Watercolor Moons and the Wet-on-Wet Technique | Kolbie Blume | Skillshare

Watercolor Moons and the Wet-on-Wet Technique

Kolbie Blume, Artist

Watercolor Moons and the Wet-on-Wet Technique

Kolbie Blume, Artist

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
12 Lessons (1h 47m)
    • 1. Intro

    • 2. Materials

    • 3. Wet-on-wet technique

    • 4. Color values

    • 5. Creating contrast

    • 6. Using white paint

    • 7. Tutorial: Full Moon

    • 8. Tutorial: Crescent Moon

    • 9. Final Project 1: Part 1

    • 10. Final Project 1: Part 2

    • 11. Final Project 2

    • 12. Recap

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

Community Generated

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





About This Class

The wet-on-wet technique is one of the core methods of using watercolor, and one of my favorite ways to practice it is to paint loose watercolor moons -- so that's what we're doing in this class! Paint along with me to learn all about the wet-on-wet technique, creating contrast, and painting both a full and crescent moon in a loose watercolor style. 

Meet Your Teacher

Teacher Profile Image

Kolbie Blume




Yes, even you!

Don't believe me? 

I bet I can change your mind!



I'm a full-time artist, writer, and online educator -- but up until a few years ago, I was working a 9-5 desk job and thought my artistic ability maxed out at poorly-drawn stick figures. 

In my early 20s, I stumbled on mesmerizing Instagram videos with luminous watercolor paintings and flourishing calligraphy pieces, and my mindset slowly shifted from "I wish" to "Why not?"

-- and the rest is history! ... See full profile

Class Ratings

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

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

Your creative journey starts here.

  • Unlimited access to every class
  • Supportive online creative community
  • Learn offline with Skillshare’s app

Why Join Skillshare?

