Create the Wheel of the Year in Watercolors | Eline Stolp | Skillshare

Create the Wheel of the Year in Watercolors

Eline Stolp, @elinestolp on insta

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11 Lessons (58m)
    • 1. Introduction

      2:48
    • 2. Materials

      0:47
    • 3. Exploring the design

      2:49
    • 4. Transfer to paper

      6:54
    • 5. Inking the linework

      2:16
    • 6. Testing color palettes

      6:56
    • 7. Practice watercolor techniques

      6:23
    • 8. Coloring the Wheel

      13:21
    • 9. Paint a Galaxy background

      8:11
    • 10. Shiny stars and constellations

      6:55
    • 11. Happy dance

      0:50

About This Class

With the help of a template you will be guided through the process of creating a Wheel of the Year Chart and personalise it with symbols and decorations of your choice. We will briefly look at different symbols and at the meaning of the different phases of the sun and the moon and how you can use this in daily life. You will learn several ways to transfer a design to watercolor paper. I show you my process of selection colors for a project and I offer some warming up watercolor practices. Next I show you how to plan out your painting process to avoid bleeding colors. This class will help you to better control the amounts of water in your watercolor, and to paint larger areas without hard drying lines in your painted surface. I will also show you how to create extra shiny stars with mixed media to really make this chart pop. This class is jam-packed with many take-aways for those who want to advance their watercolor practice, though thanks to the template it is very accessible for beginners too. With these clear instructions you will surely succeed in creating a Wheel of the Year chart of your own!

