Watercolor Milky Way Night Skies | Kolbie Blume | Skillshare

Watercolor Milky Way Night Skies

Kolbie Blume, Artist

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10 Lessons (1h 12m)
    • 1. Intro

    • 2. Materials

    • 3. Techniques

    • 4. Trees

    • 5. Step 1: Night Sky

    • 6. Step 2: Milky Way

    • 7. Step 3: Stars

    • 8. Step 4: Stars, again

    • 9. Step 5: Forest

    • 10. Recap

16 students are watching this class

About This Class

Learn to paint a milky way night sky! This class takes simple night skies to the next level as you further advance watercolor techniques to create one of the most famous galaxies seen on earth from the naked eye. While this technique does draw on previous techniques, beginners can also succeed in this class! 


1. Intro: Hi. My name is Colby and you are watching this video, probably because you are interested in learning how to create watercolor, Milky Way night skies. And I am so excited to get started with this class and teach you a few simple and easy techniques to create stunning pieces just like this one. Now, if you've taking classes from me you met before you may have heard my spiel, which is I up until about two years ago thought that I was not very good art. And then I would never be any good art. And I wasn't really sad about it. It just kind of was the way that it waas. Um, until you know, several hours of YouTube and instagram videos. Later, I decided I would try my hand at hand lettering, and I mean, I wasn't able to stop. And now I I love helping people gain confidence and pride in their work. Even if you're just a beginner, because I know that anybody can learn these techniques and every single piece of art that's stunning and beautiful starts with the basics. So if I can learn those basics and I can learn how to create pieces like that Milky Way, Night Sky. I know that you can, too, and I'm super excited to delve into this class. So without further ado, let's go. 2. Materials: all right. So before we start painting, it is very important that we have all of the right materials to ensure our session is going to be a success. Because I have found that when I get frustrated with the painting, oftentimes it's not so much the techniques that I'm using that I'm doing wrong but that I don't have the right materials. So let's talk about, um, my favorite materials to use to create paintings like this one first. I mean, I'm not going to say any material is most important over another, but probably the first thing you should be thinking about is what kind of paint brushes you have. I'm going to be using a round number 10 and a round number zero paintbrush. Ah, as we create these Milky Way night skies, I you can use different sizes. If you would like. These were the two for the size of the night sky that we're going to be doing, which is about seven by 10 inches. Um, these are the only paintbrushes that I used to create nights guys Milky Way nice guys of that size. Now I highly recommend getting professional paintbrushes. I prefer professional paintbrushes that are synthetic sable hair brushes. Which means that they don't have. This isn't really hair. Um, you might. You may have heard the term sable disable hair brushes or kolinsky sable hair, which is the most famous, famous kind. Um, they use usually use hair from squirrels or other animals, but I honestly for water control purposes and detailing purposes, I like synthetic better. So this is you, direct brand. Ah, Siri's 2 to 8, Um, and this number 10 brush and I got it from Blix Art materials. And this is this series of brushes is probably one of my very favorite second favorite, in fact, on Lee to the Princeton Heritage. Siri's brush, Um so the you trekked brush is has a black handle, and the Princeton brushes have a red handle again, that's Princeton Heritage Siris. Both of these are synthetic sable hair, and both of these are in the round shape. This is around zero around size zero, and I got both of these from Blake Site Those air, my very two favorite brushes, the ones I recommend most often, and the ones I will be using. So next let's talk about paint. I especially when doing landscapes. Um, I think professional watercolor paint makes a really big difference that can be more expensive. That's true. But the colors are more vibrant because the pigments are more pure now but doesn't mean that you can't create stunning, beautiful pieces with student grade. You totally can. But I'm going to be using professional grade today. And, um, I like lots of different brands today. I'm going to be using Daniel Smith extra fine water colors that come in these tubes. I'm going to be using lamp black into go probably pains and probably Payne's gray, um, of other colors, like a purplish color, might come up there but, uh, later on. But those are the main colors. Daniel Smith Extra Find water colors are the ones we're gonna be using today, and we're going. I'm also going to be using Doctor Ph. Martin's bleed proof white. Um, for one, we are gonna create stars and other kind of milky effects in our Milky Way so you can get bleed to get white water color paint. It's important that it's opaque, So instead of having white water color paint, I would recommend either having white wash or this doctor Ph Martin's bleed proof white, which is very similar to wash. Um, and that's not wash, I said. Go wash with a G. I believe that spelled g o U A. C H e. It's like what wash is like Water color except it's opaque has similar, um, similar characteristics of watercolor, meaning that you activate it with water, and you can use it the same way that use watercolor. It's just not quite as transparent as water color is, which is why using white wash is perfect for stars and other things that we do, so that's paint along with your paint. I would always recommend having some kind of pallets to makes colors and test out colors. As you can see, mine is currently pretty dirty and next paper. So, as I said with the brushes and with the paint, I would highly recommend using professional watercolor paper, which, if you don't know the difference. Professional watercolor paper is made of 100% cotton, whereas student grade watercolor paper is usually made with a mix of materials, often would pope and sometimes is only like 10% or 20% cotton. So what that does is makes the professional watercolor paper a lot more absorbent, and it lets it take multiple washes over and over again. Um, better than student grade watercolor paper. It's almost always gonna warp in some way. It's always gonna bend unless it's, um out of very unless it's very heavy. But professional watercolor paper holds it up better. That said, professional watercolor paper is expensive. Has all professional art supplies are. So I prefer to do my practice sessions with student grade watercolor paper. And then when we get to the final round, will we get when we get to making our final piece? Um, I will be using professional read watercolor paper, and I will let you know when I make the switch. Another important thing is to note the weight of the water off the paper that you use no matter what kind. If you use student grade or a professional grade, it