Learn To Paint Santa Is Coming In Watercolor | Eva Nichols | Skillshare

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Learn To Paint Santa Is Coming In Watercolor

teacher avatar Eva Nichols, Watercolor Artist

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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

5 Lessons (39m)
    • 1. Introduction to Painting Santa's Coming Watercolor Class

    • 2. Santa Is Coming 1

    • 3. Santa Is Coming Part 2

    • 4. Santa Is Coming Part 3

    • 5. Project Description And Wrap up

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About This Class

Learn to paint this adorable watercolor with Santa flying across the earth with his reindeer!
It's suitable for all levels, and a fun project to paint with kids.
Detailed instructions and tracing is included in this step-by-step watercolor class.

Learn wet-into-wet techniques, creating texture using salt and plastic wrap, and using a limited palette letting the colors mix and mingle directly on the watercolor paper.


Meet Your Teacher

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Eva Nichols

Watercolor Artist


Hi, I am Eva Nichols, a Danish born watercolorist residing in Truckee, California where I love being part of the creative community. I show my work at various galleries in California and Nevada, and teach watercolor classes both locally as well as nationally and internationally. 

I love watercolors because the are such a lively, interactive medium. My painting inspiration comes from nature and traveling. Sharing what I have learned about watercolor over the years is my passion.

I like to keep my classes fun and inspiring, letting the watercolors flow and make them paint for me taking advantage of "happy accidents"!

You can watch some of my demos on my YouTube Channel: Eva Nichols Art

For tracings & handouts or to sign up for my Newsletter please go t... See full profile

