Galaxy Skies • Four Easy Watercolor Paintings | Sandy Sandy | Skillshare

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Galaxy Skies • Four Easy Watercolor Paintings

teacher avatar Sandy Sandy, Learn.Love.Create with SandySandyArt

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

21 Lessons (1h 32m)
    • 1. Galaxy Sky Series • Introduction

      3:15
    • 2. Course Supplies

      1:40
    • 3. Preparing the Paper

      6:51
    • 4. Your Pigments

      2:41
    • 5. Wet-in-Wet Skies

      6:03
    • 6. Wet-in-Wet Skies 2

      7:11
    • 7. Supplies for the Stars

      2:01
    • 8. Splattering the Stars

      5:00
    • 9. Supplies for Designing

      3:53
    • 10. Planning the Layouts

      2:26
    • 11. Tracing & Designing 1 & 2

      5:22
    • 12. Tracing & Designing 3 & 4

      6:08
    • 13. Transferring the Art

      4:50
    • 14. Supplies for Silhouettes

      3:06
    • 15. Painting the Coywolf

      3:35
    • 16. Painting the Rabbit

      4:01
    • 17. Painting the Owls

      4:16
    • 18. Painting the Deer

      3:34
    • 19. Coywolf Final Detailing

      5:39
    • 20. Finishing Rabbit, Owls & Deer

      6:29
    • 21. Closing Thoughts

      3:49
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About This Class

Galaxy Sky Connections! •  CREATE A  SERIES • STEP-BY-STEP IN WET-IN-WET WATERCOLOR

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In this course, I’ll show you how to set up your very own art factory by demonstrating a series of small paintings, done in assembly-line fashion. If you want to improve, create lots of small paintings!  Learn how to couple passion with production to enhance your focus, momentum, artistic growth, and personal satisfaction!

Although I’ve been using this method for many years, I only recently started teaching it. Learn how to create an art factory and produce your own series in watercolor on 140lb cotton rag. Whether you are an accomplished artist or you've never drawn before, with practice my methods will get you designing and painting in this wet-in-wet watercolor technique quickly! I have taught more than 100 complete beginners to draw and to paint. Better yet, I've taught people how to relax, play, and really enjoy the process.

Be sure to watch the introduction video here, which highlights some of the steps and techniques used, where paintings are progressively assembled through a succession of identical steps. There are three separate phases of construction on our conveyor belt, all with step-by-step videos and reference downloads.

Learn my method of planning, designing, drawing, and painting in a series! You can use it with any art medium or genre. Once acquired, this process has the potential of expanding your understanding, inventiveness, and skills beyond your wildest dreams.

"The process is not about repetition at all, but rather about being able to explore, investigate, examine or address particular ideas, themes, issues, compositions, concepts or topics in progressively deeper and more meaningful ways, and from a greater variety of perspectives than is possible by making just one or two. It's like looking at something under a microscope as opposed to giving it a casual passing glance. The closer you look, the more you see, and the more you see, the more fascinating your explorations get." ~  Art Business

The three phases of this course are; One - Wet-in-Wet Backgrounds, Two - Planning, Designing & Transferring Your Art, and Three - Painting & Detailing Your Pieces.

Your Projects:

Your Assignment for this course is to paint four wet-in-wet galaxy sky backgrounds in the assembly-line method. Then pick some Silhouettes from our download sheets (or your own reference). You'll learn how to design and transfer your images, then detail and finish each one with watercolor and ink.

There are multiple class supply lists and reference downloads located under the Resources tab here. If you have any questions, please feel free to post them under the Discussions tab of this class and I’ll be happy to answer them as soon as possible.

