How to Paint your Own Watercolor Galaxy | Laura Sabel | Skillshare

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How to Paint your Own Watercolor Galaxy

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 (1h 1m)
    • 1. Introduction

    • 2. Materials

    • 3. How to Prepare your Paper

    • 4. Create your Nebula

    • 5. Finishes

    • 6. Final Thoughts

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About This Class

Welcome back to another class where I show you how I paint galaxies.

For this class, we are using an affordable paper with fantastic results

I want to show you that the most expensive materials are not going to help you to improve your skills because it gives you a minimum margin of challenge. Working with what you have as a new artist will help you to find solutions faster in the future. It will help you to distinguish what materials will be the best for your line of art.

And if you are not happy with your watercolor nebula, I am going to show you how to improve it using metallic watercolor, pastels and color pencils

There are multiple classes out there where you can create your galaxies, and hopefully, between all of them and mine, you will be able to develop your style, your rhythm, and your techniques.

See you in a bit.

Meet Your Teacher

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Laura Sabel

Watercolor Galaxies




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

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1. Introduction : welcome back to another class where I show you how a pen Galaxies for this glass were using unaffordable paper with fantastic results. I want to show you that the most expensive materials are not going to help you to improve your skills because it gives you a minimum margin off challenge. Working with what you have as a new artist will help you to find solutions faster in the future. It will help you to the standard, which, what materials will be the best for your line of heart. And if you're not happy with your water call or nebula, I'm going to show you help to improve it. Use in metallic water, coal or pastels in color pencils. They're multiple classes out there where you can create your Galaxies in hopefully between all of them and mind you will be able to develop your own style. You're on written in your own techniques. See you in a bit 2. Materials: 3. How to Prepare your Paper: This is what I do all the time. Well, except for the watching tape when I do not want to have a very obvious white frame. The recently use first of the washing tape is to have a perfect size frame and to minimize the risk off color leaking into that white frame and ruin in your painting. I use Washington because it's sticking off to stop most of the times that leak and doesn't rape of the paper When I take it off in the second tape I use is painter state, which helps to keep your paper from warping. Once your paper is completely dry after you finish painting, then you're ready to take it off. If you paper is still warp, missed some water on the back of the paper and put it under heavy weight overnight. Just a tape here. If you decide to go for the frame, be sure to cover the ages very well. Do not leave anything exposed because the caller or water is going to leak between your washy and the painter state. That is why you see me sticking two layers of washi tape on some areas. This section is a short into the point. Sometimes I use a plastic glee board to take my painting anywhere I want. But usually I tape the paper on top of the table that I'm working. When I have a commission that requires no white frames, I use the watercolor paths that have to size glued together in I a boy doing old days prep work. I hope it is useful for you in case you're working with single watercolor single pages off watercolor paper. 4. Create your Nebula: My goal for all my classes is to show you how we create my Galaxies in give you a foundation to start painting yours and to let you know that I can hardly replicate Miho Nebulous did not feel defeated If yours is looking very, very different. My mission is for you to learn from what I dio and give you the freedom for you to create your own nebulous own style with your own color combinations with the materials you already have. First, I'm getting ready with my concentrated liquid watercolor which is the only black A use. And they always have three sizes of rushes today. Amusing mop brushes. But remember, any round brush will do just fine. And that is what I used for a long, long time. I have in my head kind off what I want to achieve. And always I start first with a defining the color combination in the form. The death of the nebula comes later on during your painting. By the way, we're going to add almost at the end orange and white colors because I want to show you how to brighten dark, nebulous do and makes a huge difference adding light callers to your paintings. It gives an interesting look, And I understand that is not your no more use of water cooler where you start with your lightest color first. I know. I know that. Just keep up with me and you'll t start a drop in the cooler on a dry paper. Usually this is how we do it. I didn't plan for this class to be fancy just to show you my day to day process with the darkest blue or indigo unser owning out where I want to start my nebula. Then I, uh the light blue that I keep extending until I have the initial form that I want. If you took my previous classes, here is where I start to drop my main color on top of the blue, and I do it in sounds, which, to be honest at the end, all of them are going to blend into each other. I start mixing the cooler on the paper. I rarely makes my colors outside the paper. I keep out in the dark blue outside and add a bit on the inside off the nebula. Now why the outside? Because I want my name a lot to be brighter than the dark you see of the space. And I add a little bit inside because that is how you created left. You don't want one uniform caller. You want that blue or red to Meeks with