should be at least £140. And £140 paper means that when you have a whole ream, so 500 sex together it weighs £140 or 300 grams. The purpose of having at least that weight is because with these, with this particular design, we will be using a lot of water, and we will be having a lot of washes of paint. So it's really important to have thick, heavy paper. Um, so both of both my professional grade watercolor paper and my student grade watercolor paper are £140 now it One thing I will note which leads to my next material is if you don't have professional grade watercolor paper or if you don't have it in a block. Like I do see how this is a block of watercolor paper, which means that the paper is taped on all sides taped together on all sides. If you don't have a block or you don't have professional watercolor paper, you can also use painter's tape to tape down your paper to the desk. Ah, whatever dusk you'll be using, and that will keep the paper taught, and it will buckle a lot less if you use painter's tape Now you I wouldn't you? I recommend using anything stronger at He's a leader of men painter's tape because it will tear up your paper. Um, you want to be nice to your paper and painter's tape. Might even it may tear up some of the paper a little bit, but, um, if use professional watercolor paper, it's less of a risk than student grade. Either way, Painter's tape is important. If you don't have a block, okay, next, I always have a paper towel minus, as you concedes, currently being used. And then I always have two cups of water I, ah, one to stay clean and one to stay dirty. Especially with this design, we will need the clean water. So, um, I would always recommend having two cups of water. And I usually use mugs because they're a little more stable. If my hand accidentally goes over them, they won't tip over. Another thing important to have, I mean, not necessarily important to have, but I like to have handy whenever I do. Watercolor is Q tips because, um, to mop up excess water and will likely be seeing that later on in the class, and I think that about sums it up for the materials here. So without further ado, let's get started. Let's get started on the techniques video. See you soon 3. Techniques: All right. Welcome, Teoh. Our next video And this one is all about the techniques, the painting techniques that we're going to be using to create our Milky Way night skies. Now, if you have taken any kind of watercolor classes you prop these terms probably are not, um, are not strange to you. You've probably heard them before. They're very basic. Um, we're going to be talking about the wet on wet technique and the wet on dry technique. Uh, as I defined these techniques to you, I'm going to demonstrate what they mean. So the wet on wet technique means the paper or whatever kind of material that you're painting on is wet before you put the paint on. So the wet the paint is already going to be wet, right? Because it is watercolor. That's how it's activated. But if the paper is also what that means, you're using the word on what technique, and when you use the word on what technique you see how the paint kind of blooms out into the water because it has a place to go right. If you've wet the paper than the paint has places that it can go on to the paper and it's going to It's going to move. So, um, learning how to control the wet on wet technique is one of the most important things that were going to be practicing as we learn how to create Milky Way night skies because as much fun as it is to just kind of let the pain go wherever in order to create a Milky Way effect . And I'll bring out the example again in order to create a Milky Way effect like on here. Notice how there to create the Milky Way. You need to create some kind of path, right? Like the paint needs to make some kind of shape going and go in a specific direction. But you also see how there aren't any defined lines between the sky and the Milky Way right at all. Just kind of looks like it's blended together. You Onley get that blended Ah Grady int kind of style painting. If you use the wet on wet technique using the word on right dry technique, which I'll show you in just a second, creates defined lines and doesn't get this kind of all blended together, look so knowing that we have to learn how to Kurt how to direct our paint using the wet on wet technique and that is a practice in water. Um, depending on how much water you put on the paper and is on your paintbrush and is in the paint is how chaotic your paint is gonna be if use less water than it's going to be. And I'll show you on here if you use very little water. So, like I'm gonna put just a very thin wash of water on here, okay? Again and I'm not going toe. I'm going to pick up over here. I have some paint in my palette on the right side. I've put a ton of water on it, so it's already liquidy. But on the left side, it's where the paint is dried. So I'm going to pick up some pigment directly from this dried part minimising water. And when I do that, I can create its darker. But it's also more defined. Remember how, ah, when I put the paint on this side, it kind of just went everywhere. Here it stills. It's still spreading out like it's, um, like it's blooming out like it's wet, but you can see that there's kind of it's it's in. It's in a specific direction as opposed to Well, now it's kind of dry, so it's doing it here, too. Um, but using this no, having this knowledge is how we're going to create effective Milky Way night skies and how we're going to control the direction of our paint as we go along. So it's learning how to control your water and, um, and learning how to do that using the wet on you, mostly using the wet on dry technique. I mean the wet on wet technique. So in, um, the opposite direction. The wet on dry technique is when you paint on a dry surface and you see how there are very defined lines when I've painted the papers dry. But the the paint is wet, so I'm making really defined lines. When I paint that way, it doesn't go anywhere except where I wanted to go. The only problem is when you have the defiant lines, you don't get that. You don't get that like soft blended mix of the night sky that we're going for, but we we are going to use the what on dry techniques to pay painting stars and trees at the bottom of this milky way. Nice guy. Um, so I that's the wet on wet and the wet on dry technique. I want to talk about, um, one more aspect of in one more technique and that is using water as kind of like a paint remover. So you see how? Let me explain. So you see how in the Milky Way you kind of have. I mean, it's called the Milky Way, because it looks kind of milky in the middle, right? Like there's a stream where it looks almost like like kind of cloudy and this milky cloud in the night sky. Right? So that's supposed to be stars. It looks like a Milky Way because it's like the stream of highly constant, highly concentrated areas of stars right there and in the galaxy. But in order from the naked eye, you can't always see all of the stars. And so it looks kind of milky like that. You would think that to create this, you would need white paint, right? Well, you're