The Subtle Art of Metallic Paints | Askha Saghir | Skillshare

Playback Speed


  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x

The Subtle Art of Metallic Paints

teacher avatar Askha Saghir, Art Enthusiast

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

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 6m)
    • 1. Introduction + Giveaway Announcement!

      0:50
    • 2. Materials Required

      0:55
    • 3. The Hour of Darkness: Part 1

      5:08
    • 4. The Hour of Darkness: Part 2

      12:29
    • 5. Floral Fest: Part 1

      9:42
    • 6. Floral Fest: Part 2

      9:12
    • 7. Floral Fest: Part 3

      5:39
    • 8. By the Moonlight: Part 1

      10:47
    • 9. By the Moonlight: Part 2

      10:19
    • 10. Final Thoughts + Giveaway!

      1:14
  • --
  • Beginner level
  • Intermediate level
  • Advanced level
  • All levels
  • Beg/Int level
  • Int/Adv level

Community Generated

The level is determined by a majority opinion of students who have reviewed this class. The teacher's recommendation is shown until at least 5 student responses are collected.

58

Students

7

Projects

About This Class

Explore the magic of Metallics in three simplistic Watercolor paintings to see the difference a little pop of metallic paint can add to it.

Meet Your Teacher

Teacher Profile Image

Askha Saghir

Art Enthusiast

Teacher

Class Ratings

Expectations Met?
  • Exceeded!
    0%
  • Yes
    0%
  • Somewhat
    0%
  • Not really
    0%
Reviews Archive

In October 2018, we updated our review system to improve the way we collect feedback. Below are the reviews written before that update.

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

Take classes on the go with the Skillshare app. Stream or download to watch on the plane, the subway, or wherever you learn best.