Transcripts

1. Introduction: okay. I am Alina, um, a our teacher. And it was trader from the Netherlands about a year ago. I painted a wheel of the year charts in lots of corners. Both has reminded for myself to be more mindful about the passing of time, my days being so crowded with all kinds of obligations. And we'll painting is my meditation. So I love to do nature, themes and spiritual things. And also, I really wanted to challenge myself to paint more precisely. The original has been sold, so I'm dying to make a new one, and I decided to take you with me in the process and to help you paint along with me in this foot is new wheel off the year charts. I made it a templates that you can use to customize so you can adjust it to your own beliefs and preferences. I will talk in this class briefly about symbols and images used, uh, in my design. Using a template is also really good practice for drawing skills as you go over the lines yourself and use your muscle memory to get an understanding off shapes and proportions. I will show you various ways that you can use to transfer to the temp. It's to your watercolor paper. One of them is using a light books, but they're assemble turns this that I'd love to show you, and we'll also take a look at the painting process. There's gonna be painting a lot of details so that thanks a lot off precision, and there's also a lot of room for play. So you get interesting textures that I've been using around here in the background. Painting a big area like this is a bit intriguing, but I will also show you how to fill the whole area without those annoying dried lines that you sometimes get when you work on a bigger piece with Walter Colors. By the end of this class, you will have your own personalized custom handmade wheel off the year charts to hang on your wall and live your life a bit more mindful off passing of time during the class, you can put on your own background music. I will use burns at birth, sends to mark the start of each new ejector. There's a lot to do, so let's get started 2. Materials: a wooden board to fit your paper of flat pallets. Tape, scissors. What I call a paper Brugler glorifies pencil will to prove fine liners. Razor Walter Corlett pains to round brushes to mops. Brushes one wide bush. A small knife. White soft Best l Cotton tip Wife plan. Part of water. A tissue paper Optional is a light books essential. A cup of tea. This was a quick one, but you can read the list from Protect. Resource is below. Let's start with the next lesson. 3. Exploring the design: this will tear is basically a model of seasons and moon faces combined with prompts that suit a specific time. It is based on the idea that time or nature life is cyclical. I added the names off pagan celebrations to discharge as they marked changing seasons with rituals. Rituals help me toe experience transitions more consciously and to de clutter my mind off hopes and expectations from the past do not longer serve me in the next phase. It also helps me to live my life with more intention setting intentions, taking action, moving around to culmination and then gratitude. Releasing reflection has proven much more powerful to me When I am in alignment with nature . Let's take a look at the symbols and words on the initial wheel of the year. There are a few concentric cycles with the months written out here. The prints belong to a specific season off the year but can also be adapted for the lunar cycle, which goes round every 28 days. So the lunar faces also have their place in the charts. In the smaller circles, I put the constellations off the Zodiac, so I have the sun, the moon and the stars present in my chart. And right at the center there's a pentagram, a five pointed star that symbolizes human to me, with head connected to the universe, hands reaching out to the world and feet planted firmly on mother Earth for decorations. I used crystals because at that time I was just really into crystals, and I still like drawing them. These were old, personal and kind of intuitive choices. You may love them and you may not win, in which case you can swap symbols and decorations for others that are on the template or at your own. I have added a yin yang symbol, a hamsa hand protecting against the evil eye, a heart and a soon symbol, and I've provided it with a few crystal decorations and some alternative floral decorations to choose from. 4. Transfer to paper: e transfer the templates to what's called the paper. I'll show you how you can customize it and how you can adjust it when you're in the South and chemistry there. I want to call the paper ISS this block its A 300 grams 100% cotton. The heavier the paper and more cult in it contains, the better. It will hold on getting let's and it will get pretty wet. When we go do the galaxy background, Think notes. It will also take a longer drying time. Whenever I start a new what's called Look, it will. It takes me a few paintings to really understands the effects off the paper on the color, intensity and drying times. And yeah, it differs from paper to paper. Basically, the thicker the paper more cult in it contains, the better it is for Let's lock the corner works. I am cutting out those parts off the templates that I will use for the design this time, so I have more room to work. This time I want to place the sun in the center. Maybe because it's almost so. My hair I did the previous one in the winter also I feel like doing the peony design. Be a Nissan, my favorite flowers, but they are tricky to draw. There are so many petals girling over each other, but exactly that makes him so intriguing to draw and paint. To make sure my design will be nationally outlined on my paper, I will likely draw some guidelines that will help me place to temperate with my ruler. I need to measure the exact length and with on defied those into to find the center. But first I find out that my paper hasn't got a perforated line to get the page out. You can see how I'm cutting it and making sure that top side is trade again. Before I started my guidelines. When I feel the process, I only had a center built on the templates. But later I added first go and horizontal guidelines on the templates as well, so the whole thing will sit straight easily, so all you need to do now is draw those two middle lines and align the templates with them . There are three ways of transferring the templates to the world colored paper. 