right in some cases and we are going to be using white paint to create toe help create this effect. But it's also with watercolor important to remember that in order to get white one of the easiest ways and most common ways Teoh, um, to use white and paintings is to utilize the paper and I'll show you what I mean. So I just created a swatch on this piece of paper, and I'm going to color it with paint right now. Okay, so I'm painting this bottom right here. Let's make it a little darker so that this techniques that I show you is gonna come through . So before when I started this feel on water, I said that water is going to be kind of like paint remover, and, uh, let me show you what I mean. So I have taken off all the pigment from my brush right here. It's just has water on it. And when I put that water down on this pigment, do you see how the white starts to come through? When I even if I just put a little bit of a little dot right here, the pigment starts to move out from where I touched, okay. And so for us to create the Milky Way Night skies all I'm for the very first step and we're gonna go into this in the next video in more detail. But I use my paintbrush with water as as as if it's white paint. Um, Now the only trick here is and I just do little dots like up and down, up and down. That's how I create the shape of the night sky, which again will go through in the next, um, in two videos. The next video is gonna be just painting the nice guy and then two videos after a starting the Milky Way. So but an important thing to remember is using water as like paint remover on Lee works. If you're using the wet on wet technique, okay, it does not work. If I'm using the word on dry techniques, see how if I paint on paint that's already dry, it just it doesn't really like it kind of moves it away, but in order to get the effects that we want, the sky has to be wet as you're using the as you're using water to push away the paint and make way for the white paper. It has to be wet. So what does that mean for you? It means that as you create these nice guys, you have to move fast to make sure that your paint stays. What? Not to worry. If part of your painting dries, you can always re wet it with clean water, which is again, Why clean? Having clean water is so important. Um, and as you practice these and get better, you will be able to move faster and you'll be able Teoh create the kind of effects that you need to. But there is a video later on in, uh, in this class that goes over well, I do when I need to create another layer. But part of my painting has dried, and what I do in those situations it's definitely still salvageable. But it's so much easier if you're painting stays wet. So something to think about. If you notice that your paper starts is starting to dry, then you could re wet it right then. But in order to create the kind of effects that we want, you have to move quickly, and we're going to most abusing the word on what technique? Okay, so that is what I have for techniques in this video and as we move on here where we are going to be using those techniques. So if you want to practice first, I would practice, um, experimenting with water consumption. So when you have so much water as we talked to it with the wet on wet technique, when you have a lot when you have too much water, it's gonna be like in a puddle on your paper, okay? And when you put it on, it's just gonna kind of swirl on top instead of bloom out. That means you have too much water, and that means you have to use a Q tip to mop it up. Added another little technique. There is a bonus, Um, and if you have, if you don't have enough water, then it's gonna come off like you're using the word on dry technique. So was as you practice before you go into the next video, or you can move on to the next video. But as you practice, practice water control and finding just the right amount of water to put on your paper so that you can determine which direction it goes, Um and also practice. Ah, using water as a paint remover. So using water to create white in your paintings in your paintings that already have paint on them? Um, yeah, that is that is your task until we move on and I will see you in the next video. 4. Trees: one more short video about a technique that you're going to be using before we get started on our final Milky Way project I If you've taken other classes for me before, you know, I have multiple techniques for painting pine trees, which is the main kind of tree that I paint when doing this. Ah, when doing thes night sky kind of paintings, but really quickly for those who haven't taken those classes before, I'm going to talk about the burgeon, the technique I used for painting pine trees in my sample image. Um, I usually lovingly call us the blobby technique. I am very good at naming my techniques as you can probably tell and assume from my general demeanor. Um, so I just really quickly I'm only going to go over this technique. If you're interested in learning other tree techniques, check out my misty forest class or any of my forest classes, and I talk about those techniques. So this is the blobby technique, and we're to get pine trees. I usually am. You'll notice that my pine trees in these, um and these designs are very small because we want the sky to be the main event here, but you can do whatever you want. So I'm going to first take some black paint and paint the trunk very thin that I'm using my number zero brush here. And I'm like, barely touching my paint, my paintbrush to the paper. Okay. And then I start from the top, and I call this a blobby technique because basically starting from the trunk, I move out and I create little blobby shapes on either side. Um, I do that. I'm gonna show you over here. I do that by, like, flattening my brush out and pushing it a little bit. So I either push if I'm going to the left or I pull if I'm going to the right, I don't usually, like, turn my brush and push it. Um, I start from the trunk, and I push and make little blobs. Um, so push and pull. I just kind of make little blobs. And then sometimes I'll do like a big blob like that, and then do some dots on top. Ah, this is more like an abstract pine tree, I guess. Um, yeah, and sometimes I'll do kind of like a swoopy um, this will be direction of my brush so it goes down, so it's not just jutting out. Um, the swoopy technique is actually a different ah version of the pine tree. But this is a kind of a combination of that putting my brush in that direction and then just kind of making blobs with my paint brush like that. So the the reason honestly I called it the blobby technique is because there's no real reimer reason I'm not deciding where the treat the pine needles were going to go before I start. I'm just kind of moving down. And it is okay if it doesn't look, if it if it doesn't look exactly like you wanted to at first. Um, But this is one of my, uh, favorite techniques for painting pine trees because I kind of like the abstract ish kind of look, Um, And there you go, uh, just to give another demonstration of how I create those swoops. I start from the trunk, I put some pressure on my paintbrush, and then I move