Expressive Van Gogh Style Illustrations in Gouache | Sonia Lalchandani | Skillshare

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Expressive Van Gogh Style Illustrations in Gouache

teacher avatar Sonia Lalchandani, Gouache + Watercolor Educator

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

10 Lessons (1h 20m)
    • 1. Welcome to your Starry Night World

      0:40
    • 2. Supplies for Project 1: Mason Jar Nightscape

      0:58
    • 3. Taping and Drawing Guidelines

      3:45
    • 4. Project 1: First Layer

      22:58
    • 5. Project 1: Second Layer

      17:39
    • 6. Supplies for Project 2: Northern Lights in Van Gogh’s Style

      1:34
    • 7. Project 2: Drawing Guidelines

      1:35
    • 8. Project 2 : First Layer

      11:44
    • 9. Project 2: Second Layer

      18:24
    • 10. Conclusion

      0:39
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6

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About This Class

Learn how to use Van Gogh’s astoundingly beautiful style of painting to make your own illustrative masterpieces. We will understand, deconstruct his style, and use the elements to make your own inspired masterpieces.

We will be using gouache in this class to achieve an acrylic/ oil painting textures. Additionally, mixing your own colours whole using a basic gouache set. I’m a big believer of mixing your own shades, and mixing sufficiently enough to last you till you finish your project. 

Looking forward to seeing your beautiful projects!