Transcripts

1. Introduction + Giveaway Announcement!: Hey guys, welcome to my second class on Skill Share. My name is asked dynamic chartered accountant by profession, but an artist by heart. I am originally from Pakistan where I'm currently residing in the United Arab Emirates. I don't feel sure a few months ago and it has really been a journey episodes then. So I am using this platform now to learn things that I don't know and to teach things that I do know. So in today's class, we will be learning on how to paint with metallic and see how just a single layer of modality can really make your painting pop out. If you're worried that you don't have metallic paint doorway, I gotta cover because I have a giveaway for this class and all you have to do is follow me on Instagram, watch my class, and leave me a review in order to be eligible to win a beautiful set of metallic beans. 2. Materials Required: The 3. The Hour of Darkness: Part 1: So I've deep down my beeper and now I'll be picking out the colors for this beam in you. If you do use whenever brand of colors you haven't, it's not required to have the same rank as me. I'm currently using white knights and art philosophy beings in this class. I've picked out two colours. One is indented in blue and beans creep do create a nice bluish green of a color for my background. And if you don't have these two colors, don't worry, you can use whatever dark blue you have. And if you don't have been screened nucleons which data with black. And just tried to make sure that you can, that you are able to achieve sort of a grayish sheet. And you can even use wide in order to tone down the color a little. So the next shade that I'm using is gender magic. By primary marketing, this is an acrylic paint, so it's completely optional. If you don't have an equivalent goggle, you can stick to your watercolor. Golden paint. Now comes the brushes. I will be using a flat brush to paint my background. The advantage of having a flat brush, they help you apply an even coat of color on your background. Thank you only I will be using around psi 0 brush for the finely daily. I also have an optional brush over here, which is a liner brush. And I just like to keep my options available. Sometimes I like to switch rushes in between the paintings, so I am just keeping this as tobacco. Once we've got our supplies ready, we will be switching the colors. I will be varying the proportion of Payne's gray and lantern blue to see whether I am getting the required color. I will keep varying the proportion until I'm satisfied with the shape that I want. And I really recommend you all do try this exercise because a lot of time what happens is that recreate the color. And once we, And besides directly start painting with it and later realized that it was wrong shade or it wasn't something that we want that. So it's always good to have a spare piece of paper with you and to swatch out all of those colors. So now I finally have achieved the color that I wanted for my background. And I'm gonna go ahead and start being done with it. The first step is to whet your paypal completely because we will be using the wet on wet technique in the right-hand men technique, what we have to do first is that we need to dampen our paper and then overhead with some wet beams. Now that my papers where I'm going to go ahead and mix more pinned and apply it all over the paper because I need to cover up the entire paper. So after make sure I have enough beamed forward, think about watercolors inside when one stage writes, The tend to fail. So you have to make sure that you are applying take layer of being so that once they dry, it does not completely fade out. However, for this beam, didn't we want to achieve, or grayish blue, you have to make sure it's not too dark because if it's too dark, then we won't be able to beat our trees and birds over it. And they might not be visible because we are going to pin them with beans. Great. At this stage, all I'm doing is applying, gained all over my paper and making sure that when it dries out, it's not too like so I'm just going to apply an even coat of paint all over my paper in showing I don't have any harsh lines and that the entire background is well blended in. So I'm done painting the background now. I'm just going to wait for it to dry and see what Gallo turns up. The beam has dried. I am pretty satisfied with the color. It's not too light and it's not too dark. So I'm gonna go ahead with the binging. I am going to draw out a circle. You can use whatever round object you have or just use a compass to draw out a circle for the moon. I will be using my golden acrylic paint for this month and ensure that I apply, take layers of that beam so that the background or does not be true it, and the moon is completely Golan and fully opaque. At this point, I'm just filling in the circle with layers of that Golden pinned. And I'm doing layer on layer edges to ensure of basically of the moon. Now the next thing that we're gonna do, a splatter some stars. Just take some golden paint on your brush and splatter it with two brushes. Or you could even use a toothbrush for this step, which is drought, starts. 4. The Hour of Darkness: Part 2: Now there are background is ready. We need to start building the other elements like the tree, the grass, and the bird. So I'm going to take beans clay and using my size 0 brush, I'm going to roughly sketch out the tree. I just need to get an idea of what and how the tree needs to look like so that I have something to build on. I am going to roughly sketch out the trunk of the tree and some branches just to form a little shape of the tree. And then I can progress with just that rough sketch. Science based system. Now, I have kind of marked all the branches and I know where I need them. I'm just gonna go ahead and layer it with some more binned because as you know, I have acrylic paint in the background. So the watercolor or acrylic does not really stay for long. So I have to go over it with multiple layers of beam in order to get a proper ranch and a proper color on it. So that's why I said you can go ahead and use your watercolors because water color on watercolor is not that big of a task as compared to a critic. So throughout the painting you will notice that I will keep going over these branches just so that they are opaque enough and they look like branches and they don't fade away. Next up we will be building the grass. And the trick to do this is that you need to go in bottom to dark motion. So you're going to press your brush a little when you're at the bottom and as soon as you come up you have to lift it. So when you lifted you get these pointy edges. So breasts and then lift to get that effect of grass, you