1st 1 is using a window. You add the template to the back off the watercolor paper with a tape and hold it up against the window. You can now trace the lines with a pencil. This will not work in the evening bill. I have, alternatively on led light books. It works the same as the we know method, but you don't have to dwell upright. Oh, wait until it's light outside. But not everyone has one, and somewhat color paper is too thick for the light to come through. The last method is a bit more messy, but you don't need any equipment other than your pencil. Take your templates. Color Dobek with a glorified pencil or charcoal about where the lines are. Place it on top off your watercolor paper. Make sure it won't move. Using a tape and trace, keep tracing until you've got the whole design pressed. Do you want to call a paper for a wheel? That's what a Southern Hemisphere. You should draw the moans where they are. Let's and then you during the templates 1 80 degrees rent and align it again Deadly. You get midsummer above December and mid winter above June, along with the matching fronts like gratitude. I live in the Northern Hemisphere. So I left it as it wasin the templates. And now I have everything that I need. You might want to call a paper except for my center symbol and the decorations around. I align the son the same way I did the wheel using Adult in the middle and the guidelines. The decorations from the templates have to send curve as the outer circle off the wheel. This particular one has won over handing leave that could block the text underneath. So I need to find a place where it has enough room when repeating this elements to the other parts. I will just leave out that one leaf and improvise because I don't want the exact same flower eight times. Anyway, I must be careful not to smudge to drawing. I already did, as it is only very self graphite. I'm grabbing the bigger piece of templates that I won't be using any more to protect the drawing for my hand. When I lean over it and draw the outer decorations, you will notice that after drawing whichever decoration you juice after two or three repetitions, I'm sure you will get the hang of it and be able to free hand the rest of them like I did, using your own creativity and fantasy to make it a cool design that really personal and authentic. 5. Inking the linework: Now it's done. Start sinking, our art hurt. I use the me Quint fine liners on. I used them because the thing is, what proof? And we don't want to go, uh, over it with water. Carter's on Make Alliance Bleeds If you use another brand, be sure to test on the square piece of paper to draw a line. Go with whether you no, if you'RE Inc is waterproof, are nuts. I will use the 05 thickness and 03 thinking this may seem a little daunting if you are not so sure of steady hands. So to make things easier for yourself, make sure you're not hungry and you didn't drink too much coffee. That may let your handshake drawing should be relaxing. Stretch. Don't cramp up. And don't worry about too much about perfection. My lines are not at all completely geometrical and perfect. It will not show in the end. If you're circles are a bit wonky, it probably even adds to the charm of your artwork. It's hand made, and we could be proud of it. It will help to draw in a direction where you can see the lines instead of covering it with your hand. When it's all there, don't rush to raise the pencil weight of its until the ink has completely dried. You may smear your ink with razor. If you were in patients, let's have a cup of tea and wait until the land so dry. 6. Testing color palettes: Let's take a look at the line work and consider the color said we could use. It's hard to decide like this, right? Even thinking fishery doesn't make it easier. There are just so many options, so we'll take a next cheat off. What color paper toe actually test some color combos and also to do some practice with different What color techniques. That's why you'd want to use the same block to see how to pains work on this particular paper. Here. My paints. I have my pains in these halls bends. It's originally set by art philosophy Freeman Marketing. I have customized it with my currents. Very birth colors, including runs for Newton Veins and Daniel Smith planes, which have beautiful granule ation on for whole pains, which is a student great pains with any new set of pains. I advise you to make a kind of index card with searches of old paints, all the colors so you'll know which is which. But it's not always clear what color it is just by the look of the dry paint in depends on the paper. I drew three circles so I can make little some nail sketches with different color combinations. I activate Baines in depends by wedding them. And this could be done with a wet brush, but also with us. Pretty bottle of water. Like so. So I'm improvising here, Just picking any color that, uh, that speaks to me that I like on first, try one with a yellow sun. Uh uh. This color is called pineapple, um, Payne's gray background and an intense bink for the flowers around it. Uh, this pink is called pitta. You can see how to think. Bane spreads in the gray. I only have to put down some adults now in the center. Let's try some realize pink like a little bit of blush color, some indigo and maybe some orange. A mix orange with pink and yellow. Then I put down the colors that I used in this the mill separately underneath, so I can write to color names with those later. I let the colors flow into each other and purpose bright away. So you get to see how they