Watercolor Galaxies : Paint Awesome Shapes ! | Francoise Blayac | Skillshare

Watercolor Galaxies : Paint Awesome Shapes !

Francoise Blayac, Artist

Watercolor Galaxies : Paint Awesome Shapes !

Francoise Blayac, Artist

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30 Lessons (2h 35m)
    • 1. Introduction

      1:37
    • 2. Class Projects

      1:04
    • 3. Supplies

      3:24
    • 4. Exploring Ways to Paint Shapes with 2 Key Techniques

      1:49
    • 5. The Milky Way Part 1 : Color Mixing

      1:54
    • 6. The Milky Way Part 2 : First Layer

      9:27
    • 7. The Milky Way Part 3 : Second Layer

      9:47
    • 8. The Milky Way Part 4 : Third & Final Layer

      7:30
    • 9. The Milky Way Part 5 : Adding Details

      3:03
    • 10. The Vortex Part 1 : Color Mixing

      0:52
    • 11. The Vortex Part 2 : First Layer

      9:51
    • 12. The Vortex Part 3 : Second Layer

      9:44
    • 13. The Vortex Part 4 : Third & Final Layer

      9:18
    • 14. The Vortex Part 5 : Adding Details

      2:51
    • 15. The Tie Dye Part 1 : Color Mixing

      0:52
    • 16. The Tie Dye Part 2 : First Layer

      9:53
    • 17. The Tie Dye Part 3 : Second Layer

      8:16
    • 18. The Tie Dye Part 4 : Third & Final Layer

      9:25
    • 19. The Tie Dye Part 5 : Adding Details

      2:10
    • 20. The Nebula Part 1 : Color Mixing

      1:46
    • 21. The Nebula Part 2 : First Layer

      9:07
    • 22. The Nebula Part 3 : Second Layer

      4:51
    • 23. The Nebula Part 4 : Third & Final Layer

      7:38
    • 24. The Nebula Part 5 : Adding Details

      1:37
    • 25. The Spiral Part 1 : Color Mixing

      0:55
    • 26. The Spiral Part 2 : First Layer

      7:01
    • 27. The Spiral Part 3 : Second Layer

      7:53
    • 28. The Spiral Part 4 : Third & Final Layer

      5:43
    • 29. The Spiral Part 5 : Adding Details

      4:40
    • 30. Conclusion

      0:45
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About This Class

In this class, you're going to learn how to paint five watercolor galaxy shapes.

This is the second of a three parts watercolor galaxy series, we will focus on the techniques you can use to paint shapes in watercolor :

Contrast, to create the shape itself and make it stand out.

Movement, with effective brush strokes, to give these shapes some life and make them look realistic.

This class is best suited for those who are comfortable with watercolor painting basics and those who desire to learn how to turn a simple watercolor background into a landscape painting.

We will be using basic watercolor supplies that are ideal for galaxy painting.

If you need to, you may refer to the first part of this series for extra guidance on painting and blending smooth and vibrant watercolor backgrounds, otherwise, get your supplies ready to learn how to paint galaxy shapes !

Feel free to add your projects to the project gallery of this class to share with me an other students.

Let's get started !

Meet Your Teacher

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Francoise Blayac

Artist

Teacher

 

Hello, this is Françoise !

 

I'm a mom of two boys and two girls, and I'm from beautiful southern France. I went back to doing art with my third child, after a 20 year pause, which is proof it is never too late to get creating again :)

I enjoy using any art medium even though I mostly use watercolors. 

Some of my other favorites are colored pencils, graphites, and pastels :)

 

I love to create anything from landscapes to portraits, my reads and travels being my biggest inspiration. This is why I enjoy creating magical and dreamy pieces where I can lose myself.

It's amazing what you can do and how far you can travel with Art !

