How to Create White Spaces in Watercolor Galaxies | Laura Sabel | Skillshare

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How to Create White Spaces in Watercolor Galaxies

teacher avatar Laura Sabel, Watercolor Galaxies

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

6 Lessons (37m)
    • 1. Introduction

      1:58
    • 2. Materials

      4:01
    • 3. The Colors We are Using

      1:09
    • 4. Let's Start Painting

      20:26
    • 5. Finishes

      8:05
    • 6. Your Project

      1:19
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About This Class

On this class, you will be able to create white spaces.

You are going to practice with me, self-control to not fill the page full of color and we are going to let the paper breath.

I am going to share for the first time how I enhance and fix patchy spots and turn the dark areas into light ones. This is something that I never share before and lots of artists use in their craft.

This class is not only about watercolor is about including other media: Pastels.

Let’s start working with 2 different art media and on the next, we add a third one. I want you to feel confident about using the pastels first.

At this point, most of the times I am happy with the results without using the help of other art supplies, but you will see that even if you don’t have the need to fix anything on your painting, adding the extra help will re-define or further improve the look of your painting.

Hope this style of galaxy will help you to practice or improve your overall watercolor skills and pastels.

Meet Your Teacher

Teacher Profile Image

Laura Sabel

Watercolor Galaxies

Teacher

 

 

Hello, I'm Laura, a Galaxy Lover.

I started creating watercolor galaxies 3 years ago and I blame my amazing daughter who bought a new home and I wanted to create something special for her, and I remembered her marriage vows included a couple of references about the universe and a galaxy was a perfect representation of that. Since then, I haven't stop creating them.

Hope you fell in love with the creative process to transform a plain watercolor paper into a beautiful sight somewhere in the universe. 