will have to make sure that the grass is take at the bottom and it gets thinner as you progress upward. I'm just going to repeat the same thing. And being pictographs. What I am doing is that the grass that is closer to the tree is lightly dollar, then the grass which is a little further away, is used to my way of being degraded. It's totally up to you. You came where he, the size and the length of your graph. Also, you can notice that my grass is not in the same direction. I am painting some towards the right and others towards the left. And I'd recommend you to do the same because that is something that really gives a realistic look because it's nature and nature is very random. And it's not uniform. You can have all the grass facing towards the same direction. There will be some that are towards the left, towards the right and will be straight. So it, I think the more random it is, the more realistic it's going to look. So now that we're done painting the grass, next thing is the branches. Make sure that as soon as you progress towards the further end of the branch, they need to get tenor. So when they're closer to the trunk there tick and then you will have these tiny branches extending from those main branches. So those have to be very, very tiny. And only then it's going to look like a real tree. Because you will have noticed even in a normally in trees that though there is a trunk and then there are some Grameen branches stemming through it. And then some Bei Wei tiny branches. And these branches are very, very random. There is no particular shape. They can be in any direction and they can look like anything. So you have to be very carefully over here. Just do whatever you like, draw some main branches and then draw some other branches sticking out from those. So you have to be random. Just play around with different types of styles of Manchus. Just draw some different batons and just enjoy this whole process because it's evade IDNUM. This is something that you really don't need to stress about and use drawn branches in whatever directions you like. Just make sure that you don't overdo it. Because in things like these, we all have a tendency to overdo such process. So just try avoiding that and just enjoy the whole process. I'm just gonna stop talking at this point and let you observe what I'm doing. So I'm almost done with the branches and I'm pretty satisfied with how the trees looking. But I'm gonna go ahead and draw some leaves. I'm using this brush. I'm sorry, I don't know what it's called, but I usually use it for I'm drawing the leaves. And what I'm gonna do is just dab on some bean and then applied on the banding. Just make sure that the paint is dry because if it's too wet, then you can have pools of paint on your bending and it's just going to do when it. So right now I'm being extra careful and making it a little pain and some water and testing it out on a spare piece of paper. Always do this because straight away going to your painting might actually doing it. So it's always good to try out those things first. See whether you are satisfied with the result and then go ahead and wait on her main bending. So I'm just going to use this brush and dab on the tree to get the effect of leaves. This is optional if you want, you can just leave it like that. I was actually a little conflicted about this step because I was liking the tree the way it is. But then I decided to go ahead and just add some foil edge to the tree. And this is very light and you can notice if you want more foil edge, you can go ahead and do that. It is completely up to you and your perception about the tree. I just wanted it to be very light. So I'm keeping it light. And this guy knows, dabbing very lightly on the painting because I also don't want to cover up the golden moment because I think it looks really good and that's the center of a dimension of this painting. So we don't want to take away from it and just add on to it appeal. So I'm just gonna go ahead and add one. If you don't have this brush, it's completely okay. You can use your normal brush and draw some trees in the same way. You can still dab on with those brushes, but I'd suggest you practice at first on a spare piece of paper to make sure that you're getting the type of result you want. Suggests zoomed in a little so that you guys can see what I'm doing. As mentioned earlier, I will be drawing a few more branches and also kind of darkening the brand to that already have because of the whole acrylic beam that I have in the background. So I'm just, all I'm doing is I'm adding a few more branches. This is again optional. If you want to add something, you can go ahead and do that. And if you'd like to treat the way it is, just stop to avoid overdoing it. I am just adding and adding a few final touches to the tree. Now off to the final detailing, which is the painting of birds. They are going to complete our painting and really going to add some more definition to it. So I'm just gonna roughly draw a few birds for you to see. They're all very simple, very easy. Just observe how I'm painting them over here. And you can repeat the same process on your main bending even further. But I would suggest that you first try them out and then being them on your actual binding so that you know what you want to do and you can avoid messing your painting. I do the same process every time I'm being, being bads. Because I just want to kind of see what birds I want to include in my building. Hopefully you guys have had some understanding on how to pain, but I'm just going to draw the same. But that I just showed you guys over here. And I'm going to draw a few birds, Heron there in different directions, kind of giving the impression that they are. Some of them are far away while some of them are close by. So I'm not really liking the bird that I did here because I thought it was looking very off as compared to the other birds. So it was a little mistake that I did, so I'm just going to wipe it off. Since there was still wet. I just went over it and dabbed it with the tissue. And in your case, if you do end up making a mistake, don't worry it on pen, you can always cover it up. It's not a problem. I am juice and drawing a bigger boat over here to cover up the previous one. Right? Here comes the most satisfying but of peeling of the deep and finally, seeing what you're painting looks like. I just love this disbarred because it just gives you the satisfaction that you finally completed obese. So I really hope that you guys liked it. It was our first painting. This class and the most simple one, things will get slightly complicated as we progress towards the Adobe and things. So I just thought that the stars were a little too tiny. And just for them to pop out a little, I used my golden jet event. Again completely option. You can go ahead and use your golden beamed that you used earlier for the moon and just draw in a few bigger stars. And then you're just done with your painting. 