out. And if I need to fill in some spots like if it just kind of looks weird like that, then I'll take my paintbrush after and all kind of fill in some spots like that. Okay, that is the blobby technique. And those are pine trees. So practice those. If you don't want to practice this technique, practice painting pine trees however you want to or if you don't even want to use pine trees as your silhouette at the bottom. Ah, which is gonna be one of the last videos. You can paint whatever you want. You can paint mountains or a cabin or whatever, but I'll be painting pine trees. So if you want to paint in the same way that I do, just practice this technique and I will see you in the next video. We're going toe get started on creating our Milky Way's, which is going to be our final project. So, up until this, I've been using student grade paper. Um, and for the next video, I will begin using professional grade paper. Um, this student grade paper is skansen Monte Ball me show you can't Samant fall watercolor paper and then the professional watercolor paper I'm going to be using from the next video forward is Blick Premier watercolor paper. All right, let's get started 5. Step 1: Night Sky: step one of creating your Milky Way night skies is to create the night sky. And so if you have taken my night sky skill short class before you, this technique will look very familiar to you. Um, we're going to create just a wash of blue. You can Honestly, you can use whatever color you want. I don't care if the sky looks like it actually does. That's the beauty of art. But I'm going to be using blue specifically into go at first as we create our sky. So, um, one choice that I often do is start at the top and paint a wash of water going down. You can also So by painting a wash of water, I'm essentially creating the night sky using the wood. On what technique? You can also use the wet on dry technique. Um, if you move very quickly, so I'll show you that in just a second. For now, I've put a little bit of wash of water up there, and the key with ease night skies is to remember that it should be darkest at the top. And usually I would say to go lighter, starting right around here but because we're doing Milky Way, we wanted to be dark up until, like, right here and then go a little bit lighter, maybe 1/4 of the way down. But right now we are putting down lots of paint. And so at the top, I used wet on wet on wet. But now I'm gonna show you how to do what on dry, um, as you do what on dry, you have to move very quickly because if you don't, if you let the paint, if you don't go quickly enough so that the paint starts to dry, you get paint lines. And the thing about using professional grade watercolor paint is that the paint lines don't really go away. Um, you can only you can only cover them up if you try to re wet them with water to make the paint blend away. That doesn't work because professional watercolor paint is made specifically so that you can paint in layers because professional watercolor paintings are in order to get all of those, um, in order to get like, complex scenes with lots of subjects and them with watercolor, you have to have paint that will hold its shape under a lot of different layers. So that's why professional watercolor is used with more pure pigment in a better binder. And that's why it when it dries, that's usually mostly how it stays, especially if it's a light color or if it's a lighter value and it's dry. So as I'm as I've been talking, I have been making sure that up here it's still wet. I told you in the other videos that are very important, part of creating the's Milky Way Nice guys is making sure that the sky always stays wet. And that's true. So now I'm just gonna so I've gotten down to the bottom. Now I'm going to make sure that it's his dark as I want it. By adding more pigment, you see how much water and how much pain time putting on this piece of paper. As I mentioned in my last video, this is professional watercolor paper. This is Blick Premier Watercolor, a Blick premier watercolor block, so a block means it's taped on all sides. It's glued on all sides, Um, and then there's a little like slit on the side of the block where I can cut the paper out of the block once the pieces done. But we wanted to stay in the bloc while painting the peace to avoid as much damage to the paper as possible. But if you can't see it on the video, the paper is still buckling. It's not just going to stay completely straight. It's definitely still buckling. But having it adhered on either side on all sides prevents it from buckling as much as it would if it was just free if it was just standing alone. So OK, this is I'm about done. As you can see, I hope you've been doing it with me or just watching intently, because sometimes this it can be kind of tricky, um, to get a really smooth blend in early, smooth, radiant on here. But I have just been putting water, putting watercolor down and making sure that the top is very dark. So I'm putting more appear, and now, in order to get a greedy int so that the top is dark and the bottom is light. It's important to remember that you can always make something darker, but it's very hard to make something lighter. Um, so I'm going to dio to smooth this, Grady and out its start From the bottom on I started with a clean brush And I'm just moving from side to side so that I have smooth Ah, paint strokes and moving the paint up like this from all the way from side to side. And there we go. So that is Steph one. Now move on to step two. Where we do we begin to create the Milky Way. Ah, important to remember this needs to be wet when you do Step two. So I would if you are practicing along with me, I would hurry and go on to the next video. See you soon. 6. Step 2: Milky Way: Okay, Welcome back. We're going to continue working on our wet night sky peace, and we're going to start by making our Milky Way. So as you can see in my sample video, I kind of have it going in a little curve like that, right? Starting from the bottom and going to the top. And that's exactly what we're going to dio. Now, if you recall my techniques video, we talk about using water as paint remover and how to create white in paintings like this. And that's exactly what our next step is. So I am using my round number 10 brush and it's on. Lee has water on it right now, So I'm going to start. I'm going to start a little off center here and then move kind of in a curve to end up a little off center on the opposite side. That's kind of what I'm gonna do for my Milky Way. You can do whatever you want, so I have water right here, and I'm just going to start from the bottom and just kind of tap and make like, a white path. So occasionally I have to, uh, ree wet my paintbrush because as I tapped with the water, it's gonna pick up the pigment that's already on the paper, right? So in order to not kind of corrupt the lines that I'm making and make it more blue, I am going to periodically go back to my cup and take out the pigment because this first step of create the Milky Way, we just want to create some white spots. Right. Okay. So I am. I usually do, like two lines going up like this. And if