Meet Your Teacher

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Sandy Sandy

Learn.Love.Create with SandySandyArt

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Transcripts

1. Galaxy Sky Series • Introduction: Hi everybody. Welcome to Galaxy sky connections. In this course, you'll learn how to build an art factory and create a series of small paintings embracing the idea that everything on our planet is connected to the cosmos. Whether it's geography, the plants or the animals of this world. We are all linked to each other and to the universe. I'm Sandy. Sandy, a full-time artist, writer, and educator with over 6 thousand followers in my collective online communities. Painting in watercolor for over 40 years and have been teaching for over 20. In this course, I share professional techniques for building an art factory of your own and working on a series of paintings in assembly line fashion. It's a process that has been proven to reinforce your individuality and accelerate your artistic growth. Today, I'm going to hold your hand and show you step-by-step how to create a series of small paintings through a succession of ice steps. First, we'll paint the skies by wetting both sides of our a 140 payload, hot and red paper. After they are done and dry, we'll pick a composition and a theme for each background. This course comes with traceable silhouettes that you can download, as well as advice on how to find altar and use reference material to create your own unique pieces. Will splatter the stars altogether, then move down the conveyor belt to layout, drawing, tracing, and transferring our designs. In the final step, render our, our two backgrounds with ink and watercolor. The bottom line is, if you want to improve, create lots of small paintings. If you keep going and don't give up, the quality will emerge through progressively assembled works. I'll show you how to couple passion with production by setting up a factory to speed up the process. Your factory can be anywhere. It's a mental thing, not a physical space. So let me show you six simple steps to creating a sensational series. In this lecture. 2. Course Supplies: Hi everybody. Galaxy sky connections. In this course, you'll learn how to build an art factory and create a series of small paintings in assembly line fashion. I've provided for supply lists, downloads for you. The first one is all the supplies that you'll need for all the phases of your assembly long. The second download is for the first stop on the production line. You're wet and wet back rounds. The next step on our conveyor belt is the design department. And I've got an itemized a list of the supplies that you're going to need to develop your designs. The third phase of our production line is the silhouette department, where we will do the finished painting and add any finishing touches to our pieces. 3. Preparing the Paper: I started out with a piece of five by seven arches, 140 pound cold press paper. I wanted to just make a bunch of little studies. So I just took that paper and scored it. And this was taken off of a big role of the arches that I have. And as you can see, it's kind of rolled up. So I have a piece of tile board I'm working on. And tile board is a Mason white material, but it's got a smooth ceramic like coating on one side. And you can get these at the hardware store in four by eight sheets, but then you have to cut them down. Now you could use a clipboard or any non porous surface to do your watercolor. You're wet and wet watercolor on. You need a non porous surface because you want a wet both sides of the paper and you want it to stay wet for a fairly long length of time. The materials that I'll be using today, the supplies for these backgrounds. Of course, your watercolor paper, it doesn't have to be arches. But you wanna make sure it's a 100 percent cotton. Because a paper that's made out of tree fiber and not cotton, behaves a lot differently. You can scrimp on your paints, you can scrimp on your brushes, but you really need to work on good quality, a 100 percent cotton paper. I also have to shallow containers of water. You don't want to use a tall jar for your water, like a mason jar or a mall jar. They're pretty but you don't want to submerge your brush further than the metal part. So I always use these shallow plastic dishes. They get takeout food in. You can use anything. You can use a tall jar but just don't fill the water up further then the metal part on your brush because it will weaken the brush. I like to use several different brushes and I like to mix my colors on my palette. I have a metal butcher's tray that I use to mix my colors. I put my colors right out on the tray. And I also have here, this is just a lunch tray from the dollar store and that works well too. I can put my pigments that I'm going to be using out on the tray and then get it to a good consistency before I put it on my paper. I like to use the two-inch brush to wet my paper. And I'm just going to wet them down with clean water. Just put generously putting the water on the cotton rag. Whatever's dryer works as a sponge. So if I want to pick up water, I can actually ring my bristles out gently or blot them on a paper towel. And then my brush will act as a sponge and pick up excess water. But I usually turn them around several times. Can see that backside was wetter than the top. It really soaks in and you want to make sure that it's soaked into all the fibers of your paper. You want to make sure that it's a even coding when you look at it in the light, you don't want to see puddles. You just want to see sort of an even sheen on both surfaces. You don't have to do them two at a time. But I find that working in assembly line fashion is very advantageous. You kind of get on a roll and things happen more spontaneously when you're working that way. So anyway, this is the first step. And as