5. Floral Fest: Part 1: Welcome to the second painting of the fast. This one's my personal favorite. And the colors that we will be using in this one are Carmine, quinacridone, lilac, quinacridone, magenta, and green screen. However, the magenta might not be used as much. I have just kept it as a backup in case I feel like I needed. But the main colors will be Carmine beans query and quinacridone dialogue. And if you don't have these colors, don't worry, you can use whatever pink you have, whatever poeple you have, and you can still, more or less the same thing. You can use your red and you can just mix it with a little bit of white to get pink. And in order to dock into dawn, you can use black with it. You can use maroon, you can use whatever color you like. You can use Voilette, it as well. You just have to try out your colors to see if they all go with each other and whether they reorganize that. And you don't have to stick to the same color team as me. You can actually opt for a different one if there's something else that you like, better, go ahead and do it. It's all about learning the technique of painting this rather than the colours. Consider Ghana wet and wet paintings. So we're gonna start with dampening the beeper with an even goat of water. And we need to make sure that it stays wet for a while because we will be going over with multiple layers of being done will be blending in a lot of colors. So I'd suggest that you walk a little faster so that your people doesn't dry out. And if it does, you just need to stop right there in order to avoid having any harsh edges swap taken Garmin. And I am just spending it in circular motions. And as you can see, I've left some white spaces in between and make sure you have that too because that's where our moon is going. So you know, when it's right there in the middle, so there has to be some light. And if it's all pink, then you might not get the effect of those reads falling on your painting. So just make sure that you keep it as wide as possible. Just blend in your colors with some water so that it does not look off and that it's all well blended. So that's all I'm doing over here. I'm just trying to blend in the Carmine paint and making sure that I don't cover up the entire area would be. Now I'm going with my second color, which is quinacridone lilac. And I am going to be blending this width Carmine as well, so that it's a smooth transition. I'm also taking a lot of binned because I wanted it to be bright. And as I mentioned earlier, that watercolors feed as soon as they dry. So that's why it's advisable to take take layers. And as you can see, maybe it's still wet. And I'm working faster as well so that I'm able to blend all the colors on time. I'm just blending it all n. Now for the middle part as well, I am just trying to blended as much as I can so that it looks very smooth. And as you can see, iced I have some famed in-between. So what I'm gonna do instead, I'm just gonna wet it'll literally and lifted off with a paper towel or at issue. So this is called the lifting technique wave in liftoff, the access pin. According to your liking. So it just has to be read in order for you to lifted. Now after the final color of the painting, which is a mixture of quinacridone rows. And so I couldn't, I couldn't lilac and beans Green. This will help us achieve or dark purple color. And you can see it's actually a very smooth transition because we had already used quinacridone lilac earlier. So it's just a darker shade of that and were able to blend it all in ways modally. Now this is the edge of the building through, I'm going to invite you to take more of beans green so that we'd get up. They dock column at the edges and it's really going to help the beam ding do pop out. So I'm just blending and all the colors properly. And I'm going to add another layer of those beams so that I can achieve the darkest dawn of all the colors that I'm using. And that when the beam drives, it does not end up looking very dull. So go ahead and add more layers of your bead so that when the beam drives, it does not look very indolent boarding, but instead it should look very vibrant. Okay, so now I'm done with the background layer and might be birds still wet. So I'm just going to make scar mine and quinacridone lilac and get a sort of pinkish purple sheet of a light sheet. And I'm going to use that to draw a few floors and leaves in the background. I'm using the lightest color because it's kind of go, it will fade away in the background. And since the paper is also read, it just kind of helps you to get that effect where you see that these leaves are quite far away, so they're not that prominent. Death just faded away somewhere in the background. And it gives a nice texture and a nice director to your painting. And it does not look just one-dimensional. Ok, so the painting has dried and as you can see, it still looks dot. I wanted an even more vibrant log. So I'm gonna go ahead and paint and modern earlier. So I'm just wrapping up my beans on my palate. As you can see, I'm using the same colors that had used earlier, and I'm just preparing them and keeping them ready in my palate. So as soon as I re read my paper, I'll quickly go over the building with all of these colors. Repeating the most important exercise of watching the beans to ensure that it's the same color that we had used earlier. I'm gonna take my flat brush and use it to revisit the people. I ensure that the painting had completely dried so that I can go ahead and apply coat of water. You have to ensure the same because if your thing is still wet, it's just gonna smudge all local loads and you, when you're painting completely. So as you can see, I'm going one layer at a time. I apply one layer of water and then again I take some water and I apply the second layer and I'm doing it. They light handedly. You cannot press the brush very hard on the people because then it might make your colors merge into each other and it can really spoil your painting. So I've just evenly applied water. And now I'm gonna go ahead with the same colors that I had used earlier and apply another quote of binned. This time what I'm doing is that I am dabbing it because I want sort of a dramatic effect earlier we had just gone. And so it goes, this is again, so it goes, but the only difference is that we will be dabbing it without being rushed to get a more dramatic effect. We're going to repeat the same process for all the three colors and dab it