the black. In that way, you're going to create more dimensional nebula, and I started building and building the caller's. This is what makes my galaxy is a bit different from others. You need to lay your a lot, which means you need to invest more time. Do not write, finish one once it take breaks. Usually I create a one in two days and no, that doesn't mean 48 hours of layering in total. I think it takes me from 2 to 4 hours to create one. But I paint when I have free time, which is hard to come by. I devote a few minutes a day on all my paintings while except the weekends where I sit for hours known. Stop Okay, back to the painting. Notice that I choose to put the blues outside the nebula in the red inside, and that is because I think the blue will merge into the black beautifully and will keep the vibrancy over the liveliness off the center of your nebula. You will see that I hardly clean my brush when I jump into another area with a different call. Or and that is because I want to create different variations off the cooler. Amusing. That's why it's important. So swatch before what we're doing right now is adding red in the indigo blue or interview you want. The blue is darkened than the red, and I'm using it to change the form of the Navy left. That is why you see me drop in the blue on top of the red. The blue is helping me to create rocket ages. Organic ages. We don't want a geometric nebula, and if you end up with one, try to determinate to blend the ages as much as possible. Blend them with the black or the space a lot. A lot. Remember, we don't want to see straight lines that divide one caller to the other. Take a close or Luke on her way. Work my paintbrush. I'm going back and forth with it is like a sweeping motion. I do that because it helps me to blend the cooler between each other. This is not your traditional painting technique where you slide at your brush onto the paper. One brush stroke at a time. No. In here, I keep the motion. I keep the brush touching the paper, touching the paper and sweet being sweeping. Now, once I'm more confident off the form off the nebula, I start out in the black. The black portion of the nebula is the only one that I had to let it dry completely before I add another layer with the navy a lot. I always work on a damp surface. It is important that when you add your black, start painting your nebula because both areas are wet and they will blend better to each other. It's hard for me to blend on an area that is wet with another area that is right. You're going to see me doing the same. If the red area is wet immediately at the blue, every caller has to be combined, but a Boyd over mixing all the callers to the point that you cannot tell what callers you started with during the process. You're going to change drastically. The form of your nebula, and it's OK, This is your painting and you're in control. Remember, when we are using lots of water in lots of paint and your pay your paper is going toe warp a lot on the first. I don't know, 23 layers. You're going to have a mess off a banking do not feel frustrated. And quite, I'm adding more colors because the black hole or is wet and what I'm doing is increasing the vibrancy of the caller. At the same time, I'm blending the ages. The nebula is starting to change on every stroke in every time I add color it. Once again, I'm pushing some off the black inside the nebula to brake lines and create darker areas to make it visually more realistic. Remember, if you're working on a good quality paper, you're not going to need these many layers. See here. I'm working only on the areas that are wet, and I keep out in the colors of the nebula and more black, and I keep going down little by little, trying to take advantage of the wet. If you don't do this on on a affordable paper, you will have a glory off patches to the point that is going to look like you, mears. A lot of us spots. I'm going to stop talking and watch how I add the colors and blend them. - And this is a process of crying. The color patches are very visible. What I'm about to tell you is a personal choice. I prefer to work on a very goat quality paper like arches or fluid 100 using affordable watercolor pains. What you're seeing right now is the combination off in inexpensive paper in good quality pains. The paper is not loving it, and you just witness the amount of good water cooler I was pouring into the paper. That is why it was so important for me to create this class because it's doable to end with a beautiful galaxy but wanted to show you how I do it. Because personally, I don't always have the money to spend on good paper. During the painting, I change the size of my brush is. But to be honest, most of the times I worked with the first choice of brush, and I stay with it until the end. I let these two layers to completely dry and I start the process all over again if you see your previous layer moving or removing the caller. Ah, boy brushing and tried to top the caller. Economical or affordable papal papers and sorry tend to do this in They dry faster, way faster. So you need to work is what fast. I'm now repainting the nebula using more color. Now, in using less water, do not forget to blend each color into each one when they're wet. We don't want hard lines that the flying the colors See me the here. I didn't more black to the recent poor of Kohler because I found out that this is the only way to avoid harsh lines on your painting. Do not wait until that area is Try to blend. Blend always when the paper is wet or damp. Note on it. Right paper I noticed on my magnificent nebula. This is pure sarcasm, guys, because this is the stage where you might be rethinking why you keep watching my claws. And that is what and notes a good paper will do to you to reconsider or make you doubt how bad or good you are as an artist. Now let's continue. I left a some areas on blended. That way you can see the importance off the blending situation, and I'm going to repeat this through the rest of the class, and at this point you will have a more