Watercolor Night Skies in 4 Designs | Kolbie Blume | Skillshare

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Watercolor Night Skies in 4 Designs

teacher avatar Kolbie Blume, Artist

Watch this class and thousands more

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Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Watch this class and thousands more

Get unlimited access to every class
Taught by industry leaders & working professionals
Topics include illustration, design, photography, and more

Lessons in This Class

14 Lessons (1h 40m)
    • 1. intro

      1:26
    • 2. materials

      4:09
    • 3. techniques

      3:55
    • 4. monochrome gradients

      5:12
    • 5. multichrome gradients

      8:16
    • 6. landscape recipes

      7:17
    • 7. grip + water control

      4:09
    • 8. classic night sky tutorial

      12:14
    • 9. twilight night sky tutorial

      11:48
    • 10. textured night sky tutorial

      9:33
    • 11. galaxy night sky tutorial

      22:25
    • 12. bonus: tape tips + satisfying tape peels

      3:15
    • 13. bonus: lettering on the sky

      4:43
    • 14. recap

      1:58
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708

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12

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About This Class

Welcome to the updated version of my most popular class! Join me as we learn watercolor basics, including the wet-on-wet technique and how to make a gradient. Then, we'll put our skills to the test to paint four stunning night sky landscape pieces. 

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Here's the link to the freebie Landscape Recipe one-pager.

Meet Your Teacher

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Kolbie Blume

Artist

Teacher

 