Meet Your Teacher

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Sonia Lalchandani

Gouache + Watercolor Educator

Teacher

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Transcripts

1. Welcome to your Starry Night World: Hi everybody. I'm Sonya. I'm an artist from India and I worked mainly with wash. Today in this class, we'll be using Van Gogh's Starry Night as inspiration, deconstructing it, and using its elements to create our old masterpiece. We understand how has stayed worked, what his basic nuances as well, and how we can incorporate them into our own work and create our own personal masterpiece inspired by one of our most beloved artists. So let's get started. 2. Supplies for Project 1: Mason Jar Nightscape: So to meekness, I'm using the Stillman and burn, which is cold pressed, a 100 people and silver brush, which is a yellow light, and Prussian blue upgrade. So we just the seven colors and one brush. That is it. 3. Taping and Drawing Guidelines: It's true. Starting with the government. The glass. Let's draw moon. I'm just taking scotch tape. You can take anything new one all the time for work. And now we're growing. As it is. Van Gogh's style. 4. Project 1: First Layer: Starting with ultimately, if you feel the pain is displayed with us. But again, keeping in mind, wander. I do. Good question. Which you can work around that stars area is because yellow is a slightly transparent and it'll just end up looking like a mess. And he turned into green. And at the end about doing it in the layer below it. Now coming back to the sky area. While it is wet. I have short strokes around the moon wisdom. Ultimately NGO. At the start of the transition, the glass. Strokes. You can extend the lighter shades into the dark machines and the darker shades into the lighter shades. Short strokes with the nighttime. Around the cue sheets. You don't need to worry too much about doing this because we have the stars to me, up to this. Hello. This does. And now I'm moving. Having a darker shade and the white makes of ultramarine. Because after this, when you will be given the final finishing touches. Other binary data is to the Voyager. The places where GMR on the Voyager. It'll be easier to highlight it to the right. If it is dark, obese. And of course, for both. Because of the contrast. I've taken little bit of black. I'm not taking too much. And I'm just mixing on my brush. Strong pigment of the Voyager, you're transitioning to ultramarine blue. Now the idea is that the bottom half will be darker since it is resting within the class, which will be adaptable batch. And the upper half will catch more light. Therefore, we have lighter shields. Now. They will be transitions on the Lewis I wrote. So Island the opposite of dark and light. Basically. It will be lighter on the upper side and darker on the lower side. So you need to play around with the sheets. Add a little bit of the white and ultramarine mix. Also. I like doing my blending while the paint is still wet. Like this part of the white and blue that I had put earlier. I added the darker shade around that only. And it makes very fluidly. You will see the painting coming together because this is the main subject of your painting. Now, as we intermingle with these, primarily these three sheets of the white and ultramarine. Ultramarine and the Prussian blue. Try using short strokes where there is a blend and grappling with that area when there is a blend. Like using darker shades on the lighter ones and the lighter shades on the darker ones. To get a very oily painting. It or the shorthand in strokes are very uniquely representative of Van Gogh's style. And intermingling of the pins like I'm doing right now will help you achieve two things. Firstly, it is an order to give a very flat look through your Bolger. And secondly, it will help in getting oil painting like MOOC to your painting. The black on the upper side of the boiler will represent a shadow area or a place where the shadows falling. Also another thing. Feel free to go via your instincts. The drawing that we have made initially is only to be basic and fair idea as to how you should be proceeding with the painting. Like there are places where I have added stars, where there were none, made them bigger at certain places. We're back. Starting with the black, 20% of black and 80 percent. Doug, when you have really, really dark shadowy area, since it's a representative of the night. Be careful or the line of the Bolger. Wash. And if you make a mistake, dragging mindful of the lines and dragging slowly around it. It's slightly, the rest of it is going to be a flat wash. And indeed the horizon line is going to have the grassy look. Wonderful shadows as we did with the other colors. It's going to bring about beautiful shadows in the background. Now extend some of these grassy strokes of the dark color on the wall, general. So we will be continuing with modal those once we're done with the stars. Hi guys up. 5. Project 1: Second Layer: Now, once the first year, lemon yellow and a gold, as he didn't previously. Playing with the tunnels. To get really cool textures. And keep intermingling with the shields. Between yellow and white. Surrounding areas. We will be filling in with the short strokes as we had done with the sky and around the moon. So this is heavily inspired by studying. We'll be having the same effect. And keep alternating and playing around with the shapes. To create a more dynamic look. Here, I just added a few yellow strokes to the regions of the top of the Bolger. As for reflection from the light inside it. You can also double load your brush with the gold ocher. Yellow to give it a more textured look rather than a lay flat look that comes with using just one color. I'm going in with a mix of white and yellow and making a crescent shape. Don't worry about crescent shape that it has. With the gold ocher. Study, very team. So I'm going in again with the white and yellow mix on my brush. And I'm taking the crescent shape that we've made inside this so good. For the moon part to dry, we'll start working on the little stars and very lights that we have. Now starting with again, the white and yellow mix that we have on our brush inside these styles. To make that as this center of the light source within that star. The white. They make it stand out more. And we use the same mix to have little short strokes. These stars that we have, as we discussed earlier, than who use these short strokes as a way to express the shining stars and a feeling of blue around the objects. I'm now taking a plain white on my brush. And I'm going in on the dial to create some highlights. And a shine on the jive with the white. It will give not only a feeling of shine around the messenger, but also give it a better body. And it will emphasize more on the job. Now. Now we've painted the mason jar randomly adding a little bit of blue around the messenger. Using the leftover. On the brush. Strokes around the stars, on the lights. So as to stop. Now, I'm taking the initial writing yellow mix that we made for the crescent shaped moon, taking that on my brush, and then creating short straw. And so all these styles, their dead outside the royal jelly and adding little blobs within the center. Now for this 106 books style, as you would meet the smoky within the cell, the mason jar. The yellow is because yellow is a slightly more transparent wash. Hello, which means that it doesn't have the same opacity. That white has widened. It has a five more dense than water yellow has, especially when it comes to learning. Do we add a little white to it so as to give it a better body. So it can have better definition. Especially in this case, which is a night skip, it will pop out and going. And going with the comparatively dry blush. It'll help enhance the painting and it will fill up any blank spaces. The trigger drawing do glow around. This is that when the brush is dry, it will itself rendered slightly uneven strokes. So therefore, you will not have to work really hard in making especially very minute lines for the glow around the star. In the foreground. A yellow, green, and a mix of these two sheets. The idea is going to be the lightest because of low. And as you move forward, it really dark rooms. So we first want to layers the entire full round with a mix of green and yellow and green. So we can W dot brush. We can use each of the colors singularly. We'll also be making a few springs of the grass overlapping with the mason jar, as would be the case when you keep anything in the class. The bottom portion of it will have a few drinks overlapping with the object. Keep your brush strokes using start off with the darkest green and yellow mix. And finally, a bit of yellow. But mostly keep it closer to the light falling onto the grass would be yellow. So given that we're closer to the more haphazard way, to give it a more natural look. Strokes, all strokes in one direction. Adding some highlights around the lights, and add some shade variations. The two styles right now, we are at the bottom, which are overlapping. Yellow and white mix. To give it a liberal definition of the short strokes around the moon. Feel free to have your own additions to the piece. Because this is your masterpiece. And we're using elements from N to create your masterpiece. Go ahead. If you like the painting as the painting. 