Paint Like Van Gogh | Izabella Orzelski | Skillshare

Paint Like Van Gogh

Izabella Orzelski

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17 Lessons (1h 10m) View My Notes
    • 1. Izabella

      1:23
    • 2. A Few Words About This Course

      0:45
    • 3. Supply List

      0:19
    • 4. Lesson 1, Sketch (Wheat Field With Cypresses)

      2:56
    • 5. Lesson 2, Fields (Wheat Field With Cypresses)

      7:25
    • 6. Lesson 3, Day Sky (Wheat Field With Cypresses)

      4:29
    • 7. Lesson 4, Mountains (Wheat Field With Cypresses)

      3:13
    • 8. Lesson 5, Trees & Bushes (Wheat Field With Cypresses)

      7:50
    • 9. Lesson 6, Grass (Wheat Field With Cypresses)

      3:44
    • 10. Lesson 7, Sketch (Starry Night)

      1:53
    • 11. Lesson 8, Night Sky (Starry Night)

      8:30
    • 12. Lesson 9, Mountains & Trees (Starry Night)

      6:38
    • 13. Lesson 10, Village (Starry Night)

      4:53
    • 14. Lesson 11, Sketch (Sunflowers)

      3:31
    • 15. Lesson 12, Background (Sunflowers)

      2:04
    • 16. Lesson 13, Flowers ( Sunflowers)

      9:44
    • 17. Conclusion

      0:28

About This Class

If you are attracted to vibrant colours, tantalizing textures and expressive mark-making, this class is a perfect fit for you. Through the 13 step-by-step instructional videos, you will learn how to paint skies, wheat fields, trees, bushes, grass, mountains, backgrounds and flowers. Using acrylics, brushes and palette knives, you will learn how to successfully paint various subjects in the style of the great Post-Impressionist Dutch Master. Your possibilities as an artist have no boundaries or limits!