general idea of how your pieces looking. And for me it's looking dark, and I started adding lighter reds and blues at the same time. Unleaded. Yep, your job is to drop the paint in blend, and I'm going to leave you alone for now to watch how I lay your up. - See here, I'm adding Yep, you guessed another layer of black on the side where I put the nebula fresh colors. I want the wet on wet colors to blend more easily. Yes, Glendon is mandatory when you create nebulous. This is where I start adding different colors. I added at some orange and white to break the monotony of the visual of using only two callers. And that is what happens when we blend different reds and blues together, creating only two different red and blues. I want you to see for yourself. Now It's something interesting happens when using a good quality paper. If I were to mix that red and blue, the color will be purple in there. Kohler will stay in place. This paper cancer Exhale moves might paint everywhere, doesn't absorb the color but dries really fast. And because the caller just stays on top, we need in the less layers of it. I use a lot of the white when generally, other watercolor artists use the white in a very well plant. In mapped painting, the watercolor white is generally a very weak color. I suggest you use a wash or white ink. Just make sure that ink is weather soluble. Otherwise you're going to be adding a lot of layers off that color. In reality, you don't need much to create a theft on a naval ER. Put darker areas in light areas I would create in your galaxy with the same level of coal or otherwise is going to look flat. That is why you see me at in the darker blue, even the black inside off the navy line on some parts and lifting the caller on another. And now I want to create more lighter areas by using the white. Usually I have to work fast to avoid the paper to dry once again because I want to avoid those harsh lines that we talk about. And I'm adding Kohler's to another area of the nebula. To intensify those, I added some orange to break the monotony of the visual off, using Onley to callers, the blue in the red. And that is what happens when blending over. Blending, super blending, obsessed, blending the different rates and glutes a use they combined together, creating only two different red and blues. And that's it. I wanted you to see for yourself. Now something interesting happens when using a good quality paper. If I were to makes that red in blue, the caller will be purple in that call or will stayed in place. Not on this one, because the pain was moving too much, even when you so put in a decent amount of orange of the and you will see just a glimpse of it. Now I'm working just in the details, but you shall stop before all days. If you want, you can obsess. That's much a little your heart desires. What you mean about details is with my almost dry brush. I am brushing away those lines. I am lifting the color on some areas, but before I did all this, I needed to walk away, take a break and see the painting with new eyes to spot the obvious areas that letter a little bit off love or extra law. Check that I never deep they brush into the water. I'm cleaning it only because I don't want to add more paint way. Blend the black into the ages, always with a clean brush, trying to break the straight lines, going in and going out off the nebulous. We need to make it as organic as we can't. And then I live the color again. Too soft in the ages. I don't like really. I don't like to see a line off black in a line off cooler that separates the nebula in the space lyft. That area where both coolers met in the middle. I cannot stress enough to blend. Blend, blend at the end, dried your brush as much as you can remember, we at this point we are trying tow. Avoid water. So once you dry your brush in East clean, you're going to paint over the harsh lines to try to remove those. Remember, if you used yes, again, a lot of water, you're going to create a very distinctive, distinctive a watermark so dried a lot and be soft handed with your brush strokes. 5. Finishes: I want to apologize because a tiny part of this video got corrupted and I was not able to recover it. It was when I started using the metallic gold on the areas that you see in here and I let them dry when I worked with metallics. Same with inks or neon's. I give them a special treatment. You can watch my previous course where I tell you the specifics off the why for now is the turn for metallics. The reason I let the paint dry is because I want specific areas to have that shine. And metallics for me is the same as glitter. And if you're not careful by the end you're going to notice that your entire painting isco ver by metallic specs. Samos, your water container, which is not about thing now These are my recommendations. Use only one brush toe. Apply the metallics. Use a separate water container to you. Do as I say and not what you see in here. Prepare old days when you start painting otherwise is going to happen like me that you get into the Seine zone and you forget to do that. What I do next is I took most of the water off my brush, and I pick off the metallic paint with that. The more water you use, the bigger the area is going to be. And for this paint, I want just painting. I'm sorry. I just want a few spots here and there. Police note for this glass or any other class, be observant on the movement of the teacher's hand, how often they re feel the brush either with paint or water, depending on the type of brush they use. Notice in here that I did not reveal my brush with nothing. Your brush is still wet enough to complete the blending process, and I keep cleaning my brush tow. Avoid contaminating other areas of the painting. I noticed you that my strokes are tiny. I'm going in and out of the goal line. I clean my brush. I dried again and continue to blend more. You will find out the amazing texture, a dry brush, gifts to your painting. My strokes are soft, and I'm not adding any pressure off it. I'm using one of the lightest colors of the