Galaxy Christmas Cabin in Watercolour | Jessica Panzarino | Skillshare

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Galaxy Christmas Cabin in Watercolour

teacher avatar Jessica Panzarino, Watercolour and lettering artist

Watch this class and thousands more

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

Watch this class and thousands more

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

Lessons in This Class

12 Lessons (1h 8m)
    • 1. Intro

    • 2. Materials

    • 3. Colours

    • 4. Practice Galaxy

    • 5. Practice Forest

    • 6. Practice Stars and Snow

    • 7. Sketch and Ink Cabin

    • 8. Galaxy

    • 9. Forest

    • 10. Cabin

    • 11. Snow

    • 12. Class Project

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About This Class

December is here, so today's class is a Christmas piece!

Holidays can be difficult at the best of times, let alone amongst a global pandemic. Watercolour has been a great tool to try to calm my mind, and I can't wait to teach you how to create this cozy, beautiful forest landscape. I'll walk you through an easy Galaxy technique, a fool proof pine tree exercise, and relaxing line art sketching before starting the process of bringing this all together to create a landscape painting you could step right into. 

By the end of this class, you will have learnt:

  • An approachable watercolour Galaxy technique
  • An easy pine tree exercise
  • Using a light box to transfer a sketch to watercolour paper
  • How to ink a sketch with no pressure to be "perfect"
  • How to create depth and shadows with value
  • The difference between creating stars and snowfall in one piece
  • A way to use white gouache and blue watercolour to create snow
  • How to use metallic watercolours as accents of the piece

I am so glad that you're here and I can't wait to help you to recreate this painting!