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1. Introduction to Painting Santa's Coming Watercolor Class: Even Nikos here, welcome to even Nicholas Art Academy. We are going to pay the Santa today. He's going to be flying across the sky and we need to get our materials together. So let's go over what we need so we can get started. So here we I gathered everything we need and I just wanted to make sure that you know that you have these handouts are also available in your class. I have a materialist. I have also made up a little sheet on how you can photograph you artwork with a smart phone or digital camera. I have some tips on that. And then here's a step instruction on how I painted this. So Santos coming painting and force you get the tracing so you can trace it. And here is the one that I practiced for this class, the colors we're going to be using. And remember, you can use whatever color she will have. What I wrote in your chair list is that we are going to be using cobalt blue and blue peacock, or if you have a Thaler blue instead of peacock blue, indigo, which is a very dark blue bird, Shanna, quinacridone red and quinacridone goals. So if basically we're using red, blue, and yellow closer burnt sienna, I just have a bunch of blues and you don't need that if you don't have it, don't worry about it. So that's the colors. Of course, you're going to need a little pencil of some sort and needed a race. So if you need to erase, erase with these types of erasers on your watercolor paper. And then you might need some masking fluids. You could do it in a pen like this or you can have fluid masking fluid or you can do like I did. I used a piece of masking tape and then we are going to use some plastic wrap and some salt. We might use some white paint, but you don't have to. And if you're using masking fluid, we need rubber cement ratio masking fluid, pig or up, but that's kinda like piece of rubber like this. And then the brushes that I used in this, either you can use a flat washed price like this or something similar, or you can also use a big fat round. This one that I have here is number 30 from mimic squared scroll set that I recommend. And then number ten and number 12, round brush, my dagger brush, which is a half instead of brush. And then I have variety here, have an upper foreground, and here haven't number three round and number two rounds, you don't need all of them, but you need a small round. You can also use like a little tiny, tiny one or applying the Tate for Santa and reindeer. It comes in handy if you have a recap rush of some sort. Here's a couple of rigor brushes that I have. I think I used this one, but it doesn't matter. Number two and number three is totally fine. And then if you are applying masking fluid, I like to use a tool like this, the shaping tool or I think this is also for scoring. I found that in an art supply store, you can also just use the back of a brush or you can use a toothpick. Of course, you can use a brush but don't use a watercolor brush, then use a cheap brush that you just use for masking through it. And then of course we need water spray bottle, some paper towel, and I like to have some Kleenex and then I use all terry cloth and then I put some layers of paper towel on top that kinda steps my paper towel a little bit. And obviously we need some watercolor paper to pay down so far the size that I demoing on is eight by ten, and that'll fit into a standard Madden frame so that you can frame it through 11 by 14 if you want to. That's about it. So grab your supplies and let's get started. 2. Santa Is Coming 1: Welcome everybody, or you should all have received the instructions, the materialist tracing and all that good stuff. And also I have a sheet with a step-by-step. So obviously I've already painted this, but true to form, I'm probably gonna deviate a little bit from my step because I never do things to exactly the same twice. But this is like the finished product that I painted. And there's a lot of great techniques. And here we have wet in wet in the sky where masking out the Moon, we are doing some sort replication was splattering. If we feel like it, then we're doing some wet in wet here with the trees and then we're doing some texture here on the Earth with some plastic wrap. So this basically and then when we were doing went on Dr. when we get the Santa in here and we're masking out the moon. Now, I decided, because I'm doing a demo, I'm going to hold it up here, so I decide it and I'm gonna see if there. So what I did was I cut out a circle from just a packing tape and put it on. I did put I did do a little bit just like that on my clothing just so it's not too sticky so that I can remove it without ripping my paper. Now, I'm painting on Arches paper and I've tried it without doing that just straight from roll and Arches paper does not normally read but just to be on the safe side. And so the hardest part is really cutting out that, but you don't have to do it that way. You can totally use masking fluid. I like this one here, PEBO drawing them. It has like a bluish color that if you have that or any other masking fluid. And I actually also have started using homemade masking fluid for those of you that might be so as you might have something like this speech. So it looks like this. And what it is, it's fabric and craft glue and lazy people like my brothers, for instance, when they were teenagers, would use this kind of stuff to him, their pants so they didn't have to. So so it's, it's a, it's a fabric glue and it works like a charm. If you diluted probably about