in. And then when you apply the second layer of again, I'm ensuring that the center is also very blended and we still have that white gap in between so that we can draw our son and the white part will reflect the light rays from the Sun. So next step, I will be going in with cornucopia, non lilac. And again, the same motion I will be dabbing my being and mixing it with Carmine to have a smooth blend. Once the second layer is well blended, I'm gonna go with the third layer of paint, which has mode of beans gray and lens of canonical in lilac. And you can see that it really is giving a very nice transition between the colors and the dark. Beans gray at the edges is really making the thing in between standard. And this is the effect that we were trying to achieve because our flowers are going to look at least right in the center. And they're going to be light pink and bubbles. And we really won those, Carlos to stand out on the pink because if the binned in between was very dark, then it would have not allowed those flaws and those leaves to really stand out. So at this point I am just making sure that all my edges are dark and they are also better blended. 6. Floral Fest: Part 2: So guys, we're done building the background and now we're gonna go ahead and be in the other hand demands of the painting like the sun and the floors. I'm just going to use my golden acrylic paint that I had used earlier and I'm going to paint a tiny sun over here. You can use your watercolors or if you don't have been metallic pins, you can even use your gel pens. So just to draw a tiny sun right there. And now I'm gonna go ahead and draw the floors. I'm also going to test out the color over here and I will show how I'll show you guys how I'm going to be painting those flowers. It's actually very random. I'm not really following a certain pattern and I'm not really enjoying a particular kind of Florida. I'm just gonna draw whatever comes to my mind. And you can just see how I'm doing that. And we're going to repeat the same practice on the main bending. So I've just came to us, stem for us and it's not completely striated, slightly zigzag. And then I'm going to be in some leaves coming out of it. So first draw ten line and then press your brush, a little dragon down to get that sort of pattern. And next I am going to been the petals. As you can see, I'm going to press my brush and then lift it. So when you press and lifted the bottom but is going to be take and then the top part is going to be pointing. So that's how we're doing the Federals. I'm going to do another one right here. It's a very simple one I just drew of 8-10 stem and just some base simple leaves coming out of it. And then repeating the same procedure for drawing the pedals. Press your brush and then lifted. Now here's another one. I am building stem and then I'm just drawing some dotted battles over here. It kind of looks like those the Denver was green plants that you usually see in the fields. Kind of doing that either as I said, I'm not really following set patterns for flies and leaves, so I'm just going to draw some random things and fill up the whole space. So I'm gonna rewrite this part again because I want the colors to blend in. I'm gonna work with different layers. So they're going to be some lighter layers and then they're going to be some darker ones. Just to give the impression that some flies and some plants are final wave, while some of them are closer to us, but the ones that are far away are going to be lighter in color. So now I'm just using my size 0 brush and drawing some standards with the color that I already had on my balance. This is the quinacridone and I lacked that I had. So you can see, since that paper is wet, it is sort of blending in the bag on and you don't really have those harsh lines. It actually quite soft and very well blended into I'm just gonna drop in beam or hidden debt to get sort of like a blurry effect that willed and northern, it's somewhere in the distance. And as you can see that since the paper is when the color is sort of just spreading and it gives a nice, a nice blurry effect in the background. So just entropy, this depth one of two times, don't overdo it because then it's just going to gobble up the entire space. And we don't want to do that. We need to leave some spaces because it will becoming over it with a multiple layers and multiple colors. Now I'm coming back with a darker Gallo. S1 is quinacridone lilac with little pains creep and it is darker than the first layer. And I'm going to enjoin the same plants that I had showed you guys earlier. So you guys can follow the same bad. Don't draw a few plants here and there and cover up some of this piece and the petals, as you can see, I'm following the same procedure where I press my brush and then I lifted to get that better. Look and continue doing this process and paint a few more plants the same way. I'm also varying the sizes of each plant so that it does not look boring, but instead it looks quite interesting. So this one right here is quite big as compare to the other one. And this one is going to take a lot of attention. So make sure that you work on the detailing of it. You need to focus a little more on these because they are the ones that are closest to us. So the things that are closest to us, and we have to be thought off fairly more detailed than the others. And more fuel, more floors and you got the darker shades and night heel, you are already able to see the transition that we have from the light got ayer, however fair that we needed a fuel to more being clause. So I am just taking Garmin and mixing it with quinacridone lilac To get a light pink color. Adding another bigger fly over you. I really like the big ones because they really bring out the beam length and they really stand out. So I just like working a little more on their detailing. I was just like you all to observe what I'm doing is varied, random. I did not have anything in mind on how duck flies are to be placed. I am just going with my intuition and burying the colors and the flies. They're bad done then their sizes. So it's totally up to you and your liking. And that's it. Z. So I wanted the stems to be merged in with the beams greed and the edges of the painting. And so that didn't, when it's complete immersion is properly bended, did only look out of place. So what I did here, instead I rewrite just a button but off my painting because that's where the stems are. And I'm going to go ahead with another layer of banes, Cree and quinacridone lilac. And make sure that it's a very blended in with the petals and that they look part of one piece and that they don't look out of place. 