Watercolour paints: The Aloha Studios and Shimmer Drops

Music: BenSound

My First Skillshare Class: Milky Way Watercolour Landscape

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Jessica Panzarino

Watercolour and lettering artist


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1. Intro: Christmas time, do you think of snore sitting by a fireplace drinking hot chocolate? Well, I'm Australian, so I missed out on a white Christmas unfortunately, AND instead, spend my boiling hot summer sitting under an air conditioner. 18 by scurry. My name is Jess and I am the artist behind by cans up. My brand new Scotia Clause is all about painting this cozy cabin in a snowy forest, sitting under a magical galaxy sky. Joined me in this fun class to create urine Christmas, saying, I'll show you some of my tips and tricks along the way. And by the end of the class, you'll have over knowledge you need to paint is beautiful, spain back retrenched, or you write into the painting. So grab your paint brushes, your watercolor paints. And of course your favorite ugly pursue split up. Let's get started. 2. Materials: So the materials that you'll need for this project include watercolor paper. I'll be using Canson excel, 300 GSM. It's really inexpensive and I think it does the job perfectly fine for this project. I'll be using some painter's tape to tape the paper down to a chip board or a clipboard. This is just NDF. I wouldn't use a plastic one just because it can effect can be affected by the heat gun. If you use a heat gun, otherwise you can just use a really thick piece of cardboard or even supply would if you've got a lying around. Now as for paint brushes, I've got a few options here. So mainly my paintbrush choice will be rounds. I'm using a small, medium and large. Obviously the small for really fine details and the large for larger areas, mainly the galaxy section. You can also use a flat wash brush. This isn't mandatory, totally optional. You might prefer to use this for large areas, but it's really just personal preference. You'll need watercolor paints. Sir, I'm using handmade watercolors here from the Aloha studios. And our wool swatch out the colors for you and explain the alternatives and the pigments. I won't be using all of these, so don't get intimidated. I'll also be using some metallic or Shema water colors for the Christmas decorations. And alternative to this is actually just some gel pens. Or you can use just the standard watercolor paints as well. That's totally fine. I will be using Dr. ph. Moderns bleed proof white for the stars and the snow. An alternative here is white wash or wide ink. White watercolor won't work he, because that's transparent. This is an opaque medium. I'll also use a ceramic pellet, a mechanical pencil and kneaded eraser for transferring the sketch. A rule up. An archival ink pen. This is from the monoline studio, from the pigeon lettuce. I wouldn't recommend using a standard pin because it will bleed. That's the benefit of using an archival ink pen. You will also need to jars of water, one clean, one for dirty water. A hate tool. This is just an embarrassing Hagen. You don't need this. You can just wait for the layers to dry naturally. Some paper towel and also a lightbox. Sir, I will be providing a sketch of the cabin. You can transfer it onto your paper either using a light box. If you don't have a light box, you can use graphite paper. You can use a window or you can manually just sketching the Kevin. So now that you've got all of your materials, let's get started on the practice sessions. 3. Colours: I had an audio issue with this video sur on doing a voice-over for this one. And the first color will be using for this project is Prussian blue. You could also use indigo or Payne's gray, just a blue with a nice dark value. Next color is purple. You could use like a violet. The next color is a dark green. So you want to use a cool turn green for this, it is for the pine trees. So you wouldn't want to use something like subgrade. He'd want to go towards more of a forest green because it's at night as well. The next color is black. Any black here is fine. We have a Doc Brown. This color is quite opaque, but you could use sepia or a burnt umber. We will be using a light brown as well. So something like Rhonda overall Sienna would be good here. Just a nice reddish brown. This is a cadmium yellow. So this is a warm turn yellow. And it's for the light inside the cabin that's shining through the window. So you do want a warm turn. We don't want a cool term like a lemon yellow. You go towards a cadmium and my cabin will be red. So this is a carmine red. You can make your cabin whatever color you like. For the Shema watercolors, This is a gold and a red, green, and blue. So the traditional watercolors are by the alert Haas cheers and the shamans are from Shema drops. If you don't have metallic paint, that's totally fine. You can use your water color by trying to get it at its darkest value. So very little water, just really trying to get as much of that pink. Alternatively, you can also use some of your watercolor, whichever color of choice, but mixed in with a whitewash or per flight. That will make it opaque. And it won't be transparent anymore. So as long as you don't activate the watercolor on the layer underneath, that will be fine as well. Otherwise they'll just stop lending. Another alternative is just to go gel pen or any colored gel pin that you like. But let's go on to the practice sessions now. 4. Practice Galaxy: So the first practice session that we're going to be doing is for the galaxy. So I'll be using the Prussian blue and the purple for the Galaxy. And I just want to show you a really simple technique to just make it non-intimidating Kp this galaxy really simple. So I've activated my watercolors. I've basically just used an eye dropper tool to put paint into the