I said, I usually have several boards set up here. I have another board with paper that I went a little bit go and it's drawing some. But I can just come back and re-wet those surfaces. And you see that the paper will stick to the board. You don't need to tape it down. This way. You've got nice edges all the way to the edge of the paper. And you can do different mounting techniques and framing techniques. That way you can actually mount the paper on a board rather than cropping it by matting it. So you don't need to tape your paper down. You don't need to staple it down. When you're working like this. Wet in wet, the paper adheres to the wet board. And the advantage of this is it gives you a longer time where your papers half wet and half dry. And that's where all the magic happens in watercolor really. It's working wet into wet and letting the pigments blend in a way that only watercolor can. So I think I'm ready to start on these two. Flip it over once more, makes sure that the paper is evenly wet. Pretty much on both sides. Usually what I do is I come back with a dry brush or a paper towel and kinda just dry up around it a little bit so that I don't have a lot of water around the edges. 4. Your Pigments: I like to use several different brushes and I like to mix my colors on my palette. I have a metal butcher's tray that I use to mix my colors. I put my colors right out on the tray. And I also have here, this is just a lunch tray from the dollar store and that works well too. I can put my pigments that I'm going to be using out on the tray and then get it to a good consistency. First thing I do, I come back over here and I'll re-wet the pigment that I have laid out here on my palettes, the pigments, the colors that I know I'm going to use. Now I use a combination of different manufacturers on the pigments. I'm not really married to any one specific brand, although I usually do use Da Vinci more than the others. But today I have this as indigo by da Vinci here. And make sure that you get nice pliable pool of sort of pasty pigment so that it's ready and you don't have to scrub your paints too much. This might need a little bit of water. I forgot to mention. I do keep a little spray bottle, a spritz or bottle handy. So I've got two containers, one to wash my brush and one to have clean water. I've got one brush that's just going to be for clean water. This brush here that I've got another brush, this is Lucas watercolors. It's a Russian brand. And this is their turquoise color. It's very dark. And this here is a Winsor and Newton color. And it's turquoise. So this color is Da Vinci, this color is Winsor and Newton and this color is Lucas. Doesn't matter. You might have to look in different brands were different colors. 5. Wet-in-Wet Skies: So my paper's wet. I want to start here with my lighter blue. And I'm just going to come in and I'm going to think galaxy, how would that configuration B? And I want to leave a little bit of lighter area down here on the bottom where I'm going to have my silhouette. So I don't want it real super dark at the bottom, but I do want it dark at the top. The paper's wet so everything's going to be soft. And that's what you want with a galaxy painting. You want the sky to be super soft. You don't want any hard lines in the sky. So again, I'm thinking these are going to be vertical, so I want to leave more light space at the bottom. It, the paper's drying out pretty quickly under these lights, so I'm just coming back in with a little bit of clean water and I'm just going to move this around a little bit, not all over the place, but just encourage it to move out a little bit here because I don't want it to be bright white out. I really want it to be more of a muted color. Now I'm going to come in with the other turquoise color, the dark turquoise color. And I'm just going to come in from the edges here. And I'm also using the very tip of my brush and putting a few little fine lines in here too. You've no little whitespace here and there. But on the edges and in the corners, you can put more dark. And we're going to even go in with some of this indigo color and bring it in even darker. But I want to make sure that I leave enough light space where my silhouette or my final artwork is going to go. I don't want to fill in too much around the bottom. Just going to dab in a little bit of darkness up in here. Maybe over here on the edge. They always turn out differently. You know, you just kinda have to do a whole bunch of them and get the hang of it and then try to replicate it, although it's very hard. So here's my indigo coming in with the indigo now. And I want that, I want the sky to be fairly dark. And maybe got a darker area hidden here, not right up to the edge. And I do want it to be somewhat spontaneous looking. So I'm going to splatter a little bit here. The paper's wet enough. Everything will blend. The skies fairly dark. But the galaxies can be pretty bright with all the stars. I don't want it to be completely white. They're a bottom some taking my dark color, my indigo, and I'm adding some water to it to give me a grayish color. And then I'm going to lot some of that water off. So I have a dryer brush because I don't want it to start bleeding out all over the place and I'm just going to come in here a little bit in the corners with this darker color. And then I'm going to come in with my clean brush and just plain water. And I'm going to blend that in a little bit more. You want to go much darker than you think you want, because it will dry back about 30 percent lighter. So you almost get to the point where you think it's too dark. But believe me, it's rarely too dark. Oftentimes I would have to come back after it dries and do the same process again, right over top of it, you can actually re-wet the surface again and add more color on top because sometimes they just turn out too pale. Just a little bit of water on there. I want it light, but I don't want it to light. And I've got a piece of cardboard. This was just from my drawing pad or pad of paper of some sort. And I'm taking these pieces and I'm going to put them on this flat non corrugated cardboard and let them dry. So I'll just leave these on this cart board until they dry and they will dry flat. And you can just clean this off with a paper towel. Ready for the next project. 