mix, too. OK, that's one for the 2nd 1 Let's try an indigo background just because I like indigo so much , Um, because it can go from very light grey like tone to an intense dark night blue. I mix it up with a cobalt green so I gotta kind off galaxy effect on the inner circle. I use co bolds, turquoise, uh, wins for news and pains. And then I consider me next guards to find another color to match these blues. It's time to add a warmer color. I'm going for a very light shade of orange. Just add water to make a color lighter before putting it to paper. When considering this thumbnail, I decided that I needed to repeat the cobalt green on the inside. Also circle again to make it more Ah, um, a whole make more unified and again putting the separate colors underneath for later reference option tree. The fun thing is, when you already draw three options, you will want to come up with three different color combos or it doesn't feel finished for our brains. This way I can push myself to be more creative and to explore arm or different options, father than just going for the first thing that pops to mind. I'm using pineapple for the sun Mangga knees blew you. That's Daniel Smith caller Oprah Rose, Marines, her new TEM and Ocean Blue. My art philosophy. But I changed my mind and go over the blue with an intense purple that's called Reef. Now that I still remember all the colors I used, I will note their names with the help of the next guard. Now make some final decisions regarding the color palettes we're going to use. I really like the color from the second option, but it is mainly a cooler palette, so I think that adding the pitta that intense pink from the first option will balance it out nicely. We can see when we put the colors together one more time. I really like how these colors look together. They match the feeling I get from the symbols that I chose the sun and the peony flowers, and there are three cool tones and three warren cold tones. I often make color palettes by this method, doing a couple of thumbnail sketches and then putting colors in line like this. When I write the names over them with hand lettering, I can keep my different color palettes for later reference, and they also just look nice. I'm really curious to see the Carlos you will pick for your wheel of the year 7. Practice watercolor techniques: in this next lesson, I want you to practice a bit before we add colors to our wheel of the year, especially when you're just starting out with this medium. But also when you're more advanced, you can see this as a warming up on your watercolor paper. Draw three frames. I hardly ever use a ruler for boxes like this because I like this freehand look, but you can use one if that's what you prefer in the first books, I want to show you how to color it a solid color. We'll get some clean water and wet the area with just water. I use a mop brush to do this because they hold a lot of water more than general round brush , and you can see how I am careful where I put the Walter. I used the tip off the brush to go along the lines, and I used the full side of the bush to spread the water over the area. So I get an even film of water. You can tell it's wet by this sheen is the watery shine. The sheen is important because you need to check for it constantly when you do bigger areas to make sure the paper still wet. I take the bright pink Bidaya color and let me show you how big mons flow wherever the paper is wet. This spread out by themselves. But it will nuts go across the lines where the paper is dry unless you move it there with the brush. This way, you have quite a bit of control over the pains, This kind off solid coloring we call a flat wash and the key here issues that wet in wet technique. If you wanted to be solid in the second books, I'll show you another what in wet technique that will get you more textures. And we will be using that technique for the galaxy background. They Jerome, with my indigo, I start out the same way as I did the Pitta floods wash, making an even layer off color. Then I drop in a few drops off Clearwater and you can see how the water sprats and pushes the big mons away, creating a star like shapes. The Vittaya Inc. One edits to indigo acts the same. It spreads out. You can move to pay for around to let the colors blend a bit more without overworking it with the brush. Finally, I pick up a bit off the pigments with my brush by dubbing. It's on a tissue first, so there's less Walter and Brush than on the paper. That way I can create lighter bits. It will be using all of the's techniques in the galaxy background of our design. In the last books, let's practice a few positions drugs just straight lines going up and down in various widths. For this, I also prefer using my mop brush for his large capacity off holding. Walter had Hickman's. The brush won't dry out as fast as a run for its route, and it creates a steady flow of pigments from the tip. A steady line comes from the shoulder. Let me just show you how it looks when I move my fingers and just move my fingers and keep a hand. Still, it may feel like you have more control, because this is what we are used to you and writing or typing. Right fingers do the job. However, the line is too long, and I have to either lift up my hand and mess up the line or cramp my fingers all the way down and the line gets Kruger. Now try to hold your fingers and hands still, while moving the whole arm from the shoulder. You can see how this line is much more fluid and straighter. Practice painting from your shoulder for longer. Strug's smaller details may still be done from tourist. Let's try horizontal lines. I take the indigo now so you can see that the lines are already dry and the indigo forms a transparent layer over the pink. This is gold glazing. You can use it to change or darken the color, or to add a shade. You need to make sure that the underlying layer is completely dry, though, or you will pick up the first big mess or your lines may run like they did in the previous books. Let me show you the difference in lines. When I pick up a round brush, you can see it immediately releases a lot of water, and then it'll empty and I need to pick up more Already. Run brushes are great for smaller details, but I recommend Mo Porsche's when you're painting bigger, bigger areas. We can also try varying the pressure on the bush. You see how it translates two different wits off the line. I encourage you to get experimental in this books and see how you can use blazing and layers in several ways using your imagination. So you are, well wormed up for the next lesson. 