water, into the pan. And I'm going to lay down the first color. So I'm gonna start with Prussian blue. Just so I'm gonna start, as I said, with the Prussian blue. And I'm going to just lay down in one corner. Just try and lay down as much pigment as I can. So it's a really nice stock value. I'm gonna rinse off my brush. And I'm just going to use the side of the brush or the belly of the brush to add some water to it and give it a bit of a soft edge. Apparently wasn't enough for us. So here we go and grab some purple. And I'll drop that in. I'm not fussed if any of the colors mix together, because I already know that the purple and the blue mixed together quite nicely. So it's not going to be muddy. It's not going to go brown or anything that we don't really want. You can go in with just a clean, damp brush and put in little dots of water. That'll give it a really nice effect. And there's nothing wrong with having some spaces that aren't filled with pigment. It kind of insinuates that there's a lot of stars in that area this, so just go with it. You can go back in at some purple on top of the blue. And then you can leave this to drive. All watercolor will dry lighter than it will appear as when it's wet. So you can go in with a second layer once this is dried. If you do want it to be quite doc, if you'll. Paints are already pretty pigment. Teddy might not need to. It also just depends on how much boarding you'll views. I'm going a cape, these bottom eric area quite lies. So you can see that I've already started to drive that. I can just work it back and forth and clean that up. But I want to fade this galaxy to the horizon. Most of this area here will be covered by trees. So this really applies to the areas around the cabin. So you weren't need to really worry about that here. You can guard, starts to get a bit lotto, But you don't want to bring the blew down too much. Otherwise it's going to interfere with the trays. And you definitely want the horizon to be behind that cabin. So I'm going to let that dry and then I'll come back once it's dry and I'll show you how to add another layer. Ok, so now that this is dry, I'm gonna add one more layer just to really get the top is as dark as I can. Everything else is fine as it is. We just really want to get those edges as dark as possible. I'm going to clean my brush, just wipe it off on my paper, tell. So it's not to death. And then just use the belly of the brush just to blend that in. And this is just to avoid any hash lines. If you want the nebula section to get darker, you can even go in with a smaller brush. So this is my medium, this is my size three. And I'll pick up some of the pair pool and just put in a couple of lines. Clean my brush, debit off on the paper towel, and just start to work that in. You can even curve from the other side. One thing worth noting as well with galaxies is that generally what brings it together. The stars. During Maury, if this is your first galaxy and you've never painted a galaxy before and you think it looks bad. Why didn't she has to edit is going to bring it all to life. Sorry. While we're waiting for this to drive will work on trace. And then I'll go back and show you how to add in the suttas. So let's go on to the next session. 5. Practice Forest: Okay, so I've started to activate my doc grain and my Black. And I'm going to put some of my brain in this palette. And I want to start off with the background trays. So to create depth in your painting, you want to make sure that your trays in the background lie to them, the trays in the foreground. I'm also going to add just a little bit of the black to this brain just to make it a little bit darker. And I want this one to be quite watery. Alright, so I'm happy with that. I'm using my round three. There's a nice point on the end of this brush. And I'm just going to get just fill it with fat pang. I don't want it to be too wet. I still want to be able to get a fine line. I'm happy with that for the background trays, it's not too much of a problem if the lines a bit thick. But basically all you want to do is start by putting in a straight line is as straight as you can. And I really just use the belly of my brush to start tabbing in some of that pain. I'm not thinking too hard about it or not connecting all of the brush strokes. So you'll see here that's not connected to anything, that's fine. It also doesn't have to come down in a perfect circle. You can have some branches that are shorter. And the trunk of the tree doesn't even need to be necessarily strike. Nothing in nature is perfect. Don't worry about that. So the ones in the background, I like to keep a little bit Claire's I probably weren't even kind of get this far down on the actual painting because this will be behind the cabin. But for the trace to the side of the cabin, you will start to see the branches. But just be really quick about this darn RB thinker. And that'll draw an awesome lives and it will look really nice against the galaxy. Now, for the trays that are going to be in the foreground, I'm actually just going to use my straight grain. So I'm not going to mix that with any black and I'm not going to use too much water. So again, the same thing. And see how this line is broken. I'm not bothered by that at all. This is really just a guide so I know where to paint my tree or when to pay my branches. And same thing. If you're struggling with this technique. You can just use straight lines. Just like this. It's your painting and this is meant to be a very common experience. So if it's less stressful for you to paint a tree like this, then new day. Now, once this trace starts to dry, I'm actually going to put putting the trunks are Doc Brown here. And only a very little bit of the trunk showing you don't need to have a lot, you just need to know. I'm just insinuating that there's a trunk there. And if you even think it's too much, you can pick it up. And you can go back in with your brain. And that's how we do the trace. 