Creative Gouache: A Step-by-Step Guide to Exploring Opaque Watercolor - Build Your Skills with Layering, Blending, Mixed Media, and More! (Volume 4) (Art for Modern Makers, 4) 9781631599378, 9781631599385, 1631599372

Table of contents :
Cover
Title Page
Contents
Introduction
1 Essential Supplies
2 Basic Techniques
3 Inspired By Nature
4 Landscapes
5 Lettering
6 Gouache and Mixed Media
7 Projects
Bullet Journal Spread
Wrapping Paper and Gift Tag
Notebook Cover
Leaf Triptych
Night Garden Dimensional Painting
Butterfly Case
Campfire Panel
Celebration Garland
Painted Jewelry Dish
Templates
Acknowledgments
About the Author
Index
Dedication
Copyright

Citation preview

Creative Gouache A STEP-BY-STEP GUIDE TO EXPLORING OPAQUE WATERCOLOR

Ruth Wilshaw

CONTENTS INTRODUCTION 1

ESSENTIAL SUPPLIES

Types of gouache, paper, brushes, other materials, alternative surfaces, and protecting gouache 2

BASIC TECHNIQUES

The unusual properties of gouache, layering, finding the perfect consistency, and blending 3

INSPIRED BY NATURE

4

LANDSCAPES

5

LETTERING

6

GOUACHE AND MIXED MEDIA

7

PROJECTS

Bullet Journal Spread Wrapping Paper and Gift Tag Notebook Cover Leaf Triptych Night Garden Dimensional Painting Butterfly Case Campfire Panel Celebration Garland Painted Jewelry Dish TEMPLATES ACKNOWLEDGMENTS ABOUT THE AUTHOR INDEX

INTRODUCTION Of all the art techniques and supplies I have tried over the years, none has captured my heart and kindled my creativity like gouache. I stumbled upon this paint by accident and instantly fell in love with its beautiful opacity and velvety matte finish. I had found my medium, and, since then I have encouraged others to try it. Trying something new can be daunting. It often requires learning new skills and techniques and buying special supplies. But gouache doesn’t call for highend or medium-specific materials, just ordinary paper and brushes to go with the paint. Gouache does have some quirks that differentiate it from regular watercolors, but its unusual qualities are what make it so special. You’ll admire how the little paint tubes are packed with pigment, and how you can create beautiful watercolor-like washes alongside boldly opaque strokes. You’ll marvel at the ability to rewet an area to fix a mistake, and you’ll love the convenience of how quickly it dries in your sketchbook. The paint’s beautiful matte surface photographs easily for you to share on social media, and on those days when life gets in the way, you’ll appreciate that a brush left unrinsed is not ruined! I could talk all day about why you’ll love gouache, but I’d rather you discover it for yourself. This book covers everything you’ll need to begin exploring the medium, along with a wide range of projects to stimulate your own creativity. I’ve developed the techniques and methods shown here over several years. They work for me, but there are other approaches. I encourage you to explore the possibilities of your paints and use the projects in this book as the first steps in discovering the magic of gouache.

1

ESSENTIAL SUPPLIES Where better to begin than with the essential supplies you’ll need to start painting with gouache. In this section, we’ll look at the different kinds of gouache paint, as well as brushes and paper that will help you get the best results. I’ll also share a few musthave supplies for your gouache kit, along with some advice for painting on surfaces other than paper.

TYPES OF GOUACHE When I’m asked, “What is gouache?” I typically respond that it’s a medium halfway between watercolor and acrylic, with the permanent solubility of the former and the opacity of the latter. There are three kinds of gouache: artists’, designers’, and acrylic. They’re all slightly different in formulation, but each provides the beautiful matte finish that you expect from gouache. Artists’ gouache (A) generally has no added opacifiers. The colors are bright and pure, but some of the naturally transparent pigments won’t give opaque coverage without adding white. The fine-quality pigments found in artists’ gouache are the most suited to artwork that will be framed and displayed. Designers’ gouache (B) often has excellent opacity and can be found in a wide range of vibrant colors. Some pigments used in this kind of gouache are not as lightfast as others, meaning they will fade over time when exposed to light. This type of gouache is great for learning and practicing and for painting in a sketchbook. It’s also a good option if you want to digitize your work for patterns or prints. Acrylic gouache (C) is a matte acrylic paint that dries with the same matte finish as regular gouache, but is waterproof once dry. This makes it an excellent choice for painting on surfaces that you don’t want to frame under glass, such as wood panels or canvas. However, don’t let acrylic gouache dry on your brushes, or they will be ruined. BANG FOR YOUR BUCK When it comes to cost, gouache can be split into two categories: inexpensive sets of paint and expensive single tubes. A major driving factor for price is how the various brands achieve opacity in their paints. The more expensive paints pack in extra pigment and a little chalk for opacity, whereas inexpensive sets tend to contain less pigment and more chalk. For practicing and learning the basics, you don’t need to spend a fortune. I used the same inexpensive set for the first year I painted with gouache. If you’re looking for an inexpensive alternative to high-quality acrylic gouache, try matte acrylic craft paint. This will give you the same matte finish, and these paints are often formulated to withstand exposure to bright light and moisture.

AN ALTERNATIVE TO GOUACHE: POSTER COLOR “High quality” poster color is a good, though equally expensive, alternative if you’re unable to find true gouache paint. Its pigment isn’t as finely ground as that of gouache paint, so your results will be more opaque but otherwise the same. Poster color is sold in jars more often than in tubes.

PAPER Gouache works well on a variety of paper types, but keep in mind that the more water you add to the paint the heavier the paper should be. For most work, 140 lb cold press watercolor paper is a great choice. It has a nice weight and feels firm under your brush. It won’t buckle, even if you cover large areas with paint. I find the Canson XL Watercolor pad to be a great inexpensive, everyday paper that comes in a variety of convenient sizes. Paper Texture Watercolor paper textures range from smooth to rough, and this varies among manufacturers. Smooth paper is ideal for creating uniform blends and even brush-lettering lines. Textured paper can add interest to the flat finish of gouache. You can also make the texture of the paper a feature by using a dry-brushing technique to highlight the uneven surface (see here).

Colored Paper Gouache’s opaque nature makes it an excellent choice for painting on colored papers. Paint on black paper for incredible contrast or kraft paper for a vintage look. Other colored papers and thin cardstock can be used to great effect, but try to add as little water as possible to the paint to avoid warping the paper. Gray- or tan-toned mixed media paper offers a lovely smooth and sturdy surface for painting with gouache. The neutral background, especially the gray, is often a good choice for paintings with lots of color, as it allows you to gauge color values more easily. This paper is also my first choice for painting color swatches (see here).

COTTON VERSUS WOOD PULP PAPER Watercolor paper is made from wood pulp or cotton. Given the difference in price between the two, consider how you want to use your paints. When used with little water, gouache sits on the paper’s surface, and economical cellulose papers do the job. To work with gouache as a wetter medium, such as to create watercolor-like effects, cotton is a better choice. These expensive papers hold water extremely well, giving you more time to perfect your blends and work on your piece before the paint dries. Cotton papers are a better choice for using the wet-on-wet technique (see here).

BRUSHES Brushes are an essential painting tool, but the variety can be overwhelming, especially when you’re getting started. Since gouache is a water-soluble medium, you can use it with any brushes without worrying about damage, so feel free to experiment with any you already own. Commercial brushes are often labeled for different types of paint. Manufacturers create brushes from various natural or synthetic fibers based on the qualities artists favor for their particular medium. Watercolor brushes are often made with soft bristles that hold lots of water and oil paint brushes have stiff natural bristles that hold a lot of paint and create expressive marks on the canvas. Somewhere in between is a selection of brushes designed for acrylic paints; these are most useful for gouache. Brushes made for acrylics often have firmer bristles than those made for watercolor, making them easier to control. They also feature synthetic fibers that don’t hold a lot of water; this is ideal for gouache, since we don’t want moisture hiding in the brush and affecting the consistency and opacity of the paint. PAINTBRUSH CARE Taking good care of your brushes ensures they’ll always give you the best results. Here are some dos and don'ts for looking after them: Do give your brushes a good cleaning with paintbrush soap once a month. This helps to thoroughly clean all the pigment from the brush and condition the bristles. The Masters Brush Cleaner and Preserver is an excellent choice for this. Don’t leave brushes standing in paint water while you paint. This bends the hairs and can crack the handle. If you use acrylic gouache or matte medium, do make sure to clean your brushes thoroughly and never let the paint dry on them. If regular gouache dries on your brush, do soften the paint by holding just the bristles in water. Once the paint begins to loosen, clean the brush thoroughly with brush soap. After cleaning, don’t stand wet brushes vertically; always lay them flat to dry.

Shapes and Sizes Brushes come in a variety of shapes and sizes, ranging from dainty liners to huge wash brushes. Understanding the types of marks that each brush shape makes will help you choose the right one for the job.

These are the brush shapes that are most useful for everyday painting: Liner: A liner brush has long bristles and is used for lines and fine details. Brushes with extra-long bristles are called a rigger or script liner, and can hold more paint for creating longer lines.

LINER

Round: A round brush is such a versatile tool that it’s advantageous to have some in a few sizes. The shape of the bristles allows you to change the width of a line, depending on how firmly you press the brush against the paper.

ROUND

Angled shader: This flat brush has an angled tip and can paint larger areas. Turned on its side, it can tackle smaller details.

ANGLED SHADER

Filbert: A filbert is a flat brush with a rounded tip. The width makes it ideal for painting larger areas and the rounded tip makes it a good choice for blending.

FILBERT

Brush sizes are not standard across manufacturers, so a size 2 in one brand may not be the same as a size 2 in another. For the exercises in the book, I haven’t always specified brush sizes for this reason, instead referring to a “smaller” round or “larger” round brush. Depending on the size of the painting and the brush manufacturer, a smaller brush can be anywhere from size 0–size 4, and a larger brush from size 6 to size 8.

OTHER MATERIALS While paint, paper, and brushes are the true essentials for gouache painting, I find these additional items to be invaluable. Silicone Brush Mixing paints to make new colors can be a bit rough on your brushes. The backand-forth motion can force paint into the metal ferrule that attaches the bristles to the handle and washing the paint out completely can be difficult. The best way to overcome this is to use a small silicone brush for mixing. This brush has a solid, flexible tip for mixing paints thoroughly and no bristles to trap paint. Once you’ve mixed up colors, wipe the excess paint off the tip onto a palette. Dip the silicone tip in water and wipe it clean on a paper towel.

Tape Because gouache sits on the surface of the paper, you can use tape to mask off areas without fear of paint bleeding under it. Mask the edges of paintings for a clean, crisp finish, or use it to make custom shapes. Only use low-tack tape to keep from ripping the paper when removing the mask, but always try out the tape and paper combo before painting, just in case. Scotch magic tape or washi tape work great on the Canson XL watercolor paper I use.

tape work great on the Canson XL watercolor paper I use. You’ll use tape to mask an area for the lettering exercise on this page.

Matte Medium Another product that blurs the line between water-soluble and acrylic paint is matte medium. You can add this creamy acrylic fluid to regular acrylic paint to give it a matte, gouache-like finish. You can also add it to regular gouache to make it waterproof, like acrylic gouache, once dry. A small container of matte medium goes a long way, and it can save you from having to buy different types of paint for different projects. Be aware that, as an acrylic medium, it will ruin your brushes if left on them to dry, so always wash your brushes and palette after using matte medium.

ALTERNATIVE SURFACES While regular gouache adheres to a variety of surfaces, its permanent solubility makes it best suited for painting on paper. For non-paper surfaces, acrylic gouache, matte acrylic paint, or gouache treated with matte medium will save you a lot of work and create a more durable finish. If you still want to paint on an alternative surface with regular gouache, here are some tips for getting the best results. Wood You can use gouache on wooden artist panels and on natural wood slices or planks. Raw wood is a thirsty surface that will quickly suck the moisture out of your paint, so it can be helpful to apply some sort of sealant first. Prepping the wood also prevents any of the natural tree oils from affecting the paint, which is more likely to occur with natural wood slices and planks. Prime the wood with a couple of coats of gesso, choosing a color suitable for your project, or use a colored stain to seal the surface before painting. Try these techniques with the Campfire Panel project on this page. Note: You can paint directly onto wood with gouache (see the Gift Tags project on this page). The paint adheres well to the surface, and in most cases, there are no adverse effects, particularly with artist panels and small wood tags. Canvas Most quality canvas panels come primed with gesso and ready to paint. Paint on canvas as you would paper and consider finishing with a protective varnish to make the surface easy to dust and to protect it from oils. Clay Air-dry clay is a fantastic way to explore using gouache in three dimensions for hand-painted jewelry, plant pots, and more. The toothy matte surface of clay readily accepts gouache, but it can quickly draw the moisture from your paint. Prime air-dry or bisque-fired clay with gesso to make it easier for you to apply gouache. The Painted Jewelry Dish project on this page will get you started down this creative avenue.

PROTECTING GOUACHE Once dry, matte acrylic paint in particular readily accepts any type of varnish, adding to your project’s resilience. Although you can leave the matte acrylic unvarnished, you may find that over time dust and other environmental contaminants affect the surface, so always use a varnish over exposed paint for the most protection. However, since regular gouache is water-soluble, pay special attention to how you protect a surface painted with this medium if you choose to display it. Here are a few options. Glass The simplest option is to frame your painting behind glass. UV glass will protect your painting from the sun’s harmful rays as well as providing protection against environmental factors, such as dust. Add a mat board to ensure that the glass doesn’t sit directly on the painted surface. Viewing the painting through glass won’t affect the appearance of the colors. The glass may make the beautiful matte finish less noticeable, but it will protect the painting completely.

Wax Medium A thin layer of wax medium, typically a combination of resin and beeswax, can protect a painted surface, giving it a soft sheen that you can buff to a lustrous

protect a painted surface, giving it a soft sheen that you can buff to a lustrous finish once dry. It does this by bonding to the paint and the paper, which means you cannot remove the wax once you apply it over water-soluble paint. You should, however, reapply and buff it every so often to maintain the coating. Application is easy—just follow the manufacturer’s instructions. Be aware, though, that wax can darken colors, as shown here, so test it on a swatch before you use it on a painting. Dorland’s Wax Medium is a non-yellowing mixture of beeswax and resin that is great for this. Wax is an affordable alternative to framing your work. Note: Use test swatches to compare how finishes affect the colors and final appearance of your painted surface. Apply sealant to half your sample and test the finish on the other side. The left-hand swatch card here has wax applied and the right card is sealed with fixative. With the sealants applied to only the left side of each swatch card we can easily do a before-and-after comparison to help us decide which finish to use.

