Gouache painting How To Draw Whimsical Animals | Chantelle Fashion | Skillshare

Gouache painting How To Draw Whimsical Animals

Chantelle Fashion, freelance marketer and designer

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5 Lessons (38m)
    • 1. Introduction

    • 2. Materials Getting Started

    • 3. The first parts

    • 4. Creating the snail

    • 5. Drawing the frog


About This Class

Drawing is also good for you. Would you love to draw a beautiful animal picture? You can! This class shows you how to draw with easy-to-follow videos. You watch and follow the example. Release your inner artist, express yourself on paper and learn to draw with confidence. This course is for everyone who wants to be more creative, no matter their skill level. You’ll quickly build your confidence and ability with this class! 


1. Introduction: do you get afraid every single time you see a blank piece of paper. If you do, you're not alone. I know a lot of people feel exactly the same way, and if that's you, then this is the course for you in this class. We are going to be free. Don't worry about your wonky lines. Embrace your smudges and celebrate having fun and not stressing um, of the lines. Not stressing over the way your drawings look during is about being creative and having a little fun. It's about excitement, of putting pencil to paper or just putting paint on paper. So follow me along in this class where I teach you how I Hughes goal sh to paint my favorite characters, just drawing different animals and having fun. And this is extremely exciting because you get to be free. So don't worry about your lines or getting things perfect, because this class is no about perfection. It's about having fun and really enjoying yourself. And if you could enjoy yourself, then the goal has been met because it's about putting the fun back into painting and just being really free with your soul and enjoying the process of painting and having fun. So in this class, I take you through two different animals and teach you how to draw them in a fun and creative way. 2. Materials Getting Started: So let's take a look at the materials that you will need saying you himself with the art materials that you have already. I have an assortment off brushes that I've collected over the years, and I have something different brushes and different types to choose from. So it's really up to you. So the ones that I've decided to go with this one small Finn brush this is got a really nice flat tip, and it's really nice and fluffy. So I decided to go with that one. Havel, SoCal and Angled Brush. This is a core of an inch angled brush. They also have a flat top brush, which is this one. This is half of an inch brush. They're synthetic fibers, by the way. This is half of an inch on that. It's more off a round tip brush of appointed tip, so it gives you a really nice stroke when you use that and then I have another half inch brush. But it's a flat tip here. I also have a watercolor brush. Andi, this has the water inside of the brush, which is really nice. It's a really nice fin tip, and I like these kinds of brushes because you have the water inside of the brush that you could squeeze out. So these are the paints that I'm using. They are Crawford, and they are washed colors so you could use water colors of you won't do or you can. You squash. I really like wash because it's a little bit thicker than water color, and you can really build up the capacity a lot easier. You need a palette, and you also need a little cup of water or any kind of ball to contain the border as well as your sketchbook. So this is a sketchbook that I'm using. Its a four, and it's a water color pad. Amusing. It's 230 GSM, and it's acid free. So those are different things that you might want to look for way. And you're looking for your sketchbook in the paper paper that you might want to use. So now let's play around with some strokes. So these are going to be our practice strokes, and just to get used to what kind of strokes are brushes can make. So I've put a good amount of pain inside of the palate and I'm adding some water to it. I've decided to go ahead with this pointed tip brush just to see how the strokes are gonna look. Onda. I'm diluting the wash color so it's not too thick. I'm using it more owes like a watercolor rather than a really thick color. So let's take a look at that stroke. So what's really nice about it is that it can be Finn, and then it can get smaller, depending on the amount of pressure that you're using because off the anger off the tip of the top of the brush and the fitness at the bottom. So that's what I really like about this brush. And it's nice to have a range of brushes so that you can create different strokes. So I just recommend just playing around with whatever brushes that you have and just experimented to see what kind of strokes that you can come up with and create. And I'm just playing with straight lines, curves flicks just to see what my brushes conduce. This is the angled brush, some doing angled flicks on my page and doing it diagonally just to see how it will look. Just trying to see the capabilities off the art materials that I have 3. The first parts: during a snail. So in this class, we're going to be drawing a snail. The first part that we're going to start with is the outline. So we're going to be looking at the individual parts off creating a snail. First, we're gonna look at the feelers, the texture of the shell as well as any other additional details. So I'm going to be putting the black paint inside off the pallet on. We are going to