half, half with water just stirred up and then you have homemade masking fluid. And I have tried it out and I learned it from a Canadian artist that I follow on skill share. Melinda YLDs rename. It works like a charm, so that's just a little tip for you if you want to do that and the way Dr. Dr. kinda clear, but if you wanted to have a little color on it because personally I like to have a little color so I can see where I put my masking fluid. Most of the time, you could put a little bit of cobalt blue or burnt sienna and don't put a staining coloring because then it might stay in the paper when you apply them asking fluid. And then when Schegloff there might be a little, you know, stain of the pink, but anyway, that's a little side sighted. So I already started doing my puddles because, you know, it's not very fun to watch me spend five minutes mixing up my Carlos. What's very important when you get your parents radius that I spray them with some water. That's what I usually do. Give them a width and I like to use a spray bottle for that, but you can also use it. Or if you don't have any of that, you could just use your brush, you know, have it wet and then just do like, you know, get the drops in there. I mean, there's many ways of doing it. I like to get my puddles ready. And these are the colors we're going to be using today. There's a connected on gold, which is a warm yellow. My quinacridone red. And I have a couple of bottles of some of them just because I know they get duty. Then I have my bird Shanna. I have cobalt blue, and I have cobalt blue here. And I have another one here, and here is my peacock blue nine pickup blue is a color from Holbein, which is a Korean. I think it is a paint company and I usually use mainly Winsor Newton or, or Daniel Smith. I also like him, Graeme, But this particular color I was introduced to some years ago when we had a Tom Lynch here through the share watercolor society. And he had this one has a must-have color on his materialists. So, you know, even though I haven't, I like a 100 other colors. I of course, went out and bought it and I must say, I really like, I like to show much that that actually kicked out, so to speak. My halo blue, it's very close to 0 blue. But Thaler blue, since I teach a lot, and Thaler blue is very dominant and staining. And since I have a lot of beginner students, they say the blue is not a great color for beginners. So anyway, I exchanged my Taylor blue with a peacock blue. But if you don't have peacock blue, which a lot of you might not have, don't worry about it. You can use just the banquet blue, which is the one I have here. They're all in the same family of blues, meaning cool blues, meaning blues that I kind of towards the yellow, so they're a little bit more turquoise. Then finally I have my indigo, which is also a very, very strong color, very dark blue. And I like that for my real darks. I think I've already mentioned heavy birds, you know, so those are the colors. So you can see it's mainly, This painting is mainly with cool colors, so it doesn't have to be, who knows today I might decide to get a red streak in the sky. I like to just leave my options open. This is for fun. This series, it doesn't have to be. It does not have to be and I won't I can guarantee almost. It won't turn out exactly like my first one because they never do because I do a lot of wet into wet and I do a lot of mixing the colors directly on the page, as you will see. And when you do that, give up a lot of control. And i'm just waiting my college a little bit more of caution. As we know, we live us here in Reno Track II towel. We live in a very dry climate. It's not like on the coast there. They can have tea breaks while they wait for paint to dry and we have to pick fast, which is fine with me because I'm not a patient person. Let's get started. I already traced. As you can see, I hope you can see and, you know, mast out, press down on it. And I masked out my santa a lot darker than I usually do because I'm going to put paint over him and a little reindeer there. And I wanna make sure I can still see the lines because I'm not really keen on free handling this little fella. So let's get started with clean water. I always have two containers of water and so anyway, I always start out with two containers of water. I tried to use one, you know, to just print out my brush. And you can see already did that here. And you can see these are all the colors that I have on my palette there winds down in this water. And can you see how it still, it's kind of a little bit muted green because I have mainly blues and a couple of the yellow and then I just have the red and the bird xi. And after that has tone down the green little color theory. Your dirty water tells a story. Always pay attention to your dirty water. It, it does allow information to be had there. All right. So I'm going to go in with a big brush and I'm going to. And the whole sky just going to turn it on the side. I always turn my paintings in whichever direction makes it easier to do whatever I need to do and get in there without getting my hands in width hates. And also, I try not to, you know, sometimes when I watch YouTube videos, I'm sure you might have experienced the same. The painters holding their hands right over where they're painting. And so you can't see other than their hands. So I try to avoid that, you know, not a 100%, but try to avoid that. And also, I don't like to have my hand in all sorts of weird positions, so you wanna make it easy on my wrist. So that's why I turned the paper. That's a heck