Take award-winning Skillshare Original Classes

Each class has short lessons, hands-on projects

Your membership supports Skillshare teachers

Learn From Anywhere

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


1. Intro: Hi. My name is Colby, and I am a self taught watercolor artist here today to talk to you all about painting watercolor moons. We are going to learn about color value, and we're going to learn about contrast. And we're going to learn how to create moons like this one and projects like this one using Onley one color and our paintbrush in some water. And I'm so excited to talk about painting watercolor moons with you partly because I know that I am blown away whenever I just get when I get a really good look of the moon in the sky and especially when I I feel like I'm looking at a really cool representation off the moon on paper. And I believe that by, uh, just a few simple tricks, you can end practice a few simple tricks in practice, you could learn how to paint these really dazzling moons that you can be proud of. So if that sounds like something that's fun for you and watercolor is your jam like it is mine, Then join me for this class and I can't wait to see what you come up with. 2. Materials: before we get started on learning how to paint thes monochrome went on what Galaxies or moon scapes? Let's go over just briefly some of the materials that you're going to need for this class now. Uh, most of my materials videos are very similar. I use a lot of the same stuff and a lot of my classes that I do. But if you haven't seen any of those, this is just a overview. Um, also, just because I'm using professional grade materials, which I am doesn't necessarily mean that you have to use these exact materials to get to a result that will look really amazing and studying and beautiful. So I encourage you to use whatever you have. But this is what I'm going to be using for this class today. So let's start on brushes first. I because we're mostly going to be doing big washes and using the wet on wet technique, we don't really need any detailer brush is we just need bigger, um, brushes that will let you do bigger amounts of washes. So I have a round size number 10 and around size number six in two different brands, and I really like both of these brands. The first this 10. The size 10 round wash brush is from Princeton, which is a very well known name and watercolor brushes, and this is the velvet touch Siri's. It's synthetic sable hair, and it's soft bristled, but it's a little bit more firm than other Ah than other Siri's is that Princeton releases . Um, I really like the velvet touch Siri's. And so that's the number 10 that I'm using. And then the number six, which is still a bigger brush, but a little bit. It's Mom, just a little bit smaller than the 10 I'm using. Another synthetic sable hair brush by You trekked brand, and you can recognize this synthetic sable hairline by the black handle. It's Syria's 2 to 8, and this. I would probably compare most to Princeton's heritage, Siri's uh, which is the brand of brushes that has maybe the brighter red handle, but these are a little more economical. I bought them on Blick, and there's some of my favorites to use when teaching. I used them in all of my workshops because they are more budget friendly but still have some of the great qualities, so size six and size 10 are the brushes I'm gonna be using today. Next. Let's talk about paint I for this class. I would recommend you pick a paint color because we're focusing on monochrome washes. Remember to paint a moon. We're just gonna be using one color. I would recommend picking a color that has at its darkest value is very dark. Um, so for me, my colors of choice today while we practice our Daniel Smith Extra Fine Watercolors This do both of these brands or professional grade Daniel Smith in Payne's Gray, which is kind of like a dark, dark navy. But the Daniel Smith brand is has a little more gray tones to it than Windsor Newton does. And then Windsor Newton A. My using peril in Violet. So both of these can get really dark when we use very dense pigment, which is perfect exactly what we want when we are trying to create contrast. So that's my one disclaimer with paint and along with paint, I always like to have a palate. Any kind of plastic pilot will work. This is a porcelain palette that I I have like a stack of these little round porcelain palace that I like to use and when we are painting are moonscape. Today, color value is going to be important and palette A palette will be important for that reason. So I would have one on hand and, um uh, regarding paint also, Sometimes I like to use some handmade watercolor paint. I don't talk about that much here in any of these classes, but I thought that today I would, um, paint using one of my favorite handmade brands of watercolor their called Wild Thorn watercolors. And I'm gonna be using their indigo, which is a very, very highly pigmented in to go. So those three colors I'm going to be using next paper. I always use student grade paper when I practice, and then I use professional grade paper when I do my final piece. So when we do our final project, I'll be using this professional watercolor paper. It's a Blick premier watercolor block A £140. I would recommend you have at least £140 paper always. And the biggest difference between a student grade watercolor paper and professional grade is what the two papers air made of so professional greatest made of 100% cotton, which makes it very absorbent and great for watercolor. It warps a little bit less than student grade paper, and it helps the colors remain really vibrant. Student grade is made from wood pulp, which is less expensive to make and makes it a lot cheaper for you to purchase. Ah, which is why I always used to degrade when I practice. Um, but as you can see on here, I'm using today for this class I'm using Fabre Yano, the brand fabromano. There's line of student great paper. Ah, and it's made of 25% cotton, as opposed to 100% cotton. So that's the biggest difference there. Regardless, though, I always use cold press watercolor paper when I do illustration work, and I always have at least £140. So that's paper. And then just to wrap up, I love to have Q tips on hand. We're gonna be using a lot of water, so it's going to be necessary to mop up some of that water sometimes and then toe have a pencil, and eraser is always really handy, especially when we're creating moon escapes where we want to create perfect circles. I don't know about you, but I am not always great creating perfect circles by myself. So I always have some kind of guide. Um, and then, as always, when I do watercolor, I have a paper towel on the side and I have two cups of water, one that I always like to keep clean. And it's especially important as we are playing around with color values and contrast in this class to have at least one thing of clean water so that you can not dilute the paint. When you're trying toe, come have the white come through, which we'll talk about later on the class. So let's have you gather all of your materials and move on to the next video. 3. Wet-on-wet technique: okay, Before we start learning how to paint thes moon scapes, I just want to go over. Ah, few different topics in the next few videos that will be really important to Master and Teoh. Keep in mind as we begin painting, and one of the most important topics that we're going to talk about honestly in any watercolor class is the difference between wet on wet and wet on dry. You probably know this if you've taken any of my other classes, but just in case, here's a brief overview. So the wet on dry technique is when you paint on a piece of paper with watercolor that's already dry. So the idea is the papers dry. That's the dry part, and your brush is wet with the painters, with its always wet because watercolor is activated through water, right. So with the wet on dry technique, you get really crisp lines, and the most important part is that the paint goes where your brush goes. It doesn't go anywhere else because there's nowhere else afraid to go right. Watercolor paint is going to move wherever there's water, and so if your brushes the only thing that, um, has the water. That's the only place that's the only path that your watercolor is going to take Wet on Dry is important for detail work. It's important for getting really crisp lines. And, UM, it is a technique that probably if you're a beginner, you have mostly painted doing the wet on dry technique. That said, we're not going to be using much of the what on dry technique today. We are mostly going to be using the wet on wet technique. And, as you might be able to surmise, so what if with a wet on dry technique is when the paper is already just dry before you start painting, the wet on wet technique means that the paper is wet before you start painting and what's most important. And I think what's most magical about the wet on wet technique is that watercolor one using the wet on wet technique, will go basically wherever there's water and it will kind of bloom out by itself. So you see how when I started painting with this already wet surface, I just put a like a wash of water on here. The paint doesn't just go where my brush tells it to go where my brush drops it. It wants to move wherever there's wetness. So, um, this is this might be very rudimentary and basic, but when it comes to moan, escapes and honestly galaxy techniques in general, what we're looking for is kind of a swirl of color, right? We're looking for a swirl of pigment, of different contrast ing things, and we're looking for some pretty smooth blends. And so that means we don't want paint where we can see the paint lines. We want our paint to blend in with its surroundings. And as you might be, As you can see, I am like adding more water to this pigment right here. And we're gonna talk more about this when we actually get into the, um into the moonscape tutorial. But really, painting moons with watercolor is just a big practice and using the wet on wet technique. So, um, one very important thing to remember when using the wet on wet technique is to focus on how much water you are using, um, both on your brush and on the paper. Because if you don't have enough water, then let's see if I can show you what happens when you don't have enough water? If you have, like, just a little bit of water so that the paper is just barely wet, Um, the paint ultimately isn't really gonna go anywhere. It's it's dry, and there might be a little bit of fuzziness like right here. The paint is slightly fuzzy, but it's not really moving anywhere. We're not really getting lots of blends, right? Um, it's useful to know that if ever you want to create, like, just a thin, blurry line or something, as opposed to a lot of, um, seamless blends, like if I just wanted to paint this kind of thin, blurry line like that, then knowing that I would want just a little bit of water but to donor to create more swirling blends like this, you want to have a little bit more water on the paper. However there is such a thing is having too much water on the paper, and I'm gonna show you what that looks like. So I'm just like piling the water on here, and when you have too much water on the paper, you really you can tell even before you start painting because if it looks like a puddle, or if you can see the ridge of