You can find me in here

Instagram: @sabeldesigns

See full profile

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Transcripts

1. Introduction : welcome to my second sculpture class on this class, you're going to be able to work with white spaces. You're going to practice with me self control, to not feel off the page full of caller. And we're going to let the paper breath. I'm going to share for the first time, Howie, enhance those patchy spots and turned those darker areas into light areas. I'm going to show you how to smooth the ages of your nebula. This is something that I never share. So I hope you enjoy it off course. I'm going to show you all the steps that are included by creating your galaxy. This class is not only about water cooler, which weather Golar is going to be the foundation. And then we're going to include another media pastels. For this class, we're going to work with two different art mediums and on the next class that we will add 1/3 1 I want you to feel confident on use in the first day, pastels first and at the same time creating a white space which is very attractive to the eye at this point most of the time. So I'm happy with the results without using the hail before their art supplies. But you will see that even if you don't have the need to fix anything art in this extra help, it would redefine. And for their improve the look of your banking. Stay with me. This time I try to make the closest short responsible, and he answer questions. You guys hide from my previous class. Ha. But this tile of the Navy Alanna, help you to practice your overall watercolor skills. And I'm a little bit of pastels. Thank you and enjoy. 2. Materials: These are the materials that were going to use today, and I wanted to show you a circular paper instead of your traditional four sided paper shape in state of the end to show you the tool I used to caught my papers in a round shape . I'm using not brushes sizes to for in six, but you can use any round brushes. That's how I started. Painting with the same brush is and for your water color, I'm using Mission Majella White class and any brand will work. Believe me, he doesn't matter. We're going to use my trusty liquid watercolor in black is fast. Any city. Use and safety any time past tails for the stars and to finish and fix your Navy alive cotton swabs toe. Apply your past tales for making the stars. I used these to brands. Any quite Inc will do, too. If you don't have any of this, I prefer you use at wide jail pen instead of use in your white water caller because you will need to use more than one layer to make the white visible. And I always have these four callers in front of me at all times. the Indio violet, black and white. I'm going to use the indigo today to pull out the paper from your pad, you will need a bone folder or border knife, something that it's not sharp tow. Avoid scratching the paper that is underneath. I always below the paper from the pad without repin it if I used these two tools. Now, if you're no use in a watercolor pat, this is how I prepare my paper First, I use washi tape to make the white frame off my painting even. And then I use painter state to hold my paper against a flat surface to keep it flat as possible. I only take it out when I see my paper east completely dry. If there is some some some trace of water, your paper eventually will curl. This is that. After all this, I still put my painting under a heavy set of books, and recently my husband made me a book breasts in their east square. I put my paintings and he works very good. I'm happy with it. You're going to use to containers with clean water, and I always use two towels to clean my brushes. This is the tool I mentioned you at the beginning. It cuts the paper better. I promise. And, uh, you need ah, heart surface to could on it. I had too much cushion underneath that. It was hard to do it. But this is how we caught my watercolor paper before I you see, search to do the job to create all my round paintings. And with the stool, you can caught up difference. Isis the cut. It's a smooth went and I recommended. 3. The Colors We are Using: for my second class I choose again took great and nebula on the safe side Different blues with one bright caller I wanted that one caller to make you look twice a Your painting I'm using me jello mation, White class watercolor If you took my first skill sure class galaxy travel through watercolor. You will know that before he made the swatches for these medio I already use my sketchbook to make sure the combination of these scholars will create other beautiful colors and not a muddy mess. I highly suggest to combine them first and see if you're happy with the results and make the changes you need before jumping into your painting. I want to make this class more to the point without making you wait to get into action. 4. Let's Start Painting: you start it, creating the form off your name Ula, following the shape of the paper. If you're working on a square paper pencil first, a circle very lightly. I started with the Indigo Foreman, a health moon, and this blue will be your middle color. They I proceed with the violet. If you want to recreate exactly the effect, use a vibrant pink or a Bible and collar one that you like the most. Now that you have the two colors in the surfaces with blend the ages of those two colors, this is something you are going to continue doing every time you drop a caller blended, keep adding the blue at more cooler with lace sweater, and you're going to do the same with the violet. After this, clean your brush and with Onley wider, start brushing the ages off the violet. Don't do it on a straight line. Do it on intimacy. Way wet the white space with lots of water. While the paper absorbs some of that water, I turned to Dalton, the blue area, with more color notice that I'm dropping the caller in brushing it very lightly onto the paper. Same happens with a violet. And because we added water on that white space, I expect for the caller to trouble a little bit. I mean, the way it wants. Let it be in once again, keep adding that caller in stark rate in the details of your nebula. I love grade in little spikes. I think it gives a visual off a movement. I start close in the circle because I went in the white space not to be so open in big Start adding the black on the outer area on. This is why I mentioned in the beginning the blue is going to be your middle caller. I will keep the bottom off the white space, the lightest. So every time you add caller in that area where the white ISS make sure to do it likely or lift the color right away, you see me adding more water to the black to make the blacklist mark. That area has to be the lightest again, but with a hint of black. This is when you need to use the clean water to avoid contaminating the white too much. That water needs to touch your violet color to make it more Ronnie in start creating the effect off movement. Now just notice that during all this time I kept at the paper wet on the white area to make sure I can lift the color right away if I drop too much collar and to keep the colors moving to you while that layer dry soap a bit, let me show you the movements I make while painting. This is a different painting, another one we're working on right now. It's hard to explain. That is why I decided to show you a closer look is like a top Drac tap drive. I have no doubt that you will find your own happy hand ends. And yes, this the movements I've repeat thumb through all my paintings. Well, except when lifting the collar, which is a drop drag left more. Yep, just a few seconds more. And for you to what? Cool the movements off my brush. That's it. For the second layer. I will explain what I'm doing, and then I will aid you. Watch the process. I let a dry this layer to the downstage, and I start intensifying the Kohler with minimum water on my brush. And I'm adding more details in blending. I want you to avoid any straight lines. Ive by the end of your painting. You see them lift the caller in that area. This is the most common mistake I see. No. To avoid this, you will send me drop in the cholera and different placements. Open down, open down. I not doing it in a straight line at this point. And this is one of the reasons why blending it's important because you're trying to break the lines and make it more organic throughout the rest of this glass. I'm going to lady, you watch the process in silence. I understand that between my boys, the titles and the video, I can confuse you more and I will come back when I need Teoh tell you something important. I want you to consider that your paper will need