Transcripts

1. Izabella: Hello. My name is Isabella Usual ski and have the artist painter from Edmonton, Canada. I received master degree from the New York Academy of Art Onda PhD in art education from the University of Alberta. My interests pound from portrait, bigger toe floral paintings. I have been art instructor at the Faculty of Extension of the Universal Alberta for the past 20 years. I like to experiment with various painting the kinks on art materials such as oils, acrylics, fantastic playing and even act temporal that I often used together. My paintings are fact my love for colors and texture that I often find in my dreams over how I like to call it in my magical world. Lately, I have completed a serious off for a pint, things for which my garden was the inspiration that some of my paintings are a testimony to my life off the Chiaro score. Or you can see charter school painterly technique that raises on the strong contrasts of light and shadow. I was like to play with the temperature off the colors in my paintings to achieve certain effects. Most importantly, I strongly believe that it's possible to be both a partially our teacher on an excellent art 2. A Few Words About This Course: in this art course, you'll learn how to apply the painter, taking off the great Dutch painter beings in Bangkok into your own art creation. We will use three of his paintings as the references for our exercises. This will be the wheatfield with cypresses, the started night and the sunflowers. Our objectives will be to learn how to paint on rocks, trees pushing, sweet field, sky houses or etc. Village, some flowers, five grand's and more. I know that you will enjoy. This goes very much. We'll have lots of lots of money, so let us pick it. 3. Supply List: Our supply list consists of the following contrarians. Acrylic paint, brushes, palette, knives, acrylic teacher, or even better, light modelling paste, three canvases and lots of optimism. 4. Lesson 1, Sketch (Wheat Field With Cypresses): For our first exercise MOOC, using Bangkok's wheat field with side persons as our reference image in place when you want to save money or we are just interested in using paper, made sure that you have a piece of watercolor paper that you were sure in place with masking tape will follow with Grantland as catch can complete by using pencil and outer recommended that you use at darker, softer pencil. That means h b would be okay. However, it's bigger when you use even to be 4B or 6B in my place. And not worry about the heaviness of the lines since we want to make sure that everything cool be covered with the quite a heavy texture, similar to the way how Van Gogh applied. The first step will be to create mounted. So divide this space into two parts and approximately this is one here. And that will be the first diagonal line, or maybe even lower. But again, I'm not worried about that. I know that this will be the lung of which I will have the mountains dividing the sky. And then I will have the line in which that's most important to me. I will have my field approximately that. So we have number of triangles. This is the one that we will be concerned today because we want to create a nice Whitfield. Go. Remember moving. So therefore the line will be organic and slightly wavy. Ok, I will finish them smart things there. And then I will have if part will consist on our bushes. Again suddenly if you want a wavy lines, cypress trees, two of them, one smaller and weaker. Remember that the sample, by simplifying the shapes, will create another set of triangles. And from there you can waive the position, the shape. Couple, I think another set of bushes, which again, it's not such an important at this stage since we will work in this part with a pallet knife and those parts will be covered on living. E, d will be kind of all these three here. So therefore, I'm just creating oval shape and we're a field and then definitely in the front, we have kind of wavy grass. Let's see, maybe we'll even push the field a little bit lower. Fantastic. 5. Lesson 2, Fields (Wheat Field With Cypresses): Therefore, the calls that I have chosen, our cadmium yellow, medium, yellow, ochre or oxide. Hello, burnt sienna, my palette knife. And additionally, I chose light green. As you can see on this side. I have my modelling paste that comes in the jar. Golden produces. It may be some other brands as well, light modelling Cubase. I read some of it here and I will show that a paint application with and without. So the color of our field is the yellow column. So when we will apply it, our butter the surface and I will make sure that they have played a little bit heavier. As you can see the color, it's quite bright. And tone it down with small addition of yellow ochre. And I can mix those two Callisto grabber. And then you can see that the color change, since we want to use too much paint, I suggest it will move through the application of life modelling paste into the mixture. Our add a very small amount, yellow. That should be enough. How does, how effective modelling paste as it extends my paint beautifully? Well, so want to slightly tone it down or make it not as sharp PLO therefore wore out through an oxide Yellow House thick mixture. So I will scoop despite some my paper. And then I will add it to our mixture. Good. And this stage angry at them to apply this mixture on the entire field. Since the field goes from the top line to the pattern, what I will do, I will batter the surface of my field with this mixture. Make sure that they've applied the way that war have approximately two tray, five millimeters of paint on the surface. Don't forget a whole department to be covered. Good. Now it can't be a fun part. Shown you how we can create the effect of this columns and then of the top our field. So notice their movement of my palette knife. I'm going up with it, slightly pushed under the angle C like this. And then I'm going down and going up, and then I'm going back down and going up and down, up and down, up and down, up and down. And I could disputable, Rich. Sorry, I came a little bit more. You can do the same with the brush. However. Having experience of making copy of this bent into numerous times, I noticed that this is the most effective way to do it. Just a little bit more pain. And now notice this is the definition line between the vertical plane and horizontal one. Then next step will be to use either push or pilot map. In