7. Floral Fest: Part 3: I've taken the golden being on my brush and I'm gonna go ahead and beyond some more stamens and petals using it I am, for some of them I will be painting it over the oil existing clients, but I'm not going to cover the entire thing. I'm going to make sure that the color I had already use a, the pings and the purples are seeing through so that we have both colors, energy, it's really render look beautiful at the moment. The way the camera is, please revise, might not be able to see them metallic effect. But once we're done with the painting, i'm gonna don't might be bought and then you will really be able to see the impact. This literally Ethiopian beam. So I've just zoomed in my camera literals so that you guys can see what I'm doing and instilling on doing any justice to the Gordon color that I'm using. And you will have to wait till the end dues actually see the impact that this has created. I'm also randomly adding some additional stems and leaves with the golden beam. So you can go ahead and do that as also completely random exercise. You can add the golden wherever you feel like adding it. And it's completely up to you and how much or how little you want the golden 2B. So now I would just want you guys to observe what I'm doing and replicate the same thing in your beanbag. The sizes. I think now it's kinda visible how the golden impact is being added to the painting. As you can see, I'm not completed covering it all up. I am not using the entire purple petals and covering it with the golden paint. Instead, I'm leaving some spaces for both the gallows to get equal attention. And that's how it is supposed to be even for the stems, as you can see, you have to make sure that the vane ten so that I know just disappear as they approach the bottom part of the painting. So I'm bandwidth plans now the last and final step is going to be splattering of some of those golden stars to being dean and completely finishing it off. I felt that I needed a few bigger stars. So I am just using my psi 0 brush and adding a few dots here and there. Okay, so it's done and now it's time to be loved. The tape, again, the most satisfying part. And since I said it was one of my favorite beam being. So I just get an odd way to peel off that deep and show you guys that affects that. The golden metallic paint added to the painting. Here you go, you can see how beautiful that Golden is looking at NCBI as utility or people. You can really see the effect that it has created and has actually added so much life to the painting. 8. By the Moonlight: Part 1: Hey guys, so we're finally approaching the last session of this class. This painting is called by the more light. And I'd like to thank you all for staying with me. The highlight will be meeting for this one are in world. Then from my art philosophy by which I will be using two sheets, which are going to be pink and purple. You're free to use whatever pinks and purples you have. You can use white, whatever color you have, anything which is close to these women talk and you don't have to stress out about that. And the next color that I'll be using is brushing Lu. Now, if you don't have these exact colors, if you don't have indigo, well, Prussian blue, you're free to use whatever data you have. And if you want to darken a little bit more for the clouds, you can go ahead and add a little proof black to it. And you're good to go. So don't stress upon the colors. Just start the beam, beam with whatever you have. So I'm just applying even go to water since we will be working with the red on red technique. And as mentioned earlier, try not go overboard with the water. Now I am, I've taken some Prussian blue and I'm applying an even goat on the top part of the beam. Once you are done with brushing loop, because the integral and applied on the top part of the sky to add more depth to if you don't have a new, a little bit of black and add it to your blue to add a darker tone on the top part of bending. Next time going in width verbal and I'm making sure that it is well blended in with the blue so that it does not look like it's out of place. We need to have a very smooth transition within all the colors in our Skype so that they don't look off or out of place. I'm also adding some cloud-like structures over here. But it's not going to be that visible ones have dry ice, which is, are we really going over this within other layer of paint? So we'll be focusing more on the clouds of datetime. Now, I've taken something and I am blending it in with the purple. And you can see that we now have all the three base colors offers directly on the paper. Even with the pink, I am just going in with a few random movements that are going to depict sky. But this is just the first layer of the sky. And we have many more layers to come. So I've just taken a little bit of in liberal engines might be for a still wet, I am just going over it and paintings and clouds. You only need to repeat this step. If your paper is wet. If it not wet, please don't do it because you're clouds will not blend in with your style. And you will have some DAY harsh edges. And that's going to local very rough. If it's dry, you know the check, you can reweight your paper and go ahead and begin those clouds. So I'm just going to mention a little bit about the colors. If you can see that. I'm not just painting with purple at the moment. I've mixed indigo and purple to get a darker purple. And using that, I have painted purple clouds in the purple. Of this guy. And the reason is that when you're mixing purple with integral, all of this is gonna look. They even we had in legal clouds on top and then we've mixed in there with a little bit of purple. So it's like, you know, we have a team going on and nothing is looking out of oil very whereas on the colors are very well coordinated between each other. So I am just drawing some very random clouds. Wherever I've seen laid there is literally, I don't have anything in my line on how the clouds need do look, I am just drawing some very random strokes wherever I feel that I need. I also need a few big clouds to I am just taking a little moping and I am going over the pink area with some random cloud. You can also make this pink with a little bit of purple, like how I've done in this part. Now you can see the cloud or slightly darker. That's because I nixed Bingen Baraboo, so that we have a nice smooth transition between the colors. Now as you can see that my paper has dried and Schuyler's and looked at why group. So I, I'm going again over this with a new layer of water and I'm going to be doing it again. So that's the reason why I did not focus so much on the cloud because I wasn't so sure if it's going to turn out as y. If the sky was, would turn out as yp. Now, again, I'm repeating the same