With my classes, I strive... See full profile

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Transcripts

1. Introduction: Hello, my name is Hans was welcome to the second part of a watercolor Galaxy series. I'm a French artist and I love to create paintings that look realistic. In the first part of this series, I went deep on work, goes into creating smooth and vibrant watercolor backgrounds. I taught my blending, layering and lifting techniques with one background exercise and one galaxy project. In the second, we're going to use this techniques and practice new ones to learn how to be changed. So he'll comfortable with water control and how to paint a simple 1over backgrounds. And you'd like to weave in some detail into your backgrounds. This class going to be useful. Learning this skill will help you improve on landscape painting. You will better understand how to incorporate clouds to STI, or ripples to seascape, for instance. To get their first, we'll talk about the supplies will need. I'll explain how to use contrasts and brush strokes to pin shapes. And then we'll practice with several projects that will allow you to make shapes with all the techniques learned in this part of the series. And last, we're going to paint several different galaxy shapes. And the way the vortex, the tie dye, the nebula, aspiring. By the end of the class, you will understand how I'd been shapes and you'll be able to apply my techniques to your own one of her paintings. So graduates, and let's get started. 2. Class Projects: Painting shapes can feel a little confusing, even a little intimidating. But when you know how to leverage techniques I use for my galaxy paintings, when you actually try and practice the SEC tanks, you will realize pinning shapes is not as hard as it looks. There are five projects in this class. They all represent a different galaxy shape and we will be using several techniques to get the facts will looking for if you're just getting started or perhaps not comfortable with how much water or how much paint you use to learn Swift backgrounds, I would strongly encourage you to check out the first part of my Galaxy series first, then come back to this class, check out the product all about creating shapes that comes out to the supplies. And, uh, finally, tackle the projects. In your final project, I'll be looking at how you use it to key techniques, contrasts and brush strokes to create shapes in your paintings. So please upload your projects, the project gallery here in this class. And feel free to reach out if you need any help. For now, maybe in the next lesson for a look at the supplies. 3. Supplies: For the supplies are going to need watercolor paper. I tend to always use 100% cotton paper, 300 GSM called pressed. You can see the cold press texture there. Cold press cotton papers work great for backgrounds and landscapes in general, since we use a lot of water. Next we are going to need a few paint brushes. I have a lot of them here for convenience. And don't worry, you don't need that money or you really need is a large one like this one, large enough that it will be easy to paint on the size of paper that you choose. And then you'll need a smaller brush for detail like this one. Now if you have more choice, you can use like me a bigger brush just to whet your paper can also have a second large brush. I have to, because I use one for the light colors to avoid, to have to wash them repeatedly and waste time doing that. You can also use a paint brush with a fine tip like this one for the details, convenience is really why I have this many paint brushes hair to keep in mind that two of them, a large one too wet and paint the background and the smaller one for the details are really all you would need. Now further colors, I'm using art philosophy, watercolor tips today, you can use whichever brand you are used to. It's totally find the main colors. We'll need our Indigo for the dark parts, then a blue shade like Prussian blue for the lightest blue parts. We'll also use Opera pink. It's a flashy pink that looks great on that extra paintings. And then we'll need a red and the yellow shaded. These two will allow us to get red, yellow, but also on shade and the painting. Since when we mix them up, they'll turn into an orange shade. Other common colors you can use as substitutes are a covered blue in place of the Prussian blue. And for red and yellow, you can just use orange. That is, if you're a beginner and mixing colors seems intimidating, it's an option, although I'd recommend go for both red and yellow. You can also use any other pink then offer pink. And for any girl you can use which ever shade of blue you picked and makes it to a black color together, very dark blue. Now for this flatters the stars, but also some of the effects, I'm going to use some whitewash. I like titanium wig washes pretty opaque and it works well with watercolors. These are all the colors of using today. I actually part the watercolors and these half pants, and I'll mix the colors right here. I really like to recommend masking tape to tape the sheet firmly on a table like so if we help file painting, and I also like to have some paper towels nearby because it's always convenient to remove excess water from the paintbrushes. Two glasses of water also won two ends, the paintbrush and another to what? Atwood cleaner water. And I'm going to show you my heat gun. I use that to make layers dry faster and if you don't have one, a hairdryer works fine. Otherwise you can wait for the layers to drag well set. And in the next lesson we're going to look at what techniques can get used. Specific shape law, getting your painting says still look smooth and natural. So lets me there. 4. Exploring Ways to Paint Shapes with 2 Key Techniques: To paint a shape and a watercolor background that blends n while still looking like it's instinct for the background itself. I use two techniques. The first one is contrast. In this painting, for instance, we can only clearly distinguish the molecule effect from the background because the background is so dark and the Milky Way is so light in comparison. And don't worry because we will explore this in depth with each project. And you get to apply this to several very different shapes to understand how to tackle this. The second technique I combine to contrast to create shapes is I use specific brushstrokes. Let's look at the reference photos and inspired other projects in this class and you'll understand what I mean by brush strokes. For the Milky Way, we are going to tap our brush lightly with color and white glass to create the shape. Because if you look at it closely, you can see it looks like just little dots of color. Let's look at the vortex Now. We're going to move in circles and half circles to help pin this for attacks in a way that looks believable. For the tie-dye, we will mostly paint lines or stripes, however you prefer to call it. The nebula will be a combination of tapping the brush here and there and moving in circles. This one will be best painted using contrast as a key technique. But we'll use movement to because that will always give a better effect. Finally, if the spiral will use that spiraling movement with Well creates most wells and low pay close attention to contrast as well. To make sure it turns out the way we wanted to. We're going to take each project step-by-step being the ones who fill most attracted to you and please share those in the project section. Add love to see your progress. Meet me next for the very first project, the Milky Way. 5. The Milky Way Part 1 : Color Mixing: Let's