where the water is coming up off of the paper, that means you have too much. And when you put paint on top of water, too much water, it doesn't go anywhere. It just sits on top of the water, as opposed Teoh, moving elsewhere on the paper like it does over here. So and to even further demonstrate that if I were to take my Q tip and mop up this puddle of water right here, most of the pigment is gone right? Most of the pigment has been mopped up along with the water because it never really touched the paper in the first place, only a little bit, only a little bit of it did so. That's one of the big reasons why I always have Q tips on hand. Whenever I do big washes like this. And, um, it's important to master the difference between too much water or rather, master the kind of sweet spot between too much water and too little water to get your perfectly. I don't say I hate saying perfectly so I'm not going to say that again, but to get Ah very like swirly blend e kind of moonscape that you're looking for. Um, one more thing to note. It's possible to put too much water on your paper. It's also possible toe have too much water on your brush. Those are two different places. Two of the main culprits where water, uh, makes its way into your peace where maybe you didn't want it to where you started to get puddles. So if you notice that you're being really careful about how much water is on your paper, but you still have tons on your brush, I mean, but it's still puddling that it might be because you have you've loaded. You're brushing your paint with too much water, and I'll show you what that looks like. So I'm I like, really loaded my paint up with water, and it's it's still moving around and it's It's fine, but you're using. I'm using tons of water on my paintbrush, and that might not be what I want, so but that we're gonna talk more about that when we move on to our color value video in just a minute. So for now, practice the wet on wet technique. Practice water control. Remember that If, um, you have too much water, you can you will probably be able to see it. It'll probably puddle on your paper on the paint will just sit on top of the puddle. That's not what we want, but we don't want to. Little water, either. We want that nice sweet spot where if you look down on your paper at an angle, you would see that it shining, which indicates that the paper is wet. But not that it's a big puddle. But it's okay if there is a puddle, because as long as you have a Q tip or a paper towel or something else, you could easily mop it up and all will be fine. So that sums up my thoughts on the wet on wet technique for this class. Now let's go ahead and move on to color values 4. Color values: welcome to our overview of color value. Color value is a really important aspect of color theory, especially when it pertains to creating monochrome moon scapes like we're doing today. Color value. Essentially, if you don't know the definition already is a colors, lightness or darkness, and the biggest difference between ah, color of the value of a color and say creating a shade or a tent or a tone of a color is that you the value of a color does not change. Changing the value of a color does not change its chemical makeup, Um, which means the lightness or darkness of a color. If you're talking about values, the pigment maintains its chemical makeup. It's it's It's in its purest pigment, as opposed to when you add black to a color to make a darker or if you add white to a color to make a darker or gray to a color to change it. That changes kind of the structure, the chemical makeup of the actual pigment that you're using, and so those have different tones. Those have different terms. That we use the value of a color again is its lightness or darkness. In its purest form on the way that we get or change color value in watercolor is by adding water. So, as you can see here, I have some examples prepared. These are the three colors that I mentioned at the beginning that I'm going toe mainly going to be using parallel in Violet, um, Windsor Newton, apparently in Violet, Daniel Smith, Payne's gray. And this is Wild thorn in to go. So as you can see on this side of the Grady int, I have the pigment in its darkest form. And then over here, I have it really, really light. And I'm gonna show you right now Exactly how I got that Grady into Grady into the definition of ingredient is going from one color to the next, like fairly smoothly. Um, And the way that I've created this Grady int here and you can practice along with me is I am picking the color that I want. So first I'm going to do apparel in Violet. And in order to get of the very, very darkest color value, I want my water to pigment ratio to be mostly pigment. So my brush is a little bit wet, but I'm picking up on the part of my, um, paint that it's not already went there. No puddles or anything on here. It's mostly just a big glob of pigment. I'm picking up mostly pigment, and, um, if once I put on the paper it's not going to be very wet or liquidy, it's gonna maybe be a little more viscous. That's one way that you can tell your water color is the darkest that it can be in value. So I'm putting the darkest that it can be that I'm washing off my paint from my paint brush all the way and starting a little bit to the side. I'm gonna put down some water, and I'm gonna come up and meet my glob of watercolor over here, and then I'm just going to kind of blend it in. And what as the part where the water met the paint. Now I'm getting this kind of like light purple lee pink color, right, and I got that color by adding tons of water. Teoh the end of this pigment over here, so the pigment is moving into the water because it's wet. So wants to go there like watercolor does and in the process, it's leaving some pigment behind and moving some forward. And so it's creating this nice this nice, radiant. So, um, this is a good I love create ingredients because it is a good way to test how, Ah, much contrast your colors. The paints that you're planning to use will have. And that's especially important when you are creating moonscape. So again, the way that you create value or change value in watercolor is by adding water or by not adding water, so picking up paint that doesn't have nearly as much water. And in our moon scapes class, mostly we are going to be creating those different color values within our like owner actual painting, as opposed to using a palette that said, um, sometimes the first layer of the moon. I like to already have a light color value. So the way that you get that light color value before you actually start painting is by putting whatever color you're gonna use. I'm gonna pick up some Daniel Smith's pain gray Payne's gray and put it on this pallet right here and then. So I picked up the paint and I put it on the palate. And now I'm picking up some water and dropping it in this pile of paint, and that's gonna make the pain rarely liquidy, rarely watery and also very light. So, as you can see, this is when I have painting with this lighter color value that I've mixed on my palette versus This is what Payne's gray looks like when I have a little bit more pigment to it night and day difference. Right? And that contrast is going to be very important as we paint our moonscape. So I'm just gonna do the same thing as I did up here with this in to go with this wild thorn in to go rumor Wild soreness, some of my handmade paint for my friend Kim in California. And I'm going to do the same thing where I'm gonna meet. I'm going to start with some wetness and then meet it so that it can kind of blend on its own. Now this indigo has a lot of range. It goes really far and has, um, a lot of contracts to it. So that's partly why I brought it up in this class because it's one of my favorites to use for moon scapes particularly OK, so that is what the basics of what you need to know regarding color value for moon scapes Now, uh, practice after watching this or during watching this practice, create ingredients practice, picking up the most amount of pigment to get a very, very dark color value. Also practice creating lighter color values using a palate. And I just think creating these Grady Ince's fun in general, it's a fun way to warm up, so that's something that I would I recommend you do before moving on to the next video. But, um, regardless, this is information you're going Teoh need to know it's going to be very important, so let's move on. 5. Creating contrast: before moving on to our tutorial. I want to do a quick note on creating contrast while using the wet on wet technique, because that's really all we're going to be doing with the moon. And just because this is something, I know that sometimes, especially if you are a beginner. If you haven't done this before, a lot of my beginner students struggle a little bit with this. So I just want to talk a little bit about what a contrast and why It's important. Basically, contrast is how you get moons toe look like moons is how creating those shadows and the difference between light and dark is the biggest indicator that you are creating a mood instead of some kind of Galaxies. So here's just a quick example of a moon that I recently painted. See how it's I used this wild thorn in to go to create this moon, and I have some spots that are very dark, and I have other spots that are white, where you can still see the white of the paper and maintaining I honestly probably would have been had more happy if I had a little bit more white spots in this finished product. But the biggest, the figure, the biggest aspect or for probably the trickiest part of painting moon scapes is maintaining that contrast, adding dark while still maintaining the the white parts. And in order for this to be like true monochrome, we aren't going toe add white. We're going to Onley used water and whatever color were using. And so this quick review video is just has some of my biggest tips on how to achieve that number one is to instead of starting with dark, right away to start with light. And that is why we have our mixing pallets over here so that we can create a lighter version. Ah, lighter value version of whatever color we wanted to paint with first and, um, that way As a general rule of thumb, it is way easier toe add darker to make something darker than it is to make something lighter, way easier to makes to add a little bit darker pigment than to take away dark pigment in order to try to have the white come through. So with that in mind, it just makes sense to start off with some lighter pigment and have that go a long way. That brings me to my second point, which is your pigment, your watercolor. Especially if you chose, Ah, color that has a very high contrast value, like a Payne's gray or an indigo or apparel in violent like the one I'm using. Your pigment is going to go a long way so you don't need to use. You don't need to use ah whole lot of it. It's more important that we maintain the white space and then we can blend in whatever pigment we have after. So, um to review, we have talked about how you start with light and then you move to dark lords make something darker. So I've started blending in a little bit of that pigment, and now I'm just gonna add in. I just added in a little bit more pigment onto this, um, lighter value one on my palette just added a little bit more paint to make it a little darker. And then