steps. I am painting a layer of brushing rule first and then I'm going to go over with it with some integral. I am using the integral to add dark layer on the top part of the sky. And I'm also using it to theme some clouds. I'm going clouds and building clouds on both sides of the paper and keeping the middle part and deep because we're going to have a moon in-between. So I wanted to have all the attention, which is the reason why I'm not building any skies in the middle part of the banding. Now, i'm going with a layer of purple date. And as you can because we want it to be very vibrate. So take lot of beam and go over this Lear. I have also blended in with the blue. And now I'll go ahead and been some clouds again mixing for Apple and indigo. So the radio paintings, the clouds is going to be the same, just like how I had done earlier. I am just using my brush in a very random swirly motion and being doing some clouds had and there, you just have to make sure that your clouds that you have on the top part of the sky, they need to be big while as you keep coming down the size of your decrease. Now, I have taking something and I have blended in with the purple and got rid of the dire bottom BAD with the been clear because that's the place where the sky is. And now I'm using purple and pink to paint some grout. You notice how these clouds are smaller than the ones on top, which is the reason I was telling you that makes sure as you approach the bottom part of the painting, your clouds or I need to reduce in size. So I'm doing some final touches are adding. Cloud wherever I see like ripening of a few areas, this is very random and this, these depend on whether or not you're completely satisfied with your clouds. If you're an R, you can go ahead and add wherever you feel like if you want to directly some of the areas, you can do that, but please make sure if you only need to do this when your paper is wet, if it has dried, I suggest you to stop. Otherwise it is going to ruin. And already beautiful sky. Now that our sky is ready, we're gonna go ahead and paint a moon so the paper is still wet. So what we're doing now is coalesce and lifting technique. This is where we try to lift off some deemed which is there. Now I will just have to make sure that the beam is already wet so that you can easily lifted off using a paper towel or a tissue. So that's what I'm doing. My sky was wet, so I took advantage of that. I went ahead and lifted off some beamed. Now you can see that we have a nice white circle. If you're not getting a proper shape, you can use brushes like how I did to have a proper shape of the moon. And then we're gonna go ahead and painted. Now comes my favorite part. I will be using a silver metallic beam, and I will be bending it all over the white space where we had lifted off the beam. So go ahead and paint them nice, circle with wisdom modally thing. And I'm also gonna shape it or let loose in order to have a proper so our goal for my moon. So yes, keep watching. Who's all I'm doing is covering up the whole area with a good amount of metallic paint so that once it's ready, it you can see a nice glittering moon. Now that we've gotten the base layer, I am willing to go ahead and use some of the unjust mixed my black water color when bite and created a light shade of grey. And I'm just going to drop in some games, heaven there too, or backbones that we have on the moon. This is going to be laid and then you can drop into being whatever you feel like. I alter sometime, use my fingers to blend in the color and do add a little texture to it. It makes it look a little real. But if you're not comfortable using your fingers, it's completely fine. You can just go ahead and use your brush and beyond some add-on Heron dead. But one thing to note is that when I had been did the silver layer, it was still wet. And now that I am being dingoes patent on it, there is kind of us blending happening over there, which you might not be able to see, but it is still a lot better than the previous, completely dried out and then me going over it with some of the bad. And so that's why with watercolors, you have to be real quick. So the next part of thinking this guy is that I'm using silver bean and this blurring some story using two of my brushes. All you have to do is that dip your brush in a little bit of water and then mix it with some thing. Make sure you don't have too much water. Otherwise, you might do when you're being deemed. So if you have any excess water just absorbed in a piece of paper and then the nature images have been awake so that we don't splatter water on newbies. So I just planted some star when I'm adding some final touches to my name, blending it a little, shaping the moon and I didn't color whatever. I feel like this is just up to you. If you're satisfied with it, you don't have to do anything. You can use clearly averages. Now I'm using silver gel pen to add a few bigger stars. And this is an optional if you don't have a silver job and you don't have to worry about it. You're going to even use your C also rare metallic thing and draw some dotted in there. It is easier if you have a job and so that's why I'm using mine and I'm also using it to shape my moon of a little further. Again, optional if you're happy with how your Maunder analogy, you don't have to repeat this step. 9. By the Moonlight: Part 2: So now comes the part where we will repainting the other elements. I've taken some black bean on my ballad and I will be bending some buildings. Now other buildings are going to be of different sizes so that it looks interesting. And final gives the impression that we're looking at this scene. One thing that I would like you guys to be a little careful about is that we worked really hard to image the sky in the background. Make sure that when you're building your buildings, you don't end up covering it up. Because if you can see it's a very beautiful sky where we have three different colors and then we have some really good clouds. Very dramatic scene. And just make sure that when you're painting your buildings, being them in such a way that they don't use up the entire space of yours. Bing, bing sky and being loud. So I'm also going to be ending the buildings in such a way that the sky is seen through and all the effort that went behind this and the clouds does not go to waste. And these fine, we're really isn't much to say. I use 12 guys to observe what I'm doing and replicate the whole process. And if you feel like you want to change how the buildings are, please, please go ahead and do whether chopping, you're free to make whatever changes you like. So this is the part where you need a skill and event two. Now if you're comfortable or drawing a straight