Fixative and Varnish Any coating applied to gouache can alter the appearance of some colors, so always test a sample first for both the fixative on its own and fixative with varnish. Treating your gouache painting with a spray fixative designed for artwork will keep the varnish from altering your painting as you apply it. Follow the manufacturer’s instructions. Fixative sprays usually have a strong smell, so use them outside or in a well-ventilated area. Once your fixative is dry, apply the varnish. Varnish comes in a range of

Once your fixative is dry, apply the varnish. Varnish comes in a range of finishes, including matte, satin, and glossy and should be applied according to the manufacturer’s instructions. Spray varnishes provide a smooth coating that is built up over several layers and should be applied outdoors or in a wellventilated area. Brush-on varnishes are much more convenient to apply indoors. Like the spray varnish, the coating is normally built up in several layers, and you may find some brush marks remain in the surface once dried.

2

BASIC TECHNIQUES The best way to start working with gouache is to understand the properties that make it different from other paints. In this section, you’ll learn the fundamental techniques of layering, finding the right paint consistency, and blending colors.

THE UNUSUAL PROPERTIES OF GOUACHE Gouache is best known for its bold opacity, vibrant colors, excellent layering capabilities, and beautiful matte finish when dry. You will come to love these qualities as you get to know your paints. Some of the virtues of gouache are the same ones that can make it frustrating to work with at first, especially if you’re more used to working with other types of paint. I encourage you to view these first steps as possibilities rather than limitations. If you’re used to working with watercolor, you might find it difficult at first to achieve the desired opacity with gouache. Starting with toned paper is a good way to learn to judge, since any paper you don’t sufficiently cover will show through the medium. Don’t be afraid to use a lot of paint! If you’re more familiar with oil paint, gouache’s quick dry time may take some getting used to. Embrace the convenience of gouache! The paint does dry quickly, but being able to reactivate the layers allows you to achieve a softness that’s similar to that of oil paint. Acrylic painters may be frustrated at first with new layers of gouache reactivating dry layers underneath. To prevent this, allow gouache to dry thoroughly between layers. Avoid brushwork that agitates the surface, and instead keep stokes deliberate and minimal. Alternatively, give acrylic gouache a try. This has waterproof qualities and the lovely matte finish of regular gouache.

Color Shift As gouache dries, the color value of the paint can change. Small variations in value are minor, but it can make matching colors frustrating, as can running out of mixed paint while covering a large area. A couple of handy tricks can help you manage this color shift. Create a swatch chart for your projects (see the Layered Landscape lesson on this page). As you mix new colors, add a brush stroke of color to a small scrap of paper. These swatches can help you reproduce colors later and are a great way to test workable palettes before painting. Note the colors you used in each mix for easy reference. The second trick for matching colors on a project is to leave dried, mixed gouache on the palette; a little water will reactivate it for touch-ups or extra details. This dried paint is better for small details, since the added water makes paint thinner than the sweet spot consistency you’d use for painting large areas. I hate throwing away unused paint, and with gouache you don’t have to. Just rotate through a stack of inexpensive palettes.

Fresh wet paint appears darker over a dry layer of the same color.

Fast Drying Time Gouache’s short drying time makes it incredibly convenient, but it also means that the paint can dry on your palette as you work. Consider whether you want to mix colors in advance or as you go. Mixing colors in advance is a good choice when you want to paint quickly, such as when blending colors in a gradient (see here), or using specific colors and values, as for the Layered Landscape on this page. Mixing colors as you go is a good option when the values are more important than the colors themselves. This is also useful when using small amounts of many different colors (see the Painted Letters lesson on this page). USING LEFTOVER PAINT Instead of leaving leftover paint to dry on your palette, use it to create backgrounds in a small sketchbook. This gives you a rainbow of pages that are ready for your ideas. I use a tiny 2" × 3" (5 × 8 cm) watercolor sketchbook that I can doodle in later with paint pens or colored pencils. (see here for more ideas).

THE BEAUTY OF LAYERING Gouache’s opacity gives it excellent layering capabilities. You can use multiple layers of paint to build a complex painting, freely adding dark colors over light and light colors over dark. In a few steps, you can build a pattern in three layers. LAYER ONE 1 Mix blue with white to make a light blue. Use a flat brush to paint a square background. Allow it to dry.

LAYER TWO 2 Mix black and white to make a pale gray. Use a small, round brush to paint simple leaf shapes in a variety of sizes over the blue. Allow this to dry.

LAYER THREE 3 Mix black with less white to make a dark gray. Use a small round or liner brush to add details to some of the leaves. I painted veins and center designs. Allow your finished piece to dry.

Creating simple patterns over a painted background is the best way to practice layering with gouache. Familiarize yourself with using different amounts of water and pigment for different results so you can begin to anticipate layering issues and adjust your paint consistency and color accordingly. You’ll find lots of guidance for developing patterns in Chapter 3: Gaining Confidence with Gouache. Troubleshooting Tips for Layering As useful and appealing as layering can be, the technique can sometimes cause frustrations when things don’t go as planned. Here are four examples of the most common problems you might encounter when painting over a layer of dry gouache and options for solving these issues. If you’ve tried these solutions and layering is still problematic, give acrylic gouache a try. Once dry it won’t mix with any subsequent layers.



ISSUE The top layer of color is not opaque and the moisture is reactivating the paint

PROBLEM The paint is too wet.

SOLUTION The paint should have just enough water added to it to make it come off the brush

reactivating the paint underneath.

come off the brush easily. We’ll look at this more in Finding the Perfect Consistency (see here).

White or light colors are mixing with the color underneath.

Some pigments reactivate more easily than others and are prone to mixing through layers.

Make sure the paint is the right consistency and, if necessary, wait for the paint to dry completely before adding another layer.

Yellow gouache doesn’t cover darker colors underneath.

Some pigments are naturally more transparent than others.

Boost the opacity by mixing a little white with the transparent color. Or, paint a layer of white first, allow it to dry, and then paint over it with your desired transparent color.

When touching up an area, the paint mixes with the layer underneath.

Touching up an area while the first layer of paint is wet will mix the top layer with the layer underneath.

Apply the gouache in bold, deliberate strokes that need minimal touch-ups. If you need to fix a spot, allow the area to dry fully before revisiting.

FINDING THE RIGHT CONSISTENCY Gouache is exceptionally versatile when it comes to consistency. You can use it straight from the tube or heavily watered down, and everything in between. Because of this, the idea of finding the right consistency for a project can be challenging. I’ve developed four distinct consistencies that I use to paint, and each works best for specific applications. Paint from the Tube Used straight from the tube, gouache is thick, almost gel-like. All but the most transparent pigments will be fully opaque at this consistency, but if applied too heavily the paint can crack as it dries. Use paint directly from the tube for drybrushing or adding small opaque details, such as white highlights.

The Sweet Spot Adding a small amount of water gives gouache a lovely, heavy cream thickness. This sweet spot is the mixture most ideal for painting large areas with smooth, even coverage, and is what you’ll aim for most often. It can be helpful to test your paint on small scraps of colored or toned paper. If your brush leaves ridges, try adding a little more water; if the paper color shows through, use less.

Note: Unless otherwise noted, this sweet-spot consistency is recommended for the exercises in the book. AN ART, NOT A SCIENCE Don’t get hung up on ratios or exact amounts when it comes to adding water. The thickness of the paint from different manufacturers, the transparency of different pigments, and the surface you’re using can all affect how much water you need. Instead, focus on qualities, such as opacity and consistency, that will better indicate when you have the right mixture.

Lightly Thinned Paint Gouache can be thinned past the sweet spot; the paint should readily leave the tip of the brush. This is often the best consistency for adding small details and for lettering. Lightly thinned gouache has an olive oil consistency that maintains most of its opacity but is thinner than the sweet spot. You can thin more opaque colors more readily than those that are less opaque and therefore more sensitive to change in consistency. Boost the opacity of more transparent, thinned-down colors by adding white. Your swatch card will help you identify these colors.

Watercolor Effects

Watercolor Effects Adding a lot of water to gouache results in beautiful watercolor-like washes. The greater amount of pigment inherent in gouache gives the finish a lovely matte softness compared to the luminance of watercolor. At this watery consistency gouache loses its opacity, affecting your ability to layer lights over darks, but it opens up new avenues of texture possibilities and wet-blending effects.

TIPS FOR ADDING WATER TO GOUACHE Add water in very small increments to keep from over-diluting the paint. I dip a silicone brush into water and mix in only what clings to the outside of the brush to get the consistency I want. Thoroughly mix in any water added to the paint. An uneven mixture will produce uneven opacity. Carefully add more water to the paint on your palette as the gouache dries out. The goal is to keep the same consistency you had when you began. Don’t add so much that you change the paint’s opacity. Make sure to mix in any additional water thoroughly.

PAINTING A SWATCH CHART A great way to familiarize yourself with your paints and find gouache’s sweet spot is to paint a swatch chart. For each of my gouache paint sets I’ve created a small swatch chart on toned paper. Painting one of these will help you get a feel for your paints. You’ll soon be able to determine how much water to add and which pigments offer the most opaque coverage. 1 Draw out a grid of 1" (2.5 cm) squares.

2 Using a flat brush, mix a small amount of gouache to a sweet-spot consistency. Cover the area of the swatch in one even layer, so when you refer to it in the future you can see which pigments are most opaque.

3 Label the colors and add the brand of gouache for easy reference.

PAINTING OVER DRY GOUACHE Painting over a layer of dry gouache is different from painting bare paper. A layer of dry gouache can be quite thirsty and can pull wet paint from the brush. In this photo, I’ve painted a single stroke with a slightly thinned mixture over bare paper and dry gouache. You can see that the line is thicker where the dry gouache has pulled more moisture from the brush. When painting over dry gouache you may need to adjust the consistency a little to get the same results as when painting on bare paper. If you find that you’re unable to paint fine lines over dry gouache no matter how small a brush you use, the paint may be too watery. If you find that the paint is difficult to brush onto the page without dragging, the paint needs a little more water.

Stippling Stippling is a technique that involves applying paint with the tip of the brush to create small dots. This is useful for adding visual texture and creating a soft, natural edge. Any kind of brush can be used.

Mix gouache to its sweet-spot consistency (see here) and choose a small round brush (I used a size 2 round). Hold the brush vertically above the page and touch the very tip of the bristles to the paper to paint stipple marks. Experiment with grouping the marks to create a variety of effects: A basic stipple pattern of random dots (A).

Cluster the dots in rough oval and triangular shapes to create tree silhouettes. Add uneven dots around the edges, allowing some of the layer underneath to come through to create natural-looking edges (B).

Add texture and shading in one pass by painting a gradient with stipple marks. Keep the dots closer together where you want a solid effect, and space them out as you move away. This is a great way to decorate lettering (C).

BRUSHSTROKE EXERCISE

Use this exercise to explore what you can do with your brushes. Note which brush you used if you’d like to refer back to these marks in the future.

The more you use your brushes, the more familiar you will become with their capabilities, and an exercise like this can give you a creative push. To vary your strokes: Adjust the pressure: heavy start, light finish; light start, heavy finish Use just the tip for lines and dots Stamp the shape of the brush

Change how you hold the brush Splay the bristles Dry brush (see here) 1 Mark out a grid of several 1½-inch (4 cm) squares on a sheet of paper.

2 Select a brush, note it on the chart, and fill each square with a different type of mark that your brush can make. When you run out of ideas, choose a new brush and repeat.

BLENDING Gouache is incredibly versatile for blending paint on a project. You can create textured brush stroke blends, beautifully smooth gradients, dynamic wet-on-wet blends, and stunning wet-on-dry blends. Give these different techniques a try with the exercises below. A Brushy Blend Blending gouache with visible brush strokes is perhaps the most basic technique. Gouache’s quick-drying nature and opacity combine to create beautiful texture. Here, there’s no pressure to create a smooth gradient.

1 Mask off the edges of your paper with tape. While not required, it allows you to hold the paper steady and you don’t have to worry about where to start and stop your brush strokes. 2 Select four or five paint colors. Analogous ones (those next to each other on the color wheel) work best, as they combine without making the colors muddy. I used blues and greens and added some white. Add a little water to the paints to give them a sweet-spot consistency.

3 Apply the first color onto the paper in smooth, back-and-forth strokes, using a wide flat or filbert brush.

4 Apply the next color in the same way, brushing it next to the first and overlapping it slightly so the two mix. There’s no need to clean the brush between colors.

5 Repeat this with the remaining colors, filling the page with random color selections that blend together roughly.

You can paint this brushy blend on a large or small scale, depending on the size of the brush you use (see the Butterfly Case project on this page). This technique also makes a great background for patterns or lettering; we’ll explore these options later in the book. A Smooth Blend Smooth blends are useful for painting sunsets, water, or for decorative backgrounds for lettering or patterns (see the Masked Letters project on this page). Achieving a beautiful, seamless blend between colors with gouache takes a little practice. The method relies on a good understanding of how to achieve the perfect paint consistency and working while the paint is wet. This means that you need to do any blending quickly, before the paint dries, so familiarize yourself with all of the steps before starting. TIP: If you’re having difficulty creating a smooth, streak-free blend, try adding a little white to colors. White is incredibly opaque and will help create a smoother gradient.

1 Choose two colors that are close to each other on the color wheel. I used blue and green. Dilute the paint to gouache’s sweet spot.

2 Use a wide flat or filbert brush for the best results; I used a ¾-inch flat. Start the blend with a few smooth strokes of one color, in this case green, covering about a third of the area you’re painting.

3 Without cleaning the brush, add a small amount of blue to it and paint this below the green, starting about halfway down the area you’re painting. As you apply it with smooth back-and-forth strokes, the blue will mix with the green left on your brush, making blue-green. Move up into the green as you continue to brush from side to side, creating a smooth blend that gradually changes from blue-green to green.

4 Quickly clean the brush and blot it dry. Apply blue paint below the blue-green on the paper.

5 Work up into the blue-green area to create a beautiful blend from blue to bluegreen to green.

TIP: It can be helpful to have a couple of brushes on hand for blending, so your paint doesn’t dry while you’re cleaning your brush.

