Milky Way Watercolor Landscape | Jessica Panzarino | Skillshare

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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

10 Lessons (1h 11m)
    • 1. Intro

      0:53
    • 2. Materials

      4:00
    • 3. Basic Techniques

      7:49
    • 4. The Milky Way

      9:56
    • 5. Stars

      10:05
    • 6. Landscape

      9:19
    • 7. Final Project Layer 1

      9:54
    • 8. Final Project Layer 2

      4:59
    • 9. Final Project Layer 3

      13:04
    • 10. Final Thoughts

      0:40
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17

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About This Class

With this class, any watercolor artist ranging from beginner to advanced will be able to use different techniques and methods to create a beautiful and unique milky way landscape painting. Please be sure to share your final project once you've completed the class! :)

Meet Your Teacher

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Jessica Panzarino

Watercolour and lettering artist

Teacher

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Transcripts

1. Intro: Hi. My name is Jessica from up by Panza. And this is my first ever skill shake class skill. She is an amazing platform that has really improved to I am as an artist in my favorite medium being water color. I hope that by watching this class, you can also improve as an artist. Today we will be painting a Milky Way watercolor landscape. I'm going to show a few different techniques in a few different ways to make the Milky Way on the landscape and stars. But I'd love for you to share your final project in the class project section. I'd love to give you feedback and I'd love your feedback. So let's get started. I heard you enjoy 2. Materials: OK, so let's walk through the materials that will need for these Kloss First off paper, I've got artist and student grade paper here. The artist grade is Stonehenge Echo Cold Press. It's 300 g s, um 1 £40 and it's 100%. According My Street of Piper. He's just a paper that's readily available in Australia. It's a Roeder dip, our 300 GSM as well. You can use any student paper that you want, but I would recommend using 100% cotton for the final project. But don't feel like you have to go out and buy honest, great paper, especially is starting out can be a bit expensive. The easiest way to tell if your paper is 100% cotton. Quite simply, it will say it if your pad or paper doesn't say it's 100% cotton, it's not. It's student grade. We'll also need l paints. So I've got my palette here, but I'm gonna be doing a monarch room Milky Way landscape today that I'm going to be using Indigo Blue. This is an artist grade paint. Basically, that means that there's less find up, so it's more pigment less binder, but you can buy student grade, and when you're just starting out, it works perfectly fine. You might just need more of the color to achieve the value that you want. Next, we'll need two cups of water, one clean, one dirty. Try not to mix these up, but also, if you need to refill that, go ahead. I've got a paper tell here and according, but just to soak up any water or any puddles of water, I've got masking tape to take my paper down. I've got a separate pellet just to makes my color on. I've got to paint brushes, so I've got around eight and one of my smallest brushes, which will basically just base for the Milky Way and for the traits. So just use the smallest brush that you have a lot of the brush with the finest point, which is what I'm doing with this one. I've also got a mechanical pencil and an eraser. I've got a ruler because I will rule out a couple of grids just in our practice close now for the stars. There's a few different ways you can do this, sir. I love using Doctor Ph. Mountains. Believe proof. Watch that. You can also use a white quash, which is basically in a inner Pake watercolor. So it's a bit different toe watercolor. Um, there's also a gel pin. If you would prefer to do it that way, this is a secure a jelly roll pen. In what? And I've got a truth brush. If you choose to use the toothbrush, miss a method for your stars. All right, so dark. Feel lucky. Need to go out and get any of these oddest grade materials. Your landscape will be perfectly fine on student Great uh, which is less expensive, so more cost effective. But it's completely up to you once you've got your materials were ready to get going. 