get started with our Milky Way painting. We are going to be parent mixes for indigo, Prussian blue, and pink can remember, you can very well use another blue shade and Prussian blue. And if you don't have any girl mix it to a little bit of that. We'll need whitewash this painting for the Milky Way effects. I'll be using all my paint brushes here. And again, it will have to use as many, use whatever makes you feel more comfortable. We're going to mix our colors first. I'll start with the lightest color or pink. We wanted very run it to begin with just enough pigment to place our main colors on paper. I encourage you to check out the first part of this galaxy series if you haven't already. Since there I explained a lot about how much paint and how much water we need to paint smooth backgrounds. And I take you through the different stages in the painting process. I'll remind you of what we want to do and how for each project in this class. However, the first part goes more in depth on the matter with more exercises and basic the beautiful galaxy project. So feel free to refer back to it if you think you need to. I just mix Persian blue and now I'm Mixing indigo. I always rinse my brush between colors. That's exactly why to paint. I'll be using a paintbrush for upper pink and one for my Blues. It will be much easier to keep my clothes clean and it will make the painting process smoother. We're done. So see you in the next lesson to start painting. 6. The Milky Way Part 2 : First Layer: Welcome back for the first layer of this milky way. We're ready to start now we mix the colors and that's what the paper so we can place our base colors on here. I go back and forth like that and I'm gonna do this for about a minute. One thing I haven't mentioned in the previous class and I find is a great indicator of how long you should wet the paper is that once it's a very wet, the paper tends to lift off of the surface has been taped to you and you can tell it soaked and lost its stiffness kinda of cell. It should be ready for. I'm done now. So with 100 a large pin brushes, I measured sweat first. I pick up some pain for my opera pink mix and I'm going to paint the Milky Way very briefly just to help situated. I tap the brush on paper to do that. By the way, you can download the references in the resources section of the class if you need to look at it while we're paying, two will help heal. I haven't missed much paying. I'm comfortable mixing more quickly. Remember you always have the option to go with larger mixes of paint right away. Now in supply, Prussian blue in the center, that's going to be very important to emphasize our Milky Way shape. And also all around the ping areas. I'm covering the areas where the darker spots are with pushing blue, even though I'll paint with Inigo there later. I've been doing this only because I don't want to give my paper a chance to try. The quicker you can cover up your paper with freshwater repaints at first, the better. And since the background is made of blue sheets, only I can use push in blue to maintain the humidity. Indigo. Later. I add indigo mainly on the edges and in the center of the Milky Way are actually, looks pretty strange for now is totally normal tot worry about it. It's going to be like this with all of our projects anyways. What we want in the first layer is to make sure we leave some of the light areas completely untouched. While also placing the darker colors where you can see them on your reference. And to create shapes, we really want to see the rough shape on paper by the end of this first layer. It doesn't need to look perfect. It just needs to be there with a clean and damn brush like this one or we're going to start and blend colors together. I touched on that too in the first class, is really going to help you make the colors blend together smoothly. And you'll notice our shape will look better. After this. We're going to repeat all the steps again, apply our pains than London. That's when I start using to paint brushes for convenience, one for pigs, one for blues, and will keep increasing the amount of paint in our mixes. Now, we want to overlap this darker pink until the previous Ping areas and also the blue areas. And let's be careful not to cover up the light pink areas either. Now I'm mixing Mar and I presumably shade stolen money makes sense at this point, but not too many as you want to make sure the color does not spread very far in order to create our shape. Now let's add some more pigment to the indigo mix. And if you want, you can take any extra water of the brush like I'm doing here. White glass will help us later to create the Milky Way look and emphasizes shape. But it's also very important to make this area there in the middle a bit darker. Crashes just going to be a way for us to add right parse to the painting and make it look more like a real Milky Way. I start blending colors and make clean and damp crash. The purpose here is to remove any harsh transition between two colors and it's already looking a lot nicer. You may use this to soak up excess water like I'm doing there in the top left corner. Let's call this our first layer. We're going to try it now. We do have a nice blend background here. Where do you think it's much, much lighter than it looked? Ends the next layers and there are a few marks as well, but does that okay. And we do have a Milky Way shape there is, that's great. We're going to keep building on top of it. So now let's head on over to the next lesson for our second layer. 7. The Milky Way Part 3 : Second Layer: Welcome to part three of this Milky Way painting for a second layer. Now, in this second layer will use whitewash and get it ready for later in the lesson. Let's put the paper again. We're going to paint in the same way we did before. We'll just add flash this time and we'll also wet the paper and the more superficial way since we already have one layer down, make sure you get into all the nooks and crannies of it. I'm adding a bit more pigment to my mix. Remember to do this each time as you progress in painting to get colors more vibrant and better contrast between them all to, Let's start with this event, were attacking the brush on paper lightly like this. And we don't want to cover up all the light pink areas. Otherwise we would lose contrasts, like I said before in the first layer. And it's hard to backtrack with watercolor is once colors or dry. The paper is going to drive very fast everywhere else if I don't add any more color fast. So I'm trying to get the pink on there pretty quick. And once we get done with the blue chains, we will have more time to work, and so on. Now, I'm adding Prussian blue and adding more paint in the mix. I see my paper is getting closer, trying too much on those edges there. So I'm going to apply that everywhere around the things. We can do that, since indigo is also blue shade, it will come on top just fine. And after a while you get used to taking shortcuts and finding ways to make painting easier with practice and watercolour is not so hard after awhile really, it's really worth it to hang in there and keep act the same. I'm not afraid to overlap a bit when you use a dark color like this on a light one 2's be careful not to overdo it. Lets add indigo now on the edges. And I overlap it there in the middle section there as really important. Ridden with that, the paper should be wide enough at this stage that you can keep adding comfortably. Now with my other paintbrush, I clean it first. I said the extra water off and I start blending colors, just the edges. We really only want to soften