Don’t worry if this process doesn’t work out perfectly the first time. Smooth blends are best done quickly, which can be counterintuitive when you’re new to the medium and want to take your time with a technique. Wet-on-Wet Blending Regular blending of gouache involves applying wet paint to dry paper, but we can also apply paint to wet paper to create loose, fluid blends. This technique is called wet-on-wet and it’s popular with watercolor too. For this method, we’ll create a wet area on the page and allow the colors that we introduce to move around freely within this space or guide them lightly with the tip of a brush. 1 Thoroughly wet the paper with a clean brush, allowing the water to soak into the paper until it has a wet sheen, but not a pool on the surface. If it’s difficult to see where you’ve wet the page, tint the water with the brush dipped in a tiny amount of the lightest paint color you’re using for this exercise.

2 Select four or five paint colors, preferably analogous, and dilute them to a consistency slightly thinner than their sweet spot. 3 Introduce paint to the wet area with your brush tip, moving it around in the water. The wetter the paint mixture, the more it will move on the wet surface.

4 Add the other colors, allowing them to create interesting blends of color and opacity where they interact.

5 Let the paper dry completely. Try out this wet blending technique in the floral bouquet on this page.

TIP: You can use the wet-on-wet technique on both cellulose and cotton paper, but cotton paper will absorb more water, allowing it to remain wet longer and create softer blends. For the example here, I used cellulose paper, but on this page I use cotton paper with this technique.

Wet-on-Dry Blending While similar to wet-on-wet blending, which creates soft shapes and blends, wet-on-dry blending involves introducing water and paint with the brush as we go. This can result in both hard lines and soft blends between colors for a wide range of beautiful effects. 1 Select four or five colors and dilute them to a consistency slightly thinner than the sweet spot. I created an analogous range of blues and greens. Saturate the brush in water, then touch the wet tip to a paper towel or cloth to wick away some of the moisture. Dip the tip of the brush into one of the colors and brush it onto the page.

Dip the tip of the brush into one of the colors and brush it onto the page. Since it is full of water, you’ll notice that, as you press the brush onto the page, the color becomes more diluted.

2 Add other colors to the page the same way, by first wetting the brush and then dipping it into paint.

3 Swirl the brush around as you apply the color to the page. If you want an area to have more color or more water, simply scoop some up with the brush and add it to the page.

4 Fill the whole area with the colors. Note that applying paint over an area that has dried creates a hard edge, while applying a new color to a wet area creates a soft blend. Allow your creation to dry completely.

This is my favorite loose blending method and it always produces such varied and beautiful patterns. (See the Celebration Garland project on this page.)

COLOR How we use color has a huge impact on the art we create. While a lot of science exists behind color theory and why certain colors harmonize and others clash, I’ve found that a self-guided approach often illustrates these color rules better than reading about them. Below are a few of the main color relationships that you’ll encounter. This basic color wheel (right) shows primary, secondary, and tertiary colors. 1. 2. 3. 4. 5. 6. 7. 8. 9. 10. 11. 12.

Red Red-Violet Violet Blue-Violet Blue Blue-Green Green Yellow-Green Yellow Yellow-Orange Orange Red-Orange

Monochromatic: A single color made into several shades by adding only black, white, or gray. A monochromatic color scheme is great for creating patterns and building up a painting in layers (see the Layered Landscape project on this page).

Analogous: Adjacent colors on the color wheel, such as red, orange, yellow or red-violet, violet, blue. Analogous colors are pleasing to look at and can unify different elements to create a sense of harmony (see the Painted Letters lesson on this page).

Complementary: Colors opposite each other on the color wheel, such as blue and orange or red and green. Complementary colors create a bold sense of drama and contrast. (See the Leaf Triptych project on this page and the Campfire Panel project on this page.)

Triadic: Three colors spaced evenly around the color wheel. The primary colors (red, yellow, blue) are triadic, as are the secondary colors (orange, violet, green). When used together, these colors create a sense of balance. See a triadic color scheme in the sampler on this page.

CREATIVE COLOR STUDIES A great way to find color combinations that go well together is to observe the world around you. Pick out the colors that appeal to you the most and see what surrounding colors help bring them to life. This may be the shades of a pretty sunset, a favorite bird, the colors in a magazine photo, or a rug in your home. We are surrounded by beautiful little palettes that can help you explore color. Choose five or six colors and paint your own little swatch collection.

I based this palette on the dishes in my kitchen.

PATTERN AND COLOR Painting a Sampler One of the first things I ever painted with gouache is what I call a sampler. Reminiscent of the old embroidery samplers that showcased different stitches and styles of the era, a painted sampler allows you to explore color, techniques, and motifs in bite-size chunks.

To create a sampler, choose a color palette and paint a collection of swatches of different sizes on the page. You can then turn all these swatches into tiny paintings as you explore different techniques and patterns. By focusing on one small area at a time, you’re free to experiment with your paints without the challenge of covering a whole page. Fill swatches with small patterns or large motifs, try out textures, and practice layering. By collecting all these mini paintings on one page, you can create a beautiful, cohesive record of your ideas. Let’s try this with the color palette you’ve just created. Paint shapes of your swatch colors onto a piece of paper or a sketchbook page (you can repeat colors). Use whatever shapes in whatever sizes you like. I usually paint rectangles in different sizes with rounded corners.

usually paint rectangles in different sizes with rounded corners. For inspiration for filling the swatches, turn to the objects that inspired the palette. Look for recurring shapes or interesting textures that you can interpret. I jot down some things I want to try out, such as the shape of the beads on a bracelet and the pattern on aloe vera leaves.

For this motif I first painted the iarge paddie leaves in the back, then added additional Leaves, varying the greens and creating a pleasing variety of shapes.

Once you have a few ideas, choose a swatch and another color or colors from your palette and paint a simple pattern. Different ways to fill your swatches include: A pattern in a single color A pattern made from two colors A motif in one or more colors Lettering Brushstroke textures There are no rules for filling out a sampler, but I try to vary the amount of

colors I use between swatches, using simple, single-color patterns for some and two or three colors for others. I also like to go all-out on one square with a something bold and elaborate. This is an excellent way to explore using gouache and a great creative exercise when you’re not sure what to paint next.

For these eucalyptus leaves I painted a stem and three leaf shapes; once dry, I used a lighter green for additional leaves and leaf veins, then added a border.

I established the wreath shape and arranged smaller versions of the paddle leaves in a circle, then added pointy pale violet leaves and clusters of tiny cream flowers. Dots decorate the background.

Simple Flowers and Leaves In the next chapter we’ll look at how the natural world can inspire our artwork and you’ll learn several ways to paint flowers and plants. The small florals you’ll paint here are a great way to dip your toes into creating some simple gouache flowers and leaves. Flowers don’t always have to be large and complex. These allow you to focus on color and shape. With basic brush strokes and by layering different tones, you’ll paint a range of simple elements perfect for patterns or decorations. 1 Choose colors for the flowers. I used shades of pink, purple, and peach. Use a small round brush to paint the most uncomplicated shape of each flower. Try to create the essence of the blossom without any details.

2 Mix darker versions of each color you used to paint the basic flower shapes. The simplest way to do this is to add black, but you can use other colors as well. Consider what direction you want the light to come from in your painting, then use the darker color to paint the basic petal shapes on the opposite side. You can even add texture by varying your brush strokes.

3 Use a small detail brush to paint white highlights onto the individual petals facing the light source. Where flowers cluster together, make sure they all have the highlights on the same side.

4 Use a small liner or round brush to add basic stem and leaf shapes in a variety of greens. Consider adding a couple of large leaves, a vine, or just a stem, depending on the plant.

5 Use darker greens to paint the leaf veins and shadows down the side of the stems.

6 Highlight the leaves and stems with white, just as you did with the flower petals.

Now that you’ve practiced, try out these simple techniques in the gardenthemed Bullet Journal project on this page.

3

INSPIRED BY NATURE Taking creative cues from nature is one of my favorite ways to explore new ideas. So much inspiration is available, including fresh and exciting color palettes and wonderful patterns and textures. In this chapter we’ll expand on what you learned in Chapter 2 to discover different approaches to painting bold flowers and leaves. Each technique allows you to study florals from a different perspective. We’ll also look at using the bold layering capabilities of gouache to paint some unique garden beasties.

LESSON: WET-ON-WET FLOWERS AND LEAVES Of all the ways to paint flowers and leaves with gouache, this is my favorite style for creating loose blooms that don’t require you to capture every little detail. The technique involves diluting the gouache to a thinner consistency that allows you to mix it freely on the page and add details with line work over the top once it’s dry. You’ll need bare, white watercolor paper to get the most vibrant results with this wet-on-wet blending, as diluting the gouache makes it more transparent.

This wet-on-wet blending technique is a great way to explore simple shape variations and try out new color palettes.

1 Select a few analogous colors for your flower. I used pink, orange, and yellow. Mix a tiny amount of one palette color into a wet round brush to tint the water. I used pale pink. Paint the overall shape of a flower. For this marigold, create a loose, round shape with an uneven outer edge. Mix each of the colors to a thin, watercolor-like consistency while your shape is still wet.

2 Swirl the colors around on the shape with a round brush, paying attention to where you imagine your light source is so you can add brights and darks accordingly. Allow the painting to dry thoroughly.

3 Outline the shape of the flower with a small liner brush and a darker analogous color. I mixed a dark pink shade. Start in the center with a small cluster of circles and work outward, creating soft “m” shapes for the petals.

4 Paint the last ring of the petals at the edge of the flower.

Use this same technique to create multitonal leaves. 1 Picture the leaves you want to paint and select your green palette. Mix a tiny amount of one green paint into a wet round brush to tint the water. I used a very light green. Paint a leaf shape with the green water.

2 Mix each of the greens to a watercolor-like consistency while the leaf shape is still wet. Use a round brush to add the greens and push them around on the wet leaf shape, adding brights and darks according to the same light source you imagined for the flower. Allow the paint to dry thoroughly.

3. Add leaf veins and details with a small liner brush. I added highlights with a lighter color and shadows by adding dark green next to the veins and along one side of the leaf.

Next, learn how to combine flowers and leaves to create beautiful bouquets.

LESSON: WET-ON-WET FLORAL BOUQUET The wet-on-wet method (see here) also works for painting flowers and leaves in different arrangements; let’s try painting a simple bouquet.

1 Select the palette for your bouquet, both flowers and leaves. I chose pink and orange for the flowers and different greens and green-blues to create a variety of multicolored leaves. Visualize your floral composition. Think about how you’ll distribute the flowers and leaves to create a sense of balance. Lightly sketch these basic shapes. Dilute the paints for your flowers to a slightly thinned consistency.

2 Use the wet-on-wet technique to paint the flower shapes in their base colors, leaving a thin line of paper showing through where the flowers would overlap. This prevents the wet colors from bleeding together and gives the arrangement a sense of depth. I used a size 4 round brush to create pink, purple, and orange flowers.

3 While the flowers dry, dilute the paints for the leaves to a slightly thinned consistency. Use the wet-on-wet technique to paint the leaf shapes in their base colors. As before, leave a small white line of unpainted paper between the leaves and flower shapes to prevent the colors from bleeding. Allow the flowers and leaves to dry completely.

4 Add details to the flowers with a small round brush (I used a size 2) and a darker color. For the pink flowers, I created a darker burgundy color by mixing pink with a little green. For the orange flowers, I used a darker orange by mixing orange and red. I used some white gouache on the tip of the brush to add stamens at the center of the open flower.

5 Add veins and shading to the leaves with a small liner or round brush (I used a size 0) and a variety of shades, depending on each leaf’s base color. You can add both lighter and darker details. Add stems with a larger liner or round brush (I used a size 4). Position the paper at an angle that feels most comfortable for painting the stems in a single, smooth stroke.

LESSON: LAYERED FLORAL You’ve learned how to build up layers of light and shadow to give your florals form. You can do this with larger flowers too, and the extra space allows you to blend the colors together to show the shapes of flowers and leaves. 1 Sketch a flower or trace the outline from the template on this page onto the paper with a pencil. 2 Select the color palette for your flower and mix a dark, medium, and light version of each color. I created a dusty pink.

3 Working on each petal individually, mix the different shades together on the paper with the tip of a small round brush. Pay attention to light and shadow, making the petals underneath darker than those on top. Complete all the petals in

this manner.

4 Mix a darker shade of the flower color. Add details, such as the flower center and small shadows in the petal creases, with a detail or liner brush. Use long, sweeping strokes to show the curl of the individual petals.

5 Mix a slightly thinned white paint. Add some long lines where the light would catch the ridges on the petals.

Try the Notebook Cover project on this page to paint this flower as part of an arrangement with other floral styles.

LESSON: LINE LEAVES AND FLORALS A round paint brush can be a versatile tool for painting flowers. Changing the pressure of the brush against the page and altering the width of the line allows you to quickly show dimension and fullness. Using a paint brush to sketch flowers like this is a great way to easily render details.

Painting a contrasting background around line florals creates a vibrant look. See the template for this design on this page.

Dilute some gouache of any color to a slightly thinned consistency. Practice creating smooth, flowing lines, using pressure to vary the width. I used a size 2 brush that produces nice, fine lines under light pressure and a bold, thick line when I press down.

Leaf 1 Paint a thin, curved line for the stem and center line. 2 Paint a thicker, curved line underneath the center line to indicate the side of the leaf in shadow. 3 To complete the shape of the leaf, paint a thin line above the center line, connecting it to the bottom curved line at the tip of the leaf.

Wavy Leaf For a different leaf shape, change the shape of the lines that show the contour of

For a different leaf shape, change the shape of the lines that show the contour of the leaf. I made this one using the same steps to the left, but with irregular, wobbly lines instead of smooth ones. Do this by changing the pressure of the brush against the page as you make the stroke. For the lighter top stroke, allow the brush to skip over a couple of spots, leaving a dashed line.

Flower 1 Refer to the template on this page to paint the first petal in a single, smooth stroke. Use pressure to make the line thicker at the lower left of the petal.

2 Add a second petal to the right of the first, making the left side of this petal thicker.

3 Paint a petal on the far right, creating a wider swoop along the top edge to show a small curl.

4 Paint a petal on the left, making the bottom thicker to indicate shadow. Add a petal in the back with a thin line.

5 Paint the stem and add small spots with the brush tip for the center of the flower peeping out. Add small tapered lines to the petals to show how they curve.