3. Basic Techniques: Okay, so let's talk about our basic techniques that you will need full of this class. First off, wet on wet. Basically what this means is all creative wash of water, Sir Ole. Some water on to the paper. You want to make sure that there are no puddles, but there's a nice Shane of of a water. This is also a really good way, Teoh. See how your paints actually react in the water. So this is my indigo blue. If I drop it in, you can see how it starts to kind of burst out, which is a good little practice. Bit of an exploration kind of technique. I'll also be using this technique to actually complete Al Fadel projectile Milky Way. Make sure that you use the clean water, not the dirty water. And you can basically just lay your color in at the top and you won't get any harsh, Lloyd. So this is a really nice technique. If you want really soft lines next up with God is, uh, wet on dry. So basically want to get out color? We just do it this way. This is a good way to get like ha sh strikes, and you can add water in later. So this is old just preference. This is all just how you prefer to do it. Obviously, if you drop coloring, you're not going to get that blooming that you get from what on which strikes. This is all about pressure. So let's load out brush. Basically, just explore what it's like to paint with a lawyer pressure barely touching the paper or full pressure. This is all going to very based on what size. Brush your using. So if we use the really small brush that I've got, I can get a very light very soon Lawn, which is important technique. Four trees. But they're like Hungary a bit hotter and still get a noise thick line. So just explore what brush you have and how to get the thinnest and thinkers starts possible. So color value is essentially working from the darkest color to the lightest. That's my start, Monty. So basically, the way you want to do this is you wanna learn up with your color as much as possible, and you want to just explore how dark and how lot you can get your color and you do this just by adding water. So I'm just adding water each time until you get to the lightest value. So I'll be using. My doc has to value for the trees and I'll start Teoh do a little bit of a Grady int with the background, which leads us to radiance. So what we're going to do here is I just want to show you really quickly how to do ingredients. So you basically learned up much color as you want, and by adding water and using long strikes, you will decrease the value, and you can essentially get your wash of color to a slight as possible. You can also go back in an edge. You know more pigment, and you can go over it if you want it to be a big DACA, obviously still adding water. This is really best done went on with now, adding salts water to wash of color. Let's get a wash of water here. I'm just going Teoh we go. Just make that quite even in color with a smaller brush. If you actually load your brush with water and drop it in, you get these bursts, which are really cool technique I really, really like using this technique. It's a very natural. Um, it's very natural looking technique. Obviously, the dock your color is, the more explosive it looks. Another technique. So that's That's, um, so the salt will actually start to soak up the water. This is a very intense technique. No, show you in more detail later on, when we're practicing L Milky Ways, you don't want to remove the salt until the painting is completely dry because you will smudge everything. Uh, let's get going on to our next Kos. 4. The Milky Way: All right. So let's talk about how different ways to actually create the Milky Way. So the first thing I've done is just created a wash of color. Now, I did this using the wet on wet technique. I just forgot to press record. So, um, let's drop in some water to this wash of color for our first technique. So basically, you just drop watering in kind of a general straight line puddin. You can also use Cem what wash? Which I actually quite like using. Because you do really get that milky, uh, star effect. So just very sporadically dropping it in. So that's all those technique l second technique is actually peaking up water. So we'll start off again with a basic wash of color. So let's do that. - What ? And because this is wet on wet, you do want to try and activate Quick, have a so that the paint doesn't drive and it can be very forgiving. You don't have to do long strokes at the moment because we are just getting a base for the Milky Way. So picking up what? I'm going to be using my smallest brush and I've got my paper tell Essentially. All I'm doing is you just want to make sure that you're brushes dry and you just want o pick up water. You don't wanna do this in a straight line. It will. It will look quite unnatural. I just said unnatural. Really weird. I'm not used to speaking to myself. So it's a very large kind of effect. Would probably look a lot better with a doctor background. So it just depends what you like to do. You can actually go back in. And I'm what, actually going back human with a docker background just to show you keep in mind, I can only do this because my water is my pages. Still, with my pain had dried already, I wouldn't be able to go over this again and show you. All right, so a clean brush. You do want Teoh clean your brush off every couple of strikes. Otherwise you will essentially just be moving pigment around and you're not getting the effect that you want. This is a very subtle effect. So don't feel like you a doing it roll. You kind of just have to keep going. And so you happy with it? Which is one of the reasons why this is not my preferred