8. Coloring the Wheel: before we're zone to pains on taping this paper to a wooden board. Tamping down your paper helps to keep the paper down while you're painting, because it will buckle and bend when it gets wet. I see some artists taping down their paper to the table, but I prefer aboard that I can move around, especially for bigger works, so it's still possible to turn the painting around and reach old parts easily. Another advantage is that a board allows you to tells the paper if you want the colors to blend by, flowing through the water, it's also a pretty side effect. Is the crisp white border around your work? Let the tape is being. That's why you see me measuring half a centimetre randy edge to evenly aligned the tape. There are several kinds of tape that are suitable for this, but not old days will work. Some will be too strong and terror the paper when you remove it off painting, others are not strong enough, and they will let the pain lead under needs while painting. I have good experience with Scotch date. You see me using that hair and there are a few washing tapes that were, well, artist paper take has proved itself too strong too often. But I can't tell for whatever brand you have available to you. So I encourage you to try different kinds to find the ones that's a Cubist. No, with the tape all around, that's got painting we need to consider, in which order to pains taking drying times into account and not to work on, not work on suggestions, areas where we don't want the colors to bleed. We will also work from light to dark as we can paint a dark color over a lighter one, but not the other way. You learned a lot of color. Pains are not opaque. I imagine that the turquoise will look nice if I use a wet on wet technique, creating some clouds off color, creating the texture. I was planning for the background galaxy as well. That's what the inner circle around the sun with clean water and then drop in the color. We can vary the tones by varying the amount of water that we mix into the pigments. That way you see these cloud like Grady ations emerge because the paper was already wet. I don't get any hard lines. All the pigments flow into the clear water. I need to be more precise with the sun. By keeping the turquoise in a very light shade right around the sun, it will look like it's glowing. You see me using um up brush to color the larger areas, switching to a round brush size four to work precisely around lines and corners we already explored. The difference uses off these bushes in the previews lesson. So now you see how this experience is applied in a project this needs to dry now. So let's move on to another part of the painting. There is not directly adjacent this outer circle, as the sun will be done in the warm colors. I think we should do to ring with months in warm colors, too, and then keep alternating cool and world colors. So let's use the cool color here again. Then the flowers will get warm colors and a galaxy will be cool. So I'm just going to continue with the turquoise, planning to use the indigo for the dark sides off the little moons. We can work from section to section, so we don't need to wet the paper. First we can work wet on dry. That's create ingredient here to mixing in more water in the center of a section and then using the more such right. It's paint mirror two moons. I keep switching brushes. Here is, well, more brushes for biggest strokes ran brush for the small corners, working my right around, turning the board so I never have to lean my hand over the design or over the wet pains in the center. Let's check to see if the center has dried. There's no shine anymore, so it has dried and I cannot touch it to feel, but it still feels a bit them. The colors run bleed into this anymore, but first layer has not yet completely set, so I'm not going over this part just yet. What else? Let's continue with the moons. Those turquoise sections are still a bit wet, but they will dry faster because they are smaller and there were only one layer off pains. Let's create a very light shade of orange and paint the light sides off the moon. The moon that's close to the word culmination. It's a full moon. The opposite moon It's a dark moon. Who here? I dropped a little too much water, but I can soak it up with the tissue again. Next, let's do the circle of months in my initial wheel of the year. I really like how the months were in a Grady Int like this, so I'd like to repeat that effect here again. But now, using the three warm colors we chose in our palates orange, pink and yellow, orange, pink, yellow, orange, pink yellow to let them mix. Nationally, we will use the wet on wet technique again. I am letting generally and February and then start to paint in the light orange and the bank comes into March, blending perfectly with the orange clean water. And then yellow comes into April, diluting toe worth May orange blending into pink June continuing all around like this, you notice I didn't let the full ring with clean water only the first month. That's because it's so small it will not stay wet long enough for me to work around, and I don't really need it to be wet everywhere to blend the colors. But I do need to start of coloring to be soft if it and faded, because by the time I got back to January and will be dry and this way I can let the last color blend over the first layer by letting