LESSON: FOXGLOVE This lesson will help you understand how to break down the layers of color of a complex flower into simpler steps. Painting this foxglove uses a variety of techniques, including blending, layering, and adding fine details to create the finished flower. Mix colors as you go so the paint doesn’t dry on the palette. The process I use for painting in this style can be loosely broken down into three stages: 1. Color blocking in the main areas 2. Adding shadows 3. Using a small brush to add details specific to the plant Breaking down your subject in this way allows you to focus on one simple goal at a time rather than the overall complexity. Let’s give it a go!

1 Lightly pencil an outline of the main shapes, using the template on this page.

2 Select three analogous colors for your flower: two for the main blossom and one for the interior. I used pink, peach, and lilac. Use a round brush, size 4, to paint the individual blooms in a blend of the main colors, working them together while the paint is wet. Use darker colors toward the plant stem. Paint the flower’s interior with the third color.

3 Mix a darker combination of the main colors and use it to add shadows to the petals, carefully layering it over the base. Refer to the image for placement and shape.

4 Mix a darker version of your interior color and use it to paint a crescent shape across the top of the inside.

5 Use a dark color and a small round brush to paint the foxglove’s lovely speckles inside the petals. I used dark blue.

6 Mix titanium white with a tiny bit of one of your petal colors and use it with a small round brush to highlight the petal’s opening. Use smooth, flowing strokes to create a curve that’s wider at the top and becomes thinner at the petal tip.

7 Use the same color from the previous step to add a border around the speckles on the lighter color inside each petal. Mix in a tiny bit of your speckle color and paint around the speckles on the darker interior color (the shadow). Paint the deepest shadows around the individual flower openings with the same color you used for the speckles. Swipe a small shadow of speckle color underneath the white highlights around the mouth of the petal with a small round or liner brush.

8 Select a mix of green tones for the buds and stalk. I recommend using a brighter, yellow-green for the tip of the plant and a darker, blue-green for the areas in shadow. Paint these areas with a small round brush (I used a size 2).

Try out the Night Garden project on this page to paint more of these beautiful flowers.

LESSON: LUNA-LIKE MOTH Beautiful flowers always attract lovely butterflies and moths, whose unique patterns and shapes are a joy to explore with gouache. Combine them with flowers or give them center stage as you paint these garden beasties.

If you’ve ever seen butterfly cases at a natural history museum you know that the colors, sizes, and designs of these winged creatures are almost limitless. Paint them to represent a particular species or make up our own fantasy variety. To show how beautiful these winged creatures can be, consider enlarging the subject and blending exciting colors with interesting textures to create a unique painting, like this luna-inspired moth. Use these techniques to create your own butterfly case with the project on this page. TIP: Create a painted background by painting around your subject before you add antennae and legs so you can use wet blending techniques without disturbing the underlying paint. Paint the antennae and legs over the top of the background color.

CREATING SYMMETRY One thing all winged garden beasties have in common is symmetry. When you sketch out a shape, work on a piece of thin paper or tracing paper that’s folded down the center.

a shape, work on a piece of thin paper or tracing paper that’s folded down the center. Draw half of the beastie on one side of the fold line. Fold the paper closed and rub firmly over the back of the sketch with the rounded end of a drawing pencil. Upon opening the paper, you should have a faint duplicate of the image. Trace this sketch onto paper or use transfer paper to create an outline for painting.

1 Sketch your subject’s outline in pencil on a piece of paper. Use the images on this page for inspiration or try the transfer method above to create a symmetrical outline for your beastie on a separate piece of paper, then trace or transfer it onto your painting paper.

2 Select your palette colors. I used green, blue, turquoise, and white. Vibrant colors that are not naturally opaque, such as the brightest green, are best painted on white paper for the most luminescent color. Block in the wing colors in rough sections using a filbert or flat brush.

3 Once the colors are added roughly over the top and bottom wings, gently blend them with a damp filbert brush. Rinse the brush clean, then wipe it on a paper towel to remove most of the moisture. Blend the colors in long sweeping strokes from the body to the wing edges, and add additional paint if needed to make the color patterns fairly symmetrical. Rewet and blot the brush when it starts to dry out. Allow the paint to dry.

4 Add some texture with a dry-brush technique using a small round brush and a darker color on the outer areas of the wings. Wipe almost all the paint off the brush and let the bristles lightly skip over the paper surface. Start the stroke at the wing edge and sweep the brush toward the body. If you haven’t used a drybrushing technique before, keep a spare piece of paper handy to make sure you’ve wiped enough paint off the brush to give you a dry-brush texture.

5 Create more texture and dimension with triangular clusters of white stippling (see here) and a thin white edge around the lower portion of the wings. Paint the body of the moth with a single color to complement your wings. Here I used a pale gray. Once this has dried, cover the body with short strokes of white gouache painted with the tip of a small brush to create the soft, fuzzy texture of tiny hairs. I used a darker gray on the left side of the body to give it form, and I gave my moth bands of soft stripes using short, vertical strokes of light gray

paint. 6 Add details to finish off the beastie. Use a small brush and a dark shade to paint decoy eyes on the wings and a bold band across the top of the upper wings. Paint a thin, dark line along the lower edge of both sets of wings. Add veins to the wings with a tiny detail brush and slightly thinned white gouache. Paint the background with a flat or filbert brush. I used pale gray. Allow the painting to dry. 7 Add legs and antennae with a small detail brush.

4

LANDSCAPES Nowhere does this medium shine more than when it’s used to paint landscapes. When I started with gouache, painting scenery was on my wish list, but I never thought I could do it. Then I discovered that gouache’s opacity and layering capabilities make it an absolute joy for painting landscapes. In this chapter, I’ll walk you through how to use layers and silhouettes to tell a story in your landscapes. You’ll discover what makes a good silhouette and how to build complex scenes with simple layers. Finally, you’ll combine it all in simple, effective layered landscapes.

GETTING STARTED: THE MAGIC OF SILHOUETTES Silhouettes are a great way for beginners to build complexity and capture details in landscapes, and they can be used to express a number of things.

Increase or decrease silhouette size and detail to indicate distance and scale. Add recognizable shapes, such as palm trees or cacti, to give the environment a sense of realism. Establish a point of view, such as peeping through trees or viewing a vast landscape. The best silhouettes quickly communicate the subject and imply more detail than what’s actually visible.

Because silhouettes provide only the shape of the object, it’s critical to make

Because silhouettes provide only the shape of the object, it’s critical to make that as clear as possible. Here, the example on the left is instantly recognizable as a grazing deer. The one on the right may be the same deer, but the angle muddles the outline of the head with that of the legs and makes the shape confusing. Use three basic steps to build silhouettes: 1 Paint the main “skeleton,” or basic shape, to establish the object’s location and size. For trees and other plants, this is often the main trunk or stem; for people and animals, this can be a basic stick figure. 2 Flesh out the skeleton by painting a bit more detail, such as additional branches or a few brush strokes to mark the outermost edges. 3 Add all the details that bring the shapes to life. This is my favorite step, and could mean painting in grasses and leaves, fences, power lines, or the full forms of people or animals. Try painting the plant silhouettes shown here to familiarize yourself with this process. I used a size 2 round brush and a round 00 for the smallest marks. Use a darker color for practice so you can clearly see the shapes that you’re creating, and mix the gouache to a slightly thinned consistency for the small details Trees: Start by painting the trunk of your tree and adding the basic shape of the branches. Make small stipple marks (see here) with the tip of a small round brush to indicate the overall shape of the tree. The closer the tree, the more details you should add, such as individual leaf shapes.

Other Plants: Begin by painting the main structure with your size 2 round brush; this might be a stalk or the basic branch shape of a bush. Around this you can arrange the details that make up the overall shape. These might be small brush strokes to indicate the individual leaves of a fern or stipple marks to build the shape of a leafy bush. To keep the shapes from merging into a single mass, pay attention to the overall shape of each plant and allow plenty of empty space around the edges.

Grasses: Ground is very rarely just flat, so include small clumps of grasses and weeds to give it more character and variation. TIP: Plants are a great place to start painting silhouettes, since they don’t need to be too exact. People and animals are more complicated shapes, and if you decide to include them in your paintings you may find it helpful to use sketch paper to draft an outline first. Once you’re happy with your silhouette, use transfer paper to add the outline to the painting. You’ll use this method for the Blended Landscape on this page to add the silhouettes of a girl and a deer.

LESSON: LETTERBOX LANDSCAPES Letterbox landscapes are small studies painted in a short but wide rectangle, and they’re a useful way to build a scene out of different combinations of silhouettes.

These can be painted in a sketchbook or on watercolor paper taped or cut to size (as I’ve done here). While you don’t have to add a background color, I never like to miss an opportunity to try out new color pairings or practice my layering. 1 Mark out a box on paper or in a sketchbook with pencil or tape or trim a piece of paper to 3" × 6" (7.5 × 15 cm). Choose a background color (I used pale blue) and use a ½-inch (1.3 cm) flat brush to paint all but the very bottom. 2 Mix a contrasting color for the silhouettes; I used dark gray. Use a ½-inch (1.3 cm) flat brush to paint the silhouette of a house and an uneven edge along the bottom to cover the white of the page.

3 Use a size 2 round brush to add details to the landscape. Embellish the basic shape of the house by adding a roof spire, a power line, and even a little cat sitting on a wall by the back porch. Add a couple of tall evergreens and a fence to the garden. To emphasize that we’re viewing the house from a distance, use the left side to add some plants closer to us and a tree leaning in to frame the view. For these larger details you may find it helpful to switch to a larger brush. Here I used a ½inch (1.3 cm) flat brush to paint the main tree trunk and added the smaller branches and leaves with my size 2 round.

4 Finish the landscape by adding leaves to the tree with clusters of small stipple marks.

I use this exercise often and love to come up with new ways to combine silhouettes to communicate the story of a scene. Try out these other letterbox landscapes or have a go at developing your own. Country road: Focus on creating a lot of small grasses in this one to provide contrast with the bare, flat spot that shows the road. Frame the scene with a few trees.

Snowy hill: While we mostly want our silhouettes to be opaque and leave the

layer underneath undisturbed, this isn’t always necessary. Paint snowy silhouettes over a dark blue background and allow the white to mix with the blue a little to suggest shadows in the snow. The more you fuss at the surface with your brush, the more the blue will mix into the white. If you want certain areas to be bright white, allow the paint to dry and add another layer of white.

A SILHOUETTE SKETCHBOOK If you’re finding it difficult to think of different plant shapes, there are lots of places where we can gather inspiration: take a walk outside with a small sketchbook to capture some real-life plants or take a look through plant reference books. We can even look online at different plants from all over the world and capture silhouettes of plants we might not otherwise have the opportunity to see in real life. I use a brush pen to sketch interesting shapes of plants and trees that I come across. Next time you sit down to paint, flick through your silhouette sketchbook for inspiration.

LESSON: LAYERED LANDSCAPE This exercise demonstrates how to combine layers with silhouettes to paint a landscape in gouache. You’ll use four shades of the same color to create depth in the scene. You’ll need a light, medium-light, medium- dark, and a dark shade.

CREATING COLOR GRADATIONS To get the even gradation of color you’ll need for this lesson, it’s best to mix paints in advance and test out the colors. Mix four shades and paint a small swatch of each onto a piece of scrap paper. When mixing, I like to start with the darkest color—in this case, Prussian blue mixed with white and some black to dull it a little. I added white a bit at a time to get my other three colors, ending with the lightest shade, which was mostly white with a little of the blue mix. Allow your test swatches to dry to see if the colors make nice, clear layers. I adjusted my results by adding either white to lighten or the dark blue mixture to darken. Running out of a color can be a nuisance, so be sure to mix plenty of paint. For this painting, you should mix about two garden peas’ worth of paint in each color.

1 Draw a light, 5-inch-square (13 cm2) pencil outline on the page for the landscape. You don’t need to draw the individual layers, as these marks would become obscured as you paint. Paint the top half of the outlined area with the lightest shade and a wide flat brush, for even coverage. Paint half of the remaining outline with the medium shade to form hills.

2 Paint another layer of hills from the bottom edge of the square to approximately the bottom third of the page using the medium-dark blue and a flat brush. Because this layer is darker it will appear closer. Use a small round brush to make the top edge of this layer a little ragged to suggest the tops of trees and other plants, adding stippling with the brush tip to create texture. Paint a couple of taller tree silhouettes. I painted two pine trees, using the tip of the brush and a stippling technique to create small branches.

3 Paint the basic skeleton of the foreground silhouettes and the ground. Consider how you want these shapes to frame the view; here I created an incomplete circle with branches and plants that lean into the scene and fall off the edge of the square.

4 Use a small round brush and the darkest shade to fill out the silhouettes with a variety of leaves, branches, small plants, and grasses. Be sure to leave plenty of background peeping through the plant shapes to show off their forms. When building foliage like this, less is more. Paint the bare minimum of leaves, then evaluate the overall look. If some areas seem a little bare, add additional leaves or plants until you’re happy with the look.

LESSON: BLENDED LANDSCAPE One way to expand creative possibilities as you become more comfortable with layered landscapes is to use color blending within a layer. Choosing a smooth or an uneven blend can indicate distance, texture, and detail. Blue and white blended together in a layer of sky is a simple way to produce fluffy clouds. In a lake, a smooth gradient creates calm water while rough brush strokes indicate choppy water.

This exercise uses detailed silhouettes of a girl and a deer combined with some looser, free-style plants and trees to let you explore how blending colors can add interest to a scene. The blended background sets the tone for this forest encounter. 1 Tape off the edges of the paper to hold it still as you blend. This also lets you carry your brush stroke right off the edge of the page when blending. I used a 5" × 7" (12.5 × 18 cm) piece of watercolor paper. 2 Select the color for your background; here I have chosen green. Mix three shades of your background color: a light, medium, and dark shade. For the

lightest shade I used white with a little phthalo green, for the middle shade I added more green, and for the darkest shade I used phthalo green with just a little white and primary red. Use a flat brush and vertical strokes to paint a wide stripe of the lightest color in the center of the paper.

3 Paint a vertical stripe of the medium color to the right of the lighter color while the paint is still wet. Blend it into the lighter color with vertical strokes. Don’t worry about lines or streaks; they’ll add interest to the background. Paint a vertical stripe of the darkest color to the right of the medium color, blending the two as you did the medium and lightest colors. Go all the way to the right edge of the page.

4 Repeat these steps on the left side of the page, adding the medium and dark colors and blending them together in vertical brush strokes. Allow the paper to dry.

5 Size the template on this page to fit your paper and transfer it by tracing over

light-colored transfer paper. Add the outline of the girl and the deer over the background. Center the deer’s nose and the girl’s hand in the lightest spot of the background, with their feet about a fifth of the way up the page.