I can add dark places on top of the already light ones. But the remember that because you're pigments going to go a long way. That means you don't need to add when you're adding dark on top, even more dark on top of things, you don't need to add nearly as much as you think. So that's my thought about the paint. Now my thought about the technique is the biggest mistake I see people make is when they're trying to blend in their paint. Uh, they will move the pigment along like this and just kind of painted all over. And that doesn't maintain the white underneath, right that just moved your pigment. So now you have a big wash of blue, and that's OK. That's honestly as long as it's still light enough that you can add pigment on top of it. Then it's gonna look fine, and we'll talk about that as we do our actual moon tutorial. But I do want to say that if you want to try to maintain the white as much as possible instead of like painting like this painting like this with your brush when you're trying to blend in, I usually like Teoh. First of all, I frequently wash off my brush so that I'm watching off the pigment and Onley using water. Mostly when I'm blending things in and then instead of like washing, like brushing and stroking like that. I just kind of using my wet brush. I kind of dot I tap along like the edge of where I wanted to blend in. So this is one of the techniques that I like to use, Um, because I find it helps me maintain the spots that I want to keep white as opposed to making it more difficult and just moving the pigment all over the place like that kind of stroke would do. So, um, those are my notes on contrast and how toe maintain the kind of contrast that you need in order to make it look like a moon. Like a lot of thes thes shadows and swirls exist. And so practice that again. When we don't want Teoh, have our strokes be like wide strokes using the full brush. I want to use only what when I'm blending things in. I'm only having water on my brush, and I mostly like tapping that water around in order to blend the paint in with the white and light First, always put light first and then dark on top. And as you're adding dark pigment on top you need, you will need to add less and less and less because the dark pigment is going to go a long way. So that's the recap of this short video. On contrast, I would definitely recommend you practicing, creating contrast, using the wet on wet technique on your some practice paper before we move on to the next tutorial. But the next tutorial is not the final project. It's just how to paint the moon. And so we're gonna It's we're gonna recap most of what we've already talked about. I'm gonna talk a lot about the techniques that I'm using while I teach you how to paint a moon and exactly what I do to do that. So practice contrast, practice color values practiced the wet on wet technique. And then when you feel like you have those down enough to move onto the next tutorial, I will see you there 6. Using white paint: before we move on. I wanted to touch really quickly on what happens when you add white paint. What happens if you, instead of trying to maintain contrast by leaving white spaces? What if you just out of some white paint? Because I get that question Ah, lot. And my answer is, Well, I really prefer to use the white paper underneath and just dio different values of a pigment just because I think the color is a little purer and I'm gonna show you why. But you can still get some pretty cool results if you do use white paint. So here's my crudely drawn circle and I am going Teoh, add some indigo paint here just in a few different places. And as I'm blending, we're gonna learn how to do this even at a greater extent when we move on to the moon tutorials. But say I add just like a little more pigment than maybe I intended or it's just kind of going everywhere, and I'm planning to add white paint instead of trying to keep trying to keep the white space underneath intact. Um, again, I'm I just want this to be a quick note on this, So I'm kind of rushing, but I have some white paint over here. This is whitewash. So I'm gonna pick up the white quash. If ever you use white paint to use to create more white space, it should be quashed. Or like another kind of opaque foot, Um, activated by water kind of paint. Um, and it works. See, like if I add this white paint here, it definitely does add Create white space where it wasn't before, but it also dilutes the color around it. So instead of being a different value of indigo, it makes it a tent. In color theory, when you add white to a color, it changes its lightness by making it more pastel like. And I think Chalky is a good adjective to describe how the color looks instead of looking kind of like vibrant and more transparent. It's it looks a little more milky, right? So if as I'm blending this white in, I'm getting more of like a slate blue into go as opposed to just a light into go and I'm gonna show you what that looks like on the palate to when I just toe demonstrate so here is what? Actually, I'll do this first. Here's what this indigo looks like as just by adding water, right, if I add water to this, indigo was still like this kind of transparent looking paint. But when I add white to that end to go, it definitely makes it lighter. But it's also a little more chalky. It's a little more diluted. It's not quite as transparent as, um as it is before. And that's because you've changed chemically. The pigments, the structure of the pigment. It's not the same into go anymore, and you have made a tent of that color. And so one reason for moons, especially I don't usually use white is because I don't really like to have that chalky, kind of, um, texture in my moons. But if you dig that, if you really like it, then you should go for it. And there are lots of other planets and galaxy kind of paintings that you can do where I would recommend including white and creating some kind of tent. If you're trying to create, like, ah cloudlike blend, then that's a really good way to do it, Um, but for these moons, I'm just doing straight monochrome. Straight color value. No. White added separately on Lee using water. That is my method. But you do you you figure out what works best for you. I just wanted to show you what this would look like if you did at White. So without further ado, let's move onward. 7. Tutorial: Full Moon: All right, let's get down to the nitty gritty of what you're really here for, which is learning how to paint. Ah moon First, our first tutorial is going to be the easier of the two, and that will be painting a full moon. So basically, we're just painting a circle on our painting. A bunch of contrast ing colors in the circle, not one color. We're painting a punch of contrasts of one color within the circle, and it sounds simple enough, but sometimes it can be kind of tricky. So hopefully watching me do it, Andi, keeping in mind all of the techniques that we've talked about before will be helpful. So as I mentioned before, I am not very. I'm not always great at creating perfect circles. So luckily, I have some kind of circle guides of things that I use on hand. This is my palate, my porcelain palette that I was using before that is also a circle, so I'm just going to use it as a guide and then in pencil, create this circle, and one of the most frequent questions I get asked is, How do you always keep you're Galaxies or your moons inside the circle. The answer is, I'm very careful, and it doesn't always stay exactly within the lines, but with a lot of practice, and by being careful with your paintbrush, you mostly can get there. So there's not any real big trick to it. I just I'm careful. So Number one if you're going to trace a circle, I would do that in pencil, and you could if you wanted after you have traced the pencil just because we know that in order for it to look like a moon, we wanted to be a little contrast it right. So some of these things going to be white, you can take a need. An eraser. A kneaded eraser is basically in a razor that's like putty like this needed, like K a N E a. D. This is Faber Castell. I believe on the brand of this kneaded eraser. You can take the kneaded eraser and pick up some of the pencil so that the pencil line is really faint. I like to do this when I'm drawing in pencil first, because pencil is really hard to erase once there's watercolor already on top of it. If you only have a little layer than sometimes it comes off other times it doesn't it just on the paper forever. So using a kneaded eraser to pick up the bulk of the lead, leaving you just like this faint outline of a circle can be a good way to maintain your shape without also having the pencil lines that you'd maybe don't want. So now that I've done that, uh, knowing this is the wet on wet technique and knowing that I want to have a lot of white spaces left, I'm going to wet my circle. You could. Doesn't matter what brush you use. Just one that I'm using. I was using a six, but I'm using a 10 now. Um, you want to get your circle wet with water because water not paint because we want to maintain as much white underneath as we can, right? So one thing that's tricky about this I'm using student grade paper because this is a tutorial, remember, I'm not. This isn't my final project, but one thing that's tricky about student grade paper is often it dries faster than professional grade paper does. So if you need to go a little bit at a time with the moon. That's okay. And, um, I am going Teoh attempt to do all at once, though, so I'm moving as fast as I can, but you might be a little bit slower, and that's okay. You'll get faster, the more you practice this. Um, But as you're putting more more water down on your paper, you might notice that your papers warping a little bit and that's normal. But always warps paper always warps. But so if you're worried about that, then I one trick that I have if you don't have, like, a block of paper, um, where they're all glued together is to tape your paper down with Painter's tape on all four sides that keeps it taught and will lessen the warping a little bit. Okay, so now I have my Now I have my wet moon, and without wasting too much time, I'm going to I still have some Payne's gray left over from my video, in contrast, so I'm going to add more water to this and add just a few little dots and swirls of this lighter value. Payne's gray. Okay, so on my what paper already, I'm just adding some Payne's gray, leaving some white spots and I don't really have ah plan. I don't have, like, a rhyme or reason toe wear. Why I'm leaving some of like where I'm painting it. Um, I find that I am more loose and can get better watercolor results when I just kind of go with the flow and eyeball it. But that's up to So I put down some really watery, really light color value. Payne's gray and now, like I talked about in the contrast video, I'm washing off my brush, even though this pigment color was very light, it's still too dark for me to blend in with the white. I'm washing off my brush, and I am just putting down water in places where I want this pigment to blend in a little bit more with the white underneath and I'm Onley moving along the pigment because I want some of these white space is to be maintained. Not all of them are going to still be there by the end, but for the most part I want to have enough white spaces, so it still looks like a