the harsh ones with the stamp I overlap to make it look natural, Fitz still am leaving a lot of pink areas. I'm going to add more color on there because once I add whitewash, I don't want to cover it all up, so we're going to call us first. So you're satisfied. You don't have to do as much as me just till you are satisfied. Then you can move on to the white glass and see now doing this gives me some shades of purple I didn't have a minute ago. And that's the color variety that will make a background like this look deep with Phyllis M. Fast-forward this next part as I am just repeating the steps we just went through, because I will mark color. We apply pink, then pushing blue than indigo and we blend to fade those harsh edges. Okay, feel free to start adding the clash whenever you find a background looking colorful enough. And keep in mind, we will be adding a Finnmark color in the last layer tail. So it doesn't matter if it's not perfect now, the shape should just be better defined and we should see dark areas starting to contrast nicely with light ones. That's it. Now I'm happy with my background being accurate enough, so I'm going to add white glass to brighten and all up and create those Milky Way effects. Let's make sure it stays pretty thick. We just need a better water. That's it. The water from a webpage will do too, so we can make squash. That's really all you need. I don't want it to spread too far above it. If it's too thick, it will leave harsh marks. So I don't want that either. Even though keep in mind that unlike watercolour, it's very easy to remove clashes between us. Something to stress about you can still adjust as you go. Something we want to watch for is to rinse the brush and pick up fresh pains frequently because you'll notice that every time you drop it on those dark colors gets dirty. And we don't want too much of that. So the best thing to do is just rinsed the breath frequently and come back with fresh pain. If right now it's looking blotchy toy normal, don't worry about that. We're going to blend those edges and to the rest with that same technique using our clean and damping brush. And just keep tapping my brush here and those areas that help me shape the Milky Way. Now it's time to blend the glass into the paints. I'm careful to rents hybrid often and dabbing my paper tells us just damp because if it's 2x, you would have more chances of leaving blooms on this drying backgrounds. Just watch for that. If you do see a spot where there is a lot of pure glass is a case here for me. I will recommend to blend that n because it will show up when it's dry. Look at how much more beautiful and satellite is looking with just that. Lets try this layer. And the next one we'll add color and mark lash to polish the looks of it even better. Remember, you can stop adding colors and layering now or whenever you feel your paintings looking good enough. Although adding one more layer will help you achieve more depth and realism. We're done with this layer and the shape needs more definition. And it'll get darker in the center and the edges as well. I do see some patches. So you see for me it's not looking as I wanted to now. So let's meet in the next lesson and I'll show you how my third layer helps me fix all of this and end up with a gorgeous Milky Way. 8. The Milky Way Part 4 : Third & Final Layer: First we are going to wet this painting again, superficially like we did previously, is that we have so much pain on an already. What I like about doing that when there is a little bit of glass and paper, is that we are going to smooth it out better equipped with watercolors alone and with glass. It's a trick that's even more effective and you enjoy it sometimes as a very final step. And now I'm going to repeat this steps we went through before. Main difference each time is that we have more and more paints. I'm adding pic. You can see here very clearly that is going to add color to this painting. And that's why I love a third layer. Once we add darker colors and a bit more glass is going to be a standard. I'll speed up the next steps that bed till we add the clashed into went through them before. But as a reminder, I add ping first without colouring all the light parts. Then I add pushing blue and finally indigo. I go from light to dark. And I add indigo to emphasize contrasts with a light terms. And I blend those colors together as a last step with a clean and Dan brush to fade those harsh edges between them. We can see now that those dark parts look good enough so that some Glasgow contrasts with these very well. And this time I'm adding a bit of a thicker mixture of glass. It's even a bit too much up here on need to blend it into the other colors later. Otherwise it's going to look pretty harsh. I'll let you follow along with some music and after that, we'll try this layer. So this relationship, right? Okay. It's looking good, still bit blotchy. So what I'm gonna do, as I mentioned in the beginning of this lesson, is to weather. So again, just to smooth it out, we couldn't have done this before drying the sheet. Otherwise, we would have removed all of the fresh pains including the watercolors. That's why I'm wanting it with clean strokes as if we were painting a wooden plank with acrylics or would pains. We are going to be ready for some scattering is a very last step. And if you look at the milky way now you can see that because the metal of it is very dark in comparison to the lighter parts. And also because the edges are very dark, we really got ourselves a nice milky way shape here. Tagging the brush and white glass enhances that. And that's why brushstrokes are important. Because now it's not just a shape, is a Milky Way shape. Let's go add some spiders in the next lesson. 9. The Milky Way Part 5 : Adding Details: Welcome back for the very last step in this painting, adding some stairs and mixing whitewash. One smart to get a great consistency. You don't want it to be too watery and are too thick. And you'll need to test it directly as I'm doing here to see how the stars come out. So no stars are a tiny ones, means you need to add water. Huge drafts means you need more paint. If that happens, you can always remove those drops with a paper towel, so don't worry about that. I tend to see some lines forming when I splattered I this, I switched the direction in which I do it very often is looking pretty good. Let's add a few more stories directly with a paintbrush. They will look bigger in this way. And we can also choose where to place them to balance to the painting. I'm gonna remove the tape and reveal. Looking beautiful, you can see the glass in the Milky Way itself is more subtle than the stars and that adds to the realism. Before you move on to the next project, remember for this specific Milky Way shape that the key brushstroke is to tap the paintbrush around for the Milky Way effect, applying Galatia, the second layer rather than the first, because the first one consists also light, it may not make much of a difference. Check the consistency of it, so it's not too runny n2 thick. It was bred a lot of his tyranny and leave heartbreaks, philosophies to tech, blended into the water color to get that cloudy, dreamy look. And more of it in another layer to emphasize the highlights you get from it. And finally, don't be afraid to wet the whole background again to make it look softer. Create job and completing this painting, please share with me in the project section of the class I would love to see and see you in the very next one. The vortex. 