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

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Transcripts

1. intro: Hi. My name is Colby, and I love painting watercolor nights. Guys, I am so excited to share this class with you. I painting watercolor nights, guys, is what brought me into painting landscapes in the first place. Because with just a few simple techniques, you can paint a really stunning piece. So this is kind of my classic night sky piece if you follow me on Instagram. I've painted variations of this design for years, and so many people have developed a love and passion for watercolor because of this piece that makes me so happy. And so in this class we're going to learn how to paint my classic nights guy watercolor design, and we're also going to learn how to paint three more. So with that, we're gonna learn how to paint this design and this design and this design all in this class and all of these designs you can paint using my simple landscape recipe method, which I'm going to talk about throughout the course of this class. So if all of that sounds right up your alley, I would love for you to join me 2. materials: before we get started. Let's go over all of the materials you'll need for this class. First, let's talk about paintbrushes when I'm doing watercolor. I like to use paintbrushes that are round shaped, and the brushes I'm using for this class are this size. Number 10 in the Princeton Neptune Siri's. You recognize it by the Brown would handle and the Gold Fair. You'll. It has this syriza Neptune Syriza's Princeton's most ah, similar to a really stable hair paintbrush. But it's synthetic. So both of these are synthetic sable hair, meaning no animals were harmed in the process of making these brushes. Ah, so that's around Number 10 and then Round number zero and this is you trekked brand there, say Bleidt, um, synthetic sable. It Siri's. I really like this. Siri's with you. Recognize it by the black handle and the silver Ferial. I. I think it most compares to Princeton heritage probably and some of my favorites, so I'm only using the's to paint brushes and then paint. I have an assortment here. This is kind of my own compilation of some Daniel Smith, Some wins or Newton, all artists, great paint, but you can use whatever paint you have on hand. Honestly, whatever you have on hand is gonna be fine. But I just thought it would be helpful for you. Toe. See what I'm using for the individual projects were doing four night sky projects. I will talk about the specific paint colors I'm using in those projects. But for now, just know that I have a mix of Daniel Smith and Windsor Newton, but you can use whatever you wish. And then also for paint. I am using this doctor pH Martin's bleed proof white four stars. You can use whatever white wash you have on hand or a white gel pen. This is a secure a jelly roll, white gilpin. And next paper, I'm for practice. I always like to use student grade paper, so I'm using some cancer on watercolor paper. It is, ah, £140 which means that when you have a ream or 500 sheets, it weighs £140. I and it's cold press, which means it has a little bit of tooth to it. Whenever I am using watercolor paper, I always like to use at least £140 in weight just so that can hold water a little bit better. And then for the final projects. This is professional watercolor paper. It's Blick premier watercolor paper. So that means it's made of 100% cotton and also £140 I'm going to be using this paper for three of our projects. And then, for one, I thought I'd bust out my round watercolor block. This is Magnani 14 04 It's made in Italy. Um, I got it from Blick Online, and I thought it would be kind of fun to show you a night sky in this round form, so that will be one of the project videos. Next, I would like to have a few Q tips on hand just to mop up some water and masking tape for taping down your paper. If you don't have a watercolor block and a mixing palette in case you know you need Teoh mix colors in a non diluted way. It's nice to have a mixing palette. This is, ah, ceramic pallets that I picked up from a small business owner and then ah, two cups of water off to the site. I always like to have one cup that's clean and one cup that's dirty, especially when I'm doing Grady INTs like we're doing with these night skies. So gather up all your materials and let's move on to the next video. 3. techniques: let's go over some of the techniques that were going to be using in this class. The basic techniques that we're going to use in this class and in every watercolor piece really are called the wet on wet technique and the wet on dry technique. The wet on dry technique happens when you paint with wet watercolor. That's the wet part on a dry surface. That's the dry part. So when the paper is dry and you paint with your water color that is called the wet on dry technique, the wet on dry technique is characterized by Chris Blinds. Um, clear boundaries. So when you where you paint with your paintbrush, that's where the paint goes and the wet on dry technique is useful for details and painting . Subjects that are meant to be have a very specific shape. So I think the wet on dry technique is what a lot of people think of when they first start painting. But the real magic of watercolor, especially when creating Grady INTs, is called the wet on wet technique, and that is what happens when you paint on a wet surface. So if you get the paper that your painting on wet with paper with with wet with paint or wet with water, and then you start painting. You see how the watercolor just kind of blooms wherever it's wet. That's because watercolor is activated by water, so the pigment wants to move wherever a confined water. And when you get your paper wet first, the pigment doesn't have to stay restricted. Wherever your paintbrush goes, it can move about freely. And so, depending on how much water you have on your paintbrush and on the paper and in your paint , and depending on the quality of paper you're using and the quality of paint you're using, there are granted a lot of variables. The paint will move in a lot of different directions and at varying speeds and varying looseness. So one thing that I recommend doing before you start painting, especially before you start painting your final project, is to experiment with the wet on wet technique, especially to see what happens when you use different amounts of water and different amounts of paint to water. And, um, just to kind of get a feel for the way that watercolor reacts with water, and especially how using the word on what technique? How different colors react together on a wet surface. Just a hint. That is what we're going to be focusing on in the next video, where we learn about Grady INTs. But if you wanna had start, you can mix together different colors right on your paper, using the wet on wet technique. And personally, I think that this technique really is what makes watercolor so magical because the watercolor kind of just blends by itself and does its own thing. And you really are more of like a guide to let the water color explore its full potential by allowing it to move around in the water. So I am in love with watercolor and the wet on wet technique, and I I love using it to make magical Grady INTs, especially for night skies. So I'm really excited for the rest of this class. In the meantime, keep practicing the wet on dry technique on the wet on wet technique, and now let's move on to the next video 4. monochrome gradients: we've learned about the wet on dry technique and the wet on wet technique, and now we're going to talk about how to use the wet on wet technique to create Grady INTs . Grady int is what happens when you move from one color to another color gradually, so almost. It's like you can't even see where the exact change happens. And Grady ins with watercolor are especially fun, and the wet on wet technique is very important. Teoh succeeding in creating smooth, radiant. So what you do is you lay down some water clean water. If you have it, I would recommend that's what I like to have two cups of water, one to stay clean and 12 keep my dirty water toe, wash off my brush in between, lay down some water, and then we're gonna practice first, a monochrome ingredient, meaning we're only going to use one color. So I'm gonna take some pains. Gray. Uh, I'm using Windsor Newton Payne's gray, which is kind of like a navy or a dark blue and starting from the top of this wet space, I'm going to move from edge to edge on this Web space and go all the way down my paper. And once I've gone all the way down, I'm going to pick up even more dark pigment and do it basically again. The key with Grady ants is, and keeping kings from light to dark is remembering that you can always make something darker. Uh, if it's too light, but you can't always make something lighter. It's kind of tricky with watercolor because you don't really use white to create light things. You use the white space of the paper, so you really need Teoh. Pay attention, Teoh. How light the bottom, especially for monochrome Grady INTs how light the bottom of your paper is and how late you want it to be. So if I want the top of my Grady int to be a lot darker, then the bottom. But I want the bottom to stay the same. Then I would put my pigment up on the top, and while it's still wet, I'm doing all this fairly quickly because, great, it's really only work while the paint is still wet, right with watercolor anyway, so I'm gonna wash off my paintbrush and then starting from the bottom with clean water. I'm doing the same edge to edge movements. But instead I'm going from the bottom up so that I don't get any more dark pigment along the bottom. But I'm able to smooth out the colors from top to bottom. So I'm gonna do that one more time starting from the bottom to smooth out the colors and create this Grady int from dark to light. And then I'm gonna go from the top again and stop before I get too close to the bottom. Wash off my paintbrush and do it one more time. I say one more time. But really, what I mean is keep doing this until I'm happy with my greedy int. So I am pretty happy with that. And this, uh, process that I did just now, starting with Payne's gray and then making a monochrome Grady in some only using Payne's gray from very, very light and watering too pretty dark is the process for creating the first night sky that we're going to do for our first final project. So keep this in mind, but this is how you create a monochrome ingredient. It's clean wash of water, starting with the pigment on top and going edge to edge smooth all the way down. And doing that until you feel like the bottom is as light as you want it. And then a back and forth between using a clean brush from the bottom going up and then more pigment from the top, going down, over and over again, down top to bottom and then bottom to top until you feel like you have a nice, smooth, radiant. So that is the monochrome Grady int, and the next video will be a multi crow ingredient. 