of a lot easier than controlling my hands. And so I'm going around the Earth here to be precise. And I try because I don't know how well this packing tape is going to hold out the water. So I tried to kind of paint around the moon even though I'm asked it out now if you have masking fluid on yours, you can just paint over and see there I just painted right over it so i don't follow my own advice, which is nothing new. Okay. So can you see how loading up the paper? Because I want to make sure that my colors run and I'm going to take a piece of tissue and just wipe up my team and then I let the colors just sink in for a moment. Not the colors but the water because I want to make sure that my paper is really nicely with it so that it doesn't dry on v before I'm finished playing around with the sky. Because in my sky, I would prefer not to have any brushstroke showing. I want them to just be waiting too wet, one color flowing into the other. All right. I think this is pretty good and I'm just going to stay with my big brush. I have decided. And let's see, I'm going to go into this huddle here, which is cobalt blue and then my peacock blue together. And I'm just going to take my brushing like this. I'm not pushing those two colors together. I want to have, you know, like a variety of colors. So I'm just going to go straight over the moon. And Santa, I don't want this area to to dark because he's going to be black. So that would be nice if I have it a little bit lighter there and there's a little bit more of the peacock. Can you see how that's like a nice turquoise and see how the college are flowing. And now I'm going to go in and even rinsing out my brush. I'm gonna go in to my Antwerp and I'm gonna get some in here. Want to dock on this side here. And I'm just gonna go carefully around Mother Earth here. And I'm gonna go in here and get some more and work. And let's get a little bit more Cobalt. And again, I'm just going around here and can you see how everything is flowing nicely? And I can see that I wanted to have limpid more thicker Antwerp here. So I'm going to push that out and getting in there. And I'm gonna go in with a little bit of now my Indiegogo. And can you see how do my brushstrokes kind of arguing the direction of Santa. We want to have a little direction there so that it kinda draws your attention to center. And I don't mind having a little darker over here either. So let's dock and that up a little bit. And I'm going to now hold my painting and let the colors run a little bit back and forth. And you can see I already have a royal mess on my painting station, so I'm gonna write that out and then I'm going to let things just mix and mingle. And if things are not moving enough, you can take a spray bottle and pretty close and move your hand. Can you see how I'm moving my hand? And then you can kind of get the college to move a little bit more if they are not really cooperating and see numbers going to do like this and go and get some more this in. And I want to have a little bit more color here, up here. This, I love to paint this way because you know, it's kind of, you have a little bit of control, but not that much. And I happen to like that not in life, but in painting, Yes, I take it, it's kinda makes it exciting. That's how I feel. So I'm just trying to get a little bit more and see can you see how it didn't really pick up? I need to make my brush where our true deposit paint. And then they did one this way and back again. So this is just a little rocking back and forth and It's going to hold it like that. And then let's run the other way. And C I have, I have a little bit of a line. They're not crazy about that one at all. So let's see if we can get that to go away. And they're just a little bit of a spray and let it rock n roll. And I think what I have here, so nice. I was thinking about putting a little bit already and but I I kinda don't really feel like it now. I like what I have. So and I like that. I have Can you see I have a little bit like right around here that's going to draw your eye. And then when we put Center and he's just going to be silhouetted. So he's going to be super like black. And then it's nice to have some lights kinda around him or behind him. And what I'm gonna do is here if we go in and try and see if it can soak that up here. And let's see, oops, split it right into my punch. And yeah, I like what I have here. And I have Can you see I have kinda like, like low. I like that even though the moon is also going to be liked, but still it's like a glow from the moon I feel. So I just look at what I have and if there's something I see like that line I had I tried to get rid of it and if something is appearing that I didn't read a plan, but I like it, then just leave it. This is the part that is really not very predictable. I'm just getting myself some of my paper towel, adopt the heavy duty stuff. And now I'm going to go in and I have salt that I'm going to throw on the sky. It's a little too wet yet, but I'm gonna make it ready from Stan is standing there and hopefully I won't knock it over and going to clean out my brush. My big brush here just so doesn't dry with painting. And now I'm gonna go in with my data brush. Or you could use to start, you know, you're going to use a liner brush. A smaller brush doesn't matter and I might grab them later. But what I want to do while it's still and I can see it's already it's not drying evenly. It never does. Just so you know, I'm gonna go in and I'm just gonna take my tissue and just go around carefully and just try and get some of that extra