Exploring the Universe with Watercolours - Learn to Paint 5 Stunning Space Paintings | Geethu Chandramohan | Skillshare

Exploring the Universe with Watercolours - Learn to Paint 5 Stunning Space Paintings

Geethu Chandramohan, Colourfulmystique - Watercolor Artist

Exploring the Universe with Watercolours - Learn to Paint 5 Stunning Space Paintings

Geethu Chandramohan, Colourfulmystique - Watercolor Artist

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14 Lessons (2h 41m)
    • 1. Welcome to the Class

      3:35
    • 2. Materials You Need

      7:28
    • 3. Watercolor Techniques

      16:11
    • 4. Taping the Paper

      2:19
    • 5. Take-off to Space - Part 1

      18:22
    • 6. Take-off to Space - Part 2

      7:11
    • 7. The Earth from Space - Part 1

      13:19
    • 8. The Earth from Space - Part 2

      16:21
    • 9. The Sun - Part 1

      15:05
    • 10. The Sun - Part 2

      19:05
    • 11. Green Galaxy - Part 1

      15:38
    • 12. Green Galaxy - Part 2

      8:35
    • 13. The Yellow Nebula

      17:15
    • 14. Thank You!

      1:00
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About This Class

Hello hello!

We all have spent some time gazing up at the stars and admiring the beauty of the night sky at some point in our lives. And if you are someone like me then you must have admired the astronauts who get to travel into space and see the beauty of our earth and the night sky from above.

Have you ever dreamt of being an astronaut and the chance to travel into space?

What if I told you that, I could give you that chance to travel into space and enjoy the vastness of the universe today? Even though, not in real, what if we could get there with our paintings?

Yes! so this class is all about exploring the universe with our watercolour paintings!

We are going to put on our space suit and embark on a journey into space from our homes.

We will take off in our small spacecraft to enjoy the beautiful night sky and have a look at the earth from above. Then we head over to the sun! Although it is practically impossible, we can do so with our watercolours! Then we will head out further into the universe to a green galaxy and from there to a gorgeous yellow nebula!

Before we start our journey, I will take you through all the art supplies that you need, so that you can pack your bags and be ready to strap in. We will also go through the pre-flight checklist by looking at some of the essential watercolour techniques needed for this class. 

Right after the checklist is complete, we will be ready for launch!

All of the paintings are in real time and hence will be easy for you to follow even if you are a beginner.

So, are you ready to join me in this space shuttle?

Let us begin the countdown and lift off!

T minus 3...2...1...booster ignition! And lift-off!

- Geethu

Also,

If you are looking to learn in detail about watercolour techniques then you can go through my class on Ultimate Guide to Watercolors!

Meet Your Teacher

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Geethu Chandramohan

Colourfulmystique - Watercolor Artist

Teacher

If you have ever wondered how to be a pro with watercolours and wanted to be consistent with your painting habit, then check out this new class - 100 Day Project with Watercolours.

Your Day 1 could be any day! The class covers one new topic each week and the whole class is designed to suit your busy schedule. Each day's painting is going to take you less than 30 minutes! 

Join this class to explore watercolours like never before, learn every tip and technique with watercolours and develop a healthy and lively painting habit!

Explore these topics with watercolours:

Skies - clear, clouds and rainy day Night Skies - magical night skies with different colour combinations  Mountains - winter mountain, spring, sunset, volcano, Arizona mountains North... See full profile