5. multichrome gradients: So now that we have done monochrome ingredient, let's move on to how to create ingredient with multiple colors. First, I'm going to start with duo Chrome, meaning only two colors. So it's gonna be the same, and I'm actually gonna turn this around and do it this way. Um, it's the same very similar process as the monochrome radiant meaning. We're going to start with a clean wash of water. So I'm using clean water to prep my paper, and this is where my paint is going to go. The reason I start with what on what is so that the paint doesn't dry before I get a chance to blend it together. I sometimes I paint night skies without doing the wet wash, but you have to move very quickly in order to move the paint and blend it together in a watery blend so that you don't get any dried paint lines order to do that. And I think I had it takes. It took a lot of practice for me to get to that point, but not to say that you shouldn't try. I just believe that it's easier to start with this wash of clean water. So the two colors that I'm going to blend together are this turquoise color and a purple color. And I know that sounds like it wouldn't be a pretty blend, but it actually is. So we'll show you how that goes. This is follow turquoise. Ah, Windsor Noon. So I'm starting from the top, and then I'm getting lighter and lighter. That happens naturally with watercolor because, uh, the more the farther you go down on the paper, the less pigment you have on your brush. And so the water also helps all of that blend naturally, where it's darker at the top and lighter toward where I stopped. And that's just because there's less and less pigment to move around. So before I move on to my next color, I'm just starting from the bottom of the turquoise portion like I did in the monochrome Grady int, starting from the bottom with a clean brush and moving up just so I can smooth out this bottom portion so that it's blending nicely in with the water. But I don't get too much of this dark pigment down in this portion, and then next I'm going to take up my purple, which is apparel in Violet. I'm gonna start from the bottom and do the same process, so I'm moving in to the turquoise a little bit. And now that I have laid down the initial color, I'm going to do just one more little layer of peril in violet and each honestly of each color so I can get a darker, uh, bottom and a darker top of the turquoise. And then we're going to blend the two colors together. So I'm doing all of this while the paint is still wet, that the paint being wet is what allows it to be malleable enough to blend together. If this was dry, then watercolor when it's dry, especially artists grade watercolor does not reactivate. It stays put, so you have to do this while it's wet or you'll get dried paint lines. So now that I've put a bunch of pigment on both sides, I'm going Teoh again, starting with a clean brush from the bottom, work my way up and then clean off my brush and start from the top and work my way down and then stopping kind of in the middle on doing multi chrome Grady INTs is just a practice in going back and forth and back and forth until you create that middle layer. That's a mix of the two colors. And when it comes to turquoise and Caroline violent, the mix of the two colors is this kind of dark blue color that's going on in the center. And so you want to go back and forth until it's smooth from one side to the other. Just like that. Create ingredients with watercolor really is a practice in patients, Definitely, and it's requires you to also know when to stop and no one to put on war paint. And the more you practice it, the better you'll be. But ultimately it's starting with the wash of clean water, one color on top, one cholera on bottom and then going back and forth from bottom to top until you create this smooth transition from one color to the next. So that was duo Chrome, and now I'm gonna dio a quick, multi chrome kind of like when I do, I have another separate sunset class, and I talk a little bit about this in that class as well. So instead of just using two colors. We're gonna use three. So I'm going to use I'm going to start with in to go at the top. I'm just gonna brush a little bit of it on, and then I'm going to use some yellow at the bottom. I'm going to brush a little bit of it on the bottom, and then I'm gonna leave 1/3 of this spot clear of paint and put in some Quinn rose, which is pink, and blend that in with both sides. So when I blended it in with both sides, it was starting in the middle of the queen rose and then moving either up or down And make sure when you're create ingredients, especially multi crow ingredients, if you're going to switch from one color to the next Teoh, wash off your brush in between so that you don't accidentally paint unwanted color on to a section that you don't want. So now I'm just going from bottom to top all the way going all the way from bottom to top works with these colors, especially because I'm starting with the lightest color at the bottom, and it slowly, um, coming off of my paintbrush as I move up, so I'm not putting yellow, really at the top in the blue. By the time I get to the blue, the yellow is pretty much already gone. So that's the process that I used to create multi crow ingredients. It's very similar to Monaco ingredients, just probably a little bit more blending a little bit more watching off of your paint brush so that you have clean water and clean paintbrush that doesn't accidentally mixed colors that you don't want mixed. Um, and like I said before, the wet on wet technique is very important to this process. So now that we have practiced radiance, let's move on, Teoh What I like to call landscape recipes so that we know what we're going to be painting , and we can kind of figure out what to paint for our four projects. And then we're going to put all of this into practice by painting four different watercolor nights. Guys 6. landscape recipes: So before I start painting, I like to make a plan. I don't always make a plan like a sketch, but especially if I'm doing a Siri's or if I'm trying to learn a new technique. I like to map out exactly what I'm practicing and exactly what I'm painting, so that it's a little more of a process rather than haphazardly putting paint on paper. Which, by the way, I am definitely not against haphazardly putting paint on paper. I think it can be really fun to free paint and let loose of control and let loose um, your, you know, inner mess. But for this class for these night skies, I find it really helpful to break down the subjects and the parts of the painting so that you can take the different parts we've practiced and paint all kinds of nights. Guys that aren't, you know, aren't exact copies of mine, so that you can look at colors and you can look at subjects or photos of nights guys and know exactly how to mix and match and create your own landscape recipes. So first I like to break down, particularly this kind of night sky, where It's really just like a simple nights guy with a few subjects into two different categories. First, the type of sky. So when I create simple, nice guys, Grady in tonight's guys, they're always an ingredient, and that could be either monochrome, radiant or a multi crow ingredient. Multi chrome can also encompass duo chrome, right So monochrome, meaning I'm either. Sometimes I'm only using one color like we did in the monochrome ingredients lesson where I only used Payne's gray. And this Payne's gray is probably if you've looked in my instagram before. I. Payne's gray is one of my classic night sky colors. Those so monochrome grading can look very beautiful, and so can multi chrome with lots of different colors based on if you know it's twilight or some weird things were going on in the sky. Sometimes skies can look lots of different colors at night, so mono, monochrome or multi chrome are two options for the sky. And then, within those options, you can either have a textured night sky or a smooth night sky. What we practiced with Radiance is more like, um, a smooth Grady in tonight's guy. Actually, let me pull up this multi crone Grady int picture here. So