6. Wet-in-Wet Skies 2: I have another one. These are already wet. I'm going to put a little bit more water on them. Just one more coding. When you look at it in the light, you want to see it. Glisson's some, you don't want it to be a flat surface. If it's flat, it might be too dry. When you look at it in the light, you don't want to see any puddles, but you do want to see sort of a uniform shine. So here I'm going to squeeze that out a little bit and then come back and pick up some of that excess water. Again, I'm going to just do the same process. I'm going to do these in a horizontal format, so I'm turning my paper horizontally. I can think about where I want my center of interest and I don't want it right in the middle. Usually I try to put it off to one side or the other. So I can have my center of interest up in this area, or I can have my center of interests down in this area. But I want to keep an area in mind that I want to have lighter so that I can put my dark silhouette in a lighter area. Here. I'm going to come like this. And you can see there's a lot of pigment on my brush. It's pretty thick. Like I said, it will dry back much, much lighter. So you really want to put more pigment than you think you need. I'm going to come in with my clean brush and I'm going to just lift off a little bit of that because I want to make sure that I have a light area up here for my center of interest that will dry back pretty light. So I'm going to try to keep that the way it is. Now on this one. I'm going to come this way. I think I'm going to want my center of interest here. I want to make sure I've got plenty of light area here. I'm going to come in with my darker turquoise color, the Lucas turquoise. Plenty of pigment. We need it dark, so then our stars will show up and it will look like a nighttime scene. These are all number eight brushes. They're not super small. You really want to use the biggest brush you can use and still get the job done. You don't want to start off with two small brush, then you're going to be not looking at the big picture. And constantly when I'm working, I'm squinting to see the shapes. Simplified. You'll see the values better and you'll see the shapes better. Try to get into that habit because it really does help. Now I'm going to come in with my darkest color, and I'm coming in right from the very edge. It's pretty thick. It's almost pasty here on my palette, almost like a toothpaste so thick. That's the hardest thing about watercolor, I think is learning to make your paint thick enough and your colors dark enough. Because when you look at them, you think they're going to be dark enough. But oftentimes once they dry, they look a week. And like I said, you can go back after it's completely dry and re-wet both sides and try it again, adding in some more color. So I'm going to come back in with this darker color like I did before. I don't want it to be too dark. So I'm making sure that it's it's fairly light because I don't want to use up my lights space. In all my watercolors. I tried to reserve my whitespace because once you lose your whitespace, you really can't get it back without bringing in opaque white. And I do use opaque white for the splatter. But you don't want to put opaque white into your background. So I've just added a very weak wash of that darkest color and I'm just tinting that bottom white part. I'm seeing. I want to come back in with my darker turquoise color and I'm bringing him twirling my brush to bring it to a good point. And then I'm using my other hand as a bridge. It's steadies. The hand that's working. And I'm just coming in here and I'm just kinda squiggling a few little lines in its, I don't want it to look too smooth. There's all kinds of little things that go on and in outer space in those galaxies. And I am looking at a reference picture, but I'm really not following it very closely. I'm just going by my intuition. You have to kinda find a method that works for you, but you're going to have to do it. You can't get it the first time. I mean, if you can, great. But I didn't. And it took me a while to learn how to paint loosely and boldly like this, and how to judge my values and the wetness of my paper. But I really think it's worth it. I don't think you can get this effect by just wedding one side of the paper and your painting will be to the very edges. So here's my first two. And I'm just going to pick these up and put them here on this piece of cardboard and they will dry flat. These two are almost getting to the damp stage already. You can see how it pulls that water out evenly. 7. Supplies for the Stars: For our next step, I'm going to splatter our backgrounds with the stars. So I need some white pigment on some kind of a palette. There's a wide variety of pallets that you can get. There's the standard round palette. These little pallets are available at the Dollar Store, think for, for a dollar. So I have some different kinds of pigments here. I've got some Chinese white, which is considered a transparent watercolor, but it's actually more like a guage. So these are both transparent watercolor paints, but they're both white and white is always opaque. So whether it's a transparent Chinese white or this one's a permanent white or titanium white. White watercolor is always opaque, even if it is hard of a transparent watercolor brand. Now, watercolor purists and watercolor societies frown on the use of white in transparent watercolor. That's why if showing your pieces are posting to some watercolor groups online, you should splatter with masking fluid first before doing your initial washes to reserve your white. Then the masking fluid would be removed before adding your silhouette. In watercolor, we always try to reserve the white of her paper as much as possible. 