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Transcripts

1. Welcome to the Class: We all have spent some time gazing up at the stars and admiring the beauty of the night sky at some point in our lives. And if you're someone like me, you must have admired astronauts who get to travel into space and see the beauty of our Earth and the night sky from above. Hello everyone. I'm Geethu a watercolour artist, an aerospace engineer, and an art educator based in the UK. Have you ever dreamed of being an astronaut or the chance to travel into space? What if I told you that I could give you that chance to travel into space and enjoy the vastness of the universe today? Even though not in real. what if we could get there with our paintings? Have you guessed what this class is about now? Yes, it is about exploring the universe with paintings, with our watercolours. We are going to put on our spacesuit and embark on a journey into space from our homes. First, we're going to take off into space. in this small spacecraft. You will be able to enjoy the beautiful night sky while we take-off from the Earth's surface. Next, we're going to look at our beautiful blue planet from space. We will see the glow of light as the sun kisses the Earth. From here, we're going straight to the sun itself. I know it is practically impossible, but we are going to do it with our watercolours. And after having spent some time with our star, we're going to head to our first galaxy, a green galaxy. Our spaceship is going to explore those tiny stars as they sparkle. And our last destination is going to be this beautiful nebula, where we're going to fall into space and be lost in watercolour paintings. So are you ready to be my space crew? Before we start on our journey, I will take you through all the materials we need so that we can pack your bags and be ready to strap in. We will also go through the pre-flight checklist by looking at some of the essential watercolour techniques needed for this class. If you're looking to learn in detail about all the watercolour techniques, you can go through my class on Ultimate Guide To Watercolours. Right after we finish with the checklist, we are ready for launch. All of the paintings are in real time and thus will be easy for you to follow even if you are a beginner. So are you ready to join me in this space shuttle? Let us begin the countdown and lift off! 2. Materials You Need: Let us have a quick look at all the art supplies that we will need for this class. Throughout this class, I will be using Artist Creed. What to collect before? This one is from Archie's. It is goes breast 300 GSM or a 140 LB, And it is a 100% cotton paper. So I would highly recommend using a 100% cotton paper for this class. Because sometimes you might see that you're getting the techniques right, but you're not able to get that perfect. Look for your paintings. This might be because of the people. Another one of my favorite brand of people is the Sanders wonderful to be bell, which is also a 100% cotton around 300 years or a 140 LB. Don't worry, if you don't have these exact brands, you can join me with whatever watercolor paper that you have. I would highly recommend using a paper that is at least a minimum of a 140 LB. And having a texture of cold pressed or rough green, cold pressed means it's having medium texture. For all the paintings in this class I will be using and a four size sheet. So you don't need to exactly use a four size sheet. You can go for a smaller size if you want, or you can even use sketch books, but make sure that the paper is watercolour paper. The next thing that we obviously need is water colors. I will be using paint from watercolor tubes like these. But you can use both being from tubes or pans, whichever you own. So I will be using pains from different rounds, such as art philosophies and earlier Daniel Smith and white noise. But don't worry, I will be telling you all the shades in the respective Glass projects. So join me with whatever watercolour paint that you have. Next, we need watercolor brushes. So I will be using a flat brush like this one. For applying the water on my paper. I prefer to use a larger size brush to cover a large surface area of my people. So you can either use a flat brush or the larger size brush that you have to apply the water on our paper. And throughout the class, I will be using these two brushes mainly. So this one is size eight. Psi is four brushes from Skoda. These are natural hair brushes. So all you need is basically a medium-sized brush and smaller sized brush for the detailing. And then I will also be using a small size brush. This one is a rigor brush. So you can see the pointed hairs that it has. It has long pointed hairs. But you don't need these Exactly. You can use very smaller size brush. This would be what we are going to be using for adding the stars on our galaxies. So that is why we need the pointed dip of the brushes. So go with the smaller size brush you have and you will be covered. We'll also be using synthetic brush for a day lifting off technique. So we will be trying to lift off some watercolour paint from paper to create different effects. So we will use these synthetic brushes for that. So the other issues that I showed earlier are natural hair brushes and these are synthetic hair brushes. So the synthetic hair brushes are perfect for the lifting of technique. But there is one thing that I want to tell you, don't worry, because if you're a beginner and you have not invested a lot of money into watercolor brushes, then you are likely to be having synthetic brushes itself. And if you're a person who have invested a lot into watercolor brushes, then definitely you have both of these. So not to worry about the brushes that you're going to be using. You can join me with even the most basic brush that I do have with you because it would cover for both these in the deck and the natural hair used at, we're going to be using in our paintings. The next thing that we need is a watercolor palette for mixing our paint. So you can see that my palette is quite messy. So all you need is a plastic ballot, or you can even use a ceramic ballot. We will do jazz of water, one for applying freshwater on our paper and the other to rinse off our brushes. So you can see that when we're rinsing off brushes in water, we done the water into the color that we were using. And if we were to use this water for applying the water for the wet already technique, we would actually be applying water with color on it. So it is safer to use another jar of water, which would prevent us from applying colored water onto our paper. Then we're gonna need a ruler and then an eraser and pencil for the pencil sketch. And you will also need a compass to make few circles. This is my makeshift compass because I can't find my other campuses I made with my pencils. And you will also need masking, Dave, to date the edges of your beeper on to the surface that you're going to be building on. This would help your paper to prevent bending while painting. It is better to use a board and stick your paper onto any kind of board. Or you can even stick it to your table or you can use other surfaces such as magazines or works. Then next thing you will need is white wash or by watercolors. So I will be using this whitewash from Winsor Newton. It is zinc white. You can also use titanium white, but it is all right to use watercolors also, because they are exactly the same. It doesn't matter whether you're using white watercolors or whitewash. Then you will also need some paper towels. So this would be to wipe off the excess water from your brushes and to correct any mistakes. And also for the lifting technique. You can also use cotton clothes for this purpose. Lastly, we will also use some table salt to get few watercolor textures on paper. So this is the normal table salt that we use for cooking. We need just a bit of it. So get your supplies ready and let us have a look at all the techniques that we will need for this class. 3. Watercolor Techniques: Before we start painting, let us have a quick look at all the techniques that you will need for this class. So here I have my B breath deep down and I have just divided it into two sections. Let us have a look at the wet on wet technique. So I'm going to use my flat brush to apply water on the beeper. So this technique is called wet on wet simply because the paper and the brush that we're using is going to be wet. So for this technique, obviously the first part means we have to wet our paper. So this is what I'm doing right now. I am applying water onto my paper. We have to make sure that the water is even. So you can see that when I added water onto my paper, it was forming small pools of water. We don't want this. We needed to be just having a glazed look on our paper evenly on the whole service. So just make sure that you even out the water that you apply. So you can move it out of the paper onto your masking deep. And then we load our brush with fame and we will apply it onto the paper. So since our paper is wet, you can see that the wind flows. So that's what is known as the wet on wet technique. So you can see now, I am going to gently dab my brush on my paper and in different directions. And you can see that how everything is blending together. This is because of the water on the paper. So see here now, I'm going to just stop on my paper and see how the paint has spread. So this is because of the water obviously, and this is what is called as the wet on wet technique. It has a lot of uses for different kinds of painting. And we can use it to our advantage and made different kinds of paintings. And we can achieve a perfect blend with watercolors as well when using this technique. So here I am just going to add a bit of yellow to the bottom. And because yellow is a lighter color, it is mixing with the indigo that I applied at the top EDR and forming a green. So that is one thing that we have to be careful about, that is when applying a lighter color and a darker color together. So the darker color will always overpower the lighter color. Then the next thing is, you can see that I am applying on top of the area that I already applied before. So the key thing with advanced wet on wet technique that I want to show you today is that when you're applying paint onto your paper, the key thing that you have to be careful about is do not let your people dry. So if you keep on applying more and more paint on top of it, on all of the areas, then you'll be able to win stay wet because you're applying a wet paint on top of it. So. The most important thing that you have to note here is that don't let your paper try, just keep applying the paint on top of it. So first i had applied lighter tune or lighter court of indigo. And then before my paper was drying, I applied more darker tones on top of it. You can check out my class on Ultimate Guide To watercolors where I'm explaining all about the wet on wet technique and the different kinds of blending. And you will also learn about water control on your paper. I think that would be a great start if you're a beginner. But I will be covering some of the techniques that we are going to use in this class in this lesson as well. Here you can see the wet on wet blend that I have made on my B br. The key thing is to just keep applying the veined without adding too much water on the paper. Then. Now the next thing we're going to look at is the water blooms. So we need a normal brush for that. And we will need to dip our brush in water. And we will see latter this water onto the paper. So this comes from the water control theory, which says that denote add more water on your paper because otherwise it would form large blooms. So you can see I've added water onto my paper and it just spread out the pained by it touched and created these blooms. Or it is also known as the cauliflower effect. The next technique that we're going to look at is called the wet on dry technique. So this means that using a wet brush to apply on the dry paper. So without applying water onto the paper, if you apply brushstroke directly on the paper, it means that it is a wet or dry stroke. But you can easily convert bed on rice straw to a perfect blend by applying the next stroke, right where you ended the previous drug. So you see, I applied a green first and then I'm taking my indigo and I'm applying right next to it, right below where it ended and the pain just mixed together. So since your paper is still wet, when I see people, I mean, the brushstroke that you just applied is still wet. You would be able to move your brush over it and create a perfect blend there, even without applying the water at first. So this is what is called as wet on wet blending. So I'm just going to apply a bit more of indigo towards the bottom to show you the next technique. The next major technique that we will need for the paintings of this glass is the softening the edges technique. So the indigo stroke that I applied is still wet. It hasn't dried. And if you run your brush over the edge, you will see that the pained spreads on to the surface where you just applied the water. And if you keep applying water to the edges, you will see that it will reach a point where there is no more indigo to flow down because it is just getting lighter and lighter. But what you have actually done is you have soft in the edge of the Indigo pains that you applied. So just run your brush over the edge of that stroke and you would see that it has just soft and the edge. So there is no more hard edge for the stroke that you applied. So the next thing I'm going to show you is the wet on wet splattering. So as the name suggests, it is again, wet flattering onto a wet paper. So I'm just going to wet my whole bard of the VBR towards the bottom. And I'm going to pick up my indigo again. And I'm going to hold my brush and lateral paint on my brush onto that wet paper. So because these are splattered, you can see that they spread very little. And this is quite different from the dots that you would put on your paper. Because when you add small dots, these are going to be spreading a lot and not as efficient as the wet on wet splattering method. The next technique that we're going to look at is called as the lifting technique. So this basically means we're going to lift off our watercolor from the paper. So the brush that I had been using was this, according to CDs brush from s go dot, it is a natural hair brush. Whereas for the lifting technique, I'm going to be using this synthetic hair brush, which is the product series from S coda. We will also need tissue. We're going to slide our brush onto the wet or Samy Wet Water clipping on the paper and it remove the paint from that area where we just slighted. So once we do that, your brush holds the pain that you just removed. So this is why we need the tissue. We will dab off the space on the tissue or you can wash off and then dry your brush on the tissue and use the lifting again. So the more you do this on top of the area, you will see that the more pained comes off. And I recommend using a synthetic brush for this because and natural hair brush holds a lot of water. And