this is actually a pretty good representation. I like to say textured is when different colors kind of infiltrate. They're not a section that is not their own. So this dual chromed radiant that we created with turquoise and peril and violet you can kind of see the violet infiltrating the turquoise over here, and vice versa. So that wasn't necessarily on purpose. I probably just stops too soon in order to create a smooth, radiant, but it could have been on purpose. Um, if you want different colors to infiltrate different sections, I could look really cool. And for skies like almost like there's clouds in the sky, that's, you know, hindering or fog or or chemicals, which is not fun to think about. But sometimes skies aren't always smooth like this. Sometimes they have a little bit of texture. So that's one category. One thing to think about, one creating your night sky. Then you can also have a smooth nights guy where it kind of more seamlessly smooths from one color to the next, and each color really stays in their own section, and the way that you get thes smooth radiance is like we practiced just going back and forth and back and forth with enough water and pigment and then stopping at some point. Um, maybe even before you think you should stop but being very careful, going edge to edge and making the same movements so you can help a texture night sky. Or you can have a smooth nights guy. Once you've figured out what you want for your sky, the next is to figure out what you want for your silhouette. So I really love night skies. Um, because of this simple process, you really just have to pick your sky and then pick whatever subject you want and painted in black or really dark color. So my typical go twos are trees, like a line of trees at the bottom or mountains, a little a little mountain range or even, you know, a couple rows of mountains or some sharp mountains like cliffs. You could even try your hand at painting some humans or drawing in little tiny human silhouettes or flora botanicals like I have done desert botanicals before in, uh, McGrady in sky like this, where I've had, you know, cacti and succulents up against the sky. Whatever it is, taint it in a dark, dark color like black or highly pigmented Payne's gray. It's gonna look very cool against the Grady at night sky, and that's partly because of thes Constance. So this is the last thing I want to talk about in this landscape recipe video. There are two constants in my recipe for this night sky landscape painting. First, the Grady Int always goes dark at the top to light at the bottom, dark at the top and light at the bottom creates the contrast that makes thes nights. Guys look so cool. So because of the light at the bottom, the silhouettes are going to pop and really accentuate the night, the night sky and they're going to accentuate the stars. So you're going to Sprinkle when we're going toe practice that in the actual final projects that we do. But we're going to use whitewash to splatter white stars all across the dark of the top of the night sky. And so these contrast ing things, um, having dark and light things together, the light at the bottom night sky with a dark silhouette on the dark sky with the white stars create just a really cool wilderness kind of ethereal effect. And I have found that this recipe of using different skies silhouettes and having maintaining this constant contrast creates just a stunning, still a stunning landscape scene every time. So with that, um, you can download my landscape recipe handout. I created a little, um, free version of this that looks a little better on my website. Um, and pick whichever ones you want and let's, then we'll move on and you can watch me paint my final projects, so see you there. 7. grip + water control: okay. I wanted to do a quick video on grip on how I hold my paintbrush as I'm painting Grady INTs Ah, for these nights, guys. Especially because I think it can be kind of tricky if you're not exactly sure how the paintbrush is supposed to go. So to demonstrate this, I'm going to dio too little many nights guys on this paper. So for the 1st 1 or I'm just gonna do many nice guy here and then grab another piece of paper for the next one. So when you after you've laid down your wash of water and you're painting the Grady int, um, it might be easy, like you might be painting ingredient like this, and so it kind of your going edge to edge, but it's still a little bit streaky. And the problem when you're doing it this way is that you're not. Or rather let me say it this way when I want to do my night skies instead of going like in zigzags far apart like this, I'm using the whole of my brush. So I'm putting enough pressure on it that all of the bristles on my brush basically are on the paper, and when I'm doing that when I'm doing it that way, it's a lot easier to maintain this smooth layering all the way down. Ah, you don't want to put too much pressure on it, though, because if you put too much pressure on a brush, like if you jam the bristles into the paper A. It's going to probably ruin your brush. And it's going toe like stop. You're going to create enough friction that your your paintbrush won't move. Another reason why your Grady INTs might not look a smooth is mine are if you're not using . And also, if you don't have enough water either on your paint or on your paintbrush or on your paper , then the paint isn't gonna move anywhere. Um, and all of those three places that I just said are important places where you can get where where you get water for painting with water color, um, in your palate. So where your paint is on your paintbrush and on the paper on the paper, you can tell that there's not enough water because the paint isn't blending together. It mostly stayed in this, um, zigzag effect that I was using, even though you can see the paper was wet enough that it blurred the strokes so they still look a little bit blurry and honestly, like this looks kind of cool. But it's not the smooth radiant that I was initially going for, right? And so if you are trying to do your Grady int and it just feels like you can't get the smoothness correctly, um, then you might want to pay attention to how much water is in the paint or on your paintbrush or on the paper. And if you are having the correct grip, So I, um, just a showcase these two differences where this is what happened when I use the correct grip, holding the paintbrush loose further down on the handle like this, and I like to hold it with my two pointer and middle finger. But that's just my preference. I hold pencils this way to, um, some people like to hold it more like this. So if you just hold your paint brush like this, kind of loosen your hand further up on the handle and straight, almost kind of like it's out of 45 degree angle from the paper and then use all of your bristles of the brush to move your nice and watery paintbrush down the paper. That's going to be a recipe for success for these smooth radiance. Okay, thank you so much. And let's move on to the next video. 8. classic night sky tutorial: okay. For our first final project, I'm going to paint kind of my classic version of a water color night sky, meaning it's going to be monochrome. And it's going Teoh, The silhouettes are going to be trees along the bottom. So first step is to get your paper wet. As you can see beforehand, I taped down my paper. This is professional watercolor paper. It's Blick premier watercolor paper, 100% cotton. I taped it down and you can see a small hyper lapse of that process if you've never done it before, Um, as a bonus video at the end of this class. So I taped down my paper and now I'm gonna put the paint in. Here is You can see me picking up the paint when using Windsor Newton's Payne's Gray and I'm going to start at the top and going edge to edge. Remember, I like to go edge to edge all the way down and so I can get the pigment all the way on the paper. I'm just gonna move a little bit from bottom to top here just to smooth out some of the textures here and remembering our rule that you can always make something darker if you need to, but it's really hard to make something lighter. I'm gonna take stock of whether or not I think this the bottom could be darker, meaning, I don't really care if I get a darker or if I need to keep it as light as it is. And I think that I do want it to be very light. But I wouldn't mind if it was just a little bit darker. It wouldn't it wouldn't ruin my piece if it got a little bit darker than it. ISS So OK, but now, at this point, that's about as dark as I want the bottom. So I'm going to focus on picking up, um, some very pigmented watercolor and putting it at the top and stopping about 2/3 of the way down and then picking up more very diluted, not with water. That's kind of tricky wording, very pigmented watercolor and just always starting from the top and painting down so I can lay the pigment down first. And now I'm gonna wash off my paintbrush and starting from the bottom with wet with a wet and clean paintbrush. I'm going to paint from edge to edge all the way up so that I can smooth out thes sections right here. As I'm smoothing these out, I'm noticing that maybe I want my nights guy to extend a little bit further, like right there is where I still wanted to be a little bit dark. And so, knowing that I'm I'm gonna put down a little bit of pigment over here just down to that's about 3/4 of the way down now. And I'm not really carrying the edge to edge at this point because I know that right now I'm gonna go back with my clean water, clean paintbrush and going from bottom