beat during the details off this snail. So first I like to draw the details before going into making the full snail. So just using the smallest brush that I have, Brooks is going to be very detailed and adding a bit of water mixing it in my palate, so make sure you have enough paint in your brush on we're going to start off with is the first detail off the snail's face? No, this is really important because there's lots of different ways that you can draw. This says, Look at one of the ways that we could draw this. So this is the feelers or the eyes. No entirely show is schooled, but those kind of little tentacle things on top of the snails head. That's what I'm aiming for here. Some just during them straight up. And they have a little bubble at the top of them. And I'm not worrying too much about the lines. Don't worry too much about the lines just yet. We, uh, having fun. And we're practicing because this is where we're going to draw all the different parts off the snail's body. And then afterwards we're going to move on to drawing the rest of him. So these are very, very sharp. I've decided to switch my brush as this brush is slightly more precise, and I like that it has the water in it so I can control how water is. So these air enough. A pair off feel is that I'm creating, but in a different shape. These air slightly more drooped. And I'm during a number one just behind it so that it looks like it's coming from behind the feeler, the 1st 1 some during it to bear. And then I'm during another line above and another bubble at the top for the eyes just to create a different style off the feeler. They're not always going to have the veal is straight up, so I called this one happy. I was thinking, maybe if our snail is happy, it's feelers will be really high up, and if it's sad, it will have its little feelers down or tentacles. Let's move on to during the third style. So with the third style, I'm during a curved line and adults at the top. This time they're not together. But there, apart from each other, just drawing a straight line up and just doing a scribbled at the top for the dots of the eyes. And since they're mawr abrupt and straight up, I would say these are shocked. Now let's move on to during the house. So most of the time, snails living side of a shell and shells a really, really beautiful in detailed. If you look at any picture off so you can be really creative with this, So this one is just a really, really simple swell. So starting from the middle and going outwards, it's just like a girl. That's just a simple shell shape. You could leave it here, or you could take it the next step fervor with the 2nd 1 I'm going to do exactly the same thing, starting from a swell and just controlling the brush and going the route. I didn't have enough paint on my brush, so I went back to add a little bit more paint. Your lines can get a little bit, uh, appalled if you don't have enough paint, so it needs to be very liquidy, some squeezing the water inside of the brush at the same time. Now, on this one, I'm going to be drawing some details, so I'm just drawing the line. So the 1st 1 I left blank because you can do that. You don't have to do the lines. If you don't want that, it depends on what you want. And in this one, I decided to draw the lines in the shell, so this is a different style. 1st 1 is slightly more minimalist, and this one is slightly more inspired by the lines off the shell. And then I started to go around with little bumps just to show the ridges that you might see on top of the shell so slowly, just drawing ones that connect to the next one. So, as you can see, the difference between the two different styles you could have plain, or you can have something that's slightly more detailed. Now let's move on to the 3rd 1 So again, starting with the swell and just moving your brush all the way out, I just continuously just drawing it all the way around and connecting at the bottom. I'm just adding a little bit more paint so that it doesn't track. You get the really smooth line when you have more paint on your brush, which is better. So just connecting it here at the bottom. And then I was just going over the lines that just were a little bit more jagged. So now you can be a little bit more creative, so it doesn't have to be realistic. It can be a little bit more fun. So in this one, I'm during small triangles, these little small shapes going all the way around just to decorate the show. And I'm just doing little little dots and triangles and making it look more exciting. Now you can start adding your dots and be really creative with Were you at thumb? So now we're looking at the skin. We finished our shells. We finished our feelers. Now we're looking at the skin, and it's kind of Scalea is kind of snake. Like Andi, it looks very reptile ish, So it's a pattern off little squares and circles, and that's why I've noticed off the skin is close together, little squares and circles so that you can do is practice doing these little squares and lots of different circles on the piece of paper, because this is going to help for when we draw final snail and how it's actually gonna look when it's finished. Another option is circles, so it could be even circles or squares. This one. I'm being quicker and doing more rough circles and not perfect squares, as it could be a circle Scalea look to create that scale, the effects you could have the squares or the circles. So these are all the elements that we need for us now. So we gotta happy, sad and shocked. And then we've also got the shells which are minimalist and them or pattern. And