it fade out with water. Let's pain to some with old three warm colors, too. I love how they go together. Before diving in, I noticed a little pencil still there. It's important to her grace that before painting over, because off the gun that's in the water colors that were formed a little film over the pencil, making it impossible to raise once you painted over it and playing around with the colors in the sun, letting them flow into each other and again, creating Grady INTs. Let's pick up some off the pigments with around push from the middle of the sun to keep it light enough. Then it's time to paint a dark circles with the indigo pains. I want them to be the darkest off the booze so the constellations will stand out nicely. I'm mixing the indigo with about 60% water. Let's drop in the extra pigment here and there without blending. It'll in, so we get some tunnel variation within the circles as well. Meanwhile, the little moons have dried, and we can now paint dark sides off the moon's within to go to use a small push. For these, mine is a round brush size zero to finally decide on the colors of peonies and keep in mind with my plans. With background are I was imagining to do the background as a galaxy with the blues. So, yes, the flowers will be pink, accompanied with by orange and yellow. Let's do a bit off clean water first so we can play with blending a bit more, even on a small scale like thes details. The water will help to create some extra texture. If we drop in different tones and colors and not move to Mirant too much with the brush, you see me alternating brushes again, using a mop brush for wetting and a round brush number four for finding. Let's try and put a little India go into the flowers as well. I feel like they could use some shadows. In contrast, it blends in very well. Okay, then the leaves. Let's do them orange. I'm not painting very precisely here anymore. Florals can have a little freedom, right? Okay, So let's use the yellow pains for those Sprague's. Yes. Oh, I like how that makes them pop. Now let's take a rest and recharge before diving into the next stage. This was a lot of fun, but with great focus and lots of practice. So let's take our time to relax and really enjoy how far we've gotten already. 9. Paint a Galaxy background: way we're ready to paint the background. I have let this set sits for a few days to make my final decisions on. I want to go ahead and paint the background as a galaxy, using the cobalt turquoise, indigo and a little bit off Payne's gray that I can use to darken the corners corners. It's quite a big area, so I will be using the tubes instead of the pence. That way, I can premix more pigments with Walter. I have a perspex plates that I use as a pallets. I prefer a big, flat surface, so I have a lot of room to move puddles of water and color or ground. A glass plate would also be great. Or, if you don't have that, any ceramic plate also does the job. We need to squeeze out a little of each other. No problem if it's too much, because you can let it dry and activate leftover pains later with water, just like the paintings that bends. But if you want to clean your palate afterwards, you better not put too much pain down at this point. Next, I choose my mop brushes because obviously they contain the most weather and pigments, and that's something we will be grateful for. At this scale. I have two sizes just bigger and a smaller one. They're not marked with a number. So I'm just showing you I'm starting with the bigger rush and I'll be painting a very light shade around the wheel so it'll look like it's glowing. And I also don't have to too much off a challenge, painting around to color the flowers in the text. Then I plan to go darker towards the corners, and I want to add turquoise tricks diagonally like Glowy nebula. I've also cleaned my water again, so let's start by wetting the entire page around the wheel. I get as close around the design as this. I'm not sure yet how close I want to call it to get to the design until I'm painting todo watching over. There are some podles that's too much, so I'm picking bed water up again. With the moist brush, you can see why it's a good idea to tape your paper to a board that you can move around. It makes it easier to catch the lights and cedar reflections generally with watercolors. You work from light to dark. So let's start with a cobalt turquoise and have it medium water turn. I'm doing the diagonal streaks. You can see the paper is already drying. I also have an inch wide, soft brush handy, and I can wet the paper quickly before I'm continuing with indigo. I like how the water on the paper makes the edges off the color toward the design really soft. I used the bigger, more brush for the coloring as simultaneously. I have the smaller mop brush ready to F clean water to soften the edges a bit more, making a very nice Grady int. I keep checking the edges old around because they tend to dry first, so I have to make sure they're blended well enough before they do. And I keep wetting the paper before I add color. To a certain part, this is exactly the reason that I wanted to have ah, 100% Culton paper. For these protects, it would have been very hard to keep everything wet if it were viscose paper or off lower rates for either it would puddle up or run. There's a bit of experience to be gained in controlling the amount of water in your brush. I mostly want to add pick mons to the painting. Therefore, I need to have more water in my brush than there is on the paper. And sometimes I want to pick up pigment from the paper lightning apart or correcting a mistake. Then I need to have less Walter in my brush vendors on the paper. That's what I use the tissue paid before. I do have to brush on the tissue to make a dryer so the brush will soak up water and pigments like here on the edges. I can even switch to my round brush that is a bit stiffer, so I can first a little harder on the paper to clear up where I paint it a little in to go