even if you dab off all the water, eight would just introduce more water on the paper and the lifting would be really difficult. But these synthetic hair brushes holds lesser water and hence it is very easy to lift off using synthetic head brush. So as I said in the art supplies lesson IV, few are not a person who have invested into natural hair brushes because they're quite expensive, then you're likely to be having synthetic brushes in your hand. And so it would be really easy for you too. Use your brushes for the lifting technique. And you can see here that I'm using my brush to lift off from the left side. So the left side I had painted using the wet on wet technique and it is still wet. So this is the reason why I'm able to liftoff payment. It would be very hard for us to lift off gained from a paper that has dried completely. So it needs to be at least semi wet or completely wet. Do use the lifting technique. Well, then the paint would simply flow back to the place where you just lifted. And hence, Samy wet surface. And synthetic brush is perfect for the lifting technique. How paper has now completely dried. And I'm going to show you the next technique, which is bet on dries flattering. So this simply means that the paper is going to be try and your Russia's going to be wet and you splatter paint onto the surface. This lattice would not spreads like before, and you just get perfect dots at random places. So that is what the spatters is four, we will be using it to add the tiles on our paper. So there are two ways that you can add this latter. Either you can use the single handed method where you just start your finger onto the brush. Or you can use the toothbrush method by tapping this brush onto the brush, holding the paint. And you will see that the pained falls onto the paper, dropping at random places and giving the perfect splattering. I will be adding the stars on my Galaxy using this whitewash. This is zinc white from Windsor and Newton. Or you can also use white watercolors. And here I want to show you the difference between white boys and white watercolors, which is basically the same because many of you may not have Gosh, pained, and it is okay to use your watercolors itself. So here I have taken my white wash and I'm also going to take my bite watercolors. So first I'll show you using the whitewash, how the stroke is. So I'm taking my white quash on my brush and splattering on to my people. So you can see those ladders, they're already looking like stars. So this is what we will be using to make the star is on our galaxies. And I'm just going to add some stroke onto my paper. This is just to show you the white paints that I'm using. Then here and taking the white watercolors. And we will add the stars with the same. And you can quite see that there is not much difference between both of them. And here is the stroke that I'm going to add. So the stroke here looks darker because I just use a Docker consistency of paint. That's all. There is literally no difference between wash and watercolors if you're going to be using the white paint. Next, let us have a look at what is called as the dry brush technique. So I just picked up a lot of paint on my brush and I'm going to slide it across the paper. So the first stroke is obviously wet and has a lot of water that is on the brush, and hence it is not dry. But as you keep applying more and more strokes on TOB bright, you can see that the pain tears dry. So in order to get the dry brush technique right, you can actually do your first rocks on some other paper. Or you can use the tissue to dab off the excess water from your people. And once you start getting the dry brush strokes, you can apply these onto your paper. So this is going to be very important for one of the lessons. So make sure you practice this a few dimes on rough sheet because it is going to be really helpful for you. Here. I have loaded on my brush with red being gained, and I'm just going to add a spiral. So you can see that I started my spiral with the wet on dry technique. And as the water in my brush words finishing off, it convert to dry brush technique. This is because the first few strokes has water, and then when there is lesser water, it starts to appear on top of the paper. So the basic point behind the drivers technique is that when there is lesser water on your people, there is not enough water for the pain to go into the texture of the paper. And it would just eventually appear on the top areas only. And this is how you get the dry brush technique. So it would be really better if you can practice this a few times to get the perfect dry brush technique. I would also like to suggest that the drivers technique is perfect on a paper that has at least medium texture. So when you're trying to do the dry brush technique, tried to use a medium textured paper or rough surface paper. I think we can move on to what class projects now. So as I said, all of these techniques are explained in great detail in my class, or an Ultimate Guide To watercolors. You can check that out to learn more about each of these techniques. So without any further ado, let's start our journey into the universe. 4. Taping the Paper: For all the paintings in this glass, I will be using an A4 size sheet. As I've already told you, this is argc paper. And I'm going to show you how I did down my people. So I'll be taking my masking deep and they bring all the four edges of my beeper onto the board. So you can see that there is a slight bend on my be Bertha says because I got it out of a roll of paper and it still has the bend from the role. But all of this is going to go away after I, dave down might be burned onto the board. So taping down the paper has a lot of users because it would keep our paper onto the board that is stuck firmly onto the board, as well as give us glean borders for our painting. This is just a normal masking date that I got it off Amazon. And sometimes you may find that your masking Dave is standing off the paper or a dad you're gained is flowing into the sides of the Bieber even after applying the masking tape. If you're not using, not just great people, it is most likely the paper that is the culprit. But if you're using are discrete, then it could be the masking deep. But there are some ways where we can prevent the faint flow to the edges of the beeper. So here I have saved the people onto the board firmly, but we're not done yet. So here I'm going to use my ruler and I'm going to just run over the edges of the masking did just to make sure that it is stuck there firmly. So I do this for all of my paintings and it keeps the paint out. And sometimes only in the corners, maybe some of it might slip away. The rest of the areas remained really safe. So this is really a good method to protect the edges of your Bieber. Just run your ruler over the edges. So this is the reason why I said you need ruler in the art supplies. We don't really need it for the other class projects. 5. Take-off to Space - Part 1: Let us take off into space in a small spacecraft and begin our journey into the universe. Let us have a look at the colors we need for this painting. So for the yellow clouds in the sky, I will be using Indian gold and yellow occurrence. So you can use either of these. Then for the darker regions at the top, I will be using indigo and veins gray. You can also use black. If you don't have pain screen, you just need a darker color to apply at that dot. Then for the violet and purple regions, I will be using two colours, which is Alizarin crimson and tailored blue. So Alizarin crimson is PR 83 and tailored blue is BB 15. So these two colors is what we will be using. So I'll be using these to mix various shades of red and purple. Then for the spacecraft, I will be using transparent Brown, been CNR and pain screen. You can also add a bit of Indian goal to get the highlights or the fire part. So you can use and if you don't have transparent Brown, so you just need a darker brown for this. All right, so these are the colors that we will need for this painting. We will also need white wash or white water colors for the stars in the sky. So let us get to painting. The pencil sketch for this one is going to be very minimal and simple. We only need to sketch the spacecraft and nothing else. So it is just a small, simple shape for the aircraft to cylindrical type shapes with triangular appointed head at the top, which is going to be the nose of the ship. So this is what we will be taking off in. If you want, you can add two lines on the b-bbar For the trail of the aircraft. And here I'm going to be using my flat brush to apply water on the paper. So I'm going to be applying on the whole of my people, even on top of the spacecraft. Because the spacecraft we will be painting with darker don't then what we will be painting with the background on. So it is fine to paint the whole of it right now. Use a larger size brush or a flat brush to apply the water. You can see how much of what I'm applying. It is just a glaze on the paper. Then next thing we're going to do is we're going to create the line of fire or the emission from the aircraft as it is going towards the sky. And I'm going to create a whitespace for that. So we're going to use RD shoe to dab of water from that specific region. So you can see it is just below the spacecraft all the way towards the bottom. Then I'm going to be switching to my size eight rush to start painting. So I'm starting with Indian Gould. Don't worry, if you don't have Indian gold, you can use yellow ochre here. And yellow ochre would be a perfect choice because it would also not mix with the indigo that we're going to apply liter and form any green. So start applying Indian gold in small random shapes. And also some towards the bottom where the spacecraft emission or the fire part is going to be. So this is like the trail of the spacecraft and also the clouds in the sky. So this is just kind of like an imaginative painting where the spacecraft is soaring into the sky. Then makes a red with a blue amusing Alizarin crimson and paleo blue to create purple for the next shade in my sky region. If you have purple or violet, you can use that directly as well. But the reason why I'm mixing red and blue together to get about blender Violet is because by varying the amount of red and blue that I mix in my paint, I would be able to create different kinds of purple and Violet. So this is the reason why I'm using that. So using the publisher that I created, I'm adding it onto my sky at random places closer to the yellow, again, in the shape of smaller clouds and larger clouds. And you can see that I added a bit more of red into my mix. And I've created nice red purple sheet, and this is what I'm applying now towards the bottom. So at the top it was more of blue and red mixed together. So that gives me a nice violet sheet. And at the bottom I added more red to it, so it became a red purple sheet. And you can see that even though we lifted off the water from the spacecraft region are painted will flow on top of it. So we either have to use the lifting method or use a tissue to dab off the extra water. So the reason why I did not use masking fluid or why I did not apply the water around that region is because I actually want the pain to flow on top of it just a little bit as it is flowing right now because this would act as the sky. That is what we are seeing through those fumes coming out the spacecraft. So all you have to do is if your theme is flowing into that region, use a tissue to dab it off and you see that more of it is spreading. And it also leaves a slight color behind, and that is exactly what we want. So apply the purple and while achieved at random places. So this is totally random and I have no specific rule. And just using the mix of these two shades and applying at random places. Here towards the bottom, I'm applying the reddish purple shade, more red in my mix. And I'm using my tissue repeatedly to take out the pain that is flowing into my fumes region. So my paper's still wet and I'm working on the wet on wet technique. Don't forget that. So E, If your paper has started to dry, you might need to apply water at the bottom part or the top part whenever you're painting on that list. But make sure that you do not add any water to the existing painted you have applied because this would create blooms on your paper. Towards the bottom part of the spacecraft, also where we added the Indian gold, we will add these reddish bubble sheet. I am covering the entire bottom part of the paper with this red are being shade. And I will also add few darker tones onto my paper at random places. So you can see the circular motion that I'm trying to do with my brush. This is to get those loud like shapes and I'm not using any straight lines. You can see that. Now we will get back to painting the top region. So I have mixed a bit more of blue into the red purple makes and I have got a Y lead sheet, and this is what I'm adding at the top. We have to be very careful around the yellow. We do not want to mix this with yellow. Otherwise, we would be getting shapes such as Brown. Or if you have more blue in your mix tenure, yellow would turn into green. So towards the top region of the wavelet that we applied, we're going to add indigo. So that is the sky part at the top and it should be really dark. So this is the reason why we've been doing it with indigo. So indigo is very nice, dark blue. So added towards the top region and cover the entire surface of to be burned at the top with indigo. B below the Indigo in the shape of sudden smaller clouds towards the bottom. So you can see the shape that I'm making. It is totally random and I'm just swirling my brush it on the paper. And we need the indigo at the top region to be really dark. So make sure you apply a Docker dawn of indigo at the top region. So i'm applying more and more paint onto the top of my existing beans and trying to dark in it as much as I can. So since indigo would not allow me to make it more dog, I'm going to be using Payne's gray at the top. So this is where I said that if you don't have been screen, you can also shift to using plaque ping. So on top of the Indigo. Apply the darkest black that you have amusing Payne's gray here. But don't cover the entire part of the Indigo just at the doped region. Make sure you get that nice transition from the indigo to the flag at the top. This would happen if you'd be pretty still wet and you're working on the wet on wet technique. We have to be working really quick for this painting. So I'm building on an A4 and might be pretty is likely to dry while I paint the bottom part or the top part. If you are not using our discrete paper, which is a 100% cotton be breeding, you can attempt this painting on smaller papers such as e5. And I'm pretty sure that you'll be able to work on the wet on wet technique. So now I'm going to add more yellow onto my painting. So remember in the techniques class I said that the key thing to keep our paper wet is to keep applying the strokes. So my yellow region that I applied at first had started to dry. So I'm going to add yellow on top of it again. And this would keep my paper wet at