then we've got the different skins at the form and that's what you should have. And now we can live on to you, creating all final shell, our final snail, and it will be really fun to create 4. Creating the snail: So now I'm starting with a brown color, and I'm going to be mixing a little bit off water on a little bit off this yellowy color. The reason why I'm adding water and the lump of yellow. This time I'm going to be mixing the colors and trying to make it slightly lighter. So this is really up to you. What kind of color you want the shell to be. I was looking at my picture and getting a little bit of inspiration from that. So first of all, you want to start with, put in the brush on to your page and going in a slanted motion and just slowly patty outwards and drag it along. So I'm doing a circle and then bringing the line downwards. This is going to form the body off your snail. It doesn't need to be perfect, but it can be very beautiful with different brush strokes. That's why I really love about using Wash instead of watercolor is that you get a different , kind off lying quality, a different kind of a brushstroke quality that you don't get with watercolor. However, with watercolor, you can get some unique blends. Something very beautiful. So I switched my brush. Andi just making it really slightly tipping out the tail. I've waited for that to dry for a little bit on. I'm going to be moving on to making the show. So I've got my brush with the water in side of it, and I decided to use this brush so that I could have control off the flow of water. I'm slowly drawing upwards and just like we created our practice shells on our practice snail, I'm going to be doing the exact same motion just so I'm just slowly, slowly drawing a curve and adding it's likely lighter and darker. I'm adding more paint to that because that came out slightly lighter than what I wanted it to be, So you can go over the lines, or you can just do them slightly smaller or thicker than you want. It's really up to you, and I'm just drawing it down to the blood ive dragging it down and amusing a fin teeth brush just so that I can have a fin the line. Robert in a line that is too thick. Just go over areas that you feel need to be slightly darker and use your old intuition to know where you want to make the lights thicker or darker. So I'm just doing the alsa layer and going around, making it slightly thicker in areas and Finneran areas to give it a little bit of dimension . The great thing about this says it really helps you to practice drawing on being inspired to draw inside of your sketchbook. So now I'm just starting on the lines and patterns on the shell. I've decided to use an angled brush for that diagonal slanted line so you can see I'm just doing a small slot because the brushes angled. It makes it much easier to create these lines, but you can do with any kind of brush. A different kind of brush will give you a different effect, and I'm doing them fairly close together and just creating a pattern a longer shell so you can leave it plain. You can make up your own pattern. You can make it fun, and there's exciting as you want. The whole idea is that it's meant to be play for fun on something really beautiful, an art piece that you really love and enjoy making so don't worry about it being too true to life. It can be. It can be very true to life. It can be very minimalist. You don't need to add a pattern. You could leave it plain as it is before adding any lines to it. You could just leave it as a plane shell, if that's what you like. If that's your style, you can totally leave it without lines in that. But I've decided to add some lines because I really like effect on the way that it looks. You can Adults zigzags any kinds of patterns. If you look up close to a snail shell, you'll see there's lots of different types of patterns. It's never uniform Isaly unique, so every single Snell is different and there special, so you could create your own special pattern. It doesn't need to be a specific way, so the way I'm showing you right now is just a new interpretation off what you could do. A build inspiration Ravo. So I'm just slowly during lines to the middle diagonally and just following it around in the spiral filling in where I feel that it's necessary to have lines closer to each other. I'm not putting them in any specific way apart from each other. They're just around. Um, I'm not doing them specifically straight or croquet. If they becomes crooked, that's fine, because it's just adds a little bit of character to the during. It makes it fun and beautiful to look at when No, every single line is perfect. So I encourage you to do that and play in your sketchbook and have lots of fun with it. So this is partly done. I'm going to be working on the body like the skin that we did the feelers in our first exercise. It's really up to you how you decide to draw it. I just gave you some examples of different ways you could join us. I'm just drawing the feelers, and they're now enduring the eyes that point from the top of the head. If you remember from our photo, they have the little feelers at the front of their face and then up off their head. They have the little their eyes because they don't have eyes in the front of their faces at the top. These little dots at the top form the eyes, so I decided to to the little eyes feelers that we practice previously in the previous exercise. You can really play a round of this. Look at different pictures for inspiration, look of artists off how they've drawn their feelers, and that can really give you some