water and pigment that has collected here in those rough edges. Because what happens often is they will just sneak in as you're busy doing other things are not paying attention. And then they're gonna create blooms right there on the edges. And I don't really want that. 3. Santa Is Coming Part 2: I'm gonna take some of the burnt sienna and I'm just gonna put it in here. My blue, can you see how I'm getting like a greenish color? And so what I'm gonna do is I'm going to start going in here and I'm going to go around and just do some little strokes up. That's going to be the beginning of my trees. And I can see here's where it's drying the most. So I want to get to that area first. So it gets some of that within two way defects because that way the trees kinda paint themselves and I like that. And so here, clean up little bit. You can also clean up your edges here as you go. I'm just telling you didn't. And I'm doing a little bit of a stroke up like that from the top of the Earth and then just down here. So can you see how ready you are getting kinda a little feel of some vegetation and now I better not forget. It's gonna put my brush down because I'm keeping an eye on my sky and I definitely think it's time for salt. So I'm going to put the salt. And the salt is always a very tricky thing because you know, it's just and the colors that you are using, some reacts more with salt and others. And it also depends on when you put it on. If you put it on, when the paper is completely like super shiny and wet, it's kinda just to solve the salt and not much is going to happen. And if you put it on when it's too dry like down here, don't expect much, you know, nothing much happens so that the right time for salt is usually right when you begin to see the Shines leaving the paper. So if you can hit it right there, that's always a good thing. Okay, so now I'm going to go in and I'm going to take a little bit of my burnt Shanna now not going chin up my indigo. And I'm gonna put that in the part here. Can you see now get a dagger tone and see how I'm getting some little blooms here. But in this instance, I'm happy with them. So I'm just going to go in and keep building my trees. And I'm doing it by just doing these strokes kinda up and then lifting. So it's a little flicker the risks. And just want to build up some of those trees. And down here we can start building now, it was wetter here than it was there. And can you see how it flows out more hears beginning can see here that's the dry area. And can you see how the salt is already beginning to react? So I'm actually getting some action down there, not much up there. And we'll see there maybe that it was too wet, so I'll get some and I take whatever I get. I don't worry about it as the paper is drying, can you see how my tree shapes, they hold more, the colors don't flow out this much. And we'll be doing this for a little bit. And that'll give us a little bit more dimension when we do it this way and take advantage. We're taking advantage of the fact that the paper is drying as we're doing this, sodas shapes will hold more and more. And let's see, do I have any really ugly places? Not really. So now I have to wait a little bit because it still can't really get those tops of evergreens that I would like to have some places. Let's see, this is what it looked like. So here it was almost dry by the time I got to this area because it started from here and then I worked my way. And so I learned in this painting. I have to spread the love so to speak, to get it more even with the flow out and holding. So here it's holding pretty well and i might go in a while, I just let it dry for just a moment. Am I going with a little bit of a rigor brush is not a little bit, it is rigor brush and a rigor brush is skinny brush, round brush. It has long hairs. And if it's a good reader brush like this one, it comes to a really fine point. That's excellent when they do like that. So it see here, I think I want to go in with a little bit more of the bird Shanna, then maybe I'll put a little bit more of the Indigo in there. And the thicker the paint is, the modal hold its shape. So now while it's still wet but drying up here, can you see how just going in and I pick some areas where I just put a little bit of a Evergreen looking shape interest. I do a little line and then I do some little things out like that. And then it'll blend into the rest. That's good enough in my book anyway. And we can go in and do a little bit more idea down there. And let's get some little ones here. And this is just fun. And here I want to keep it a little lower here under his slaves. We don't want them to crash in the trees. Little bit more indigo. And you can see I didn't even use yellow yet for my trees are used the bird Shen up because it has yellow in it or it doesn't really have yellow in it, but it's leaning towards yellow. It's like a dirty orange. And my indigo and my end work and my peacock blue, they're all turquoise blue. So that means that also leaning towards the yellow. So that's why I don't really need to go to all the way over to get a yellow and to get a green because these colours will create green when I put a little bit of these blues will create green when I put a little bit of burnt sienna and two could put yellow and I mean, it's all up to you. There's no right or wrong here. It's not like it has to be in a certain way. And so I'm just continuing to stabbing in little rigor brush, just get some Christmas tree looking things. And I can see, oh my goodness, he's escaping a snow storm. And I do like Can you