method of Milky Way. My paper is starting to get probably a bit too dry toe. Continue going, but you would generally early guard. You know, in one line it's just a little bit garner babies here on this side of the pipe because it's to be whipped. All right, so the next technique is getting so now you want to be quite careful with this because it is very intense. If you want that intense look, bio. Maine's go for it. So let's lay down this color. So see how my water is actually starting to pull up here. You just get your paper tell you just because your water will your water color will begin to just sit on top of the water. It actually worry. Go into the paper and it's not. It's not nice you don't want. I'm just going in with a beautiful color. You can see how I have got a bit of a radiant here, sir. I've got some salt likes here. You don't want to use a lot because you'll see it's quite intense. So you just wanted to it in the general line, maybe a couple of rounds. Most important thing here now is Don't touch it if you move any of this. So while anything is still wet, you will spread the pigment around. Well, sure, you here. So I've moved the salt off off the paper when it was true. Whip and you can actually see I've smudged the pigment of smudged the color. So, yeah, you really don't want to do that. You can also see how intense this can bay say there's intense bursts where it's actually taken, all of the water out and all of the pigment out. That's what you're going for. But I just want you to know that these technique will get you these really intense bursts. So you just want to let that guard and come back to it when it's 100% dry. Now that we've got our Milky Way is done, let's work our vote to the next video and dual landscape pages 5. Stars: So let's move on to our stars. There are a few different ways to do this. I'm going to walk you through each way just on the Milky Way's that we've already created so that you don't use up another piece of paper. So the 1st 1 I'm going to do this. I'm going to use bleed proof. What? Have. Like I said before, you can also use a wash. So this is really thick. So what I'm gonna do is I'm going to grab an amount off this. Why? And just putting one of my wells. I'm going toe edge some water to it. I thought I had an eyedropper tool here. I don't know where that school. So basically, just pick up some water with your brush and at some water, just so it it's a big enough and all you basically want to do for these technique, which will be just using our paintbrush, is toe. Hold your brush and just tough it, and you can see that it's a very, um, scattered way to do the stars, which I think looks most natural. It's messy. I'm not gonna lie, but it's not as messy as some other techniques, which we'll get to in a minute. So you just want to do as many layers as you want. I think that looks alright for for new. Every piece is different, so I might change my mind. By the time the photo project comes around, let's go on to our next way of doing this, which is I'm going to do it with gel pin. Now you can see how intense this salt effect is. So just really think of what effect you do you want for your Milky Way before you go ahead and do it for the final project. So with gel pens, the secure a gel pen is a really good one. It's very opaque. This is a very organized way off doing your stars. It's time consuming. But if you would like it to be organized, this is probably the best way. So you've got some biggest stars that you can do and then you can just go in and do small stars. I like to be in control in a lot of areas of my life, but this is one that I'm happy to kind of bypass. Um, I think it's a bit too time consuming, but this is very much a case of each to their own. All right, Next technique we're going to do is the truth brush technique. Now this is a really I say it's a really quite a missing way off doing this, but you do get a pretty nice effect. So I'm just adding some water, too. My blade proof What there might even at some more, please. Proof. What into that? So you basically want to do is just pick up with your toothbrush and you just want to move the bristles like this. If you're too close to the paper, you will get like bursts, which is good for the Milky Way. But you want to try be a bit more sporadic. You also get very fine stars. It's all about what effect you want at the end of the day. If that's what you want, that's the probably the best way of doing it. So for the last square, I actually want to show you what it looks like when you lay down stars into a wet background. This is really grateful layers. It gives these really nice effects. Sorry, I'm going to start with just a layup off my color. Thank you. No, this needs to be perfect. Don't worry about the edges. This is just a just say you can say all the different ways of doing each different step. I might make it a bit dark. Just form or contrast. Personally, I always add these background stalls in my first layer. Um, this has to be done wet on wet. It will not work. Um, the same way