it's, um, thicker at the bottom, then it is at the top. That's usually what I like to go for, but it shouldn't be like huge everywhere. It's supposed to be kind of like this. Slightly chaotic but also definitely formed, path like line of stars. Okay, so that is the first step of my Milky Way right now, The next step after I have created I'm gonna paint up a little bit because I put some water down. And so it created this spot right here. Um, and some of my paper is drawing, so I'm just gonna put do long strokes like that to get a little bit more. Went on to still make it a little bit even. Okay, so we've created some of the white that we need. I might make it a little bit more white over here, putting more water down. So again, I'm using water as paint remover. And the next step is to create some dark spots of contrast Now, because I use the water to push away the pigment. It's already created some very natural dark spots, which is awesome less work for me. But in order to make it just a little bit more contrast ing, I'm gonna manually add in some dark spots. And instead of using indigo, which is what I used for the night sky, I'm going to use Payne's gray, which is a little bit darker because I'm pretty sure pains Gray's inn to go mixed with black. Um, so I'm not going to be using, like, tons of it everywhere. I just want to create some dark spots of contrast throughout the night throughout the Milky Way, and we're going to continually kind of blend these together. So which is also why it's important that this remains wet. So I made a little bit up here. I'm going to do Top just a little bit on the side, over here and on the side. Over here. Now I'm trying to go like where the white is already, and we're gonna blending this in. You might be looking at this thinking. I'm really sure how this is gonna work, Colby, but don't worry. Just a second. Okay? So we've put down some dark spots, and now we're going to use clean are clean brush to blend these dark spots into the night sky and into the Milky Way. Okay, So in order to maintain the whiteness of the Milky Way, we already created with the one in the middle. Sometimes I like to take some clean water and just like tap it to let the pigment blend with itself naturally, just like tap it down like that. So to blend this dark spot in the middle of the Milky Way, I'm taking water on my brush and tapping it on the pigment so that it starts to blend a little bit more naturally. So done with the ones on the sides. I'm going to kind of blend it in with the sky and you have to move very quickly on these. Otherwise, we're gonna dry like that, Um, and we don't want them to dry like that. So I'm just blending these together. We just wanted to create a few spots of contrast in the Milky Way. And as you notice as you'll keep painting, you may see a need to add more contrast ing spots. You also may be asking yourself, Colby, how do I know where to place the contrast ing spots? That is a good question, and one that I always have to ask myself as I'm painting these. Usually I go along where the line I'll go. Sometime, I'll go a little bit in the middle, and then along where the line of the white is supposed to end, I'll add some contrast ing spots. Adding those spots just makes the white look even more white because it's right next to really dark paint. Um, okay, so I feel like I've blended most of these spots and pretty well. Now I'm going to back, go back with my water filled brush and add in more white spots with the water to make it just a little more, um, a little more milky and make sure that we have all of the spots that we need. Uh, so I did white first, and I don't want the white to look like a specific line. So if you ever start to do it, it's like, Oh, I made lines. We still want to blend it in, right? So then I would take your paint brush and just kind of tap around, and that blends it a little bit more naturally than if you're just like stroking it like that. If you just tack with the water, you have enough water. It's going to blend in naturally. Okay, so next it to make this Milky Way look even more milky, we're finally going to bust out our white paint, so I usually with bleed, prove white. I like to use the lid as a little palate, and this is why it's super important that we have clean water because, um, whatever kind of. If there's any color in your water, which if you're using dirty water, there will be, then it will turn this paint into whatever a tent of whatever color that waas Um, a tent is what you get when you add white to something, so I am bleed proof. White and wash are both pretty thick. So you definitely have to add water to it before you use it. And we don't want this to be like opaque, right? We would do We want to be milky kind of translucent, which is in between opaque and transparent. So I would definitely add more water if you used Ope. If you use bleed proof white before then, I would add more water than you usually do to get it to be the kind of a pick that you want . We just want to be kind of milky. Okay, so now that I have this, I'm going to start from the bottom again, and I'm using my smaller brush them. I might. I need to use my bigger brush first. Um, so we're taking some of this white and starting from the bottom, and we're just adding another line of milking. It's now, as you see as I go along, it gets more more colored, right? It's this word. The same problem that we had with the water are paint. Brush is picking up the wet pigment that's already on the paper, so you'll need to periodically, um rinse your brush and then do it again. And we're going to go in and blend thes things together at the end, similar to how we did with the contrast in color that we did before. Okay, so if you're worried about that, don't worry about a thing. So I'm just putting down a whole bunch of white right now And be careful. Be on the lookout for puddles. So we have our Q tips nearby. If you see any of your paint storing to puddle, I kind of seen my seam line starting to puddle in the middle here, just mop up some of the water, so it's you have a better pallet to work with. Okay, so I have put some of my milky stuff here. Some of this plead for white. Okay, Now I'm gonna go back and blend it the same exact way that we did with the contrast in colors with a clean brush. OK, so to blend it in with this night sky, I am just going to tap with some with some clean water so that it all looks blended together. The contrast ing spots with the Milky spots and everything in between Okay, so I want to leave some spots that are very white and some spots that aren't quite his white and some spots that are very dark, you know what I mean? Now, if you're also thinking to yourself, Colby doesn't seem like you have bunch of a plan. You are right. And that's because the kind of painter that I am, especially when I'm painting nature I am of the opinion that nature is supposed to be chaotic and also watercolor and painting isn't supposed to be exact. I'm not the kind of fine artist who paints super realistic things. I like to paint. Uh, not I wouldn't say abstract necessarily. But this isn't I. I use photographs if I want to take pictures of things