metallic paint in amusing my smaller brush. I prefer the method off. Tapping to brush is better than using the toothbrush technique, because for me it's a little bit aggressive. I feel the pressure in speed of the pain is too much, which creates lots of stars in one line. And I feel it's not organic because I keep trying to make more stars in order to remove the line, ending with a carpet of white respects covering all my hard work but is your choice. Whatever you feel more comfortable doing, it is perfect. You can start creating the stars either with your white ink or gold. The sequence in here doesn't matter. Just please clean your brush to avoid transferring the coolers between the metallic and your IQ. By using the to brush tapping technique, start by tapping fire away from your paper first and slowly get closer to your painting because about the time the paint of your brush slice in, the stars will become smaller. If you want bigger stars at beat more of water than paint to your brush, just keep in mind that the more water you are to your white, it is going to be less vibrant and then later dry. Now is the time to use some pastels or chalk to remove those heart lines and to make some areas darker or lighter. Let the pain rest for an hour and come back with new eyes. It will be easy to spoke to those harsh lines better, I added. Extra cooler, like some red to the areas that I felt he needed more brought vibrancy. The truth off the paper will grab the caller and will stay there When I sell my paintings. I encourage Teoh avoid touching the painting and explained the reason why they should treat the paint as any other piece of art. I don't put any protective seal off any kind on my paintings. When I finished way using the pastels, I brush away any excess of the chalk using a dry brush. Any kind will dio know what I do. All of my paintings is that I add black to zoom off the darker spots that you can see under Nebula in. I add white to the lighter areas. I'm intensifying those areas, and by doing this you are creating death and you're creating a more really stick nebula. I'm going to leave you for now. That way you can really see what color I grab in where I deposited on the painting. You can grab two callers at a time in pain with that, too. - I hope you like the idea to start audience different media into your watercolor paintings, and not just to your Galaxies or nebulous. By doing this, you're adding an extra layer of love in probably you might not notice the difference, but when I started doing this, I noticed people start started telling me how much my progress showed in Just for that in meant for me that the little details matter at the end in What you're doing is repainting your nebula on some areas and remember to use tiny, irregular movements to apply the shock in, brush it away at the end. To finish the use of pastels or chalks, I use a blue and white shark to great light around the stars. My suggestion is decorate them where the darker zones of your pain tints are to make them pop out and finish them by taking the excess away with a brush. To make them more byrant, use a white gel pin and draw a dot in the middle of those stars. You put the pastels around stars, she'll be created on different sizes, and your pastel will help you to do that, create a bigger halo around them or smell a smaller one finished by always brushing away the excess pastels or shocks. Thank you for staying all this way, and now you're on the last stretch to finish your nebula in this is optional. Same as chalk or past snails. Sometimes the use of pastels or chalk is enough for me. But when I want to add more details, I used the pencils and I'd love to draw irregular lines. Remember, this class is all about painting with a shaky hand. I draw the lines on one side of what appears to be the clouds there are inside your nebula . Sometimes I extend those lengths. I follow the weather marks you already have, or we already have in extend them were color pencil. If the line is too harsh because you applied too much pressure, use a cotton swab to remove the harsh lines. Pencils. We leave a textured finish, making very noticeable the use off them. Look where your watermark patches are and extend those lines and it will appear that human to create those patches. Yeah, you meant to do that. If I only have pencils and I don't have pastels, use them and apply them the same way we apply the chalks. Use a cotton swab, you know, to soften the finish. If you like to make such is like me before painting, try to see how your paper will affect the finish off your chalk and pencils first. This lesson is long, long one because I added some extra examples on how I used both own different paintings the chalk and the pencils. As always, Ask your questions and they will answer them the best I can to guide you to better results . 6. Final Thoughts: I hope you enjoy this glass. It was fun creating it for you. Remember that old early years are optional. Beauty is very subjective. Graph on Lee. What interested you in practice that if you don't have the patience, take your galaxy as a middle project and work it out between other ventures. You having hand you're watercolor galaxy is the foundation. Make sure you're happy with it. And remember, you can transform fix mistakes at more details on the final stages. Don't get lost. Trying to fix small areas that you know you can fix them with other media experiment. Applying different colors with the metallics and pastels. Start small to get the feel first, the use of more a brushes is optional. Remember, expensive materials do not give you the knowledge. Once you feel confident, start buying little by little quality materials. I will start with the paper, then Bates and last your brushes Quite paper first as you. So on this first video, bad paper will make it challenging regardless off the quality of your paints. I can't wait to see your galaxy or navy land on the project section, and I will be very happy to announce or any of your questions too. Remember, I'm here to help you grow