8. Splattering the Stars: Okay, my backgrounds are all dry. And the next thing I need to do is splatter on some white for the stars. I'm looking at these and I'm kind of deciding where I think my center of interest will be on these where the whitespace is bigger. And I can see this is going to be the spot for this one. This over here, this down here, and this over here. I want to protect those areas either with a little piece of torn paper towel or in my case, I like to use little scraps of old watercolors that I've torn off. And I put those over the spots where I don't necessarily want white splatter. And I like that they're torn irregularly. You don't want to put a hard line down because that could be obvious if there's a straight edge there covering up areas where I think I'm going to put watercolor, silhouette. Little bit here, in a little bit here. But you could also does tear up little pieces of paper towel to protect that area. There's a lot of different ways that people do splatter. I suggest if you are not comfortable with splattering, that you practice, just get a piece of cardboard or spare piece of paper or something that's somewhat dark so that you can see where the paint is. You want the paint to be fairly thick, but you also don't want it to be too thick that you don't get any splatter. I always check the consistency of my paint before I start splattering, I'm working on a piece of scrap cardboard here. You can use this method at by just tapping they handle of the brush with another brush. Or you can just use your finger, tap it. Just practice different techniques and see which works best for you. Now when you have a lot of pigment on your brush, you're going to get bigger dots, bigger splatters. So test out the wetness of your brush after each dip. This pigment here is pretty wet. It's the right consistency. So I'm testing it on my cardboard first. And then once I think I have the size of the dots that I want, I go in and start tapping it over my paintings. Little bit more water, little bit more pigment will give me a bigger splatter, but always test it first to make sure it's not gonna be too big. You can always paint in bigger splatters, but it's not so easy to remove them once you've got them on your paper. So I'm going to add a little bit more water to this mixture and try again, see if I can get a little bit of a different size. Now, it also depends on how hard you tap it. Strongly suggest that you practice before you do it on your painting and come up with a method that you like and that you like the results. A little bit more pigment. Test it over here on my cardboard and tap it a little harder because I would like to get a few bigger dots here. I don't want them all to be so tiny that you can barely see them. You'll see over here, I tested it and it was really big. I'm glad I didn't do that on my painting right off. Some tapping lightly because I can tell that I've got a lot of pigment on those bristles and I don't want it to be great big splatters or layer. That's probably enough for right now. I can always add more later. 9. Supplies for Designing: Welcome to the design department of our art factory. Failing to plan is planning to fail. Be sure to gather all your materials before beginning each phase of our production line. I have itemized downloads for each section of this course. I've put together downloadable reference sheets from images on pixabay.com. These are free to use. No attribution is required. They are for commercial or personal use. So you can actually trace these silhouettes onto your back rounds and create right from these images. This is a way to make some beautiful artwork and you don't even have to know how to draw. I'm going to show you how to use these reference sheets with wide variety of images that you could possibly incorporate into your backgrounds. Although I'm offering traceable here and showing you how to use them, I want to make it clear that I think that tracing should not be the regular practice of an artist that is just learning to draw. When you learn to draw, you learn to observe and translate what you observe in two lines, shapes and values. When the artists traces the translation of the lines are not made by the artist. Instead, they're simply transferred to a surface. If you're still developing your drawing skills, don't use tracing as a crutch. It won't help you learn to observe. And in my mind, that's the most important thing that you get out of learning how to draw. You start to see, as an artist sees, it's a right brain shift that transcends normal site. Even if your drawing skills are already developed and you use tracing as a tool in your artistic toolbox. I believe that you should continue to hone and develop your drawing skills throughout your artistic career. 