so that they look exactly like they're supposed to look. OK, so I've blended in my night sky all the way. But as you can see, the sides of my night sky have started to dry. And I'm not quite done yet because I want the sky around the Milky Way to be even darker. So this is a tricky part. But I know that you can do it. The middle of my Milky Way is wet. It's very wet because I've been blending in lots of pigment together, but the sides of my sky are not. So while I'm going to do first is I'm taking clean water and I am starting, um, at the edge where it's dry and I am painting to meet where it's wet, right, because we know what we know about the wet on what technique is in order to get it to be blended as well. It has to be a continuous stream of water, right? The water has to have a place to go, and if there's any dry spots, the paint is going to stop wherever the dry spot iss and it's gonna leave a line and we don't want that. So I'm carefully re wedding the sides of my my night sky, not doing it so that it completely messes up what I did here right? Otherwise, I would just just go over everything but I because I wanted to be continuous blend. I am carefully re wedding the dry spots and moving it toward the wet spots. Okay, so now I'm in perfect position to use, and I'm going to use Payne's gray, maybe, like a mix of Payne's gray and into Go. But I'm in the perfect position to put more pigment on the sides of the night sky and meat where the Milky Way is okay, so appear amusing. Payne's gray and I'm just moving from the size of the night sky to where I meet the Milky Way and it doesn't have to be. Watercolor isn't supposed to be super solid, right? It can still act like watercolor, but which means it's not just like a solid line of blue that I'm creating here, and we may have to go back and do some blending in here manually. But for now, I'm just painting in the size of the night sky to meet with the Milky Way and I'm getting lighters. I go down. Okay, now we'll do the other side, where I start at the top with Payne's gray because I wanted to be the darkest at the top, right, and then I move in so that the sky is really dark. If the sky is really dark, that means the Milky Way is going to be even brighter, and that is our goal, folks. To make the Milky Way brighter because working with white can be so hard in watercolor. The thing Teoh the trick to getting what you want isn't so much to add more white. It's to make other colors darker so that the white looks even more white next to it. So I've been adding a mix of pains, grain and to go to the sides of this Milky way. And now I have gotten to the bottom. All right, now I'm gonna look for any spots to see if I need to blend anything together. Um, how you know how you need to how you know if you need to blend something is if it if it just doesn't look like it's a natural blend. Um, I don't know that I necessarily need to blend anything in here, but I do kind of want a little more white right here, so I don't want to leave it like that. I want to blend it together so it looks natural. So it doesn't look like just a splotch of paint. Uh, and that's what I mean. And then I also want to make this was supposed to be part of the night sky down I mean part of the Milky Way down here, so I'm going to make that a little bit more because it's parts of it has to be the Milky Way in parts of it has to be some of the sky peeking through. That's why you need both dark and light in this milky way and everything in between. Okay, so I'm just kind of blending together at some point, though you have to stop because you can overdo it. And right now I feel like I maybe at that point So we are going to call this our Milky Way and, um, move on to the next video to learn how to create some twinkling stars. This still needs to be wet. I know that it's been wet for a long time. You are almost done with this very first wet layer. And I hope that your paper has held up OK, because if you've been doing this along with me, we have put a lot of water and a lot of pigment on here. And this has been a long video. So thank you for seeing me through. And let's go on to the next one to create some twinkling stars to go on to go with your Milky Way member, stay wet 7. Step 3: Stars: Okay. Welcome back. We've created our night sky. We've created our Milky Way in the middle of the night sky And we also, while we were doing that, made the sky even darker so that the Milky Way, uh, comes through even more. Next, we're going to create, um, just one or two what I like to call twinkling stars. And then we'll move on to how to create the rest of the stars. Um, but to create stars on with watercolor so that they kind of look like they're they're shining like there's almost a or a like a glow around them like they're glowing. Um, we need took its we go, we do it in two layers on the first layer has to be using the wet on wet technique. So that's why I said to leave your sky just a little bit wet. So as when we create stars, I'm using bleed proof white here. When we use bleed, prove white to create stars, we do want it to be very white, so it needs to be, um, liquid ing enough so that you can paint with it, but not as we were not adding as much water as we did with the Milky Way. Because we do want this. Um, we want our stars to definitely be more. Oh, big Right. Okay, So I'm gonna put my twinkling star right here on what we're gonna dio is just put. I would top down maybe three year, four times to create a white spot right here, and then maybe I'm going to do another swingle, a smaller twinkling star, like right here. Okay, so we created our white spots. Now we need to blend in this white with the background. This is going to be what makes the star looks like it's look like it's shining. Is this blended? White is supposed to be light radiating from the star. Okay, so one thing about light when you paint is wherever it's ah, the brightest. Wherever the light is the brightest, it should be. There should be very little color. It should be white. Basically, Um, so we're gonna be careful. We want what we want to keep the middle white. And afterward I may even put another drop of white in the middle to keep it as white as possible. Um, but we still want it. So with this one. This one was smaller, and I just put a drop in the middle to make the paint spread outward. Using the word on what technique? It spreads outward. Um, naturally. And now I'm gonna take some white and put another drop of white in the middle so that for sure, whatever is in the middle is very, very white because that's where the star is gonna be the brightest. But as I have blended it blended it out. First. It looks like this star, and this is kind of bodily shapes. I'm gonna blend it manually a little bit more. Um, once we paint the star on top of it, it will look like it's shining in the night sky. Okay, so there are my twinkling stars, and I am also before we those are just step one of the twinkling stars before we dry. This I am going to, um, are other. Our next techniques for stars technique for stars is going to be splattering stars on here , and I'm going to splatter some while it's still wet so that I can have