middle of that peony, now. A bit of cambium red just bleed into it. This area is a bit dry well, it's getting there. Might try painting around these. Haven't got lots of foliage around them, but it's a bit of a cheats way making them show up a bit more. A bit of a stalk here maybe. What I might do, is just put some of it bleeding, which I think is probably a bit too obvious, these flower shapes, trying to make them a little bit more diffused. There's quite a dark. I feel like this should be a bit more green in there. Sure it might be a bit more pink actually, and I'm do a bit of green gold up here. Keep that bleeding into it as well, makes it look a bit more interesting. I think I'm going to let that dry for a minute before I do anymore. It's dried enough now that I'm going just try a bit on this area where it's quite dark green. If you squint picture you can see it's pretty dark. I'm going to use some of the hookers green initially might even put tiny bit of Payne's gray in there just to try and get a bit more of a darker green and I'm just going to do a few brush strokes around here. I might try and keep that area where the looping leaf is, there a bit more obvious. It's all about contrasting light and dark to make it interesting. I'm not going for an accurate representation of leaf, just outlined those leaves slightly. I've let it all dry again now. So I'm going to do another layer, and just get a bit more detail in the peony and just try and get more pinky tones here. I'm not really mucking about with the paints too much, I'm just using them as they come out of the tubes at the moment. Because I feel that color is quite good for what I'm after. I'll try and get some detail in the center of the flower on top of that yellow. I think I've lost some of the yellow in the middle here, brush, and it's probably going to be quite difficult to build up that yellow now on top of the green. But I don't mind that this area is any suggestion of yellow through those white flowers. Next, I'm going to come back to this loop in here. These areas a little bit darker. Like that area. I feel this is quite dark, I just want to extend that flower. Looks better and I'm going to put more definition in these flowers here. I'm going to mix some of the permanent violet, just a few dots in the middle of the flowers to accentuate them. Next, I am going to put in a little bit more darkness in the background here. I might use some of this Winsor green now. I might be dabbing this off. I feel quite like that. Rather than trying to play with, quite nice to have a depth by just using a different color to make those marks look a bit more interesting. Maybe we can put a bit more detail in when it comes to the stage of using some gouache. Here is some white flowers I'm still deliberating about what to do in those white flowers. I think we can only use a very pale blue, turquoisey gray. Just using the tip of my brush, leaving that area there where this yellow flower behind. I quite like that turquoise look just in areas as a contrast. I attempt to put something there but there isn't anything in and maybe I'll just leave that. I'm just working around thinking about areas that could benefit, we might have a bit more green coming through the bottom of this loop in here. I quite like that at the moment. I feel like I might need a little more depth in that flower peony. I think I'm going to try using some of the Syrian crimson that's here. There's a bit of a pinky tone in this. I'm going to add some there. I'm going to go overboard with it. That's probably enough. These white flowers, maybe a little bit of blue and Payne's gray, and then just some dots. Here is my tissue to keep them really pale. I don't always like dabbing things off with a tissue because we've got a great deal of control over how they splat. But I feel in this flowers that can get away with it. Now, I might just do a little bit more on these flowers. I don't think I need much, I'm just going to suggest in quite a watery way but I want to be too strong. Obviously, through gloves, I'm going to keep it quite loose and watery. I like the way they come through the glass where the diamond-shaped pattern is. It gives a general feeling of glass and maybe I need a bit more of that Payne's gray, just in areas. Obviously, when we paint round the background, this is going to stand out a lot more. I want to keep it quite subtle, really. Just suggesting that pattern. Oops. Just dropping the paintbrush. That's probably enough watercolor. There we have finished watercolor part of the painting. Now, I'm going to mix two colors and gouache to use as highlights in the painting. The first is a deep burgundy that will work well in the flowers. It's going to be a combination of spectrum red and red ocher. For this, I'm just mixing a small amount in my palette and I make sure that I have a nice double cream consistency. I'm also going to mix a color that I think will work well in the foliage. It needs to be quite a dark green. I'm using permanent green deep and just a bit of red ocher, the red and the green together make a nice dark color. I'll use my smaller number 2 round brush and then work my way around the painting, adding in some detail using both the colors wherever I think appropriate, such as the darker areas, like the center of the peony to highlight the petals in the loop ends in other flowers. Then that dark green to get some more definition in the leaves, which should make the flowers really stand out too. You don't have to do this. But I quite like the effect the gouache has amongst the watercolor just to make things really pop. For those of you who are really paying attention, you may realize this is a different watercolor painting. I made two and filmed both but managed to delete the footage of the one I showed you, the watercolor painting of just one of my many technical faults. Sorry for that. But you get the idea. [NOISE] The final part of the painting is to paint in the gouache background. This is the paint I mixed up. Previously, the turquoise and I'm just going to check the color. You can see the consistency of it. It's a beautiful thick and creamy consistency, a bit like double cream. I just want to check that I'm still happy with that color and I think it's going to work really well all the way round. I've got a big brush. This is actually a number 6, I think. I've also got a smaller one, my number 2 [NOISE] and I'm going to paint all the way around it and put in that background in a nice flat style. I'll wet just through it, I'll just let you watch me paint it, speed it up a bit. Play some music. [MUSIC] As you can see, I've finished the painting now and you can see that some places I've left a bit of a line around the flowers and foliage. Sometimes you paint up quite close but in this area around the peony is quite nice to leave it quite pale. Obviously, I've mixed plenty of this background paint because you can see you need quite a lot to get all the way around. There we go. All finished. Next, we're going to have a recap about what we've done. See you in the final lesson. [MUSIC] 7. Final Thoughts : [MUSIC] Here's the final painting all finished and ready to frame. I hope you've enjoyed watching my process for combining gouache and watercolor to paint a vase of beautiful flowers and now feel fully inspired to go ahead and do the class project. You should have all the tools to tackle this. Hopefully, I've given you plenty of tips and ideas to make you feel at ease when making your own painting. We've had a look at the materials you need and what to add to your own box to help you paint with both watercolor and gouache. You should easily be able to find a lovely photo that you can use as reference. I've explained the way I tackle my color choices using an instinctive mix-as-you-go approach with the watercolors, deciding in advance what to use as a background color, and choosing highlight colors in gouache to enhance your watercolor work. I'm hoping that you're brave enough to resist the urge of drawing out your subject matter. By following my simple flower and leaf practice, you'll be confident about going straight to the paint. Try doing lots of the watercolor practice before you make your painting. Highlight those darker areas with your gouache colors and then painting that background last, achieving the lovely contrast of watery flowers and foliage against the flatMap gouache. I'd really love to see what you can do. It gives me lots of pleasure looking through all my students work. Please don't feel daunted about the class project. Have a go and then post it in the class gallery. Always try to give my feedback on everyone's projects as soon as I can. I love the interaction in the class. If you have any questions or queries, then feel free to follow them over and I will do my best to help. Don't forget. This is just one class in a series of mixing gouache with other mediums. Look out for the others. Thanks again for doing the class. I hope you enjoyed it. If you want to follow me here on Skillshare, that would be great. I'm also on Instagram, Pinterest, and my own website. See you next time. Happy painting. [MUSIC]