10. The Vortex Part 1 : Color Mixing: Welcome to the first part of our vortex project. We're going to go ahead and mix our colors for this will make indigo and red and yellow. As always, I start with a very light mix. I reactivate the colors that have dried. We have our three colors, indigo, red, and yellow, is enough to get started. So see you in the very next lesson. We'll, we'll paint our first layer. 11. The Vortex Part 2 : First Layer: Again a paint. Our first layer. I am writing the paper generously is just like what we did for the Milky Way. From paper. Always need more water for white and white work. Ok. I'm going to be using a paintbrush for red and yellow and another one for Amy go. I'm starting with yellow. And right away you can see I'm building our main port x shape with circular motions. And I tried to find the center of the page. If you don't get it right immediately, it's okay. Just remember that by the end of the first layer here, we want to have our re-shape on paper. Now with my other brash and indigo and refining the circle. So for texts, he can make it a bit bigger or if you like. And I'm going to add a little bit of paint on the edge is two. I have a good shape already, so let's add some red. Now. I added on the edges of the vortex, I'm trying to keep the metal there. Quit. My circle is fading away here and if I haven't, T2, don't worry about it, it's going to be so dark, it will be easy to redefine it good. Now with my smaller paintbrush, I am going to target that hole and I make sure to take excess Indio pain out of the brush just like this because I don't want the pain to spread outside of that space too much. I find that for this circular motions who really helped to get the shape accurate. And now as I move away, I present my brush more towards the end of the stroke for the curve to look thicker. You can keep shaping the center of the cortex to get better if it's not right yet at the stage. As long as your paints a still wet and still light. Let's pick up a bet my page with a fiddler, pigments less water. And I'm adding it on the vortex. If you notice that yellow and blue make a muddy color, that's completely normal because they're opposite on the colour wheel. And personally it doesn't bother me as long as I can get the light colors brighter at some point by adding pain in the mix. But if it bothers you, then it will be better to use colors that are closer on coil, like blue and pink, or blue and green for instance. I am adding red on the edges and getting the vibrancy back and an orange color. Now, I'm going to repeat this steps. First, blend all the harsh separations and keep refining all colors till I'm happy with my shape. Stop whenever you're satisfiability or shape. I always spend so much more time on the first layer because it's the foundation and a guide for the rest of the painting. And remember that it's a shape is looking odd, is totally fine. And I'm a bit of blending the harsh edges will do the trick. Okay. Let's think a little bit of color there. And we're ready to dry this layer. We're done with this layer. We have the shape, right? But it's still very late and we need to add color. So see you in the next lesson for a second layer. 12. The Vortex Part 3 : Second Layer: We're going to be the second layer in this lesson and intensify colors as well as the overall looks at this vortex. And winning the paper briefly. There we go. Now I'm going to add some of the lighter colors. I'm using a bit more paint. Remember to always add to your mixes a bit more as you go. I'm leaving a highlight in the middle. Let's add a little bit of red. You can see here it's trying already a bit. So I'm going to apply India on the edges quickly so I can keep working on this. With indigo, I redefine the shape of this black hole in the center and the swirls. It's like a previous project, Indigo is really important to get the rest of the painting and write a cause to puff. I always overlap colors. That's what will get you that natural, realistic, especially when you blend the colors as far as storage. I am emphasizing the shape of the swirls there when my wretched. And I make those edges a bit darker with red and yellow mixed up. I still use movement and it really helps in giving the shape in particular, the impression is moving. And if you just get the integral part in the orange part with a hole in the center but no strokes to show movement. It won't look as impacting. I am working on the edges of the shape to fade into the MBL area better. Something worth knowing about is for me when I look at my camera as I paint, I get to see what my hip looks like from a distance. And taking a step back works just as well when you don't tell me your process. So either way, it will help you a lot to do that. I keep adding more paints and refining the shape. You may stop when yours look the way you want it. It can use like me, a small brush to emphasize the impression of a squirrel. Always, indigo cars. Don't have a specific sequence of what colors I apply, what order I apply them in. I just try and assess what might be missing. And I just we want this dark hole there to be really dark. So I'm going to emphasize this now. Is looking at I could probably overlap a little bit of an ego there on the edges of the vortex. But we can improve with these Hells. And the third layer does what it's for. If you're happy with how your shape looks right now, you could also head straight to the stars flattering final part of this project. Let's try this painting. It looks great. And what I'm seeing with just need a little bit more indigo to make it darker, burnt. And then maybe refine the shape here because it looks a bit odd in places. Other than that, it's good. And then we can maybe add movement there too, and it will look great. So maybe in the next lesson for last layer. 13. The Vortex Part 4 : Third & Final Layer: Welcome back for our third and last layer on this vortex. Or wet the paper briefly and in this layer will make the shape more polished, better defined, and with a stronger contrast. I'm going to add yellow. Remember we need to be fairly quick Once we have wet the paper and once all colours are there, looks fine for a few minutes. I'm in right now. And this is really intensifying the looks a lot more. What IndieGoGo one to make the edges and the center a lot darker. And then we'll event colors into each other for nice transitions. Let's add some movement. A spell at paintbrush is more effective for that. It's really turning into a nice shape. Now you can really see how this is a far texts thanks to the high contrast and fresh strokes. Two. I'll fast forward this part of it where I'm getting my shape as accurate as possible. At the spine, assess for choice needs the most. Far dark strokes, a darker Hall, Denmark, Holland, maybe adjust according to what you're seeing. I want to show you now that you can highlight part of the vortex Hall and give it a cool effect with lifting. It's always a good technique to use to emphasize the separation between dark and light very much. I'm lifting a weight on the edge of the hole, not all-around. Otherwise it might be too obvious and make it look like the hole and the rest of the vertex are separate elements. So I'm just lifting into areas just as an accent. It really asks the painting. Okay, let's try. This. Is looking beautiful. Let's go ahead and pick the stars in the next lesson. 