some of these shining stars in the galaxy as well. It kind of creates like an ethereal look. I think when you have some of these blurry, shiny kind of stars in addition to the, um, other stars So one thing important to remember with the Milky Way is that, um the Milky Way is made up of stars And so when you're painting the Milky Way, you want the stars to be mostly concentrated here We want stars all throughout the night sky. That's true. But ah, if you can And I know what splattering It's hard if you can try to put more stars in the center where the milky where we painted our milky way to be Okay, so those are I have done some of my, um, a serial wet on wet splattered stars and I'm going to dry this piece and we're going to talk more about exactly how I splattered thes stars in just a second. If you haven't done that with me before, Um, but first I'm going to dry this piece manually with my dryer thing over here. Um, and I'm not going to subject you to listening to that in the next video we, Gombe or into, I'll show you how to splatter the stars and draw them on. But if you're wondering how I do all of this at once, it's because this is traditionally used to em boss. But it's a heat tool, and when I turn it on, it dries my paper. I hold it like this close, and I and I drive my paper with it. It's loud, so I'm going to do it off the camera and I will see you in the next video for stars, Part two. 8. Step 4: Stars, again: All right. Our papers dry Whether you use an embossing tool or some kind of heat tool or hair dryer toe to dry it right now, are you waited? Um, your paper should be dry as we move on to creating our stars. First, we're going to do the second and final step two are twinkling stars, and I'm just adding a little bit more of this paint to my makeshift lid palette here and Okay, So in order to finish our twinkling stars, we're going Teoh, add the across in the middle or like, make it into, like, a star shape. And I'm thinking, like, you know, if you ever see depictions of the North Star or the star, that if you're Christian and you know about Christian things a star that guided the Wiseman , Um, like a big star like that and I'm using my around zero paintbrush, But you can go even smaller for these because we want our star shapes to be very, very small. So I'm there. I'm gonna barely touch my paintbrush to the paper, like, barely touch it, like, almost like it's just gonna take me a few tries until I actually do because I want as thin as possible. So I'm gonna go down like that Step one, uh, and then I'm gonna make going across a little shorter Step two, and then you can stop right there and just make a cross. But I also like to do a little another ex through the center like that. Okay? And there you have it. That's how you create the twinkling star. And you see how, um the white, the blended white blending out into the night sky kind of makes it looks like look like it's glowing. Um, in order to get that effect as well as the defined wet on dry twinkling star, those things you needed to them in two layers, which honestly, took me a long time to figure out myself. So, um, that's why I like teaching it. So I'm gonna do this One is kind of a smaller star, but I'm doing the same thing. Okay, Those are my two twinkling stars, and now I'm going to splatter on the rest of my night sky. Um, as you can see, the stars I splattered on while this was still wet have kind of, um they're not quite as a parent because the, uh, they dried with the with the wet water and when you dry wet on wet it, especially when it's wet on wet and white, it goes, it's a little bit less vibrant, and that's why it's important to have this second layer of what on dry. So I'm getting my paint, and it's very important with when splattering paint Teoh Get the right, a combination of water and paint, and it can be kind of tricky. So I would recommend practicing first. If you don't want to mess up your final version, because if you have too much water, then you will. Your drops will be too big. I mean, they'll look more like snow than they look like stars. But if you don't get enough water, you'll get teeny, teeny, tiny stars, which would be fine, except they would. They're going to be so hard to get off the actual brush. You're gonna have to say, um, do lots of different loud rounds of splattering. So, um, 11 method that I use if you look at your paintbrush and it's if you sometimes if you're using a very small brush, I'm using my zero brush here. You can definitely tell if there's, like, a drop of water on it. If it looks like a drop of water is about to fall, that's way too much paint and way too much water. Um, so anyway, it just will take practice. But once you feel like you have you practice and you found the right combination, then you just splatter. And I didn't quite have enough water, so I didn't splatter a whole lot there. Um, yeah, that's better. So make sure to we still want stars on the side. So I'm gonna do a little bit of stars on the sides, but mostly we want stars in the middle, right? So that's gonna be the extent of my stars on the side. I think maybe a little bit down here, Um, and now I'm going to focus on splattering some stars in the middle. So I'm just I'm not moving my paintbrush from side to side. I'm only moving it up. I'm I'm holding my paintbrush very firmly on the handle, and I'm using, like, my whole hand toe whack it. Um ah. Lot of I used to say tap and then people would like tap very lightly like that. And while that works, um, in order to get a lot of stars you I I guess maybe it's just me, but I have to whack it really hard. Ah, there are other techniques for splattering like this. Some people like to like used toothbrushes and flick the bristles like that. Uh, I think that's flattering. Stars is already really messy. And so I don't use that technique because using the toothbrush technique, just it just splatters everywhere it goes everywhere. Um, but that said there really is no way to avoid making a mess when you do this technique. The reason that I like splattering, though, instead of like drawing in stars, is because stars are supposed to look random, right? But I have a really hard time forcing my brain to draw in stars to make them look random. Inevitably, I always create some kind of pattern, and, um, it just makes me frustrated. So I, um, discovered splattering, and it just makes it way easier to get the kind of explosion of random stars in lots of different places that I wanted. So that looks about good to me as you can see I went many rounds. I could even go a few more. Um, but for the sake of just watching me splatter and listening to me ramble, I'm going to stop here Some things to know. It looks like there may have been one or two rounds of splattering where I had lots of water because there are some pretty big drops over here. They're not, like, so big that they looked completely out of character. But I liked like that's a really big drop. I would rather have my biggest drops be like that one or that one, because this looks more like it could be snow to me, but I still think it looks good. I still think it looks OK, so we're gonna leave it at that. And my best