moon. Okay, and this is the part. Where did you notice? I mopped up a little bit of ah puddle right here. I'm gonna be doing that periodically and honestly, this process of putting down the pigment and then blending it in and then mopping up what needs to be mopped up and then blending in a little bit more is basically how I'm gonna do the whole thing. But I'm going to get darker and darker as I go. So I put down that first layer, and now I'm going to add a little more pigment to my, um, my palate over here so I can get a little bit darker of a color. Not the darkest yet, but just a little bit darker. And in some of the same spots that I already pleased pigment and maybe some not. I'm going to put down just a little bit more. Not too much. If you put down too much pigment, it's going to be way too hard to keep to maintain the white spots. That's probably the biggest piece of advice that I'm going to repeat over and over and over again. And you can tell that it needs to be blended if you can see kind of like the the spidery legs. You see how, um, when I put down the watercolor, sometimes in the paint it doesn't like, blend super smoothly. You can still see, um, some of the path of the watercolor. That's not exactly the kind of effect that I'm going for with the moon. I wanted to be a little bit more blended, and so that's why I'm going in with clean water. I just washed off my brush again. And I'm just kind of tapping around here in order to blend in this color with its surroundings to make it look just a little more natural, a little more like a moon. And the trick is, the more water that I add, the lighter that it gets. You see, when I first put down that pigment, it was darker. But because I'm adding more water, I'm making it a lighter value in color. So that's that was that layer. And now I'm going to add even more pigment to my palette over here. Pretty soon, Um, once I have enough pigment down where I only really want a few more dark spots. I'm gonna go just straight to the source instead of using my palate, but for now and mostly putting the dark spots in the same spot that that they were before to build off of each other and again to maintain the white spots that I've already designated. So it's OK if someone with white spots disappear by the end. But for the most part, I'm trying to keep enough of the white spots so that there's that contrast because that deep contrast between the dark spots on the white spots is what's going to make thes moons really evoke emotion and look really beautiful. Another note about these moons that were painting thes aren't supposed to be like super realistic, although that they look pretty darn close. Um, just from the nature of how moons I think, how our moon looks painting with watercolors. This way you can get pretty close, but I'm not painting lake, specifically painting any craters, usually in a moon, you can see there's like a big crater right here. That kind of spirals out like that, almost like the death star in Star Wars. But I'm not gonna paint that right now. Um, just for the record, I'm doing more like a loose a loose watercolor moon Not worried too much about all of the very specific details. Okay, so So my white spaces gone. That's okay. I still have some left. And now I'm going to hot, even more dark, I say even more. But I meant even darker paint Not even more on the thing. The darker I get, honestly, the less paint I'm adding. But that one is pretty dark. And I washed off my paintbrush so that I can blend this in. And every time I touch really dark pigment I'm gonna have to wash off my paintbrush again because, um, every time my my paintbrush touches the dark pigment, it picks up the dark pigment, so it's gonna move it around. So what I really don't want is for my painting to look like. I just have, like, globs of dark spots. I don't want that necessarily. I want it to look a little natural, and, um, the way that I achieve that, I kind of just go until I feel like I have hit a I've had a good stopping point. Um, and I will say it is very easy to, um, take your painting too far. Teoh paint a little bit more than maybe you intended And have it be not quite the end result you were hoping for. Um I'm gonna add some dark spots. Just run edges here because I like that. Notice how I have gone a little bit outside of my circle, and that's OK. Um but if I think very carefully along the edges, I can make it just a little bit of a dark, dark spot along here. And now I want to be careful because I have a lot of dark spots. Not very many white ones, light ones underneath. Um, so I'm mopping up some places where I need to, and I'm going straight to my pigment now, not even on the on the palate anymore. And in some of these really dark spots, just gonna add a little bit more of this dark, dark pigment so that they can maintain those dark spots of contrast because again, from same is over and over again just because it's so important those areas of contrast or really, what bring moons toe life. So that's what we're trying to achieve what we're trying to accomplish here. Um, but I could be getting dangerously close to doing too much. So I'm almost done with this moon. But essentially, this is how you paint. This is This is how I paint moons. I just go back and forth and back and forth with different with different values, and I blend it in. They blend in the colors with water, just like dotting around like this, maintaining the white spaces so that I can more easily maintain the contrast that I'm hoping for. Okay, now I might just do one more round of adding some darkness and then I think will be done. But again, I don't want it to look like I just have globs like circles of dark. I wanted to look a little more natural, so I'm extending some of the pigment. That's what I'm doing for some of these some of these things. So it's not like an exact circle. And then more I blended, the more I can achieve that kind of look that I'm going for, Okay, last time, blending so much water in order to get these moons to be right. I always have to use so much water. So that's why it's important to use heavy paper. That's at least £140 watercolor paper. Because anything else and it would not hold up nearly as well. Even watercolor paper is going Teoh, um, bend and warp a little bit here, like it is doing right now, so that's important to know. But there you go. I'm gonna stop there, and that's I'm gonna call that good for my full moon. So I think I may have done a little bit more. I probably wanted to leave a little bit more white space. One trick you could do for that is used water is like a pigment push away. So if I just put water down over here, it kind of pushes sometime. Fallis still, what will push the pigment back, um, away from where you are? And that can be a useful trick if I'm using clean water and I just want to use make a little bit more of a contrast here. Then that could be helpful. So I made a little bit more white space, so that's good. But for the most part, I'm pretty happy with that. So that's the full moon tutorial. Now let's move on to the crescent moon tutorial 8. Tutorial: Crescent Moon: welcome to our crescent moon tutorial We've painted are full moon. Here's the full moon for that tutorial and now we're going to learn how to do the same thing. But with a crescent moon, it's the painting, honestly is the same technique, but we're going to practice in a different shape. So first up like before, is we're going to draw a circle with our pencil And you might be saying to yourself, But Kobe, I thought we were ranking and crescent shape. We are. This is how you make a crescent shape when you, um, paint the moon. I mean, when the moon is in a crescent shape, it's not like, you know, part of the moon has just vanish into thin air, right? Issues that you can't see it. So within our circle that we, uh, drawn where it is going to make the basic shape of a crescent by doing this curvy line on the inside so that now we have this this crescent shape that is mostly a perfect circle. So I'm going Teoh like I did before, take my kneaded eraser and I wanna I still want to see the crescent shape here in pencil so that I could maintain those guidelines and the circle. But I want to get rid of them so they're pretty faint. So they don't show up when I start painting. OK, so the trick with the crescent moon and to make it look kind of blended. So it's not quite so stark as like if I just painted a crescent and then painted the moon inside the crescent. I like to do it this way so that I can kind of blend this part of the moon with the outer part of the moon. If that makes sense, like the pain is going to stay on this part of the crescent. But then I'm gonna use some wet on wet techniques in order to make it a little bit less, um, stark of a line because that's not exactly how the moon looks. So first, though, it's going to we're gonna paint this moon starting the same way we did the other one with wet, and we're staying inside the crescent as much as possible. So I'm just putting down this layer of water, staying inside the crescent as much as possible, and we want to make sure that this part doesn't dry. We wanted to stay wet, especially along the Crescent Ridge, because it's gonna need to stay wet if we're going to blend it in realistically, with, um, the part of the moon that we can't see. And I'm gonna show you what I mean in the course of this tutorial. So Okay, so we have this wet crescent moon, and instead of Payne's gray, I'm going to do some peril in violent for this wet crescent moon. So I had a just a little bit of paint over here to my palette, and I'm gonna add just a little bit of water to make it pretty light and similar to before just adding some color. And I'm gonna start blending and doing that process that I did before blending around the color but leaving some white space and blending so that I'm getting rid of a lot of the lake spirals like spider leg kind of tendrils. We wanted to blend pretty smoothly in with the water. Okay, so now I'm gonna add a little bit more pigment over here. Not as much as I did before, because it doesn't need as much and especially with the crescent room you don't need nearly as in his money places, as I did with the full moon in the last tutorials. So just like a good rule of thumb is, don't put as much paint as you think you need to, because on all likelihood, you probably don't need Teoh. Um, but as I have mentioned before, if you do accidentally make your whole moon be like one light color, that's OK, because if you just add a darker contrast in color on top of it, as long as you have some dark spots to add that contrast, it's going to look fine. It's going to look okay. And, um, that's why we go from light to dark, because if you make it too dark at some point, you do have to call it and say, Well, I just don't know if this is salvageable, but, um, hopefully, if you're going layer by layer and not getting too dark along the way, you'll never reach a point where you think to yourself. Well, this is just not salvageable, But if you dio, it's just paper man on. It probably looks OK, and it's important to know that I have painted many, many of these moons. So, um, as you're painting, make sure to look for places where you might want to add a little more contrast. So I like to always have at least some part of an edge that's dark over here. And I don't want too much. No, I'm washing