(upbeat music)
- So let's start out with some basic brush strokes
so that we can get a good idea
on how to actually use our brushes to our benefit.
I'm going to load my brush up with paint.
Remember that you're going to want a good amount of paint
versus water, so I just dip my brush quickly
and then I drag along the edge,
and then I just give it a little swirl in my gouache.
A good practice to really get familiar
with this brush is to use just the tip of your brush
and drag it along your paper and then to use more pressure.
So still on its side but press all the way down
and then drag and you can see how you have
that nice thick stroke.
To play in between those two,
you can drag lightly and then press down
and then drag lightly and then press down.
Drag lightly, press down
and this gives you a really good idea of the variation
that you can get in only one stroke.
So to create a simple leaf using this, it's my full pressure
where I'm on the side and I'm pressing all the way down
and I'm dragging, but as I'm dragging, I'm lifting
very slowly so that I can get a nice, fine tip.
So that would be my leaf shape.
Now I can also build off of this, so that could be
a single leaf on its own, or I can go in
and actually on the side drag around and meet at the tip.
I left a tiny bit of white space in between
and that is so that I can elude to like the center
of the leaf, but it makes it nice and full.
So you can see that there are different styles there.
Then you can build off of this by creating a full branch.
So to do that, I'm just going to very lightly
drag all the way through with my brush at the tip of it
and then I'm to full pressure and lift up
and I'm going to want some more paint on my brush.
This would be great for watercolor
to have that translucency, but for gouache,
I like to keep it a little more opaque
and then I'm going to draw these little petiole's coming off
of the stem and then the same thing, my full pressure
and drag into a lighter pressure at the top and it's okay,
you don't have to have white space in between every leaf.
In fact too much makes it look almost too formed.
So having that looser effect is nice
and it's okay if they overlap.
But you're just practicing full pressure
and then lift up real slow toward the tip
so that you can create that nice flow.
This is just a really great practice for getting familiar
with a new round brush or familiar with paint,
or if you don't know what to paint when you're just starting
when you sit down and you're like,
well, I really want to paint, but I don't know what to paint.
You can always start off with some leaves.
It's just a fun exercise to do, so you can do it that way.
Or you can just do it that first way that I showed you
where your leaf is just that part.
So if you had a stem and they'd be coming off like so.
So play with that and get familiar with your round brush.
(upbeat music)
- [Dylan] For this exercise,
we're going to take a look at watery and thick gouache.
I'm just going to go ahead and draw an orange,
and you can see that I'm using a lot of water.
The paint is spreading really easily and cleanly,
but I'm getting a little bit of that wash texture,
not as much as with watercolor, it's still,
the gouache is still working for me to flatten out
and everything, but I was able to cover that area
pretty quickly.
I get a really nice pretty coverage.
But now on the other side, I'm going to do a thicker one.
So already you can see, you know, I've got less water
in there, so I've got less glide, but I'm just going to
go ahead and go in here and keep filling it out
and instead of getting more water, like last time,
I just dipped in the water to spread that out,
I'm actually going in for more paint.
So obviously takes a bit longer to get
a thicker application, but you might really enjoy it.
Or you might enjoy both.
So using the same colors, you can see,
I got a much more saturated orange
by laying it on really thick
but I also had to use more paint and it took longer.
So, you know, just one of those things.
I'm going to go ahead and layer a little leaf on top of this.
So even with the watery coverage,
I was still able to cover a good part of that orange.
You can see that it's coming through a little bit
where the gouache got thinner
but even with the watery gouache,
I was able to still hold on to that opacity.
For the leaf over here, I'm going to, again, go thicker.
And that orange wasn't all the way dry under there.
So I picked up a little bit of it when I went through that
but I'm not worried about it.
So explore with different amounts of water to see
if you have a preference for paint consistency.
(upbeat music)
- [Marie-Noelle] The first step is to place each one
of these primary colors where they go.
So now I'm going to get started with my first color swatch.
The way that I like to think about it is
if these are my primaries, my secondaries,
like I said earlier are going to be at the middle point.
So my purest orange is going to be here.
My purest purple is going to be here
and my purest green is going to be here.
I'm going to just write that as a reminder.
Green, orange green, purple
and this set of particular primaries,
they're going to create very vivid colors
just by the nature of the colors that they are.
If I want this to be orange, and this is my yellow,
these two are going to be variations on this.
So this one, I want it to still stay yellow.
It's just going to be yellow with a slight orange bias.
This one is going to be an orange
but with a slight yellow bias.
So I just want to make sure that my increments
are pretty clear.
One way that I've found easier to do this
is to first focus on this color and this color.
Of course, my magenta is darker than my yellow,
so I only need a tiny touch of this one
to change my color quite quickly.
So in order to stay in the yellows,
I only need a tiny, tiny amount of that
and you can see that this is a yellow, but just with
a slightly orangeish hue to it.
Now I can move on to my Magenta and with a slight bit
of yellow in it and what you'll notice is that magenta
that has a little bit of yellow in it,
it actually goes more towards a red.
Now that we have these two,
we can start moving a little bit closer
to our secondary color.
So since I have quite a lot of red here,
why don't I try to go for this one
which is going to be an orange reddish.
So it's still going to be orange, but closer to the reds.
And now we can start constructing our orange,
which is going to be a very beautiful, vibrant orange.
(upbeat music)
- [Narrator] Thanks for watching.
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