to top Smooth out those sections by going edge to edge and making this Grady int very smooth. So this process of going back and forth and back and forth to create a smooth, radiant is how we paint thes nights, guys. So I'm just going to keep doing this until I think it's about right. And you can watch that in this hyper laps. Okay, now that the sky is dry, I used a and M bossing heat tool to dry my sky. Let's splatter on some stars. So I'm picking up my doctor Ph Martin's bleed proof white, and you can also use any kind of whitewash you have on hand. I'm picking up some of this and using clean water. The trick with this in particular, is to definitely use clean water while you're activating it. And I'm going Teoh, Um, make sure it's wet enough that it will come off of my paintbrush, but not quite so wet that it's very diluted, So practicing a few times would probably be a good idea. But the essence of what we're going to do is I'm using my zero brush. Hold the brush with your whole hand, uh, your feet with your non dominant hand and then with your dominant hand use basically your whole hand, at least two or three fingers to tap the brush so that the paint comes off of the paintbrush and I'm gonna show you that one more time with this angle and then again at a side angle just so you can see the stars coming off a little bit better. So the reason that I start with stars before the trees is because I don't want the white paint to get onto the trees. And, um, the reason that I splatter the stars instead of painting them on individually is because my mind just does not do random very well. Whenever I try to paint or draw on the whole sky full of stars, my mind wants to put them like space them out evenly. And it's just a lot more difficult to get this, you know, explosion of stars that I really like to see in nice guys. So splattering takes away the human error of creating randomness and makes it random. Anyway, it is a little messy. I get a lot of questions about, like, how do you make not make a mess by splattering? And the answer is, I don't I do make a mess. So, um, but a few things to note, if you have too much water like if you use more water than pigment then probably is good, you might get bigger. Stars like some of these air are the biggest stars I have on here. And if you get them to be too big, they might look more like snow instead of stars, which could be good. I mean, maybe you want snow. But if you want them to look like stars, I like my stars, Tau. Look, um, lots of different sizes, but definitely more this, like, middle size. And that just takes experimenting. A good rule of thumb is to know that the more water you use the bid, the bigger the droplets are, and the less water you use, the smaller the droplets are, um, water control also has a lot to do with how easy it is to get the stars off and on your paintbrush. So, um, if you have more water, it's gonna be a lot easier for the pain to come off. And if you don't have enough water, you're gonna have to really pound on the paint brush to get any to flick off. So that's those are my two cents about stars. And then I like to have a little shooting star on my night skies. So for that, I like to use often, um, a gel pen instead of a paintbrush. And so I just kind of flick my Joe Penn out like that to create a little shooting script. Little shooting star across this guy. And now let's talk about trees for my trees. I'm using the color lamp black, and I'm just gonna paint a few clumps. So I generally the way that I paint trees is especially these little lose pine trees is by painting a thin trunk and just kind of these loose, brushy blobs on either side. I have a few classes on different kinds of trees. So if you're interested in learning more about trees, then definitely check out some of my other classes. But for now, I'm just gonna paint these trees. But the thing for this specific class for the night sky class is I don't like to paint the trees. I don't really like to paint them all the way across the bottom. That's a preferential thing. I like to instead paint them in two or three clumps along the bottom. So ah, what number I'm painting clumps. I make sure that the trees are different heights and different wits. Some of them can be like big, bigger wits like this, Um, and just because the variety there makes it more pleasing to the eye, I think, and so I like to paint one clump on one side and then another clump on another side, usually on this side I like to have. I mean, it doesn't really matter, but I like to have, like, one fairly tall tree. And then I also like to have to create depth in the piece. A few really, really tiny trees. Not because you know a very tall tree would be next to really tiny tree, but because the size is going Teoh. Help your mind. I think that you're instead of looking at just like one static treeline, you're kind of looking down into a valley or down or far away to trees that are at a distance. That's one trick with when you're painting in silhouettes because you can't use color value or anything else to mimic. Depth is to use size, so I like to paint just like three clumps sometimes, too. But often three clumps of trees and the clump in the middle often has the smallest trees that sometimes are just even little dots just like that and bye bye, painting these dots and varying sizes. You can create a lot of depth ah, using very simple techniques, and that wraps it up for Project Number one of our Grady into night sky watercolor class. This is my kind of classic take on a night sky and I hope you like it. Now let's move on to Project number two. 9. twilight night sky tutorial: welcome to Project number two for this project. We're going to do a multi chrome nights guy. So we're going Teoh, Really? The effect is going to be like a purple that's kind of fading into an orangy yellow, but the colors I'm using are gold Oakar. These are all Windsor Newton gold Oakar peril in Violet and Payne's gray. So I'm going to start with, um, a wash of peril in Violet that goes at the top and stops about right here and then gold. Oakar is gonna come up from the bottom, and then I'm going to put some Payne's gray at the top of that Caroline Violet layer to make it a little darker. So let's so let's go ahead and get that started first. Like always, I'm going to start with a wash of clean water. Then I'm going. Teoh, take some peril in violets. It's turned my palace. You can see a little better takes imperiling violet and from the top go edge to edge all the way down. If you don't have enough water on your paper or on your paintbrush, you're not. It's not going to be quite a smooth of a blend so Oh, and I'm not going quite all the way down. I went a little bit farther down than I intended, but I think it'll be okay. Um, you're gonna stop about here when you do yours. So, um, or apparel in violet from the top on making a smooth, radiant down about 2/3 of the way down. And then I'm going from bottom to top again just to make it a little smoother. And now I'm going Teoh, wash off my paintbrush, pick up some gold Oakar. And for this, um, portion, we want to make sure that the gold Oakar kind of is darker at the bottom and then gets light toward the middle. And we want some of some white space to show through. Just Teoh give it a little bit of contrast for when we paint the silhouette on top of it. So I'm just going back and forth between these two sections like we did in the monochrome Grady in practice video to create a subtle radiant I'm gonna pick up a little bit more gold Oakar gold. Oakar is kind of just like a golden orange. Really? And okay, I think that that is probably good. Notice how I'm not going like I'm very smoothly making sure there's no um not sure. I'm not trying to make sure that there's no that. It's a smooth, radiant. I'm okay if there's a little bit of texture in here for this particular peace. So now I'm gonna take more peril in Violet, starting from the top again and making sure that my paintbrushes pretty watery because, as I was doing the gold awkward, the bottom. The paper may have dried a little, and so I want to make sure that I have plenty of water on. My brush is I'm painting down, but I don't want to get too close to the gold Oakar with my highly pigmented apparel in Violet, because I want these colors to, um, blend at their lightest. So one way to blend two colors that might not look great together blended outright. One way to, like avoid a muddy mess of a blend is too almost used white as a buffer period as it like as a buffer section. If you blend into the white of the paper on both ends, then you can kind of use watery pigments on both sides to blend the two colors together. So almost looks like there is this period, this zone where the two are blended together and and which creates this subtle Grady in between two colors that might not necessarily blend well if you just blended them outright . Um, so that's one trick that I like to use for that. And now I'm going to take some pains gray and started just at the top of the peril in Violet and Payne's gray, mixed with peril in violent creates more of like a, um, blue violet kind of color that looks more like we're dealing with an actual night sky as opposed to a sunset. So, like right now, the colors as they stand could feasibly look more like a sunset than a night sky. But that's why I'm outing the Paynes grey at the top, blending it right together. While the peril in violent is still wet. To create this, uh, ingredient from the top of this guy that goes blue to purple and change, the purple changed, apparently in violet to be more of