14. The Vortex Part 5 : Adding Details: This is the last step in our vortex painting. We are going to be adding a few stars with whitewash. I'm going to try not to have too many stars in there. It's like that of my reference photo. And it could also mean that the other side of this hall, there's some kind of void. That's it. We want to let this vertex shine. So not too many stories needed, but our XMM, What a few platelets occurs. I'm going to add a few there to suggest are getting sucked into that hole. Alright, we're done. It's really, I'm happy with it. Let's take the tape off and let's take a close look. Great job and completing your four tags, please share with me and the other students in the project section of the class. And remember, overlap dark colors on the lighter ones. Her better color transition. Add small curves to give an impression of movement. Very dark areas next to light ones and precise hollowness. Add more stars in key places to emphasize movement. Let's tackle the tie shape next. See you there. 15. The Tie Dye Part 1 : Color Mixing: Welcome back. Where this painting we are going to use Opera pink or any other pink you have presumably or any other blue shade and indigo. And remember for an AND gate you can mix the blue shade you will be using with a little bit of black as well. I'm making more of my pink mixed and I'm just going to reactivate the other colors and we'll be all set to cite. In this painting, there will be hence pink. But since pink and blue mix into beautiful purples and expecting more of a purplish painting, it will be up to you to decide if you want to add more blues or pings has accents. Feel free to be creative with the colors as we picked. Meet me in the next lesson for the first layer. 16. The Tie Dye Part 2 : First Layer: Let's paint the first layer to place the colors where we want them and start shaping this highlight. I was a bit intimidated by this project when I first tried it and it turned out to be easier than I thought. So please don't feel nervous about it. Will be moving step-by-step. And because we always start with like colors, as in a repeating, there are a lot of opportunities to fix mistakes. Now the paper is wet and the water has penetrated the fibers. I can feel it as it's lifting off of my math as I was telling you in the last project. So now we can start placing our colors. And I'm actually going to mix it up a little bit of blue with my pink right away. Keep your spank if you prefer, it will be beautiful Either way. I'll add pink later to, to have lots of different colors peeping through in this painting. Right away, I'm shaping this tie with these straight strokes that merge towards the middle. And see actually with just a few strokes, it's already looking like a tide ice, so it's not really as hard as May 1 think. And from here we'll just have to add color and watch for good contrasts. Really. On the left side, I saw my reference photo, then we're less of these strokes. So I'm just going to tap the vapor when my paintbrush here, I'm going to have pink now, actually I think we will need some of it in the final painting. You see her that because I'm using very light colors, I have no trouble switching things up in terms of what the base color will be. At this stage, I could even remove all of the pen to the paper towel if I needed to. And then I'm adding blue now, but I'm not going to cover up along the pink areas. And that is what's going to make us die, die, pull all with the fact of color showing. And still using the same strokes. Let's add Indigo in places. Remember that in Oliver paintings the darker tone is really key. That and the highlights is what will get us our shape. Make sure to merge with strokes towards the middle and to be spontaneous with them too. It's huge. Mark color with pink again, added a little bit of paint. It's really, it's looking better for kinda keep doing this for the other colors here are going to look darker and we are going to overlap them a bit. Okay. It was huge. Let's plant all these colors together with a clean and damp, fresh. And the fantasize the highlighted with the same cleaner, damp brash again. Fisher, It's really keen though, rents and suck up excess water from it frequently. I'm careful to make those lines merge towards the middle cell. 50%. If you write down lifting colors, let's say this layer is looking great, light, but great. So let's meet in the next lesson for Mark Color. 17. The Tie Dye Part 3 : Second Layer: We're back for a second layer on this galaxy and we're going to let our background briefly. As always I start with are lighter color. I'll prepaid. Then we'll use our blue shades. The onus here, a House pretentious yet competent. I try to make my stroke. I find that it helps to start where the masking tape is. And I remember reflecting on being spontaneous S beginner and thinking my background's always looked better when there weren't like that. When I did an overthink everything in advance. So let's blend our lens. I also pull lighter paints from my clean damp brash onto the lightest parts to overlap. When you lift the pains, don't be afraid to press an alarm. It don't worry if you have background doesn't look exactly like mine. Okay. I don't want very strong pigs in my paintings, so I'm mixing a little more purple. Fast-forward this part of it as all just be adding color and lifting again. Try this layer and we are ready to obtain a final layer. So see you in the next lesson. 18. The Tie Dye Part 4 : Third & Final Layer: Welcome back. Now for the last layer, let's put the background. And I'm going to be adding pink. I'm going to mix it to blues and also use it alone to create various shades out of it. We did take a lot of the pain of the previous layers to create this tie-dye effect. So as a final step, we're adding color in the places that need it and lifting where needed as well. And then we'll be ready for the stars. I want to show you here how I create a little bit of detail to publish this tiny. If you do have one of these P brushes with a fine tip to make smaller, finer lines starting from the center. And this will help those with contrast and to make the more obvious. It's really dark now. It will look great. Next to the last highlights how we make thank you lifts and we're not going to overdo it since we already have marched or Leffler previous layers in the last area will using this technique to access the period. I'd like to play a little guy with indigo and the highlights, and we'll be ready to try this. So maybe the next lesson to do that. 19. The Tie Dye Part 5 : Adding Details: We're ready to finish this tie-dye with some stars. Let's platter a few of them. We don't need a whole lot was such an interesting background, so it just kinda stay light on this. I'm also going to add a few spots directly with a brush. It's beautiful. I really love how this is lucky and I love those colors. Purple spot of my favorite lines. Actually. Let's take the tape off and take a look. I hope you enjoyed this painting. Share it with everyone in the project section if you'd like. It will be my pleasure to give you some feedback. And for the tie-dye, remember to mix and layer whichever color you want to use in differentiates to give the painting and interesting Look. Don't be afraid to lift too much as early as the first layer is how layer's overlap each other that is going to give you a course is result in the end, translates spontaneous with your strokes, and use paint brushes of different sizes to paint and lift those tricks. And now let's head on over to our next lesson and project. See you there. 