any other way. Basically, if you think it does, let me know. I'd love Teoh. Try different ways. We are all always learning. So basically, you just want to get the color or the what? Onto your brush and just again tepid or just any way you want. I prefer to do it this way. As I said, you don't need to do heaps. This is just for that background star effect. Which looks really cool, sir. I'm going to drive the snow and I'll show you what it looks like. What? It's dry. Okay, sir, I've just dried my page with a hair dryer. And the reason I love doing background stars is because you get this glowy effect and I think that looks amazing. I we'll show you in more day telling the final project because it's going to be larger. It's gonna be easy to see, but I'll go into, like, the largest spots, and I'll add all animals. Does, Um, just so it looks like it's the star that's glowing. I also wanted to show you bright shooting stars and shining stars. So shootings does essentially. All you do is you just find a little, um, area You want your shooting stuff to be in, and with a small brush, you essentially just flick it away from you. You do want it to be on quite an angle. If you were to do it straight, it just weren't look natural for a shooting stuff. Uh, it's a bit hard to see in the video, but this pin has a really fine point, and all I like to do is taking advantage of that point, and I'm barely touching the paper. I just do across. You can leave it like that, or you could do a cross in the middle. A swell. It looks nice to have some metal like this, and then some that just the course. And so that's how we do all Stella's 6. Landscape: so forth. E landscape elements. You want quite a dark value off your water color. Sometimes I do actually use the quash, which is an opaque water color. But because I want to do a monochrome milky way, I'm just going to use a really dark value off my finger. So first off, I'll show you how to do. Uh, let's do the hills. Essentially, all you want to do is just a very rough, uh, outlaw. And I should say, and then adding water procedure, Tiffany. Harsh lines. If address too quick and then you can go in and Advil color, this could be a stock is you want hers, Ladas You want You can keep the top quite duck and go, Liza. It's all personal preference, and I'm going to add another hill just here and then just adding some more pigment up the top here just to make a Dhaka. So that's a really simple technique to do quite started mountains with mountains. You want to make sure that it doesn't look too structured. You really want to make sure that it's rough. If you need Teoh, use a pencil just to get a bit of an outline. Go for it. Do whatever feels most comfortable for you, sir. I'm going to start off here, you know, to another Or to a few mountains. We just do one that goes off to the side. So now I'm just going to feel those in. I really like the silhouette. Look, So I wanted to be quite dark, and you do want to act quite fast because this is no went on dry. So if you're colored dries, you are going to see a line. Okay? No trees with trays. All usually just dio a ground. Um, just a basic ground. So I've got something to work on. So it's gonna really talk curry, remember, this is all just practice at the moment, so please don't overthink this now. We might really small brush. I'm going to pick up sim pigment. You don't want to pick up a lot. I'd go so far as to suggest once you've got it on your brush, even just a couple strikes in your pellet will make sure that any excess water has been taken off. So you want to do just a straight line and then very sporadically, just Deb, you'll brush just the end of the brush. I'm not putting a lot of pressure. It'll all the way down to the ground. The trees convey as a fool, or a spots is you like and different sizes. Give a nice depth to the painting lto spots when he'll make it to be large to see I haven't taking the excess water off. And now I've got quite a thick branch. So that one I will have toe, you know, make it a bit of full of tree. The great thing about traces well is that there are so many ways to create depth. So you couldn't go for still a dock value, but a little bit lot. Um, just so you can go dot com and then when you go Bucky and it looks like you've got thes trays further away, then this tree keep in mind that watercolor does dry a lighter. So let's get a really doc tree here. I'd say the more you think about where to place the branches and the leaves, I think it looks less natural, so try not to overthink it. That's just my advice and definitely explore with different sizes and different values you could do a whole layer of trees in quite a lot of value and then just keep going over and over and over it, which gives a really cool forest effect. And there are so many different ways to actually do trees. So just explore. You can review brush side to side, and it's a very straight like a 0.3, actually, or you can make it very, um, Swee'pea. So it's almost like you're flicking your brush up, which looks very much like a Christmas tree. So, yeah, just depends what you like and you could find your own way that works for you and just stick with it. So there's a hell. We create our landscape elements. Now let's get on to our final project. 