inspiration. That's what I did, And then we can move on to drawing the skin so it's really circles and squares you can do. All circles could dual squares. You could even do little flicks if you wanted to, just to illustrate the texture of the skin. Because the skin looks slightly Scalea, it's not. It's not completely sneer. If you look very close to a Snell skin, it's got some kind of pattern to it, which is really beautiful because it's so beautiful in nature that the assembly patterns, if you look up close to a flower or toe a sea shell or on a snail shell, it's so beautiful because you can see these unique patterns in nature and you can draw from them, and that's really amazing. So that's why I really love being inspired by nature, and that's what I'm trying to recreate here. The little patterns so slightly sped up a bit because I'm just doing little patterns, little squares, circles and squares closely as possible to each other, overlapping each other side by side, some along some of small sum of square summer big. It really doesn't matter is uneven on different, and that's what's going to be reflected on the actual Snell skin. It's never going to be 100% uniform. Nothing is going to look exactly the same size. So this will make your during look more quirky, and it also make it look slightly more realistic if it is more uneven at no. 100% perfect, some just bringing all of that pattern all the way down to the tail and finishing it there . 5. Drawing the frog: Okay, so let's start with the frogs. So you want to do two circles for the eyes off a little dot in the middle, and then you want to do 1/2 circle flick above the ice for the eyebrows. It's really, really simple. And then for the mouth you just want to do to little dots than those and the mouth. You're going to do a nice little flick and then square it off like your during the bottom off a rectangle. So I'm just going over it, just trying to make the lines slightly thicker and then dipping back into my paint. So moving on to the second variation again, starting off the circles on just a little lineup off for the eyes, more off exaggerated half circle. And then I'm doing the same on the other side, the little circle and then another half circle on top. You want to add two little dots for the nose and for the bath. We are going to make him look like he is smiling, so this is more off a straight line, and then below, we are drawing a little curve, so draw a smoke of because he is going to be eating a fly and draw another curve just below , so adding more pain to the brush to make it a little bit thicker, a narrow in it. When you come fervor, then you want to draw the fly's body so you just want to draw the end of the tongue and the fly's body. So they're just starting off with a dot and flicking outwards. I'm doing an M shape for the wings and doing some little dots to show the movement off the fly. So that is one option for the face seven. An exception we're going back to during circles for the eyes and just doing too little small specs for the irises again, with our little flicks at the top for the eyebrows and this time would your in a circle for the mouth and two little dots for the nostril. This is like a shocked face, very cute and cartoonish, so before below, I'm just drawing what they are. So this is happy. We have a big grin. This one is hungry because he's seen the fly that he wants to eat, and this last one is shocked because he looks surprised. Now we're going to move on to during the other parts off the body. Now that we've got Faysal features on the expressions down, we have a good idea of how we might want our final frog to look. So let's jump right into drawing the body and how the body should look. So starting off, we're just gonna start flicking outwards downwards and upwards, just going over that line. This is going to be one off the the arms or the legs. I'm not sure what they're called do do frogs even have arms. Not sure if they have arms, but this is one of their little tentacle legs or arms. Not sure it's correctly called, but I'm during it and they usually have those little nobly bits at the bottom, off their fingers or their feelers wherever it is. So that's what I'm during right now. I'm just doing a smoke curve downwards because their legs curved downwards, and then they have these little fanned out, webbed, kind off feet. So that's the kind of effect that we want to create by just drawing a little dog at the end and flicking upwards. So don't worry about being too neat. The one key, the better, because that gives the picture character, and it makes it look really creative. So now I'm flicking out the back legs on with this. I'm doing them an angle and flicking downwards. The reason why we're doing it an angle because they Lex ah, usually bent, and we're going to do those same kind off webbed feet style. So just straight down and the little dog at the end just to show the little Web set the bomb off the feet. This gave got these little bubbles at the end of their feet. So that's what I'm trying to convey. So again, starting downwards at an angle and then we're going to found down an angle. And by doing this, we can create the ankle DFI like they're crouching down because they are getting ready to jump or to move. That's the natural position of their legs. So I'm just doing the Web little feets, just little lines and a little door at the end just to show that's how we wanted to be. So we're gonna move on to join our final frog. How exciting is this? So I'm mixing a little bit of green and yellow just to get the right kinds of turns. And I'm using