20. The Nebula Part 1 : Color Mixing: Welcome to the first lesson for our nebulae. We're going to mix the colors will need four. It will be using a little bit of red and yellow as well as pushing Lou and India. I'm just going to reactivate them since they're all tied up. Remember to keep them white. Here are always welcome to switch the colors if you just want to. Something else is just fine. But I would still recommend to use something like Indigo for the edges because India goes really direct. Svd getting gives you that look as can help that shaped pot. So yeah, that's a good one for galaxies. For dense. So let's meet in the second part, first, first layer. 21. The Nebula Part 2 : First Layer: We're ready to paint our first layer. Readily I wet the paper and as always on a blank piece of paper. And I know I want to work quite flat. I take my time to make sure the insides of the paper are also soaked with water. I'm going to start applying the yellow shape. We're going to shape some kind of a circle. I tapped the paintbrush onto the paper and I try to keep the shape centered. Now I'm overlapping red on top of that. And we're going to switch it now over to Prussian blue jet that center colored and the edges two. This way we can work a bit longer now, everything has been white again with fresh paint. Finally, I apply any girl and I keep it to the edges to maintain a nice gradient between my colors. Let's spend those colors now with a small paint brush. I'm starting in the light areas and I am taking advantage, I'm blending to overlap integral onto those yellow and red parts. Let's add more color now, we have a rough shape. One, the edges heritage stay late. So I'm going to add on the outer edge more salary if you don't get a very accurate as we get still left column later on. I'm adding red. It's too much though, so I'm displaying a right on paper. Picking some AP2 is really easy when you start getting used to watercolors to fix most mistakes I find that's why it's worth sticking with it until you feel comfortable with water, it will get easier in time. You can stop this layer whenever you're on shape looks good. Sylvia to overlap colors for natural look, not too much to preserve those bright yellow and red areas. And also remember to blend all the colors together to make smooth transitions. And it's a bit of colors, refund the shape, and I'm going to add more colors to make my nebulae look a bit better as I'm trying to end. This first layer is something that does. We'll look at a balance. I'm going to overlap those bright colors onto the Inigo cars, THE this, since I already have a rough shape count, I'm lifting there in those light areas to make the center stand out more. And I use movement here and left as if these edges were curvy to make them look like. So let's try. This. Shape is good. Let's meet in the next lesson for more color and detail. 22. The Nebula Part 3 : Second Layer: In this lesson, we are going to add color with our second layer and some details. A quick reminder, you can stop painting after the second layer if you are satisfied with what you're getting. I'm waiting the sheet again to play more color and as always, are gradually increase the amount of paint and I'm exist to avoid getting watches. I'm adding yellow. Then all ad ran my Blues, Prussian blue and indigo Mini the edges of the sheet for any gap. And then we'll then all listen. Let's left a little now to act on the separation between the center of the nebula and what's around it. I'm going to emphasize the area in the middle even more. And also the edges that are right there next to the parser just lifted to increase contrast a lot there with very dark and theory light parts. Let's spend the small details into the background. It's spreading and I don't like the all over the place looks I'm getting so that's why I'm trying to smooth things out when I blend the paints together. So now I'm lifting painted places again because I'm trying to get very light values to show up along with the very dark values. Let's try this layer. Now. We're looking a bit better, darker. Next we're going to intensify the colors, especially the dark ones. 23. The Nebula Part 4 : Third & Final Layer: In this lesson, we're going to paint the final layer, emphasize College and details. I went to paper briefly to start adding color. And I start with yellow. I'd like to add Fred, presumably any detail then, but all those colors to suffer any visible harsh edges. Let's add some detail with a fine tip paintbrush to shift the center of the nebula. I'm listing this part again to make it look like the center of the nebula. The dirtiest part is hello. And I've gotta keep lifting automatic. I'm overlapping some of the light colors on the blue parts to make it a bit more interesting. I'm actually seeing this from the photo, but you can customize your own nebula and the way you like best. So if you're finding the details, there's no specific sequence here. I'm just adding our lifting as I go. Okay. We're ready to add our stars. So let's meet in our last lesson for this nebula. 24. The Nebula Part 5 : Adding Details: This lesson is the final part of our nebula painting. I'm using white glass, just splatter few stars. Remember not to add too much water to the white glass, even though you can always adjust the amount isn't enough, clash too little water and the stars will be tiny. Or the pages one come out and too much, what are angular stars will be really big. I'm going to add a few bigger stars here in there directly with the brush. As always, I can't help but add them everywhere, but ideally it's better to keep them as random as possible. Also, wise platters are so nice. Let's reveal. I'll show you with the next painting. A little trick to clean up the extra paint that gets under the masking tape. I'm happy with. It. Looks nice. I'd love to see you are so feel free to add it to the project section of this class has shared with us. Remember, the more colors on the background, the more effective blending with a clean damn brush will be. Dark colors versus light ones emphasizes 3D effect. Pacific brush strokes can also be used when lifting paints. Keep the stars as random as possible. It's time to tackle our very last project. See you there. 25. The Spiral Part 1 : Color Mixing: Welcome back to the painting of her last project, the spiral. We're going to need our blues, Persian blue and indigo, as well as pink. I'm gonna mix pink right now. Remember to keep your mixes lights to begin with and also feel free to mix a lot more than I am. So you have them ready and all you have to do is add a bit of pin each time. I'm used to mixing colors. So I tend to already know how much pain to add, what I need in terms of consistency. And as cliche as it sounds, that's really something that comes with practice. So don't worry if you're not there yet. Where Dan cell meet me in the next lesson for the first layer. 