6. Supplies for Project 2: Northern Lights in Van Gogh’s Style: Starting with the second project, these are the colors that we'll be requiring, out of which we'll be making our own sheets. The first one being the mix of bright green and white, in which they will be an equal consistency to get this medium green. The next panel is the same shade of red, green, and black with the higher concentration of brightly. The third one that we're going to mean is flashing blue along with white. To get to this mild concentration of the blue colors. And again, one more variation to the same plateau. With a higher concentration of Prussian blue mix to the same blue and white. Just to show you a comparison, use Prussian blue on its own. And we'll get a number of these noodles. You have ultramarine blue, which we will use on its own. 7. Project 2: Drawing Guidelines: We now starting the second project. And I'll basic composition is going to be mountains and the foreground in the sky. Without using his elements into our world. Into 20% of your page. And make the mountains for the northern lights, for the colored part of the light. At the end. 8. Project 2 : First Layer: In this short strokes of the movement that van Gogh tried to achieve. Rather than starting with the second movement. Because slightly darker. So that it gives a nice contrast. And that one would be to always start on this side, will just fall on your dominant. Dominant. As I start making swatches, This short shorts. It gives them on smooth. So if by chance you will tend to overshoot what we've drawn into the area maybe when the mountains don't worry about it because that's the best thing about wash. You can do it with the same color, the color that you have to put on it. You can just layer it and it will get sorted. Now moving onto the rest of the sky. I'm starting with an ultramarine blue. Using Internet creamy consistency. Slightly watered down from what we take it out when we take it out from the tub. Slightly watered-down. Select over here as I was telling you, in this area, if we happen to overshoot it, there's no issue. Okay. Now as we move on the outer side, we're darkening it up with the Prussian blue. So starting with an ultramarine blue, as we radiate out towards the edges of the people. We will use a prior Schindler. You can go slowly and carefully around the swishes of the green. But even if you overshoot the green, it's okay. You can get it again and you'll be done. I'm adding tiny tinge of black and the absolute outer edge. And because I already had the blue on my brush, It's just rendered a very dark Prussian blue. Now try going in the movement of the greens wishes only because as the paint dries up and as you paint further on, it will give a slave beautiful brush stroke effect. It will turn out in this shape of the brush, the way you've moved your brush in the direction that you move your brush. Since algebra again is a brighter shade, we're keeping that towards the green and the blue and the mix of black and crushing blue towards the outside. Now starting from the other side. Because this comes with this tool. And just like we started with, bright green areas in any non state-space model. Continue filling up the bytes of the sky. Without the edge of the mountains. Brush ends up in the mountains. Vicious. When wet on wet. Like we've done with previous project. If you want to keep alternating between the sheets and is still tiny short strokes of either sheet. Because when it will dry, it will render a very unique thing like we did earlier. And it would still be fine. 9. Project 2: Second Layer: I'm starting with the brush that you already have. We started with the number in the previous number. Now, we can write and we move in the direction of the point, is to draw the debt creates a movement, a movement in your mind. When you look at it. Then this is how the lights will be moving. That's what value do you use to create a movement? There is installing. It isn't moving, shoulder movement of the clouds. It might've been a windy night when he made that painting. I'm now moving in with the first mix that we had me. Because as I explained earlier, the bright colored light, whitish light around it to signify of the northern lights. Which is what? Now we're being honest semi straw because it was a 100. Now coming back to these little switches, we make about two to four lines. For the size that we need to add. These little tiny dashes around swishes. Reasons. Firstly, to help the feeling of motion, the direction in which the light is moving. Because the northern lights moving. As the second lens. To depict these lines. So many watercolors, we tend to leave a little space between the light and the sky. Blue. And this feeling of this portion that I'm putting the Dacians along this wishes. Now you can go wild. So a lot of times the sheets with the C, you can give it your own touch. If you want to make the dark black. And also keep adding the color that you're using within the solutions. In the area. Swish. Just basic grid highlights. Nothing to watch in your life. Like I said, will be made view rates as well. There are blue or in between or dance. Enrich you again. Thanks. And if you look at half speed onto making those styles of sizes from tiny ones to slightly new ones as of course, the composition as well. Adding the two places where there's more space and making smaller ones. The green area of the northern lights. I have taken the blue and white with white as highlights and adding right in between. So some texture as even that creates a nice little piano. But for right now, all of these are being done with blue and white mix. The first thing that I have on my brush is dominated more gray. And I'm just adding some depth. Is it might not be working on stance. A little bit of yellow box and contrast. Now using the same yellow in the center of the styles. Style. With the highlights. Northern line and black and start working on the mountains. And it woke now. So it's probably because of the video. Then the bottom left is it instantly that once we add highlights to the mountains, will be able to see the difference very distinctly. So now I'm just taking what's known, but the consistency. Enough. But not really, because we need to highlight this. So it has to still be big enough. And to the standard niche then washed gives you, other than looking at watercolors, I have no begin a white brush. And using the dry brush technique and adding highlights to the molecules. For the highlights. Because it returns a mountain. The light of the northern lights reflect on small. So I do some bits of green to show the reflection of the novel names on this small. Realized that I wanted. I've taken my brush and then just added. Let's start so that it doesn't look around it. Now as we had done in the previous project, styles staff, I'm using a white on my brush. Once we're done, the mountains will be done with this project. And with this, we come to the end of the class. Yes. Class. And how we actually do apology. 10. Conclusion: Projects that are inspired by 10. I hope you understood the elements that go into making your own masterpiece. Inspired by Wang who's astoundingly beautiful paintings. And I hope to see your work in the project section. If you are an incipient, do tag me. And also under the hashtag of being with Sonya and happy creating.