slightly thicker brush. Now I'm gonna be mixing it with a blue and a bit off green. And first of all, I'm just gonna be drawing a little blob. We want to go in with our shape first and create a lot of texture and a lot of character. So I'm dabbing. I'm flicking Andi. I wanted to look really textured and stylized. So what I'm doing right now is I'm using parts of the green. But at the same time, I'm also going in with the yellow on, blending in as I go along and mixing so you can see I'm adding the yellow and just blending it into that. And that's the beautiful part about wash. Is that a kind of acts like water color? But at the same time, it's similar to the kind of texture that you can create with acrylics, which is what I like about it. So I've just added that yellow in and I've blended it directly on the page to give it this really nice artistic feel. So just keep lending and adding and adding your strikes be very expressive and artistic with how you add your strikes. So you're trying to aim for, like Azov Circular shape an oval. But you want the top of the overall to be slightly bigger. It's not gonna be a perfect oval, because in nature nothing is like a perfect circle in nature. You see circles a lot, but it's never always symmetrical, and even so, the body off the frog we're going to represent it as a oval shape. But we're adding a little bit off oddness to it, so you obviously want the head to be slightly smaller than the rest of the body, so you can see the bottom is a little bit bigger, and I'm just going on top and adding some extra flex and add flicks. Use your intuition and see where you might need to add some flicks. If you're not sure, leave it on, then go back to and add some more flicks because this is adding some texture, and it's making it look really beautiful. Were the kind of strokes and the marks that you're making, So that's what I'm doing right now. I'm looking at it with seeing what needs to be added. And then what? I'm happy over it. I'm adding the features that we drew before. So going in, we're going to do our face that we did before. We're just gonna go on at our details. Do you know the drill? We did this of our other once before. Previously we did our features first, and then we put them all together. So now I'm just drawing my final face and I'm adding to the eyes, the little circles of the dots and doing that little half circle above for the eyebrow. I didn't really exaggerated this time. And just realize depending on how you do the eyebrow, you can make your folk look angry or you can make it look surprised. You can make it look shocked us. Well, it's really up to you and how you decide to draw it. So I've decided to go ahead and make my frog the Hungary frog. So I'm drawing the smile and the flick upwards. It's just going over that line and then slightly going lighter towards the end because I don't want it to be too thick at the end. And then I'm gonna draw the second line remember keeping it slightly thicker and then keeping it thinner as you go to the tip. So it's vicar and then Finner when it fins out. And now we're gonna draw our little fly body so it's gonna be the dot and then we're drawing the M shaped for the wings, See? M shape. It's really, really simple on the other side, just during a little m very easy, and I decided to add some little stripes in the little bit of detail. You can add some thoughts or lines, or you could leave it blank. Is toast Lee up to you? What you decide to do with this say now un during in the lower part of the lip. He looks extremely happy because he's about to eat a fly, and now we can start during on our body parts. So we're gonna go in with the legs so again, drawing them down and then getting those little feet drawn in. Remember how we drew Durfee in the beginning is exactly how we're going to draw them again . This time, resume those little Web feats with the dots at the bottom. Very, very simple because we practiced earlier just fanning out and drawing and connecting the lines. And don't worry about making it to perfect because the beauty of it is day. It's meant to be fun and artistic. It's just drawing a an angle and then at the bottom you're going to be during the little dot drawing that little dog and then finding out the fingers or the little webbed feet, as I should say, because they don't have fingers, they have feet or whips and just drawing these little lines in with the dots of the bottom to represent those webs and then connecting it from the outside, drawing that as an angle, said them. Now we can move on to the back legs. Thou art frog, Izhar complete. He's got his front arms front legs on, so we're gonna go an angle outside of the line. And the beautiful thing about this is that we are including the white space and including some off the white paper into the drawing. That's the beautiful thing about using blobs or blotches to pay on top off them. Your including the white and you're including the Blob. It's not 100% perfect, and it's meant to be unique and expressive. That's the reason why we are just doing to blow first Robert enduring the outline. First, we are actually creating our shape and then adding details to it afterwards. So just drawing the fi at an angle and then tapering it down for every very gently. And then once we get to the bottom, we can just add those little feet. And I didn't adults winging them out on. You have this perfect little foot and you'll finish. That's everything. So I hope you've had fun. And if he did, don't forget to rate this class because I would love to see your projects on post them. I want to see them.