advice for you when you want to know when to stop is I don't know if your hand gets tired, you should probably stop. I like I usually like more stars than less so I mean, take that. For what it's worth, I probably usually dio like 10 ish rounds of tapping, uh, sometimes 15 to get as many stars as I want. Uh, usually So that's what I have for you there. And for the final step, we're going to create our tree line. So if you'll move on to the next video with me, we are almost done, My friends almost done. 9. Step 5: Forest: All right. Welcome to the final painting step of our Milky Way night sky where we're going to create our tree line that will truly make it, um, a scene, a wilderness scene. So I'm using lamp black to create my trees. And you can you can, Like I said, when we, uh, did the tree technique, you can create trees or mountains or whatever you want, but I am creating trees. Um, because I like them as is probably apparent if you have looked on my instagram, I really like painting trees. So, um, I am not going to go. I'm I'm trying to decide. I think this is gonna be one of my tallest trees right here. Um, I never usually look at it and decide until I start painting where I want my tree line to go. But so it's probably going to go a little bit down over here where the like maybe into the Milky Way, A little bit right here. But I think this going my tallest tree, you don't necessarily have to make, um, the tree line go all the way across. And I might not do that. I'll probably just do it and a little bit in clumps. Um, so, as I mentioned, I'm using my blobby technique where I'm kind of just creating blobs on either side of the trunk and one you're creating tree lines like an ah, a landscape. Like a vast landscape like this, It's important to think about what trees on the foreground and what trees on there are in the background. If you have taken my misty forest class, you know that a really important characteristic to note for trees that are farther away is that they're usually lighter. However, we are creating a silhouette, so it's hard to determine. You can't really make things lighter when you're doing a silhouette. I mean you could, but for the sake of ease and simplicity, we're not going to. So the only way that we can determine distance with trees is to make them smaller. So we're going to make some very tiny trees that so that they look like they're in the distance. And this is very similar to if you took my simple night sky class, which is a lot similar to this, um, it just doesn't have the Milky Way or the twinkling stars, so This is like a more advanced, uh, class, but I still think beginners can learn how to do it too. So I always make sure to when I paint my tree line, I always make sure to have some small trees on either side usually, and so have to make trees go really small. I kind of just make little lines right here. Okay, So I'm gonna paint more trees. I like to sing to myself sometimes. So maybe that will happen sometimes as you watch these classes, because I'm just kind of talking to myself as I'm painting. That's how I like to teach explaining to you exactly what I dio. Why don't we do it on being myself, which includes singing to myself like a weirdo? Okay, now I've talking about me. Um, so I am like I mentioned before. I don't really have a specific plan. I in general, I think it's good to have ah, few really tall trees and then mostly shorter trees. But you should never have trees that all look exactly the same because that's not how nature is. Nature has variants and diversity. Not all of your trees have to be super full either. Make that more fool. Actually, it's nice to have one or two that are really full, like a Christmas tree, but they can definitely be sparse like this. This little guy, it was pretty sparse. Um, and see, that's really just a whole bunch of the exact blobs right down there. And if you write close to each other to kind of fill in the gaps, no rhyme or reason here, just kind of go in where my paintbrush decides to paint. Um, I kind of I like this mentality of when you're painting in nature, not really deciding where to place anything ahead of time, just kind of going for it. And believe me often times it does not look the way that I hoped it would. But the more that you are vulnerable with yourself and you just allow yourself to quote unquote fail, even though it's not failing at all, when you try something new and it doesn't quite work out, um, I think that's brave. When you the more you do it, the better you will. You will get us spotting how you do like it, but you won't figure that out unless you try. So I'm gonna actually make this tree over here. That my tallest tree. Um, I think that was one of the biggest things that terrified me about painting was. Well, how do I know where to paint anything and what to do? And I'm I'm not very good at What if I'm not very good at it? I never went to art school. I didn't learn all these rules. And while I'm sure there are all these rules I mean, the way that people made up those rules is by trying, right, Um and you'll surprise yourself. I think if you just let yourself try on and be okay with failing, because you know that failing is really just one of the most important steps to success and growing and truly understanding what you're doing. OK, so I'm going to get off my soapbox has ever painting Your, um, artists taught me a lot of our life, it turns out so that is my tree line. I finished up. I decided to make this one pretty full and tall. Um, and then I like to work in threes or just odd numbers. So I have three different clumps of trees and they're not suit. They're not really even. Um, but yeah, we're done. This is it. And if you have done these steps with me, you have successfully completed a Milky Way night sky. Congratulations. And I will see you at the recap. 10. Recap: all right, You have done it. You have completed your Milky Way night sky, and hopefully it looks a little something like this. I hope you had a good time. I love creating. I just love creating. And if you do, too, if you loved this class, I would love to hear your thoughts about it. If you want to leave her a view, that would an honest review. Honestly, I'd love to hear any kind of thoughts you have about it. That would mean a lot to me. You can also share your work on instagram. Make sure to tag me. My handle is this writing desk. And if you tag me, you may just get featured in my instagram stories. Um, and also, make sure to post your finished your final project in the on the final project discussion board place. Um, I would love Teoh, give you my comments and show you some love and be your favorite cheerleader. So, uh, because I wholeheartedly think that trying something new and developing new skills is so much easier when you feel like you have someone cheering you on and I want to be that person for you. So Thank you for taking my class. I hope you had a great time again. I would love to hear about it. And, um, if you feel like you have things to say about it, feel free to leave me Review. If you loved the class, please give me a thumbs up so that other people can take this class to. All right. See you next time.