26. The Spiral Part 2 : First Layer: Let's paint our first layer and start reading the paper. My water is not clean at all as you can see here. Actually, that's okay because I'm going to clear up all of the sheet with Boolean pain pains. But if I was painting something different, something like a snowy landscape. Lp mark Herschel. Remember the wedding lasts for awhile and the paper is brightness and helps colors blend really nicely later. With this spiral, I'm going to start with blues first. This is because the spiral itself is a small part of the painting. And if I start with it, it will be tedious to paint all around. So all I'm doing now is pin dish heat with Persian LA. And I'm leaving a blank space in the middle. Now, I'm adding a little bit of indigo on the edges mainly. Then less grab a smaller paintbrush. And with our patients are going to shape the spiral. You can see how important movement is. You can take a paint brush here and there to add pinkish accents and define this pile of it. You see now why it's easier to start applying all of those first and painless and the specific painting when you get started, gradually I'm adding pigment to make mixes and I increase color intensity on paper. I keep indigo to the car, to the sheet mainly. And again, this project blending is going to help a lot. Remember to use a clean but the afresh to do this. As you plan the spiral it clean and damped brush. The shape will fade a bit but as normal and okay, we already have a shape down or a center of this parallel is defined. So now using this as a guide to make colors morph vibrant and to accept the shape of more and more. I'm going to keep doing this, adding colors of the bitmap pigment each time. And the goal here is in every first layer for my galaxy painting technique is to have our rough shape down by the end of the process. This means you stop whenever yours is looking satisfying and you move on to the second layer. I want to show you here how much my balanced your painting will look if when you act on the spiral of that pane shade. He also take advantage to data paintbrush in places on the paper to create a purplish shade all around this peril. The transition with pushing labor will be less harsh. Having a publishing there. It will help make this parallel part of the background. As I'm doing this, I'm still following the direction of those scrolls. Is looking good to me. Sell I'm going to try this layer and later we'll add more details. The shape is looking great and I get, so we're gonna keep building on top of that. We're going to add some details. And then we'll have a beautiful spiral. So Mimi next first, second layer. 27. The Spiral Part 3 : Second Layer: Let's start on our second layer. Kind of heat Margie tell in this lesson, I'm going to regret the sheet fairly quickly since this is our second layer. We lost a little bit of a highlight there in the middle, but that's okay, we can fix it. For now. I'm going to start with pigs, since I already have the shape and darker colors down and finding it easy now to go with fig right away. In the first layer, I needed to either let the center of the spiral first. That's my way of looking at it. There is no right or wrong way. Of course, whatever feels easier is the way to go. Is looking pretty elegant. Don't forget the paper will try fast since where we went briefly. So let's cover up those edges with pushing glue and we can add those integral accidents later. I'm leaving the edges in this spiral untouched print out. That's because I'm going to add pink and apply it while blending those harsh blue edges all around to create a transition between the pink spiral and the blue background. The blending here is done with a paintbrush full of pink bits. Usually when I talk about blending in part one and so far the second part of the Galaxy series, I do it with a clean and damp brush. This time we want to add pinks wherever they are visible color changes between blue and pings to soften them with what will turn into a purple term. I overlap this pink even further around this parallel to keep some kind of balance. What do you want it want is a plain pink spiral followed by malaria, followed by a blue area. I'm really trying to connect those different parts together. With a small paint brush, the wine I have with the Fahrenheit tip. I'm going to tell this pile a bit more to paint on it a bit, fit my concentrated so it doesn't spread too far out. We also don't want it to thick so it doesn't lead a very struck mark. I'm adding accents all around on smart and this is how my spirals becoming a full part of our background. That's this method. Can lead paint in the middle of shrew-like. Otherwise we'll just fix this was clash. I'm going to do just that with my wife Joash, and also acts on the edges of this pile of debt. I like to add garage in the second, third layer on backgrounds like these, as we get undertones From the first, second layer and the third ones. But you could also consider adding guage just once when the last layer weather for you, the last layer is a second or a third one. I am going to keep adding and then all blend into the watercolors and will dry this layer. When blending the white glass, we're back to using a clean and then brush. He will need to clean it frequently as it will get 30 from the blood. We're ready for our third and final layers. So let's meet in the next lesson. 28. The Spiral Part 4 : Third & Final Layer: Here we go for a final layer, or almost done with this project and the class less what the people quickly. We're going to define the shape even more in this layer and make those edges darker. I'm going to apply all the colors, pink, push the blue and indigo, just like we did in the previous lessons. And then the world like these colors into each other by using our pink paint to create a purplish transition. Let's actually the spiral where the fight tip paintbrush. And now let's add some Miguasha as we did in the previous lesson. Yeah, this I'm also creating movement with white clash detection features. I keep adding white accents and I'm going to blend these when a clean at their branch into the rest of the watercolors. I love how this is looking. Now we're going to try this and later we'll add some star. Ok, well, so maybe next for some spattering. 29. The Spiral Part 5 : Adding Details: In this lesson, we're adding some stars with quite crash. And I'll show you a little trick to clean up and even borders around your painting. My stars are coming out tiny, which means if I added a ton more water to my wife makes They would come out a little bit bigger and it will be easier to, but they would also be more translucent. It's all about finding a balance, get the luxury of going for. I'm going to add a few stairs directly with a paintbrush. It's a good thing to do to make them bigger and wider since you can use chirping. And I'll also add just a few stars around their spiral shapes to Acts and the movement of the spirals even mark. So let's remove that. Hey, I'm going to show you how I clean up the edges around the painting. I do have that problem quite often with a wedding might work glaring work like we did because paint gets a masking tape with water and that my boarders are not quite clean. All you need is a why Job and also works. And in a minute she'll get reporters looking, camera ready. Remember, blending colors together to achieve nice transitions can be done with a clean, damp brush, as well as a specific color for a delicate accents, try using a paint brush with a fine tip. If lifting paints is not effective enough, in some cases, whitewash may help. Also use whitewashed cleanup, irregular borders riddled with our painting. I hope you enjoyed painting along with me. He may share your spiral it, me and the other students in the project section of the class and please reach out with any questions you may have. Let's meet one more time for final thoughts. 30. Conclusion: Congratulations on completing this class, please, before you go, a pleasure projects, the projects and resources section of the class. So I can give you some feedback. And if you'd like, you can leave me a preview to let me know what you thought of the class and you can also follow me home, still share. You'll be updated of all the future uploads. And the third and last part of this galaxy series, Britain acts have on Instagram and YouTube, you can find me there and you can also use the hashtag created hospitals to share your work there as well. So thank you so much for watching this class and see you in the next one. Yeah.