see like having just a couple of the color colors going like a little bit that way, it kinda keeps us all movement and diagonal lines like this. They are dynamic, so they creates some dynamic in a painting. Horizontal lines are very calming, so you can use that knowledge to create a mood in a painting. And so here now I can see it's holding more here. And I'll just go back if there's some areas where I feel I don't really like what I have going on, but so far, so key and I'm going to go down and also put some little depths and dots in at the bottom here just to get a little variety and color. And I also did get a little bit of the salt down here, which I don't mind at all. So let's just continue here before it gets too dry. And so if you had a little bit too much coffee this morning, that's actually good if you can kinda shake a little bit like that because it gives great texture. And then again, make sure you don't get some weird lines in your in your trees. Yes. Yeah. In a little bit like that. And then pretty soon we have in nice little forest. I mean, this is, you know, it's not, this is by no stretch of the imagination, obviously realism, so it can be a little whimsical. Let's take a look. Take a look in there. So yeah, yeah, he's just clearing the trees there. I think I might I might just go in and see if I can just pick up a little bit here. I think I can get away with it because there's a little salt action. So they're, they're whew, he cleared the trees and here's a little here that dropped out of one of my brushes. I'm gonna leave it. You have something like that happen most of the time and devices thing is to just leave it until it's dry. Then you can just pick it up. Just gonna go in and dabbing and few model things here. And then we're going to call that done, going to rinse out my little brush and make sure it's clean, clean. And when I dab it on the, on the paper here, especially brushes like this, I make sure that I kinda do like this. And then I roll the brush a little bit as a poll because I want to make sure that it dries in the nice shape again. So don't have any hair sticking out. So the next thing we're gonna do is we can do it while this is drying because can seize Dries quicker down here where it hits the dry paper. I got my plastic wrap on the ready. And what I'm going to do now is I'm going to have to reinforce some of my paddles here because I need more paid for the earth. So I'm going to make sure that the big Prussia is clean. Sometimes you know, you have to kind of bang your brushes a little bit against the bottom. You see the bottom of your just gently but, you know, to get all the paint out. And then I do like this and then drag it on here. And let's get some more paint out. And I'll just use this one. So for the earth, I have cobol, have peacock, I'm kinda low on and blue. So let's get some more that I think I'll try and make the Earth a little bit lighter this time. Maybe I'll take a little bit more. Oh, blue here, here, and then make sure I have my red ready. And then I'm going to go in and I'm going to put clean water almost up to the well. Actually, I am going to go all the way up to line. If I get a little bit of leap back from the trees, I don't really mind. So here I'm using, I could have used a flat two inch brush again, but here I'm using the number 30 brush, round brush. It also holds a lot of water. It's from the squirrel brush set that I recommend to my students because you get eight prices for like around 30 bucks and they're really good quality. So that's a good beginner set. You can also buy them individually, but like, and in most cases, with these things, you get a much, much better price if you just go with the set and most of the brushes, there are very, very good sizes. You get both rigour brush and you get I think it's a three inch flat process also. Okay. There's one or two brushes in that set that I don't really care that much for, but for 30 bucks. Alright. So again, Can you see about a little bit of bleeding there? But I don't mind that at all because you don't really want this line to be completely hard the whole way around. I'd like it if it's a little soft a few places. And now I'm going to go in and put some of that yellow is because you want to have a little yellow and then I want to have a little reading. Don't want everything to be blue and green. That's a little bit more fun here since it chickened out on the red in the sky. And then there's going with some good Sheena. So now I'm putting all the warm colors on it and then we're going to put some of them, let's clean this one out. We're going to put some of the pollution and I'm staying with a big brush so don't get too fiddling with it. So put a little bit of the cobalt blue one here and then I'm not even wincing it out. And I'm putting some of the Edward and I wanna make sure I don't get to colourful down here at the bottom because you don't have super colorful there. That's where people, so i is gonna go when I don't that's not really my intention. Okay. What do you think that looks kinda crazy. I like it. Let's see a little bit more yellow coupled places to just bring the greens up maybe here. And now we're just gonna go like this. Okay. Enough. And you can see I'm getting a little bleeding there. I don't mind it. Now, while it's still dripping wet, I am going to take my plastic wrap. I took two pieces just to make sure and it's good if they already kinda crumpled up a little bit. And I'm just going to gently put it down here. And can you see how it's already creating some of those textures as it goes