this case, I will use palette knife to give us the feel of the separate like this texture on the top. For the vertical plane of the stamps, We have to vacate their movement and slightly change the color. So for this purpose, already started planning a little bit of my burnt sienna color. And I make sure that the colors not too sharp prepaying, therefore, NSSet With the mixture that they are the half-done. I'd also take a little bit of yellow ochre because I will work with those two colors and then I add a little bit of the green. So before anything else, I will go with the mixture of burnt sienna oxide here Law, and then with little bit of green on the cytokine surface. So you can see right away that change instantly. The effect is happening. Now I make sure that the glue is multiplying by subdividing screen mixes and blends nicely into the two layers of painted already placed on the vertical plane. Especially on the pattern, we can use a little bit more of this. Querying needs RAM sienna color, yellow, ochre, yellow, right? And I'll just touch very good. Now with the tough, we can leave it the way it is or we can add some other colors into it. And because I have modelling phase that will not dry differently with similar statewide, so simply take it and apply it on the top. Now remember when it seems that there's too much of white, you can simply blended it into the yellow by pushing modelling paste with palette knife. And just want to have variety of the class at all to have the same color or love. Letters from contact form look like. Then we can also add a little bit of this mixture of oxide and print sienna just next to the register, our filters. Then I hope that you will be able now to repeat step-by-step what I have done. The most important things that you want to batter, I call it the entire surface of the triangle on the which later you will pay your wheat field and then braid you start with creating storage by pushing your palate life under the, I would say 45 degrees, angle your palate light up and then bringing it back down. Not this, this is the movement up and down ship dock. And again, thinking about the movement, you also have to change slightly, not even so much direction, but the angle on which this movement will happen. And a couple of dots here, possessive flowers later we can use, if you want to summarize I, there's another spot, just one that we also want to fill that in. And this is the one behind brushless. Our first exercise is complete and, and now you want to practice and get on your own. 6. Lesson 3, Day Sky (Wheat Field With Cypresses): Our vertical sky during the day time consists of number of colors. We have the Naples color, which is a combination of your yo occur. Lots of white and tiny bit of yellow like dead Toby discolored here. We also have blue and you can see a darker and lighter version. So you can decide which color even it will be a tailored blue, our egos cobalt. And then we'll have lots of white and ending kilobyte of pelo green mixed with a huge amount of white and tiny input of this Naples column 0.52 cell use colors such as my modelling paste flux. Why? Lots of white? On this side? I have my cobalt blue, tiny but of the Taylor Green and buff color date will somehow substitute my Naples Calcutta. But I like to use my modelling plays and I will apply it on the surface or another painting stuff enact. Good. So this is since they are the mountains hear somebody wide, it's coming in this section right next door. And you can see I'm a plank in India. Huge amount. The part where I want to have the slide and notice my stroke. They are wavy and I use the whole or three quarter wave of my palette knife to move my pain. So I start with the lightest color because it's very easy to contaminated with some other colors. And also taking nucleic inner Candace, all those colours will be lie. I can even afford to exaggerate and apply this white Enlil anymore places that it actually visible. The next step will be then Pascaline, which at an IOU Sullivan the dopamine buff color. And I add a tiny bit of yellow into it. Saying again, notice this where early movement of the clouds on the sky of Sam also following the same kind of adjust change from one direction to another one. So going from left to right, then I'm switching to the opposite direction and the right time to move to another Callahan. And we can consider applying blue. And then to say I have a little bit offline modelling paste and white that I put on this side. And then I add a little bit just trying to move to our green, I can move the yellow into maybe a touch. Items could very small differences at impulse. Like column next to our mountains, you can still shape them. So you can see how we'll reach. Our sky is still a little bit more of the white here and another to actually go with the implants. Who's paying and simply bring in Texas. For example, they're like not too much. Again, we don't want to have too much of it in some indication in couple of places. So we leave this painting and I hope that now you use the opportunity to continue with the exercise on your own. 7. Lesson 4, Mountains (Wheat Field With Cypresses): In this exercise, I want to show you how to complete bushes, trace along pins will be four. We will paint our cypress trees. We should go to the mountains and apply some of the little paint in the bath missing some of my cobalt onto Mama that were available on the tail blue. Let's say, Why do you make sure that the mountains will have a different kind of blowing them? As you can notice, an battering the surface. So what it means I am applying a little bit heavy layer of paint and then with my Perhaps I will shape it by moving the pain a little bit in this direction as well as by applying some strokes onto a notice dependence template using brushes when it will be the time I certain moral, I'm not flip. The color looks really nice. And now I can decide when this color should be lighter. I bring some white into it. And then just gently moving quick my palette knife, I will, I will get the effect that they want C And the perfect color. If I want to sell strength, some of my bro, I can directly bring my tale of blue onto the mountains and especially the daily rehab their edge of them and then pollutant later do it with the branch he calls Fan Cong. Used car weighs the outline and you can notice that those outlets have very much visible vector. And then we want to