6. Practice Stars and Snow: Sorry for the stars. I'm going to be using my doctor ph moderns blade peripheral line. If you have guage, the NEA can just put that into a pellet and use that. But I actually just use the lid of the blade proof why. And all I'm going to do is using my medium brush and just going to pick up some of the paint and just debit onto the brush. You will see that mine has dried around the edge that will reactivate. I'm not worried about that at all. It's just because I've lived at dry without the lid on. And I'm gonna add a little bit of water. So you don't want to add too much water because you want to be able to see the stars. And the amount of water will dictate how big or how small your stars. Now this is the technique I use to make stars. Everyone has a different technique. All of them are messy. Unless you go in and individually paint every stuff. Sir, I've just loaded my brush with the ink and I'm just going to tap it. So you can see these quite small. If I add more water. You can see that they're getting a bit bigger on life to have variants in the Styles. And sometimes I'll actually even going with the end of my brush and just get some paint on the brush there and put in some intentional largest does. It also depends on the end of your paintbrush. Some paint brushes have a bit of a pointed tip like the Princeton rounds at, but some brushes have more of a flat tip. And you can get Bega stars that way. You can always just going. You just put in a couple of stars like this. And using a fairly dry brush with a bit more paint. Just try to get a really nice pointy end. You can even use your paper towel just to get a bit of the water off. But I'll always go in and add a couple of these shining stars. So as you can see, all I'm doing is using the very tip of my brush. If it's easier for you to hold the paintbrush straight up and down like this, then you can do that. And with very light pressure, I just do a cross and another cross diagonally. I will also do just little smaller stars, just with the cross-scale like that. Now the difference between painting and painting stars for this particular painting is all of these stars are going to be behind the Kevin. However, the stars for the sorry, the snarky fall will be in front of the cabin and I'll most likely be using a really large brush. And I'll have quite a bit of water on my brush as well. So that when I tap my brush, I get really big drops of pain. And this will look like snare full in front of the cabin. As for the rest of this nerve that is sitting on top of the trays on top of the cabin. What I'll be doing for that is getting more paint instead of water. Because you want to keep it quite opaque. And all you're doing is you're just painting the snow on top of the item so you don't want to go riding front because that's just not going to look right. So you want the paints who sit on top of the branches, on top of the roof of the cabin. This is also a good way to hide wonky lines if you, if you don't like how something is turned out. And that's how we'll paint onto the rest of the painting. 7. Sketch and Ink Cabin: So I've printed out my cabins sketch, which is under the Resources tab, and I'm using a live box. So all I've done is I've just typed my piece of paper with the sketch onto the light box using this painter's tape that you could use masking tape. And then I've just placed my watercolor paper on top, figured out where I want my cabin to be an uptake that down. Now I'm using a mechanical pencil and I'm really only using a ruler to make sure that roof and the base of the cabin, just to make sure that those lines are straight. I'm also not too fussed if I don't follow my sketch exactly. And I don't want you to feel pressure to do that by the, the sketch really is just a guide. So if there's something you want to change or if you don't want to use this sketch, that's totally fine. And I included a couple of elements like the stern detail and the decorations as well. I've included a sketch without decorations if he don't want to sketch and declarations. Now I'm just using my monoline studio archival ink pen just to sketch or sorry to incur the cabin in. So you'll notice here that again, I'm really not using a ruler. And there are some lines that I make quite a bit wonky. And the good thing about this project is that because we're using this snare as a major element, we can actually use some snow fall to cover up anything that we're not happy with. So quite a few lines that are a bit wonky. There's a line on one of the pillars that he's completely off. But I'll be able to fix that with snares. So Don't feel too pressured here because you can really use that snow as a backup. And then once I've finished the ink and everything was dry, I'll take my native eraser and just remove as much of the pencil as I can't. I prefer to use a needed array sub because standard erases can actually rip up the board here, the watercolor paper. And once that's done, we're ready to start el project. 