7. Final Project Layer 1: welcome to the last video in this tutorial. Our final project. So I'm using Feaster unhinge 100% cotton paper. This is actually a block, so it's taped down on the side so that it doesn't warp. If you don't have a block, you can just use, um, paper and just tape it down with mosque in type. The reason you do that is because paper the paper will walk. The masking tape helps combat that. Now, I wanted to show you this painting because I've actually done this on student grade paper, and I just did. This is a draft for this class, and you can say that it looks just fine on student Piper. And I wanted to show you this so that you know that you don't have to go out and buy expensive artist grade paper to get a beautiful painting. So please don't feel scared to Houston student paper on your final project, Sir. Full this project for the first wash of color. I'm actually going to use this brush, which I just brought from my local stationary store. I just find it a lot easier to do washes on laja paces of paper using this. I'm also pretty lazy, so that might be it. All right. So let's get our wash of water again. You don't want to make the paper too wet. The good thing about blocks is that you can you can move it around so that you can see how much shame there is. But if you don't, you just move your board around whatever you have must down your paper, too. And you can see what the Shane is like. I don't know if you can see it properly in this video, but you essentially just want to make sure you don't have any puddles of water. And if you do, you can just move it around the paper. Or if it's really too much, he can just pick it up with your brush so I can see that I've got a little bit of a puddle of the top. Yes, I'm just going to bring that down, and I'm happy with that. All right, so let's leg down. Alcala. Do you want this to be quite dark? So I'm going to be using quite a bit of water, which is why it's important to the user block or to mask down your paper with your tape. And I like Teoh, prepare my paint in a separate palate just so it's ready to go. Having said that, I've got my pellet with the paint close by so that I can make more if I need. All right, so let's start to bring use color down, Going to add more pigment off the top here. So I'm just going a dropping pigment from the very top. And you what do you use a large brush for this? Sir, you can probably go for the largest brush that you have. If you're using a piece of paper this big, I do very much believe in kind of, you know, work with what you've got set of mind. Because I especially when I started out with water colors, I didn't have a lot how to really make do with what I heard at home. And sometimes you can't afford to go out and by any things, just because someone has told you to. So let's get Cem. Let's get to the top of this Darko. As I said before, you do wanna work quite fast because your paper will start to dry out. Just gonna add some color here. This doesn't need to be perfect, because I will be painting over this bottom area. So now I'm going to start to drop in color, uh, water to create the Milky Way going todo in some of my bleed proof. What? No. If you have looked at reference photos for your Milky Way, you notice that there is still dark patches. So you don't want this toe old. Just be white. You can't even go back in with sim pigment if you like, and drop it in here and there to achieve that effect. Play around me that have fun with it. I think it's a really fun technique. Whether you're learning watercolor, whether you're already experienced, well, you feel like you're quite experienced. So I'm going Teoh, get a hair dryer and dry this layer. I'm not coda subjected to the noise, so I'll be back in a second. But I will actually add since does before I forget. Yes, sir. Let's get out, Blake proof. Watch just watering it down. Because, as I said before, it's quite big. I'm trying to avoid this bottom area because that's where I'll be putting my landscape and I've noticed with the bleed proof wide is what I've noticed is that it can actually just kind of come through because it's so strong. I'm also going to intentionally adding ink, toe a few areas. This is world do Cem Bright stars for it. I'm gonna get these dried and we'll be back in a second. 