bring some of the why today. Notice the strokes, they are going on the diagonal. Also. And by Bosch. Second, apply the paint a little bit heavier. And then I will move either. And I like to make it I think they look blue. It's a very powerful color. So have to be careful. And I apply it. I can also do it once the bank is try, but they chose to work with it. The stage on the stairwell. And the most important notice, I'm constantly thinking about recreating those lines. Showing us the mountain for direction. So there's deep sharp. So not this, that there's this yellow passage that I love so much. So I would think a little bit of modelling paste, tiny little tail and added contrast intersection. So by Van Gogh, everything could support this contrast. Triassic a public good. 8. Lesson 5, Trees & Bushes (Wheat Field With Cypresses): So for the trees, we can use Chrome green because it's a little bit. And then I will apply it on the trace. And nobody is Taylor. So let's have a rondo and I already battered the surface again, lots of, lots of paint on it. And remember, you want to have this organic shapes are very wavy. That's going to be cypress tree looks like. Okay, so a little bit of the blue space between between those tools, cypress trees, and I don't want to lose it. Say right away. Bring the blue over there. Now, I think a little bit of yellow, believe me or not, because I have already plenty of paint them. And we've got brush. I can move this yellow to get them interested in change of greens. We want to take maybe palette knife or very sharp, pointed to wash. And then we want to even depth in a little bit of black. And then you want to bring their needles, OK, call it on this side jumps. Would that pure blush again in the paint? And then you'll go sites. So I talked about it a little bit the surface because i will then be able to recreate the order parts. So as you can see, pets with politely, if it's easiest to do it, just make sure that you don't have an API. And I can switch one over. Second bush here. I can use move the yellow. Notice. I need to have this wavy line. Notice tall as that Cyprus triune anodic has happened here. Ok, we will have another shape. So this side seems to be lighter. It seems that the light hits the bushes prompted our rights. So that for a donation on numerical recreating those shapes have the slightly lighter green and I will now apply it here. And then we have to work on our tracing for the treatment definitely. We will use both palette knife. And so right now I stuck with palette knife edge. I will move very soon to the brash. And I wonder if those n Because of the I guess it's an audit trail. I assume. I don't know the current day really like a slow and a little bit. The next tree that overlaps. So we definitely want to have in this section slightly darker color. We don't need to apply Future Man, I want to have this effect of this secret straps. And they also include a little bit of the purple and the will be necessary in the painting because we have to follow use TF. And when you have such an enormous amount of yellow are played in the painting. Van Gogh could always, always somehow sneak tiny bit of pepper to brighten the yellow color. So just paint the edges. That's all we're gonna do. A little bit of color. So kinda thread. And then this will vary like almost all of y coming out with some yellow inlet. But right now we just apply this very, very light blue colors, which is just a tiny bit of the white, fairly small amount, considers a little bit more yellow. So sled to change the color, blending the yellow into the bush or intuitive cream painted to have impediment to change just a little bit and come to play a little bit of the black, bring symbol, the stronger our clients. So now I will work on the terrain that overlaps. Another one in the pi. And the public purpose, I will use a blank column index with Taylor and the flow rate of the lighter green. And I definitely don't want to have it invests his sexual I feel the need to move to the branch. So we have the pressure can do very much the same. I just seems to be to have more, slightly more control. And then notice that a lot of very happy colors. We also have to him finally on the field. And then, and we can move to the y, showing that there are lots of parameters. Move in different directions. And then we need to have dark color that will represent as soundtracks. Strike Lenton to angle. So we're gonna be doing gets homelessness occur. Tray trays. Though to see some of those branches and mass will move to the particle. Purple is the color here. It has to be a lighter version. I have, I think a little bit more. I'm just adding the class because I want to have a brighter, more beautiful field. And I think that what allows me to, to get so we have those parts and now we have to go with some yellow and green ink, some smallest drugs. Now that they love. Taylor's, very useful because it brings us to the painting. Pure wine to take pluralized blend. I still want that couldn't train the punk who led the three interference to shine. So it's always back and forth, back and forth until you are satisfied to just, I think some of the comments and enriching because we see more already what's going on. So that's how a trace will be done and still think that this yellow is a little bit too strong, so I want to tame it. She said the color doesn't need to be so bright inside of those trace, but still has to be a green group is completely detrimental to a dark color over there. And then just the granting the front suite. 