off my brush. So I have water so that I can blend in this paint really nicely with the water with the moon that's already wet. The what? On what technique is so fun? And it's tricky, but it's really fun. And it comes up watercolor, Honestly, that what I'm what technique is why I love watercolor so much? Because it just creates this kind of wild chaos. If you let watercolor do its thing, you're going to create something pretty beautiful. You just have to learn kind of how to create it. I mean, how toe control it a little bit. Okay, I'm just about done. Just gonna add in a little bit more of these contrast ing darkness, dark spots over here, and then after I have created these dark spots, I'm going to take my brush, so I'm gonna call that good for now. You can keep going if you want, but I'm gonna I'm gonna call that good. And remember how we talked about blending in? Well, I want to make sure that along the edge there still some color over here. So I want to make sure that this edge has color along the crescent because we still want to kind of maintain the basic shape, but starting not where the color is starting elsewhere in the moon. It doesn't mess, even necessarily have to be in this perfect circle over here. Um, but starting not where them, um where the painted moon is working by putting down a layer of wet and then just meeting this this layer that we have over here just barely meeting it so that the edge of the paint that we have blends in with this, um, water over here. And the point is, that is so that we're getting just like a very soft blend, not enough so that it goes in the hole circle. Um, and not so much that we lose all of the shape that we that we tried to create with this crescent, but just enough so that we still know that the moon is a circle. It's just that we can only see part of it. And that is how you create a crescent moon. And because this is mostly water, you'll probably be able to once it's dry, will probably be able to erase this pencil line right here. But this is one of my very favorite ways to create a crescent moon. Just because it looks so much more natural, I think, then drawing like a real crescent. The drawing of the real crescent can look super cute like illustrated. But this is how to create a more realistic but still loose an abstract kind of crescent moon. By having the key here is having the water meet the water over here. So we're not starting and then pushing it this way. We're starting with it wet over here and just barely touching the edge of the crescent so that it just barely starts to bleed into this other wet space. So that's the crescent moon practice that and when we move on to our final projects, I'm we're gonna dio two different projects. One is just painting a full moon. Ah, with the night sky and then another one is painting three different phases of the moon in one single on one single piece of paper, which is a kind of popular design. But it's pretty fun. So I thought I'd tackle that, so decide what you like to do best, or if you want to try out both, then let's go ahead and do both. But either way, I will see you soon. 9. Final Project 1: Part 1: welcome to our final project number one. So for this first final project, I want to do to for this watercolor moon class because I think that there are two really cool ways to look at how Teoh use a watercolor moon in some kind of frame herbal way. The first is to create, like a traditional moonscape where there's a moon in the night sky and that's is that's what we're going to do today. So I have already ah, used one of my circular guides to create this big full moon that we're going to do. And then we're gonna have this full moon beaches like hanging out in, ah, dark blue night sky And so it's a pretty simple one, but they can look pretty cool when you put the two contrast ing things together. So first things first. I'm going Teoh wet my circle. Ah, this is again. We're practicing the full moon tutorial here, So I drew this big circle on. The first thing that I'm going to do is get it all wet now because this is a final project . I am using my professional watercolor paper. So this is a Blick premier watercolor paper block and the block just means that, as opposed to all of the sheets, um, being held together by glue on only one side, like in a traditional pad or a note or notebook from they are glued on all four sides, and that just keeps the paper more talked. So it essentially is kind of like I'm taping down my paper, but they're all it's there already, all pretaped. And then once I'm done painting this painting, I I'm going to cut off this sheet of paper, cut it out with a knife, just like a knife for a pair of scissors or something. I cut through the glue and pull off my sheet of paper, and there you go. So I like using watercolor blocks because you don't have to do really any prep work to get the paper ready for watercolor, especially one painting moons like this with big washes of water. Um, but they can be more expensive, so if you don't have a block, that's OK. I would recommend you taping down your piece of paper with painter's tape or some kind of tape. That's nice to paper, so okay, No, I have my moon is all wet. Noticed. I was very carefully trying to stay within the lines here. Um and I am going to use some of my Payne's gray for the moon, and then I'm going to be using the wild Thorn into go for the sky after. Okay, so this pains graves already a little bit dark, and that's okay. Um, I'm just blending this end, leaving some white spaces like we've practiced and then using water to blend the pigment into the circle. And you've watched me. If you've watched the whole class, you've watched me do this many times by now. And, um, you may have also tried it along with me a few times. It can be kind of tricky. It can be kind of tricky to get the hang off blending in the pigment so that it doesn't look like you just have big globs of pigments on this piece of paper. Um, while maintaining the white space, I think that it's, um, a skill that honestly you it needs practice. But it's also a skill that any beginner can master with a few tries, which is also why I like to start out thes classes with a few different tutorial, so you have lots of different chances to try before jumping into a final project with me. So I'm moving on to my second layer of pigment here and doing that same thing, just dotting, not brushing. I'm not stroking the paint all over because that would move the pigment into some of the white spaces, which is what I don't want. I want the white spaces to remain just like dotting my brush with the clean water and making sure to check for puddles. It looks like some of the paint is puddling along this side, very common for even when you are using a watercolor block, or even when your paper is taped down for the paper to bowl, drop in the middle while it's wet and have all of the water and paint rush to the edges. That's something to look out for and, um, easily fixable. You just mop of any excess. Try to blend in the colors as evenly as possible, even with gravity trying to pull everything down, Um, and move forward that way. So I'm going to dio one more layer, really dark pigments here, fairly dark pigment here. And one thing to note with this final project Because I know that I'm gonna have a sky like a night sky That's a deep dark into go I'm gonna have my night sky be as dark as possible I want the moon to be just the dark spots of the moon To just be a little lighter than I normally would It's the moon If I was painting on Lee the moon with a white background Just because the lighter the moon is Ah, the more contrast is gonna show against the night sky And I paid the moon before I paint this guy because the the paint for the sky is going to be darker than the moon So I can easily like paint on top of the pencil lines And, um, not have any paint lines show through If I had painted the sky first, then it it would look a little less seamless if that makes sense. Um, if I can, I can get I can paint on. If I paint on top of the moon like just along the very very edges so that it gets rid of the pencil marks. Then it looks a little more smooth doing it that way. Just in general, Going from light to dark, like we've talked about, is a better way to get a more smooth Ah, to get your layers to be more smoothly joined together. So Okay, I think I'm gonna bring a little more to the center here. But then I'm going to call that mostly good. And this is the point where you can either wait for it to dry or you can dry yourself with a hand dryer. I'm gonna dry it with a hand drier, but you don't want to listen to that. So there is going to be a little transition here while I dry it with the hand dryer. Ah, but you won't even notice. So hang on just a sec. 10. Final Project 1: Part 2: Okay, This layer is dry, and now I'm going to paint my sky. So, like I said, I did the moon with my Daniel Smith Payne's gray And now I'm going to do the sky with this rich indigo color from Wild Thorne. And I'm going to I could never decide if I want to do first to get things wet first or if I want to put paint on first I think I'm going to get things went first. So uhm I'm going to just paint very carefully around some wetness around this moon. Now we're covering a bigger surface area. At least I am. I'm using a seven by 10 inch paper paper block. Um and so it's okay to do this a little bit at a time, So I'm going to do, like, the bottom half of this moon first, Maybe just this side. I don't do the full bottom because I was gonna be a harder to paint the top. Um, and I like my landscape paintings like this when I'm not using tape. I like to have, like, a brushy edge to the fiend, to the brushy feel to the edge. So that's kind of what I'm doing with my water, and then I'm gonna put on once I get to the top of here, I'm going to put on the paint in the water that I have just laid down, and it's gonna look really cool. Still wet. Just want to make sure it's still wet and someone to grab some of this rich wild thorn in to go and just kind of watch as it goes. I'm gonna put this along the edges first a lot like not along the moon. And then I'm gonna go back and do some very clean edges. Crisp edges alongside the moon. Okay, So the trick with painting large surface areas like this is if you leave the paint and part of a dries like down here, if I let this part dry, um, especially if I'm trying, if I'm planning to have a be lighter at the bottom, which I'm not. But if I were, then this is going to dry. This is gonna be a paint line that is gonna be hard to get rid of, but I'm playing to put darker paint on top of it. So it should be fine. Just something to note that when you're painting with large surface areas, Okay, so now I'm going very carefully around the moon with my paintbrush not going too fast. And it's okay if I accidentally touch part of the moon. No big deal. We're just going to kind of eyeball it. And if that happens, then just gonna make sure my edges air still smooth for the most part all the way around. But I don't want to see any white between the sky and the moon. That's what I don't want. So when, like I said, because this paint is darker than the moon, it's gonna look pretty seamless even if I have to, uh, layer a little bit on top of the edge to get rid of that pencil line. I'm also, as you noticed, I just turned my paper around so I can get a