8. Final Project Layer 2: Okay, so now that my first layer is dry, I'm going to add in my second layer of stars. So for this, I'm actually just going to use a scrap piece of paper. I'm just going to cover up this Boston area. So as before, I've got my leakproof white on my paintbrush and I'm just going Teoh do this as many times as I feel is necessary. And until I'm happy, um, I am going to try and focus a lot of stars in the Milky Way because, after all, that's what the Milky Way is. - Okay , I think I'm happy with that. I said a few more here. I'm going to do some of my bright stars as well, sir, on these little intentional, uh, Chloe stars. That is where I'm going to do my bright stars, sir, I'll put a little a little bit of ink on the page and barely touching my paper. I'm doing the cross. - And this one. I might just add just across, um, just the two lines just to change it up a little bit. Now I'm left handed. As you can say, Sorry if I haven't started from right to left. arm constantly moving my paper around. Sorry, apologies and just bear with me and I'm going to go in and just at a center to some of these large, glowing stars, we're really nice effect. Also, don't feel like you can't go in with a gel pin to do any of this. I am. Sometimes I do go in and use a gel pin just because sometimes with your brush, you don't get a perfect circle. I might just do a shooting star here and maybe one more, have you? All right, I'm going to drive this layer as well, and then we'll get working on the landscape. 9. Final Project Layer 3: All right, so let's get started on the landscape section of this final project. So I'm going to do trees. They're my favorite thing to do. So I'm going to add just a flat kind of flat ground to the base of this painting. - And as I said before, you do want to work a bit faster here because this is wet on dry. If you feel that this isn't docking off, don't stress because you can guard back in on dark in this up. Once you've done your final trees, which I usually do all just go back, you know, make it the same value as much trees like Sorry, I'm just being a bit of a perfectionist year. So I've got my small brush, and I'm just going t get not a very dark value to start with, because I do want to put in some background trees and I want you to see what that looks like. Sir. Start with some here. I'm not gonna make them very big. And as I said before, I'm really not overthinking them. - I find that I do have to remind myself to not make them all the same height. Um so just pay attention to how you actually forming the trees. If they're all the same heart, you know, it's not going to look to natural. But if that's what look you're going for, then go for it. So, Mercer, these trees in the background layer I'm going to make quite small. But I'll do a couple larger ones, um, off to the side. So maybe hero do a bit of a larger, and I do like to take the tree, um, you know, right down to the base and also a little bit of a tip for you. Don't leave your brushes in a full cup of water. That's what I've done with this one. And it's actually starting to pill off like I can't even tell you what size this is. And this is my favorite brush to do trees. Well, I can tell you is that it's around. That's literally all that I can see on this brush. All right, so I think we're done without first layer. So I'm going to get a little bit more appeasement and put it into my palate, and I'll start to do some more trees. I will probably do another layer to finish with. Sir, this will be my second layer of trees. This is really going to create nice depth. So I do suggest taking the time to do this and just continue to vary the sizes and don't feel like you can't slightly overlap. I think that just adds another layer of depth. So more edge one right here. Now, these are going to draw very quickly because it's more pigment than it is water. So I don't need to dry this with, you know, ahead a hair dryer or any kind of hate tool because they're already dry essentially. And on my edge lunch one here. So you can say that I'm literally just dubbing the paper rush in a downward motion. I think that's all good for that layout. So now I'm going Teoh, basically just work straight out of my pellet so that I know I'm getting the doctors to value that I can for these final layer of trees, and then I will gird over this bottom area, um, with the same value. So making some of the trains of its pose, I'm going to put, um, nice big one here, - and I think a couple more trees and then I'm done. Sir, I'll make another another large one here. Just so these large when I already have. Doesn't want to, um, learn Lee out of place. And one more here. And I've accidentally just planted some ink on this pace. Just there. Uh, that's okay. We'll make mistakes. The one more here, I think I'm just going to get my large brush new, and I'm going to make this ground a darker value, - sir . Thank Koroma is done. Once I've done this very guy, and that is my final project. 10. Final Thoughts: we've made it to the end of my Milky Way. Would a color landscape class. I hope you've had a great time watching. And I heard people at some cool tips and tricks to make your own Milky Way landscapes something similar to the ones that I've created here. I would really love to see your artwork. If you do create anything, please share it with May in your class project section of love to see what masterpiece you come up with. And I'd love any of your feedback. I'm really excited to have released this class, and I can't wait to see what you guys create.