that region because it had started to dry. And so are other regions. That is the pink and purple and red violet cheat that we applied. They are starting to dry, so we need to apply paint on top of it again to make sure that we keep our paper wet enough and create that perfect transition between each of those sheets. Every time you're applying the paint, make sure you apply them in the shape of clouds. So they're just going to be random, small twirling motion with your brush. And you can clearly see at the bottom part of the spacecraft where the paint has flowed inside. So that is fine. So I'm keeping on adding my strokes using the mix that I created, using the blue and red. And I just vary my shades by adding more blue or red as I want. So I've added more blue now and a bit of read into it and I've got a nice pilot shade. And this is what I'm adding onto my people right now. So the red purple shade that i had applied at the bottom has started to dry. So I'm going over it again. Now. We will be in the emission clouds at the bottom of the spacecraft has a blasts off from the surface. So if you have seen pictures of the spacecraft, you might have seen large cloud formation at the bottom part. So this is the exhaust from the engines of the spacecraft. So we're going to be painting this with a nice violet shade. So at the bottom part, we will add this in the shape of the louds. I'm sorry. I did not realize that the camera was not focused on the VBR towards the left side. But you can see what I'm doing towards the right side. I'm just adding darker, violet or bluish while a cheat in the shape of the louds. So we need to make this freely darker and we need to be working on this to get the loud effect. Before that, I'm just going to add fuel, smaller clouds into my sky region on top of the yellow and some random places. And I'm doing this with a nice while a cheat. So use the tip of your brush to get smaller clouds. So now I'm going to use my white paint to paint the exhaust at the bottom part of the spacecraft. So let us take some white and we're going to add this on top of the violet cheat that we added. So this is going to be like part of the cloud formation at the bottom part of the spacecraft as it lifts off from the ground. So we're still working on the wet on wet technique. My paper is still wet and I'm adding the wet pinned onto my paper. So it's all right at this point, if your paper has dry it, because maybe you're not using a 100% cotton paper and it's not staying wet as long as mine does. And it's completely alright, because these smaller clouds that we are adding with white, it would also look good if you're adding it with a wet and dry stroke. So it really doesn't matter. And this is the reason why I chose this specific painting for the project. Because I know that many of you may not have a 100% cotton paper and I wanted something that you all can try out. So once we added the white paint on top of the white paint, we're going to add the y lit on top of it again. So we're just trying to get a nice puffy clouds of smoke at the bottom part. So first we added Violet, then we added a bit of white on top of it. And now we're adding why lit on top of it again. So this would create that puffiness For the clouds that we need. Now, I'm going to mix a more darker violet she'd to add on top of this one. So that loud or the smoke at the bottom part is going to be like in different layers when you see it in a picture. And this is what we want to create. So this is the reason why we added different colors on top of that. So first we applied violet and white, then a darker while it on top. And now I'm going to add an even darker tone on the top. So I'm going to be using beans Green at this point. You can also use black if you want, but make sure that you're black as not do black because we don't want to smoke to be dark or, you know, we don't want it to look black. So just try to use a medium tone of black at the bottom and apply this at the bottom part of the violet shade that we applied. And make sure that the YE that we applied is visible. This is like layers of clouds that we're adding on top of each other to get that puffiness in this MOOC. And again on the top, we will add some more white. So this gives the maximum or the best amount of puffiness in the cloud. So you can see already how my cloud region. So this is not actually the cloud, this is the exhaust from the spacecraft. And you can see that how it is making it looks stand out, isn't it? So this is one way you can do. And don't worry if you're not working on the wetter wet because even if you add these on the top of each other using the wet and dry stroke, it is still going to look perfect because that's also how another way of doing it. So don't worry about that. Once we have added the clouds, we will have to wait for the background to try to move on to the next part. 6. Take-off to Space - Part 2: All right, our backgrounds has now completely tried. I'm going to start painting the spacecraft trail. And for this, I'm going to be using my whitewash. You can also use white watercolors. I'm going to take my size for brush loaded up with white paint. And I'm going to run my brush over the trail of white that we wanted. And remember some of our paint had flowed on top of it. So this one, no, I'm going to make it white by adding white watercolor or whitewash on top. So you will notice that no matter how much white watercolors you add, some of the color underneath is still visible. And this is exactly what we want because we want that smoke trail to be not perfectly white. So this is the reason why I did not use any masking fluid. Because if I had used masking fluid, it would have been too perfect and it wouldn't look like smoke. So now, just add the white or the gorillas in the shape of the smoke trail towards the bottom of the cloud formation that we made. And then right below the spacecraft. Let us add small lump towards the left. Towards the right. This is to show the sparkling part where the engine is emitting these smoke from the spacecraft. We applied the white paint all the way towards the bottom where we had applied the Indian good. So now we need to blend it with the Indian goal to make sure it looks like the emitting smoke or fire part. So add a bit more of Indian gold to the area where you just light the white paint and tried to blend it with the white. Since the white is still wet because you just applied it, you will be able to blend it nicely. And also try to add a small yellow line towards the left and the right and try to blend the whole thing. So this will make it look like the exhaust fire from the spacecraft. I am using water to blend it towards the bottom. And because my background is completely dry when I am applying water on the top, it will not move the paint underneath. So you can clearly see I'm adding white paint to the area and trying to blend it perfectly onto my Bieber. Now onto the region right below the spacecraft, I'm going to be adding to pointed lines. So in order to create the point, what I am going to do is I'm going to switch to my smallest size brush, all my rigor brush because it has a pointed tip and I will load it with a white beamed. Starting from the bottom part of the aircraft. I'll stretch my brush outward and lift off. So this would create two pointed sharp lines. And it will look like the bars. There is sparkling. So just pointed line outward and lift your brush as soon as you move outward and it will give a nice point. And you can add small at sparkling lines towards the bottom. Now, we will paint the spacecraft and I'm going to be starting with been Sienna. So for both of the parts of the spacecraft, we will first paint with burnt sienna. And since this is a very small part of the painting, remember to use a smaller size brush. I'm using my size for brush here. So apply the whole of both the parts of the spacecraft with burnt sienna. And then next is, we're going to use a darker tone. So I'm taking transparent round here. You can also use band number. And we will apply this darker Dawn of the brown towards the left side of both the spacecraft. So only towards the left side because we want the right side to be lighter. So add this transparent ground or band Amber, whichever you are using towards the top and towards the left side. So now you can see that my right side is gluing and my left side has a darker shadow. So we will need to blend both of these together. Just use a damn brush and draw on it over the paint. And you will see that you burn CNR and you're transparent ground as mixed nicely together. And then towards the bottom part of the aircraft, add little bit of Indian goal to show the exhaust lighting part. That is the fire coming out of the engines at the bottom, the booster ignition. Now, we will add the stars in the sky. So we only need the stars at the top part. So the bottom part of the painting, I'm going to cover it up with a scrap piece of paper. And I'm going to load my size for brush with whitewash. Don't worry. You can also use white watercolors, as I said. So we're going to splatter, there's white paint onto sky region. I'm just using my hands to tap onto my brush. You can use a the dual brush method or the single hand method. So all of the regions where there is the indigo paint, we will splatter it onto paper. There now are painting is complete. So we can peel off the masking deep. Remember to be loved the tape at an angle away from your paper. So there are painting is so beautiful, isn't it? So we have now officially taken off into space. 7. The Earth from Space - Part 1: We have now taken out from the surface. So let us now paint the ad as seen from space. So we really only need a very deep olive green and dark green. For the surface of the. Next, we're going to need to yellow, blue or a nice medium blue to the sea pods of the ad as velocity background. Then for the background as well as a few dark spots on the earth, we will be using indigo and we will also use dark blues such as indents green-blue or Prussian blue. Don't worry, if you don't have indenting blue or BB 60, you can use Prussian blue instead. Then for the Dhaka pods of the background, we will be using veins green. So these are all the colors that we need for this lesson. So let us now do the sketch of the Earth. We need to make a very big circle towards the left side. So I confines my compass. So I'm going to be using my dinner plate, which I use as a palette. And I'm going to use that for making half a circle, so a semicircle towards the left side. And this is what is going to be the earth. So let us start painting the background Fest. So we're going to be working on the went on wet technique as usual. So let us apply water to the whole of the paper. At the background. This the space around the Earth. And yes, it is space. So apply what? Evenly. You can use a larger size brush or a flat brush like the one that I'm using to apply the water along the edge very carefully and make sure that any water doesn't flow into the space. And make sure that there are no fools are large blobs of water. I'm taking my size eight brush now and I'm going to use the pointed edge of it to apply water along the edge. So you can see how very carefully and slowly applying the water. This is because the edges very delegate as in we can't lose the round shape of the earth. It has to be around, right? So the key trick to keep your paper wet for a longer duration of time is to apply the water multiple times. So when you do that, you people will stay wet for a longer duration of time. We're going to be starting with tailored blue. So paler blue. But don't worry if you don't have to look blue, you can go with a very nice lighter blue that you have. You can also use bright blue instead. So we will apply this along the background around the Earth's shape. But can you see a little space of white that I have left? So I left a little white space between the separation of the earth and the background. So this is because I want to create a hallow shape around the Earth. So I left a little bit of white space while I was applying my stroke. And I'm applying Taylor blue to the whole of my background. But here, again, roughly towards the bottom shape of a circle, I'm going to leave a little bit of white space again. So this is where the light is going to be. So the light, obviously, you know, the light source is going to be the SUN. So there's going to be a sparkle there. And that space is what we have left as byte. The rest of the areas, we will apply it, hello blue. So observe the whitespace that I have left and the rest of the spaces, I have added two yellow-blue. So remember to apply the paint in naive, darker consistency or concentrated form. Now we need to add the Docker dunes. So I'm starting with indigo and applying a long dark. So we will be applying indigo to the areas that are further away from the light. So the light is the area where I left it white. And the further away from the light, it means it's going to be darker. So at the top, we need to apply indigo. Bieber's still wet and I'm applying indigo on top of that, the yellow-blue. So it is blending with the tailored blue and creating an even blend. And towards the bottom, you can see that I'm blending the indigo with the Taylor blue. And again, towards the bottom left, we will apply darker dawn of indigo again because this part is also further away from the light. So only the areas to loser to the whitespace. We will leave as halo blue and the rest of the areas we will apply indigo. So we want our indigo to be as dark as possible. So remember the date concentrated indigo. And don't worry, if you don't have Indigo, you can mix your blue with black. So here, now I want an even darker don't fall my background. So I'm going to add beans gray on top of my indigo. So towards the top edge I am going to be adding beans green. So on top of the Indigo, I've added Payne's gray and blending it, the indigo and that halo blue. Ideally what we want to achieve is very dark black background towards the furthest points of the light. Then it will be indigo, and then from there would be blue. So it needs to be a perfect blend between these three colors. And we should also make sure to leave that whitespace as it is. So you can see, I've taken more of the yellow, blue and mixing it with the indigo Dupain's greed that I applied. So when you take more off the first color and you apply, again, you will see that you will be able to blend it perfectly. So I'm taking more of being screened and adding it to the outside. The point is just basically to make the outer edges dark as possible. And it needs to come lighter as we move towards the globe. So the glue is the light, that is the whitespace that we have left. So I'm adding more of indigo and being screened to the outside. You can also use black instead of Payne's gray and added as dark as possible. And towards the inside, we will be blending with yellow-blue. Now for the glow or the light, we're going to be using our synthetic brush for the lifting off technique. So as I said, don't worry about this brush categories. Just use your normal Drudge Dad you're using for painting. Using your brush, dab