9. Lesson 6, Grass (Wheat Field With Cypresses): Use the battering, my padlet life, how it moves. Me, taking my modelling plays a little bit of yellow and a peace, both of them with a grain. This is the first one to have this lushness. Not such a terrible movement, possibly most important, that the Bangkok paintings up incompleteness or close to a thousand movement about energy. So that would break them back a little bit of the bull here because he really think it will help the three as well as the victory over there. On the slide term. We have the slide. Remember too. That's important that you know, this one moving from right to left. And then on the top, more or less moving from left to right. And then we need some outlines and we need some flowers as well. The seems to be a part here. Then I apply a little bit of the back car, not just me, my movement, a palette knife. I will need to have white meets with yellow. And because I have already plenty on my brush of green, I got the lighter collide may want to call it with this lighter color. Really indicate that even in the class test, not just one color. Can then couple more strokes. And for that purpose I will use purple and something. I want to indicate that there is the differentiation between maybe one plane, this antenna, another one here. And then they bring some of those strokes map. Again. We don't need to do exactly the same what we see in the, in their painting. We want to have created paintings that have some feel. Bangkok paintings where you just need to have a couple of flowers. So for the horse, I knew Tareq and why. And I will try to use palette knife and lambdas while it's happening, those red dots are placed on the green line is something that you can print them off of there. Just to break down that painting procedure. Just like the cherry on the top of the cake. Somehow everything gets unified, looks drunk. And then I will need some white spots. I can have my white spots by using, again palette. Just in a couple of places. Not evenly that system or simpleton, you cannot play the paint evenly. You can use polite nitrogen, use heavy duty brushes. And like the politically very much. See, I still put some of this lovely flowers here and there. And also will go with some yellow to make it a little bit brighter. And whenever you, I think that there should be more yellow, that's the time to do it. Right, this section to break down a little bit our sections. And if you're new to apply certain outline, that's the time to do it as well. 10. Lesson 7, Sketch (Starry Night): Another painting that you want to use for our exercises is the star and I. Before we will start working on our sky to first of course, catch, why want to create the positioning where the mountains? And notice this a beautiful diagonal line because that's what Vanguard could be doing. Qgis, lots of diagonal lines, also, fewer strokes, not very long and very, very skinny. Here we can see that the movement, you almost feel like it's one line, but the line consists of many short scheme you strokes. So we have the line of the mountains and it doesn't matter to me on this stage right now to look even of exert, OK, I just want to get the positioning approximately another, it was another cypress tree here. And I won't created by using simply the very sharp triangles from which I can again shape the way more or less will look like in the image. And notice on the bottom and the lower part of the painting, we have village. You just presented here because we can see the church tower if we want to have it. I just want indicated for you that tower is the most important part. And then that will show you how to create those buildings or how to paint them. So I'm just very fast. We'll draw using href perspective. I call it position. Okay, so I will note that this is just a good thing squared V over three. That's what we have to know. The sketches them, but most of the sky. 11. Lesson 8, Night Sky (Starry Night): In the sky we have combination of yellows and laws as dominant colors. There's also little bit of purple, but the purple WorldCom was never on the color that we will call a traveling road. That has already summarized in that way I will add just played in a little bit on this side and taking meeting you quieter because the wife were allowed us bringing some of the stimuli, strokes, insight like I have my modelling places with some yellow and I want to make a little bit lighter version of it. That's perfect. But for now, what I'm interested in this dwarf thick layer of law signed to put in some of those section where I really see that we have blah, blah, blah. Okay? Just not to lose certain shapes. Or you know that in this section, I will have this moon. I can see this big square coming. So I want to keep it this way and there will be another one following here. Then I have what I call them pancakes. And some of those stars will come there, and there may be another one. So my blue is coming to supply to leave a bit more. There were no that majority of the paid will be below and work on variety after gloss in it. So that will help me right away. Quite a pin. That's my another pancake Cortes star. The staff in the testability with heavier spam coming around. I have to have enough going to, according to manipulate later with moving some other colors into this proof. The wide, because we're going to have the color to the Tang, lighter, darker, and also to introduce some other blue colors into it. Like for example, here I have my algebra. Let us know the strokes. Now I can afford to lead a movement of those short strokes. Expressive around those stars that look really good the screen. So I have a base color. And now I'm developing kept saying, Don't forget it. We have to have two short strokes. They are the keys to create this interesting, exciting painting. So I have the white on the side with my ultramarine blue comma. And I'm going quick the mixture on the top of my first layer of blue, which was the cobalt blue. Now, I also think that we have to apply a different color. Well, I just want to have more variety before I proceed to the dark colors, I want to still apply little bit of the payload. We can move on to the tailor known as Taylor is a very powerful, intense. So instead of using block, we can try deaf pact of those darker lines into painting by using taylor. When we use. The problem is that when you overdo the painting, come look like covered with muddy spots. And therefore, if we have an alternative, in this case, the lovely tailor, then why not to use it? So now it's time for us to move to yellow, the bit of this paste inside. Let's again my modeling pains. And the same I will do right away since Amir. And then in this part of the sky that has this yellowish color. So I'm applying my precinct death battering technique. We can also print this column. It will pick up too much of that rule, so you have to be careful. So maybe just with the proof-of-work mesh will have a higher lever protectors column that their community center, the one staff member will still come back to them. To Skyping early triplet of their color. We need to be nice, unbelievable, heavier paint application right away. Some decking purple now. And you can see mixing lots of lots of white. And then it will be my next ten because I want to have