6 Paint the silhouettes of the deer and the girl with a darker color than the darkest you used for your background. I used phthalo green with a touch of red to darken it. Use a flat brush for the larger areas and a small round brush for details.

7 Use the same dark color to paint the forest floor in smooth, horizontal strokes. It can mix with the lighter shades underneath.

8 For the tree and plant silhouettes, a dark blue-green or black mixture will help to differentiate these shapes from the dark colors behind. I used a mixture of

phthalo green with a little primary red and primary blue added. Paint the trunks and large branches with a round brush; I used a size 4.

9 Add leaves and smaller branches to the trees in the same color using a small round brush. Paint small plant shapes along the bottom, leaving a bit of the lighter forest floor peeping through. Allow the page to dry thoroughly before removing the tape.

5

LETTERING In this chapter, we’ll look at how to use gouache for brush lettering and painting decorative letter art. You’ll learn how to load the brush for blob-free letters and how to get the smoothest brush strokes, as well as ways to avoid common problems and how to correct mistakes when they occur. We’ll also look at different lettering styles and ways to embellish words using the wonderful characteristics of gouache to our advantage. In the last lesson you’ll use tape to make a mask and explore how to create unique artwork from individual letters.

GETTING STARTED Gouache is an excellent choice for painted lettering. Its wonderful opacity allows you to layer colors boldly and create beautiful, decorated text.

Painting letters with a brush can be a little intimidating at first. Smooth lines take a little practice, but give yourself a head start by choosing the right brush and using a couple of smart techniques. Brush and Paint Tips A size 2 liner or round brush is the perfect size for letters up to 1½ inches (4 cm) tall. Working at this size helps you practice breaking down your letters into single, smooth strokes. A thinner gouache mixture that’s the consistency of olive oil will flow easily from the brush tip. The amount of water you add affects the opacity of the paint, so use more for watercolor-like effects and less for more opaque color. Load the brush evenly with paint along the length of the bristles, making

sure that the point doesn’t have a big drip of paint. Hold the brush in a way that feels comfortable but allows you to move it through a stroke up to 1½ inches (4 cm) long. Practice painting different types of strokes, such as straight lines, boxes, and smooth curves. Try varying the pressure of a round brush against the page to get thick and thin strokes.

Making Letters Manageable We don’t think about how a pen tip changes direction when we write with it, but this is an important consideration with brush lettering. I’ve had the best results when I break each letter down into a series of brush strokes that I can paint comfortably. The diagram shows how to break lowercase letters a, b, and c into segments. The numbers indicate the order and the arrows indicate brush direction. I separated the individual strokes to show how to form the letter, but you should overlap your strokes for a smooth, continuous line without gaps. Notice that we always break off the portion of the letter that would normally require us to push toward the 10 o’clock position. By trying the following starburst exercise in the Practicing Strokes sidebar, you’ll know that it can be difficult to produce a smooth brushstroke going in this direction. But by reversing the stroke in these areas the brush becomes more manageable, allowing you to create beautiful curves. We can break apart the other letters of the alphabet in a similar manner, splitting the shapes into straight lines and small curves so we’re able to paint them with the smoothest brush strokes. Letters that contain a small curve, such

as t, m, n, and u are often more comfortable to paint than letters that contain o shapes, such as a, b, g, and p. If you’re new to brush lettering, try the letters on a piece of scrap paper to identify the portions of the letters that may be more challenging. If you find a shape difficult to complete smoothly, stop the brush there and finish the curve from the other direction. To practice all the letter shapes, try painting the alphabet or search online for sentences that contain every letter. After a few practice alphabets you’ll find your brush control and the smoothness of your curves improve tremendously.

LEFT-HANDED LETTERERS Left-handed people may find it much easier to paint toward the 10 o’clock position. Consequently, the brushstrokes pointing toward the 2 o’clock position will likely be the most difficult and should be reversed. Try the starburst exercise in the Practicing Strokes sidebar to make sure, as it can depend on how you hold your brush.

PRACTICING STROKES This starburst exercise can help you determine the best way for you to paint the smoothest strokes when lettering. 1 Put a dot of any color on the center of a piece of paper with a size 2 liner brush. 2 Hold the brush comfortably and paint a line from the dot straight down. If you picture a clock face, the line ends at six o’clock. 3 Keeping the brush in the same position in your hand, work counterclockwise and paint more lines coming out from the dot in all directions. You’ll notice that some lines are much more comfortable to paint than others, and result in a smoother line. When lettering, focus your strokes in these directions for the best results.

LESSON: PAINTED LETTERS Painting a whole page of letters and decorating them in various ways is a great way to explore options while practicing your lettering brushstrokes.

With your first brush lettering steps, it can be helpful to paint over light pencil lines so you won’t have to think about the text shape and brush control at the same time. I have on several occasions been so focused on my control of the brush that I missed a letter or even an entire word. Drawing a faint line to follow prevents this. Use a bright window or a light pad or box to transfer basic letter shapes onto watercolor paper, using the template on this page. With a light pad you can work directly over the template letters, painting over the silhouettes without the need for guiding lines. Words and letters painted by an experienced hand-letterer often have a wonderful consistency and flow that eludes beginners. Their letters are the same height and all lean at the same angle; they’re just perfect! Trying to achieve this level of consistency while learning to control the brush in a new way is challenging. You can sidestep this by mixing lettering styles and case, which is just what you’ll do in this exercise, for a consistently inconsistent result.

1 Transfer or sketch the letter guidelines (see template on this page) lightly onto paper with pencil. Select four or five paint colors—I used white, opera rose, marigold, yellow, primary red, and flesh tint—and dilute them to the slightly thinned consistency that’s perfect for lettering.

2 Break each letter into single strokes your hand can move through comfortably. Paint each letter in a different color with a small size 2 round brush. I mixed my colors on my palette rather than using them straight from the tube.

3 Use the tip of the brush to outline letters that are thicker than you can paint with one stroke, and then fill in the middle. This allows you to mix thick and thin lines with a single brush. Continue painting until you have all your letters in a variety of colors. Leave them as is, or see the next page to learn how to decorate them.

Decorated Letters Embellishing simple brush letters further distinguishes them from each other, and you can decorate your letters with the same size 2 round brush you used to make them. SHADOWED LETTERS

Adding a simple line in a different color creates a drop shadow, a twodimensional visual effect that makes the letter appear to float above its shadow. Select a letter and mix a contrasting color. I selected a lowercase d and mixed a pale peach to contrast with its darker red-orange. Add a shadow line. You can put it right up against the letter or leave a little space, as I’ve done here. Imagine the location of your light source and follow the shape of the letter accordingly. For this letter, I added the shadow to the right, opposite an imagined light source to the left. Try using different color shadows to embellish your letters.

DOTTED LETTERS

Using the tip of the brush to add dots is a simple way to jazz up a letter. Add these randomly for a polka dot effect or in a line, as I’ve done here on the lowercase k. For a bold effect, choose a contrasting color. You can also create a

more subtle decoration with spots that are only slightly lighter or darker.

ADDING HIGHLIGHTS

Give letters a glossy highlight with a swipe of white gouache. Use the tip of the brush to add a line and a dot on the top half of the thickest parts of the letter. I added highlights to the main stem of the lowercase b and j, and added white to the round part of the b and the dot on the j.

ADDING FINE LINES

Use the very tip of the brush to add fine lines to your letters, such as stripes or the grid pattern I’ve done here. Be sure to make the lines appear continuous on all areas of the letter, like I did on the tail on the top of the lowercase l. Vary the spacing and thickness of the lines to produce different styles.

BLENDING COLORS WITHIN LETTERS

A letter that begins as one color and blends into another makes it stand out. Paint the letter one color. Paint a second color over a small section of the first color. I added a layer of pink over the top section of this orange letter g. Gently blend the second color into the first with a clean, damp brush. The moisture will reactivate the gouache and allow you to blend your colors into a smooth gradient.

TRANSFER PAPER AND CORRECTING MISTAKES While lettering is a great way to personalize your artwork, worrying about getting the letters just right might keep you from starting at all. One of the best ways to overcome this is to letter onto a painted background. Just tidy up any wobbly letters—we all get them!—with the background color for great results every time.

1 Paint a background on paper in a color of your choice. I used pale gray. Set aside some paint for touch-ups.

2 Since a painted background prevents you from using a light pad to transfer letters, use transfer paper. Place a sheet of transfer paper (light or dark, depending on the background color) between the lettering template (see here) and the painted page. Trace the letters onto the background. 3 Paint the letters as per the instructions in Painted Letters lesson. You’ll fix any wobbly lines later. I painted the first row of letters with cobalt turquoise light and added a little white for each subsequent row for a gradient effect. Allow the letters to dry. 4 Tidy up your letters with a small round brush (size 1 or 2) dipped in the leftover background color. Use as few strokes as possible to avoid mixing the colors between layers.

5 The opaque gouache will cover any wobbly lines and blend seamlessly with the background. If you find a particularly strong color shows through the touchup layer, let it dry and apply another coat. You can also use this technique to correct decorative elements. I added a white drop shadow to my letters, but this line down the side of the q is a little too thick. A quick touch-up with gray and you would never know!

LESSON: MASKED LETTERS Masking is one of my favorite things to do with gouache and another way to make a statement with lettering. In this lesson, you’ll combine a bold letter with a pretty blended sunset scene to make an awesome monogram. You’re not restricted to using this technique with letters; any bold, simple shapes will work.

The key to success with masking is finding a great paper/tape combination that produces clean edges without damaging the paper. I use Scotch Magic Tape and Canson XL watercolor paper for perfect results every time, but you should test whatever you’re using before diving into the painting. For this lesson you’ll also need a craft knife with a sharp blade and a letter template. Create a printable template using any word processing software and adjust the font to the desired size. When selecting a font, remember that you will need to cut around the shape of the letter with a knife, so sans serif block letters are the best choice. 1 Lightly trace the letter onto watercolor paper with a pencil. For straight lines use a ruler if needed, and carefully freehand the curves.

2 Apply the tape to the paper just outside the pencil lines, cutting one piece at a time. Do this around the whole shape of the letter. For the curved lines apply the tape directly over the pencil mark (you’ll trim away the overlap). Note: To reduce the tape’s stickiness, first stick it on the inside of your clean forearm.

3 Use a sharp craft knife to carefully cut through the tape where it crosses over the pencil line. The tape cuts easily, so use a light touch to avoid cutting into the paper. Where two layers of tape overlap, you may need to make two passes with the blade. Cut on the outside of the pencil line so paint will cover the marks. Take your time cutting the curves to produce a nice smooth line.

4 Carefully peel away the tape inside the pencil marks. Before painting, press down all the edges of the tape around the letter. I do this by running the flat of my fingernail firmly around the edge.

5 Select a palette appropriate for a colorful sunset. I used dark purple, red, orange, and yellow. Mix colors in advance and dilute them to a sweet-spot consistency (see here). Have a couple of clean flat brushes on hand so you don’t have to spend time cleaning your brush between colors.

6 Apply the lightest color to about a third of the bottom in smooth, horizontal strokes.

7 Apply the next darkest color above the first while the paint is still wet, using back-and-forth horizontal brush strokes to blend them where they meet. Add the next darkest color in the same manner, leaving room at the top.

8 Add the darkest color and blend it into the one below it. If any areas appear streaky, apply more paint to smooth the blend.

9 Paint the edge of a setting sun at the bottom of the letter, over the lightest color. Use white gouache and a small round brush.

10 Mix a dark red that is nearly black. Paint silhouettes onto the sunset using the tip of a small round brush for the basic outlines and a smaller brush for the finest details. I used a round 00 brush to add some flying birds and individual leaves to my palm trees. I also added marks to indicate plants and trees on the distant horizon. Use a small brush to add a little red along the edge of objects facing the light and along the top edge of the ground in front of the sun to show the effects of its warm light. Let your work dry.

11 Peel the tape away slowly and carefully, working around the letter.

12 For areas such as the center of an R, you may need to use the tip of the craft knife to find the edge of the tape. Be careful not to scratch your painting.

6

GOUACHE AND MIXED MEDIA Gouache is a wonderful companion for other mediums, and in this chapter, we’ll look at some ways to use it with other art supplies you may have, including watercolor, colored pencil, and paint pens. Let’s explore the best ways to expand your creativity with gouache by seeing how a mixed-media approach can help you create something truly unique.

WATERCOLOR Gouache and its closest relative, watercolor, are made from the same basic ingredients, which makes them excellent companions for creating art. Despite their similarities, they each have unique characteristics that set them apart. By highlighting these differences you can add a little something extra to your gouache paintings. When using watercolors, artists often build up transparent layers. Watered down gouache can produce watercolor-like washes, but they won’t have the luminous transparency of true watercolor because of the added opacifiers and extra pigment in gouache. By combining the beautiful transparency of watercolor with layers of opaque gouache, we can take advantage of the unique strengths of both mediums.

BRUSHING UP If you want to use watercolors with gouache, you may find it helpful to have a couple of watercolor brushes on hand. These will hold much more water than normal brushes, which is useful for painting large washes.

METALLIC WATERCOLOR Add a touch of sparkle to your work with metallic watercolor. Made with tiny mica particles and available in pans and tubes, these paints pack a powerful shine for both transparent and opaque effects. More water creates a shimmery, transparent sheen. Less water, and vigorously agitating the paint before using it to distribute the mica throughout the thicker mixture, imparts a solid opaque shine. If you’re using pan metallic watercolors, add a drop or two of water to the pan and let it soak for a few minutes to help loosen the particles. This is especially important if you’ll be using the paint opaquely, since there needs to be a lot of the tiny particles suspended in the paint mixture for full coverage.

Lesson: Midnight Meadow For this lesson you’ll need pan watercolors in dark blue and green and some metallic watercolors for the stars at the end. You’ll also need a few colors (your choice) of gouache for the meadow plants. I used a variety of greens and a pink.

1 Secure the edges of your paper to your work surface with low-tack tape to prevent it from curling (see here). Wet the surface completely with a watercolor brush. I used a size 10 round brush. Allow the water to soak into the paper until the surface looks wet but is not sopping. 2 Wet the same watercolor brush and pick up some of the blue watercolor, then pat the brush tip around the top of the page. The outer edges should have the most color, and the center should be a watery, pale blue.

3 Repeat this process on the lower half of the page with green watercolor and let the paper dry completely.

4 Paint some simple leafy plants along the bottom of the paper in gouache with a small round or liner brush. I used a size 2. Start with the stalk, then add the

leaves, allowing the plants to grow from the bottom of the page and lean in from the sides.