10. Planning the Layouts: I usually start by laying a working man on my piece. And you see I've marked out the rule of thirds here. I've divided each side into three parts. And where those lines intersect would be an ideal spot for my center of interest. This opening is 3 inches by 4.5 inches. So we do lose a little bit of the outside border. Now with painting this way, wet into wet and bringing my paint all the way to the edges. You could opt to just mount these onto a piece of mat board and frame them that way so that you're not losing any of your edges. But I'm going to probably met these. So I'm going to put my man on first and then decide where I want my center of interest and what I want to do with it. So I'm going to take each one individually and show you how I work that out. Okay. 11. Tracing & Designing 1 & 2: Okay, now I'm going to show you how you can go about using these silhouettes that I have here on these download sheets for you. I've picked out this background here, and I'm going to put my tracing paper on top. Then I'm gonna put my little working here and kind of mark here where my center of interest is, where I'm going to put my silhouette. I'm going to come over here to this. And it's better if you're using an, an animal silhouette like this to make it facing towards the center of the piece. In other words, I wouldn't want this silhouette over here facing out of the picture. You want to try to keep the viewer's eye in your picture. So all I'm doing here is I am tracing off this image. Is closely as I can. That's all you need. And then I'm going to look at it again over here on my piece. And that's where my silhouettes going to be. I'm probably going to put some kind of a ground here. So it is not just floating in space. For my next one, I'm going to do a rabbit. And rabbits that I had on the silhouette sheets were a little bit big, so I reduced it on my copier to 80 percent and I'm going to use this guy right here. I'm putting my tracing paper that has the outline of the Met opening on it on my piece. And I'm going to mark here where I think this center of interest is going to be. And so I put a little mark there That's probably about where the rabbits I would be. And then I'm going to bring it over here. Maybe maybe the back of the neck a little bit right there. So we're going to trace that off. You can adjust these a little bit as you trace if you want to. If you're unsure of your drawing ability, just try to follow the silhouette as closely as possible. I think I'm going to change this front leg here a little bit, give it a little bit more space there. Maybe some grasses in there. Now I'm going to look at it on my background. I think that will work out fine. Positioned him on the right because he's facing left. 12. Tracing & Designing 3 & 4: Turn on different ways and see which way it's going to work out the best for you. Like I said, you want to try to put your silhouette in your lighter area? I've got a lighter area right in here. Maybe I'll try the flying owl on this one. Maybe it'd be better this way. Put my working mat back on. And right in here would be my center of interest on this one. And I'm thinking the flying now would be pretty good on this. I'm going to use this smaller version. Make it more at a diagonal. See how that looks on the background. Needs to come down a little bit more, doesn't it? So what I'm gonna do here is I'm going to adjust this background so that I know at the top of it comes here. So here, here's the edge of my paper here. I want to make sure I position it correctly when I trace it off. I might put another L and this one looks like it could use something else. So figure if it's like that, the other L could be here. And I'm going to use this 80 percent version. Put that diagonal, draw a branch in there. Make sure the branch is big enough to hold your bird. Yeah, I like that with the two. It's going to depend on your backgrounds, how you're going to want to position the silhouettes. So that's the edge of my paper, That's how these are going to look in then the max going to come like this. So I'm going to also redraw where the mats going to go on this one left. We've got a nice big, lighter area right in here. And wondering how it would look with the deer head. So my center of interest, Here's my tracing. And then we center of interests would be somewhere like inhere. Wondering how this this here would look. For this last background. I traced off the deer for a mud print out here. And I think I'm going to put a full loop there. So I have this template and I'm going to just trace off GAS this size, trace this off here. So that's this one. 13. Transferring the Art: For artwork that I'm getting ready to put onto a background. Turn your drawing over, and then use the side of your pencil. This is a for B and just kind of quickly draw on the first sketch on some graphite. So that's all. It's very quick and easy. You have to make sure that you can still see your outline. And then here you have to hold it so it doesn't move and come back with a couple of little pieces of tape and actually take this tracing paper to my background to make sure that it doesn't move. When I'm drawing, I'm coming in with my 2 H pencil, my harder lead pencil. And I'm going to trace over my design to transfer it onto my background. So that's all I really have to do for that one. I do think I want to do a in this one. So I'm going to look for a good spot for that move. I may have to add in some white here, and it looks like that might be a good spot right in here. So I'll just go over that with the opaque white. You can also use a light box or light tablet or a window to trace off your design. I've got a little light tablet here, and I'm going to show you how I would go about tracing this off using this tablet. Or you could also use a window if you don't have a light box or light tablet. I have these tablets on my Amazon store. They really come in handy because sometimes you might be working at night, you don't have window. And these work pretty nicely. So I put my design here and I don't know how well you're going to be able to see this under these lights. Your room should be fairly dark when you do that. So if you were gonna do it this way, you would take your background to your layout, tape it down a little bit so that it doesn't move in this way. You can look at your design as you're going. Kinda hard to see here because of the brightness of my life. But with this method, you can come in here and trace off your image right onto your background. I'm putting my hand like this, giving it some shadow so I can see my light, SIR, for