discolored definitely in my sky. So from ten to hammer to clean up the branch because I have with Taylor on the paper and the stealer is overpowering. So once it's gotten to the branch, right away, the whole color combination, we have to finish our is currently and for that purpose, we have to rely on since the paint is dry, we can nicely established skinny lines using lots of white and a tiny bit of blue. Notice I use a pointed brush because it's much easier for me to apply campaigned and slave to create. The more weight, the pressure will create a crescent shape. And then I will outline. And then I will come back with a little bit of the yellow again to make sure that all those extra lines that I don't care what does appear under another layer of paint. But the next step would be to build clinically but of the bloom on to the yellow. People look so natural. And then of course again, little bit of light here and we will began with the section. Let me come back with some yellow and two other stars. And now I want to use any of my burnt sienna color that I put on this side. And my African, this cloud works like a complimentary color to blue. Remember, blue and orange are being complimentary. Palace had been each other shine. So in this case, our brown color works actually as an orange color. So we'll add some more. I pass it to the whole painting. I will grab them with the sky and you can see it was created Bayesian, short, narrow strokes. 12. Lesson 9, Mountains & Trees (Starry Night): One of the outcomes that we can use will be black, but be careful not to use the natural style to shape our tree since it's a Cyprus. And then we'll use a little bit of the outline to show that they have separate branches sticking out a little bit wider. And this is a silicon band with the tree. And then certainly and helping us to make it value for employ the whole call. Make sure that the white spots while left for the tree are not there anymore. Okay, good. And then at the same time, since we are here, how will create the lines for the mouth and the ultimate cylinder, the blue with the black. I don't want to have a perfectly just black or I want to have a black but on the bluish site. And that's important because this way the color will be alive when we use black, just pure black. But this often happened that the color doesn't have that in it. Therefore, adding another collide into it, blue, green, red. Will I call it spiced up depend. Now it's time to just on our trip. So we applied the green color and I will go with a little bit more paint right away. So you can see how I move my brush. We can also use palette my foot, wider sections, but I will refrain from it right now. I just want to show you how we can achieve exactly the same effect by using simply the brush. Some places not only use a little bit of purple. And I think paypal always works well with Dave green. So it was the card that I have to move it in different sections. So again, true stilted train. We will keep the green column, but we also need to have some other colors to make it visually more interesting to us. Why are playing those colors? We don't want to keep a flat surface. We want to bring the thickness of the pain through. They're moving upwards, brushstrokes. So that Dragon, which will be our burndown bird, swallows her number and then partial of Corinthian. And why you won't bring CMM leave curves. This color will get a warm color into the tree and that they went to strong who just simply mix it with the pain under. Since we are on the tree that we also have to think about our additional bushes in this interesting way, how painted And just contract this truly until shapes overlapping each other. And then we'll create another layer that will come here so you can make em Osaka chill. Now here, I want to break a little bit of the bloom and with the blue, MY challenge US, I would see which color will work the best and will to combat. I think that will be the CRM Boolean paradigm we have. I will come on to the shapes inside. And now we'll recreate those strokes. Just DES, I think some of the scholars, and we certainly will have a light yellowish green there, aswell. And why? Now notice that we will need a base color underneath of the stroke. That whole Come on top of the mountains will comply the color product past work that my other little bit of the ball into it. And that would be a fantastic mixture as a base for my mountains here. And now it's time to go on the top and I will use cobalt and window strokes. I will simply bring them up. We have the gold medal on Palm, our push it and bring some of that outlines to give them a little bit more shape. And there is a little bit of purple here. Would like to read a bland. I think that'll be a good choice. Notice with with those bushes, I assumed that ambushes, We have to get them a little bit darker on the battle. So we still will emphasize a little bit more parts of them by using our darker blue and go on the data, but you can use a tiny bit of black. That's your personal choice. The most important is the stroke, the direction, and the choice of colors, how you will distribute them. So I will go definitely for darker. And then keeping this rounded shape. Notice this green inside of bushes on the left side is more on the yellow side is not so cool. So I certainly campaign some yellow insight and the color trends into the lie. No, likewise yellowish green, which I want to I have to train the front and right away since I have my yellow. Why can you slight grin and current now? The halfway, move my bushes to the top. That's a color, will come on the top. Like this. If you choose, they'll have enlightened and do it. Because it's your painting here. We just want to recreate the feel of Van Gogh paintings. To print his energy on the left side and finish the color combination. I want to make sure that I'm quite happy to receive freely playing with thickness of the paint will have swells, jags to give more unhinged. 