list layers in mine, and it's OK to stop in fast forward or jumping to the next section. Just watch this class entirely first. In that way, you will know when to skip steps. - Okay , guys, let him interrupt pure inspiration or the flow you're having right now because even having the circle in my face. I couldn't keep up with the form. That's why I started lifting the cooler, trying to round the shape and make it more visible, more rounded. So my recommendation is that when you first layer is drawing a bit, live the painting walk away. When you come back, all the things that are wrong are going to jump at you on this third layer we're applying. That's in concept, more color in less water. But when I came back, I noticed the indigo was too dark and I have to use a lighter blue, and I have to leave some areas to create more light. Just repeat the same what we did on our first layer until you get the look you want. - I added some blue to the white area to give it a beat of death. Yes, even your whites need some pigment love. What I'm doing on this last layer is adding call or if I see one area drying up and I think it needs it, otherwise, leave it alone and I'm lifting the caller to where I see it will look great if your paper is drying too fast. Keep out off the white area in work. That part of the end, even the lightest wash, can stay in your paper. Now your work plan will be work the Audi the outer area first and leave the pink and white area last. What I do is that I test the leaf team powers on a scratch off the weather color paper that I'm using to know how easily is to remove the cooler and keep the white out of trouble. - And because the navy life still looks dark, I'm adding the lightest blue. Now, at the end of your painting, you're going to end with all those beautiful blue use on your last layer. Be careful where you're dropping your black. Otherwise, you're going to end up with a very dark nebula and keep lending in dropping the call or on the areas you think you need it. My paper in my watercolors in yours might act differently. To be honest, this paper is very hard to work with because the cooler sits on top of the paper and makes everything look patchy. And the reserve reason why I used this paper and is because I want to show you how I smooth the color surface a little bit more. Right now, I'm still working on the outer area of the nebula because I want to intensify it. In that way, the white will pope out more. What? I'm going to show you, You're going to use it on Lee for emergencies and is to remove Patch Innis. And I said emergencies because the water wash is going to destroy all those little details you work so hard on and I'm going toe water wash twice. That way you can see the difference. I change my water and clean my biggest brush the size six in. I started painting the navy a lot with clean water with soft strokes. And while the paper is stamped and with a clean brush, Then I started lending and moving the cooler that is already on the paper. I'm not adding any caller. Wait until your don't with the wash. And if you need to add more color, do it while the paper is still wet. In this case, I had to add more biola to it. - Good . - And now you're almost done. I know, I know the process is long and very repetitive, but I want you to love the process of layer in because on each one of your layers you can change or add more colors. You can change even the form of your navy life. This is a very intuitive process. In the layering will give you permission to change your mind many, many times. If you're still not happy with the results at what to the next section, where I show you how to add more softness, fix on mistakes like the patches and create a bit of more depth. Otherwise you only need to Ah, you're starts and you're done. I will bookmark where that part starts on the next video. 5. Finishes : when you're not 100% in love with your nebula. It's when you can use pastels to literally paint again the nebula or just due to chops here in there, or concealed areas you think their mistakes. This is basically a very easy solution to give the ages of your Navy elect more softness. - Now that you saw the general view, let's get closer with your cotton swab. Graph a similar colors to your nebula or not. Remember this glass is to inspire you and give you other options for you to feel happy about your art. You can keep this step toe a minimum or not. And here's how we apply pastels, always in the same way I used the black two. Great more death. You can use a dark brown and have the same bristles. If you're nebula, have lots of bread used a darker hue to give a more dimensional look. I'm taking advantage of the already watercolors bloodiness in painting over Lin. Remember the weather? Koller is your foundation. Take advantage of the patchy spots. Then I brushed everything and in here I don't have ah, hand dance or method. The only thing is that if I want to keep the Pasto texture instead of brushing over, I just put that on top of that area these blue that I'm sweeping away. Well, kind off. I use it to light the darker area. The same principle applies If you want to dark in certain area or sound, you use a darker hue or playing black. You see that one area, the black on the top, is more prominent than the bottle. So I add a little black bottom to wait. The end didn't do anything, but But this is the perfect way to show you have to brake lines by ardent black to the ages and to create the softness that we already talked about. I'm betting pinks and purples and oh, you're going to see me using that blue green in. I use it a lot too great. My stars. I always add it to my stars. And that is the top top top motion that I was talking knew about. But it didn't work. I did to heart. So be gentle, very gentle, using pastels. Part of the finishes starts are a must. I used the smallest brush size very son number two and I went my brush. And then I'm trying to get radio the excess and using two brushes, I top on top of each other. Father, away from the paper now to great bigger stars at just a bit of water to your brush and top again. Make small Galaxies at a time in practice. Await pastels until you know this is a finish that you like it. That pastels gives your painting a subtle but yet powerful change to your galaxy. Two. Great that luminosity around the stars. I used the same pastels and wait the cutting. So have I make a duct on different areas of your galaxy and finish them with a brush. Combined callers if you want to because of the pastels, then the vibrancy of the white to finish. I use a white gel pen to bring back the white, and I add more stars with the white Joe Pan on different areas. You will notice that that is hard to keep a balance on. How many stars are too many or not. Once again, leave your paint alone, step away. Come back later to see if it looks perfect or not. Personally, I like lace starts to know overwhelm the nebula and won t for you East to add a star One star on the most darker areas Using your hijo pan Let me. They seem to shine more in there. Uh, and in here I'm not. Look, I'm sorry. I'm trying to show you have the knife works, but of course can find the open in between papers. Deline me. I was sweating while I was removing the paper and I was trying not to look but in front of you by raping the pain. Teen in health. So in jelly, my majestic paper removal from the block or path in on I shall have blind trust on my tools . And now you are done. Thank you. If this is your second class, you take with me. And if not, I hope to see you on my next glasses. Let me know if you enjoy it or what I can do to make my classes better. Thank you so much. 6. Your Project: thank you for staying at the end of this class, and I hope you have on while learning how to create the white spaces. Keep experimenting with different forms or with different areas where you can create to the white spaces but requires a little bit of thinking about the placement of the white. What I do is on pick a spot, any spot and paint around it. It couldn't be on the center of your paper off center. What about one of the corners? Or what about in the bottom of your page? Now you can create more complex on good looking Galaxies. Ask me any questions in the community, time or all together. When you have loved your painting in the project time, I'm creating a special one of section of my next class where I'm going to answer your questions that I'm getting from this class. Don't forget that the more you practice, the better you're going to become, and I'm here if you let me the part of your growth by respondent your questions, and that way it can guide you. Thank you