better angle to paint. That's one of the benefits of not taping your paper down. And using a paper block is that you can move your paper to get the better angles that you're looking for. Okay, so now that I've painted the edge of this moon, I'm gonna bring this paint forward and down and I'm gonna bring this all the way down to, like, the edge of the I'm not gonna go all the way down to the edge of the paper but to the edge of where I want my seen to be. And I'm just putting water. I'm not putting any more paint. I'm gonna put more paint after I've laid down the water like I did for the other side. But now because I've diluted a lot of my water and because I'm not really taking the time to wash off my brush all the way. Ah, what I'm doing is basically painting a very light value of this indigo. Right, So this is a good chance for you to see what this indigo looks like in a very light value. No, I want to start moving this side to because if I don't, I could get some dried paint lines. That's OK, because we're gonna paint over them with darker colors. So I want to be a still wanna maintain this brushy kind of texture along the side, but not get too far on the side just so I can still have that frame that I'm looking for and very carefully outlined this moon Bring the paint over like that. So I'm almost done putting water down. And then I'm gonna put more paint down because I really wanted to look like the whole thing . I want to be this dark indigo color. Not necessarily. I still wanna have some texture. That's the beauty of watercolor. Right is when you put watercolor down parts of it. It looks almost like it's revolt sometimes. So I want to maintain that kind of look, but I don't want it to be a slight as it is now. So now I'm going to add my color. Look, this in this Wildhorn Indigo is just so rich. It's from the her ocean sediment, a pack in case you're wondering, and I believe she accepts custom requests for orders, and then she if you sign up for her newsletter, she also does restocks once every month or so, where she, after she's handmade, more of very popular sets. She'll do restocks for of ready to ship paint, so that's usually what I go for, and I have never really ordered any custom ones from her before, not because I haven't wanted to, just because I don't think about it. I usually just wait for the restocks to happen. So now I'm putting this dark blue, making sure it's going along the edge of the moon and covering up some of the pencil lines . And I notice my moon is not really a perfect circle anymore. That's OK, too. Nature is not perfect. That's my mantra when thinking of painting things like this. Okay, so now that I have most of my color in most places, I'm just going to make sure to put it everywhere and get rid of any dried paint lines that might have happened while I was painting this moon. And you can tell dried paint lines because you can, like, see an actual line of paint where something has dried and as long as you go over it with this really dark color than you should get rid of it just fine. So that's what I'm doing notice you might not be able to notice, but my paper is still warping a little bit, even on the paper walk. That is normal. One way to get rid of, if you will. First of all, if you frame a painting, it's going, Teoh. It's the ripple in the painting is not going to show, um, unless you have some kind of weird frame where it does. But in my experience, it won't, Um, but if you really just want to try to get your papers flat again as possible, the trick is to flatten it while the painting is still a little bit damp. Not while it's very wet, but while it's still just a little bit damp, put it in some kind of like put some protective plastic or something over it in a way that it won't mess with the paint. But then, just like stack a bunch of books on top of it and leave it there for a day, and I should flatten it. I've done that before. I don't really do that as much anymore. Um, just because if I frame something, I find it goes away, and then I don't have to worry about going through that flattening process. But if it's something that interests you, then there is a way to try to flatten your paintings once they're done. So I'm almost done. I'm just trying to connect these two wet spots so that we don't have any more paint lines. And if you hold on just a second, I'm going to add some finishing touches and we'll be done with this final project. But first, I'm gonna wait for this to dry out in just a little bit more darkness over here. First, I'm gonna wait for this to dry. But again, the trickiness of video editing will mean that you won't even notice my absence. So just hang tight, All right? Now that our night sky is dry, I'm just going to add in a few stars. If you've ever painted, um, landscape scenes with me, you know that usually I splatter stars because in my experience, it is very hard to make stars look random when you are drawing them in yourself. But this time I thought it could be kind of cool to have a little more of, like an illustrated look and hand put in the stars. The thing with the full moon also is that you don't necessarily want to have tons of stars because the moon is so bright that, um, not a lot of stars will be showing probably, but I'm just using my, um Unipol signal white gel pen here and painting in a few random stars all around this moon . Just a like a final, um, finishing touch. Some of them are clumped. Smooth them or not, you can make some of them into a pattern or a constellation if you want. Um, like, if you just had a ripple of stars going on over here Ah, if you're gonna do, like a pattern or a ripple of stars, make sure that the stars aren't all like in a specific. They're not all like, the same distance apart because, uh, when you do that, it doesn't look quite as natural. But, um, that's okay. If it is, ultimately we're just trying to add a little bit of texture and character here, and drawing in stars can be good practice. Um, because splattering stars while fun. And while I think is easiest way to create realistic looking stars, um, takes all of the really most of the control out of it for you. So this could be a fun way to kind of practice. How you think stars should look? Um, So I'm just like, going around. I'm gonna stop pretty soon with the stars and then a few. I'm gonna add some, like, twinkling stars in just a second. Just really in some space. Okay? I think I'm just about done with some of these stars turns over here. Okay, I'm gonna call that good for the little dots stars. And now I'm just gonna add a few little like crosses and then a little shooting star appear There's just a little night scene with our moon. So that's final projects number one, and I you conduce whatever you want. You don't have to paint this little fight scene of stars and other things that I did. But, um, this is one way that I really like to showcase a moon. As you can see, even though I have a few different celestial elements here, the moon is very much the center of the peace and with the indigo night sky and really, like, shines through. So it's one of my favorite ways to pay moons Teoh paint the moon first and then paint this guy on top of it, and I encourage you to try it. But if you are looking for something else or something, in addition, let's move on to the next final project. And, um, it'll will be painting, um, a full moon and to crescent moons to show three different phases of the moon. So that will be super fun. See you there. 11. Final Project 2: welcome to final Project number two. Now, you may not be able to see the lines because they're very faint, but I have drawn using my little palate as a guide. Three circles here and I've already used the kneaded eraser to make the lines a little bit less prominent, but I can still see them. But just so you know, I drew my three moons because we're going to do three different phases. Not all the phases, but we're going to three different phases. We're gonna do Ah, crescent moon facing this way on the full moon and and a crescent moon facing this way just is like a fun little design. One note when you are drawing your circles on here, I would recommend drawing the two sides first and then placing your circle in the middle because it's easier to gauge spacing that way. Um, but that is totally up to you. So I've already drawn these and now I'm going to get started painting the moon's. You can decide if you want the moon's toe all be the same color or different colors. I think I'm going to have all of my moons be some kind of shade of that this, um wild thorn in to go color. So first I'm going to start with this moon on the far side. And I am on Lee painting in the crescent shape with water because I've already drawn in the lines to make the crescent shape and the I'm being careful to stay inside the lines. And this is mostly gonna be the same process for all of these moons that we are painting in this project. So if you really like painting in real time with me, then I encourage you. Teoh, grab your own sheet of paper. Noticed. This piece of paper is a little bigger than my first final project paper. It's it's still a Blick Premier watercolor block, but it is size 10 by 14 inches. Um, so just a little bigger. Now I'm going, Teoh, use my pilot to get a lighter color value of this indigo that I have on here and just put some pigment on here because I know it's a smaller moon. I don't have to go too overboard. Once I have that on there, then I'll start blending by now. This is old hat. You have I think that's such a funny phrase. I heard of professor and college who used to use it all the time. Um and, you know, and I don't think I really said it of my own volition very often, but I did just then. So there you go. Um, but but I was just pointing out that you've seen me blend thes lots of times by now, but hopefully seeing it over and over and over again is useful to you and helps you figure out exactly the way that works best for you. Um, so I'm adding just a little more pigment Teoh, the paint that I have on here already. I don't want it to be too dark just yet. And then I washed off my brush so that I can blend in this color with a clean brush so that I'm not just adding more pigment than I intend. That's the whole point of using a clean brush and having always having some clean water as well. I'm gonna put a little bit, you know, I like to have a little bit on the sides. It's at least some places, maybe just the corner of this crescent. Um and again, we're making sure that if we remember a crescent tutorial that the side, the edge of the crescent on the inside of the moon never, um, gets dry. Because if it's dry, then we get paint lines before we get a chance to blend it in with the rest of the moon. And we don't want that, so I would just pay attention to that and do this process until you feel like you're done. Now you may notice it looks like I have left like very little white space here, and that's okay, because if I add more dark pigment to contrast, then it's still going to look pretty pretty light. And that's the most important thing to remember when it comes to painting moons is to maintain the contrast. It's just easier to do when you have more white space. But if you accidentally got rid of most of it, don't sweat. Just make sure that you have that's it's still light enough for you that you can add darker pigment on top of it, and it