13. Lesson 10, Village (Starry Night): How we approach the house. The most important for us to understand that this is the village, is that trust. And why? I think that's a chart where, because we have a big tower here a little bit more before we apply another color insight, and they weren't insisted that will be our first feature of their entire set of buildings. If you want to use pencil, because I will sketch, everything's using just the brush and paint. Then you are certainly welcome to do it. But I want to show me how easily it will go. Like this tower, even more pronounced, or I can decide how tall it will be empty. I take a Lieber to and they really push it up. I remember bandgap wasn't going for super perfections of our work. We are not worried about that. And I just want to have now in 2 perspective more or less this building methods overlapping that tower, swell the window and say make it darker later on I put some purple or blue into it. That's right now is just the outline. I don't use very heavy outcomes. Block is very powerful as a color, so I want to as possible lines with not too much paint. So this is the roof and we start with this upside down V, and then we make a parallel line to it. And then again, we show the roof of the site of the household. We can help, we can show that is the rule by using the diagonal lines on the top. And this section is to have door cycle make rectangular dark shape in it. The most important edges have to finish no law. So you see that simple trade. How to do that? Once you have a structure set atop, the rest can be very simple file. So we will create a roof, the front, like this. And then that's already a house because the first two houses that we've done, including the charge blinkers, The idea of what it is, because it's repetition of similar shapes, right? If you want, you can apply the window here. You can also pick someone goes here, you add just at the edge, we can apply another house and now we have, I think, good. So we are not worried about the other side time to work on. And the roots will have the colors similar to the color that appears in this pace over there. So we want to have a green. I also would take a little bit of white to maybe even of my path color and some some legal title slides coming. Then additionally, I push something on this side, the what is happening to Earth. It's more bluish, so we'll embed the land next to the church. That's good. And then I want to help it will looks more like a gray on the blue side. And then we'll go to the tower, fill the space between the black lines. Yellow. We have shown that the windows now just use my Liberata, applying poverty, even incumbent on the roof. Seamless something containers and then from there have been studied a bit of the brown and just add it to break the column. So for example, on this roof, have moral discussion. I think it just makes this more interesting, exciting tools making for tomorrow interesting. You lose PrEP. Works well in our thing. Where you need to just think about filling gaps here. And we are willing and our Paintings, then. It's not really difficult to work with Bangkok style. You just have to know a little bit about those tricks and then you can see how nice the everything can be done. As you can see. It's a bright, beautiful painting with lots of asthma. 14. Lesson 11, Sketch (Sunflowers) : In this lesson, we'll learn how to paint the background. Remember, we are not obliged to paint exactly for legal bag that you see in this painting. The most important is we want to capture the spirit of Vanguard. That means we want to capture his mark making brushstrokes and the way how he included the energy in his paintings, some of those tricks using outlines and the color combination. So implicitly image on this side and we will start with this sketch. Sketch. I have to decide how will I arrange the flowers and flowers will take me a little bit more than the half. Then I will place the place somewhere here and this is quite centrally place after make sure that this not to be that they have the space for all the things. So I think my varies quite a bit and maybe push it a little bit. 12. I push it a little bit higher. So they're there. And lucky for me were blank off. He wasn't really precise. That was not his style making possible for ending the feeling, the energy. So that should be okay for database. There will be a line and I have to pray distinction the background and my stamp. So that's what we have. Now. How do you approach the flowers very easily? We have to just look at this big groupings and also the beak hides them. So one is definitely important to bring quantity and notice that they create their orbital shape that is slightly slanted. Preys on the diagonal line because this is the center. Or the solids are represent the direction in which the flower looks at. That's how I call it y is pushed down. So what we have to do that that will be another eclipse. Fundamentals of concrete that dam like this. And then I have quite a bit of space here, but I don't want that this path will be too big, so maybe I'll make it a little bit smaller. And I'm not worried about the heaviness of my lines because those lines will disappear. And a heavy, heavy paintings I will apply on the top I see another flower there. I don't even need to use all of them because I place one somewhere here. Maybe I even can make them a little bit smaller, so that will be my decision. Smallest, I have more space here for the flowers. There will be another one. I've certainly c1 here facing me. So what do we want to do? I want to create back around and then those patents will pump that you somehow, there was some way here which I can improve. And even when I had to bring their patents across the border of my come us on this case paper, doesn't matter. Remember, we practice, we'll learn how to paint in this Bible Bangkok. And I think that will be madness. With the flower. Will not have to match if you want to cut one flower that's oh, Snow problems. Like maybe there will be another one. And this definitely this one for so this like a metal that this one has to be pushed into the father. Fantastic. I have enough information and now it's time for me to work on the background. 