5 Add another layer of plant shapes in a light green. I painted the stalks and added short dashes to either side with the tip of the brush to create leaves. Use pale pink to add some foxgloves spaced unevenly and at different heights across the meadow. (For instructions on painting foxgloves, see here.)

6 Mix a shade of bright yellow-green, and make a dark pink by adding a little dark green to the pink on your palette. Add stems and leaves to the foxgloves with the yellow-green and put shading at the tips of the foxglove petals with the dark pink, adding a dot of it onto the end of each petal.

7 Add small dots and star shapes to the midnight meadow with a small brush dipped in metallic watercolor paint. Hold your work up to the light to admire the beautiful combination of luminous watercolor texture, bold opaque plant shapes, and shimmery metallic stars.

PAINT PENS Gouache tubes may not be the most convenient thing to carry around for impromptu doodling—but acrylic paint pens are, and they work fabulously with gouache.

Paint pens write smoothly over gouache and come in a huge variety of colors and sizes. Easy to control, they are an excellent choice for line work, patterns, and lettering. Fill a small sketchbook with an array of painted gouache backgrounds (see here) and carry a couple of paint pens to take your gouache on the go. Below are some ideas for creating patterns using paint pens. Lesson: Pretty Paint Pen Patterns 1 Choose two acrylic paint pens of different colors, two gouache backgrounds (they can be the same color and on the same page but don’t have to be), and some shapes or patterns. I used a fine-tip white pen on one side of this lovely blue and green gradient and a black paint pen on the other. In one color, draw a marigold, creating a center of small circles and adding petals in soft m shapes as you move out.

2 Add a variety of leaves. I added three different kinds, varying size and shape. Fill the remaining space to complete your page. I drew a large ranunculus and some smaller leaves in the gaps.

3 Switch paint pen colors and gouache backgrounds and draw a different shape, pattern, or grouping. To create a simple design, draw a pattern of shapes on the gouache background. I drew a simple pointed oval pattern. Fill in the shapes or fill in the gaps between each shape to create a negative-space pattern.

PENCILS The soft marks of colored pencils, watercolor pencils, pastel pencils, and charcoal pencils cling to the toothy painted surface of gouache to create beautiful grainy texture that adds a cozy, illustrative feel. The techniques in this breezy illustration incorporate watercolor pencils and a white charcoal pencil.

Lesson: Autumn Night 1 Tape off the edges of a piece of paper (I used a 5½" × 4½" [14 × 11.5 cm] piece of Carson XL watercolor paper) and paint a background in a dark blue gouache. I used Prussian blue darkened with black and a wide flat brush. Allow this to dry.

2 Use the template on this page to lightly sketch or transfer the pattern onto the dark background (see here for the transfer technique). Mix a shade of light brown and paint the tree and branches with a small round or liner brush. I used a size 2 round brush and burnt umber lightened with a little white.

3 Select a palette of autumn leaf colors and use a size 2 round brush to paint leaf shapes on the tree and flying off in the breeze. I added a few brighter pops of yellow to my mixture of reds and oranges for the crispest leaves.

4 Add shading to the trunk and branches with a dark brown pencil. Lightly cover a few of the leaves with slightly darker shades of their colors to add texture. Depict the wind with a few swirls using the white charcoal pencil along the template lines, then gently smudge these with a clean, dry finger. Go over the lines again with the white charcoal pencil to add brighter marks, especially at the wispy ends. When you layer colored pencils, soft charcoal, or pastel over the surface of the gouache it creates instant texture. The matte surface of the paint and the variations in the surface of the paper capture the pigment of the pencils unevenly, making a beautiful grainy texture and providing a fresh new way to add dimension to your art.

5 Paint stars and a crescent moon in the sky behind the tree using a small brush and white gouache. Allow this to dry completely. Add a small amount of white charcoal to the centers of a few stars and the moon. Gently smudge the white charcoal in a circular motion with a clean, dry fingertip to create glowing stars and a soft halo around the moon.

7

PROJECTS This chapter contains a selection of projects that explore the true versatility of this awesome medium. You’ll be able to try your new gouache skills on a variety of surfaces, including paper, wood, and clay, and learn how to present your art in unique and creative ways. I hope these projects leave you feeling inspired to explore the endless possibilities of gouache and give you a taste of how you can use gouache every day for journaling, custom gift wrap, garlands, wall art, and more.

BULLET JOURNAL SPREAD Gouache is a great choice for adding a little creativity to a bullet journal or planner. The paint dries quickly and you can write over it easily, offering lots of opportunities to beautify your weekly agenda. For this project we can use some of the simple gouache flowers and leaves from here layered over a bold background. TIP: If your journal has thinner pages, stick to small decorations and avoid painting larger areas to prevent your paper from warping.

MATERIALS Pencil Bullet journal Gouache paints Paintbrushes: flat, small round, liner (optional)

1 Lightly pencil the layout of your spread, considering your journal’s size. This spread has a space for the month at the top of the left page, seven spaces

for a daily agenda, and an area at the bottom of the right page for additional items, such as a to-do list or habit tracker.

2 Use a flat brush to paint the background around the boxes with a mixture of colors slightly thinned to make blending easier and add texture. Allow this to dry completely. I used permanent green, cobalt turquoise light, linden green, and primary blue. Mixing in bright yellow-green and blue on the palette made my greens more dynamic.

3 Use a small round brush to paint clusters of simple flower shapes in vibrant colors that will stand out against the background. Overlapping some of the bare areas creates depth. Establish the shapes with a main color, then add shadows and highlights. Allow this to dry completely.

4 Use a small round or liner brush and gouache mixed to a slightly thinned consistency to add leaf and grass details, spilling some off the background and onto the white spaces. Lighter and darker shades will offer contrast.

5 Use a small round or liner brush with slightly thinned white gouache to paint the month and date range at the top of the left page, then add the days to the individual boxes (see the finished layout on this page). Try some of the lettering techniques from here–here or use a paint pen, if you aren’t confident yet in your lettering skills. Now you’re ready to plan your week!

WRAPPING PAPER AND GIFT TAG A roll of inexpensive kraft paper plus your gouache paints means you’ll never again run out of gift wrap. This project shows how to paint beautiful custom wrapping paper to add an extra special touch to any gift. You’ll paint the pattern as you did the line florals on this page, so try that exercise before diving into this project.

MATERIALS Roll of kraft paper Pencil Gouache paints Small round paintbrush Gift tag made from heavy watercolor paper or unfinished wood

1 Cut a piece of kraft paper large enough to wrap your gift. Select one base color and one lighter color of gouache, and lightly sketch the main shapes of a pattern

onto the paper with a pencil. Make sure the pattern extends off the paper’s edge. This makes painting easier and lets you distribute the pattern evenly across the sheet. I used an all-over floral and leaf pattern.

2 Mix a base gouache color to a slightly thinned consistency, as described on this page. Paint over the drawn lines with a small round brush and allow it to dry while you make a matching gift tag.

3 Make a gift tag from heavy watercolor paper or use a small, unfinished wooden tag. Paint the entire tag, with a ½-inch (1.3 cm) flat brush, the same color as the wrap and allow it to dry.

4 Use a lighter color to paint a small motif and border that complements the wrapping paper design. Use thicker gouache for this, with only a little added water, so the paint doesn’t bleed along the grain of the wood.

5 Gently erase any visible pencil lines on the wrap before using it on the gift and attaching the tag. Your gift is now ready for giving!

WRAPPING IT UP Because brown paper is often quite thin, stick to designs with simple line elements rather than painting large solid areas. If you use a larger brush to paint shapes or stripes, the paper may wrinkle a little. This will go away as the paper dries.

NOTEBOOK COVER A notebook is always handy for jotting down weekly to-dos, shopping lists, and other plans. For this project, you’ll paint a custom notebook cover using a combination of floral styles. Try using inexpensive notebooks that come in a bundle. The one I used here has a thick brown paper cover that’s sturdy and easy to paint on. For a more resilient painted cover, use acrylic gouache or protect the surface with wax or a fixative, as described on this page. You can find the template for this on this page.

MATERIALS Pencil Small notebook with a heavyweight paper cover Gouache paints Paintbrushes

1 Decide on your palette, design, and what techniques you’d like to try. The design should have multiple layers (I use three for mine) and a background color. Lightly pencil in the design elements you want to have in specific places. I began by adding my main flowers in the lower right of the cover, leaving space above for a mixture of freehand leaves.

2 Paint the initial elements of your design using your choice of techniques and let this dry. I used line work in burgundy (see here) on one flower and burgundy with white to vary the tones of the other flower using the layering technique (see here).

3 Add leaves around the flowers in two different layers to make the composition more interesting. Use a small round or liner brush to paint a stalk in pale green and use a larger round brush to paint the leaf shapes. When this layer is dry, add some blue to the green and add another layer of leaves slightly overlapping the first; I used a small round brush for the stalk and a larger round brush to paint irregular leaf shapes.

4 Paint the background with a flat or filbert brush, leaving a small outline around your design. I used a soft pink. Let this dry.

5 Add the last layer of your design. I added white leaves, a dark green fern, and a large leaf. To paint the fern, begin with a long, thin line for the stalk and then move the tip of the brush back-and-forth to create the individual leaves. Once the leaves have dried, use a small brush to add details. I added some leaf veins in pale green and used a darker blue and dark green to emphasize the shapes of the other leaves.

TAILOR MADE If you use notebooks for different things, why not tailor the cover artwork to suit the contents? Paint cooking ingredients for a recipe notebook or a watering can full of flowers for a gardening schedule.

LEAF TRIPTYCH This pretty, nature-inspired triptych combines all my favorite techniques for painting with gouache. In this piece you’ll create dimension with brushy blending (see here), build dramatic textures and use layering to create patterns. You’ll make sure your leafy trio is eye-catching by adding backgrounds of bold, contrasting color.

MATERIALS Sturdy watercolor paper (I used Canson XL watercolor paper) Gouache paints (Dark green, white, flesh tint, primary red, black) 1½" (4 cm) flat brush 1 size 2 round brush 1 size 6 round brush Ruler Frame Mounting or washi tape

A Note on Paint Colors Using dark, medium, and light shades of the same green for all of the leaves creates dimension while keeping the finished painting cohesive. I chose Jeece Finest’s deep green for my darkest green, lightened it with white for a medium green, and added a little of that to white for my lightest green. For the background colors, I used a mixture of Winsor & Newton’s flesh tint and white, flesh tint alone, and flesh tint darkened with a little primary red for a nice salmon pink. Choosing these complementary colors (see here) for the backgrounds of each leaf makes our triptych bold and eye-catching, whilst the subtle differences in shade allows each segment to shine individually. You could create a less dramatic color scheme by choosing more analogous colors (see here) for your backgrounds such as shades of blue or blue-greens. 1 Cut a sheet of watercolor paper to fit the entire frame. This will sit behind the paintings. 2 Measure the inside dimension of the front of the frame and use this to calculate the size of the individual panels. I used an 11 × 14-inch (28 × 35.5 cm) frame with a 10½ × 13½-inch (26.5 × 34.5 cm) opening. Factoring in a ½-inch (1.3 cm) gap all around, I tore my paper into three pieces, each measuring 3¾ × 9½ inches (9.5 × 24 cm). 3 Sketch out the basic outlines of leaves on the paper panels. I sketched a large oval variegated leaf, an elephant ear, and a snake plant (see templates for this project on this page).

VARIEGATED LEAF

1 Paint a small oval in the center of the leaf using the lightest green and a size 6 round brush. Paint around the edge with the darkest green and a round brush. Allow it to overlap the light green a little to create an irregular edge.

2 Using medium green, add a variegated pattern to the leaves where the light and dark greens meet. These marks should follow the direction leaf veins grow, so curve them toward the center and base of the leaf.

3 Use a size 4 round brush and the medium green to add pattern marks in the large open areas of the dark green portion, again following the same curve toward the base of the leaf. Using a size 2 brush, add the leaf center with medium green, extending the color from the center line into the leaf. Use a wide flat brush to paint the background in the lightest shade of pink, first placing scrap paper underneath to protect your work surface when painting over the torn edge. Paint up to the edge of the leaf and completely cover the white of the page.

ELEPHANT EAR

1 Sketch and paint the leaf shape with the darkest green, using a wide flat brush, onto the panel. Allow it to dry.

2 Dry the wide flat brush as much as possible, then load it with a small amount of medium green paint on just the tip of the bristles. Start at the leaf’s center and sweep the brush toward the outer edge. As the paint runs out it will create a lovely dry-brush texture area that allows the darker green to show through. Do this on the whole leaf, always starting in the center and sweeping out toward the edge. Add a little bit of black to the dark green and use it to paint a stem, using a

small round brush.

3 Paint the leaf veins in the lightest green with a small round brush. If this light color mixes with the darker background in some areas, allow it to dry completely before adding another layer.

4 Use the same dry-brushing technique with dark green paint to work around the leaf veins, swiping from the leaf center out toward the edge to add shading. To darken the outer edges of the leaf, swipe in toward the center. Be careful not to cover all the lighter green; the area of this lighter texture down each side mimics how the light catches on the leaf’s waxy surface.

5 Paint the background around the leaf carefully with a large flat brush and the medium pink shade, switching to a smaller round brush to paint the area where the stem joins the leaf.

SNAKE PLANT

1 Lightly sketch the snake plant onto the panel. Use a flat brush to paint a brushy blend of all the greens onto each leaf (see here for this technique). Where the leaves overlap each other, use darker greens for the leaf underneath and lighter greens for the leaf on the top to separate the shapes. Repeat this process for all the leaves until you are happy with how they look. Allow this to dry.

2 Mix dark green with a little black, keeping the mixture thick with no extra water added. Load a dry, flat brush with a little dark paint. Scrub any excess paint onto the palette or a paper towel until the bristles clump together and

produce a scruffy dry-brush texture. Gently brush this dark texture onto the leaves with short up-and-down motions while moving horizontally across the leaf to create its characteristic texture. Repeat this process for all the leaves. For lighter green areas, scrub the dry-brush texture on lightly for a paler pattern.

3 Paint the background with a wide flat brush in the darkest salmon pink. Switch to a small round brush as needed to paint the tiny spaces between the leaves.

ASSEMBLY

Once all three pieces are dry, you can assemble the frame. 1 Carefully remove the glass from the frame and set it aside. Reassemble the frame with the watercolor backing sheet in place. Space the panels evenly within the frame’s opening until you’re satisfied with the layout.