a blue violet color. That's probably more akin to what a night sky would look like. So I'm going back and forth between blending and more Payne's gray washing off my paintbrush and then blending it from the bottom up. And I want to make sure to wash off my paintbrush so I don't get any of this super dark pigment by my gold Oakar because I want that gold okra at the bottom to give a subtle glow behind the silhouette that we are eventually going to paint there. So I'm going to finish this up, and then we will paint the silhouettes. Okay, so now that we've finish the sky paint splattered on some stars, I'm gonna switch it up a little bit. And instead of just one shooting star across here, I'm going to do three. So just toe have a little meteor shower. I think those could be kind of fun. So one thing that I dio if I draw multiple subjects, I always like to try to dio it do odd numbers. So I don't know why I think that I've read somewhere the odd numbers are more pleasing to the eye, but it could also just be preferential thing. Um anyway, so their my three shooting stars and now for the subject. On this peace, I'm going Teoh paint a little kind of sloping mountainside that has some trees on top of it . So I'm going to use some dark Payne's gray, some heavy pigmented Payne's gray. For that. And I'm just going to go right on top of this gold Oakar here and leave enough of the gold Oakar peeping out from the top of the mountain side so that it looks like there's this subtle glow from the sun that has just barely gone some dark Payne's gray right on top here . And then, while this is still wet, I'm gonna take my small paintbrush. I'm just paint some trees right along the mountain ridge. So the way that I paint these, like mountain Ridge trees, is by painting a bunch of tiny little trunks first of varying sizes. Like I have told you, like I've talked about before, and then I'm gonna go through the trunks and paint lines across them to turn them into trees just like this. So does not be perfect. They can be messy. I just want them Teoh, make sure I just want to make sure more than anything that they blend down to the bottom of the mountain ridge, so there's not like any awkward spots. I want the trees to essentially cover the whole mountain ridge. So instead of like a sloping mountain where you can kind of see the actual hill, all you see are these trees. One tip with trees, especially in this style, is when you're painting with lines to make some of them look wild and crazy, like they're going. Every which way, because that's going to that is what is going to make them look more realistic. Believe it or not, trees are sometimes super ugly, and they have sticks that are just judging out, jutting out everywhere. And so that's my trick to making. Ah, these loose pines look kind of realistic. And Teoh ad Ah, some easy texture to a silhouette like this is to make some of these lines jut out so that you can see these crazy lines individually. It's going to make the silhouette look extra cool, and there we have it. Final Project number two. We did a night sky, starting with a wash of peril in Violet and then going into this gold oak. Worse, you have a nice little twilight glow here and then topped off the Grady int with some Payne's gray. So we have a nice, smooth, radiant from blue to violet all the way down to gold of the sun, And then this fun little mountain ridge treeline silhouette with a few shooting stars. I think this one looks supercool now on to project number three. 10. textured night sky tutorial: Welcome to the Night Sky Project number three. So for this nice guy, I'm going to use Salo Turquoise. This is Windsor Newton follow turquoise and also Payne's gray. So we're going to start with a wash of tallow turquoise, just like it's a monochrome fallow turquoise. And then, to make the top a little bit darker and a little bit more blue, we're gonna add some Payne's gray, similar to and the final Project number two, where we added pains great to pair a lean violet. That's kind of one of my tricks if I remember using a different color for the night sky, but I still want to get that dark, almost black and blue. Look at the top, then I just do some heavy pigmented payments, gray a little bit and blended in right at the top. So let's get started. We are going to start with a wash of clean water, just like all of the other night skies. And now let's put or wash of fallow turquoise starting from the top and going down from edge to edge, just like we've done in all of the other night skies. Except this time we are going to go all the way down. So basically, we're going to start with the Monaco ingredient of Daloa turquoise because the light bluish green of fellow turquoise is what we're going to use for the light part down below just like that, and then another just to get a little bit more pigment on here, start with some more fellow turquoise at the top, going all the way down, and then I'm going to purposefully create just a little bit of texture by instead of using my my brush flat going all the way down. I'm going to take some pigment, start at the top and kind of just do a little zigzag to create some lines of white on purpose all the way through. So I'm just kind of making a little zigzag motion just like that. And now I'm going to put my Payne's gray right at the top and probably do a few washes of this Payne's gray to make the top very pretty dark. And as I'm putting this Payne's gray on, I'm going to keep doing those zigzag motions kind of at an angle just like this to create even more texture in this night, sky but not go too far down with the Paynes Grey because I still want the bottom part to light right? And so I don't want the Paynes Grey, which I know is very dark to go all the way down to the bottom. I only wanted to go a little bit down and then once I have enough Payne's gray and fellow turquoise that I'm gonna clean off my brush and do though zigzag motions starting from the bottom as well. So there's a little bit more of Payne's gray, and now I'm going to get some more Thala turquoise and just kind of keep with the zigzag motions all the way down and back and forth. Okay, No, I'm cleaning off my brush. And so, with clean water, I'm going to do those exact motions starting from the bottom right with our greedy in techniques just to smooth out some of the sections, this light section and this others exact kind of section just to smooth everything out so that there is not quite so stark a difference. So we have this kind of textured Grady in going on with the colors inter mixing. But we still want a smooth transition. That doesn't change. Okay, now we've splattered on the stars Instead of doing a shooting star. This time I'm going to do just a little twinkling star just wet on dry. I have a few different methods for twinkling stars. But for this one, I'm just basically gonna do a tiny, tiny cross in the corner right here and the way to do that without getting too thick lines because I find that that's usually that my dad involved. I have to think wines is too. When you pick up your ah paint right here, just slightly brush it against your palate or, in this case, the inside of my lid to take off any excess without taking off all of the paint. So I'm just kind of giving it a few brushes because I want the tip of my paintbrush to be very pointy. And now very carefully. Uhm, I'm going to put just my tiny cross right up here using very little pressure. I'm, like, barely even touching the paper. Very little pressure going to extend it a little bit farther down here, and then I'm gonna do longer up top and shorter across and that is just my little cross that I'm going to dio. And maybe again, I like to work in three. So maybe I do one more tiny one right here, but using very little pressure, very little pressure. Just a tiny little cross right there and then one more right here. So then thin lines When I find I do these crosses with thick lines don't like them as much . So I try to do is thin as possible. Okay, so there are my stars. I finished my stars. And now let's move on to the silhouette. Okay. For this silhouette, I'm just going to do a little layer of a silhouette mountain. So instead of using my small brush like I've done for most of the other silhouettes, I'm going to take some lamp black with my number 10 brush. You can't see it cause I'm off to the side, But I'm gonna take my lamp black with my number 10 brush and starting down in the bottom corner right here. I'm just gonna kind of move my brush using the side of it upward. And I'm moving my wrist just slightly so that I can get these crags that are like in Iraq, So I don't want it to be, like, very smooth and sloping. I just want to be a little bumpy, and then I'm gonna move up like this, so that's kind of like a mountain peak and then back down just like that. And then I'm just gonna fill this in with Black. The here is our final project number three, where we did a little bit more of a texture night sky and we did some twinkling stars over here instead of a shooting star. And then for the silhouette just this plane, Stark Mountain Peak. Um, once again, using that simple night sky landscape technique where we decided which subjects and which variations to use. And even though every step was I mean pretty simple, I think this looks very beautiful. So I'm pretty happy with it now, on to the final final project of this class for final project number four 11. galaxy night sky tutorial: Welcome to the final final project for my night Sky class. For our last night sky, I decided to use this fun circular watercolor block. So it's a watercolor block, meaning it has multiple pages all glued together. And this is Magnani 14. 