this recording are fairly bright, so it's hard to use this. Well, I'm recording, but you can see here, I can do this other part. I'm just going to freehand this next part of the branch because it's so dark, it's hard to see it. But you can get the idea that you can use a light box or a window to put your drawing underneath your background and then trace it off that way. 14. Supplies for Silhouettes: Here I have two different types of black. They're both lamp black. There's also ivory black. I don't see a lot of difference between the two. So either is fine. This is a DA vinci lamp black, and this is a Winsor and Newton lamp black. Now as you see, these are pretty well used up tubes. So what I'm gonna do is I'm going to use my two bringer. And this little device is really great. You see these notches on my tubes. It's because I ring my paint out and get the most out of each tube. I'm all set up here to start inking and painting in the silhouettes here. So I'm all ready for the next phase on the assembly line. I've got a white stuff below here. A regular to be pencil, a variety of Micron pens. I've got to 01 and an 05, and I've got a pilot twin marker here. Now these are alcohol-based, so they're not going to be disturbed by water. So I could do a watercolor wash on top of them without disturbing the pigment. I've got my two containers of water. Several small brushes here, three fours and a two. Really doesn't matter the size as long as they come to a good point. These are all synthetic realms. And I prefer the shorter bristles because they tend to have a lot of spring a lot of action. They spring back when you press down on them. I've got some white pigment. It was to pigment that I put out in this dish. And I've got black and white. And then I've also got a smaller palette here. I can dilute my colors. I've got some paper towels torn in half and ready to go. I like to have all my materials at hand when I start these projects. And then I don't have to go searching for something halfway through the painting. I may not use everything that I've laid out here, but at least it will be close at hand. I also like to keep my reference material close at hand while I'm working. 15. Painting the Coywolf: So I'm just coming in with my darkest mixture of black from my little palette here. The strongest mixture of that black. It has the least amount of water in it. Bringing that in to the edges. Just filling that in that dark color. Move your piece so that you're always working from the inside out, the inside of your objects so that you do not go over your line. That's much easier to keep control when you work from the inside. By always turn these little paintings as I work, working from the inside out. So we need something for our Coyote to fit on. You can just make it a rock or you can make it a grass. I'm just going to draw a line here. Decide what I want to do with it. Laid are going to leave a little of that blue showing through. I'm cleaning my brush and I'm bringing in some water there from pushing that back a little bit. So I still have a little bit of that blue color showing through here, but it doesn't all have to be totally flat. As long as the outline is correct. Pretty much anything can happen on the inside of your silhouette. So making that kind of go from light to dark there. And up here I'm gonna do a moon. I'm just gonna put a very, very light wash of black on their distinct gray. 16. Painting the Rabbit: Rabbit is pretty much the same technique as the Coyote. But up here, this moon, I'm probably going to have to add some white to it. That's pretty dark. And doing the same thing with the rabbit that I did with the coyote. And here I'm coming in with some pigment, thick pigment. And I'm wetting the inside quickly. The inside of that silhouette. I'm going to do like I did with the coyote on coming in from the inside. Try to do it in as few strokes as possible. See how I move my brush. In one continuous stroke. Instead of a lot of dabbing strokes. But turning it so that my brush remains on the inside so that I'm painting that outline from the inside of the object. I'm not concerned with this bottom edge because I'm going to be doing a solid line there already. So I just thought it was going to put some grass here. Kind of flip the grass up. Instead of going down this way. Start where it's going to be thicker and then flick my brush up. That way you can get a thinner edge on the end. I'm gonna make this bottom edge kind of irregular. So I'm just taking clean water to sort of flooding that in there. Like I did before. On the coyote. I'm creating a variegated wash. There's a transition between the values here. And it just adds a little more interest. I'm going to wait. Who do this loon in white on this one. 17. Painting the Owls: Amen here. From the N side. Start filling in that shape. Careful not to press down too hard where I come to this edge so that I keep some little fine details here. Good. What do you like? So now I'm going to finish this up with the pilot twin marker. Then just come in here and add a few little branches. It might be reasonable. Hello. 