down on the web page. And you can pick it up and move it around a little bit if, you know, if you're not quite happy with the patterns you see appearing, the cost, those patterns are what you're going to get. You know, those are kind of form. They're not going to be super, super defined most of the time like this. But I thought that texture that kinda looks like Earth and I don't know, I like it. So here we are, press it down and take my tissue here, try to clean up a little bit and for just a minute or two is kind of good. If you can have a little pressure on it, you could also put a book on whatever. I would just put a book on it or something like that to press it down and you don't need to, but I just find that you get a little bit of a better modifying texture if you have a little pressure on in the beginning. And so I'm just going to let that stand for just a moment and hope that I don't knock it over. 4. Santa Is Coming Part 3: Let's see here, we better finish this one. And I think it's safe enough. It's not completely dry, but I'm still kinda take it off. Look at that. I like it as a finite earth as far as I'm concerned. And then I'm just, since it is a little bit dry, a little bit, It's still on the earth. I'm going through just roughly sold off. That's what I'm doing. And sometimes if the salt is stuck, I check my credit card and I just kinda scrape it out. So I just want to scrape it off the sky and the sky strikes. If it's us, it's still wet. Don't take it off. I dipped my number 12 brush in a very light quinacridone gold. And I'm doing it very well because, you know, I don't want my moon to be like uber yellow, but I do want to have it a little yellow. And now I'm going to take that off and just drag the color out and I don't have to worry about the little windier year two wanted not as yellow on this side, so you don't want it one solid color. This is good, I think. Can you see that? So it's a little bit more yellow there and then its kinetic gives it a little bit more shape. All right, so what I'm gonna do now is I'm going to paint in those little, that little silhouette of Santa and the main deal. And so we're going to have to create a black. I don't have black on my palette. I don't think I have a single pellet where black on. I'm just not a fan because I think Black can often be kind of a dead color. And it's so easy to mix your own blacks. And we have all the ingredients we need right here. So we have our indigo, we have our end work. A little bit of a peacock for that matter. We have Shanna and I want it thick because there you can see that when the green, right? Because just like when the trees, we don't want that and what was it we were talking about. We're talking about complimentary colors and red and green are complimentary colors. Can you see when I put that green over here in the red, how good a blackish color? And it all depends how much of each column you could in which, if it's going to be like a purpley black, a queen is black at bluish black, race black or more brownish black. That's I think that's a good color. And why I like to do my own is that way I'm using the colors that are already in my painting. So it's kinda like they speak to each other. Okay, now here comes, hopefully, now. See now, earlier with the trees, it was a good, good thing if you had too much coffee with Santa Claus and his little ranges, not such a good thing if you have too much coffee. So now I've just very, very carefully filling out my little drawing with this black I created. And, and you can see I'm very happy I made those lines so fats and easy to spot because this a little bit intricate and I know it's kinda hard for you to see, but it's nothing really other than it's like this is kind of like it's not a lot of technique. It's just about being precise here. Isis, we can't just enough so that it will read like Santa Claus. And you can see, I'm painting here all the other techniques we did except for the moon. We did wet into wet. And this here is called wherein too dry. And because it's so dark and so black, I don't really have to worry too much about getting some brushstroke showing and stuff because they weren't really sure what I hope you can see and I'm just going to take my time. And again, it doesn't have to be like a 100% precise so that it And I'm trying not to get too much of a hand in that wet paint. It's not really well. It's just damn minus Anyway, he could a little bit more water on my brush because now it won't flow and Two new here moved around again. And this is really what's going to happen, to finish it and make it a really cute, I think it's a really cute little cards. Make sure those kids know that Santa, he's unstoppable. They go and of course, you could totally, you could do him a little bit bigger if you wanted to. And you could paint him more with the colors on a Red Hat and all that stuff. But I just find that's a little bit more tricky and, you know, you wouldn't be able to get very much detail in his face or anything like that. So I chose the easy option just to him as a silhouette. Think for a night sky that works just perfect, but you could totally paint him red and white where his head is and this sleigh and all that stuff. And that's pretty okay. And now we come to the little reindeer and little skinny legs like that. And again, some more of that black color in a little bit more water. And so, and then here it's, again, it's really important to have a brush that has a really good tip. I think I can do it with the one I have here, but we'll see for chicken out and go to a smaller