2 Stick each panel down with mounting tape, one at a time. You can also use large loops of washi tape across the top, middle, and bottom of each panel, as I did. Carefully press the individual panels onto the backing paper. Reassemble the frame with the glass once the panels are adhered to the backing paper. Hang and enjoy!

NIGHT GARDEN DIMENSIONAL PAINTING Painting on sturdy watercolor paper offers an opportunity to get creative with suggesting dimension in our artwork. In this project you’ll create a multilayered painting that utilizes a cut-out to create a sense of depth.

This project explores a garden at night and some things we might encounter there, such as flowers, leaves, and moths, all tucked under familiar constellations in the sky above. We’ll use simple shapes embellished with layered details to create this dynamic scene.

MATERIALS Sturdy watercolor paper (I used Canson XL watercolor paper) Gouache paints (I used Winsor & Newton gouache in primary red, opera rose, flesh tint, marigold yellow, primary yellow, cobalt turquoise light, linden green, primary blue, permanent middle green, black and white) 1 large flat brush 1 size 2 round brush 1 size 6 round brush (1) 8 × 10" (20.5 × 25.5 cm) foam board (or similar), 3/16" thick Craft knife Cutting mat Scrap paper Glue pen Shadowbox frame, 8 × 10" (20.5 × 25.5 cm) Template (here)

1 Cut 2 sheets of watercolor paper to 8 × 10" (20.5 × 25.5 cm). On one, trace or transfer the pattern. On the other, lightly trace only the cut line.

2 Use a mixture of pink and peach shades of gouache and a size 2 and 4 round brush to paint the flowers and the upper set of wings on the moth. Use the weton-dry blending technique (see here) to create soft blends on the individual petal shapes, using darker pinks where the petals will be more shadowed, and lighter peaches toward the tips.

3 Use dark pink gouache and the size 2 round brush to paint outlines around the individual petals on the flowers and the shadows on the base of the foxglove petals. You can also add a band of this dark pink to the tip of the moth’s wing.

4 Paint all the leaf shapes in the scene using a variety of greens and green-blues and a size 4 or 6 round brush. You can paint these in solid colors, blends, or a mixture of both, as I’ve done here. Keep the colors nice and bright so they’ll stand out against the dark blue background you’ll add in step 9.

5 Use shades of light and dark lilac to paint the inside of the foxglove petals, painting the darker color across the top to show where the petal casts its shadow. The size 6 round works well for this. Use the craft knife and cutting mat to carefully cut out the center of the paper at the cut line. Because watercolor paper is so heavy, you may need to make two passes with the knife.

6 Place scrap paper underneath the painting to protect your work surface. Mix a dark blue color for the background. Using the larger round brush, carefully paint around the flowers and leaves all the way to the edge of the paper. Use the smaller brush for tight spaces. Be sure to paint the cut edge so none of the white paper shows.

7 Paint dark blue spots inside the foxglove petals. Once these dry, outline the spots with a thin line of white. Use the small round brush to paint white highlights over the top of the foxglove petal openings, add bright highlights on the petals of the other flowers, create flower centers, and add moth antennae and wing patterns.

8 Use a variety of the darker and lighter greens and blues you used to paint the leaves to decorate the other shapes in the scene with the small round brush and a combination of lines, dots, dashes, leaf veins, and stems. Set this layer aside to dry.

9 Mix a shade of deep blue-black and paint this onto the background sheet using a wide flat brush. Paint at least 1½ inches (4 cm) past the traced cut line in all directions. Paint a crescent moon, some stars, and your favorite constellations in the blue-black with a small brush and white gouache. Lay the foreground over the top of this layer to make sure these elements show through the cutout.

10 Cut an opening in the foam board with a craft knife, leaving a ½-inch (1.3 cm) border on the top and sides and 1½ inches (4 cm) at the bottom. Stack the layers together to make sure the foam is invisible. Trim as necessary, then paint the cut edge of the foam with the dark blue mixture. Allow this to dry.

11 Apply glue on one side of the foam board (I applied the glue in lines about ¼ inch (6 mm) apart). Carefully place the board, glue-side down, onto the night sky layer, being sure to line up the edges.

12 Apply glue to the exposed side of the foam board. Carefully press the garden layer onto the board, making sure to line up the edges. The piece is ready to be popped into a shadow box frame!

BUTTERFLY CASE I’ve always loved the butterfly cases found in natural history museums, and this project walks you through how to make your own unique collection. The folk art style, with whimsical motifs and patterns created from imagination, inspired these beauties, but you can create a more true-to-life collection by studying a butterfly guidebook.

MATERIALS Pencil Sturdy watercolor paper (I used Canson XL watercolor paper} Gouache paint (I used Arteza paints in burnt umber, burnt sienna, crimson red, vermillion, saffron orange, and pale yellow) Scissors and/or craft knife Adhesive putty (I used Blu-Tack) PVA glue Jeweler’s wire or small paperclips Needle nose pliers

Needle nose pliers 1 large round brush 1 small round or liner brush Shadowbox frame, 8 × 10" (20.5 × 25.5 cm)

1 Draw a box the same size as the frame on watercolor paper. Sketch some butterfly shapes within the space. I found five butterflies fit nicely into my 8 × 10" (20.5 × 25.5 cm) frame space. Don’t make your butterflies too small or fussy around the edges, or they’ll be difficult to paint and cut out. For inspiration, see the butterfly templates on this page.

2 Use small and large round brushes to paint the butterflies a variety of colors. Allow them to dry. The first layer establishes the main colors, so stick to solid colors or simple shapes or blends. Vary the colors as you paint the butterflies and consider the background color they’ll be mounted on. My shadowbox came with a cream fabric backing, so I painted my butterflies contrasting colors. If your frame doesn’t have a background, use a small piece of neutral-colored fabric, or paint a simple background on paper.

3 Have fun adding details. Create bold patterns with contrasting colors or subtle marks with similar colors. Build multilayer patterns by working on one color at a time. I used a small liner brush to create simple leaf shapes, lines, and other marks in a variety of colors. Look at pictures of real butterflies for pattern inspiration or just make it up as you go.

4 Finish the butterflies by decorating their bodies. Use short, overlapping brushstrokes to create a fur-like texture and use two colors to create stripes. For the largest body, I added a simple leaf decoration to complement the wing designs. Allow them to dry.

5 Carefully cut out the butterflies. You may find a craft knife helpful for cutting the fussiest areas around the head and tail.

6 Use a small detail brush to paint the cut edges of each butterfly so the white of the paper doesn’t show. Do this with the painted side of the butterfly facing away from the brush for the most control. Let these dry.

7 Carefully fold the butterfly wings where they join the body, using your thumbnail or other flat edge as a guide. A gentle fold gives the wings dimension.

8 Use jeweler’s wire or a straightened small wire paperclip for the antennae. Curl the wire into shape with a pair of needle nose pliers. Allow ½-inch (1.3 cm) of wire for attaching to the back of the butterfly. Create antennae in pairs and adjust the sizes to suit the butterflies.

9 Hold the antennae in position with a piece of adhesive putty, then add a generous amount of PVA glue with an old brush or toothpick to attach the wire to the paper. Allow these to dry.

10 Disassemble the frame. You can do the next step either with the backing completely removed from the frame or through the frame with the glass set aside while you create your display. Arrange the butterflies to your liking, then attach them one at a time with adhesive putty. Press them firmly onto the background. Removing the glass from the frame makes this step easier; replace the glass once your butterflies are all stuck in place. A PERMANENT BOND The adhesive putty allows you to reposition or remove the butterflies. To adhere them permanently, use a double- sided adhesive, such as glue dots or double-sided tape.

Make this project as large as you like by selecting a bigger shadowbox or using multiple frames to make several smaller collections. To recreate real-life butterfly species, add a small name card under each one to identify it.

CAMPFIRE PANEL For this project, you’ll paint on a small wood panel and layer a simple silhouette to tell a story. The pine tree silhouettes combine with the colors to give the impression of a glowing campfire hidden away in the woods, and details—the highlights on the trees and the embers floating away into the sky—add to the scene’s magic. I used a small, square cradled panel (a wooden frame with a board attached to it), perfect for this little campfire scene. You can hang these panels on a wall or display on a shelf.

You can use regular or acrylic gouache for this. I used regular gouache and then sealed it with a coat of wax to protect it. MATERIALS Cradled wood panel (I used a 5 × 5 × ¾" [12.5 × 12.5 × 2 cm] panel)

Cradled wood panel (I used a 5 × 5 × ¾" [12.5 × 12.5 × 2 cm] panel) White gesso 1 wide flat or foam brush 1 size 2 round or liner brush (1) ½–¾" (1.3 to 2 cm) flat brush Gouache paints (see colors below)

A Note on the Colors The colors in this painting are key to achieving the effect of a glowing campfire and the overall sense of illumination. Take some time to mix your colors before you start. Make sure there’s enough contrast among them to distinguish the individual layers. Allow the mixes to dry on a swatch card so you can be sure how they look together. Here are the colors I used: Dark blue: Prussian blue mixed with gray and black Medium blue: The dark blue mixture lightened with gray Light blue: The medium blue mixture lightened with gray and a little white Light peach: Winsor & Newton flesh tint with a little white to boost opacity Medium peach: A mixture of flesh tint and Arteza wine berry with a touch of white for opacity Dark berry: Mix magenta with a little green to make a dark plum color (or use Arteza Wine Berry), and add a small amount of white for extra opacity. Dark blue-black: This will be the darkest color you mix and should look darker than the background sky. Mix prussian blue and black for this.

1 Prime the wood panel with gesso, following the manufacturer’s instructions. Allow it to dry. Paint the background sky dark blue with a wide flat brush, covering the top two-thirds of the panel, including the top edge and sides. Allow it to dry.

2 Use the medium blue and a small detail brush to paint thin tree trunks (I painted seven). Vary the height and spacing, and add them on the sides of the panel, too.

3 Using the trunks as a guide, paint the silhouettes of the trees with the small brush. Use small stippling motions with the brush tip in a tall triangular shape (see silhouette lesson on this page).

4 Repeat this process with the lightest blue, painting more trees, and continue painting this color down.

5 Use a small detail brush to paint the trunks of the illuminated trees. Use the lightest peach color for the trunks in the center, the medium peach for those on either side of the center, and the dark berry for those nearest the panel edges and the sides. Vary the height and spacing a little so the blue trees in the background peep through.

6 Use a small round brush and start with the darker trees on the outer edges to paint the illuminated tree silhouettes. As with the blue trees, use a stippling motion to paint the silhouettes, and continue the bottom of the trees down about ½" (1.3 cm) past where the blue finishes.

7 Paint the medium peach-colored trees on either side of the center, allowing them to overlap the darker, berry-colored trees.

8 Repeat this process with the light peach, again overlapping the darker trees on either side.

9 Add just a hint of a glow on the edges of the trees closest to the fire with the tip of the brush. Use medium peach on the dark berry trees and light peach on the medium peach trees. Create stipple marks with the small round brush to add the lighter colors.

10 Paint the dark foreground trees that will be silhouetted against the illuminated forest. Paint the tree trunks with the dark blue-black, making sure the tops don’t go above the previous trees, so we can see them showing through.

11 Paint the tree silhouettes with a round brush, and use a wide flat brush to paint this color to the bottom of the panel, plus the sides and bottom.

12 Use a 2/0 round brush and light peach to make the small dots and dash marks of the fire embers floating away into the night sky. Paint these marks closer together where they emerge from the forest, and allow them to spread out as they rise into the sky.

CELEBRATION GARLAND

MATERIALS Three to four analogous paint colors (I used Winsor & Newton primary red, flesh tint, opera, and marigold yellow; plus, primary blue and gray) 140 lb cold press watercolor paper at least 16" (40.5 cm) wide to accommodate the banner template. Plus a regular 9 × 12 (23 × 30.5 cm) sheet of the same for the glass and bubbles. Circle templates in a couple of sizes (I suggest 1¼" and 1½" [3 cm and 4 cm]) Pencil Large round paintbrush Colored string or twine Sticky tape (I used washi tape) Adhesive putty (I used Blu-Tack) Small scissors Templates for the glass and banner (here) 2 tassels

4' (1.2 m) string

Heavy watercolor paper is a sturdy surface for gouache and makes an excellent choice for bespoke paper decorations, such as this Cheers! banner and bubble garland, sure to brighten any celebration. The technique used in this project is based on the wet-on-dry blending method described on this page, which creates quick, beautiful blends with gouache; perfect for tasty cocktails! PAINT THE BUBBLES, COCKTAIL GLASS, AND BANNER

1 Using a stencil and the template, lightly pencil the bubbles and cocktail glass onto a 9" × 12" (23 × 30.5 cm) sheet of watercolor paper. If you don’t have a stencil for the bubbles, use small, round jars or jar lids to trace circles in two sizes. The more bubbles you make, the longer your garland will be. I made eight large bubbles and eleven small ones to make a 4-foot (1.2 m) garland. 2 Place a pea-size amount of each analogous color onto a palette and wet the brush. To create washy, wet blends, add water to the brush as you go rather than mixing paint to a certain consistency. Use the wet brush to pick up one of the colors, working the brush tip into the edge of the paint to create a nice, watery mixture. 3 Start painting each bubble by outlining a curved, triangle-shaped highlight with the tip of the brush.

4 Paint the rest of the bubble by picking up a different color each time you reload the brush, always keeping the brush nice and wet so the paint can move around on the surface.

5 Repeat this process to paint all the bubbles, creating a beautiful variety of

blends.

6 For the cocktail, use the same process as the bubbles over a larger area. To give the impression of the drink sitting inside the glass, leave a small unpainted gap between the cocktail colors and the glass outline. You’ll paint over the glass outline with pale blue once the cocktail has been painted.

7 As with the bubbles, add different colors to the drink as you reload the brush. Create a pale wash and leave some white spaces unpainted in the top of the glass to suggest ice. To do this, rinse the brush until it has just a little color left and paint the top part of the glass with this weak mixture. Where it touches the previously applied stronger paint, some of the colors will bleed upward, creating a soft blend.

8 Paint a bright straw with one of the analogous colors (I used red). Leave a gap on either side of the closer part of the glass rim and blend the bottom of the straw with a damp brush, so it looks as if it disappears into the drink.

9 Mix a watery blue-gray color for the glass. Test the shade on a blank section of

the paper. Paint around the outline of the glass, keeping a consistent line. For the most control, use a liner or small round brush.