8. Galaxy: Okay, so onto our project for this class, the first thing I'm gonna do is use my painter's tape to tape this down to the clipboard. I use this not only to get a crisp boil, but also to prevent the paint from sorry, the paper from buckling too much. So now that I've taped that down, I'm gonna get started on my Galaxy section. So I'm going to paint the galaxy and start getting lidar until probably around here. So let's get started. So I've sped up this video just a little bit. But overall, the skeleton Fc portion took me about 15 minutes to do two layers and all jumping with a bit of common tree and some tips as I come by them. So you'll see here that I've dropped some blue over the purple where I initially didn't really want it to be. But the benefit of galaxies is ethic quite loose and abstract. So I'm not even worried about that at all. I just blended that in and kept going. The great benefit of using snow in this project is that while I'm trying to not paint the my cabin, you will say that there are some spots where I do because mistakes happen, it's all good. But the scenario will cover that up. So I can use that to my advantage. And you will say that I use it to my advantage as there are quite a few spots where where it's gone or evolve onto the cabin. Another thing I want to point out is the reason that we use archival link pins. Sorry, if I, we're just using a standard pin to have droning the Kevin. Anytime I touched that ink, it wouldn't just blade into the paint. Archive link will not lead. They are really fantastic pen and I highly recommend. Getting your hands on some. So you can say here that I've actually gotten some blue paint on the door of the cabin and I'm just going over that with a wet brush and picking that up with my paper, tell it didn't completely come off. But I can easily cover that with the detail in the cabin once I stopped painting. Another fun thing to experiment with when painting galaxies is actually dropping in some of the blade proof wide or whitewash as if it were a part of the galaxy. So that's going to create space for stars. And it bleeds really well and gives it a really cool effect. So here I am just drawing of this first layer with my heat tool. If I were more patient person, I could walk away from this and come back when it's dry, but I'm not. If you are then perfect. Otherwise you can use a heat gun. You could also use a hairdryer. Just try not to stay on one spot for too long as you don't want to potentially burn the paper. So in this second layout, all I'm doing is adding some of the blue backend to the outer edges and any areas that I felt needed a bit more depth. So that's the great thing about going back in as the second layer is that the darker the value is, you'll actually start to create more depth in your Galaxy. So you can see here, but I'm also going in with some purple to create more depth to the nebula. And I'm also just creating a bit of a darker value closer towards the cabin. So now that I'm happy with that second layer, I'm trying this off again and I'm going to start adding the stars. And now I'm a little bit particular When I add stars, I don't like them going onto the rest of my painting where I don't necessarily want them to be using the technique that I use for stars. It can be a little bit unpredictable. So I'm actually using some paper just to cover up areas where I want to avoid. So you'll see that I'm about to add that in. And then I'll start adding in my stars. Sir. I'll just add in as many stars as I feel necessary. Sometimes I do these process once and it's fine. Sometimes I need to do it a few times. So once I'm happy, all dry that off and I'm actually going to leave the lodge shining stars until later on. And you'll notice that the paint and the paper will start to buckle. It's because I'm using a student grade PIPA. I'm not worried about it. That's why I've gotta type down. 9. Forest: Okay, so now that the galaxy is done, and I've put stars in, everything is dry. I'm going to start working on the battleground trace. And then once the background trays and dry all stop working on the trays in the foreground. Sir, I'm just mixing some black with the dot grain. And that's what's swatch thought just to make sure we're happy with the color. That was just a bit of border that I added. Alright, that's fun. So let's get started on the trays, more background and things to be mindful of when you paint you trains is true, Fareed the height. This will really creates depth and it will make it look more natural because trees obviously aren't the same height as each other. There's a lot of variants and you really want to communicate that in your painting. Okay. They were a few areas that I felt were a bit too big. So I'm just going in and adding some more trees. This is just personal preference. So if it's not something that you feel the need to do, they need to totally don't have to keep going. I'm just drawing off the trees of already painted full of background. And I am still working on background phrase, but I'm just bringing them a bit further towards the foreground. So I'm still using the same color that we mixed earlier. And just adding a couple more slightly darker trees. So I'm just using a little bit less water than before. When I'm painting forests, I really like to have multiple layers of trays varying in value. Oftentimes three to four layers. So you'll see I'm going back in again with a little bit less water on my brush so that the value is obese dot-com. And I'm adding some more trays. If you're happy with how your forest is looking at this stage, feel the need to keep going just because I am. This is your painting, so it's completely personal preference. Now before I painted in the foreground trays, I'm actually going to paint some snarky. And to do that, I'm gonna use the Prussian lawyer that I used for the sky. You just gonna grab a little bit of that pigment. I'm gonna add quite a bit of water. Just so it's super, super lie. And then I'll test that out on a piece of paper. So you could say how lot that is. It doesn't need to be dock at all. This is just to we're really just getting off the impression that this scenario here. And I'm just using the belly of my brush just to drag that pigment across. This will just create a bit of just a bit of dimension k. So let's move on to the trays in the foreground, sir, ongoing alert my brush with quite a bit of the I'm not going to add any black to it this time. I really wanted to be as pigment that is possible because these trays on the foreground. And I'm just going to start laying in some trees really using as much pigment as I can. So it's clear that these are in the foreground and in the background. And just with a little bit of that brown. 