off the paint from the light area. If it has flowed too much onto the whitespace that you tried to leave behind. And using these dry brush tried to make a small circular shape by moving the wet paint on to that area if there is a bigger whitespace. So you can see I've created a small semicircle. And now I'm going to be lifting of the paint from my paper in the form of sparkling light. So you can see I'm moving my brush has a line on my people. And then I am removing that pained by dipping my brush in water. And then make sure you dry your brush on the tissue. And then repeat this process. So this line, we are going to be doing it in different directions. And this would create the whitespace are the sparkle of the light. Then we will also try to lift off along the edge of the circular shape, that is the earth. So this will form like a nice hallow shape around the earth, giving it the glow of the light. So in a single motion, rob bill brush or slide your brush along the edge all the way to the top. The key thing is do not start in the middle, Start from the light area and just move your brush across this side all the way to the top. So as you reach the top, you will see that not much of the band is getting lifted. But that's alright because we wanted to start lighter and go darker towards the edge. So that is why I do not stop midway. Just keep lifting off and only stop at the end. Then for the lines of the light, liftoff and slide your brush. Only lift off at the point where you want the light to stop. So you can see I've added three long ones and then I'm adding smaller ones in between. So the long ones, I let my brush slide for a longer duration of time. And for the smaller ones, I'm lifting my hand quicker and not under the brush reaches the end of the paper. So this is a longer one. This is another of the longer one. So I wait until sliding all the way to the end of the paper. But for the smaller ones, I lift my hand off quicker than the other ones. I hope this makes sense, but this is one way of lifting off beat. You can try this on a scrap piece of paper and try practicing it. You might have to do it due to three times to get it right. But trust me with practice, you will get this right. It is just very simple, trying to lift off paint from a wet surface. So it will only work if your paper is semi wet. Don't try to lift off from paper that is due wet because the beam would just flow back in. This is what is actually happening on my paper because it is still wet and it flows back. But that is why and doing the lifting process multiple times. So you might have to do it over and over again on the same line multiple times to get that lifting perfectly. And this is for the outside part or the space bar. Next, we will get on to painting the ad. 8. The Earth from Space - Part 2: The space part of our painting has not completely dried and let us start painting the so we will be painting with the went on meds method again. So let us apply water along the inside that is on the surface of the earth. So make sure you apply the water evenly. Don't forget that. And along the edge, I will be using my sides eight brush to apply water. Remember, we have to apply deepwater very carefully because we can't afford to lose these alkylation of the ad. And we can only paint the ads after the background has completely dried. Otherwise, when we are applying the water, the paint from the background would flow inside. You can apply the water multiple times to make sure that you'll be birthdays went for a longer duration of time. So this is the reason why I always spend a lot of time to apply the water on my paper. Usually I led the first code of water sink into the paper and then reapply again. This makes it stay wet for a longer duration of time. Now, we're going to start with our first Scholar, which is viridian. You can also use emerald green for this. And we will start applying towards the bottom part of the art. So this is going to be the color of the land on an ad. So make sure we apply the paint. The words, the boredom, but almost away from the light area. We don't want to lose the light area on the earth. So you can see, I've just applied random sheets here. We're not going to add any real continents on the head. That would be a really difficult task for us. Next, I am taking olive green and applying to words, the dog right next to the viridian or emerald green. If you don't have olive green, you can mix a little bit of brown to yourself clean and you will get a nice olive green color. And you can see that applying it totally random, just at few places but towards the right side, because the left side, I wanted to be the same. So the Googlers that we have applied now is viridian or emerald green and olive green. Now, we'll paint the ocean Bart. So we will start with tailored blue again. And I'm applying the Taylor blue along the ocean bard of the Earth. So around the edges of the land area that we have made, we will paint with tailored blue, and we will also add tailored blue to the whole other parts of the earth. So the whole thing first, we will cover it up with yellow-blue. Remember, and working on the wet on wet technique. So you might have to paint quickly, do cover the holding up with Taylor blue. And you can observe that I'm not adding too much water onto my people. So when you're working on the baton technique, that is one important thing to note. Add more water onto your people with your brush when your painting, because that would create blooms. So just add as much water as that is already on the paper. So keep picking up more paint but not a lot of water. So you can see I'm covering the whole of the earth's surface with tailored blue. So this is what we're going to do. But closer to the light, we will try to keep it as wide as possible. Don't worry if you can't get it right because we can add the white light with white watercolors later on. You have to be careful along the hedge. As I said, we can't lose the circular shape. So very carefully along the edge, used a pointed tip of your brush to get that circular shape. So now we have covered the whole of the Earth with blue. But we need to add some more darkness, right? We need to give it the shape of the ocean. So here is what I am going to use my inventory in blue or BB 62 when very, you can use Prussian blue instead, or you can use another dark blue that you have. And I will be adding these dark blue strokes. Do my ocean area. So if you have taken my ocean glass, you might find this very easy because this is just simply trying to add some darker strokes at random places to the ocean area. If you haven't taken my ocean class, I would highly recommend taking that class. Now we have added those darker strokes with Prussian blue. Then we're going to add the darker edge of the earth. So the topmost part and the bottom left part are going to be really dark because it is further away from the light. So the light is towards the right side, as you can see where we had left white. And the other places which are further away from the light are going to be darker, just like the background. So this is why we are adding indigo on the top and we're blending it with the tailored blue. So we're still working on the battle wet technique by paper stays wet for a longer duration of time, mainly because it is a 100% cotton paper. But there is also another thing I am going on adding wet paint onto my paper. And this bet paint will keep my paper from drying out. So if there is some area that is drying, then what do you need to do is apply more paint of the same color on top of it. And you will just keep on betting that part with the paint. So that is how you can keep your people wet for a longer duration of time. So I've been did the edges with yellow-blue. Then I've added few Docker dunes, weighed Prussian blue or BB 63 in blue. And towards the edges I am adding indigo. And to make it even darker, you can add pains grade to the top. But don't add Payne's gray all the way towards the center, just only to the top and blended with the indigo. So we want this area to be really dog. That is why we are adding this color. So it is just like the way we painted the background. So the glowing part of the earth is going to be with white and yellow, blue, and the darkest areas we're blending it with indigo. Now next we will add some darker tone towards the DOB ADR where we apply the olive green. So pick up a dark shade of green and just apply it to the land area at the top. Now, I'm going to be using my white wash painting to apply the clouds on the surface. So you can only paint this one's the test completely dried. I'm going to be using my size eight crash and I'm going to be using my white quash speed. You can also use white watercolors or even you can use acrylic paint. So using this whitewash binned, we're going to take off the line of the pencil sketch along the light area. And also we will try to mask off any yellow-blue that as seed into our wide area because we want this region to be really white. So this is the glue in our painting, or the light from the sun. So along the edges, female apply the White. You might have to apply the white multiple times to make it as wide as possible. Do not stop until you get clear white. So as I said at the pained as many times as you want and tried to get the white on the paper. Then we are going to be adding some cloud Spain to our ad. So these clouds are going to be like on the top or in the atmosphere, which is seen from the space. So we're going to be adding this using few wet and dry strokes and dry brush technique. So remember I showed in the techniques lesson that when you apply wet on wet stroke after a while, it changes to a dry brush technique because there is not much water on your brush. So this is what we are going to be using exactly here. We're going to add some wet or dry strokes onto the Earth's surface. And we're just going to keep on painting until there is no water left on our brush stroke converts to a dry brush stroke. So towards the edges, we will add the white for the light source. And towards the inside, we tried to add it in the shape of clouds. So if you have taken my oceans lesson, then these dry brush strokes where actually the waves in the ocean. But here these dry brush strokes are going to be the clouds in the earth's surface. So it's like the utmost fear. And when I say clouds, you know, the air ketones in the Earth's atmosphere. So that's what this is going to be. So just randomly tried to make few shapes. You can see here, I'm sliding my brush across the paper. That is not much water than my people, so it's creating a dry brush stroke and that's what we exactly want. So try adding it in different shapes. May be circular. Circular would be the best because the clouds or the air currents usually form circular sheep. And that's what we're trying to add. So slowly, just slide your brush across. And you will see that the dry brush strokes coming into the picture. Remember, for the dry brush stroke, you need to at least have the medium textured paper. Otherwise, your dry brush strokes will not appear. So try this multiple times on a scrap piece of paper and you will see that how your brush is making those dry brush strokes. And this is what we wanted to replicate onto the surface of the Earth. There are some areas in my painting which I had left little white. So here I'm adding more of the white paint on top of it to create the form of dark clouds. So when I say dog, it means a larger surface area is covered with the atmospheric air currents. So you can do both the wet and dry and the dry brush technique to get the atmosphere air currents onto the surface of the Earth. And you don't even need to do the dry brush technique also, you can do a total wet over dry technique also, it just means that you discovered in a lot of clouds, it can be a cloudy day. So it doesn't matter. There can be a lot of air gardens in your binding. So if you can't get the dry brush technique, go further, went on, right technique, it wouldn't really matter. It would just mean that you are is having a really cloudy day. That's all. I mean, a large part of your there's going to be under the clouds, that's it. So don't worry. And you can see that some of the areas I'm trying to darken them, darken as in whiten them with white using a concentrated form and some of the areas and just using light pink. And here I'm adding more weight to the area of the light. So I had applied the white beans earlier and it had dried. So I'm adding on top of it and again to make it more white. So once you have done this, our painting is complete and you can take off the masking deep. This is my most favorite painting from this class. One day, I wish I could go up into space and have a look at the Earth like this. Well, it's everyone's dream, isn't it? So here is our beautiful painting. I hope you had a really good time watching the ad from space. I really can't take my eyes off from this painting. All right, so see you in the next painting. 