04 It's Italian. I ordered it from blick dot com, and that's the paper we're going to use. And this night Sky is going to be multicolored. So honestly, it's kind of gonna be like a galaxy esque nights guy. So I love this would be a fun way. Teoh and our class. I'm going to use the colors that I'm mostly going to use color wise are this Daniel Smith, Quinn, Purple Windsor, Newton, Salo, turquoise and ah Cinelli A Quinn red. So these were the colors I'm using, like a purple blue and a red. And then Payne's gray Teoh rounded out and, um, capture the top dark edges of the night sky and we'll go from there. Let's start with our wash of water. - Okay , now that we have the block wet, I'm going to start with, um, Quinn, purple. Just kind of toward the top of the block up here. Quinn, Purple is kind of this, like blue, purple, blue, violet, kind of color. Honestly, it's probably a little more red violet, but it feels like it has a cooler tone to it. So anyway, it's a cool color. So I'm going to start with some Quinn purple right at the top, and then bring some of that down. But instead of bringing it all down like we did like we've done with the other Grady INTs, I'm going Teoh some Quinn red right in the middle there. And now I'm going to take some fellow turquoise and at it right there. I kind of messed up. I was supposed to add the queen, read after the fella turquoise. So I'm adding some fellow turquoise right in the middle here and blending it in. And now I'm gonna add the queen, read right at the bottom right there. So these air my layers of color. I'm just gonna ADM or Quinn purple around the sides and see when it blends right on the paper. The Quinn purple and honestly, all the other colors kind of turned into a different color, which I think is a really cool effect. So I'm just gonna add a little more Quinn purple. But I'm not going to go all the way down to the side because the silhouettes of our night skies gonna be along the bottom right here. So going to go back and forth it doesn't have it doesn't have to be exactly. Even the layers of color don't have to match unnecessarily. That's kind of what makes us a little more of a galaxy than a straight Grady int, so it's definitely textured. We're looking for a textured night sky with lots of colors, so I'm just picking up the colors individually and adding them on. And now I'm going to take clean off my brush and with clean brush, just bring down this. Quinn rose down to the bottom of the block and blend in with the Queen Purple up here. It's okay if a little bit of the purple comes down here. The key is to make sure it's watery paint. So we're not trying to get very pigment and paint down here because we're still maintaining the light to dark or dark to light from top to bottom. Right, because the light at the bottom of the painting is what's going to want to put the silhouette on there, make the sky look like it's glowing along the bottom, Okay, And then if you find any spots where maybe the paint is kind of puddling, that's where it's a good idea to get out your Q tip. I'm just mop up the puddles because the puddles could drip. And general, generally, when watercolor starts to puddle, it becomes a little unwieldy and not quite the effect that you're looking for. Okay, so this night, sky, because it has all these colors, um, we're going to do the night sky in two layers. So this is the first layer. I'm gonna let this dry and then do a second layer of colors on here just to make it a little more luminous and make sure that we get the dark blue of the Paynes grey along the top. So hold on just a sec. So this is try and I'm just going to add another wash of water on top, and now I'm going to add the same colors again. So we'll start with some Quinn purple just right on top, because water color is transparent. It when you do multiple layers, especially if you're doing multiple layers with color. You can get really cool complex, um, kind of luminous skies and luminous layer. So that's one really cool thing about the transparency of water color. So I added some Queen Purple right at the right on top there. And now I'm gonna add some of the style Oh, turquoise just underneath the Queen Purple. And I'm just kind of moving my paintbrush around, making sure to blend in with the colors and blend in with the water. And now I'm going to get my Quinn red and blended him again and blend that right in and bring it down just a little bit. I still want to keep the bottom part white here. I want to keep the white space of this painting down right there. Um, and now to kind of round out this painting, I'm gonna take some pains gray and just go around the edges of the sky and out in the dark Blue, for me is partly is a big part of what makes this guy actually look like the sky as opposed toe. You know, it's too colorful wash of colors, the dark blue and then eventually, when we splatter on the stars, those two things are really what pull it all together in my mind. So I'm not really going for a smooth radiant here. I'm really kind of looking for that more textured blend of colors. So I'm just tapping my paintbrush all around to blend the colors together and adding more color. So I added the Paynes grey around, and now I'm just re outing in Quinn purple and some turquoise so I can make sure that those colors are represented even if only I only see flashes of them. That's OK. And last but not least, Samore Quinn Red over here and now I'm going. Teoh, take a wash of water, clean brush and just bring some of this pigment down just to blended in a little bit downward. Making sure I'm doing that with clean water so that I'm not pulling too much pigment away and then starting from the bottom like we've done before, just kind of make sure to blend it all together while still keeping the bottom part. That light whitespace. So I'm just kind of moving some of the pigment around, blending it all together and Honestly, at this point, it's anybody's. Guess is, too, when I'm gonna be done. So if you're painting along with me, I think that this is probably a decent place to stop. So I'm gonna let this dry and paint on some stars. Okay? So I splattered the stars and I tried. When you're splattering, you can't really control where they go. But when I want to try toe like cover the whole of the sky that I'm doing, I mostly just try to hold the paintbrush over where I'm trying to splatter and sometimes I get it. And sometimes I don't really is just experimenting and seeing where it goes. Um, the the one thing to remember about splattering is that the first tap is almost always the most and heaviest. So that's where you get the biggest, the biggest stars. So that's why I try to move my paintbrush around and make sure the first tap is not always in the same place. Otherwise, the same spots gonna have like, the biggest stars. So I tried to just move that around a little bit, just, you know, even it out. And I usually do somewhere between five and 10 uh, taps going back and forth, adding more paint until I have a sky full of stars like this. I like to have lots and lots of stars in my nights, guys. So now that we've finished the stars, let's move on to the silhouette. Okay, For this silhouette, I'm going to use lamp black again, and I am going to dio similar to kind of like the mountain ridge. We're kind of kind of use, like, not the mountain peak, but the ridge with a bunch of trees on it. We're going to use a similar technique where, instead of just painting the trees were going to first paint. Um, just a little blob, I guess of black, um, just to fill in the bottom here. But then we're gonna paint bigger trees that are going into this. So because we're doing a circle, we're gonna it's the trees. They're gonna all kind of point toward the center. So it's kind of like I don't know if maybe a fisheye view is what that is. I'm not, um, up on all of those film terms. I don't know exactly what this perspective would be called, but we're going to. It's not just going to be like a flat. That's the fun of using the circle, right? Is that it doesn't have to just be like a flat view. We're going, Teoh, use a circle to our advantage. So I'm starting with just this layer of black Ah, that rings around the bottom of the circle. And as I'm painting, I'm going to remember to keep the as some of this white white space lighter space as much as possible because remember our rule that the contrast between light and dark is really what makes nights guys look really stunningly beautiful. So I am going, Teoh, I know I'm going to cover up some of this white spite white space with my trees, but I'm gonna try to remember to keep some of it, um, to keep some of it. So I'm going to start with one tree here, and they don't have to be like, directly pointing necessarily toward the middle. This one is going to be a little bit angled, as you can see, um, and they don't all have to be exactly straight up either. So that's something important to remember, But it is good to keep have some kind of focal point. So just Teoh keep the angle in mind. And I'm just my focal point is kind of just the center, like, it could be this star one of these stars up here. And for the most part, I'm just trying to make the trees, um, have be tilted a little bit to keep that angle on that focal point. So I'm just gonna paint these in real time. If that's helpful for you, you might hear my son in the background who, um and I'm using my small size zero brush. I'm just painting right into the black that we painted first. That's