over the flowers. It isn't to bake off a problem, though, because I already used a little indigo in the flowers. It doesn't look ugly. I can just make it a little less dark so the flowers will still stand out. I will let the painting dry now, and at a second layer. It may take like half an hour to drive. I often work on several paintings simultaneously for their reason, so I don't have to leave the flow off painting just because the painting has to drive. Other things you can do is have a snack or drink some tea, so it has now completely dried. I've brought myself in extra ports of clean water, and again I went the galaxy area with clean water. First, be careful not to pressure too much or too often, because you can activate the underlying pains as well. But we want that to stay where it sets. I will add some indigo and Payne's gray to dark in the background some more. You can see how the use of clean water makes the layers blend without any harsh lines. When a part gets really dark, I want to keep it that way. So it is important I stopped moving the pressure and too much and accidentally pick up the pigments again. You can see I then only use the tip off the brush to drop in some more color without stirring the layer. As this is the finishing layer, we need to pay attention to the shapes that appear in the clouds off sky and nebula. You can use the Denver bush to paint some lighter streaks that look a bit organic or wavy to add variety and contrast to the galaxy. Finally, I take my clean brush and spencer some into the wets to create some texture. The lights, boats that are forms will be good sports for some stars that we will add in the next lesson . So once it has dried, this is what our galaxy background looks like. I'm so happy with colors. And how would I match the inner circles of the design? I hope you are happy with yours too. 10. Shiny stars and constellations: Now the background is almost completely dry except for this little pet here. But I will dry while we're working on. We can come back to it later. First, let me clear away all the world's campaigns and rushes on. Let's take out dry mediums that we need to finish our projects. We will use a piece of white, soft best l know Oil Vestel. Uh, and this little plastic trade with a knife. I can scrape some powder from the pastel like this. I wanted to be very fine like this. Put it aside. You need a coffin tip with this. Do put it with the powder and then we'll get started with a wide jail pen. I use jelly roll number eight by Sakura Japan. If you have thes, store them in a jar with a dip pointing down that way, the ink is always ready to flow from the tip, so let's start to look for the light spots we created with their Clearwater spattering. We start belting the stars in we can group stars where the sky is lighter that will make them look extra shiny. Think how the Milky Way seems to glow Worried. We can vary the size of each star and the distance to the others, trying not to get into a pork adults pattern that would look very weird. This building is very meditative. Meanwhile, I will speed this fill you up a bit not to take up all of your precious time. So there we have it, a galaxy filled with stars and stars and more stars. Let's make some of these a little extra shiny. This is where we will use a white pastel and the cotton tip. We pick up a little powder press and turn, and that will leave a mark like this. Now on the stars. I will pick some stars at random to make them stand out a bit more. Then I use my drunk for dry round brush to carefully blend the power into the background. Here I added a bit too much rights. I can pick that up with a bit of water in my brush and blend it again with the dry bush There. Finally, I blow away the left over lose power. Look at how they shine. Isn't that gorgeous? We could even pick up the pen again and give them some extra extra shine. I'm adding little crosses in them like this. I will do this with all the best L stars. We just did. I think this is just so pretty. Sometimes the tip off the pen gets a little clogged up from the part of Weaken. Remove that with the fingertips. Now. Isn't this gorgeous? All we need to do now is to create constellations in the smaller circles. I don't know the constellations by heart. So how? Go ahead and copy them from the wheel of the year that I did earlier, I'm making bigger belts and connect them with lines. I added another example off the constellations for you in the projects. Resource is below, and these will be the same for the northern and the Southern Hemisphere. Unfortunately, my camera stopped halfway this part, so we'll jump right at the finished constellations here. Now the painting and drawing them that's removed to tape always peel away from the paper if the paper rips. If the tape rips the paper a bit, it will not damage your arts if you put it in the other direction. Is it always moment of truth? Even a Z Even good quality. Bayberry sometimes rips, and sometimes you find out some bleeding on the neath. This is hardly the case, except for two little spots. Sometimes you can get the pigment away, using a clean tissue, clean water and the firm brush. When you activate Baines, press it, press it with tissue, soak it up, repeats a couple of times, and it will at least get a bit lighter. Unfortunately, Indigo. It's a very permanent scholar, but I can live with a small imperfections like this. A total resulted just so stunning that thes two little spokes hardly draw any attention. Look at this. It is completely finished. Now I am in love, and I hope you like it, too. 11. Happy dance: I can't wait to see your results in the perfect gallery below. Please upload your work. Eso We can cheer each other on this creative journey. Andi, if you like this class, I'd love to hear about it in review. Also, be sure to follow me as a teacher. How so? You get notified when I upload more classes. This is it for now. Um, we are till you can enjoy your painting and I will do my heavy deaths.