brush. I'm not normally a big fan of painting with little tiny brushes, but here we don't really have a chance if we don't use skinny brush. And he has little tale and his bum and his back. And then we can fill that out. And again, I'm going to swing it around so I can get to it without controlling myself too much. And they're neck and just take it a little slow. It these things painted his finishes the other year and the top of his head and his neck like that. And I'm going to finish these two front legs. He's jumping ahead. I was thinking about you could do it if you wanted to for fun. You could put a red nose on this one. It could be Rudolph. And here, and again, keep that nice tip on the brush. And then here little front lit and that, and then this little bit of fat are the front leg is showing up back there like that. That's pretty okay. Got him a little fatter. Yeah. Alright. And then my flush loaded up again. Surprising how much paint you actually use when it's thick like lab. And then let's get the other little guy. And this is try and offer connect my hand go in his little rump. So he's really the focal point. This little guy who's jumping into the moon here, it is little run back and a little bit more, Hayden. And we can see a little bit of other foot and it around so we can get to here, black on C. And you know, you can always fine tune the edges. And you're almost there folks. Oh, I want to tell you, some of you might enjoy that. I am watching a YouTube Gal from the northern Sweden. She lives up here with the weather, rain. Do you live with the Sammy's people, if you're familiar with those, that's a nomadic people up in Northern Sweden, Finland, and Norway. And they still live there, traditional lifestyle where they follow the reindeer. Have you ever heard of them? So there is a gal up there. Her name is Yana Yin TEN. And if you Google her, she'll come right up because she has over 2 million followers. And I just found not too long ago, she does the most gorgeous, beautiful videos of where she lives and her life up there in the far north. She's an artist, so she paints, she sings, she dances, she does jewelry. It's Yana, J. O and a is a firstName and her last name is Yen TEN, j i, n t, o n Yana in time. And if you Google her, she well, come right up, you know, and I found her through a podcast that I listened to that I can also highly recommend. I mean, I'm a pig podcasts and YouTube watcher. I watch more YouTube and I watched TV because they're, you know, I don't know, there's so many interesting people that put out such wonderful, wonderful content. But anyway, so I found her by listening to a podcast that I really enjoy. And that's this gal is from Sweden. And this gal that made me aware of Yana Yin town. Her name is Laura Han and she has a podcast called Laura HON art, and she's from Australia and also in highly recommend her podcasts that her and her husband, they talk about art and you know, the business of art and, you know, all that stuff and very, very, very entertaining and useful to listen to I find. And so she made me aware of her and and, you know, just because she was from Sweden, you know, I'm I'm from Denmark. So that was really what made me then check it out. When she was saying, Oh, you should check this YouTube or YouTube videos out phi this GAO, it's amazing. And so I tested it out and I was like, spellbound. She does the most, Yana in turn does the most beautiful. I think that's pretty good and she does beautiful fillings and closely follows nature and all other stuff. I mean, it's just, it's beautiful visual. I can highly recommend it. Ok, so all we have to do now is we have to see if we can get those little range on. And if you find that too difficult to do it with a brush and I took a super skinny brush. You find that too difficult and you didn't have to be like, there can be little interruptions because in but you can use a black pen if this is too difficult. You know, I think I did that on my last one, but today I'm feeling I'm feeling cocky. I guess I can do it like that. And here and here they go. Yeah. So what just happened up there in northern Sweden was one of the big logging companies. A Swedish company, I think it is. I mean, it's molten astronaut, but where they wanted to cut down a whole bunch. Like, I can't remember how many, like a 1000 football fields in area of the forest up there, which is what the psalm is. People depend on. Reindeer would die if they took all that forest out. So because a piano interrupt her having such a big following, they put out like, you know, a signature thing and they got it stopped. So I thought that was pretty cool. So there I think we have it. I like it. Okay. 5. Project Description And Wrap up: So I hope you had fun painting how little Santa flying across the sky and makes sure that you share your project to your painting on the project gallery page with us. So you can paint your own Santa flying across the sky and do that for your class projects. And you can choose whatever colors you like. I would love to see some creative ideas and make sure you share it on the project gallery page with us. And I also wanted to just let you know that I do have another Christmas class. I uploaded it last year, but I was I was late. It was like a few days before Christmas, so I don't think we have many students had time to do it, but I have a wonderful little project painting, this little Christmas norm. So you might want to try that out. That's also a project that would be great with kids. So on wishing you happy holidays and I'll see you soon in another class.