line just like that, you don't need this, but I just wanted a proper nine degrees. We will be drawing in electricity ball over here. So I'm taking my line approach. You can go ahead with whatever fine tip brush you have. Size you are size one because we need to be waiting lines over here. And you have to be a little careful while you're being nice. So I'm just gonna draw ten line first and very slowly and very carefully, making sure that I don't ruin it for despite requires a little bit of farms in tuition. The painting some made ten lines. I'd suggest you still continue using your thin, fine brushes because we need some day they didn't lines over here. And I'm just gonna let you guys of the zoo of how I'm doing good. Next up we're painting the wires. You have to make sure that there aren't meeting at once and dewpoint. And only then it's going to look very neat. I'm also keeping that end point in mind and drawing all doors virus to the bigger they are all connected in the central part of the electricity born. Now I am adding some additional digits. Do the boil, whatever I feel like I wanted to take him into the bottom of the bowl. So I'm just gonna go ahead and do that if you're satisfied with your 0 and repeat this process. So here comes another important part of the beam bang away. We really repainting some light bulbs. So over here what I'm doing is I'm using the same lifting technique that we had used earlier. I took a wet brush and I started going with it in circular motions because we're beaming light bulbs through one-sided die. I used it to should we lift off being so as you can see as, as in when I'm lifting off the beam and getting some really nice round shapes over here. And then we're gonna go ahead and be involved with this. And the reason we're doing this activity is that unlike acrylics of why should we cannot really paint over watercolors this way. If I hedges tried two pink bugs on the sky, I wouldn't have been able to get a nice effect and the gala wouldn't really pop out. Instead it would look Bei Di. So in order for the color to really pop out and light bulbs, we have to lift that beam so that it have, we already have y base to work on. So in order to be indoors, so a light, I am using my golden medallion plane, I am taking in a good amount of being on my brush to lead. I can be in some really take Leo's on that white area. So I'm going to do is whenever I had that been, I'm just gonna go ahead and use my golden modally beamed to draw some, to bend some light bulbs. So I'm just covering up all the area, enjoying some nice circled over here. Okay, so I'm dumping data, so goes now when I'm doing in the act of joints only hidden lines on dot just to show that they are, the bugs are hanging to the wires through something, right? So just to lay those long lines will do make sure they re ten. So next up what I'm doing is I'm just using my white gel pen. You can use your voice, right? Watercolor or acrylic paint or bush beans to draw me ten dots. So what I'm doing is I'm drawing very, very thin, dark delayed insane. So they're going to depict the light to if you've noticed, unlike bug, that is at 1 in it, where you have the light and it's extremely bright, so big that I am drawing some day small bites of goods. However, even with the jump and I wasn't satisfied with the obesity of the white. So I went ahead and I use my white watercolor innovated consistency to further add on a layer of white lies. At this point I felt like I wanted more light bulbs and I wanted to I'm there, so more drama. And I wanted the buildings to be behind those light bulbs. So since I did not lift off the beamed initially and the buildings black, the watercolor beamed was looking Vaden when I tried to paint with it. So what I did was I used my acrylic golden beam so that I have a bright colored light bulb over depth. But when you rise up in ticket, please make sure that when you build the buildings, you will lift off the beans from that area so that you don't struggle when you have to bend the light bulbs in this area. I'm gonna repeat the same process that we had done earlier. We, we Jews and wait in lines and then added white being inbetween. So go ahead and repeat that process. So now to complete of the painting, I'm going to paint some shooting stars or head in there. I will be mainly three shooting stars. But you can just beamed one or two, which is according to your lighting. So that's done. And here comes the part where we be loved, the tape and see your final result. So that we're not id I1 didn't my light bulbs to have and other flexion and I wanted them to shine brighter. So what I'm doing now is that I took some water on my brush and I took some golden metallic ping. And using that being, I am just going to paint around those light bulbs. I'm gonna zoom in in a while so that you'll be able to see the effect that I'm trying to create here. I just want them to sparkle more and shine brightest. So that's the reason I'm going around them. Now if you look close, you can see a little shine like we have. And this is exactly what was missing in the painting. And I feel that now it really is completing the whole look. And it has really add a sense of realism. And then because it is how light bones are. And when you see them, the arena shining guide and you can see the light reflections. So I'm just gonna go ahead and do this for all the light bulbs. And now we're finally done with the painting. I really hope that you guys enjoyed it and learned something new from it. 10. Final Thoughts + Giveaway!: So guys, a glass has finally come to an end. I would like to thank each one of you who stayed with me till this point. And I really hope that you guys enjoyed it. I, you learned something new. I know that the metallic beans were the center of attention in this class and not all of you might have it. Don't worry, it is the reason why I have that giveaway. You, you are actually eligible to win two things from the, the way. One is a beautiful art philosophy, metallic pins set and the second one, yard of Princeton brushes. I've also used those brushes and thus glass there, quick brushes. And all you have to do to win those inside, you have to watch my class. You have to follow me on Instagram. So if you have any doubts, please feel free to contact me. You can share your projects. If you recreate any of these bindings in the project section, you can leave me a review. You can ask all your questions in the discussion section, or you can directly send me an e-mail or message me on Instagram. And I would love to hear your feedback and respond to your queries. So all the very best and good luck with your journeys. I cannot wait to see your class projects until then. Goodbye and take care.