9. The Sun - Part 1: Next, we're going to travel straight to the sun. I know it is practically impossible, but it is not so impossible with watercolors, right? So first we need Indian yellow, then Indian gold. So these paintings are from white nights. Then the next color is burned and permanent brown. So a permanent Brown is just a brown mixed with a little bit of red in it. So don't worry if you don't have permanent drought, you can mix, you burned well with a little bit of red and you will get the permanent round sheet, then I will be using sepia. So instead of CPR, you can also use Wen Di came from. And then we need pain scream for the darker areas. And lastly, we will need a spreadsheet or Alizarin crimson. I'm going to be using Alizarin crimson, but you can go for any pink or red sheet that you have. So there you go. These are the colors. So again, for starting with the sketch, we need to make a circular shape. And I'm going to be using my smaller dinner plate, the style to make a circular shape. You can use a compass. So we only need bard of circles towards the dot. So this is going to be the glowing flaring son. And only part of it is going to be visible. So just part of a circle towards the top, and that is over the sketch. So first we will paint the outer part of the sun and we're going to apply water for the wet on wet technique. So remember, they go down to a fly. The water makes sure that the water that you apply is evenly without any large pools or blobs of water. And also tried to preserve the circular shape of the Sun. So we have to be very careful and use a pointed brush like I'm using to slide across the circular region towards the outside. So there you go. I'm going to start with my size eight brush, and I'm going to start with Indian yellow. You can use any value that you have, a the transparency or luh, luh, or you can even use gunboats yellow. So we will apply this along the edge of the Sun. So this is going to be like the flaring glowing part. So we will apply along the edge. And this will be the wet on wet technique. So you will see that your being is flowing towards the other areas where you have applied to the water. So you have to be careful because this is the edge of the sun and we don't want the pain to be flowing towards the inside. So slowly and carefully along the outside. And we will also add some random strokes towards the bottom. So the whole thing about this painting is that everything is just random. And it is depicting the fireball of the Sun, the flaring fire outside the sun. So it doesn't have to be in a uniform manner. This is totally up to your wish. So that's why this painting is so beautiful. All of you are open to your creativity. So you don't have to be applying the strokes exactly as I'm doing. You just need to have the colors, right? So the next color that I'm adding is Indian gold. Don't worry if you don't have Indian Gould, You can actually make Indian Gould. All you need to do is mix a bit of Alizarin crimson with Indian yellow. So again, Alizarin crimson means all you need is a nice being shade and add yellow, do it. So when you add more yellow, you will see that it is getting into a nice golden sheet. You can also add a little bit of brown, Do your yellow and red mix and you will get a nice golden sheet. So this is almost going to be similar as Indian Gould. So you can use that. So I applied Indian Yellow first and then do the other areas. I applied in Gingold. And now I'm going to be taking Alizarin crimson. So Alizarin crimson is like a reddish pink shade and when mixed with yellow, it gives a nice spreadsheet. So you can go and use directly a red shade here. You don't need to use Alizarin crimson itself. I am applying the Alizarin crimson towards the right side on top of the yellow. So it does turning my beamed into a nice, beautiful red sheet, which is exactly what I want. But as I said, you can directly use red on top of it. So remember to use a concentrated form of read. Otherwise, your red would mix with the yellow and form an orange sheet. So again, applying my Alizarin crimson at random places, just fewer lines. So this is again, the flaring part of the fireball outside the sun. And I'm trying to blend the whole thing together. So I'm picking up more of my Indian Gould and mixing it alone with the red so that I get a nice FOR effect blend. Then towards the bottom and I'm going to be applying the permanent brown. So this permanent drown shade is a nice brown shade, which is almost like reddish-brown. So you can also use proud matter down manner is very much similar to this permanent brown shade from OD philosophy. If you don't have either of these two sheets, all you need to do is mix your brown with a little bit of red and you will get this nice, beautiful dark brown shade and add dish brown shade. And this is what we will be using for the medium ground Dawn near the flaring son. So you can see on top of the yellow and Indian gold areas, I have just made fuel lines, but also trying to keep the yellow there itself. Then towards the bottom. Now, adding burned on various abundance is kind of like a nice dark brown shade. So I'm applying this towards the bottom part of the permanent Brown that we have applied. So to the whole of the bottom part. First, we will apply this band number. So now we will add more darker dawns on top of it. So I'm going to be digging, said yeah, and adding on top of the band Amber towards the bottom. So the bottom area is kind of like the furthest place away from the flair. So this is why we are adding the darker dunes. And towards the very bottom, you can make it even more darker by adding a Docker. Demons are just Payne's gray, or you can also add black. So can you see the variation of the shade towards the bottom? So all the way towards the bottom, it is Spain's grey or black. Then comes sepia or vend ikea Brown, which is kind of like a very dark brown. Then we go to the next shade of brown which is burnt umber. And then on top of it is the permanent drown. We just kind of like a reddish brown. So you can either use permanent Brown or brown matter. So you can see now how I have applied and reapplying my strokes because by beeper starting to dry and I need to wet it quickly. So for wetting it, I'm applying the paint on top of it again. So when applying the paint on top of it again, the water on my brush, not a lot, but the wet paint would just keep my B Bo went more and more. So this is how we can make up a birthday wet for a longer duration of time. So pitch black or the black possible at the bottom Bard. And towards the top, we need the lightest areas. So I've already made it saw dark black towards the bottom using beans Green. And now I'm going to keep on lending my top area. So now you can see a clear separation between the permanent drone and the others. This is because might be burr has started to dry, but I'm not going to let it dry and going to reapply My strokes on darpa fit and blended along with the wet paint. So see here, I just applied Indian Gould and I'm going to apply the Indian yellow along the outside of it on that DOP. So when applying, you can see that it kind of looks like wet over dry stroke. This is because most people has dried but the areas where I just applied the water is still wet and I'm trying to read the other areas by reapplying my colors. So that is how I keep my paper wet for as long as I can. So see I am applying the red and the area surrounding the earlier read had dried. But when I apply the paint on top of it again, I'll leave it at that area. So this is one way where we can create that perfect blend between different colors and keep up people wet for as long as we can. And the key thing here is to not stop at any place. Because the place where you stop, your paper has dried and you just put a wedge stroke that plays would create harsh edge or a line on the paper which we do not want. So this is the reason why I am reminding all of the parts and continuing under the whole of my B press covered in veined again. So this would make sure that our painting is vibrant as well. You can clearly see the strokes that I'm applying towards the bottom. I'm trying to create some swirling motion with my brush to replicate the look of the flaring son. So if you look at pictures of the sun, you will see that the fireball has delays in the friendships. Mostly like to whirling around. So that is what I have tried to add here. So you can see the yellow, How it is whirling and swirled into small elliptical kind of sheep. Not exactly an ellipse, but you can see the swirl on the paper. So this is what I have tried to achieve here. So you can have your own GYN of shapes. It doesn't really matter. All that matters is that the bottom part should be as dark as possible and create a nice transition between the different goddess. That's all. I wanted this painting to be as vibrant as possible. So I just added each of those scanners multiple times O_2, my beeper so that everything was vibrant and really standing out. And I also didn't want to create any harsh edges. So I made sure that I give my paper wet for as long as I can buy reapplying my pins. And another important thing here that I wanted to tell you is that even if your paper is not the same as mine and doesn't stay wet for a longer duration of time. And you're getting a lot of wet own RiceRocks. It is fine because this is kind of like the Sun's surface and we're trying to do the flare. So it does all key to have wet on RiceRocks and having edges and borders because it is just going to be like a different guy kindof swirling fire motion. That's it. So this is the reason why these paintings are so easy and everyone can follow along. Because even if you're not using an artist, greet people, the swirling motion would still make it look like the sun. So once we have been dead the outside part of the sun, we will have to wait for the whole thing to dry before we can move on to painting the inside part. So now let us facing the inside part of the Sun itself. 10. The Sun - Part 2: The flaring part of our sun has now completely dried. So we will start painting the inside part of our Sun. So we need to be applying the water along the insides because we're going to be working with the wet on wet technique. So use your pointed round brush to apply the water along the inside. So very carefully along the edges we need to preserve the shape of the Sun. Remember, there shouldn't be any large pools are blogs supporter applied he wanted. We will start with Indian yellow. So we applied Indian yellow along the side, along the edge. And what's the inside? Also, we're going to be applying the Indian Yellow first. So this is like the most glowing part of the sun. So we need that to be yellow. So I'm applying Indian yellow. You can use transparent yellow gunboats here Lu, or for this inside part of the sun, we are going to cover the whole thing first with Indian yellow. So onto the wastewater and the Indian yellow onto the whole of the entire surface of the sun. Now we have covered the whole thing with yellow. So the next colour we will use is Alizarin crimson, or the red sheet that you used. And we will start to apply this towards the top area. So these are going to be the darkest part at the dark region of the Sun. So the glow is at the bottom. And towards the top we need to be adding few reddish dark shades. So I'm starting with the Alizarin crimson and applying it on top of the yellow. And you can see that it has done do read shade. So as I said, you can also go ahead and use red shade directly. Remember to use a concentrated form of read because otherwise the yellow would mix with red to form orange. And you can see that I have applied the paint in the form of small circular region, such that it forms like the darkest region towards the outside of the ball of fire. Then the next color we're going to be adding is Indian gold. So i'm applying Indian goal towards the edges of the red that I have applied. So you can clearly see the Blend I'm trying to make here. So yellow first, then I added red on the top. Then I'm using Indian gold and blending it. So I'm just trying to create some shapes onto my son's surface. So random shapes on top of the yellow. And I will also be using the pointed tip of my brush to create them curved lines. So this is just to replicate the flares or the surface of the sun. So if you look at pictures, you can clearly see that it forms as if it's having rings of fire on the sensor surface. So that's what we're trying to do. And you can make the same with a few red as well. So towards the top corners, it is going to be darker. And as we approach the blooming part, we have to make it lighter. So that is why I have used yellow. And our strokes are completely random. So I'm using a mix of both Alizarin crimson and Indian Gould to create random sheets onto my son area. And to some places I'm also applying the red. You can see that. And applying some curves with my brush. This is totally random. If you ask me to make this again, my strokes are going to be entirely different. So this is just very randomly. So don't worry about trying to get the exact stroke that I'm applying. Then I have switched to my size for brush. Because I won my strokes to be thinner now. And I'm going to be using burned on VR. And we're going to add some few small curved lines with this band number. I just picked up the wrong sheet so I had to wash off my brush. So yes, we need a darker brown so you can either use burnt umber or Serbia. And we're going to add fewer darker spots on to the Sun's surface. So again, if you look closely at the pictures of the sun, you will see that there are few sudden darker spots on the lightest areas as well. So I don't know what these are, but it is there in pictures as I've seen it. So that is why I'm adding them. Few dogs boards at random places. These dark spots are probably not that essential, but I still wanted to add them. And adding few spots with my red, again, that Thomson Alizarin crimson. So I'm just trying to make some random shapes onto my son surface. So bad over ahead applied these darker strokes, trying to apply some grandson next to it. Don't forget that these are totally random, so we don't need to worry that you have to get it exactly as it is. So by now, you might have understood that, may seek sheets that I have used for the Sun, the Indian yellow at first. Then I added some darker dawns with red and Indian gold on the top. Then I am making fewer lines on the dog with my Indian Gould read, and I've also added fuel, dark sports with burnt umber or CPR. And I'm just trying to create more dark spots. Not exactly dark but medium dawns on to my Sun's surface. Next, I'm going to be taking my white wash to add few random strokes onto my son again. So I want to add viewer lighter areas. So adding these with white might be pretty still wet. And this is the reason why I am adding the white rocks. So random shapes, again, disliked. We added with the Indian gold, burnt umber, and Alizarin crimson few certain random white dogs. So this would add a nice glowing surface to the Sun's surface. I'm just trying to create them random shapes. So since might be Bristol wet, it is blending with the underlying color and creating a nice texture kind of surface on the Sun. So this is not UDL essential. Don't worry that if your paper has tried and you're unable to make these white strokes, it is completely alright. So at random places, just keep applying the weight. Now I'm going to pick up my Alizarin crimson, red shade again. And we're going to add some wet and dry stroke on to what beeper on the outside of the sun. So we're just trying to create more of the players on the paper. So mix a bit of yellow API using Alizarin crimson because I want it to be red. So that is why I said you can use a red directly. So I'm just trying to add this flare kind of shape onto my beeper. So this is a reason why I said that. Even if your paper had dried and you were doing the baton dry stroke, it is fine. This is because you can see NOW that I have applied wet over dry stroke and I have made a tiny battle kind of shape. This is just to show the flaring part outside of the sun. But I would be blending the edges of it with yellow and adding a few shapes with the Lu as well. So you can see I've added it with yellow paint and I have blended the edge of it. And I'm blending the yellow onto my paper by using a damp brush. So this would make sure that I'm softening the edge of the yellow and that it doesn't create a harsh edge. And I'm going to be doing the same for my red sheet. So you can see the petal kind of shape that I created is now gone because I have soften the edges with yellow and water. We were just trying to create flare around the sun using swirling motion. You can add as many words and flares as you want. All right, so now the whole part of our painting has dried. That is both the sun and the background. Now I'm going to add views platters, but I want these lattice to be on to the outside part of the Sun. So the rest of the areas I have covered with scrap paper, and I'm going to mix yellow with white. The reason I'm mixing yellow width wide is because our background has a red shades and the yellow might not become clearly visible on it. So when we mix it with white, we turn it into a little bit opaque and make it visible on top of the