10 Add a pale blue wash over the entire base of the glass. Allow it to dry. Use the same pale blue wash to accentuate the details of the bottom of the glass by adding shadows to the left side, underneath the base, and to bring out the shape of the ball. Allow this to dry.

11 Cut out the bubbles and cocktail with scissors, leaving a ¼-inch (6 mm) white border around the edge of the glass.

12 On the large sheet of watercolor paper, trace the banner with a pencil, then cut it out and fold where indicated.

13 Sketch the letters lightly with a pencil. Do this first on a sheet of regular printer paper or tracing paper until you’re happy with the size and spacing, then trace or transfer the outline onto the watercolor paper.

14 Use the same analogous colors and wet-on-dry blending method to carefully

paint the letters inside the outline. Add some polka dots around the letters. Allow this to dry.

ASSEMBLE THE BANNER AND GARLAND

1 Arrange the cocktail glass and a few bubbles around the lettering until you’re happy with the placement. Use tape loops on the backs of the bubbles and the glass to adhere them to the banner. I used washi tape, since it sticks well but won’t damage the paper if removed.

2 Cut a length of string approximately 4 feet (1.22 m) and tie each end through the loops on the top of two tassels. Secure the string with a double knot.

3 Arrange the bubbles along the string until you’re happy with the placement. Leave about 4 inches (10 cm) between the last bubble and the tassel at each end. If you group any bubbles, use a small piece of tape to fasten them together.

4 Turn the bubbles over and slip them underneath the string. Use a small length of tape to attach the string to the back of each bubble. Press the tape down firmly on either side of the string. Voila! Your garland and banner are ready for a celebration! Hang the garland and banner on a wall with a removable wall adhesive. Make this project suit whatever occasion you’re celebrating by customizing the lettering and painted images. Create a “Boy or Girl?” banner for a baby shower with a cute onesie garland or a birthday banner with a party hat and pretty balloon garland.

PAINTED JEWELRY DISH For this project, you’ll combine gouache with air-dry clay to paint a unique jewelry dish. Sculpting with air-dry clay is a versatile way to create a 3D substrate that requires little in the way of special tools or equipment. It can be shaped into cups, pins, plant pots, and more, and dries with a toothy surface that gouache can bond to easily.

MATERIALS Air-dry clay (I use DAS modeling clay in white) Rolling pin Knife

Ruler Circle template approximately 3½ inches (9 cm) (use a jar lid or something similar) Wax paper Small dish of clean water 500-grit sandpaper Small sponge Acrylic gouache Varnish

WORKING WITH AIR-DRY CLAY Air-dry clay feels different from regular clay, and shaping it can take a little getting used to. Keep a dish of water handy for adding moisture to the clay as you work with it, and manipulate the clay slowly to avoid cracking.

1 Knead a ball of clay approximately 2½ inches (6.5 cm) in diameter until it is smooth and pliable. Flatten it with a rolling pin on wax paper to ¼-inch (6 mm) thickness and large enough to accommodate the circle template. Set the circle template on the rolled-out clay and run the tip of a knife around it to mark the clay. Remove the template and carefully cut out the base of the dish. Use a wet finger to smooth any lumps and bumps on the edges.

2 Roll a 2-inch (5 cm) ball of clay into a sausage shape long enough to go around the perimeter of the dish. Flatten this with a rolling pin on wax paper to ¼-inch (6 mm) thick. Use a ruler to mark a ¾-inch (2 cm) wide strip, then trim the piece to this size.

3 Wrap the strip around the base, and trim it to fit.

4 Use the knife to gently score around the edge of the dish base and the bottom ¼-inch (6 mm) of the strip to roughen it. Mix a small amount of clay with water to get a heavy cream consistency and apply this to the scored area around the base of the dish to act as glue.

5 Gently but firmly press the long strip around the base of the dish. Roughen each end of the strip, apply a small amount of the watered clay, and press them together.

6 Use a paintbrush to add some clay “glue” to the inside of the dish where the rim meets the base. Smooth the dish as best you can with a wet finger or, for small areas, the end of the paintbrush handle. Leave the bottom of the dish as is, and set the dish aside to dry for 24 hours.

7 After 24 hours, knead a marble-size ball of clay with some water to create a soft mixture. Lightly wet around the line where the rim joins the base underneath, and gently press the clay into the groove. Smooth the area with a wet finger and leave the dish to dry upside down for 12 to 24 hours.

8 The dish is fully dry when it’s uniformly white. Carefully remove any blemishes or lumps and smooth the rim of the dish with fine-grit sandpaper outside or in a well-ventilated area. Paint the entire dish with a coat of white gesso or matte white paint to seal the surface and prep it for further painting. Allow it to dry.

9 Mix the paint colors with an old flat brush. I used blue, purple, black, and white to make a medium-dark purple-blue and a lighter blue. Use the same brush to paint the darker color onto the upper half of the inside of the dish and the lighter color on the lower half. Use rough strokes, making sure to cover all the white. Continue the colors onto the outside of the rim, but don’t paint the bottom of the dish.

10 Add texture by gently dabbing the paint onto the dish with a small piece of sponge. Work first with one color and then the other to create a textured gradient that is lighter at the bottom and darker at the top. Let this dry.

11 Lightly trace a penny or other small, round object in the top left of the dish with a pencil. Use a round brush to cover the entire shape with white gouache; this is the first layer of the dynamic moon.

12 Mix a pale blue-gray and a slightly darker blue-gray. Use uneven strokes of the brush tip with the pale color to add shadows of craters and the texture of the moon’s surface. Add a few spots of deeper shadow with the darker color, focusing on one side of the moon. Proceed through all the layers while they are still wet so the colors can mingle to create subtle areas of light and shadow. Allow the moon to dry.

13 Add a few fresh strokes of white, concentrated on the side opposite the deepest shadows.

14 Mix a deep blue for the silhouettes. Use a small round or liner brush to paint the shape of an owl over part of the moon (you can lightly sketch the shape with a pencil first).

15 Use the same color and a round brush to paint the skeletons of plants and trees. Switch to a smaller round brush for the finer branches. Think about how the foliage frames the scene, and give the owl a branch on which to perch.

16 Paint small clusters of leaves and add grasses along the base, using a small round brush. Try different brushstrokes to indicate different types of plants. I painted leaves, long grasses, and small, leafy bushes.

17 Paint around the rim of the dish with dark blue. Continue the silhouettes up and over the outer edge to finish the outer rim. I painted leaf shapes at the top for the tree and long grasses on the right side.

18 Add stars to the night sky with white gouache and a small round brush. I like to vary the size of my stars and even add a shooting star. Make sure to paint stars up and over the rim, where there are no silhouettes. Paint the bottom of the dish with the deep blue mixture and a flat brush. Let the dish dry completely.

19 Protect the dry surface with matte or gloss varnish, following the manufacturer’s instructions.

TEMPLATES To download the templates shown here for printing, click here: www.quartoknows.com/page/gouache Layered Floral see here

Line Florals see here

Foxglove see here

Garden Beasties (butterflies) see here

Blended Landscape see here

Painted Letters see here

Autumn Night see here

Notebook Cover see here

Leaf Triptych see here

Night Garden see here Copy this outline onto an 8 × 10" piece of watercolor paper, including the dotted cut line. Copy just the cut line onto an additional 8 × 10" watercolor paper for the background layer.

Celebration Garland see here For the banner, copy the outline twice onto a large sheet of watercolor paper, mirroring the shape at the center line to make a long, curved banner.

ACKNOWLEDGMENTS I want to thank my wonderful husband, Rich, for all the lasagna that fueled the writing of this book. Thank you for your unwavering support and for understanding how important being creative is to me; you made all this possible. I would also like to thank my mum and dad for their support and tireless encouragement. I could not wish for more creative and talented parents.

ABOUT THE AUTHOR Ruth Wilshaw is a self-taught artist who rediscovered her passion for art just after she turned 30 and watched her first episode of The Joy of Painting with Bob Ross. She spent time exploring charcoal, watercolor, and oils before trying gouache, her perfect medium. Ruth loves to encourage others to give this quirky medium a go and enjoys painting landscapes and illustrations inspired by nature. She shares videos with her followers on Instagram and YouTube, giving tips and advice for painting with gouache. These videos of her painting process have been viewed over 10 million times.

INDEX A acrylic gouache, 12–13 alternative surfaces, 19 analogous colors, 42 angled shader brushes, 17 artists’ gouache, 12–13 Autumn Night, 96–97, 138

B blended landscapes, 73–75, 136 blending, 34–41, 84 brushes basics of, 16–17 blending with, 34–35 care for, 16 lettering and, 78 sizes of, 17 watercolor, 93 brushstroke exercises, 33, 55, 80 Bullet Journal Spread, 100–101 butterflies, 135 Butterfly Case, 114–117

C Campfire Panel, 118–121 canvas, 19

care for brushes, 16 Celebration Garland, 122–127, 140 clay, 19 cleaning, 16 color basics of, 42–43 gradations in, 70 mixing, 25 pattern and, 44–47 shift in, 25 studies on, 43 color wheel, 42 colored paper, 15 complementary colors, 43 consistency, finding right, 28–29 cotton paper, 15 country road, 70

D decorated letters, 83 designers’ gouache, 12–13 dotted letters, 83 dry gouache, painting over, 30 dry-brushing technique, paper for, 14 drying time, 25

F filbert brushes, 17

fine lines, 84 fixative, 21 floral bouquet, wet-on-wet, 52–53 flowers Foxglove, 57–59 layered, 54 lessons on, 50–56 simple, 46–47 wet-on-wet, 50–51 Foxglove, 57–59, 134

G glass, 20 gouache

adding water to, 29 alternative to, 13 cost of, 12 drying time for, 25 introduction to, 8 painting over dry, 30 properties of, 24–25 protecting, 20–21 thinning, 28–29 types of, 12 grasses, 68

H highlights, 84

L landscapes blended, 73–75, 136 layered, 71–72 letterbox, 69–70 silhouettes, 66–68 layering basics of, 26–27 layered floral, 54, 134 layered landscapes, 71–72 troubleshooting tips for, 27 Leaf Triptych, 106–109, 138 leaves lessons on, 50–56 simple, 46–47 wet-on-wet, 50–51 left-handed letterers, 80 leftover paint, 25 lessons Autumn Night, 96–97 Foxglove, 57–59 layered floral, 54 line leaves and florals, 55–56 Luna-Like Moth, 60–63

Midnight Meadow, 93–94 Pretty Paint Pen Patterns, 95 wet-on-wet floral bouquet, 52–53 wet-on-wet flowers and leaves, 50–51 See also techniques letterbox landscapes, 69–70 lettering blending color within, 84 decorated letters, 83 dotted letters, 83 fine lines, 84 getting started, 78–80 highlights, 84 masked letters, 86–89 painted letters, 81–84, 137 practicing strokes for, 80 shadowed letters, 83 transfer paper and, 85 line florals, 134 liner brushes, 17 Luna-Like Moth, 60–63

M masked letters, 86–89 matte acrylic craft paint, 12 matte medium, 18 metallic watercolor, 92

Midnight Meadow, 93–94 mistakes, correcting, 85 mixed media paint pens, 95 pencils, 96–97 watercolor, 92–94 mixing colors, 25 monochromatic colors, 42

N Night Garden Dimensional Painting, 110–113, 139 Notebook Cover, 104–105, 138

O opacifiers, 12

P paint pens, 95 Painted Jewelry Dish, 128–133 painted letters, 81–84, 137 paper, 14–15 pattern and color, 44–47 pencils, 96–97 plants, 68 poster color, 13 Pretty Paint Pen Patterns, 95 primary colors, 43 projects Bullet Journal Spread, 100–101

Butterfly Case, 114–117 Campfire Panel, 118–121 Celebration Garland, 122–127, 140 Leaf Triptych, 106–109, 138 Night Garden Dimensional Painting, 110–113, 139 Notebook Cover, 104–105, 138 Painted Jewelry Dish, 128–133 Wrapping Paper and Gift Tag, 102–103

R round brushes, 17

S sampler, painting, 44–47 secondary colors, 43 shadowed letters, 83 silhouettes, 66–68 silicone brush, 18 smooth blends, 36–37 snowy hill, 70 stippling, 32 supplies alternative surfaces, 19 brushes, 16–17 gouache, 12–13 other materials, 18 paper, 14–15 protection, 20–21

swatch charts, 30 symmetry, 61

T tape, 18 techniques beginning with gouache, 24–25 blending, 34–41 brushstroke exercise, 33 color, 42–43 consistency, 28–29 layering, 26–27 painting over dry gouache, 30 stippling, 32 swatch charts, 29 watercolor effects, 29 See also lessons templates, 134–140 tertiary colors, 43 texture, paper, 14 transfer paper, 85 trees, 67 triadic colors, 43

V varnish, 21

W water, tips for adding, 29

watercolor, 92–94 watercolor effects, 29 watercolor paper, 14, 15 wax medium, 21 wet-on-dry blending, 40–41 wet-on-wet blending, 38–39 wet-on-wet technique lessons on, 50–53 paper for, 15 wood pulp paper, 15 wooden artists panels, 19 Wrapping Paper and Gift Tag, 102–103

For Nana Joan and Pop. Thank you for all the adventures.

© 2021 Quarto Publishing Group USA Inc. Text © 2021 Ruth Wilshaw First Published in 2021 by Quarry Books, an imprint of The Quarto Group, 100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA. T (978) 282-9590 F (978) 283-2742 QuartoKnows.com All rights reserved. No part of this book may be reproduced in any form without written permission of the copyright owners. All images in this book have been reproduced with the knowledge and prior consent of the artists concerned, and no responsibility is accepted by producer, publisher, or printer for any infringement of copyright or otherwise, arising from the contents of this publication. Every effort has been made to ensure that credits accurately comply with information supplied. We apologize for any inaccuracies that may have occurred and will resolve inaccurate or missing information in a subsequent reprinting of the book. Quarry Books titles are also available at discount for retail, wholesale, promotional, and bulk purchase. For details, contact the Special Sales Manager by email at [email protected] or by mail at The Quarto Group, Attn: Special Sales Manager, 100 Cummings Center, Suite 265-D, Beverly, MA 01915, USA. 10 9 8 7 6 5 4 3 2 1 ISBN: 978-1-63159-937-8 Digital edition published in 2021 eISBN: 978-1-63159-938-5 Library of Congress Cataloging-in-Publication Data available. Page Layout: Megan Jones Design