18. Painting the Deer: I drew the antlers then with my micron pen, if I wanted to, I could actually come in here and outline the whole silhouette with the pen and then just fill it in with the black watercolor. For me, it's probably easier to just fill it in with a brush. But I wanted to show you that you could also do it this way. If you feel more comfortable doing it like this. You still have to be careful when you come up to the edges. Even if you do come in with the pen first. I'm just going to come in here with some thick pigment. Come up right up to the line. Well, let him pretty solid turning it so that I'm coming in from the inside to the outside edge. All right, It layer. And I'm going to just take some water on my brush and I'm just going to bring clean water in and kind of fade it down to the bottom edge. Just moving that wet pigment down, Lord. Living it. That blue kind of shine in there. And I have a balloon in here that I want to put in with white. So they've got fate outline here so I know where that's going to go. 19. Coywolf Final Detailing: I like to look at them with the man alone. You may choose an optimum so you don't have to do that assessment. I know I want to do some detailing here to the moon. Before I add some more stars, I'm going to wet this area with just clean water. And then I'm just going to come in here with a damp brush. I dipped my brush into my black diluted watercolor. And then I'm going to blot the feral on my paper towel. So it doesn't have a whole lot of water on it and dot in some darker value into this moon area. Remember it dries back lighter. So it might look a little too dark at first. But you have to account for the fact that it will dry back about 30 percent lighter than turning my paper so that I'm coming in to that edge from the inside. And a lot that a little bit with my paper towel on one side, looking for some variation. A little bit of darker pigment over here. U dot severe. Don't want it to look so much like it's outlined there. Coming in again with a little bit of a darker pigment bearing the shape of the marks that I'm putting on there. Might even go in with a little bit of white, little bit of white gouache dot in a little bit of lighter value there. While I have my white gouache on my brush, I'm going to pick up some thick pigment. And I'm just going to dot in a few bigger stars here. Just give me some variety in size. Try to vary the distance between the stars. Don't put them. Don't make it like a dot pattern, you know, put too close together and then big one by itself and maybe a few small ones together. More you vary at the more interesting your piece will be done thinking, I might want to put a little bit of a darker value right in here in the center, just a tiny bit of darker value. So I'm just going to wet that area first. And then I'm gonna come in with pigment on my brush, but it's just damp. And I'm just ever so slightly adding in a little bit of value. They're just looked kind of stark. Maybe a little bit there. Go back and blended in a little bit. I want to light area around my center of interests, but that's just seemed a little bit too big. So I just added a little bit of my black. They're a little bit of value into that white. If you're going to map it, it's a good idea to use your working met when you're putting the stars in because you don't want it to be too close to the edge of the mat. It's kind of distracting if you've got a lot of dots that are real close. Don't press down too hard with the Posca pen because it's got a retractable tip and it might come out or I had a blob right here happen. And I'm just took my paper towel and immediately blotted it up. And you really can't tell. 20. Finishing Rabbit, Owls & Deer: I'm going to add a white moon, full moon here. And since it's going to be white, I'm going to use my white stability. Instead of a pencil line. If you're putting in a light colored moon, it's better to go in with the white pencil because the outline won't show as much as if you were to put it in with a regular pencil. So I'm just coming in here with some thick white pigment, not getting too close to the edge. And then with the damp brush with not so much pigment on it. And then to move that to the adage, again, the same thing I'm coming from the inside. I'm going to come in with a little bit of the black, some darker areas in there. One added a little bit to the branches and refine the outline a little bit with a micron pen. I don't think it really needs a whole lot more. Going to add a few little stars with the white gel pen. And I think I'm going to put a shooting star over here. Just a few different sized dots. I'm turning this when I'm gonna put in my shooting star. Because I like to go with the curve of my wrist right there. I think that's it for this one. I have situation here with this one. I'm going to use white for the moon here. And with the white stuff below. Opaque white watercolor. Putting a thick layer of it from the inside and then rinsing my brush out. And moving that to the edge. You can leave your moon like that, just a solid white. Or you can come in with some black watercolor water down and add some gray texture. I kinda liked this effect down here. It kind of looks misty. Fact I'm going to soften that line a little bit down here. There is another way you can make stars with the white watercolor wash. And you just come in and make a dot. And then you come in when it's dry and soften it some around it. And you might have to add another white dot in the middle once you soften it. But it's kind of a neat effect. Makes the stars look like they're glistening or sparkling. I'm going to put a few of those in here. 21. Closing Thoughts: Congratulations. You have reached the end of the segment of galaxies sky connections. I hope you will try this method of working in assembly line fashion. With practice, it has the potential to unlock exciting possibilities and accelerate your artistic growth. Searching, exploring, and refining variations of the same theme uncovers hidden nuances with layers of possibilities. It exposes a certain depth, perspective, and proficiency that isn't present in a single worker to each piece becomes a stepping stone to next. Please share your projects with us here below. I would love to see them and follow me here on Skillshare to get updates about all my future classes. If you enjoyed this class, please leave me a review so other people can find it. Also check out the full galaxy sky Connections course, which includes 12 additional projects on learn love create.com. Thanks again for joining me here. Until next time. Happy creating. Bye-bye. Okay.