one of the reasons why I like to paint this black part first so I don't have to worry about filling in all the black space. Um, the dark space along the bottom with the tree. I could just have that black part finished the tree, sort of where I finished the mountain or whatever else is supposed to be. So Okay, uh, we're getting toward, uh, typically, when you're painting these kind of, like, round perspective paintings, one tree should stand in the center. And that's kind of like what this tree is doing. I'm painting at a little bit of an angle, but ultimately, and if you you know it's always trial and error. I'm a self taught artist, and the most important thing to remember is to keep them mostly, um, turning around in this circle to keep this perspective and they don't again. They don't have to all keep exactly the same angle. I think that things in nature are in perfect. So when you're trying to get different perspectives, those should also be relatively in perfect if they want to keep it as real as possible. So, you know, if you find that your painting and it just doesn't look quite right, remember that things aren't supposed to be. Paintings like this aren't supposed to be perfect because nothing in nature is and that you can always try again. If you decide you didn't really like the way that you did something, you could always try again and, um, see and experiment to see if there's a different way, a different way that you like to do it. Just cause you're taking my class and doing things the way that I'm doing them doesn't mean that that's what's right for you. I, um because I'm self taught, I learned by watching, you know, other people on the Internet. And a lot of these techniques that I'm teaching you now are techniques that I, um, started to learn from other people on tweaked Teoh fit my style. So I'm a huge fan of learning how someone else does painting and then experimenting and letting yourself be in perfect enough so that you can figure out what really works best for you. So Ah, you know, keep that in mind as you take this class and any of my other classes that I am definitely in favor of you testing out different methods. And if mine aren't what works best for you, then I am glad that you have taken the time to figure that out. So okay. Ah, as I was talking, I just did exactly what I've been telling you to do, which is paint these trees and paint them different sizes different. Ah, wits, different heights, but have them mostly painting relatively toward the center. So if there if it's on this side and then have them pointing this way, and if it's on this side than have been pointing the other way so that it kind of like hugs a circle and completes this kind of fisheye zoom perspective that we've create. And that's really cool to create with this circular block. And that concludes our final final project of my night sky class For this, uh, for this project, I decided not to do any shooting stars because I think it looks really cool. Just with this giant sky of stars and colors and with the trees that kind of circle around it, I think it looks great at as is. But you know, if you want to experiment and try different things with these ah landscape recipes that we have talked about, then you should definitely feel free. And that wraps up all of our painting for this class. So, um, if you want a head on over to the last video for the recap where we look at all of the paintings and talk about what we've learned, and then I do have a couple bonus videos at the end where you can learn some extra things if you want. So thank you for joining me for this class and for painting along with me These night Sky paintings are near and dear to my heart They mean so much to me And I'm so glad that I get to share them with you So thank you so much. 12. bonus: tape tips + satisfying tape peels: This quick bonus video is to show you how I take off tape from my taped projects. So sometimes it can be tricky, and it depends on the quality of the paper you're using and the quality of the tape that you're using. I always use masking tape or painter's tape or washi tape, something that is nice to paper. And then I always take the tape at an angle, and I move slowly in case some of the paper starts to catch. Um, then I can move to a different side. So when I use Blick professional watercolor paper, it hardly ever catches, Which is one of the reason I like using Blake so much. Um, but if your paper does catch, let's pretend that it does. So if it like, catches right here. If you notice some of the paper coming up on the tape that I would stop and start again from the other side so that you don't end up just peeling the paper even more and another, um Teoh provide help, prevent that and to make until aping easier. I also put on the tape of specific way, so I always dio top bottom side side as opposed Teoh like topside, Bottom side so that the tape doesn't stick to each other. Um, this way, if you do top bottom and then side side, all of the tapes are kind of individually at here, as opposed to sticking from end to end. So that's my quick video on tape. 13. bonus: lettering on the sky: for this little bonus video. I'm going to do a demonstration on how I use White Wash. Ah, this is Dr pH Martin's bleed proof White to do watercolor calligraphy on these night non night sky pieces like this. So I pulled out a separate night sky piece that I have done in the past, and I'm just going Teoh letter right on this. And so the the trick with using white wash, uh, and painting with wash is to get it liquid enough so that you can move your paint around so it doesn't just get stuck, but not quite so liquidy that it goes translucent. Um, so right now I like to use of the lid of my paint as a little palate for this white quash. I'm just going back and forth between picking up some paint from the bottle and then adding some water to it to get a nice little puddle of paint the I can use. So just mix that until you have a pretty good consistency where it's not quite. It's not paste, but it's not quite super liquidy either. It's a more a thicker kind of liquid, and now I'm going to take my I'm using my size zero paintbrush. I'm going to take some of that white quash and just letter right on the sky. So I'm going to let her the phrase dream on you Move this over here. So remember, I'm periodically the thing about lettering with we're doing calligraphy with gua sh or any kind of paint is that you frequently have to basically, like, reload your paintbrush or whatever it is you're using. You can also use appointed pen. Ah, if you do pointed pen calligraphy, I often do that on the's night sky pieces. Uh, that can usually work if it's small enough. So as you can see with some of these lettering, I didn't quite use enough paint in my ratio. So the paint started toe fade a little bit. So that is for sure. The tricky part. Ah, and you may need to, you know, like I just did go over it again with the paint to get it to be as white as you want. So there's my little whitewash calligraphy right on the sky, and I'm just going to go over some of these letters again with my pain approach to get them to be even more white. Be careful when you're doing that, because you know you could mess up the letters, but so my recommendation is to just go slow when you're trying, Teoh get really white lettering, and so you have to do multiple layers if you stick. Urgh, Wash. Like if you don't have quite as much water in your mixture, then you can have more stark white lettering. But it's a lot harder to actually maneuver your paintbrush to form the letters. The paint immediately comes off and goes texture and scratchy, so it's just to give and take. Um, and there you go. That's my little bonus video of how I use whitewash and a paintbrush to do watercolor calligraphy on the's night sky pieces. Here is one last angle of that, and I hope you enjoyed this bonus video 14. recap: thank you so much for joining me for my skill share class on watercolor nights, guys today, I If you join me for the whole class, we painted this design, the Circle Nights Guy design and this Night, Sky Twilight Design and this mountain kind of textured nice guy. And then, of course, my classic Payne's Gray Nights guy with the shooting star at the top. Um, if you painted along with me and painted any of these designs or any variation of them, please feel free to post them to the Project gallery. That is a great place, for you can communicate with other students and see what other students were working on. And it's a place where I can provide you feedback for the work that you've done. So if you have any questions, make sure to drop them there. You can also feel free to drop your questions as a discussion in the community portion of this class. I make sure to check those, and I will answer your questions there as well. And if you just love your painting so much that you decide that you want to share it with your friends and family and you posted to Instagram? I would love to see that. So please tag me. My handle is this writing desk and I will show you some love And you have a chance also to be featured in my instagram stories. So Ah, thank you once again for joining me for this class. If you really liked this class, if you had a great time and learned a lot One way that you can really help me is to leave her of you about this class and share it with your friends. I would love Teoh share these techniques with with as many people as possible because I love them so much. And I think this is a great starter into the world of water. Thank you again for joining me and see you next time.