surface. And here I'm splattering on top of it. When you add white to the yellow bead, it would make it more visible. At the same time, it would be slightly yellow. You can add some towards the bottom bard as well, but not a lot. So we have covered that part of the painting with scrappy birth. You can also use the shoes to gobble up your paper. As you can see, I'm changing the direction of my people because we have a circular shape and we have to get around to painting along the edges of that. So either you have to cut out your paper in the shape of a circle or you can just move out your paper like this and add those patterns. Then the next thing is, we're going to add them sublattice with red. So here I am mixing my yellow weighed Alizarin crimson again to create a nice red sheet. And I'm going to be adding lattice, but there's red sheet. So we don't need to mix this with white because the ADS that flattening is with yellow. So when we add the status, it would be clearly visible. Add these red splotches on to the cladding part as well, is my most favorite watercolor technique. And I can never stop doing that. It is always kind of like my weakness when it comes to painting because I just keep on adding as much spatters as I can. Even though I get all of this lattice on my board, on my palette, on my hand. I still love doing it. So let us take off the scrap paper that we use to cover the sun area. And you can see the painting closely how this lattice have turned out. So we're not yet done with the painting because I really wanted to add a darker bar towards the top of the Sun. So the red sheet that we have added is still lighter. So i'm going with permanent Brown at the top. So Bowman and drown is a mix of red and brown. If you don't have permanent round or you can use matter brown. So towards the top, towards the left and right corners of the sun, we will add permanent drown. And then towards the edges of the permanent round, we will add the red shade. In my case, I'm adding Alizarin crimson. And then we will use water to soft in the edges. So this will not disturb the pained underneath because it has already dried. And we will do the same towards the right side. So remember in the techniques lesson I had shown that you've done on dry stroke into a blend. So this is what we will do here. First, we will apply the permanent brown and then try it where that permanent Brown's drug is. Next to it. We will apply the red sheet. So this would make it blend perfectly. And then the edge of the red sheet, we will apply water to soft in it. So that's permanent Brown. Had it. So next, taking the Alizarin crimson that I cheat and applying it to the end of the permanent round. So you can see my brown mixed with the red and created a blend right there. Then. Now my red sheet, as you can see, has a harsh edge. So I'm going to solve it by using a damn brush and pulling out the page. So don't worry, if your paper has completely dried, you will not be disturbing the beans underneath, but rather your red beans would just flow and create a perfect blend on the paper. So now this looks more interesting, right? Because we have added some darker dawns towards the corners of the sun. And the glue outside is clearly visible as well. So this is the reason why I wanted to add that Docker dawn towards the edges. So now our painted is complete and let us spill off the masking tape. So this is great fun, isn't it? Although it is practically impossible for us to go to the sun, but we can do so with watercolors. And that's what makes it even more interesting. It is so-called here right now that I actually wish I could go to this. So jokes apart. Here is our final painting. See you in the next one. 11. Green Galaxy - Part 1: We are now going to move away from the sun and into a far off beautiful green galaxy. And for this, the colors that we need are tailored blue, halo blue is PB 15. Then we being need Sap Green. So I'm using soft gleaned from XMI k here. Then we also need a darker green. So this is sparingly in green, again from XMI k. But don't worry if you don't have this green, you can make SEO green with black. And lastly, we also need veins carry. Then for the stars, we obviously need vite, watercolors or whitewash, whichever you are going to use. As I had previously mentioned, it doesn't really matter which one you're using. So I'm going to start with my ASCO dot flat brush and I'm going to apply water onto the whole of the paper. This one doesn't have any pencil sketch at all because this is just going to be a simple galaxy in which we are going to have fun with our beamed lots of blending. So we need to apply the water evenly own up Eva. Remember, this is the most important part in this painting. This is because most of the work is going to be on wet, on wet. So we need people to stay wet for a very long time. And you can really do that by applying the water on your people multiple times. So run the water over your b bar evenly, just like a glaze, and then let it settle. After that, we apply the water. So now we stopped painting. I'm going to be starting with tailored blue. And I'm using my size eight brush. So I'm just going to start at the center of our galaxy. This is where the blue shade is going to be. So I'm just adding smaller stroke in the center. Then sins for going for a green Galaxy, I'm going to be mixing my sap green. So this is a nice app, green, don't worry if you don't have sap green, but I think most of the watercolor sets out there has sap green. But if you have a darker green, then mix yellow with it to get a nice green. So we are going to be painting this in certain small OK, type strokes. So you can see I've added a few Ox at the blue and then again adding some random strokes. But you can also see that I am leaving certain spaces as white. This is just totally random. I'm just trying to create a shape in the center. You're shape doesn't have to be exactly the same. So this is what is so special about this galaxy. This is kind of like a very different type of galaxy in which we have some green lighting in the center. So the lighting can be totally according to your wish. It doesn't have to be the same as. I'm applying, i'm just applying my strokes are trying them and I'm leaving certain white spaces in the middle. So these whitespaces, we will be adding our darker background later on. So for now, we're just going to keep on applying this app green. So you can see because I'm doing the wet on wet technique myself, green is spreading and this is exactly what we want. Then we switch to the next colour, which is Baddeley in green. And I'm mixing it with a little bit of sap green to get a nice medium dawn of green. Still darker. So badly in green is kind off. Darker green. It's not actually green, it is CBK 31 is actually of black sheet because it has be BK means pigment black. So you can get this sheet mixing glean with black. So if you mix your green with black, you should be able to get this nice darker shade. And this is what we are going to be applying in the areas that we left white and also towards the outside of our painting. So the darkness of the galaxy, we will be first applying with the pedaling green. Use your medium-sized brush or larger size brush. Because now what we're going to cover the rest of our paper with this darker green. So as I said, don't worry about the minim Berlin green. You can just mix your glean with lag and get this nice dark sheet. And for the whole other rest of the Bard of our painting where there is no Sap Green, we're just going to blend and at this darker green on the top. So remember in the techniques lesson and also in the previous lessons, I explained about how to keep our people wet for a longer duration. So the basic thing is to not let your paper dry. This means that if you keep applying your strokes onto the paper, it should not dry. So you can see I'm not picking up more water because it is already water on my paper. I'm only picking water enough to apply the paint. So that is the first basics of water control. That is, we should not introduce any more water onto our BY birth and there is already. So now you can see that I'm the applying the blue. This is because the blue areas had started to try and i'm going to rework on it so that I will not allow my people to dry. So we started with the blue and then we're going to go with the sap green again to make sure that it doesn't dry. So wherever it starts to try, keep applying your strokes, but just make sure that you don't get any dark edges are harsh edges. So in order to avoid the harsh edges, the key thing is to continue painting right next to the stroke that you applied. So if you see there's a harsh edge forming that point, then you can remove that harsh a hedge by painting right next to it. So that's the key important thing. I don't know if this makes any sense at all. But the most important part is obviously water control. And you will really achieve it with a lot of practice. And this is also one of the reasons why I always say that the watercolor paper is of utmost importance. So if you're using a paper that is a 100% cotton paper, or which is r does greed. You will surely see defending your bean things. The areas where we applied the battle in green. This is the darker part of the galaxy and we needed to be darker. So i'm applying Payne's gray over it now. So if you've taken the other projects, you already know that the darkness, first, I apply somewhat lighter color and then on to the tau, I add beans, great, to get my dog depth in the painting. So you don't need to use beams gree itself. You can use black as well. So this is what we're going to do. Walking on the wet on wet still. We are going to apply the paint screen onto our galaxy areas where it is darker. So mostly towards the outside, we will add the Payne's gray and try to blend it with the Docker Berlin green that we applied. Ok, so now I have gone around once over my whole painting with the beans Green. But now I want it to be more darker because you can still see that it is slightly greenish towards the edges. So we're going to darken this as much as possible. I hate to use black in my paintings, which is the reason why I go for beans. Great. But you can use black and you will get a perfect dark shade, the words, the borders. So this is what we want. So towards the outside, keep applying the Payne's gray. Here, I'm trying to apply the paint onto my paper quickly because I don't want my people to dry. So if GOP PR has started to dry, here is a quick tip for you. Let the people try. I mean, let it dry completely. Then using a flat brush, reapply the water on the top. So if your paper has dried completely, it would not affect the underlying layer much. So using a flat brush, run over your paper with water and then reapply these darker strokes to words the outside, that is towards the borders. And you can also apply the other colors when your reapplying your water. Because now your paper is going to stay wet for a longer duration. Again, because you just have the applied your water. My paper is a 100% cotton paper. So this is the reason why I don't have to go through that method. But this is what you should do if your paper starts to dry. Now, I have switched to my smallest size brush and I'm going to add those darker lines towards these ends. You remember those spaces where I had left wide and I had added lack strokes on top of it, black as in beans GREE and pedaling green. But now I'm going to darken them more. And I won most rocks to be smaller. So this is the reason why I have switched to mice, molars and his brush. So apply the strokes doesn't store delete and them. I'm just trying to create like space or rock kind of thing in the center of my galaxy. So it is just totally random. There is no specific rule. I'm just trying to have fun with the blend of my watercolors. That's it. I'm pretty sure that you will also have fun while doing this. So there are various types of galaxies that are galaxies in which it can be having a perfect blend. Then there are galaxies which doesn't have a perfect blend. There are names for these kinds of galaxies. I don't wanna go into the technical details. So now I have switched back to my screen. And I'm going to add it again towards the bottom because as you know, watercolors will get lighter when they start drying. So I don't want this to happen. So I'm just gonna reapply buy beans and make it as dark as possible. I want to tell you again here that if your paper has dried, don't apply anymore paint on top of it because you'll just be creating harsh edges. So wait for the paper to completely dry or you can use a hair dryer to dry it. Then apply the water using a flat brush and then you can add this Docker sheet. So the only thing that's gonna happen is your Galaxy is going to have multiple layers. But try that out. And you will also see how beautiful your Galaxy is going to be. Just because all those layers are going to add up to a beautiful picture. So here you can already see that my paper has started to dry. And this is the reason when applying those veins carry strokes. Some of it is moving the paint underneath and creating some white areas. So this is the q that your people have started to dry, but this is our cheese so it can withstand the strokes, which is why I'm still applying. So now we're going to add some white into our galaxy. This is not the stars, but this is going to be some white areas in our galaxy. So I'm using my white wash painting here. As I always say, you can use your whitewater gala beans as well. And I'm using my size for brush, so we need a smaller brush. And we're going to be adding some arcs with white. So remember the sap green that we added. So on the top of it, we're going to add some whites crooks. So in my paper, this is still the event on wet technique because might be produced still wet. But one thing is that if your paper is not wet and it has dried, you can reapply the water after the desk completely dry it and do this process. Or you can go for the Red Dawn dry method itself, adding these white strokes. In fact, it doesn't have a huge difference whether you're doing the wet on wet method or the veteran try method. So both of these ways, the legacy is still going to look very beautiful. So don't worry about that. So just add some random white strokes. And we will also add some white beamed to the sender. So this adding of white paint is totally random and i'm just applying at places, but I think it would fit in. Now. We just have to wait for everything to try to add in US dollars. 