15. Lesson 12, Background (Sunflowers): I will use for the part plus my palette knife, because it will be much easier to apply the colors and the color that they see in their bag. It's my Silurian column. If infinity looks at this sum Y, but I will show you the effects will be not enough. I will need to apply another color, a little bit of the buff color can go into. And I think I will switch to another pi alive in the second line down and altering the surface. So I have to go through a little bit heavy pinto application. And then we'll recreate the strokes on top. And the concept we can use here, certainly not one color. We have yellow curve or oxide yellow. We can add to that a little bit of burnt sienna. Majority should consist on this cadmium yellow medium. Oh, the augmented input you have to do is to use the lie. And for the line, I will use a color. Their well being and literature I'm sure will be my brown and a little bit of burnt sienna OB. Okay? And then I just kept it in line 3% I have. Now I can see that a little bit more on the main yield. Very good. 16. Lesson 13, Flowers ( Sunflowers): We want to first think about the beak shapes and those peak has come down by using the combination of the Cassatt who use in the stamp. So that will be one of those colors you can see it's very warm, but that's okay. We will call it down a little bit of the grain later on. Right now I just want to set up the colors from getting even just to see a tiny, tiny, tiny, tiny, tiny, tiny pit. That's better. I will not on uncoated this. C. Now we can get a little bit more of this creditors shape that you can see. Everything can be specially the mulatto comment. The blue is certainly occur. Once you hire them, I see no brown Coming contests. And most tech dividing the flowers, I will just make this barrier here, which can later can be fixed. Remember, the more paint you apply, the longer it will take for the paint to dry. And we need this time to decide what we have to change, what you have to add that. So on some applying this green now, and I, I need to have it in this section sampling quite fast and loose. A little bit of black or maybe even purple can be mixed in there. For example, this purple should work well inside. And I can decide how much of this has to be mixed with. Equilibrium gives us back to the painting. So that's cool. I can see that this flower is more on the yellow ochre side or your oxide PLO, but still occur in many criteria. So that's what we will have there. This one right here, a little bit of this green and we'll see in a second right away myself. But this has to be a slight differentiation among those flowers in terms of color combination and Tom. But it's even the colors solider within one is moral cream and other one is more of Catalonia, and that one will occur and so on, so on. I think a little bit more underwriters side that might become dark brown, called CMA. If you had been Nation color or English, right? That's the kind of the Indian read. It's a little bit too much on the purple site. So for sampling think is excellent, but I don't think he'll be such a good choice. This center, it's more on the brownish and blackish side. Lots of retina. It's, I use definitely lots of this beautiful bird, Santa Clara, and so will be this one. Allow myself to apply first generously burnt sienna and then our change Bacharach, now the same to this column. And then we have one Tammy from this section of the almost covered the axon green because I want to turn me down this beautiful yellow ocher. Worldcom. What about When we go now with some of the steps and I lead the stamps because we have to decide where the patents will go, because we don't need to paint all of them. Notice that they are played the green first, and then it will come inside with some yellow occur. To me to create the base. Back to it has to supply the basics. Contemporary refinement. We will be back as to I need to come certainly in this section. Now will come that CMS, a little bit of the black into the green and purple combination and will use black. And this section, where's my flour? Because he wanted to darken the section. Or if square km or, or I think I want to get the dephase halfway back. And I think the path would be very good to intersection. Notice I can now decide how wide those signs will be and see a little bit of the green between their flowers heads and dephase. This week the contrast is created. Now I can come with stronger cameras. And noticing put onto me towards the direction of the strokes of the pink, which you can apply later on. But nice talks have also to see the volume in there. Ok, check. So I think this is still a little bit to say some coming back to the breath or maybe a little bit off the PowerPoint into it. Mix with brands yen. Now, if you want to go back to the crank and the London, play it in the sections that allow us to create contrast. Seamlessly tippett cramming given on the VA center Ellis attack, reflection. Just shut off here. So the pizza parlor palm onto this pad. Just for contrast and to show that this packet clothes are too, as you think about developing the yellow patents to most of them for AP one. And if you look at the texture Now in them, we have of course, artistic clients since you can change a hat, whatever that will suit your painting. Going back to my patents. So we'll start with application of paint around. Because those patterns create this rounded shape around. And then from there I can move to separate Pythons. The same will be with desk for our site. Again, you can do very much the same coming around. Having this circle first done in a very easy, just moved the pain from the circle and create a peptide. So for example, this farmer compiling a bit darker in the centre, and from there I will pull atoms. Now I have a little bit more colors in it and I like it. So please flour. Let's turn doesn't have their volume. Things'll attain some paint on it. Because we want to have this beautiful texture. Like this. This is much skinnier. Passage predicts this one is very, very important. And then we have this different tones in this farmer would be a little bit darker side play more of primacy in the back. And I put this happening, I'm just, I think a little bit of this column. And notice how the painting of all those different colors having so much cameras. And in looking so happy. And that is the triclinium or click Lanka. Cause that's how his paintings look like. They look very busy. And most of them are happy. They're just putting the last patches. Quite please with it spent noticing, paying some of the PLO because I think it can nicely fits into this painting. And that's my own choice, but I think it adds to the web. So if you feel that certain class will work for, you, go for. 17. Conclusion: Thank you for participating in my course. I hope that you enjoy that. Now we are ready to pay your own creation in style and technique of Mr. rank. Ok. If you are interested in taking more cruises with me, please visit my website is Abella oral ski.com. Have a good day and see you next time. Bye.