will provide that contrast that we're looking for within the moon. Okay, I'm just about finished. Um, then some I found some tendrils of plate of, um, paint that looked a little like they had those little spider legs I was talking about. I only want that. So I was just going through and manually blending some of this again, pushing some paint out of the way to make room for more white space. But now I'm feel pretty good about that. So I'm gonna go back with water starting over here, remember? And I'm going to meet the crescent just so barely touches the edge so that the paint barely blends in with this wet space I've created just so the color just barely touches it. And then I'm going to fill in the rest of the circle just for, you know, the sake of consistency and making sure that you don't have any paint lines come up that you don't necessarily that you don't want. That's why I'm completing a circle, even though my paint my water by now is slightly tinted blue, which is not what you want. Um, you definitely want clean water if you can, but especially if your water is tinted slightly a different color. That's an even greater reason to complete the circle, even though we really Onley want the crescent to be the star of the show at this point. Okay, Crescent number one. Now let's do our full moon. I'm gonna do it the same into Go color. Andi. Some of my pencil line has disappeared a little bit, but that's okay. I'm kind of eyeballing it here and calling mostly a complete circle. Good. Um, yeah, that looks good. And another reason to do these over and over and over again is because the more you do, the faster you get at them. So that's just one benefit of painting these a lot. And I guess that's me. Just rationalizing having so many of these real time tutorials for you to watch me painting these moons over and over and over again. Um, because that's the way I I learned. I'm self taught, as I have mentioned in the intro of this class and in other places. If you follow me on social media or if you've taken any of my other classes, I taught myself how to do this. I have never been to art school or taking anything like that. Um and so watching people do techniques like this over and over and over again, is how I learned how to figure out what they did. And then from there, figure out how to, like, tweak there techniques even more so they worked better for me. Um, so I would highly recommend That's why I love skill share so much because you get toe learn from so many different kinds of people and you get to learn so many different kinds of ways of whatever skill you're trying to learn, because they're just regular people who know how to do something on our showing you the way that they do it. So, um, the more you can see how other people do it, the better you'll be able to figure out how it's gonna look the best for you. How that technique is gonna work the best for you because not all of them are the same. And not all artists are the same, um, and that not every technique is going to make a complete perfect sense. And I think that's why taking as many classes as you can is typically a good route to go. So I'm going to do one more. I think one more layer of this dark pigment. And then I'm gonna move on to my last crescent, and that will be my moon design. I, um, always try to be careful just as another bonus not to add too much paint, but also not to make it too much so that the paint is so it looks like I've just, like, put globs of paint. That's why I always go back. Once I've put it down and manually kind of blended. Blend this paint in different places because otherwise it just looks that it just looks like they're little spots around. Well, watercolor does move around by itself, and sometimes you don't have toe manually move the pigment in order to get it to local. Look a little natural. Um, sometimes you dio And so I have said that lots of I've said this lots of times, but I mostly I like to reiterate it because whenever I look at moon scapes or Galaxies or any other kind of blending projects like this, I'm most unhappy, usually because it looks like I've just, like, plopped some paint on there and doesn't look quite how I envisioned. And so that's what I have discovered typically is. The trick for me is to make it look as natural as possible and not so that I have just, like, dropped globs of paint. Um, so that they blended really naturally have a nice kind of shape and movement to them. As you can see, when I am putting when I'm blending in these colors My brush I don't just I don't always just like, drop it and go. I usually try to put it in some kind of some kind of shape. And I don't always have a plan for those shapes. They just kind of manifest themselves, and they don't always turn out exactly the way that I want. But by letting myself loose and not focusing too much on the exact shape of it, that helps me in the future, figure out what shapes I do like and what ones I don't because I can analyze like Okay, well, what worked with this piece and what didn't? And how can I change it? Um, so that's just something to think about. I think I'm done with the full moon. I'm not just leaves this final crescent, and then this piece will be finished. So the same thing I am painting in the crescent and the then I'm going Teoh put my paint on here with the same indigo color that I have on my palette. So I also think that painting moons just like over and over again like this can be really, Ah, therapeutic, I guess, because you're just going back and forth and back and forth and blending colors together, and it's really fun to watch. I think it's fun to watch the watch what water does to watercolor and, ah, watch what happens when you add even darker pigment to what you're working with. Um, so on, because honestly, the reason I do this, the reason I paint isn't so much that I can necessarily Seiken become a art teacher. It's it's because I loved watching it myself, and I still do. I still love watching what water does to this paint, and I love just watercolors watching watercolor swirl around in general. That's one of my very favorite things to watch. And so it's become one of my very favorite things to do for that reason, and I hope that that's true for you, too. I hope that's one of the reasons why you really love working with water color because it can just be so relaxing to sit down and watch paint do its thing with minimal effort from you, Like a little bit of effort, but still still pretty minimal. So I'm nearly done. Just gonna blend in these last few bits. We're here. Maybe, uh, just this little bit along the edge to connect with this over here and making sure to blend in any of the like, spidery tendrils that I don't necessarily want. I want them to be smooth, but for the most part, that looks pretty good to me. And now, starting from this side as a right handed person is tricky but doable. Just have to be very careful. I'm just meeting it's clean water paint over here, starting over here and making sure to bring the water from the paper to the crescent so that the crescent still maintains its shape. For the most part, that's the key to maintaining shapes of any kind, really using the word on what technique is your you're not gonna maintain like it's not going to stay exactly a crescent shaped, but it's mostly the water is contained mostly, Um, and that's because I didn't push the pigment in any way. I just pushed some water to barely meet that line of pigment, that line of watercolor that we've created so that it blends just a little bit. And that's my goal there. So there is my phases of the moon Final project with a crescent, uh, facing this way and a crescent facing this way. I can never remember which one is supposed to be waxing and waning. But if you dio bully for you, If not, that's OK, too. I think that final projects like this can be really beautiful on, um, nursery walls or Children's walls or just any walls. Really? Um, and I've seen this. This is ah, a design that I think is pretty popular on Pinterest and elsewhere. And so now you have learned to create it all for your very self. Um, thank you so much for joining me for this class. If you really want Teoh, Um give me a shout out and give me some love. The best thing you can do is lever of you. The more reviews I have, the more people are able to see this class and take it. So if that's if you loved it and you I want to tell more people about it, I would really encourage you toe lever of you. And I would also encourage you to post your final projects whether you just did one or you did both or something completely different with your moon. I would encourage you to post your final projects to the project gallery so that I and the other students can send you some love. Um, and also, if you post this on instagram and tag me, my handle is this writing desk. You may have a chance to be featured in my stories and I will definitely like and comment on your picture because I just would love to see what you're doing. So I'm going to cover a lot of this in the recap is well, but before you head out, I just wanted to touch on those things and to say thank you again for joining me in painting these watercolor moon's See you next time 12. Recap: thank you so much again for joining me for my watercolor moons class if you painted along with me and did the final projects we painted this night sky this full moon hanging in the night sky illustration And we also painted this illustration of different phases of the moon. And I am in love with both of these designs and I hope that you are too. Even if you didn't come up with the designs that we did in the class, I hope that you love the skills that you've learned that you can continue practicing moons and practicing these techniques. Teoh have joy and whatever you create. Um, if you really loved this class, I mentioned this before. But if you really loved this class, the best thing that you can do to help other people find it and to take it is to leave a review. It would really help me. And I also really love to hear what you thought of this class in ways I can improve and make your experience on skill share better. So I'm happy to hear any and all of your thoughts. Also, if you just love the project that you came up with and you want a post it, please feel free to post it to the Project gallery so that me and the other students can show you so love and give you some tips on def. You decide you love it so much you want to post it to social media? I am on Instagram. My handle is this writing desk and I would love to be your biggest cheerleader there as well. Plus a few times a month, I do features of all my skill share classes. So if you post your final project and you tag me on instagram, there's a chance that you will be featured in my stories. So that's all I have for you for this recap. If you enjoyed this class, I also have lots of other classes on wilderness themes. I just released a class on florals themes a couple weeks ago. If you're watching this in May 2019 and I would love Teoh, have you in any of those classes as well. But if not be on the lookout for other classes I release in the future. Either way, I can't wait. Teoh, have you join any? My other classes and to see your work. And I hope that you found this class for, fourthly, fruitful for you and that you can continue your watercolor journeys. So thanks for painting with me. See you next time.