12. Green Galaxy - Part 2: All right, so our galaxy has now completely dry. So we'll let us go ahead and add the stars. I'm going to be using this whitewash from Winsor Newton. I have written this small ballot bow here. So I'm going to load up my brush with dense white paint. And we're going to add some nice splattered onto our galaxy. So make sure to load up your brush with quantity of white paint. And you can use the toothbrush method to add these platters onto the paper. So when you splattering using the toothbrush method, these platters are more likely to go everywhere. Even you hand your board, your table. So if you have any precious belongings like your laptop or your tablet, make sure to move it away before you do this platters. Otherwise, you're going to get a lot of splattering on them as well. So most of the lattice, we are going to be adding them onto the outside of our lightest area. So the area where we applied degree, we're going to have less stars there. And the words the outer edges, we're going to have more stars. So try to move your brush across the paper, as in where you're holding the brush on top of the beeper and try to add the stars towards the outside. Alright. Now we have added as much as we can. So next we're going to add some glowing stars. So for that, we can either use cotton bud or we can use a tissue. So if you're going to be using the tissue, roll up your tissue like this, and try to make a point with that. Then depth that in water and dab on the beeper. This is exactly what the garden, but does. So just dip it in water. So it's covered in water now, but that is too much water. So just dab it off in the tissue. And then we will just press this on the people so that it will lift off from the idea of air it is touching. So dab onto the paper and whirl it such that lifts off the ground and that area. You can do this at random places and just going to add two of them here. So this would create a nice blow for the stars. So I'm going to add it only for do of the stars. The same thing as I said. You can do it with a tissue. Just use the edge of the tissue toilet and the Piton water and tried to lift off the beat. Then I'm going to take my rigor brush. So as you can see, it has a really nice pointed tip and a very nice long pointed tip in fat. So but don't worry if you don't have the rigor brush, you can use the smallest size brush like this one, which is as high as one brush. So we're going to be adding the stars now. So Dave, your smaller size brush, Oreo detailer brush in white. And we really need the depth of it, the pointed tip. And we're going to add the stars. So first we will do a cross shape. So I'm adding this on to the area where I lifted. And then I will also add a cross shape on the top. So you can clearly see now that my star looks like a glowing star because of the area that we lifted using the content. But so I'm just going to add two of these which has glues the rest of the areas and just going to be adding simple stars onto your galaxy, being add as many stars as you want, invading sizes, some of them can be very small, some of them large ones. It is totally up to you how you want them. So you can see closely here how I'm adding. So I add a plus shape and then I added cross. So it's basically four lines like a star, which makes it looks like the sparkling effect. And some of the styles that tiny ones, I just add a grass on top of it. So it is still sparkling, but kind of like very far away. At these at random, Jason. All there was left to do in our painting was to add the stars. So once you do that, our galaxy is complete. So I hope that you have enjoyed your journey into this beautiful, gorgeous green galaxy. So removing the masking deep to reveal the perfect borders. I hope you also have got perfect borders. Don't worry if not, because if you haven't got perfect edges, you can use a bit of white to govern it up. That is what I usually do. So here it is. I really loved this one as well. Green is one of my favorite colors. So combining it to make a galaxy painting was a really fun and beautiful process for me. And you can see the beautiful white areas that we have got here because we added it on top of the green. So I hope you enjoyed this lesson. See you all in the next fainting. 13. The Yellow Nebula: From green galaxy, we're now going to travel to a beautiful yellow nebula. So the colors we need for this are Indian yellow, Indian gold. So the center, but that's what these two colors are for. You can see that it is very pride. Then we will also use red sheet. I'm using Alizarin crimson here. Then for the Docker pots outside, we will need safe. And to make it even more dog, we will be using beans gray, You can also use black instead. So here's my beeper, which I have already. And I'm going to apply water using my flat brush. So remember, applying deep water is the most essential part because most part of the galaxy is going to be on wet, on wet. So apply the water evenly onto the surface of your people and make sure there are no large pools or blobs of water. So take your time to apply the water. That's what's most important. As you can see, I have no applied the water onto my paper, but I'm just going to apply the water again. So this is one trick to make your paper stay wet for a longer duration of time. That is to apply the water at Fest that let it sink in a bit, then reapply the water. So when you do this, even the insight fibers off the B Bo will be covered in water. Or you can say we have water in it. So the paper will stay wet for a very long duration. So now we're going to start with our nebula. So nebula is like ashes, dust, and particles in space. We all call this just galaxy paintings, right? But essentially it is Nebula. So I'm just taking my Indian yellow and I'm just applying some random strokes onto my people. So this is the most fun part of these so-called galaxy paintings. So we're just going to add the strokes randomly. So Everyone's galaxy is going to look different. So that is the most fun thing about this. No one can create the exact same galaxy as I'm doing because my strokes are completely random and we are also letting the water do its job. The next sheet that I'm adding is Indian Gould and applying it right next to the Indian yellow. Again, totally random. So as I said, we're letting the water do its job and let it blend around, move around. So this is the fun thing about painting galaxies because you can never predict how your water is going to flow. Then I have taken Alizarin crimson and I'm adding it to some random areas, again, some in the center, some towards the outside. So my Alizarin crimson, which is kind of like a pinkish shade, mixes with the yellow to form a red sheet. So you can use red shape directly as well, such as Scarlett or Garmin. So this is Alizarin crimson that adding. So you can see I'm mixing it with yellow to get a nice red shade. And this is what we are going to apply towards the edges. So now what I'm going to do is first, I'm going to cover the rest of my beeper with those red sheet or Alizarin crimson mixed with a bit of yellow. So the whole of my paper no ongoing to cover with the red sheet. The reason why I'm doing this is that we will always have that red shield in the background when we're adding the darker dawns on the DOB. Otherwise, if you are just adding the black shade onto the top of it, we would still have some white areas in order to avoid this ongoing to combat the rest of the beat. So now I have combined all of my beeper. So let us reapply Some of the yellow sheets so that we don't allow the people to dry. After that, you can start adding the dagger dawns towards the edges. So the sender apart is the colorful nebulae. And towards the outside, we want it to be the darkness of the space. So here I'm adding sapien. Sapiens is a very nice dark brown color. You can either use van de Geer brown or you can mix burned on bot with black to get a nice dark brown sheet. And this is what we are going to apply towards the outside. So I am still working on the wet on wet technique as obviously because maybe Bristol bet. But here's one thing. After you apply the red sheet, if you're Bieber dried, then do this trick. Led to your paper dry completely and then reapply the water and add this darker shade towards the edges. Trust me, it will work and it will not ruin your underlying layers if you're B perhaps completely dried so that the spot you have to make sure if you're going to reapply the water. So the sender is going to be yellow and some areas are going to be red. The rest of the areas, I'm going to cover it with this santiago. So when I am applying the APR, can you see that some of those Alizarin crimson, she's, That is the red shade is visible through the brown sheet. So this is the reason why we applied the red at fest. Because otherwise the red shape that we've seen through the Brown now would have been white instead and it wouldn't look good. But now here, through the brown shade, that means through the API, we can actually see some red shining through, right? So this is why we applied the red shade at first to the Hall of the People. So we want the edges of our sheet to be as dark as possible. So applies API. And you can also add beans grade to the top of it. So the edges is going to be the darkness of the species and the center part is the nebula. I don't know if you've heard of nebulae before, but nebula is actually like the interstellar gases, such as hydrogen, helium, dust, and all of them combined together in space. And it results in various colors forming together. So it's a very interesting thing to see if we have a very powerful telescope, of course. But since we don't have that, we can see that ourselves with our watercolor paintings. So as I said, these are just different gases and dust formed together. So they are not going to have a unique sheep, they just going to be totally random. So this is why your strokes can be totally random. Apply according to your Free Will. You don't even have to do it exactly like me. So I've applied this API all around. So I'm just trying to add a bit more of the yellow sheets because I wanted to blend that ADR slightly. But again, also, I'm trying to keep my people wet by reapplying the beans because the center areas which I applied it first started to dry. And another reason why we apply the first strokes are when you reapply them, you will make your painting a lot vibrant. So now here I've taken my pain scream and adding it to the outer edges of my sheet. Note here, again, that might be but his bet, which is why I am applying this. So e, if your paper is dry, you know what to do. You just have to wait for the whole thing to dry completely and then reapply water to add these drugs. So it is just going to be in multiple layers, unlike mine. But that's completely alright. So towards the edges, I am just going to add in screen and make it as dark as possible. So this is the space region outside of the nebula. So it's going to be as dark as possible. If you look at my hand movements, you will see that it was totally random. So now we're going to add the interesting Vd. So I'm taking my smallest sized trash and dipping into, into water. And we're going to splatter this on our paper. So we're going to create blooms. What do blooms? You will see that the areas where the water's flatters onto the paper, it has spread out the paint. Next, we're going to take a bit of our white paint and we're going to add this as splatter as again. So my B put a still wet and I'm trying to add some wet on wet platters. So this isn't not the event on dry ice lattice, but rather the wet on wet platters. So when you apply the white paint onto the top as lattice, it would spread slightly, not a lot, but it would be so much different than the stars that we add later on. Now, we are going to add some more effect into our neighborly. So we're going to be using table salt and we're going to sprinkle this owner paper. Not so much. Just take then Job salt and sprinkle it all over. So this has to be a little, not a lot, and make sure that they fall at separate places, not lose together. That's it. Next, I'm going to take my white paint and apply it to random places at first. So just certain areas on top of the yellow band. This is my don't read stroke again, but don't worry if it has tried. It can be event on dry as well. Then I will try to make a small lying on my nebula. So when I say line just broken, kind of flying, trying to apply with the white rocks. Just drop the paint onto the beeper. So you can see on the brown areas as well and trying to form a small line. So this is again some kind of gas in my nebula. We don't know what it is. It is this going to be totally random and funding to do? So once you have added that, that would be all for the background and we have to wait for it to completely dry. Here. Now the background has completely dried and you can see that there is no salt left. It has created these beautiful textures on my nebula and also the whites lattice. You can see how they have formed like a part of the background itself without standing out. So now we come to the most interesting Vd, which is to add in this dots. So I'm going to be using my Winsor Newton guage again. So get your white watercolors ready and we will splatter of stars into the nebula. I'm going to be using the dual brush method to splatter pains here. So make sure that you have all your belongings and pressures are items out of the way of this painting because things are just going to get 30. What I mean is you're going to have the splattered all over your hands, your day will end. Whatever object is they're closer to this painting. So make sure that you move away. The laptop or the iPad where you're actually seeing this. Dip the brush in the white paint and use another brush to tap onto the paper. And he will see the stars are forming on New York nebula h2. So that does enough for now. Let us now add smaller stars. So I'm taking my silver black velvet regard rush. You just need a very small detailer brush with a pointed tip to add the stars. So it is exactly going to be the same, just like we did for the green galaxy being Ding, we're going to add some star shapes. Just a difference is that with this one, we're not going to create that halo effect or the lifting with the cotton bud. So just to add some stars at random places. Some of them can be the real star sheep, and some of them had small cross at random places. We really need that of a smaller brush to get those thin lines. So that is why I am using my ego brush, but I'm pretty sure that maybe you might have a brush which has got pointed tip and tried to use the tip of that drug to get that small stars into your painting. Once you have done that, that is all for our nebula. So this was our last destination. So I'm not going to tell you how to get back to you figure's head hung about yourself. So I hope you enjoyed this painting. I really had a fun time building this one. So here's the final picture. It's looking so beautiful, right? Thank you all for joining on this painting and travelling with me. 14. Thank You!: I've already lost in space among the stars and all the galaxies around me. So I'm not going to tell you the way back to the Earth. I hope that this class will inspire you to take up more painting pictures like these and paint them. I wanted to thank each and everyone of you who joined me in this class and painted along with me. I'm pretty sure that you have upscaled your watercolour skills and little by now. You can upload your projects into the project section and also add to social media and tag me. My Instagram handle is @colorfulmystique. And I also want to give credit to my husband here, who promptly created a galaxy themed music for me. And lastly, once again, thank you all for joining me.