10. Cabin: Okay, so I'm gonna start with the windows first. So I'm just grabbing some of my yellow. Now put in the pellet are only need a little bit of pigment here. Because what I'm actually going to do is just fill the Winder with water. Just being careful to work around the decorations. And then I'm just going to drop in some of that color. And auger backing. We said clean, damp brush and just smooth out those edges. Let our need to be super Brian. You just really want to, you don't really want the white of the paper showing through you just why try and fill it with a nice soft dealer. And if you think the area is to live, you can just go back in with some more color and then soften dosages. So I'm going to start now on the earth. All use the dark brown that are used for the trees. As well as the campaigns. Next, I'm gonna use my light brown. And I'm just going to around the edges of this entrance. And then I'll clean my brush. I'll actually start pulling that in to a center. Just to create a bit of texture. A using a bit of yellow. Painting, the doorknob. I'm going to in a lot of super whitewash, but also not the most pigmented that it convey because all guard back cane with a darker value and add in some shutters. So let's just get a wash of the color down first. Sorry. I'm Darren garb lacking in color. The end of days parts or logs. I'm also going to make these posts to alpha and also then make the door darker just to create a bit of difference between the Door and the rest of health. To create the summer shutter. And the lines I have here, so that will demonstrate some depth. Now, these are starring pillars song Going to use my black and really water it down, sir. And it's obviously way too much color. And are might actually on what the area first and and drop-in has. Wet on wet. Just say the black isn't too intense. I will make the inner side of the pillar darker. And then the section just and this wooden pace on top will be, well. 11. Snow: Well, here we are at our final lesson, and it's the finishing touches. So let's paint some snow on our cabin and let's make this forest snowing. So you'll see here that I'm using my doctor ph moderns blade proof wide to add miscellaneous piles of snow all around the cabin. So basically you want to paint your snow on top of any item. You don't need to paint that necessarily rod in front. And you'll see that I'm just changing the pressure of my brush. So some lines, I'll paint really thin, some wines all paying really sick. And this is the perfect place to cover up anything that you think is a mistake. Sir, any wonky lines, any way you'll paint has to kind of calm way you don't want it to be. And because of the color, you couldn't take it off. So you'll see I'm just fixing up an area with the brown paint went into point is meant to be a yellow window. And this is really going to bring your paintings. So just have fun, haha, Penn, as much snow as you want. I think it would be really hard to go overboard because he really wanted to look like this being some snare full. One thing that is definitely worth keeping in mind is that they will be some places that snowed, simply weren't full. So you'll probably know going to get any snow fall on top of the dole, even under the front porch area. So just keep that in mind just to keep it somewhat realistic. And that paint to the logs that make up the cabin at on top of the race, on top of the leaders cells, especially I'm a really great place to put some. So just have fun with this. Once you're happy with the place, and we can move on to the trees. So just like you are painting the snow and the cabin, you want to try and paint the scenario on top of H branch. Each section of pine needles. That will make sure it doesn't look too flat. And I'm still using quite a pigment, HIV white for the few trays that are closer to the foreground and the two trees that are in the foreground. And as I start to move towards the background, trees all adjust the amount of pigment on my brush. And so because these tracer in the background, I don't want the paint to actually be this RPQ. Sir. I've just cleaned off my brush and I'm picking up some of that pain and spreading it onto the other trees. So just like when we're painting the trace and we want the background and trace to be lighter in color. It's the same rule that applies with sorry. So I'm just lightly going RE bob, whether it be adding more water to your white paint or just taking some off your brush. Color a bit more realistic. Okay, so now that I've dried off that layer, I'm going to add my snowfall and I want this to be in front of the cabin. I want these to be all over the painting. So I've just grabbed my large brush and I'm using quite a lot of water and ink. And I'm just having fun. So just tapping my brush a few times to really get that snowfall. Going to make it look like little area in the middle of a snowstorm. And now I've grabbed my small brush and I'm just adding in some bright stars so you don't need to go too heavy. Haha, I like to do an odd number. But, you know, just have fun with different sizes and different styles. 12. Class Project: Well done. You have made it to the end of the class and he should have a finished piece that looks something like this. I am sorry, happy that you took the time to take my class today and I would really love it if you would share your project with me just in the project tab in skill shifts, you can also share on Instagram. My name's at odd by plans on I would really appreciate it if you would take a moment to Labor Review on my class, we'll give it a thumbs up that we really helps skilled shisha, my class to more people. And we can get more beautiful paintings out into the world until next time. Have a safe holidays and see you then. Bye.